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Cantor Arts Center launches Asian American Art Initiative

By Beth Giudicessi The Cantor Arts Center at Stanford University announced today the establishment of the Asian American Art Initiative (AAAI), a significant effort to acquire, preserve, display and research art related to Asian American and Asian diaspora artists and their practices. Ruth Asawa with life masks on the exterior wall of her house. (Image credit: Photography by Terry Schmitt. ARTWORK: Untitled (Wall of Masks), c. 1966–2000. Ceramic, bisque-fired clay. © 2020 Estate of Ruth Asawa/ Artists Rights Society (ARS), New York. Courtesy The Estate of Ruth Asawa and David Zwirner) The initiative is anchored by the museum’s acquisition of 233 ceramic masks that comprise

王瑞来:他山之石东瀛风——日本近四十年南宋史研究回顾_世代

王瑞来:他山之石东瀛风——日本近四十年南宋史研究回顾_世代
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Artists Artists: Korakrit Arunanondchai on Thanapol Virunhakul s Dance of Touch

How Virunhakul s performances mobilize touch between audience and performer ‘ Korakrit Arunanondchai on Thanapol Virunhakul s Dance of Touchis’  is part of a series of articles in which we asked nine artists to chose a colleague whose work has been on their mind.  Dance is a form of unconscious expression: it articulates what your body wants to do versus what it’s learned to do. Recently, I’ve been thinking back to a project by Thanapol Virunhakul – a choreographer and performance artist who lives in Bangkok – which I included in ‘Ghost:2561’, the triennial of time-based works I initiated in 2018. In The Retreat: Gallery Drift (2018), Thanapol worked with dancers within a specific setting – in this case, artist Ian Cheng’s digital trilogy, ‘Emissaries’ (2015–17). Thanapol programmed four performers, who also doubled as audience members, to behave according to a specific set of instructions. Initially imperceptible, the performers’ movements bec

The Top Ten Shows in the US of 2020

The Top Ten Shows in the US of 2020 From a survey of Zarina’s five-decade career to Ficre Ghebreyesus’s display of ethereal paintings, these are the best exhibitions of the year Like many of us, I’d prefer to forget 2020. It’s been an extremely difficult year, to say the least. Yet, folks persevered, and things got done. Despite the COVID-19 health crisis, Black Lives Matter protests ensued globally, monuments fell and the art world was forced to reckon with the systemic racism that permeates its culture. While all this was happening – with the occasional pivot – galleries and museums continued with their programming as best they could, managing to produce a remarkable roster of exhibitions. Here are just a few of this year’s highlights.

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