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New Perspectives in Painting
In classroom - ask Ms Johnson or Ms McGifford

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The Tate

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Tate is a family of art galleries in London, Liverpool and Cornwall, known as Tate Modern, Tate Britain, Tate St Ives and Tate Liverpool + RIBA North. Tate art museum houses the UK's collection of British art from 1500 and of international modern art

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A New Generation of Chinese Art collectors (2017)

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Written by Oliver Giles, CNN

Michael Xufu Huang is hard to miss. In March of this year, the Chinese art collector turned heads at a Guggenheim party by showing up in a white leather jumpsuit. A week later, he swept through the VIP opening of Art Basel in Hong Kong in a powder-pink, pajama-style outfit. But it's not just Huang's clothes that have art world insiders talking -- it's his age.

At just 23, Huang is part of a new generation of Chinese art collectors. He began collecting art as a 16-year-old high school student in London and then returned home to Beijing, where he co-founded the contemporary arts museum, M Woods.

The gallery's ambitious exhibitions of both Western and Chinese artists have attracted international attention. But while Huang and his contemporaries clearly have money to spend, their approach to collecting is vastly different from the Chinese billionaires who shook up the art world in the mid-2000s.

Changing tastes

Chinese collectors started making global headlines just over 10 years ago, and they quickly gained a reputation for buying big-ticket items by the best-known Western artists.

Among this early cohort were Joseph Lau, who bought one of Andy Warhol's Mao Zedong portraits for $17.4 million in 2006, and Wang Jianlin, one of China's richest men, who paid $28.2 million for a Picasso. Billionaire and former taxi driver Liu Yiqian famously paid $170.4 million for an Amedeo Modigliani painting -- reportedly using his American Express card.

Western art is still a big draw for Chinese collectors like Huang.

"The younger generation of Chinese collectors have been educated around the world," he said. "We are global citizens, so works by artists from abroad echo our interests."

But China's new collectors aren't only looking for big names. Heir to a property and jewelry empire, Hong Kong-based Adrian Cheng says that he owns "hundreds" of works by both Chinese and Western artists -- many of them up-and-coming.

"I travel across the world to view art -- at art fairs, biennales, museums, exhibitions and more," said Cheng, who founded the not-for-profit K11 Art Foundation. "I am fortunate to have come across art that may be of historical importance, representative of its time or simply moving. I am driven to collect these works, regardless of the where the artist comes from."

Collectors' understanding of art continues to grow, according to Lorenz Helbling, who founded ShanghART Gallery in Shanghai 21 years ago.

"(Chinese art collectors) have become more knowledgeable, sophisticated and ambitious," he said.

On the block

Auctions are still the marketplace of choice among China's art collectors. Nearly 70% of artworks purchased in the country in 2016 went through auction houses, according to a joint report by Art Basel and the banking giant UBS.

Alex Chang, Managing Director of Poly Auction in Hong Kong, thinks auctions provide a level of reassurance for emerging buyers in mainland China. "In an auction, the lots are selected by the specialists and an estimate is made after thorough research," Chang said.

"Thus the collectors will have sufficient background information to make a decision on placing a reasonable bid."

Inexperienced collectors might feel less confident in a gallery or at an art fair, where the process for determining prices tends to be more opaque.

But while older, headline-grabbing businessmen seemed to relish the buzz -- and publicity -- of public sales, younger collectors have good reason for keeping a low profile.

China's so-called fuerdai (literally "second generation rich") are regularly criticized in the media for their flashy spending. And with many young collectors at least partly funded by family money, they seem eager to prove that they're interested in art as more than just a status symbol.

Auction houses are changing tack to cater to them. Sotheby's, Christie's and Hong Kong's Poly Auction all offer private sales that allow for discreet transactions. In the first half of 2017, Sotheby's reported a significant rise in revenue from private sales -- particularly in Asia.

"We have seen a strong upward trend in private sales with mainland Chinese clients in the past five years, and more than a three-fold increase in 2016 compared to the prior year," a spokesperson said. "In China and Hong Kong, the increase has been more than four-fold."

Some young collectors like Kylie Ying, co-founder of the ART021 Shanghai Contemporary Art Fair, eschew auction houses altogether.

"So far, I haven't bought anything (that way)," she said. "I always buy through galleries -- that's my first priority."

Other young collectors are turning to the Internet to scour the market. With auction houses like Christie's now using social media to showcase items, Huang says that he can easily browse for international art on Instagram -- despite the fact that the platform is technically blocked in Mainland China.

"I use Instagram more than auction catalogues to see what's on the market," said Huang, whose own account features pictures taken with the likes of contemporary artist Takashi Murakami and American curator Klaus Biesenbach.

This habit seems fitting for a collector whose portfolio is dominated by artists known for exploring the Internet's impact on society. Huang's collection includes digital art that would likely be of little interest to China's older generation, like Instagram portraits from Amalia Ulman's "Excellences & Perfections" series.

"The term 'post-internet' has almost become passé in the art world, but I think it still manages to encapsulate many of my interests," Huang said. "I am fascinated with artists who respond to realities and social issues predicated by new technologies and mobile connectivity. I think these investigations reflect the language of today."

Aspiring patrons

Works bought by China's earliest band of collectors often remained hidden away their owners' mansions. The wife of aforementioned billionaire Liu Yiqian admitted that some of the couple's art was stored in warehouses before they opened a series of private museums around China.

But collectors like Huang, Cheng and Ying seem to be on a mission to share -- or at least appear to be sharing -- their art with as many people as possible. Through both the K11 Art Foundation and the exhibitions hosted in his family-owned shopping malls, Cheng frequently makes art available to the public.

"We have presented blockbuster shows, such as (our) Monet exhibition, that had audiences lining up around the block," he claimed. "We have introduced mass audiences to modern and contemporary art, bridging the chasm between the wider public and art."

Unlike the Cheng's K11 Art Foundation and Huang's M Woods, the ART021 fair is an explicitly for-profit business. But Ying also insists that she is motivated by the desire to make art more accessible.

"Public education is also the vision of our fair," she said. "We have free art talks and speeches during the fair. We are hoping that ART021 can be the first window for art to Chinese public."

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what art are china's young super-rich buying? - cnn

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The new generation of Chinese collectors shaking up the art world

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Written by Oliver Giles, CNN Michael Xufu Huang is hard to miss. In March of this year, the Chinese art collector turned heads at a Guggenheim party by showing up in a white leather jumpsuit. A week later, he swept through the VIP opening of Art Basel in Hong Kong in a powder-pink, pajama-style outfit.

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Interesting articles on art and culture

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The best of arts and culture from the BBC

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A list of 144 artists!

