Seth Siegelaub, who was one of the key figures in Conceptual Art during the sixties, withdrew from the New York art scene in the early seventies. In relative seclusion, he started collecting textiles – rugs, tapestries, fabrics, embroideries, even hats – from all corners of the world. Soon, part of his extensive collection will be shown in public for the first time, in London.
Until October 25th SMART Project Space in Amsterdam plays host to Collection Dubai by Istanbul-based curator November Paynter. Maxine Kopsa interviewed her about the exhibitions backgrounds.
Art historian and advisor Renée Steenbergen has long argued for more attention to cultural patronage in the Netherlands, although not without critical comment. Her book, De nieuwe mecenas. Cultuur en de terugkeer van het particuliere geld, has recently been released.
Chinese art is immensely popular. In only a few years, a market has arisen in Beijing and Shanghai that doubles in size every few years. One artist after the other is making a fortune, buying a luxury car and moving into an upscale neighbourhood. While scores of exhibitions of Chinese art are opening in the West in anticipation of the Olympic Games, METROPOLIS M sent the following provocation to four critics, curators and artists: Is the art market killing all creativity in Chinese art?
