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Thursday, March 24, 2005

OUCH! Took a hit in the wallet, but well worth it. I consider it a reward for the extra little bonus. Checked the wifi maps for the NYPL, BPL and CUNY and behold a whole universe just opened for me, an unlimited number of ports to call. Just one more shipment and that's that til summer blackout season. The ST was a little dive. So-so action. I saw 28 Days Later, an excellent film out of the UK and took the psychological dimension in a new direction. The place itself was so-so. Maybe Nevada Smith's is worth the cover charge. I still have to see MoMA.

Thanks Google, for the cold, hard cache.

Armory But Not Dangerous
by Choire Sicha
If last week’s contemporary art fair, the Armory Show, and its 162 galleries is any sampling of the state of the art world—and the owners of that fair would like you to believe it is—then things are in such great shape that we’re totally screwed. It’s hard to criticize a trade show for being, well, a trade show. Throughout its seven years as the Armory Show, and in its previous incarnation as the Gramercy International Art Fair, this beast has, at moments, been the largest and most realistic reflection of New York’s—and sometimes even the world’s—contemporary art commerce. Dealers never brought the best of the best—that stuff’s not for public consumption—but they’ve always tried to make themselves look good. That made it buzzy and fun: Once upon a time, the art was surprising, sometimes ugly and sometimes downright nasty—but better yet, the fair displayed enormous egos and riveting internecine political machinations.

But the fun—like most of the paintings—is on hold. Deep pockets have been turned out for the sake of art, and younger, once-suffering gallery owners spent the week whomping on the passing hedge-fund managers like kids around so many pinstriped piñatas to get their share of the candy. And? They were pretty much all smiles (if occasionally serrated ones) and polite thank-yous while they did it. This year’s Armory reflected the happy-sad state of New York’s art-dealing business today: For this brief moment, it’s a successful, characterless bore. Retinal pleasure divorced from conceptual drive abounded this year. On the Armory’s two piers of art, jutting like giant candy-bar racks out into the Hudson, where once bestiality was all the rage, now but a single sculpture could be found depicting human-animal intercourse. (Well, that’s probably a good thing, artistically.)

Lately, New York has been getting another kind of art stuffed down its craw every time it yawns. Christo and Jean-Claude’s The Gates sent swarms to Central Park—four million of them, 1.5 million from out of town, according to the city—and for what? Attendance at The Gates was in keeping with a strong liberal (and totally Clintonian) idea that art is good for you. It’s why suburban folks drag themselves to lackluster productions of Shakespeare plays in Middle America, why high-school drama departments exist: Somehow, appreciation is supposed to make us better people, and we’re instilled with a queer and inchoate piety for art.

Many came away unimpressed, and they were right: The Gates was the least intrusive, least aesthetically thrilling and least political of any of their works to date. Nice art isn’t good for anyone. And as New Yorkers, we’re supposed to be better than that. We’re supposed to like our photographs and our music about screwing and drugs. In contrast, Armory fair organizers were reportedly even nervous about a massive Ivan Witenstein sculpture installed by the Public Art Fund at the entry to one of the fair’s piers—it depicts Gandalf on a raft with Huck Finn and Jim. (It also was close to being the only piece of political art on view, though its actual politics were unclear.) Art shouldn’t be good for everyone—in fact, it should be very, very bad for at least some.

There’s a bit of logistics that power the dullness at the Armory, besides space constraints and the whole merch mall thing: Most artists are compelled now to make, in addition to whatever they need to manufacture for upcoming exhibitions, work specifically for sale at fairs—often as many as three a year. (Art Basel takes place in Switzerland in June and again in Miami in December; the new but influential Frieze Art Fair takes place in London in October; and the Armory now holds to its slot in March.) Dealers use these fairs to preview upcoming changes in their artists’ work, but more often they bring the kind of thing that they know they can unload on their second-best (but still dear) collectors. So, focused on the products of the workshop system, there’s not much drama to latch onto—either as a visitor or as a visiting celebrity. "Everyone knows they didn’t finalize their V.I.P. schedule until the last minute,” said someone—after a few cocktails—who worked for the Armory Art Fair, at the end of last week’s hard-drinking, flesh-pressing art marathon. “The reason everyone loves Miami is they have such good parties. This was such a ramshackle operation. The opening-night MoMA preview was a total bust. In Miami, they sold out opening night. But here, in the epicenter of the art world? Uh-uh. In Miami, it’s a feeding frenzy.”

