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Text by Carlos Basualdo, David Elliott, Marion Boulton Stroud, Wang Mingxian.
This publication celebrates an artist at the height of his international career. The highly anticipated exhibition 'Cai Guo-Qiang: Falling Back to Earth' will be accompanied by a richly illustrated catalogue, tracing QAGOMA's unique history with this globally renowned artist, from his early-career works from 'The Asia Pacific Triennial of Contemporary Art' in 1996 and 1999 through to the presentation in 2013 of his major new works. Essays by Australian and international authors will explore the exhibition's interrelated themes of nature, spirituality and globalisation, and focus on Cai's new works, documented here for the first time. With writing also by Cai Guo-Qiang on his collaborations with children from around the world.
Catalogues Cai Guo-Qiang's recent exhibition at the Prado, the first in over thirty years to focus solely on his painting, and the first time that an artist had created on-site at the Prado. It explores Cai Guo-Qiang's ongoing dialogue with El Greco and the way he established a relationship with the great masters represented in the Prado. It reproduces nearly thirty paintings made with gunpowder, eight of which were ignited on-site at the Salón de Reinos. It also features an oil and an acrylic created at the start of his activities as a painter; and various sketches and drawings on matchboxes by his father, Cai Ruiqin, who steered him towards painting. The catalogue includes texts and essays by Miguel Zugaza, Alejandro Vergara, Kosme Barañano and Cai Guo-Qiang himself, in which he reflects on his life and artistic career and on the principles and concerns that have governed the evolution of his work.
New in paperback, this revelatory book features rarely seen multimedia works by the revered cult filmmaker David Lynch showing how he applies his powerful imagination and visual language across genres. David Lynch has always been in the spotlight as a filmmaker, directing some of the most iconic movies ever made, but as a visual artist, he is less widely known. Lynch delights in the physicality of painting and likes to stimulate all the senses in his work. This new paperback edition brings together Lynch's paintings, photography, drawings, sculpture and installation, and stills from his films. Many of these works reveal the dark underpinnings behind Lynch's often-macabre movies. Others explore his fascination with texture and collage. Throughout, Lynch's characteristic style--surreal, stylish, and even humorous--shines through. An introduction by music journalist and Lynch biographer Kristine McKenna, along with a thought- provoking essay by curator Stijn Huijts, offers fascinating new information and perspectives on Lynch's life and career. This book reveals an unexplored facet of Lynch's oeuvre and affirms that he is as brilliant a visual artist as he is a filmmaker.
An entertaining collection of images of people photographed unawares in museums.
Featuring stunning, never-before-published works, this is the most intimate book to date on the renowned Chinese artist Cai Guo-Qiang. Produced in close collaboration with the artist, this volume documents new projects commissioned for The Museum of Contemporary Art, Los Angeles, alongside Cai Guo-Qiang's own survey of his artistic journey and the personal cosmology that informs his work. CONTRIBUTORS: Jeffrey Deitch Jeffrey Deitch is the Director of The Museum of Contemporary Art, Los Angeles. Rebecca Morse Rebecca Morse is Associate Curator at The Museum of Contemporary Art, Los Angeles. Philipp Kaiser Philipp Kaiser has been a curator at the Museum of Contemporary Art is Los Angeles since 2007. From 2001 through 2007 he was Curator at the Museum für Gegenwartskunst in Basel. He has written numerous contributions on contemporary art and has curated solo-exhibitions with Louise Lawler, Johanna Billing, Christian Philipp Müller, Simon Starling, Amelie von Wulffen, Sterling Ruby amongst others but also large-scale thematic exhibitions like »Flashback - Revisiting the Art of the 80s« and »Index - California Conceptualism«. He is currently working on the first American retrospective of Jack Goldstein. Philipp Kaiser will assume the post of Director of the Museum Ludwig in Cologne in late 2012. About Shen Kuiyi Kuiyi Shen is Director of the Chinese Studies program and Professor of Asian Art History, Theory, and Criticism at the University of California, San Diego. Lesley Ma Lesley Ma, former Manager of Cai Studio, is earning her PhD in Art History, Theory, and Criticism at the University of California, San Diego. It features a rich sampling of Cai's wonderfully diverse oeuvre, including explosion events, gunpowder drawings, and installations. Informative essays and a conversation with the artist explore Cai's influences, from traditional Chinese scrolls and his father's miniature paintings to Asian philosophy and memories of his grandmother. Including never-before-published new works and unprecedented contributions by the artist himself, this book promises to be an important reference on Cai's art for years to come. ILLUSTRATION: 175 colour illustrations
Written in French and English, this exhibition catalog of the first retrospective of Chinese artist Cai Guo-Qiang, organized by the Musee d'Art Contemporaine of Lyon, is centered on the links between western and eastern culture. The catalog details the two parts of the exhibit, both of which require the observer to travel via rollercoaster or boat in order to view the works. Revealed is an artist whose perception of space and time is defined by Chinese tradition and is regulated by a movement from sky to earth, not the inverse. A thorough discussion of each installment, color plates of works, a list of works, and a biography of the artist are included.
How global contemporary art reanimates the past as a resource for the present, combating modern art's legacy of Eurocentrism. If European modernism was premised on the new—on surpassing the past, often by assigning it to the “traditional” societies of the Global South—global contemporary art reanimates the past as a resource for the present. In this account of what globalization means for contemporary art, David Joselit argues that the creative use of tradition by artists from around the world serves as a means of combatting modern art's legacy of Eurocentrism. Modernism claimed to live in the future and relegated the rest of the world to the past. Global contemporary art shatters this myth by reactivating various forms of heritage—from literati ink painting in China to Aboriginal painting in Australia—in order to propose new and different futures. Joselit analyzes not only how heritage becomes contemporary through the practice of individual artists but also how a cultural infrastructure of museums, biennials, and art fairs worldwide has emerged as a means of generating economic value, attracting capital and tourist dollars. Joselit traces three distinct forms of modernism that developed outside the West, in opposition to Euro-American modernism: postcolonial, socialist realism, and the underground. He argues that these modern genealogies are synchronized with one another and with Western modernism to produce global contemporary art. Joselit discusses curation and what he terms “the curatorial episteme,” which, through its acts of framing or curating, can become a means of recalibrating hierarchies of knowledge—and can contribute to the dual projects of decolonization and deimperialization.