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Interactive PDF with links

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Video - 120 artists to share what they see when they look at at The Met Museum

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The Artist Project | The Metropolitan Museum of Art

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The Artist Project is an online series in which artists respond to The Met's encyclopedic collection. 100 artists-local, national, and global-choose works of art that spark their imaginations.

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Lens / Electronic / Screen

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Explore all art movements on Google Arts & Culture.

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Threads & Textiles
In classroom - ask Ms Johnson or Ms McGifford

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a list of Contemporary Chinese Artists

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When one thinks about Chinese Art, what usually comes to mind is not contemporary. Conversely, when one thinks about contemporary art, they aren't usually picturing Chinese artists. However, through their rich cultural history of fine arts and calligraphy, Chinese artists today are finding new ways to pay deference to their past while breaking away from traditional artistic values and redefining their cultural identity through contemporary art.

More than ever, these artists are drawing more and more attention from the art world, particularly now that everyday conversation has been infused with the political lexicon. Contemporary Chinese art has a particular poignancy to this subject matter. Confronted with their own tradition and culture threatening to be consumed by Western influences following the Cultural Revolution in the late 1970s, much of contemporary Chinese art is inherently political; simultaneously depicting a thirst for individuality while also putting their nationalism on display and trying to discover a voice to claim as their own.

With that said, let's explore 15 contemporary Chinese artists to keep an eye out for.

1. Ding Yi

Based in Shanghai, Ding Yi is best known for his meticulous geometric paintings. These paintings, mechanical and minimal in appearance, call to mind the rapid industrialization of China and the proliferation of mass production. Though the forms that make up his paintings tend to feel unnatural and harsh, they also call to mind the otherwise organic calligraphic forms of Chinese writing. Despite their mass-produced appearance, there is a zen-like quality to the way that Ding Yi insists on painting his forms by hand. While his distinctive "crosses" began using rulers and other tools to assist in painting his precise straight lines, over time he began to freehand the marks, lending a much looser visual appearance to his forms.

2. Su Xiaobai

Su Xiaobai started off as a social realist painter, before slowly moving towards abstraction after his exposure to Western art in his studies in Germany. Eventually, most of his paintings would be reduced to simple abstract lacquer objects. Su Xiaobai primarily focuses on form, color, and surface quality. By using lacquer, he pays deference to the long history of the finish as an artistic medium in Chinese culture. Through his mastery of the medium, he is able to achieve a translucent quality to his paintings that lend them to meditation and contemplation.

3. Wang Guangle

One of the recognized pioneers of Chinese abstract paintings, breaking away from the Chinese representational tradition, Wang Guangle uses paint to conceptualize subjects such as time. His use of color, uniform brushstrokes, and gradation give his large canvases a pulsating aura that alludes to ritualistic spirituality. While some of his work is monochromatic, his works from 2018 implement two colors-one that starts on the outer edge and slowly works its way towards the center of the canvas and gives way to the second which grows in luminosity, similar to the effect of a Mark Rothko painting.

4. Huang Yuxing

Huang Yuxing is a representational artist who is known for using bright, saturated, fantastical colors to depict landscapes and figures. Though traditional Chinese motifs like trees and mountains can be recognized within his canvases, the depictions of these subjects are far from realistic. The colors that compose Huang Yuxing's paintings create scenes of the world that border on psychedelic hallucinatory images. The familiar landscapes suddenly feel unfamiliar with the juxtaposition of color, organic shapes, and geometric lines, alluding to the disintegration of the environment due to human impact. Other than environmental impact, Huang also depicts other aspects of the human condition such as fear, anxiety, aging, and death, by utilizing abstract forms and diverse color palettes to allude to emotions.

5. Qiu Zhijie

Qiu Zhijie is known for using a large variety of different mediums to produce his conceptual art. From installations, to photographs, to video, to even performance, he merges the recording of process with aesthetic, imbuing his works with sociological, philosophical, and political discourse. In one of his most iconic works, and maybe one of the most well known works in Chinese contemporary art, Assignment No. 1: Copying the "Orchid Pavilion Preface" One Thousand Times, he wrote and rewrote text over and over until the writing itself was unrecognizable. His use of Chinese calligraphic text is a repeat theme throughout his oeuvre as he explores the relationship between words and the humans that bear them. Other themes in his works of art are the interplay between behavior and choices, and ultimate destiny, as well as the role of ideology in culture.

6. Huang Yong Ping

Huang Yong Ping's works shook the world with his controversial use of medium. An indisputable leader in Chinese contemporary conceptual art, Huang's works were extremely avant-garde and he was known to use elements such as live animals in installations. He infused many of his ideas about philosophy into his art, using Buddhist and Taoist themes such as attempting to eliminate the "self" by incorporating chance into his process. For example, he would use dice or a roulette wheel to determine his medium for a piece.

Though he was born in China, much of Huang Yong Ping's work was produced in France. It was through working outside of China that his art grew to a grander scale, as many of his works featured political undertones that were frowned upon by the Chinese government. Aware of the stereotypical divide between Eastern and Western culture, he made his doubts clear. Notably, he threw Eastern and Western history books into a laundry machine and displayed the illegible pieces of paper pulp on a pedestal. He certainly did not shy away from controversy, either. Memorably, animal rights activists were up in arms over an installation of his containing amphibians, reptiles, and insects. Meant to depict the human condition and competition for dominance, the artwork was ultimately displayed without the animals due to the complaints. Despite butting heads with governments and other groups, Huang continued to produce provocative artworks until his death at the age of 65.

7. Yang Fudong

Mainly working in film, photography, and installation, Yang Fudong transports the viewer into surreal dream-like environments. His films, often slow and non-narrative, incorporate both modern themes as well as reconstructions of historical myths and settings by displaying classical Chinese tropes engaged in contemporary social problems. In incorporating multiple perspectives with no real conclusion, Yang's works focus on the frailty of the human condition and emotion despite the beautiful idyllic settings he places the subjects in.

8. Zeng Fanzhi

Zeng Fanzhi, looking for new ways of expression following China's Cultural Revolution, was primarily inspired by German Expressionism and French Romanticism. Like many others, he looked to Western art and found ways to deviate from Social Realism which was in vogue in China at the time. Much of his work featured individuals painted with mask-like features - impersonal and void of expression - alluding to his general distaste towards the rapid modernization of China, and a feeling of rejection. His frenzied and expressive brushstrokes allude to the feeling of insecurity that he felt during this time of great cultural change, and his use of muted colors alongside fleshy pinks and reds accentuates his empathy towards human suffering.