“A total bust” might not be fair, although a few dealers partly agreed with that assessment. The Armory’s Thursday-night opening was buzzy enough: Denise Rich was there with a pack of overtanned queens. And alert! Mike Ovitz incoming! Even Isaac Mizrahi found himself shopping. But really, not much selling happened at the pricey MoMA-benefiting opening party itself, perhaps in part because Wednesday is the new Thursday: The day before the party, while the dealers were still setting up, folks like Michael and Susan Hort, the painting-hungry TV executive Dean Valentine and even fellow dealer Jeannie Greenberg Rohatyn were said to be buying. Arts consultant Sheri Pasquarella, a former director of the recently closed Gorney Bravin and Lee and a co-founder of the upstart New Art Dealers Alliance, brought clients on Thursday: “They enjoyed themselves, but in the interests of full disclosure, I got in on Wednesday, and I was sort of … not surprised, but slightly frustrated by the fact of how many things were already on reserve on Wednesday at 3 o’clock in the afternoon. So I spent five hours placing secondary reserves which I didn’t get.”

“People who look at red dots and think the work is sold are giving into the fiction,” said Tyler Green, art critic for Bloomberg News. The work on view may or may not be sold or for sale—but it’s quite possibly not for sale to you, and who’s to say that painting’s the same price for you as it is for real-estate king Jerry Speyer or Miami bigwigs Don and Mera Rubell? It’s only natural that big, gallery-supporting collectors would be steamed if they weren’t offered the work before it’s put up to be slobbered on by the hoi polloi. That kind of surprise is enough to sour a great relationship. So what’s a dealer to do? (Critic Charlie Finch sympathized, in his way, on “Armory visitors might try something novel instead. They might visit some art galleries!”) “Before the fair opened,” said Ms. Pasquerella, “I heard talk of a lot of the bigger galleries saying they weren’t doing it again this year. They’d do the ADAA fair”—the annual show by the Art Dealers Association of America, with more big-ticket items, more modern than contemporary—“or not do it at all, because of Basel and Frieze. I’d be curious to know if their opinion has changed.” There are mundane challenges that the Armory faces: “Miami in December is beautiful. New York in March is fucking disgusting,” said one New York dealer who didn’t make the Armory cut this year.

Worst of all, there was a near-total lack of cat-fighting and drama—apart from niggling bits, like, hey, what was Catherine Opie’s work doing in Barbara Gladstone’s booth? Wasn’t she going to be showing at Mitchell-Innes and Nash? And which dealer recently had a 28-day vacation of sorts and might not be paying appropriate attention to his or her tax filings? There were little moments that told stories of the year in art. That Christian Haye, owner of The Project, quietly installed only one piece of art in his booth for sale, after his gallery had just been hit with a $1.7 million judgment on behalf of a disgruntled collector-investor, spoke to the legerdemain and secrecy of art dealing. In fact, the financial milieu of galleries is in keeping with the most libertarian of politics: Art galleries, after all, are only the tiniest of corporations—the very largest of them certainly don’t employ more than 200 people—and as a small industry, they are largely ignored. But the industry has few corners left to cut. Just last summer, swanky dealer Thea Westreich pleaded guilty to failure to pay sales tax on $5 million worth of art. And over the years, the Manhattan D.A.’s office has picked off a number of tax-evading collectors.

Then there’s the Invasion of the Euro. Not content to take up seats in restaurants, ordering everything on the menu because it’s “so cheap,” and buying buildings as if they were studio apartments, Europeans are snapping up art in New York like it’s going out of style. (Come to think of it …. ) It was totally common to hear prices quoted in euros and pounds at the fair. Both Marianne Boesky and Matthew Marks, unwilling (perhaps contractually so) to take a hit on currency fluctuations, have recently posted price lists for overseas artists at their galleries in pounds. Like the real-estate brokers before them, art dealers must love this bubble while they can: Even Mary Boone is reportedly up to her old tricks, waving big cash under the noses of young artists to induce them to jump ship from li’l galleries. And dealers are encouraged by the Armory’s accompanying Darwinism: With a few dozen gallery booths cut from last year’s fair, many dealers feel like the culling of the herd resulted in a more streamlined, and more profitable, fair. Ho-hum!

