Gordon Hookey makes kick-arse art. 

The first time Gordy and I met was at an art show at Queensland Aboriginal Creations in the late 1980s—before he went to art college. 

The city of Shanghai—a center for economic activity, technological innovation, finance, conventions and logistics—boasts China’s highest GDP and a population exceeding 25 million. 

I am an artist working predominantly out of Aotearoa New Zealand. And although I regularly exhibit in the Northern Hemisphere, there is no doubt that the distance in between is still a challenge even now in the second decade of the 21st century

Tun Daim Zainuddin is known as an economics whiz. Bankers, tycoons, politicians and the press recognize him as the mastermind who extracted Malaysia from economic turmoil in the 1980s and again in the 1990s. But few people know about his zeal for art.

Despite his many artistic transformations, Kwon Young-woo (1926–2013) managed to provoke several versions of the same response over the course of his six-decade career. At the 1954 National Exhibition in his native South Korea

The recently opened National Gallery Singapore (NGS) organized “After the Rain,” the first major historical survey by a national museum of Singaporean artist Chua Ek Kay (1947–2008). 

Five solo exhibitions, for Farid Belkahia, Saloua Raouda Choucair, Faraj Daham, Inji Efflatoun and Abdelhalim Radwi, made up “Focus: Works from Mathaf Collection,” recently held at Mathaf: Arab Museum of Modern Art in Doha.

Material for a Film (2004– ), Emily Jacir’s research project on the late Palestinian intellectual Wael Zuaiter, is an intimate installation. It comprises archival documents including photographs of Zuaiter’s apartment in Rome

I arrived at Huang Rui’s studio in Huantie, an arts enclave on the fringe of northeast Beijing, by taxi. The driver had been struggling to find the remote location and only did so after several phone calls to the artist en route.

Imagine if God exercised copyright over images depicted in works by the old masters, and He refused to grant divine consent to artists inspired by the natural environment or the image of man.