Sotheby's Spring Hong Kong sales cycle got off to a strong start over the weekend. Hong Kong now has its marquee evening sales event of Modern and Contemporary art that is a mix of Asian blue-chip art and European artists with appeal to Asian buyers. That sale had a combined total of HK$1.04bn ($132m) which puts it on par with major evening sales in London. The sales had a 97% sell-through rate with 64% of the works going for prices over the high estimates.
Demand is clearly strong in Asia. Sotheby's was able to sell all 33 Yayoi Kusama works in the sale. The evening sale of Southeast Asian art was a white-glove sale with no lots failing. Christine Ay Tjoe's Study of First November Doll made a price more than five times the high estimate even if the absolute price was a relatively small $380k.
The day sale of Contemporary Asian art doubled its total low estimate and was 95% sold demonstrating that the demand for Asian Contemporary art goes deep and down the price scale.
Modern Art Evening Sale (31 March) : HK$ 638,377,500/ US$ 81,342,061
Contemporary Art Evening Sale (31 March): HK$ 397,987,500/ US$ 50,711,567
Modern & Cont Southeast Asian Day Sale (1 April): HK$ 47,865,625/ US$ 6,099,038
Contemporary Art Day Sale (1 April) : HK$ 138,268,750/ US$ 17,618,204
Modern Asian Art Day Sale (1 April) : HK$ 60,663,750/ US$ 7,729,775
Sydney-based artist, Nasim Nasr has been awarded the "People's Choice" Award for her extraordinary photographic work, "Forty Pages 5", included in the Finalists' exhibition for the William and Winifred Bowness Photography Prize held at the Monash Gallery of Art.
The work is from Nasim's series, "Forty Pages". As described in the artist's words:
Forty Pages contemplates personal or global history in the context of movement from one culture to another in the contemporary world, and refers to forty pages in a passport.
Each passport stamp, representing either the departure from or entering a country, is integral to one’s history of the difficulties of freedom of movement and disempowerment by country of birth and its life-boundaries. At every national border one is submissive and defenseless to officialdom. This is a potent control upon individual existence and independence, especially in the contemporary world of displacement and separation between East and West.
This gradual accumulation of stamps feels like layers upon my personal history, upon my passport photo, upon my face, its aggregation steadily evolving into an identity I no longer recognize, apart from the eyes—a transformation
Forty Pages presents my body as a site or platform for the compilation of these stamps of the last decade of my life, and therefore part of the history of the transience of my being.
About the artist
Nasim Nasr completed a Bachelor of Arts in Graphic Design at the Art University of Tehran, Iran in 2006, and a Master of Visual Arts (Research), South Australian School of Art, Architecture and Design, University of South Australia, in 2011.
Since graduating, Nasim has developed a body of work that has been featured in various exhibitions, festivals and publications in Australia and internationally. Her photographic and video practice has sought to comment upon universal concerns in contemporary society, engaging and articulating notions of State and self-censorship and the transience of cultural and personal identity. Being interested in the concept of cultural relationships and their role in contemporary society, her practice has engaged themes of intercultural dialogue. Through the presentation of multiple channel video works, photography, performance, objects and sound these collective works have attempted to highlight the complexities within contemporary notions of interchangeable identities and cultural difference, as experienced between past and present cultures and homelands, West and East.
Currently a Finalist in The Bowness Photography Art Prize, Melbourne Nasim was also a finalist in the prestigious international 2017 Sovereign Asian Art Prize in Hong Kong; earlier this year. Previously, Nasim was a Finalist in the Blake Art Prize, at Casula Powerhouse in Sydney, (2016), and the Redlands Art Prize, National Art School Gallery, Sydney, (2015).
Nasim’s participation in important curated group exhibitions include Under the Sun: Reimagining Max Dupain’s Sunbaker, at the Australian Centre for Photography, Sydney (touring to Monash Art Gallery, Melbourne); and Sixth Sense, National Art School Gallery, National Art School, Sydney.