All art fairs have a life span: Art Chicago was, until fairly recently, an epicenter of business, but in terms of buzz and quality participation, it’s currently face-down in the shallow end. The Armory Show will—like the rest of us—die someday. Given the competition from the new monster Basel fair in Miami, without this year’s tidal wave of bubble cash, the Armory might very well have begun its walk down the stony end. In some regards, some say it already has. “In terms of an art-world industry convention, where collectors, curators, artists and critics gather, the Armory is really a distant second,” said Tyler Green. Holland Cotter, reviewing for The New York Times, noted the “dominance” of “object-fetishism”: The emphasis on merch, even as almost top-drawer as it was, made the show itself less cutting-edge, less exciting than the hot conceptual sprawl of Miami.

The week’s lackluster art-partying wound down on Saturday night with Artforum’s fairly sexy party at Dia—P.S. 1 curatorial consultant Bob Nickas with a posse of at least 20! Curator Thelma Golden in Prada! Horny French dealers looking for tips on the sleaziest gay bars!—and on Sunday, the final nail was hammered into the coffin with the opening of Greater New York at P.S. 1, the second of that institution’s career-making show of young New York–based artists. A row of cash registers jingled merrily all day long as hipsters paid admission to MoMA’s bastard stepchild. Dealers woozy from the Armory’s toxic-building syndrome—“The new carpet, as beautiful as it is, has been giving off horrible fumes all the time,” said one dealer—came out to check out the children, although admittedly, most of them were a known factor in Chelsea circles.

Earlier in the week, a fake press release had circulated for the show, a prank written by parties unknown. “Initially, 30 curatorial staff members from P.S.1 and MoMA reviewed the work of more than 2000 ‘emerging’ artists; from promising high school students to seasoned recent graduates of MFA programs, to the artists of persistent dealers,” it mocked. But that’s missing the point … sort of. All the world’s a fair, baby—and the dealers, the fairs, the museums and the collectors are interconnected in deeply unwholesome and permanent and, most probably, totally vital ways. Then, late Sunday night, a boat launched from the South Street Seaport carrying the partying artists in the P.S. 1 show. The boat had an open bar; to the consternation of the young artists, it was only stocked with beer, which they drank shivering as they swam circles around Manhattan.

Sunday, March 20, 2005

P's test had some indicators on it. Not again. Not again. We'll find out soon enough. At least it was caught early. No fear. No fear. March on through the storm. Don't be afraid of the dark.

Thank you, JJ and NYPL. Good days are on the horizon.

Brilliant panopticon essay from Cartome

David Horowitz is SUCH a troublemaker! GOOD JOB!

Sunday, March 13, 2005

The 2005 Armory Show: The International Fair of New Art

Some artists were well represented, as many of these galleries likely snatched up any new work produced. And to all those snickering at the Bush/Blair video installation, FUCK ALL OF YOU!

Florian Maier-Aichen at Blum and Poe in Los Angeles. This is my kind of photography. Industrial, isolated and scale. Fine pieces of work.

Tom McGrath at Zach Feuer. Can I spot it or can I spot it, huh? I blogged this artist way back when and knew he was going places.

Anish Kapoor's very original sculptures are monolithic and commands a presence all its own.

Haunch of Venison out of London had some Keith Tyson. The man is a bridge between abstract and representation. The key is the conceptualization: The math and design that leads up to the canvas.

Lisa Yuskavage at Marianne Boesky. Me likely very much!

Casey Kaplan Gallery showcased a variety of promising artists.

Sean Kelly New York had James Casebere's ethereal and haunting photos of monastery interiors.

Lisson UK had a few good ones from Julie Opie, Anish Kapoor and Jonathan Monk.

Frank Thiel's better works at Galerie Krinzinger out of Vienna.

Mai36 had very well done photos from Troy Brauntuch, Thomas Ruff and Jorg Sasse.

Kukje Gallery's Kwang-Young Chun's tromp l'oeil relief "painting" defied definition.

Catriona Jeffries had Ian Wallace's street level works.

Robert Longo is arguably the greatest drawing artist today, with his overwhelming, epic sense of scale. No online image can adequately convey the experience of standing in front of these omninous pencils of mushroom clouds, NASA imagery and sky panoramas.