9. Xu Zhen

Xu Zhen's work in painting, sculpture, and video employs humor and critique to create thought provoking art. Some of his sculptures and paintings consist of well known but incongruous cultural iconography, such as voodoo dolls and Greek gods that are pulled together into one setting to comment on globalization. Theatrical and satirical, his work challenges stereotypes, and calls into question social taboos while subverting expectations. In one installation, In Just a Blink of an Eye , he employs performers to pose frozen mid-movement in odd and gravity-defying poses as the audience waits expectantly for them to move. In some of his performances, he's even been known to call to attention the monotony of the everyday by bursting out screaming in a crowd.

10. Liu Xiaodong

A neo-realist painter that focused on depicting scenes from everyday life without trying to beautify it, Liu Xiaodong is considered one of the most influential painters in contemporary Chinese art. His paintings range from still lives to portraits and landscapes. Though painting from the day-to-day, his large brushstrokes threaten abstraction, and his works border between reality and artifice. His spontaneous documentations of people and things en plein air serve as a visual documentation of a world that was rapidly changing, in contrast to the emerging popularity of photographic snapshots. His consideration for his portraits adds a humanizing element, as though he is friends with many of his subjects, he is simultaneously a voyeur.

11. Cao Fei

In order to explore reality versus fantasy and dream, Cao Fei uses photography, video, and other digital media. Using her past experiences immersed in pop music and youth subcultures, she draws attention to feelings of alienation. By choosing large industrial facilities as the setting for many of her works, while encouraging the individuals within her films to act out their fantasies, Cao Fei draws attention to the stark divide between the mundanity and homogeneity of modern day living and individualism. This reality is further exaggerated by the documentary style of filming in Cao Fei's film, By showing people in their natural setting, alongside their fantasy selves in the same setting, Cao Fei is also exploring one of her frequent themes of parallel realities. In her work, utopia and dystopia exist simultaneously.

12. Zhang Huan

Perhaps one of China's best known performance/conceptual artists, Zhang Huan's work consists of not only performance art, but also painting, photography, and sculpture. His performance art often referenced political ideas and involved using his own body, either inflicting harm upon it, painting it, or covering it. His early performances mostly focused on how much bodily discomfort he could endure, but by the time he moved to New York, his focus shifted more towards his own immigration and identity as a Chinese artist in America. In , Family Tree Zhang Huan covers his face incrementally with Chinese characters until the calligraphy itself is indiscernible. In more recent years, he has been focusing more on painting, photography, and sculpture, referencing Chinese political and religious histories through iconography like Buddhist sculptures and Chinese or American flags.

13. Cui Ruzhuo

Cui Ruzhou uses ink wash to paint beautiful flowers, birds, and landscapes, but though he uses this very traditional Chinese medium, his works are anything but conventional. He was trained as a calligrapher, and in traditional Chinese paintings, but his landscapes are painted with his fingers. Through experimentation and refining his techniques, Cui has elevated finger painting in the art world, offering a contemporary methodology to approaching a very traditional genre of art.

14. Zhang Xiaogang

Primarily in black-and-white, with splashes of color, Zhang Xiaogang's paintings mostly take the appearance of old family portrait photography, referencing memory and the notion of identity. In his series, "Bloodline: Big Family", the exaggerated cartoonish, melancholic, and stoic faces of the individuals seem to imply a general collective mass, while the bright pops of red and subtle scars and differences in characteristics appear to represent individuality. This contrast is also seen in his personal life where, as a painter, he was expected to conform to the social realism of the other painters in China at the time. However, even then, he insisted on including emotion-filled marks on his works.

15. Fan Zeng

Fan Zeng was a traditional Chinese painter. Famous for his figure paintings, he incorporates the simplicity of lines and descriptive brushstrokes to imbue energy and life into the characters he illustrates. Unlike many of his contemporaries who broke free from the constraints of traditional Chinese painting, Fan Zeng retained it, mastered it, and infuses his paintings with philosophical and poetic themes. Many of his paintings are of well-known historical Chinese figures. Also talented in poetry and calligraphy, his works often included poems to supplement his paintings. Unlike the Ming and Qing Dynasty painting which emphasized fine brushwork and attention to detail, Fan Zeng followed in the Song Dynasty tradition of looser, expressive brushstrokes.
Looking for more? Browse Chinese art and antiques for sale at auction now.

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15 Contemporary Chinese Artists You Should Know

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When one thinks about Chinese Art, what usually comes to mind is not contemporary. Conversely, when one thinks about contemporary art, they aren't usually picturing Chinese artists. However, through their rich cultural history of fine arts and calligraphy, Chinese artists today are finding new ways to pay deference to their past while breaking away from traditional artistic values and redefining their cultural identity through contemporary art.

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Culture and visual art

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With public art collections closed we are bringing the art to you, exploring highlights and hidden gems from across the country in partnership with Art UK. Today's pick: A Game of Cut-Throat Euchre from Penlee House Gallery & Museum, Penzance

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Apr 1, 2018 - Explore Ms Jess Murphy's board "Comparative Study Help" on Pinterest. See more ideas about study help, art handouts, art theory.

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Video - What is APPROPRIATION in Art?

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Art 101: What is appropriation? (not the cultural kind)

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2D Media

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Metropolitan Museum of Art (MET) - A wide cultural and chronological range of art collections

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Established as an independent curatorial department in 1992, The Met's Department of Photographs houses a collection of more than 75,000 works spanning the history of photography from its invention in the 1830s to the present.

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Seventeen curatorial departments study, exhibit, and care for the objects in The Met collection.

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Most narratives of Chinese Contemporary Art start from the end of the Cultural Revolution. Around 1979, Chinese artists were suddenly exposed to western art history, which led to a rapid turnover of artistic styles. Different art historians have different opinions about what happened next.

When looking at the variety of theories about the beginning of Chinese Contemporary Art, it's not difficult to notice that the differences among these theories are deeply rooted in the art historians' different understandings of Modern Chinese Art.

Judging from the framework of western art history, Modern Chinese Art might have existed for five centuries.

In his essay Double Modernity, Para-Modernity, Jonathan Hay pointed out that a modernity that does not ultimately derive from Euro-America might have come into being in as early as the 17th century in China. ¹

However, most Chinese art historians would push this date forward by at least 300 years. For thousands of years, Chinese Art has developed in its own logic, which isn't easily interchangeable with the western model. It was not until the late 20th century that people started to use the western framework to define and institutionalize Chinese Art.

