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    Supporting Creativity & Philanthropy Captured by China Daily, November 2013

    Emily de Wolfe Pettit and her colleague Li Yi Hui were delighted to accompany Ian Charles Stewart of the ground-breaking foundation Wheels Plus Wings on a journey into Hebei province to visit Wang Meng Xing last month, a budding artist with a remarkable personal story of art's creative power over physical adversity. Our visit was recorded by China Daily.

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    Press for Chi Ming & J S Tan: The Fine Art Society London and Atkins & Ai Beijing Joint Summer 2013 Exhibition

    The Fine Art Society Contemporary is presenting the work of two bright young stars of the Beijing art world, Chi Ming and J S Tan. Following on from their joint exhibition with Atkins & Ai Gallery, Beijing, last year, Testing Freedom’s Temperature will mark the London debut for both artists. Visually the artists differ, but explore the same pervading themes of their young post-Mao generation and raise questions about the implications of China’s economic and cultural change. For two decades Chinese youth have lived, unlike their elders, without the ‘religion of Mao’. Theirs is a new culture with bigger boundaries and rampant materialism. “The works of J S Tan and Chi Ming, in radically different ways, harbour the stirrings of a complex adaptive reaction to the de-centering of our modern institutions. The honesty of their felt experience and their ability to explore dialectics in their art are a testimony of their talent as artists and as bold forerunners of a generation in transition.” - Michelle Ho (Atkins & Ai Gallery Writer)

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    Recommendation on CNN Traveler for Peking Art Associates, formerly Arts Influential China, May 2013

    Leading up to the 2008 Olympics, Beijing went on a hotel building frenzy. Unlike in other Olympic cities, however, long after the medal winners moved on the tourists kept coming. The newest hotels to hit China's capital are seen as ambassadors of the new Beijing. A graphic rendering of Rosewood (left), due to open later this year. Slated for an autumn opening opposite the CCTV Tower, Rosewood Beijing will be the Texas-based group's first foray into China. The 284 apartment-styled guest rooms and suites average a spacious 50 square meters. Facilities will include seven food outlets, indoor pool, gym and yoga studio. An on-site spa will feature six private treatment rooms, while spa addicts can opt to stay in one of the five spa suites. The Beijing hotel will feature artworks sourced by curators Arts Influential China. - By Tina Hsiao & Jules Kay for CNN

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    Conde Nast Traveller & Coutts’ “The Experts” with Emily de Wolfe Pettit as selected Art Buff for Beijing, March 2013

    Mandarin-speaking, Oxford-educated, Australian-born de Wolfe Pettit, is an art advisor, curator and dealer, all neatly rolled into one. This means she can help you whether you're a newbie collector looking for the hottest, up-and-coming name, or a serious player with a mind-blowing budget who wants to visit painter Zhang Xiaogang at work in his studio before pocketing half a dozen pieces to take home. She's got her beady eye permanently on the market (much like Charles Saatchi, who is all aflutter over the Chinese scene), keeping track of auction records and sales, and has an encyclopedic knowledge of which artists are exhibiting where and which emerging ones you need to know. If you would like to visit a private Chinese museum or pop into a heavyweight collector's home, she will whip out her iPhone and have it sorted in a jiffy.

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    Vernissage TV, Broadcast of Interview with Chi Ming, November 2012

    ‘Chi Ming – JS Tan: Testing Freedom’s Temperature’ displays the works by Chi Ming (Yan Tai, 1984) and JS Tan (Hong Kong, 1986). Both artists, associated with their country’s leading art professors and two of the world’s finest art colleges, CAFA in Beijing and Rhode Island School of Design in USA, explore processes of freedom and liberty through their artistic expression, the power of choice and self-determination. Placing their works side-by-side, it is interesting to witness the sensual quality of Tan’s ink and charcoal works, full of discipline and unambiguity, together with the hot-headed Chi Ming’s oil paintings, captive of his desires and intimate scenarios. - Diana Coco

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    Suite 101, Atkins & Ai Gallery Recommendation, February 2012

    Today Art Museum is housed in an ex-brewery by the railway tracks in south-east Beijing. There’s something about the location that makes it feel cutting-edge. The museum was inaugurated in 2006 with an exhibition of Fang Lijun’s work. It houses a permanent exhibition, albeit of on-loan items, and holds temporary exhibitions. There is an excellent bookstore, restaurant and souvenir shop, the whole redolent of Tate Modern. There’s also an art club and workshop facilities. Art Today Museum was the brainchild of property developer Zhang Baoquan. As such, it is set in the Pingod Community of new apartment buildings, but wherein International Art Plaza is being developed. Worthy of particular mention is Emily de Wolfe Pettit’s Atkins and Ai Gallery, which works with both established and up-and-coming artists. There have been fascinating solo exhibitions of the work of Jiang Shan Chun and J S Tan. “Fantasia in Ink Major” featured the work of the young ink artists Qu Weiwei and Li Yongfei. - Mark Azavedo

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    OEO, Strategic Design Consultancy, Gallery Recommendation, October 2011

    If you are in Beijing or nearby – ATKINS & AI GALLERY is a must go for watching and shopping art. The gallery has an intimate feel and atmosphere. Christopher and Emily have a long experience, a great eye for art and talent and this is for sure a great place to visit if you want to invest in art from China. Atkins & Ai Gallery is privileged to announce the inaugural solo exhibition of artist J. S. Tan. Hong Kong-born Tan hails from the prestigious RISD, Rhode Island School of Design (B.F.A) and Brown University (B.A.), Providence, USA. His works are contained in notable public collections, including the Chevron Corporate Collection, Beijing and Nanjing, China, and the Western Academy of Beijing, China. - Thomas Lykke, Creative Director, OEO