If Armin Boehm from Germany builds on his body of work, he will quickly become one of my favorite landscape artists. His starry night skies and traces of civilization in the foreground. Brilliant fantasy art. Meyer Riegger Gallery.

Photos from Clegg & Guttman at Christian Nagel out of Berlin. Markus Selg's mythological paintings were quite disturbing. Gods and demons out of an otherworldly Bible, incorporeal and disconnected from reality. Keep your eye on this innovator.

More Keith Tyson concept pieces at Pace Wildenstein. No description, no props, Wildenstein...

The catalog had a great one from at Galerie Roger Pailhas, but alas, no link, no props.

Daniel Arsham. Link please?

Sylvie Fleury's strange little sculptures at Eva Presenhuber

Eigler Essler's soothing paintings at Thaddeus Ropac

Lia Rumma out of Milan had a collection that was well represented at this show. If this is any indicator of what passes for contemporary art, then Lia Rumma has her finger on the pulse of the world of modern art. Clegg & Guttman photos, Alfredo Jaar, Mimmo Jodice, William Kentridge and Thomas Ruff.

Diana Stigter from Amsterdam had some well executed dark paintings and portraits by Iris van Dongen, like Japanese inks but with an evil aura.

Some great shots by Alain Bublex at Galerie Vallois.

Thomas Ruff industrial photos and Stan Douglas videos at David Zwirner, one of the assailants of this little affair.

Finally: Why does everyone love Bush so much?
My answer: BECAUSE AMERICA LEARNED FASCISM FROM EUROPE, BEE-OTCH!!!! Ok, maybe I was a little harsh. I'm still down after Manchester got booted out of the Champion's League. Alas, there's still next year.

Tuesday, March 08, 2005

Hold your heads up high, men and don't be afraid of the dark!!! Walk on through the storm!!!

Manchester United v AC Milan
Ferguson defiant in the face of history

Daniel Taylor in Milan, Tuesday March 8, 2005
The Guardian

As if trying to emphasise their famed spirit of togetherness, even Manchester United's injured players had requested a seat on flight BHP 811 into Milan's Malpensa airport yesterday. United by name and united by nature, and they will have to be if they are to overturn a 1-0 first-leg deficit at San Siro tonight. To understand the enormity of the task confronting the Premiership's second-placed club, a brief history lesson: Milan have won this competition six times and have not lost a knockout match at home in the European Cup since 1979, when Nottingham Forest were champions and Sir Alex Ferguson was rebuilding his managerial career after being sacked at St Mirren. If that is not enough to engulf United's 9,000 travelling fans with foreboding, the historians would have to go even further back, to 1957 to be precise, to locate the last occasion when England's biggest club, facing Athletic Bilbao, won a two-leg tie in Europe having lost the opening match.

Of course United can also hark back to the semi-final in Turin six years ago and a 3-2 win that began with Juventus scoring twice inside the first 10 minutes. Ferguson never tires of reminiscing about that night: the havoc that Dwight Yorke and Andy Cole caused in attack, the fearlessness of his players and, from Roy Keane, "the most selfless individual display it has been my privilege to witness". Yet he is sufficiently educated in Italian football to know that the inevitable comparisons between then and now are fundamentally flawed. "For starters, Milan are better defensively than Juventus were," he observed.

This was one point that Carlo Ancelotti, the Juventus coach in 1999 and now in charge of Milan, was happy to corroborate. "This match is completely different," he said. "First of all, we won at Old Trafford while Juventus only drew their first leg 1-1. Secondly, Juventus were completely out of the title race in those days, whereas Milan are top of Serie A. This Manchester side may be as strong as that which won in Turin, but I'm sure that we, Milan, are in a better condition than Juventus were. We are in great physical and mental condition." No wonder then that Ferguson believes this to be the toughest of all the challenges he has faced since moving to Old Trafford in 1986.

The manager showed occasional glimpses of defiance, but at other times he was uncharacteristically pensive, and his face crumpled with disgust when it was noted that the referee will be the German Herbert Fandel, who infuriated United with his handling of their defeat at Porto last season. "He needs to be 100% here because the whole world is watching," Ferguson said. On a more optimistic note, the Scot highlighted his team's powers of durability and sense of unity, a quality that has been nurtured over years and explains why Gary Neville travelled to Italy despite being ruled out and why Ole Gunnar Solskjaer - remember him? - interrupted his rehabilitation programme from a knee injury.

