How Does The Shanghai Biennale As A Global Contemporary Art Institution

This paper will review different styles of research design along with how different variables within research can be measured.

From Japanese pop art to the black shapes of toxic clouds, Brisbane’s Gallery of Modern Art and the Queensland Art Gallery situated in Southbank, have it all. Even though, perhaps, there are some distinctly interesting art pieces which are currently displayed in these two galleries. These galleries exhibit a wide display of different genre of art ranging from film to installations and back to sculptures which show the concept of Identity- the Human Condition, but none quite so than the Contemporary Asian Art Exhibition and the Creative Generation Exhibition.

The framework suggested by Walker and Avant was used for the analysis described in this research. The method of research included:

The fall 2016 exhibit at Esker Foundation features three shows: The Traveller by Cedric and Jim Bomford, Tear Down and Rebuild by Jasmina Cibic, and CIVIC. CENTRE. by Larissa Fassler. Curated by Naomi Potter, the gallery contains approximately 18 different works by the four above named artists. The shows each have strong work in their own right and converge on themes of construction, urbanization, and ideals of nationalism. Housed within a mixed-use retail and office building, to visit the gallery one must proceed to the fourth floor via a glass staircase. Upon entering the gallery an attendant greets you with instructions that programs are available with curatorial texts to take and aid with the visit. If you continue straight ahead, at the far end of the gallery, elevated on the second level is ‘the nest’ a circular meeting space or boardroom made from overlapping grey industrial strips that hovers above the space. The didactic texts are found on the wall below ‘the nest’, which is good placement to avoid the sculptural treatment of the meeting room from being a distractor away from the work, it’s large and could be mistaken as art in and of itself.

“Places where art really flourishes are those where there are urgent issues that art needs to deal with. ” (Ho, 2005). In this statement, we immediately gather that art isn’t only utilised for the purpose of leisure or entertainment, however inspiration comes from minor things in our surroundings which become greater things in retrospect. Art holds a much deeper and meaningful message, and is often used to reach out to the masses. Common examples are propaganda and protest. In the midst of this identity crisis, Tsou Choi Tsang, a street graffiti artist’s work is of great significance today. The sudden surge of interes in Tsang’s work can be explained by its connection to Hong Kong’s society; the process of creating culture, rather than preserving it. Due to the political and social factors in Hong Kong’s society today, Tsang’s work is perpetually relevant. His work highlights the themes of property ownership, post-colonialism, power, and territoriality. Even 17 years after the handover back to China, and 7 years after Tsou Choi Tsang’s death, his work is still powerful and influential as it covers topics which several locals can relate to.

“Artists who didn’t grow up in Boyle Heights see it as a blank canvas, they don’t realize they are painting over another work of art”, Voices of people living in communities all around LAL are being silenced by larger galleries suffocating local contemporaries. When on trend, these galleries begin to draw in artists and crowds from outside the community, again this can be seen as a good thing, however when galleries don’t support their community they allow for the unintentional creation of a new arts district that people can not afford and begin to be displaced. Independent spaces quickly begin to disappear along with the artists they often feature; these bigger galleries need to engage with these communities so voices can be heard to their fullest potential in all communities around Los

To fully understand street art as a concept in itself, it is vital to explore why the art is made on, and for, the street. According to Chung (2009) art on the street “allows artists a platform to reach a broader audience than traditional art forms”. This is supported by Young (2016) who argues that the “street is the biggest gallery you could ever want”, the author goes on to note that often a “galleries audience is self-selecting and homogenous”- belonging in an “elitist art world”. This implies that unlike classical art in galleries, street art cannot discriminate and is open and available to everyone despite their background or beliefs. Not only does the street allow the art to be widely seen, its accessibility indicates the ideas of

Positioned alongside Central Park within the heart of New York City, The Metropolitan Museum of Art is one of the largest and most influential art museums in the world. The Met houses an extensive collection of curated works that spans throughout various time periods and different cultures. The context of museums, especially one as influential as the Met, inherently predisposes its visitors to a set of understandings that subtly influence how they interpret and ultimately construct meanings about each individual object within a museum. By analyzing two separate works on exhibit at the Met, I will pose the argument that museums offer a unique expression of a world view that is dictated through every element of its construction.

This relationship between creator and consumer, and how the consumer’s involvement is responsible for authenticating social identities is best understood in terms of what Alfred Gell calls the art nexus. In his book Art and Agency, Gell’s theory of the art nexus considers the living presence response where viewers, or recipients, react to works of art as if they are living beings or even persons, that in turn act back upon the viewer, entering into a personal relationship with them that elicit a feeling or reaction. Through the art nexus, Gell demonstrates how art objects are able to embody intentionalities and facilitate agency. The art nexus becomes a network of social relations, mediating the push and pull

“How do you make a building for contemporary art that stays contemporary in the future without stooping to a neutral language? And how do you attract a big public without compromising the selfish, private, exclusive time we all want to have in a museum?” These questions, put forward by Elizabeth Diller of Diller Scofidio + Renfro, represent the urbanistic motivation supporting the construction of Boston’s Institute of Contemporary Art (ICA). In such a manner Boston’s ICA engages, not only with the urban citizen, but also the urban landscape in which the site is located. The ICA conveys the idea of architecture as art in itself. As a presenter of art to the urban citizen and because of its open design, the inside allows the citizens to not only appreciate the art within the building but also see the art of the building’s natural environment and setting.

time to visit museums. When public art is funded by the government, the artist’s imagination is

Qualitative and Quantitative study designs both can be beneficial in research design. They both provide valuable options for researchers in the field. These techniques can either be used separately in a research study or they can be combined to achieve maximum information. This paper will define the terms qualitative and quantitative; describe the similarities and differences between each; discuss how qualitative and/or quantitative research designs or techniques could be used in the evaluation of my proposed research; and discuss why linking analysis to study design is important.

To further demonstrate the features of each programme listed in the table 1, I have reviewed the comments from their curators in the biennale’s catalogues. The third edition Shanghai Spirit in 2000 aimed at experimenting the potentials of contemporary art production in the social and cultural context of Shanghai (Hou, 2000), and the fourth edition Urban Creation in 2002

goes on in that world.... The basic unit of analysis, then, is an art world.”

A comprehensive vision of combing arts from multiple sources to create an architectural totality goes hand-in-hand with the socialist utopia, and this vision is kept unchanged in today’s China: the Great Hall of the People continues to carry the same functions as those in the 60s and 70s, stunning the viewers from abroad, in Beijing, and through televisions. The political structure of China remains unchanged, but the chief governing program shifted from class struggle (jieji douzheng 阶级斗争) to economic construction (jingji jianshe 经济建设). The economic boom enhances materialism and individualism, and endangers the spiritual realm of China. Then, someone vows to rescue the spiritual and aesthetic declines by sponsoring a museum in Southern China.