takaishiigallery.com 的前十大競爭對手

jartfoundation.com

丸尾末広 - 美しさと猥雑なエッセンスを織り交ぜた独自の作風を持つ漫画家・丸尾末広。数多の作品に影響を与えた『少女椿』などの作品をご紹介します。

michaelhoppengallery.com

Boris Savelev Exhibitions: Paris Photo 2022, Grand Palais Éphémère • Stand D27, 10 - 13 Nov 2022; Masterpiece London 2022, The Royal Hospital Chelsea • Stand 611, 30 Jun - 6 Jul 2022; Boris Savelev, 28 May - 27 Jun 2014; Boris Savelev, Colour Constructions, 2 Dec 2011 - 21...

fr.lumas.com

Photographies et peintures d'art contemporain de la première galerie d'art photographique au monde. De l'art pour les amateurs avertis.

greenenaftaligallery.com

Over five decades, David Diao’s paintings have dismantled the tenets of modernism from within, exploring the shadow side of its reductive geometries as a source of untapped potential. “Since 1985, if not earlier, I have sought to question that abstract painting has no referent other than itself,” he has said. “Almost all my work has a backstory.” Those accounts stem from a rigorous approach that resists Conceptual art’s veneer of detached neutrality, relying instead on deeply personal investments in art history and his own place within it. Diao’s earliest works from the late 1960s challenged then-hegemonic ideas of the means and process of gestural painting, and by the ’80s, more pronounced veins of dissent emerged in his practice. Reworking canonic motifs from the history of abstraction—from Suprematist shapes to Barnett Newman zips and de Stijl icons of industrial design—Diao’s paintings conjure past masters and reckon with the levers of power that govern the art world. As long-serving faculty at the Whitney Independent Study Program, versed in debates on appropriation and institutional critique, Diao’s work of the ’90s began to parse how value is consigned—who is included in the dominant narrative and who is not. Paintings tally his sales and auction records or list the addresses of his studios, charting the fluctuations in his reception and market performance with disarming candor. Just outside the frame, Diao’s experience as an artist of color is palpable: paintings of fictional invitations to retrospectives he wasn’t offered point up major museums’ systemic exclusions, while other works of this period broach how those institutions fetishize the non-white artists they would otherwise overlook. Born in China’s Sichuan province in 1943, Diao fled the Chinese Communist Party’s takeover of his family home for Hong Kong in 1949 before immigrating to the United States in 1955. Themes of dislocation and loss appear in recent works that have mined this cultural he

nguyenartgallery.com

ARTIST: Mai Huy Dung MATERIAL: Acrylic on canvas SIZE: 105cm*85cm | 41.3 inches*33.4 inches GALLERY: Nguyen Art JW Marriott Phu Quoc

axel-vervoordt.com

Visit our galleries at Kanaal, Wijnegem and in Hong Kong

makk.de

MAKK – Museum für Angewandte Kunst Köln, Kommunikation und Öffentlichkeitsarbeit, An der Rechtschule 7, 50667 Köln

1-54.com

The 1-54 Annual Book 2025 showcases the creativity, innovation, and resilience at the heart of 1-54’s mission to promote contemporary art from Africa and its diasporas. This edition features a comprehensive overview of the artists, galleries, and programming from 2025,…Read more 1-54 Annual Book 2025 ›

huxleyparlour.com

The gallery holds an intergenerational, international roster of artists as well as estates of important yet overlooked twentieth-century figures.