At the turn of the 20th century, under continuous military, economic, and cultural pressures from the West, Chinese intellectuals and artists began to seek help from the modern world to revive their weakening tradition. This New Cultural Enlightenment Movement not only legitimized western Modern Art in China, but also established a mainstream intellectual discourse that later became the foundation of Chinese modernity. ²

Other scholars believe that the Maoist ideology, which prevailed around the 1960s to the 1970s, dramatically broke the traditional boundary, and directly influenced the first generation of Chinese Contemporary artists who were born in the 1950s. ³

In the 1980s, after Mao died and the Cultural Revolution ended, a new artistic generation embraced western Modern Art again. And this time, the avant-garde movement emerged with a more radical tone of social and cultural criticism.

The avant-garde artists saw themselves as cultural pioneers whose task was to enlighten the masses, fight for social reform, and rebel against the past. They criticized the state-dominant ideology, which had long suppressed individuality. ⁴

This utopian ideology underwent a huge transition in the early 1990s, as a result of the Tiananmen incident and the shutting down of the Chinese Avant-Garde Exhibition in 1989.

With the failure of the democracy movement in the 1980s, and under the unexpected rise of mass culture, many artists abandoned their humanist passion. More neutral or even cynical attitudes gave rise to Political Pop and Cynical Realism in the 1990s. Realist painters have, for various reasons, attained monetary success. In contrast, avant-garde artists have lost their audience. ⁵

Some believe that this downturn of the utopian avant-garde in the 1980s can be traced back to some often neglected art projects that took place around 1986 and 1987. These projects signified deep dissatisfaction with the on-going Modern Art movement. They tried to break out of the historical framework of western art, and embraced local history, instead of being fixed on philosophical thinking. Furthermore, they rejected collectivism and focused more on individual pursuits. ⁶

Interestingly, artists involved in these early projects, such as Wu Shanzhuan, Gu Wenda, and Xu Bing, all became the leading figures in the Contemporary Chinese Art movement of the 1990s. The rise of these artists coincided with the weakening of the 1985 movement. Some believe that the exhibition of Modern Chinese Art in 1989 was, in fact, the last effort to sustain the waning momentum of the Modern Art movement, rather than a visionary project to bring the future to the present. ⁷

These artists in the 1986 group had all traveled to the west during the late 1980s and early 1990s. If any sort of "rupture" really existed, it must have been in some way related to the artists' lives overseas.

"Now that we have a completely different but equally powerful benchmark (the western art)," wrote Xu Bing in his letter about Modern Chinese Art in 2007, "our understanding of the value of our own culture has become deeper and more objective. The more we understand the West, the more we cherish our own culture. Our traditional culture, socialist culture and even Cultural Revolution and Maoism are valuable. Only if we are able to combine these traditions with the western culture, can we create art of the future... Chinese avant-garde should be showed to Chinese people, instead of just catering to the taste of western curators." ⁸

This quote explains why the art projects around 1986 tried so hard to break out of the framework of Western Art, and embrace traditional Chinese Art.

"My new work "Book from the Ground" may seem to be transnational and contemporary, and it incorporates new technology. However, the key to my inspiration for this work comes from our traditional hieroglyphic. Chinese people are the most sensitive to pictorial writings, this is why I'm so interested in this iconography," Xu explained in his letter.

Although Xu Bing and other artists from the 1986 group gained international recognition almost at the same time as the Political Pop and Cynical Realism artists, the art critics and art historians discuss these two groups separately. Many critics question the future market of Political Pop and Cynical Realism, but do not question the future market of the 1986 group. The fundamental difference between the two is that the former relies almost entirely on the West, and the latter sought out to represent their own culture and tradition.

But even Xu Bing himself has implied in his writing that Chinese Art hasn't become Contemporary yet. Real Contemporary, as some art historians have pointed out, is art that is de-"ideologicalised."

Ever since 1980, the Chinese Contemporary Art movement has been centered on one issue, the conflict between the official ideology ("the state institution in its own interests, produces a purposely misinterpreted conception of reality and endows it with the status of the 'truth', making it the official discourse") and the unofficial ideology (the motivation shared by avant-garde artists of the 1980s to break down the constraints of the authority of official discourse and reclaim freedom of expression). The continuous existence of ideologic-centricism lies in the prevailing antagonist way of thinking; the real "task" for the Contemporary artists is to carry out an "un-unofficial" art, which breaks out from the ideologic-centricism, and which encourages real freedom of creation. ⁹

In as early as 1988, a Beijing-based artist group named "New Measurement" Group had already noticed such necessities and had started to experiment with this freedom of creation. These works were regarded by some art historians as the heart of the Chinese avant-garde movement of the 1980s and 1990s.

The three group members, Wang Luyan, Gu Dexin, and Chen Shaoping, spent eight years operating mechanically using rules, formulas, diagrams, signs, and manuscripts, which recorded their processes. This gave birth to a new 'non-art' language situated between letters, mathematics, and linguistic research; ideological problems were transcended by purely numerical and rational research.

However, just as the Guggenheim Museum tried to contact the "New Measurement" Group for an exhibition opportunity, they disbanded because of serious disagreements among the members. Sadly, all documents and manuscripts were destroyed during the incident. However, the "New Measurement" Group left behind millions of opportunities for future Chinese artists.

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How Chinese Art Became Contemporary | artnet News

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Most narratives of Chinese Contemporary Art start from the end of the Cultural Revolution. Around 1979, Chinese artists were suddenly exposed to western art history, which led to a rapid turnover of artistic styles. Different art historians have different opinions about what happened next.

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Contemporary art & interesting articles on themes in art, culture & more.

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Hyperallergic is a forum for serious, playful, and radical thinking about art in the world today. Founded in 2009, Hyperallergic is headquartered in Brooklyn, New York.

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THEMES on Google Arts & Culture

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world’s treasures online.

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Lots of good videos about Contemporary Art & Artists

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art "contemporary art" painting "contemporary painting" "visual art" "contemporary artists" artists "art documentary" "art world" "art gallery"

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Rhiannon Johnson (rjteachesart) - Profile | Pinterest

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100 Sculptors of Tomorrow
In classroom - ask Ms Johnson or Ms McGifford

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Gasgosian - interesting contemporary artists

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Find out more about artists represented and exhibited by Gagosian. Artwork, biographies, exhibitions, editorial coverage, news, and more.

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Artnet

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Most narratives of Chinese Contemporary Art start from the end of the Cultural Revolution. Around 1979, Chinese artists were suddenly exposed to western art history, which led to a rapid turnover of artistic styles. Different art historians have different opinions about what happened next.

When looking at the variety of theories about the beginning of Chinese Contemporary Art, it's not difficult to notice that the differences among these theories are deeply rooted in the art historians' different understandings of Modern Chinese Art.

Judging from the framework of western art history, Modern Chinese Art might have existed for five centuries.