Her work has also been presented at Bazaar Art Jakarta (2017), Art Dubai, (2015 & 2016); and Art Stage Singapore (2013 & 2014)
Her work is represented in many collections including the Parliament House Art Collection, Canberra; Artbank, Sydney; and private collections in Australia, Germany, USA, Singapore, Qatar and the UAE.
Catherine Asquith Art is delighted to present this exceptional artwork, “Forty Pages 5” (image above) by Nasim Nasr for sale. For details regarding the artwork including price please email or phone 0422 753 696.
Walking through our corporate centres and precincts in Melbourne, one is often met with some superb examples of contemporary art installations; within public buildings’ foyers, in communal courtyards adjacent to a corporate headquarters, and welcoming guests to inner city hotels. Imagine for a moment, these same spaces bereft of such artwork…
The CBD of any city is, let’s face it, reflective of the culture, its population, its values. Property developers, architects, town planners and the like, have had an enormous influence over the years on how we experience our cities. Thankfully, these days, numerous buildings, office spaces and residential towers, have been planned and constructed with parameters allowing for artworks.
Similarly, artists have developed and extended their practise to allow for these types of public art commissions, and have thereby created lively and dynamic spaces.
Bringing nature into the city
Artists invariably derive inspiration from their immediate living and working environments. Regionally-based Victorian Peter D Cole puts ‘nature on the stage’ with his ‘urbanised’ interpretations of nature. His sculpture commission of 2005, a manifestation of playful yet beautifully balanced conjoined sculptural archetypal elements such as tree, moon and stars, and the like, and created from stainless steel and powder-coated primary colours welcomes workers and visitors alike at Freshwater Place in Southbank.
The presence of contemporary art installed within a corporate’s head office or flagship building also suggests a forward-looking enterprise, a preparedness to engage with its community.
Art in public spaces, as part of a building’s structure or indeed, as part of a corporate art collection, adds a cultural edifice – whether to that corporate’s identity, the building’s spaces, the locale and immediate environment of that building. Its benefits resonate with its inhabitants, the clients visiting that building or corporate location, the employees and the general public. As such, it contributes in a very tangible way to the society’s cultural infrastructure.
The installation of contemporary art – manifested in any of its genres – can have an educative and interpretative function within the building in which is it placed. A very good example of this concept is Janet Laurence’s “Water Veil” at the Council House 2 (CH2) building in Melbourne.
A diaphanous, experiential and reflective glass veil that transforms the window between the foyer and the public space of the street into a membranous fluid space, “Water Veil” expresses and reveals the transformation and purification of water, reiterating the black water treatment within the building as well as expressing purity and translucence representing the purification of water.
Laurence’s “Water Veil” denotes a very direct educative and interpretive function within the building and from the public space outside creates a dramatic effect, serving to amplify the functional aspect of the CH2 building as environmentally sustainable, in other words, quite literally highlighting a corporate message.
Nowadays, corporate responsibility to its community is higher on the agenda, and part of a corporate’s mandate must service the community at large in some way: incorporating art within its spaces meets one albeit small, aspect of this requisite.
Art for daily inspiration
Inclusion of public art commissions within our built environment, in foyers, adorning a façade, or inhabiting a causeway, contributes to the visual ‘documenting’ of our history; it reflects our growth and development, occasionally our current societal issues, and sometimes our collective values. But equally important, it provides a visual stimuli, an aesthetic pleasure, a thought-provoking moment; an added dimension to our daily lives.
Marion Borgelt’s site specific “Candescent Moon” of 2011, installed at 101 Collins Street, is a case in point. This large scale sculptural relief suggests the universal themes of sequences, celestial orders and lunar rhythms. These ideas are particularly pertinent to the modern corporate lifestyle, where daily life balances the restrictions imposed by cycles of time and the forces of nature’s flux and unpredictability.
