Millions of people experienced and were touched by her work. Nothing stayed the same in her work: she always had new ideas, new dimensions, new perspectives. She was a fantastic artist, full of talent and heart, a wonderful lady.
I was honoured and fortunate to have worked, two years ago, on her largest exhibition, which she called “my dream”, and which we titled “Angel’s Light” or “Light”. She said to me, and I agreed, that “all the stars aligned for us to meet, to work together and to create something no one ever imagined. Your name is Angel and I have been working on angels my whole life.” The exhibition was about human existence – it dealt with our body, our heart, our spirit and fate.
My friend, you will always be in my heart and soul, and I will miss you for ever. I only wish you had lived a bit longer.
Miguel Angel Benavides
Cui Xiuwen is part of my current group show “Intersection: International Art and Culture” at the Arthur M Sackler Museum of Art and Archaeology at Peking University.
The great 18th-century caricaturist, William Hogarth, who signed himself 'Britophil', caught the mood with flattering - if double-edged - national stereotypes. People loved his beer-swilling, roast-beef-guzzling, four-square Englishmen, the 'dread and envy' of starveling, bare-foot, onion-nibbling French peasants, oppressed by lecherous Jesuits and mincing courtiers.
'Poet of Light' Vilhelm Hammershoi: The Poetry of Silence
The exhibition of the work of the Danish artist Vilhelm Hammershoi (1864-1916), entitled 'The Poetry of Silence', is part of a sequence of exhibition events held since 1986. These exhibitions have brought a wider audience closer to the mysteries of Scandinavian and Finnish art from the earliest years of this century. In 1986, for instance, the exhibition 'Dreams of a Summer Night' lit up English sensibilities at the Hayward Gallery, and was more than merely a survey of works from that period drawn from Scandinavian countries.
Architecture in Scotland 2004-2006: Defining Place
'Architecture in Scotland 2004-2006: Defining Place' is both a book and an exhibition,1 the latter presented in the unusual form of video presentations with a physical framework that includes the screen itself and the seating in front of it.
Age of Transparency and Innocence: the Changing Face of Childhood
The excellent exhibition 'The Changing Face of Childhood', the product of a collaboration between the Stadel Museum and Dulwich Picture Gallery, closed at the Dulwich Picture Gallery in London on 2 November 2007. This production now forms a lasting record of the reappraisal of a genre of portrait painting that by no means originated in the l8th century - the focus of this exhibition - but whose precedent runs back to the Renaissance period and forward into the many ramifications of portraiture in the 21st century.