In his essay Double Modernity, Para-Modernity, Jonathan Hay pointed out that a modernity that does not ultimately derive from Euro-America might have come into being in as early as the 17th century in China. ¹

However, most Chinese art historians would push this date forward by at least 300 years. For thousands of years, Chinese Art has developed in its own logic, which isn't easily interchangeable with the western model. It was not until the late 20th century that people started to use the western framework to define and institutionalize Chinese Art.

At the turn of the 20th century, under continuous military, economic, and cultural pressures from the West, Chinese intellectuals and artists began to seek help from the modern world to revive their weakening tradition. This New Cultural Enlightenment Movement not only legitimized western Modern Art in China, but also established a mainstream intellectual discourse that later became the foundation of Chinese modernity. ²

Other scholars believe that the Maoist ideology, which prevailed around the 1960s to the 1970s, dramatically broke the traditional boundary, and directly influenced the first generation of Chinese Contemporary artists who were born in the 1950s. ³

In the 1980s, after Mao died and the Cultural Revolution ended, a new artistic generation embraced western Modern Art again. And this time, the avant-garde movement emerged with a more radical tone of social and cultural criticism.

The avant-garde artists saw themselves as cultural pioneers whose task was to enlighten the masses, fight for social reform, and rebel against the past. They criticized the state-dominant ideology, which had long suppressed individuality. ⁴

This utopian ideology underwent a huge transition in the early 1990s, as a result of the Tiananmen incident and the shutting down of the Chinese Avant-Garde Exhibition in 1989.

With the failure of the democracy movement in the 1980s, and under the unexpected rise of mass culture, many artists abandoned their humanist passion. More neutral or even cynical attitudes gave rise to Political Pop and Cynical Realism in the 1990s. Realist painters have, for various reasons, attained monetary success. In contrast, avant-garde artists have lost their audience. ⁵

Some believe that this downturn of the utopian avant-garde in the 1980s can be traced back to some often neglected art projects that took place around 1986 and 1987. These projects signified deep dissatisfaction with the on-going Modern Art movement. They tried to break out of the historical framework of western art, and embraced local history, instead of being fixed on philosophical thinking. Furthermore, they rejected collectivism and focused more on individual pursuits. ⁶

Interestingly, artists involved in these early projects, such as Wu Shanzhuan, Gu Wenda, and Xu Bing, all became the leading figures in the Contemporary Chinese Art movement of the 1990s. The rise of these artists coincided with the weakening of the 1985 movement. Some believe that the exhibition of Modern Chinese Art in 1989 was, in fact, the last effort to sustain the waning momentum of the Modern Art movement, rather than a visionary project to bring the future to the present. ⁷

These artists in the 1986 group had all traveled to the west during the late 1980s and early 1990s. If any sort of "rupture" really existed, it must have been in some way related to the artists' lives overseas.

"Now that we have a completely different but equally powerful benchmark (the western art)," wrote Xu Bing in his letter about Modern Chinese Art in 2007, "our understanding of the value of our own culture has become deeper and more objective. The more we understand the West, the more we cherish our own culture. Our traditional culture, socialist culture and even Cultural Revolution and Maoism are valuable. Only if we are able to combine these traditions with the western culture, can we create art of the future... Chinese avant-garde should be showed to Chinese people, instead of just catering to the taste of western curators." ⁸

This quote explains why the art projects around 1986 tried so hard to break out of the framework of Western Art, and embrace traditional Chinese Art.

"My new work "Book from the Ground" may seem to be transnational and contemporary, and it incorporates new technology. However, the key to my inspiration for this work comes from our traditional hieroglyphic. Chinese people are the most sensitive to pictorial writings, this is why I'm so interested in this iconography," Xu explained in his letter.

Although Xu Bing and other artists from the 1986 group gained international recognition almost at the same time as the Political Pop and Cynical Realism artists, the art critics and art historians discuss these two groups separately. Many critics question the future market of Political Pop and Cynical Realism, but do not question the future market of the 1986 group. The fundamental difference between the two is that the former relies almost entirely on the West, and the latter sought out to represent their own culture and tradition.

But even Xu Bing himself has implied in his writing that Chinese Art hasn't become Contemporary yet. Real Contemporary, as some art historians have pointed out, is art that is de-"ideologicalised."

Ever since 1980, the Chinese Contemporary Art movement has been centered on one issue, the conflict between the official ideology ("the state institution in its own interests, produces a purposely misinterpreted conception of reality and endows it with the status of the 'truth', making it the official discourse") and the unofficial ideology (the motivation shared by avant-garde artists of the 1980s to break down the constraints of the authority of official discourse and reclaim freedom of expression). The continuous existence of ideologic-centricism lies in the prevailing antagonist way of thinking; the real "task" for the Contemporary artists is to carry out an "un-unofficial" art, which breaks out from the ideologic-centricism, and which encourages real freedom of creation. ⁹

In as early as 1988, a Beijing-based artist group named "New Measurement" Group had already noticed such necessities and had started to experiment with this freedom of creation. These works were regarded by some art historians as the heart of the Chinese avant-garde movement of the 1980s and 1990s.

The three group members, Wang Luyan, Gu Dexin, and Chen Shaoping, spent eight years operating mechanically using rules, formulas, diagrams, signs, and manuscripts, which recorded their processes. This gave birth to a new 'non-art' language situated between letters, mathematics, and linguistic research; ideological problems were transcended by purely numerical and rational research.

However, just as the Guggenheim Museum tried to contact the "New Measurement" Group for an exhibition opportunity, they disbanded because of serious disagreements among the members. Sadly, all documents and manuscripts were destroyed during the incident. However, the "New Measurement" Group left behind millions of opportunities for future Chinese artists.

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How Chinese Art Became Contemporary | artnet News

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Most narratives of Chinese Contemporary Art start from the end of the Cultural Revolution. Around 1979, Chinese artists were suddenly exposed to western art history, which led to a rapid turnover of artistic styles. Different art historians have different opinions about what happened next.

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Although movies are sometimes cast in a bad light by administrators and parents, we know that a good movie can help bring art to life. If you like to use occasional movies in your high school classroom, then this AOE List is for you! Thanks to all of our amazing FB fans that helped us put the list together.

NOTE: Depending on your comfort level, the maturity of your students, and your school's policies, some language and/or scenes from the movies below may not be appropriate for your classroom. ALWAYS preview movies in their entirety before showing them to your students.

Click the links in the PDF for more information about each movie.

Click to Download Free AOE List!

We hope this list is a useful reference tool for you. If you are short on time in your classroom, one FB fan had a great tip to search through the "Special Features" sections of DVDs for inspiring and informative "behind the scenes" information to show instead. Genius!
What movies would you add to this list? Which of these have you used in your classroom?