Interestingly, Borgelt’s work is intended to be interactive; that is, as the viewer moves around the front of the work, its appearance and nature change from light to dark and from one texture to another. This sequential change can represent a change in time such as the passing from day into night.
The work has a timeless quality, bridging the gap between the everyday and the planetary by acting as a reminder of our daily life while indicating our part in a larger, cosmic structure.
Bringing contemporary art into our built environment clearly comprises many positives for our society: beyond what has been briefly elucidated above, art can start a conversation; open a dialogue. At its most fundamental, art expresses an idea, an observation, and/or an emotion. It enlivens our consciousness, and sometimes changes our experiences and it stimulates, nourishes and feeds our senses. In so many ways, at its most fundamental, art contributes to the ‘wealth’ of our culture.
©Catherine Asquith October 2017
Believe it or not, art is an asset. And like any asset, such as your car, your home, or your stamp collection, you insure it. Interestingly as soon as one acquires one of these items, one automatically seeks the advice of an advisor or broker to ascertain adequate insurance and annual premiums ensure thereafter. Yet, the same cannot be said for art.
Speaking with my insurance broker on a somewhat frequent basis, I am always surprised to hear how infrequent his clients seek the advice of a professional when estimating the value of their art collection; the consequences of not having an up to date valuation, and therefore a current value, can mean the difference between being reimbursed for loss or damage appropriate to its market value or incurring a loss on that initial investment.
Obtaining a professional appraisal of your artwork operates in much the same way as seeking a value for other assets. Credentials should be assessed; market sector and specialty experience should be examined together with the level of tertiary qualifications and membership with an industry association, such as the Art Consulting Association of Australia (ACAA).
Most importantly, seeking the services of an independent, objective and impartial professional will result in a more accurate valuation, and without the potential bias of an invested interest in the artwork and therefore its value.
There are a number of attributes which an experienced appraiser will utilise in order to determine the value of your artwork:
Additionally, depending upon the nature of the valuation, i.e. the artwork is being considered for a charitable contribution or gift, or the artwork is part of the asset pool in a Family Law property dispute, the valuation may also include consideration of future capital gains tax issues.
Valuing your art necessitates the same respect as valuing your other lifetime assets. Regular, up to date valuations of your artworks are an important adjunct to the ongoing maintenance and accurate documentation of your collection.
Seeking the advice and services of an experienced and knowledgeable professional is a critical step in the provision of an accurate art valuation. Catherine Asquith Art’s valuation services offer new and established collectors a comprehensive appreciation of their collection, its current parameters and indeed, future directions.
Catherine Asquith has been working within the Australian art market, and more recently, the Asian art market, across both the primary and secondary sectors for the past twenty years and is a member of the Art Consulting Association of Australia (ACAA).
The fifth edition of Art Basel in Hong Kong, which featured 242 premier galleries from 34 countries and territories, has ended on a high note. This year’s show included memorable moments such as:
The five show days were attended by private collectors as well as directors, curators, trustees and patrons from nearly 80 leading international museums and institutions across 20 countries, including Art Gallery of New South Wales, Sydney; Auckland Art Gallery Toi o Tāmaki, Auckland; Centre Pompidou, Paris; Hara Museum of Contemporary Art, Tokyo; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Long Museum, Shanghai; MoMA PS1, New York; Mori Art Museum, Tokyo; Museum of Contemporary Art Australia, Sydney; National Gallery Singapore, Singapore; National Museum of Modern and Contemporary Art, Seoul; New Museum, New York; Rockbund Art Museum, Shanghai; San Francisco Museum of Modern Art, San Francisco; Serpentine Galleries, London; Tate, London and Solomon R. Guggenheim Museum, New York.
With numerous gallery openings and an expanded program of parallel events, the Art Basel week continued to spotlight Hong Kong's vibrant arts and cultural scene.
