New York-based Shelby Jackson fits firmly into the category of artist's dealer.
Private curator to Donald B. Marron for over two decades, Matthew Armstrong discusses working with the collector, reminiscing on the boyish enthusiasm Marron exuded when it came to art.
At [Galerie du Monde], [Hong Kong], the centrepiece of [Juan Ford]'s recent solo exhibition [Blank] (15 March–20 April 2019) was Recollector (2018), a hyper-realistic portrait of a solo
Chloë Cheuk works across sculpture, installation, video, and photography to distil human emotions and behaviours into mechanical assemblages that are frequently site-specific. In the outdoor sculpture
Magnus Renfrew has twice been named by ArtReview as one of the 100 most influential figures in the international art world. In 2008, he came to prominence in Asia's art world and within the wider gl
Over 80 galleries participated in the fair's fourth edition—its second annual staging, following the fair's decision to up the ante after initially launching the event biannually in 2013.
The time is ripe to galvanise New Zealand's public to more fully support its visual arts.
Born in Guangzhou in 1945, Leung Kui Ting moved to Hong Kong as a child and has gone on to have a marked influence on the city's art scene. Although originally a carpenter, Leung studied painting unde
I first came across Khairuddin Hori's name in an interview [ Ocula Magazine ] conducted in 2015 with artist [Tianzhuo Chen]. At the time, Hori was deputy director of artistic programming at Pala
Taking an innovative approach to the often formulaic concept of an art fair, proyectosLA launches in Los Angeles on 16 September and will run until 28 October 2017. The event will bring together artw
In 2016, artist [Larry Bell] gave a talk in the Swire Properties Lounge at Art Basel in Hong Kong, where he described his work as a 'spontaneous improvisation'. !(https://files.ocula.com/anzax/
We want to allow artists the space to take risks and explore. That's my job as a curator: to be mindful of that, to remove the anxieties around exploring something new, and to create a supportive environment around an artist that allows them to take those leaps.
I don't like to work in an authorial singular way; I like to work collaboratively with multiple voices so I put together a curatorium.
Earlier this year, Indian born Coelho was awarded the 12th annual Sovereign Asian Art Prize for his work, Attempts to Contain (2015)
When I first met artist Vincent Ward he appeared to be at an impasse. Well known as a filmmaker, he was navigating a transit
I wanted to create works that made people think, but I didn't want to direct the audience as to what to think. I wanted to trigger some memories or feelings.
The works in the collection and in the 'Chaos' show reflect the actual reality of the world. I just felt that given what’s going on right now, we needed to do a show like this.
Art education is a priority for the museum and for that purpose, talks are led by curators in order to enable activity, discussion and learning.
The private museums can be experimental; they can take risks and do less popular things. They do not always do it. But it is early days, and the best are very ambitious.
My parents wanted me to be a lawyer, so in a way choosing to do art was my way of rebelling against them and developing my own identity.
I started thinking about paper, and this led me to think about trees, which in turn led me to think of birds.
A recent exhibition at Xavier Hufkens, Brussels saw the presentation of large-scale, screen-printed linen collages by Australian born, but London based artist, David Noonan. As with Noonan&rsqu
When details of the new Parisian art fair, ASIA NOW, were announced only very shortly before its inaugural opening on 20th October 2015, it appeared as though the fair might be a last minute job. Yet,
A museum is more than a building, it is fundamentally about facilitating encounters between art and a public.