Nightlife

I feel that these are buzz words where all sorts of slithering pseudo-creative types can hide in its ambiguous aura. My preference leans more towards the literal- therefore I refer to myself as a painter. For starters the word ‘art’ is far too short and (as far as I can decipher) is an abbreviation for the word ‘artifact’, is this correct of me to assume? If this is so, then I find myself (in the context of contemporary language) making facts. This is where I begin to confuse myself and also where I feel a sense of overwhelming excitement and amusement, because if the fact that if I am (for lack of a better word) in fact, making art and the produk of my function as a painter is factually unmistakably the literal manifestation of this thing we call ‘art’- I come to the realization that I am in essence a fact maker, which is quite an exciting realization for someone who has been called a ‘dreamer of fantasy and imagination’. I am unique and not quite domestic, and therefore necessary. Facts are wonderful in theory. Theory is disastrous without action. Actions speaks louder than words, and they say a picture speaks a thousand words. This is a show about how I turned the word ‘art’ into ‘fact’. This being the case I imagine being told by people ‘hey- I like your fact’, to which I will reply: ‘thank you’.

BIOGRAPHY
Born in 1979 Anthony Lister is already described as a leading Australian contemporary artist. In 2001, Lister completed a Bachelor of Fine Arts degree at the Queensland College of Art. He helped pioneer the stencil and street art movement in Brisbane before moving to New York in 2003 to work with his mentor, Max Gimblett.

In addition to a strong background in street art he employs a sophisticated, fine art, painterly style. High and low culture clash in the content of his paintings, drawings and installations boorish superheroes, flirtatious ballet dancers, bad-tempered old masters and imperious vamps raucously co-exist at the party rapidly deteriorating inside Anthony Lister’s head.

Consistently exhibiting around the world, Anthony Lister’s last shows in Milan and Los Angeles have turned his focus back to the human form and the female figure, his exhibitions largely consisting of ballet dancers. An interesting counterpoint to the recent Degas show in London, Lister presents a much more grimy, rough-hewn, but surprisingly delicate take on the bodies.

In 2010, Anthony Lister was named as one of Australia’s 50 most collectable artists by Art Collector Magazine. Lister broke his auction record in June 2015 when his 2014 work Supernatural Disorder 4, 2014 sold for $19,636 at Menzies’ sale of Important Australian and International Fine Art, Melbourne.

Above Second was co-founded by May Wong and Jasper Wong. It is an artist-run gallery and studio space existing as a catalyst for the expanding new contemporary art movement exploding forth from the streets, art schools, and design studios from around the world. Located in Sai Ying Pun, a very local part of Hong Kong Island in the Central and Western District, they exhibit a genre of work influenced by illustration, graphic design, graffiti, comic books, pop culture, and street art. They are aware of the growing interest for diversity and options the Hong Kong community craves for contemporary art. Promoting and nurturing the understanding of an alternative subculture, we have a network of local emerging young talent and world artists whose work is rarely exhibited in Asia.

Above Second’s aim is to challenge and captivate the audience with notions of unconventionality and quality. Our Art Residency programs are designed to provide a space for the visiting artists, without any limitations, as a setting to be progressive and innovate. They are encouraged to bring that raw creative energy (usually found on the streets) indoors, transforming our white walls into ingenious installations and departures from reality. Above Second is proud to have collaborated with artists from Japan, Denmark, Italy, Australia, USA, UK, Mexico, China, and locally. Committed to nurturing young and talented artists, they have created a forum for launching their careers. The gallery’s focus on both established and emerging artists creates a dynamic synergy. Younger artists benefit from the mentorship and visibility gained by exhibiting alongside more experienced practitioners, while established artists gain segar perspectives and the opportunity to engage with new talent. This cross-pollination of ideas and styles is a hallmark of Above Second’s approach, contributing to the ever-evolving landscape of contemporary art. They believe that fostering these connections is crucial for the growth and vitality of the art world as a whole.