This article was written by AOE Team member and Senior Editor Amanda Heyn. Amanda is a passionate K-4 educator from Madison, Wisconsin. She's focused on dynamic curriculum development, technology integration, and cross-curricular projects.

About Amanda | Amanda's Articles

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24 movies to show in your high school art room

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24 Movies to Show in Your High School Art Room (The Art of Education)

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Although movies are sometimes cast in a bad light by administrators and parents, we know that a good movie can help bring art to life. If you like to use occasional movies in your high school classroom, then this AOE List is for you!

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Artist Biographies, Influences, Themes, Movements & connection - really useful.

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The Art Story: Visual Art Movements, Artists, Ideas, and Definitions

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The Art Story is the History of Visual Art that is optimized for the web: we clearly and graphically overview and analyze classical and modern artists, movements, and ideas.

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Video - 532 short YouTube videos of artists talking about their work

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Our series of short films exploring art and artists, supported by Bloomberg Philanthropies

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Internet Archive: Digital Library of Free & Borrowable Texts, Movies, Music & Wayback Machine

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Internet Archive is a non-profit digital library offering free universal access to texts, movies & music, as well as 624 billion archived web pages.

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Museum of Modern Art (MOMA) - Search by Themes

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Conceptual Art

Discover how Conceptual artists used language, performance, and instructions to fuel creativity, and sought alternatives to institutional settings.

Language and Art
Outside the Museum

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Contemporary Art
Chinese artists listed (search)

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IT'S TRUE ... there really is no such thing as too much art!

Subscribe to get full access to the society's daily newsletter (Monday ~ Saturday).

It's filled to the brim with, you guessed it, ART! Contemporary artists from around the world are featured every day, as well as weekly content about show openings, art making headlines, must read / watch lists, links to my podcast episodes and, of course, creative jump-starter projects, and club memebers will also get early access to Jealous Curator events and workshops!

You don't need to go to the clubhouse, the clubhouse comes to you! That's right, you won't have to worry about missing anything because every new edition of the newsletter goes directly to your inbox ... because let's be honest, every inbox could use more art.

Why join The 'NO SUCH THING AS TOO MUCH ART' Society? To be part of a community of people who love art as much as you do ... from artists and makers, to collectors and galleries.

Thank you!
Danielle Krysa
@thejealouscurator

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The Jealous Curator /// curated contemporary art

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IT'S TRUE ... there really is no such thing as too much art! Subscribe to get full access to the society's daily newsletter (Monday ~ Saturday). It's filled to the brim with, you guessed it, ART!

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A collection of YouTube videos that discuss art in themes

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5 Artists in 5 Minutes | Little Art Talks

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Discover new artists by discussing 5 artworks that share a common theme - all in just 5 minutes!

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Buy, bid, and inquire on New from Emerging Artists on Artsy. Works fresh from the studios of up-and-coming artists with recent shows at tastemaking galleries and booths at top fairs.

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The Chinese Art Book
YouTube link explaining the book
In classroom - ask Ms Johnson or Ms McGifford

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Search "ART BY THEME"
under "Art & Artists"

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Tate is a family of art galleries in London, Liverpool and Cornwall, known as Tate Modern, Tate Britain, Tate St Ives and Tate Liverpool + RIBA North. Tate art museum houses the UK's collection of British art from 1500 and of international modern art

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Perrotin - Chinese artists listed

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Discover Perrotin artists including Takashi Murakami, Maurizio Cattelan, Sophie Calle, Xavier Veilhan, Jean-Michel Othoniel, JR, Daniel Arsham or Leslie Hewitt.

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Artists listed by theme

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A huge list of artists categorized by theme. More than 60 themes include landscape, portrait, death, STEAM, death, collage and more.

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Contemporary Artists and info on them

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Discover the artists of the latest season of Art in the Twenty-First Century

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Almost Lost Arts - Ask Ms Johnson

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Shanghai Art Museum list

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Shanghai's best English-language venue directory, with over 77 listings, maintained by an editorial team of long-term Shanghai residents

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Art grouped by theme
Comparative Study Ideas

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160 Comparative Study Ideas | artist, art, art history

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Aug 13, 2018 - Explore Ms Jess Murphy’s board “Comparative Study Ideas”, followed by 101 people on Pinterest. See more ideas about artist, art, art history.

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When one thinks about Chinese Art, what usually comes to mind is not contemporary. Conversely, when one thinks about contemporary art, they aren't usually picturing Chinese artists. However, through their rich cultural history of fine arts and calligraphy, Chinese artists today are finding new ways to pay deference to their past while breaking away from traditional artistic values and redefining their cultural identity through contemporary art.

More than ever, these artists are drawing more and more attention from the art world, particularly now that everyday conversation has been infused with the political lexicon. Contemporary Chinese art has a particular poignancy to this subject matter. Confronted with their own tradition and culture threatening to be consumed by Western influences following the Cultural Revolution in the late 1970s, much of contemporary Chinese art is inherently political; simultaneously depicting a thirst for individuality while also putting their nationalism on display and trying to discover a voice to claim as their own.

With that said, let's explore 15 contemporary Chinese artists to keep an eye out for.

1. Ding Yi

Based in Shanghai, Ding Yi is best known for his meticulous geometric paintings. These paintings, mechanical and minimal in appearance, call to mind the rapid industrialization of China and the proliferation of mass production. Though the forms that make up his paintings tend to feel unnatural and harsh, they also call to mind the otherwise organic calligraphic forms of Chinese writing. Despite their mass-produced appearance, there is a zen-like quality to the way that Ding Yi insists on painting his forms by hand. While his distinctive "crosses" began using rulers and other tools to assist in painting his precise straight lines, over time he began to freehand the marks, lending a much looser visual appearance to his forms.

2. Su Xiaobai

Su Xiaobai started off as a social realist painter, before slowly moving towards abstraction after his exposure to Western art in his studies in Germany. Eventually, most of his paintings would be reduced to simple abstract lacquer objects. Su Xiaobai primarily focuses on form, color, and surface quality. By using lacquer, he pays deference to the long history of the finish as an artistic medium in Chinese culture. Through his mastery of the medium, he is able to achieve a translucent quality to his paintings that lend them to meditation and contemplation.

3. Wang Guangle

One of the recognized pioneers of Chinese abstract paintings, breaking away from the Chinese representational tradition, Wang Guangle uses paint to conceptualize subjects such as time. His use of color, uniform brushstrokes, and gradation give his large canvases a pulsating aura that alludes to ritualistic spirituality. While some of his work is monochromatic, his works from 2018 implement two colors-one that starts on the outer edge and slowly works its way towards the center of the canvas and gives way to the second which grows in luminosity, similar to the effect of a Mark Rothko painting.

