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Artist Classroom

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🌨 This is a passion project by Jae & Cloe... a history book... an art gallery... etc 🌨

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While doing some research today I came across this sick confession booth installation by Ayşe Erkmen (b. 1949, Istanbul) which was featured as part of Manifesta 16 Ruhr earlier this year.

The artist transforms a confessional into a transparent enclosure with a digital chat system which visitors can interact with… an astonishingly visually simple way of examining how communication and guidance-seeking have shifted so drastically within the past couple of years through technological advancement. Adding the other two slides for fun lol by @artistclassroom

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12 hours ago

Join our Zoom lecture tomorrow? Details on the second slide 👩🏻‍🏫

Featured works:
Verzutti, Erika. Venus Carnaval. 2021, Industrial Papier mâche and styrofoam.
Foujita, Léonard Tsuguharu. Nu couché à la toile de Jouy. 1922, Oil, ink, charcoal and pencil on canvas.
Lawton, Tuere Nicole. cutie. 2025, Oil on canvas.

We’ll be looking at even more works during the session! See you there ✏️

Featured works:
Velázquez, Diego. The Toilet of Venus (‘The Rokeby Venus’). c. 1647-51, Oil on canvas. by @artistclassroom

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2 months ago

Was looking through my camera roll and came across an exhibition that Jae and I went to at the Barbican last year. I remember being really surprised to see a couple empty displays throughout the exhibition. We eventually came to realise that several artists and lenders had pulled their works ‘as an act of solidarity with Palestine in response to the Barbican’s decision not to host the London Review of Books (LRB) Winter Lecture Series.’ The institution’s decision to censor Pankaj Mishra’s lecture ‘The Shoah after Gaza’ was completely antithetical to the thesis of their exhibition, titled ‘Unravel: The Power and Politics of Textiles in Art’.

I wanted to bring this up a year later to spotlight the artists and collectors who decided to speak up against the institution by rescinding their works from the exhibition: Loretta Pettway (collection of Lorenzo Jegarda Leviste and Fahad Mayet), @ytobarrada, @sayawciansayaw, @deedsweaves, Mounira Al Solh, and @pacitaabad. I’ve included two of my personal favourites in this post.

My friend @ziloj has been grappling with the question of whether or not artists can enact change within institutional boundaries / through strategies of infiltration. I found this act of resistance quite impactful (reminded me of the empty spaces in @theacropolismuseum) because it effectively drew visitors’ attention towards the issue while exposing the institution’s performative activism.

This is not the first time that the Barbican has been criticised for discrimination (see @barbicanstories). It is incredibly important, now more than ever, for institutions to be held accountable for sanitisation and for repressing the voices of the people, especially while claiming to champion stories of resilience and resistance.

*Slide 1 image courtesy @censorshipatthebarbican. Text has been added. taken in Barbican Centre by @artistclassroom

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a year ago

“As humans we are consumed with desires and long for a lost utopia[...] I see the concept of a garden as a symbol of abundance, paradise, and the location for the ultimate, desirable state of being.”

Through detailed observation, New York City-based sculptor and installation artist Ming Fay (1943-2025) sought to reunite the urban individual with nature, myth, and utopia.

Fay spent his childhood in Hong Kong before studying in the United States, where he lived and worked until his passing this February. He was one of six founding members of Epoxy Art Group (1982-1992), a collaborative Chinese American artist collective in New York.

With early work consisting of industrial, minimalist sculpture, Fay made a transition towards papier mache, opting instead to create hand-made, magnified representations of natural objects. His oeuvre, while functioning as an archive of personal relics, also demonstrates an enduring curiosity towards Eastern and Western horticulture and mythologies.

Ming Fay by Arthur Mones, 1991. Image courtesy Brooklyn Museum.
Ming Fay Garden, 1996, mixed media installation. Image courtesy Artasiamerica.
Wishbones, 1985, steel tubing, paper pulp, paint, wire, and gauze. Image courtesy the artist.
Garden of Qian, 1988, installation. Image courtesy the artist.
Spiral Ears, 1995, cast aluminum. Image courtesy the artist. by @artistclassroom

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2 years ago

Bernice Bing (1936 – 1998) and her multiple identities are asserted in immediate descriptions of the artist. Look online and you will readily find that she was a “Chinese American lesbian artist,” “a survivor of abuse and inconstant foster care,” and “a community activist,” known for her work with SOMArts. However, Bing’s own writing, coupled with the few ways she has been represented both within and outside the dominant annals of art history, raise questions about how her work is historicised. Berry Campbell’s recent exhibition, “Bernice Bing: BINGO”, revisits Bing’s story and the art histories which she traversed.

How may we situate Bing in relation to the Bay Area abstract expressionists, and how do her works simultaneously reflect and resist the worlds she inhabited? Contemporary exhibitions like those held by Berry Campbell offer, perhaps, deeper insights into her life as an artist and reconsiderations of how her story has been told.