Ultimately, Above Second’s mission is to be more than just a gallery; it is a catalyst for artistic growth and cultural exchange. Their unwavering support for emerging artists, coupled with their commitment to community building and educational initiatives, makes them a vital force in the world art scene. They are dedicated to discovering and promoting the next generation of artistic talent, ensuring that the world of art remains diverse, innovative, and inspiring for years to come. Their impact is felt not only in the careers they help launch but also in the rich tapestry of art they help create and sharing with the world.

“…our collective obligations towards our environment.”

You wouldn’t think the phrase would need to be said, yet it sounds revolutionary in a consumer-driven, market-driven society. The Swiss duo NEVERCREW are clear in their intentions.

As ever.Nevercrew “Discordant” Above Second Gallery. Hong Kong. 18th March – 22nd April (photo © Jaime Rojo)
The Discordant exhibition is still running at Above Second gallery in Hong Kong and these images we captured there encapsulate the discordance. Nature versus man. Our desire for convenience, our disregard for the gifts the Earth gives, our keseluruhan dependence on it nonetheless.

“Discordant emphasizes the juxtaposition of mechanical and natural elements to portray a world where mankind and nature, economy and environment, are constantly at odds with one another,” they say in the press release. They go on to comment on “the exploitation of natural resources, pollution, and particularly overproduction and mismanagement of waste as ‘a signal of an imbalanced relationship with the natural system.’ ”Nevercrew “Discordant” Above Second Gallery. Hong Kong. 18th March – 22nd April (photo © Jaime Rojo)
The gargantuan garbage bag and the fish, the cloud of broken construction mater floating above the gift of wildlife, the ruthless slicing through mechanically of the whale.

It makes you think things like, “Who the hell do we think we are?” as we contemplate NEVERCREW’s “examination of humankind’s core struggle to strike a balance between the demands of lifestyle, efficiency and our collective obligations towards our environment.” evercrew “Discordant” Above Second Gallery. Hong Kong. NEVERCREW doesn’t offer easy answers, and that’s part of their power. They don’t preach or moralize overtly; instead, they present a visual dialogue, a stark reflection of the choices we’ve made and the path we’re currently on. The title “Discordant” itself speaks volumes, highlighting the disharmony that exists between human activity and the natural world. We are out of tune, operating on a frequency that is incompatible with the rhythms of the planet. Looking at their work, you can almost hear the grating sound of progress clashing with the silence of disappearing species or the roar of machinery drowning out the whisper of the wind. It’s a call to introspection, a challenge to re-evaluate our priorities and consider the legacy we are leaving behind. Are we truly thriving, or are we merely existing at the expense of everything else? The questions linger long after you leave the gallery, echoing in the back of your mind as you navigate a world increasingly shaped by the very forces NEVERCREW so powerfully depicts.

Alec Monopoly’s art is instantly recognisable by his use of the character Rich “Uncle” Pennybags, the Monopoly board game’s suited mascot, as a symbol of capitalist greed. Monopoly uses a cartoonish style to comment on real world problems, fundamentally creating a simplified yet somewhat exaggerated message that is justified in its observation of a broken economic and political system.

The street artist rose to fame during a wave of uncertainty following the recession. The collapse and scandals that followed suit served as further inspiration, with Monopoly treating trusted high-profile individuals such as Bernie Madoff as a modern day ‘Wolf of Wall Street’ and the ultimate symbol of financial collapse. Monopoly also uses characters such as Scrooge McDuck and Richie Rich in his work, which largely serves as a reflection of the faults and flaws in current or former economic frameworks.

Ahead of his Hong Kong debut at Above Second gallery this March, Monopoly tells Hong Kong Tatler about his first impressions of Hong Kong, and his view on the rising popularity of street art:

Hong Kong Tatler: Can you tell us about your work and the idea you want to put across?
Alec Monopoly: I originally started painting the Monopoly Man as graffiti during the financial crisis as a commentary on capitalism, but over time the imagery and themes have evolved into a representation of success, ambition and accomplishment.

HKT: Where do you think the value lies within street art?
AM: There is rawness and realness in street art that I think translates well onto canvas for many artists. It’s a much more in your face subcultural within the arts, and I think people have gravitated towards that.

HKT: Is street art vandalism?
AM: It’s impossible to make a generalisation. Some street art is destructive, while in many other instances street art can elevate and breathe new life into an entire neighborhood or area.