(from “Art Basel Hong Kong” VIP Program newsletter 4th April 2017)
The fifth edition of Art Basel’s show in Hong Kong will commence on March 21 at the Hong Kong Convention and Exhibition Centre (HKCEC) in Wan Chai.
Bringing together gallerists, artists, collectors, curators, museum directors and critics from across the globe, Art Basel HK will present a total of 242 leading galleries from Asia, the Asia-Pacific and the rest of the world.
The fair comprises a number sectors: “Galleries”, the fair’s core sector showcases 20th and 21st century works, and also includes the “Insights” sector, the latter highlighting the curatorial projects, and the “Discoveries” sector featuring solo and 2-person projects.
The “Encounters” sector is dedicated to large-scale sculptural installations and performances which punctuate the fair and is invariably a ‘feature’ of the fair, always attracting much attention and appreciation.
The “Kabinett” sector, previously only on show at Art Basel Miami Beach, will make its debut at this year’s ABHK, and features curated projects within selected gallery booths.
Complemented with a program of film, conversations and salons, (and a few parties!), Art Basel Hong Kong offers a stimulating week of all things art.
Beyond the fair, Hong Kong’s thriving arts scene is also on show throughout the week, with exhibitions, events and site-specific installations taking place across the city and beyond.
Sign up to our newsletter to receive our Hong Kong Fairs report upon return.
According to a study of 2015, undertaken by the Australia Council “Australians value the arts”. More particularly “[A] growing number of Australians believe that the arts make for a richer and more meaningful life; they influence how we express ourselves, our creative thinking and new ideas.”
The salient points highlighted in this report indicate that the arts, which are deeply embedded in the cultural sector, make a substantial contribution to the Australian economy. “Cultural activity” defined in this report as the visual, performing, literary and musical arts, contributes “$50 billion to Australia’s GDP, which is comparable to the GDP share in the United States”, of which $4.2 billion is derivative of the arts. Expenditure on culture by Australian governments was $7 billion in 2013 with a reported $1.3 billion having been expended on the arts. The report also notes, that the main source of income to the arts is consumer spending.
The latter is what I would like to explore today; how, we as individuals ‘support;’ in all its guises, the arts. And we actually do this in a very tangible manner. But before I do this some notes on money and the arts -
To an extent the arts has had an uneasy relationship with commerce, or more specifically, money!
A lot of commentary on the art market describes art in commercial terms: “investment of passion”, “wall power” and “branding”. And with these descriptives our appreciation of an artwork can sometimes be hindered.
By the same token we actually have to acknowledge that this commercialism, is of paramount importance to the livelihood of so many members of this arena; people such as the artists, the material suppliers, the galleries, the curators, the framers, the conservators, and ultimately, our public collections.
I can remember during one of my post-grad tutorials at Melbourne Uni, my fellow students becoming horrified when I disclosed that I worked at a gallery and what I did was sell art. Murmurings of ‘capitalism’ lingered in the air as I made a quiet but obvious retreat from the discussion and indeed, from the course itself soon afterwards.
I simply didn’t understand what all the fuss was about. 20 years later I sort of do. We don’t really like to besmirch the integrity of the arts (well certainly not the purists amongst us) with commercialism; we would rather remain discreet about it and therefore employ a secret code or language, and we utilise less obvious terms such as “acquisition”, “placement” and “de-accession” in lieu of buy and sell.
But here’s the rub - buying or acquiring art is an action by an individual which in truth, has a much more altruistic element, which we are mostly unaware of, and dare I say, holds a more formidable long term benefit, to a wider group. That group is our society. That infrastructure is our culture; our history.
So what I would like to do is to follow a trajectory of sorts from the artist’s studio, to the commercial gallery exhibition, to the curated regional gallery show, to the collection of a state-owned institution. And to hopefully demonstrate how an individual decision can have so much bearing on the ‘wealth;’ of our nation.