4. Huang Yuxing

Huang Yuxing is a representational artist who is known for using bright, saturated, fantastical colors to depict landscapes and figures. Though traditional Chinese motifs like trees and mountains can be recognized within his canvases, the depictions of these subjects are far from realistic. The colors that compose Huang Yuxing's paintings create scenes of the world that border on psychedelic hallucinatory images. The familiar landscapes suddenly feel unfamiliar with the juxtaposition of color, organic shapes, and geometric lines, alluding to the disintegration of the environment due to human impact. Other than environmental impact, Huang also depicts other aspects of the human condition such as fear, anxiety, aging, and death, by utilizing abstract forms and diverse color palettes to allude to emotions.

5. Qiu Zhijie

Qiu Zhijie is known for using a large variety of different mediums to produce his conceptual art. From installations, to photographs, to video, to even performance, he merges the recording of process with aesthetic, imbuing his works with sociological, philosophical, and political discourse. In one of his most iconic works, and maybe one of the most well known works in Chinese contemporary art, Assignment No. 1: Copying the "Orchid Pavilion Preface" One Thousand Times, he wrote and rewrote text over and over until the writing itself was unrecognizable. His use of Chinese calligraphic text is a repeat theme throughout his oeuvre as he explores the relationship between words and the humans that bear them. Other themes in his works of art are the interplay between behavior and choices, and ultimate destiny, as well as the role of ideology in culture.

6. Huang Yong Ping

Huang Yong Ping's works shook the world with his controversial use of medium. An indisputable leader in Chinese contemporary conceptual art, Huang's works were extremely avant-garde and he was known to use elements such as live animals in installations. He infused many of his ideas about philosophy into his art, using Buddhist and Taoist themes such as attempting to eliminate the "self" by incorporating chance into his process. For example, he would use dice or a roulette wheel to determine his medium for a piece.

Though he was born in China, much of Huang Yong Ping's work was produced in France. It was through working outside of China that his art grew to a grander scale, as many of his works featured political undertones that were frowned upon by the Chinese government. Aware of the stereotypical divide between Eastern and Western culture, he made his doubts clear. Notably, he threw Eastern and Western history books into a laundry machine and displayed the illegible pieces of paper pulp on a pedestal. He certainly did not shy away from controversy, either. Memorably, animal rights activists were up in arms over an installation of his containing amphibians, reptiles, and insects. Meant to depict the human condition and competition for dominance, the artwork was ultimately displayed without the animals due to the complaints. Despite butting heads with governments and other groups, Huang continued to produce provocative artworks until his death at the age of 65.

7. Yang Fudong

Mainly working in film, photography, and installation, Yang Fudong transports the viewer into surreal dream-like environments. His films, often slow and non-narrative, incorporate both modern themes as well as reconstructions of historical myths and settings by displaying classical Chinese tropes engaged in contemporary social problems. In incorporating multiple perspectives with no real conclusion, Yang's works focus on the frailty of the human condition and emotion despite the beautiful idyllic settings he places the subjects in.

8. Zeng Fanzhi

Zeng Fanzhi, looking for new ways of expression following China's Cultural Revolution, was primarily inspired by German Expressionism and French Romanticism. Like many others, he looked to Western art and found ways to deviate from Social Realism which was in vogue in China at the time. Much of his work featured individuals painted with mask-like features - impersonal and void of expression - alluding to his general distaste towards the rapid modernization of China, and a feeling of rejection. His frenzied and expressive brushstrokes allude to the feeling of insecurity that he felt during this time of great cultural change, and his use of muted colors alongside fleshy pinks and reds accentuates his empathy towards human suffering.

9. Xu Zhen

Xu Zhen's work in painting, sculpture, and video employs humor and critique to create thought provoking art. Some of his sculptures and paintings consist of well known but incongruous cultural iconography, such as voodoo dolls and Greek gods that are pulled together into one setting to comment on globalization. Theatrical and satirical, his work challenges stereotypes, and calls into question social taboos while subverting expectations. In one installation, In Just a Blink of an Eye , he employs performers to pose frozen mid-movement in odd and gravity-defying poses as the audience waits expectantly for them to move. In some of his performances, he's even been known to call to attention the monotony of the everyday by bursting out screaming in a crowd.

10. Liu Xiaodong

A neo-realist painter that focused on depicting scenes from everyday life without trying to beautify it, Liu Xiaodong is considered one of the most influential painters in contemporary Chinese art. His paintings range from still lives to portraits and landscapes. Though painting from the day-to-day, his large brushstrokes threaten abstraction, and his works border between reality and artifice. His spontaneous documentations of people and things en plein air serve as a visual documentation of a world that was rapidly changing, in contrast to the emerging popularity of photographic snapshots. His consideration for his portraits adds a humanizing element, as though he is friends with many of his subjects, he is simultaneously a voyeur.

11. Cao Fei

In order to explore reality versus fantasy and dream, Cao Fei uses photography, video, and other digital media. Using her past experiences immersed in pop music and youth subcultures, she draws attention to feelings of alienation. By choosing large industrial facilities as the setting for many of her works, while encouraging the individuals within her films to act out their fantasies, Cao Fei draws attention to the stark divide between the mundanity and homogeneity of modern day living and individualism. This reality is further exaggerated by the documentary style of filming in Cao Fei's film, By showing people in their natural setting, alongside their fantasy selves in the same setting, Cao Fei is also exploring one of her frequent themes of parallel realities. In her work, utopia and dystopia exist simultaneously.

12. Zhang Huan

Perhaps one of China's best known performance/conceptual artists, Zhang Huan's work consists of not only performance art, but also painting, photography, and sculpture. His performance art often referenced political ideas and involved using his own body, either inflicting harm upon it, painting it, or covering it. His early performances mostly focused on how much bodily discomfort he could endure, but by the time he moved to New York, his focus shifted more towards his own immigration and identity as a Chinese artist in America. In , Family Tree Zhang Huan covers his face incrementally with Chinese characters until the calligraphy itself is indiscernible. In more recent years, he has been focusing more on painting, photography, and sculpture, referencing Chinese political and religious histories through iconography like Buddhist sculptures and Chinese or American flags.

13. Cui Ruzhuo

Cui Ruzhou uses ink wash to paint beautiful flowers, birds, and landscapes, but though he uses this very traditional Chinese medium, his works are anything but conventional. He was trained as a calligrapher, and in traditional Chinese paintings, but his landscapes are painted with his fingers. Through experimentation and refining his techniques, Cui has elevated finger painting in the art world, offering a contemporary methodology to approaching a very traditional genre of art.