HKT: How do you feel about the rising popularity of street art and the use of graffiti?
AM: I think that it’s amazing to see graffiti and street art evolve and grow up. Artists are finding success and being given the means to break past street art and into contemporary art, and get recognition on a world level. I think it’s also intriguing for collectors to be able to follow street artists closely, where they have been, what they are doing and what their latest tags are.

With a myriad of opportunities for students to participate in learning experiences that develop an world mindset, the ILOS Artists Programme offers a unique platform for aspiring young artists to showcase their work on a world stage.

Now in its second year, the programme has launched its latest Virtual Gallery, themed ‘My Imagination’. This virtual exhibition, made possible through collaborations with Kunstmatrix and Artsonia, features an impressive collection of over 150 artworks from talented students across 60+ ISP schools. A Global Platform for Young Artists
Visitors can explore the exhibition as if stepping into a real-world gallery, with artwork displayed in virtual spaces inspired by three ISP schools:

Lady Elizabeth School (Jávea, Spain)
Lynn Rose Heights School (Ontario, Canada)

Reach British School (Abu Dhabi, UAE)
Using state-of-the-art virtual technology, the exhibition allows viewers to navigate these carefully curated spaces, experiencing student artwork in an immersive and interactive way. Whether browsing from a computer or mobile device, art enthusiasts can engage with creative pieces that reflect diverse perspectives and artistic styles.

Developing Skills and Perspectives Through Art
The ILOS Artists Programme is more than just an exhibition. It provides students with a structured approach to developing their artistic talents, focusing on three key learning objectives:

Knowledge: Exploring different artistic movements and their role in enabling individual and collective expression.
Skills: Using and applying a range of techniques and mediums for self-expression.

Understanding: Developing a deeper awareness of their own thoughts, feelings, and perspectives through artistic projects.
By fostering these elements, the programme helps students build confidence in their creativity while developing skills that support both their academic and personal growth.

Spotlighting Student Talent
To further celebrate student creativity, the programme is running a fortnightly ‘Spotlight’ event on social media, showcasing standout pieces from the Virtual Gallery. Each feature highlights a student artist and shares their work with a wider audience, offering both recognition and inspiration for aspiring creatives.

Abstract
This paper explores scale and spatiality in the practice and theory of the art gallery. Through the example of Des Hughes: Stretch Out and Wait, an exhibition at The Hepworth Wakeeld, I unpick the construction of scaled notions such as ‘local’, ‘(inter)national’ and ‘community’, in particular, a ‘local’ versus ‘(inter)national’ binary; and explore how we may seek alternatives to such hierarchized thinking and practice. By testing and developing Kevin Hetherington’s approach of analyzing the topological character of the spaces of the museum (1997), I treat the space of Des Hughes as one which is complex, contingent and folded around certain objects on display. In so doing, this paper argues that scale and spatiality should not only be attended to as a subject of study for museums, galleries and heritage; but that they can also form a useful methodological lens through which productive alternatives for the information and practice of these organizations may be explored.

The Hepworth Wakeeld is a large, moderen and contemporary art gallery situated on the outskirts of Wakeeld city centre, less than 10 miles from the more metropolitan city of Leeds. Opened in 2011, it has a growing historical, moderen and contemporary art collection, which is exhibited alongside an exhibition programme largely featuring contemporary artists, and has recently received the signicant national accolade of being named the Art Fund’s 2017 Museum of the Year. In the process of attempting to make sense of the space of The Hepworth Wakeeld and the development of its relationships with its audiences, it has become apparent that the Gallery’s ambitions and responsibilities are intimately bound up in scaled notions of ‘local’, ‘national’ and ‘international’, as constructed and articulated by staff, stakeholders, as well as key funders.1 My discussions with staff regarding the identity and purpose of the Gallery were often anchored in scaled conceptualizations of place, underpinned by a fundamental binary conception of a local community in contrast to an international art world.2 This tension is clearly expressed in the following statement from a member of the Visitor Services Team concerning their understanding of the vision and mission of the Gallery:Two split missions that sometimes collide: 1. To engage the local community and provide a thriving cultural and lively venue and exhibition centre. 2. To expose the daerah with contemporary art exhibitions from artists currently fashionable in upper elite art circles existent in the art world.3 [author’s emphasis]