Given that United were unable to score against Crystal Palace on Saturday, a Milan defence of Cafu, Alessandro Nesta, Jaap Stam and Paolo Maldini, possibly reverting to left-back, represents a formidable barrier. Alternatively, Wayne Rooney and Cristiano Ronaldo have the opportunity to live up to their reputations as big-game players. It would be a huge disappointment if Ryan Giggs is as subdued as in the first leg and, in Van Nistelrooy, Ferguson can count on a striker with the most impressive statistics in the competition, having scored 36 goals in 36 starts.

"He's ready in terms of fitness," Ferguson said of the Holland striker who has started the last two Premiership games after missing three months with injury. "There's no problem with his endurance, the mental side, his confidence or the physical part. What we don't quite know is his level of sharpness." Van Nistelrooy, in his understated way, attempted to answer that, confirming that he is "definitely improving". Yet Ferguson refrained from claiming, as he had done in Turin in 1999, that he was "convinced" United would score an away goal. "It's an extremely difficult game for us," he admitted. "I hope we get a really top performance because we're going to need one."

The key clashes

Hernán Crespo v Rio Ferdinand
The Argentinian was anonymous at Old Trafford until emerging from Ferdinand's shadow to score the decisive goal, for all that it owed much to Roy Carroll's dreadful error in goal. That will lift the borrowed Chelsea striker, arguably only playing due to Andriy Shevchenko's fractured cheekbone. United will need Ferdinand, who sets their tone at the back, to be at his best if they are to keep the clean sheet required.

Kaka v Roy Keane
Keane was booked but brilliant at Juventus in 1999 and he propelled United, improbably, into the final. 'I didn't think I could have a higher opinion of any footballer than I already had of the Irishman, but he rose even further in my estimation at the Stadio delle Alpi,' said Sir Alex Ferguson in his autobiography. United will need a similar display from their captain if they are to snuff out Kaka, the creative hub around which Milan's team revolve. The Brazilian missed late chances in the first leg but was still pivotal to many of the Italians' attacks.

Gennaro Gattuso v Wayne Rooney
The former Rangers midfielder will snap at Rooney whenever he bursts on to possession, the withdrawn role likely to be given to the teenager dragging him directly into those areas patrolled by Gattuso. Rooney usually revels on the biggest stage and refused to be overawed in the first leg, but his marker - all energy laced with snarl - will be out to stifle.

Jaap Stam v Ruud van Nistelrooy
The Holland centre-half was denied a game at Old Trafford by injury sustained in the warm-up, but he is keen to face his compatriot. Stam is used to the threat offered by Van Nistelrooy, though the striker made only a fleeting appearance in the first leg, was off-colour at Crystal Palace last Saturday and is only steadily rediscovering his bite. This would be an ideal occasion for him to rediscover the form which produced eight goals in five appearances during the group stage.

Sunday, March 06, 2005

Flamenco Dancer III
by Fabian Perez

Art Expo is the un-elitist, democratic art fair, accessible to the masses and since a large part is commercial, and the exhibitors are more interested in making a living than making a statement, the wheat is separated from the chaff if you know what I mean. More product than the Art Dealer show and Armory show COMBINED! Good walking shoes required if it is to be taken in within a single day. Thanks to the Kronos Quartet's Early Music in the ol' CD-ROM, this review is a nice, quiet, Sunday morning, almost making me forget that Crystal Palace held Manchester United to the DRAW!!!!! GRRRRRR!!! Oh well, on with the reviews:
Rough, organic figures of silverware, scarred with life's welding and soldering burns, a stainless steel demon, a Metal Elemental out of the Plane of Fire.
"Abandoned Dwellings" an alien pyramid for the Art Bell listener.
Metal Dude's intimidating, otherworldly metal creatures from a cybernetic post-apocalypse.
Post-industrial abstracts from Edward Lentsch. Disintegrating metal from a NIN album cover.
Paul Jackson is a very versatile painter whose body of work includes highly detailed Vatican scenes, Impressionistic cityscapes of NYC, still-lifes and animals. Superb and one of the highlights of the show.
Choice Collectables is an animation collector's dream. Signed, cells, sketches and a huge collection of Alex Ross works. (The greatest comic book cover painter, IMHO)
Toms River Gallery is one of the more eccentric galleries, with objects from the Rainforest cafe. Celebrity portraiture, surrealist works and cartoons were represented, but the sculptures stole the show. Violin playing half-animals, latte-sipping giraffes and undefinable hybrids. The sculpting and hand painting style bestows a unique personality on these creatures.