Working in the arts I think we sometimes take for granted that the public at large understand how the machinations of the art market operates; I don’t want to dumb this down, and I certainly don’t want to suggest it’s this simple either; there are a multitude of personalities, prejudices, politics and let’s face it, people, who complicate the process. But…in its simplest form:
In order for an artist to produce an artwork, he or she has bought materials for its production, from an arts supplier, a small business. The artist may also have had some of the work framed, another small business. A photographer has been called upon to ‘document’ the series, that photographer is another small business. A specialist arts carrier has been booked to collect and deliver this new body of work to the gallery. Before an artwork is installed at the artist’s representative gallery for exhibition purposes, several invoices have been generated by small businesses.
The gallery’s primary task is to represent artists on a long term basis, providing guidance and career management to their artists. The gallery incurs on-going costs in its support and promotion of represented artists: aside from the usual utilities and services including rental on space, a gallery may well have promoted the exhibition via print media, in the form of glossy art journal advertisements, in addition to perhaps production of a catalogue. On-line media may also have been utilised. An arts writer may also have been commissioned to produce a catalogue essay. The ‘in-tray’ is piling up.
The exhibition is one of the key promotional events for both the artist and the gallery. In preparation both the artist and the gallery have (hopefully!) worked in tandem in terms of promoting the forthcoming exhibition; the gallery will have alerted its client base which will invariably include individuals, institutions, public museums and galleries, as well as regional galleries, and much dialogue will have ensued with curators. Artists will more than likely have gone crazy on various social media platforms!! And told their fellow artists and possibly some of their former tutors and lecturers.
So after a glass of wine and an extremely entertaining conversation with the artist, you decide to buy a work. Let’s call this artist, Frank. The exhibition is availed some terrific press coverage over the remaining few weeks, in addition to an excellent review by a well-known critic. Several more works have sold now, and one work is on reserve for a public institution, the latter having been prompted by the gallery’s initiative in making contact as a result of the exhibition sales rate. (This is a hard-working gallery!). In the meantime you have told some of your friends, and in fact one of them is the wife of a senior managing partner at a law firm. His interest is piqued and he ventures one lunchtime into the gallery. He’s looking for a new piece to add to the firm’s collection. But his attention is diverted by something peeking out from the stockroom; a much larger and indeed, much more expensive work. With the approval of the law firm’s selection committee, the work is acquired. The gallery now has a new client.
Invoices are attended to forthwith; and most pleasing, with the addition of the law firm’s acquisition, some funds have been freed up for the gallery to now consider further promotional activities; perhaps an international art fair.
The arts writer, who also happens to operate as a freelance curator, having been given the opportunity to produce a catalogue essay for this artist, suggests to one of her colleagues a collaboration and one in which Frank’s work would be included; her colleague is employed by an interstate regional gallery. After much discussion and considerable paperwork, a survey show examining contemporary abstract painting has moved beyond its embryonic stage, and is now scheduled for 18 months hence. The gallery is advised of this forthcoming exhibition, and excitedly relays this news to her artist, Frank.
With this new development, the gallerist personally appraises the owners of Frank’s work, in addition to including this development in the gallery’s monthly newsletter. Happily this newsletter elicits some interest in Frank’s work, and a gallery client, who had been overseas at an art fair during Frank’s exhibition, requests some more information. There are only 2 works left in the gallery’s stockroom, but the gallerist assures the client that Frank is working on new work. (Frank was able to settle his invoices after the exhibition, and has some credit with his materials supplier.)
Meanwhile, the managing partner of the law firm continues to patronise the gallery, and brings a colleague one day, who happens to be on the Board of a Foundation, of which the latter has the primary mandate of collecting art by ‘living artists’. He’s rather taken with Frank’s work, noting also the artist’s developing CV (and in particular the collections in which his work is held), and has asked to be notified when new works arrive.
There is now a small groundswell of interest surrounding Frank’s work; indeed, the gallery has been contacted by one of the art magazines (as a result of the editor becoming aware of the commissioned essay for Frank’s exhibition), and is now seeking to commission a feature article in line with the forthcoming group survey exhibition. Potential opportunities in terms of further promotion, and therefore beneficial outcomes for the gallery and its artists are now able to be more realistically considered over the forthcoming 12 to 18 months.