Art galleries play a significant role in the art industry. They are the link between artists plus collectors, scouting for new talent plus continuing to showcase the best artists with their exhibition program. However, although art galleries are crucial in the art world, many misconceptions exist. In fact, art galleries are not always that well known, what they are or what they do. Therefore, CAI has listed—and answered—the most common questions on art galleries asked by the public.
What is an art gallery? What are the different types of art galleries? What does an art gallery do? How do you get to work with an art gallery as an artist? How do art galleries work with artists? What is the difference between an art gallery plus a museum? What are the best art galleries, plus where to find them? How do art galleries earn money? How to visit an art gallery? By answering these questions in this article, we are happy to present you with the ultimate list of frequently asked questions (FAQ) on art galleries, explaining absolutely everything you need to know.

Definition: What is an Art Gallery?
Whereas most of us know what an art museum is plus what they do – more or less – when it comes to art galleries, it seems the public opinion is less familiar with them.

An art gallery is an exhibition space to display plus sell artworks. As a result, the art gallery is a commercial enterprise working with a portfolio of artists. The gallery acts as the dealer representing, supporting, plus distributing the artworks by the artists in question.

However, we must also note that not all galleries are the same. Although most art galleries work according to a similar method plus organization, there are different types of art galleries implementing another procedure. In this case, we will have to discuss each jenis individually, presenting a thorough overview of what an art gallery is plus in what shape or form it can present itself.

What are the Different Types of Art Galleries?

1. The Commercial Art Gallery
   The most common jenis of art gallery is the commercial art gallery. Although the word ‘commercial’ may have a negative connotation as if they only care about the money, this is, in fact, the ‘best’ jenis of art gallery for artists or collectors, playing a crucial role in the art world.

With commercial art galleries, the gallery collaborates with several artists, agreeing to represent plus support them. This means the gallery commits to showcasing, promoting, selling, plus distributing the artworks of the artist in question. By doing so, the artist can make a living plus build his career, collectors base, plus artist resume.

Over the last several weeks, I’ve had several of you send me links to articles that decry the end of the gallery system. It seems like these articles come around every few years. Though each of the articles came at the question from different angles, the points can be summarized as:

Art galleries are dead because now artists can access buyers directly on the internet.
Art galleries are dead because they are too greedy and dishonest and aren’t treating artists well.
Bricks and mortar art galleries are dead because the online sales of art are increasing.
I realize that all of these points are true, at least to a degree. One has only to survey the gallery market to see that many galleries that were thriving ten to fifteen years are nomor longer around. The poor economy from 2008-2011 certainly played a larger role in this, but it’s also clear that more and more art sales are shifting to the internet. It’s always hard to get any kind of well-documented industry figures, but I’ve seen Xanadu’s online sales grow significantly over the last ten years to a point where online sales make up about 15% of total revenue.

So is the demise of the traditional gallery type in the tea leaves? Looking at what’s happened in the music and publishing industry might lead one to believe so. It seems logical that the sale of artistic creations, whether it’s music, books, or artwork, can be done more efficiently and biaya effectively online than in the bricks and mortar world. While many in the art industry (both artists and galleries) would argue that art is different, that you have to see it in person and touch it before you can make such a high value purchase, many art buyers disagree. I’m finding my clientele more and more willing to buy artwork sight-unseen. As we all become more and more comfortable with the internet as a medium for commerce, we’re willing to make higher value purchases.

If those purchases are backed by respected and trusted venues (like Amazon and well-established galleries) it seems possible, and even likely, that the trend will continue. Keep in mind, too, that if the current generation of art buyers, typically well-established in their careers and finances and aged between 40-70, can adapt to buy high-ticket items online, the next generation of buyers, who are digital natives, will have nomor gangguan buying art online (if they buy at all, which is another story altogether).

