This week, The Stranger‘s art critic, Jen Graves, wrote a blog post titled, “Should We List Prices With Art Reviews?” When I first saw the headline, I had a knee-jerk reaction to the effect of, “No!!”
HONG KONG — The Fotanian Open Studios has its roots in 2001, when eight artists from the Chinese University — Lam Tung Pang, Tozer Pak, Tony Ma, Sam Tang, and Gordon Lo — relocated to the industrial neighborhood of Fo Tan after their studio burned down. The group took up residence in the Wah Luen Industrial Building, which now hosts 47 art-related units ranging from shared artist spaces to galleries and design offices, not to mention the studio of ex–Chinese University professor Lui Chun-Kwong.
Our poetry editor, Joe Pan, has selected a poem by Jess Mynes for his fourth in a monthly series that brings original poetry to the screens of Hyperallergic readers.
As if we didn’t have enough trouble preserving the middle class, the middle of the art market is the latest topic of debate among members of the art world’s commercial side. Why is the high end of the art market constantly booming while the lower and middle sectors suffer?
Even though, like most people, I use Twitter publicly, I still often get the feeling that my tweets exist in a kind of social media bubble — that they’re shielded from the rest of the world, read only by the people whose feeds they might happen to pop up in. That is, of course, just the imaginary feeling of comfort that social media inspires, and the reason it works so well. In truth, everything I tweet is a public statement.
LOS ANGELES — A few weeks ago, I wrote a bit about the potential for open arts journalism, asking if it’s a trend to watch. Journalists and those interested in the field have been discussing openness for a while now, but I’ve not seen as much discussion in terms of the arts. What could an open journalistic process look like in the arts?
Editor’s Note: Starting today, street artist Curly, the postal sticker humorist, will be contributing a weekly post on Hyperallergic.