14. Zhang Xiaogang

Primarily in black-and-white, with splashes of color, Zhang Xiaogang's paintings mostly take the appearance of old family portrait photography, referencing memory and the notion of identity. In his series, "Bloodline: Big Family", the exaggerated cartoonish, melancholic, and stoic faces of the individuals seem to imply a general collective mass, while the bright pops of red and subtle scars and differences in characteristics appear to represent individuality. This contrast is also seen in his personal life where, as a painter, he was expected to conform to the social realism of the other painters in China at the time. However, even then, he insisted on including emotion-filled marks on his works.

15. Fan Zeng

Fan Zeng was a traditional Chinese painter. Famous for his figure paintings, he incorporates the simplicity of lines and descriptive brushstrokes to imbue energy and life into the characters he illustrates. Unlike many of his contemporaries who broke free from the constraints of traditional Chinese painting, Fan Zeng retained it, mastered it, and infuses his paintings with philosophical and poetic themes. Many of his paintings are of well-known historical Chinese figures. Also talented in poetry and calligraphy, his works often included poems to supplement his paintings. Unlike the Ming and Qing Dynasty painting which emphasized fine brushwork and attention to detail, Fan Zeng followed in the Song Dynasty tradition of looser, expressive brushstrokes.
Looking for more? Browse Chinese art and antiques for sale at auction now.

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15 Contemporary Chinese Artists You Should Know

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When one thinks about Chinese Art, what usually comes to mind is not contemporary. Conversely, when one thinks about contemporary art, they aren't usually picturing Chinese artists. However, through their rich cultural history of fine arts and calligraphy, Chinese artists today are finding new ways to pay deference to their past while breaking away from traditional artistic values and redefining their cultural identity through contemporary art.

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Downloadable PDF

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@kylestaver on Instagram posts sharing three artworks at a time with similar themes/subjects/styles

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Colossal

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"Our role as artists is always to search for the light," says French artist JR ( previously) about the second act of his Retour à la Caverne project. "We know this much: You don't chase away the darkness with more darkness. You chase it away with light, however tiny."

The work he's referring to, though, is far from tiny. Cloaking Paris's Palais Garnier while the building is under construction, Retour à la Caverne is an enormous trompe l'oeil facade, the first part of which depicts a cave carved into the grand structure that houses the opera. Illuminated at the center, the temporary piece highlights the physical and metaphorical interactions between light and dark. Broken into two acts like an opera libretto, the work references Plato's allegory that emerging from the depths of the cave, and from darkness, brings knowledge.

"Act I" debuted earlier this fall with four nights of projected works, while the second part was held on November 12. "Back in September, we invited you to step out of the cave to go and explore. This time, we're inviting you back inside the cave," JR said while introducing the work. Whereas "Act I" portrays the cavern gouged into the center of the building, "Act II" switches perspectives, placing the viewers entirely inside the space.

Titled " Chiroptera," the performance featured choreography by Damien Jalet and music by Thomas Bangalter. More than 150 dancers appeared through an elevated seven-story scaffolding after an eerie introduction by ballerina Amandine Albisson, who appeared to open the cave, causing a plummet into darkness. As with many of JR's works, the artist asked the crowd to participate by using headlamps and their phones to illuminate the remainder of the performance, revealing the ways light can emerge from collective action.

Watch the full performance below, and find more from JR on Instagram.

Artist and architect Ulf Mejergren ( previously) continues his interest in cozy, outdoor constructions with a new series titled Farm Art. Collaborating with farmer Robert Pettersson, Mejergren built several site-specific structures from materials found around Pettersson's property in Grödinge, Sweden.

For "Pine Bark Hut," the pair layered thick, gnarly wood into a slender cabin camouflaged between two trees, a space first used for hunting and then storing tools. Similarly, "Root Hut" entwines gathered branches with the existing roots to create a small, sand pit enclosure nestled beneath the forest, while the circular "Moss Hut" stands 4.5 meters tall among the trees. The latter work "stems from the farmers' hunting interest," Mejergren writes. "For many years, he has put food at certain points in the forests so wild boars come to feed there. The problem is they are like bulldozers in the forests, looking for insects and roots in the soil, so they have dug up moss from the forest floor and left them scattered in big droves." Cloaked in the remaining lichen, the structure is a disguised refuge among the wild landscape.

Other works in Farm Art are more aesthetically driven, like the vivid "Sunset." Made of dandelion heads at full bloom, the spherical form appears to glow in a field of weeds and wildflowers. Find the full series on Mejergren's site and Instagram.

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Colossal is an international platform for contemporary art and visual expression. Our coverage explores visual culture through the latest in art, modern craft, design, sustainability, climate, street art, photography, illustration, science, and animation.

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There are lots of great art books in the art classroom!

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There are lots of great art books in the art classroom!

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Artists & Themes with comparisons

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Google Arts & Culture: Explore

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.

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Artsy - search art by theme

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Buy, bid, and inquire on New from Emerging Artists on Artsy. Works fresh from the studios of up-and-coming artists with recent shows at tastemaking galleries and booths at top fairs.

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IT'S TRUE ... there really is no such thing as too much art!

Subscribe to get full access to the society's daily newsletter (Monday ~ Saturday).

It's filled to the brim with, you guessed it, ART! Contemporary artists from around the world are featured every day, as well as weekly content about show openings, art making headlines, must read / watch lists, links to my podcast episodes and, of course, creative jump-starter projects, and club memebers will also get early access to Jealous Curator events and workshops!

You don't need to go to the clubhouse, the clubhouse comes to you! That's right, you won't have to worry about missing anything because every new edition of the newsletter goes directly to your inbox ... because let's be honest, every inbox could use more art.

Why join The 'NO SUCH THING AS TOO MUCH ART' Society? To be part of a community of people who love art as much as you do ... from artists and makers, to collectors and galleries.

Thank you!
Danielle Krysa
@thejealouscurator

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The Jealous Curator /// curated contemporary art

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IT'S TRUE ... there really is no such thing as too much art! Subscribe to get full access to the society's daily newsletter (Monday ~ Saturday). It's filled to the brim with, you guessed it, ART!

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My Modern Met

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Promoting a positive culture through thought-provoking articles on art, design, photography, architecture, technology, environmental issues, and inspiring stories.

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Perrotin - International contemporary artists

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Discover Perrotin artists including Takashi Murakami, Maurizio Cattelan, Sophie Calle, Xavier Veilhan, Jean-Michel Othoniel, JR, Daniel Arsham or Leslie Hewitt.