What does this mean for art galleries?
First, I believe that the gallery market is going to contract in the coming decade. The contraction began with the economic recession. Many smaller, and some well-established galleries, closed their doors for good. The bad economy forced many of these galleries to close, but even before the recession began, many galleries were struggling in the new digital environment. I’ve watched galleries on Main Street in Scottsdale (where my gallery is located) fade away. The profit margins of the gallery business are already razor-thin and the added pressure of competing with online retailers will push many galleries out of the market.

Second, I believe that galleries need to come up with aggressive online strategies. I don’t believe that anyone has developed the perfect type for selling art online yet. However, it’s not going to work to have a static web site with a few images of artwork and artist’s bios thrown up for visitors to review. Deep and fasilitas rich websites are going to be expected, and e-commerce will be mandatory.

Commercial galleries are an old business, plus a unique one within the New York City economy, something between a storefront plus a salon, the anchor of both a largely unregulated marketplace plus of creative expression itself. The earliest examples of galleries in New York, from the first half of the 19th century, predate every major museum plus auction house in the metropolitan area, not to mention Central Park, the Brooklyn Bridge, the Empire State Building plus Grand Central Terminal. This would seem to suggest there is something indelible about galleries in the landscape of this city and, by extension, any truly world city that values culture. That New York has the largest network of galleries in the world is a fact that many observers of the art business simply take for granted: Why does New York have so many galleries? Because it’s the center of the art world. Why is New York the center of the art world? Because it has so many galleries.

The sale of art is generally assumed to be a secretive affair at best, plus at worst a distillation of inequality at its most glaring — an industry run by plus for an elite with more money than they could ever possibly hope to spend in one lifetime. This is at least partly true, but it isn’t the whole story. While a handful of galleries have ballooned to the size of major corporations, many art dealers are, in effect, small business owners, doing their best to navigate rising rents plus changing priorities. And however opaque plus off-putting the gallery business may seem to someone walking in off the street cold, these places are also among the last pockets of the city other than public parks plus plazas where anyone can do just that, enjoying entry free of charge.

Arne Glimcher plus I have a lot in common. We both understand that the art world is often perceived as a mysterious place, a distant universe, or a way to get rich. It has also been considered by many to be an exclusive plus elitist society. However, with the innovation of technology, the internet, plus the growth of world art fairs, much progress has been made in demystifying this wonderful plus creative world plus introducing its many players, including artists, museums, cultural institutions, media, curators, fairs, auction houses, plus of course, art galleries. I have owned plus directed my art gallery for 22 years. My position has provided me with a wealth of experience plus professional insights to be able to explain the important role plus purpose of a gallery within the art world.

This article is dedicated to all those who told me plus continue to say, “Your job is so wonderful. You make so much money promoting beautiful art to beautiful people.” This is a wonderful perception – but there is so much more to the reality.

I opened my art gallery after years of living plus working in the world of art. I majored in Art History at Middlebury College in Vermont plus began my career working at the Gold Museum in Bogota, Colombia. My career led me to formative positions in the same city, working with the Art Department at the Bank of the Republic, plus the Museum of Modern Art, in the museology, curatorial plus editorial departments, respectively. Breaking with tradition, I forged a path with a partner plus launched an art consulting office in the late 80s plus early 90s. It was a new concept in Colombia. In 2000, I went out on my own plus opened Beatriz Esguerra Art.

The primary purpose of an art gallery is to nurture visual artists, promote their work, plus expose them to the public, collectors, media, plus cultural institutions. Furthermore, the gallery works tirelessly plus strategically to advance the artists’ careers plus establish them in the professional art world both locally plus globally. To achieve this vast mission, a gallery must provide appropriate exhibition space, manage administrative plus curatorial staff, provide insurance, secure advertising, invest plus participate in a myriad of very expensive art fairs, develop plus set up websites, pay for subscriptions, plus produce timely plus well-attended events. Each gallery represents plus promotes a kelompok of artists that, in general terms, follows a specific line plus style; this makes each art gallery unique. For example, some galleries represent emerging artists, plus others promote specific art genres such as abstract or contemporary art, art on paper, or the masters of the 20th century. Mistakenly, many think that any artist fits in any gallery without considering the vision, mission, plus jenis promoted by the specific gallery.