By Maxwell K. Hearn
An in-depth stylistic exam and particular actual research of the famed tenth-century "Riverbank, in addition to different chinese language outdated grasp work.
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Additional resources for Along the Riverbank: Chinese Painting from the C.C. Wang Family Collection
And to visit Dakar and see great work especially since so much of it never comes here to New York even though we have this international community. So there’s enormous potential to make an impact. And, also for artists who really have not had the opportunity to be in New York. It introduces them to New York, to the art world, and to a much broader public. Plus several of them have already written to me about how they’ve incorporated aspects of AIM into hosting seminars and workshops in their own countries.
One should never gauge [one’s] artistic merit based on success in the art market. It is a luxury to be able to live on your art sales, because that will allow you to work full time on your art without having to take teaching jobs, or some other form of employment. But art sales don’t always indicate that the work is particularly strong, or that it will have a lasting place in the world. No one knows why a certain thing might sell well at any given time in history and not sell at all ﬁve years later.
When you have these kinds of opportunities to exhibit outside the United States, do you ﬁnd that your work is received differently in different contexts? YEE: It’s always good to get out of your comfort zone, but sometimes you just can’t really know or understand the context perfectly. You are there for a short period of time installing and then you leave. . Leaving things behind is sometimes a little strange, and there’s a distance. But there is also a kind of freedom; you can try new things away from your home base and work with new contexts.