Does Frank’s work end up in the NGV collection? Possibly. Does the Foundation acquire one of his works? Maybe. And does the gallery go on to participate in an international art fair? Hopefully. Did your enthusiasm for Frank’s art contribute to this? Absolutely!
We should get excited about our art acquisitions. We as a society should not be ‘shy’ about ‘investing’ in art. We can and we do contribute to the sustainability and development of our cultural infrastructure. Every so often, we simply need to remind ourselves what art does:
It starts a conversation; opens a dialogue. At its most fundamental, art expresses an idea, an observation, and/or an emotion. It enlivens our consciousness, and sometimes changes our experiences of an event or exhibition. It stimulates, nourishes and feeds our senses. It contributes to the ‘wealth’ of our culture. And it reflects our society, by way of visually documenting our history, a history which is important to our future.
*This speech was given at FUSE, Flinders Lane Gallery, during Melbourne Art Week.
More than two hundred works by Joan Miró (1893-1983), comprising sculptures, paintings and illustrated books are currently showing at the Sejong Center in Seoul. Entitled “Miró in Mallorca”, this retrospective is the first showing of the famous Spanish artist in South Korea.
Divided into five thematic blocks, the works on display belong to the “most vital and artistic stage, the least known and the most innovative of his career,” according to the Pilar and Joan Miro Foundation, which has loaned part of its collection to the South Korean gallery.
Miró’s connection with South Korea harks back to his friendship with Ahn Eak-tai (1906-1965), (the Korean classical composer and conductor, and the author of the country’s national anthem), who had relocated to Mallorca in the mid-1940s.
It is envisaged that this exhibition will introduce to South Koreans the influence of the Oriental world on Miró’s work.
Until September 24, 2016.
A highlight of my recent visit to Auckland, where I took in the Auckland Art Fair, and a stunning exhibition by Fiona Pardington, “A Beautiful Hesitation” at the Auckland Art Gallery (a marvellous example of 21st century design complementing late 19th century French Château style), was my visit to Gibbs Farm.
This stunning property, replete with manicured pastures, undulating hills and an unusual coterie of animals (we saw a giraffe, a trio of zebras, a lone emu, llamas, and not forgetting, some very healthy looking sheep), is home to an extraordinary collection, of large scale and invariably, commissioned, sculpture.
Major works by the likes of Graham Bennett, Chris Booth, Daniel Buren, Bill Culbert, Neil Dawson, Marijke de Goey, Andy Goldsworthy, Ralph Hotere, Anish Kapoor, Sol LeWitt, Len Lye, Russell Moses, Peter Nicholls, Eric Orr, Tony Oursler, George Rickey, Peter Roche, Richard Serra, Kenneth Snelson, Richard Thompson, Leon van den Eijkel and Zhan Wangmajor inhabit this immensely picturesque landscape.
This is collecting on a grand scale, and Alan Gibbs et al are to be congratulated on their commitment to contemporary art.
Gibbs Farm is located in Kaipara Harbour, 47 kilometres north of Auckland, New Zealand.
The University of Queensland Art Museum has recently acquired a work by Australian artist, John Young.