La Boheme Fine Art (Florida)
An abstractionist gallery with a first-rate catalog fir Andres Lacau. The incongruity and confusion of modernity; man as a shattered Greek sculpture.
H. Leung, Thomas Leung & Richard Leung is another highlight of the show. Vivid tropical and mountain landscapes with exploding with color and life. The artists have a firm grasp of contrast, diffusion and tint.
Fabian Perez will be followed by this art buff. In a dark, smoky, concealed Expressionistic atmospheres he captures the essence of beautiful women in bars, restaurants and bedrooms. Very erotic and I was quite impressed. There are nudes painted in light sensual hues, there are technically perfect nudes in fantasy art and nudes in abstract. Perez is none of them, and yet achieves a darkly iconic style in his flamenco dancers, ballerinas, bartenders and street walkers. Their figures are posed, stretched and contorted in a way that conveys power and control of motion, this man has an eye for the heart of dance and the "fluidity of biomechanics" there is rhythm coming out of the canvas. That's how good these works are.
Anne Anderson's custom baby tigers and cheetahs. These sculpture can be your high-end stuffed toys.
Philippe Guillerm's warped and lively string instruments as sculpture and as functional furniture. Violins and cellos descending ladders, drinking wine and even undressing.
Stainless steel and brass sculptures with a Futurist touch.
Nice fantasy tropic scenes, but MASTER of Artists? Not so fast, buddy.
Karen O'Neil's classic sports memorabilia.
Jia Liu's nude concubines from the old country. Mmmmmmm, concubines....
No WAY they have Carravaggio's Supper At Emmaus. Must be a print. Even a reproduction wouldn't be seen in a second-tier museum.
Intriguing painting-like metal sculptures from a free-spirited lad.
Hamilton Aguilar's cold and kinetic landscapes, as viewed from a speeding vehicle. At first, solidly structural, but the Gerard Ricther-like phase-shift and distortion brings the paintings into motion. Brilliant.
A. Magill's nostalgic renditions of sepia photography, the warm glowing sun of embellished memories.
Lemya el Sophia's hard-edged abstracts and industrial landscapes.
Michael Leu's Cubist cats.
Szabo's bronze sculptures, a new satirical and fantastical take on conquerors and rulers.
Thomas Barbey, a technical master of surrealist photography and perennial favorite.
I'm don't have much of an eye for porcelin but the beautifully glazed and composed vessels by Kuroki Kuniaki were another highlight of the show.
Quaint scenes of cafes and shops on the narrow, ungrid-like streets of Olde Europe.
Fantasy art and fascinating Kabbala themes with an apocalyptic context on the website.
Needle painting on silk. A lost art of the Far East.
John O'Brien's scenes of "old man" bars. Jokes and songs and plenty of ale. Good times, good times. Home is where the heart is.
Tanya Pitre's brilliant fantasy sculptures. A druid's delight.
A great sense of humor from these guys, but as a buddy commented, if you have to ask, you can't afford it.
Wolf Rossborg's grey skies, almost primordial.
Dimitri Danish's spectacular Italian street scenes, a modern master in the Romantic style. Another highlight of the show!
Michael Cheval's fantasy art, right out of Cirque du Soleil. Nice website too.
Martin Driscoll's blokes at the ol pub. A good sense of theatrical composition.
Various artists. A good selection of sculptures. I like the Einstein bust.
Impressionist nudes on acrylic, watercolor and silk. Light up a cigarette after seeing the site.
A commercial surrealist photographer! It looks like Laurie Klein's main line of business is wedding photography, but what range and talent!
A huge collection of Disney, Peanutes and Warner Brothers cells and prints. Even a fair amount of Simpsons and even Family guy paintings.
Rich, heavily saturated abstracts. A liquid acid trip.
Josephine Wall's fantasy art of Gaia and other mother nature themes.
With massive landmarks lifted and levitated into the world's glistening metropoli, Jeff Gilberthorpe certainly has an imagination for scale. An audacious sense of history and optimism in this age of cynicism. The final pleasure of the show.

Great Wall of China over Hong Kong
by Jeff Giberthorpe