Artwork images courtesy of Berry Campbell. by @artistclassroom

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2 years ago

Had the pleasure of stumbling upon the opening of @artchmtl earlier this week - here are a few works that really stuck with me

Stasis and movement in “Empreinte de la puissance” (2023) by Mélanie Dumas

Tension, gesture, and interdependence in “Green gloves” (2024) by Jacob Lepp

Facilitating play through ruin and fantasy in “Dog Strangling Vine” (2024) by Toko Hara

The scoring of mythical domesticity in “Bibitte” (2024) by Marsha Granich taken in Place Ville Marie by @artistclassroom

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2 years ago

Jae and Cloe present their 2023 art roundup…

1. Frieze London and Frieze Masters 2023
2. Alice Neel: Hot Off the Griddle, Barbican
3. 已經看過了 I’ve already seen, current plans
4. New Moroism, White Cube Hong Kong
5. Carrie Mae Weems: Reflections for Now, Barbican
6. New National Portrait Gallery
7. David Hockney: Drawing from Life, National Portrait Gallery
8. Trevor Yeung: Soft ground, Gasworks by @artistclassroom

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3 years ago

Hi artistclassroom is alive again! We’ve missed you… here are Cloe’s picks to celebrate Pride Month 🏳️‍🌈

Featured on cover slide:
“Jack and Bill” (ca. 1970s) by Roz Joseph by @artistclassroom

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4 years ago

Michael Armitage: Paradise Edict at the Royal Academy was simply incredible; rich with religious rhetoric, the ferocities of humanity and nods to current events. Painted on Lubugo bark cloth, a ceremonial material made by the Baganda people in Uganda, most of Armitage’s large-scale canvases chronicle his observations leading up to the 2017 elections in Kenya and are jarring displays of how outlandish the country’s power dynamics have become. Each piece demands to be revisited - Armitage has hidden grotesque details and references to European imagery in his pastel landscapes, some more explicit than others, completely disturbing the promise of paradise.

Here are a few of our favourites (which is pretty much all of them):
“The Paradise Edict” (2019)
“Antigone” (2018)
“Enasoit” (2019)
“Mydas” (2019)
“Mkokoteni” (2019)
“The Fourth Estate” (2019) taken in Royal Academy of Arts by @artistclassroom

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5 years ago

Hi we are alive! And we recently paid a visit to the Hong Kong Museum of Art, which was showing “Mythologies: Surrealism and Beyond - Masterpieces from the Centre Pompidou”.

The exhibition spans the artistic development of the Surrealist movement, which was founded in 1924 by the French poet André Breton. From groovy Surrealist magazine covers to provocative compositions that draw from Greek and Roman mythologies, like that of the Chimera, Minotaur and Acephale, each work is at once bizarre and amusing - many minutes were spent dissecting each of the figures in Victor Brauner and Roberto Matta’s “Intervision” (1955), which encapsulates the Surrealist masters’ paranoia in the face of modernisation.

Here are a few of of our favourites:
“Intervision” (1955), Victor Brauner and Roberto Matta
“Minotaure No.8” (1937)
“Bacchanal Scene with the Minotaur” (1933-34), Pablo Picasso
“The Rape” (1945), René Magritte
“Bacchanale” (1933), André Masson taken in Hong Kong Museum of Art 香港藝術館 by @artistclassroom

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5 years ago

Born Lucy Schwob in early 20th century France, Claude Cahun dedicated themselves to the art of metamorphosis. Many of their photographs were taken by their partner Marcel Moore, in which physicalities transform and identities ebbb from the masculine to the feminine (the couple is pictured in the last slide.) Alongside the birth of the Surrealist art scene in Paris, they rejected gender identities at a time when queer aesthetics were still making their way into the mainstream.
Their photographs are held in the collections of museums in London, Paris, New York, and Boston, among others, and have inspired the works of many photographers today.

Here are a few of our favourites:
“I am in training, don’t kiss me” (1927) *Artwork was modified for post
“Untitled” (1929)
“Self portrait” (1925) by @artistclassroom

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5 years ago

Art Basel returned to Hong Kong last week after having all three of its international shows last year cancelled, and it stood as an exciting testament to the city’s local talents and collectors.

The fusion of satellite booths and live-streamed fair walkthroughs was quickly outshined by the emergence of Hong Kong’s art patrons and artists, the latter obtaining a large number of sales from local buyers. Leo Xu, Senior Director of David Zwirner, enthusiastically describes the increased presence of local art as heralding “a new trend in the future - the deep mining of localisation.”

For a city whose artists are frequently under-represented in art markets, Art Basel Hong Kong was the perfect platform for all the incredible works that local artists have to offer.

Here are a few of our favourites:
“Aquamarina” (2021), Sofia Mitsola *cover slide
“Balltsz and Joel” (2020), Chris Huen Sin-Kan
“Home Sweet Home: Solitary 5” (2021), Mak Ying Tung 2
“Chef” (2021), Qin Qi
“Seated woman WK14” (2007), Wang Keping by @artistclassroom

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5 years ago