John Young’s ‘Moment’ series (2015) is influenced in equal parts by his cross-cultural background and his training in Western art and philosophy. The series consists of six paintings based on a range of visual references, including the work of Scottish/Australian artist Ian Fairweather (1891–1974).1 Young created the artworks using an innovative process that he first developed in 2006. He has programmed his computer to source images from the Internet within set visual parameters, and to transform these pictures into abstract compositions. From a selection of random possibilities, Young chooses a single image that he believes has ‘an interesting resonance’, and then faithfully paints the work with oil on linen.2 The method, which he has coined ‘the human-computer friendship,’ melds contemporary technology with the age-old, manual techniques of oil painting. This somewhat arbitrary process allows Young to select images that share what he considers to be universally appealing aesthetic qualities. He acknowledges that his paintings resemble, for example, works by Western artists such as Wassily Kandinsky (1866–1944), Mark Rothko (1903–1970) and Gerhard Richter (1932–) and abstract ink paintings by Chinese masters.3
In Moment III Young has created a smooth surface that mimics the texture of a digital print, punctuating the canvas with small patches of pale blue paint that show evidence of his brushwork. The computer-generated image on which Young’s work is based was sourced from Ian Fairweather’s Pelléas et Mélisande, a semi-abstract painting of two nudes. Fairweather, who Young has described as ‘the most important artist of the Antipodes’ sought cultural and philosophical challenges throughout his life. His work, like Young’s, is emblematic of a cultural exchange between Australia and Asia.4 The title of Fairweather’s painting refers to a Symbolist play of the same name by Maurice Maeterlinck (1862–1949), which Claude Debussy (1862–1918) later adapted as an opera (1902). Ostensibly a love story, the narrative explores themes of creation and destruction. Young takes up these ideas in his painting. The process of renewal, in which the past is destroyed through the creation of new images, may be read as a metaphor for Young’s own migratory experiences.
(Adapted from text prepared by Emily Poore, Curatorial Assistant, September 2015.)
JOHN YOUNG ZERUNGE was born in Hong Kong in 1956 and moved to Australia in 1967.
Young read philosophy of science and aesthetics at the University of Sydney and then studied painting and sculpture at Sydney College of the Arts.Young’s investigation of Western late modernism prompted significant phases of work from a bi-cultural viewpoint, including series of paintings in the last three decades – the Silhouette Paintings, ThePolychrome Paintings, the Double Ground Paintings and the Abstract Paintings.
Young has devoted a large part of his three-decade career towards regional development in Asia, and has participated in many regional group travelling exhibitions including Asialink’s Art from Australia: Eight Contemporary Views, (1991, South East Asian museums),Transcultural Painting (1994-5, Taiwan, China, Hong Kong), Systems End (1996, Japan and Korea) and Antipodean Currents (1995 USA). Young has regular solo exhibitions in Australia and also shows in Berlin and Hong Kong. Young was also seminal in establishing in 1995 the Asian Australian Artists’ Association (Gallery 4A), now the 4A Centre for Contemporary Asian Art, a centre for the promotion of Asian philanthropy and the nurturing of Australasian artists and curators.
Recently Young’s work has focused on transcultural humanitarianism including projects entitled Bonhoeffer in Harlemand Safety Zone. Bonhoeffer in Harlem, a tribute to Dietrich Bonhoeffer, was installed at St. Matthaus Church, Berlin in 2009, and recreated in Bamberg, Germany in 2013 as part of the city’s celebrations of its 1000-year-old history. Safety Zone, a tribute to 21 foreigners who saved the lives of 300,000 citizens during the ‘Rape of Nanjing’ in 1937, was exhibited at the University of Queensland Art Museum, Brisbane in 2011 and ANU Drill Hall Gallery, Canberra in 2013.
In 2005-06, a survey exhibition covering 27 years of works was held at the TarraWarra Museum of Art, Victoria, curated by Maudie Palmer. A second survey exhibition, The Bridge and the Fruit Tree,covering works from 2000-2012 was exhibited in February-March 2013 at Drill Hall Gallery, Australian National University, Canberra. Three separate monographs have been written on John Young’s works and projects by Dr. Graham Coulter-Smith (1993, Schwartz City Publications); Dr. Carolyn Barnes and William Wright AM (2005, Craftsman House, Thames & Hudson); and Dr Carolyn Barnes, Professor Jacqueline Lo and Terence Maloon (Australian National University Drill Hall Gallery).
(Courtesy Arc One Gallery, Melbourne)