I am delighted to announce that Nasim Nasr has been invited to be one of the participating artists in the New York Triennial of Asia at the Asia Society Museum, New York, in 2020.
The New York Triennial of Asia will be the first recurring exhibition initiative in the U.S. dedicated to contemporary art from and about Asia and will serve as a platform for intellectual exchange about, and direct engagement with the arts and culture from the region. It will encourage inclusivity and access to this material outside the traditional platform of the Museum and will attract new audiences. The scope of the Triennial reflects the diversity of contemporary art from Asia and the diaspora, and will celebrate and reflect the rich tapestry of Asian cultures that comprise a significant, yet historically underserved, demographic within New York City.
The inaugural edition, entitled “We Do Not Dream Alone”, will be co-curated by Michelle Yun, Senior Curator of Modern and Contemporary Art, and Boon Hui Tan, Vice President for Global Arts & Cultural Programs and Director of Asia Society Museum.
Nasim will be showing two series of works: Beshkan (Breakdown) (2013) and 33 Beads (2018).
This project is a city-wide initiative with venues including Asia Society Museum, Governors Island, Times Square, and Pioneer Works. The exhibition dates will be from June 5 to August 9, 2020.
Video stills from Beshkan (Breakdown) (individual hands), 2012 are available for acquisition. Please contact me directly at email@example.com for further details.
Artemisia Gentileschi (1593 – c.1656), was an Italian Baroque painter, whose oeuvre focused on mostly, female allegorical subjects, depicting powerful figures during moments of highly emotive, sometimes violent points in history. Unusually, she managed to enjoy significant success during her lifetime and was well-respected by her peers and the arts community, and was the first woman to be accepted into the Accademia di Arte del Disegno in Florence. Today she is considered one of the most accomplished painters of her generation.
The market for Gentileschi has witnessed a burgeoning interest in her work; in July of this year, her extraordinary painting, “Portrait as Saint Catherine of Alexandria” (ca. 1615-17) was acquired by the National Gallery of London. This week, her work “Lucretia” sold for €1.8m at Dorotheum in Vienna, and is headed to an Australian collection. Additionally, Gentileschi’s inclusion in Ghent’s Museum of Fine Art’s exhibition on Baroque female painters (on now) suggests a re-calibration of Western Art History’s canon to include more female artists.
In the wider arena, social media is highlighting some of her works, as a means of expressing discontent and alignment with social commentary, with “Judith Slaying Holofernes” (ca. 1620) going viral during the hearings leading up to the confirmation of Judge Brett Kavanaugh to the U S Supreme Court. This painting is perhaps especially poignant – the subject being Judith’s act of a confident, yet bloody vengeance – given the fact that Gentileschi was a survivor of sexual assault and indeed, did take her attacker to court.
According to some arts commentators, the market has been slow to catch up with art historians: Gentileschi was first re-examined in the 1947 novel by art historian Anna Banti’s “Artemesia”. Some four decades later, feminism took an interest, with Mary Garrad’s influential 1989 text, “Artemisia Gentileschi: The Image of the Female Here in Italian Baroque Art”. It was not until 2014, when the work, “Mary Magdalene” sold for over USD1m (Sotheby’s, Paris), establishing a new record for the artist, that the market’s attention was piqued.
For some pundits, Gentileschi is “having a moment”, following on from a renewed interest in Old Masters; others view the interest as a type of ‘inter-disciplinary’ approach by dealers and art fairs – the confluence of contemporary and Old Masters artworks in fair booths and curated exhibitions; or perhaps the result of contemporary artists utilising and highlighting their sources and historical artworks in new work.
Nevertheless, there can be no denying the importance of addressing the deficit in museum and gallery collections across the globe of the inclusion of significant female artists’ work.
Paris Photo, touted as the world's largest international art fair dedicated to the photographic medium, will hold its 21st edition at the historic Grand Palais in Paris from November 9th through 12th, 2017.
The annual event for collectors, professionals, artists, and enthusiasts, Paris Photo offers its visitors a selection of quality and diverse artworks alongside an ambitious public programme of events, talks and forums.
Over 180 galleries and publishers will present a complete panorama of the history of photography: from vintage and modern works to contemporary creations, rare and limited editions, and avant-premiere book releases. The recently launched PRISMES sector, held in the prestigious Salon d'Honneur, will feature a curated presentation of large format, series, and video and/or installation works.
An educative art fair, Paris Photo aims to enhance the visitor experience by scheduling exhibitions, awards, signature sessions, special events, talks and discussions with artists, curators, critics, and historians. The "In Paris during Paris Photo" programme, created in partnership with renowned museums and arts organizations throughout the city of lights, offers visitors a complementary selection of exhibitions featuring some of the most important photographic collections in the world.
The Sovereign Asian Art Prize, hosted by The Sovereign Art Foundation, was established in 2003 and is now recognised as one of the most prestigious awards for contemporary art in the Asia-Pacific region.
Held annually, the Sovereign Asian Art Prize invites mid-career contemporary artists, who have been nominated by a selected board of art experts, to enter up to three artworks online. Entries are then judged by a small judging panel consisting of independent art experts and professionals from the region, who select the best 30 artworks from a range of digital images. The 30 finalists are then exhibited in a prominent public space in Hong Kong, where the pieces are judged a second time, in person.
This year, the finalist works will be exhibited at Christie’s Hong Kong (19-21 April) and thereafter at The Rotunda, Exchange Square, Hong Kong (25 April–4 May).
The organisers of the event have described the finalist works as indicative of “cutting edge contemporary art practice” from the region. Writer and curator David Elliott, who chaired this year’s judging panel, said the 30 finalists had been a “revelation” and “[n]ot only has the region been covered in a more comprehensive way than before, but also a new generation of artists is starting to emerge that is impressive in the range and density of its work. This is clearly shown in the finalists in this exhibition.”
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.
Currently on show in Cambridge, Massachusetts (USA), is an extensive survey exhibition of contemporary Indigenous art, with a raison d’etre to “introduce audiences to the central role that Indigenous art plays in the global narrative of contemporary art”.
From the press release:
“Everywhen: The Eternal Present in Indigenous Art from Australia surveys contemporary Indigenous art from Australia, exploring the ways in which time is embedded within Indigenous artistic, social, historical, and philosophical life. For Indigenous people, the past is understood to be part of a cyclical and circular order known as the “everywhen”; conceptions of time rely on active encounters with both the ancestral and natural worlds. While the exhibition focuses on the last 40 years of Indigenous art, it also includes historical objects from the rich collections of Harvard University’s Peabody Museum of Archaeology and Ethnology to underscore both the continuity of cultural practice and remarkable adaptive innovations.
The exhibition showcases more than 70 works drawn from public and private collections in Australia and the United States, and features many works that have never been seen outside Australia. Works by some of the most significant contemporary Indigenous artists will be on view, including Rover Thomas and Emily Kam Kngwarray (both former representatives at the Venice Biennale); Judy Watson, recipient of the 2006 Clemenger Contemporary Art Award; Doreen Reid Nakamarra, who participated in dOCUMENTA (13); Vernon Ah Kee, who has also exhibited at the Venice Biennale, and most recently, the Istanbul Biennial; and the visual and performance artist Christian Thompson, who was recently mentored by Marina Abramović in Australia.”
On View: February 5, 2016–September 18, 2016
Harvard Art Museums
32 Quincy Street
Cambridge, MA, 02138