Wang Jinsong's photography series "One Hundred Signs of the Demolition #1997 (1999)" is included in "MAPPING SPACE: RECENT ACQUISITIONS IN FOCUS" on view at Getty Center

“Photography’s dynamic relationship to the landscape can be traced to the origins of the medium, when the camera offered a revolutionary method for recording the world. The 19th century witnessed a range of approaches, from land surveys that systematically documented the topography of unsettled regions, to artistic depictions of nature’s majesty that rivaled landscape painting. Beginning in the 1960s, many artists sought novel approaches to representing their surroundings by incorporating personal, critical, and symbolic references to their work. Mapping Space: Recent Acquisitions in Focus, on view February 26-July 14, 2019 at the J. Paul Getty Museum, features a selection of recently acquired works by artists whose photographic views have been informed by new ways of thinking about a familiar subject.

On view at the Getty for the first time are works by five artists: Robert Kinmont (American, born 1937), Wang Jinsong (Chinese, born 1963), Richard Long (English, born 1945), Mark Ruwedel (American/Canadian, born 1954), and Uta Barth (German, born 1958). These artists draw from a variety of influences, ranging from photography’s documentary tradition to Conceptual Art, a movement that first gained significance during the 1960s for its prioritization of ideas over the production of objects. Operating against conventional notions of landscape photography, each of these artists has developed his or her own approach to site-specific spaces.

“The In Focus gallery in the Center for Photographs provides us an opportunity to highlight the Museum’s collection in telling ways, frequently with thematic overviews of the history of the medium, or, as in this case, by emphasizing recently acquired works that indicate an area of collecting interest,” says Timothy Potts, director of the J. Paul Getty Museum. “Spanning almost half a century, from the late 1960s to 2012, the works in this presentation build on the Museum’s important holdings of landscape photography while revealing the importance of site-specificity and a personal response to our environment.”


Destruction, symbolism, and power are encapsulated in Wang Jinsong’s series One Hundred Signs of the Demolition(1998). Depicting brick walls painted with the Chinese character “chai,” which translates to “tear down,” these photographs document buildings slated for demolition in order to make way for new construction. The artist’s decision to focus on a written notice that signals demolition instead of the act, or the aftermath, serves as a quiet critique of a carefully coordinated government practice of the 1990s that discarded vestiges of the past to accommodate rapid growth in cities such as Beijing. The massive scale of these prints, their extreme frontal view, and the elimination of all architectural surrounds heighten the immediacy of this programmatic urban transformation.“

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Catalina Ouyang will be participating in the Shandaken: Storm King Residency Program

Beginning in June, a handful of people will temporarily be able to call the sprawling, verdant grounds of the Storm King Art Center in New Windsor, New York, home.

In tandem with Shandaken Projects, the sculpture paradise has announced the 15 artists selected for the annual Shandaken: Storm King residency program, which awards artists housing and studio space from June 3 through September 22.

“Each year’s group of residents approaches Storm King in new and innovative ways, and every individual adds to our community,” said Storm King senior curator, Nora Lawrence, who served on the selection panel for the program, in a release. “We are thrilled to continue supporting artists through this partnership.” This is the program’s fifth anniversary.

The other members of the selection committee were Kenyon Adams, director of the Louis Armstrong House Museum in Queens, New York; artist and residency alumna Ellie Krakow; and Nicholas Weist, founding director of Shandaken Projects.

The artists selected are:
Shobun Baile
Abigail Raphael Collins
Joshua Escobar
Dalaeja Foreman
Tia-Simone Gardner
Shoghig Halajian
Ellie Hunter
Megan Mi-Ai Lee
Catalina Ouyang
Kamau Amu Patton
Estefania Puerta
Anni Puolakka
Pallavi Sen
Elizabeth Shores
Dean Spade
Romily Alice Walden




Peng Ke’s institution debut “Leaving speed” opens in Lianzhou Museum of Photography, China

2018.12.1 to 2019.3.18

Peng Ke presents her solo exhibition titled Peng Ke: Leaving Speed at Lianzhou Museum of Photography from December 1, 2018 to March 18, 2019. In the exhibition curated by Duan Yuting, Peng Ke primarily uses analog photography to create images particular to experiences in rapidly developing cities across China. She depicts private situations and public environments, focusing on formal quirks and intuitive patterns of behaviors influenced by the diverse material and media that surrounds us. Her practice moves beyond the genre of "straight photography," drawing attention to the feeling of living in a city unmoored by dramatic changes, but also looking to unexpected languages that happen when different realities coalesce together to create a new logic within the frame. Peng also looks to preco-cious moments, where the complexity of this world can be found translated into a child-like economy of visual languages, shapes, colors and signs.

Make Room/BANG Booth is selected The 10 Best Booths at Art021 on Artsy

“One of the more peculiar collections of curios at Art021 comes from Beijing Art Now Gallery (BANG) and its Los Angeles sister space, Make Room. With its spring mounted gold “大”(“big”) character, Zhou Tong’s Great leap(跳大神) (2017) is a wooden shrine cabinet for the worship of growth. That theme is twisted in a more absurdist way with Wooden Sandals (5 feet long, and rising over 2 feet off the ground.) Other disparate works here include Catalina Ouyang’s Howler (lunar rabbit mask) (2018), Zheng Wei’s Intimate Corpse No. 2 (2018)—which looks like a broken version of Henri Matisse’sDance (1910) embedded in astroturf—and a little oil-on-plexiglass painting by Andrew SendorCasparina on December 2 (2018), that’s as cinematic as the raising of a velvet curtain.”