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    Exhibition Essay featured in the Inaugural Journal of The Royal Asiatic Society in Shanghai, April 2010

    "The background to the 17th century movement of Vanitas and its particular flourishing in Holland was a society that had just undergone huge upheaval through the North European Reformation, ousted the Catholic overlords and embraced Protestantism housed in severe, unadorned churches, witnessing a dramatic decline and indeed prohibition of some forms of religious art. The usual sources of patronage –the Church and aristocracy – were superseded by an increasingly prosperous middle class, whose insatiability for acquiring and displaying art (even a local eatery would be adorned with delicately rendered works) led to the burgeoning of a range of genres, most notably large-scale landscapes and emblematic still lifes, such as vanitas that befitted the pious and hardworking Protestant aesthetic. Though their outlook mellowed as their security increased and their wealth grew, these Dutch burghers of the seventeenth century never accepted the full Baroque style which held sway in the south and throughout Catholic Europe.. Where the 17th century Dutch school saw new artistic genres develop in a premeditated move away from dogmatic and ideologically-centred art work, in China too there is arguably a deliberate departure now from the work characterised by references to political ideology of recent Chinese art history... While social and political ideology and dogma have largely been the mainstay of male artists, it is female artists living and working in China today who have been most responsive in exploring the individual's personal plight in the ever changing context of modern-day China, often through a return to the quotidian. - Emily de Wolfe Pettit

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    Preview of Yang Jing’s Solo Exhibition, Curated by Emily de Wolfe Pettit, Art Map Journal, China, April 2009

    While social and political ideology and dogma have largely been the mainstay of male artists, it is female artists living and working in China today who have been most responsive in exploring the individual's personal plight in the ever changing context of modern-day China, often through a return to the quotidien. In the work of artists such as Yang Jing and her female friends and peers, elements of Vanitas in various forms gather pace: in the series 'A Piece of Life', Liang Yuanwei emphasizes processes rather than outcomes, with emphasis on the rendering of textures, colours and particularly forms, to the point that the search for solidity is deliberately undermined through her sobering repetition of domestic, old-world patterns – or to a different mind's eyes, a re examination of beauty through morbidity and the finite; Song Kun's protagonist 'Xi Jia', whose personal journey addressing a kaleidoscope of human emotional experience, shows her through the delicate agency of graphite drawing on diaphanous surfaces and an array of fragile media, such as broken glass, cotton or antique baubles; and elsewhere, Yang Liu has dedicated herself to a body of work over the past two years in which the defining cornerstone is the motif of decaying books from which trees soar with the triumphant view of natural phenomenon over man-made artifice – and in which vanity lies not in the insatiable desire for earthly possessions, but in the possibility of attaining Reason. - Emily de Wolfe Pettit

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    Art Notes Asia, Review of ‘My Memento Glory’, Yang Jing Solo Exhibition, Curated by Emily de Wolfe Pettit, April 2009

    Vanitas art of 17th century Holland, associated with the transcience of human existence, obsession with beauty, material possession and mortality are subjects found with increasing regularity in the work of artists, and particularly female artists in China. Beijing-born artist Yang Jing’s paintings simultaneously draw from the cyberpunk trend of anime and film and a more contemplative return to essential questions of the individual’s existence. Perhaps this work echoes the concerns of the young, predominantly only children and nuclear families; a burgeoning middle-class that is the future and audience for contemporary art in China. Yang Jing’s exhibition opened in Shanghai on 29 May 2009 at Andrew James Art, curated by Australian Emily de Wolfe Pettit, director of an independent, China-based arts consultancy. emily@artsinfluentialchina.com - Reg Newitt

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    The Field Magazine, London, Interview between Godfrey Barker and Emily de Wolfe Pettit, August 2008

    Charles Saatchi has bought cleverly in the past, but is he crackers paying so much for Chinese contemporary art, asks Godfrey Barker. Now he is just one individual amid a second, 21st-century wave of buyers from China, Hong kong, Taiwan and Indonesia. They drive the market and their taste will determine future values, not that of buyers from the West. Put bluntly, is Saatchi’s taste Asian enough for safety? “Yes and no,” is the careful reply of Emily de Wolfe Pettit, the Peking and Shanghai-based dealer who advises Western and Chinese buyers. “He buys art that the Chinese like, art which explores the cross influence of East and West. But he also has a large grouping of works with political messages, easily identifiable as Chinese to the Western eye. It’s an open question whether this highly political painting, much of it thick with Chairman Mao iconography, has long- term appeal in China..." “Taste in the 21st century will be shaped by the reputable China-based dealers, not by those in London – by professors such as Xu Bing and wealthy Chinese collectors, not just from Peking but from Shanxi and beyond,” she says. “They are less engaged by politics than by a reworking of classic traditions – for example, the painting of ink-brush works..." - Godfrey Barker

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    Ullens’ Centre Opening, Beijing: Report for Collectors, November 2007

    To say that the atmosphere was buzzying would be an understatement. This was a spectacle interweaving so many stories it could have been taken from the Qing Emperor's Kangxi or Qianlong's pictorial handscrolls that ran into the tens of metres. At the centre of it all, a Belgian Baron and his wife; the setting, a pristine Bauhaus-style space in an ammunition factory turned arts district, during the Cold War known only by its code number, "798". Like the scrolls that recorded the journeys of the Qing Emperors' in surveying their kingdom, the occasion of the Ullens' Art Centre opening on a frosty November 3rd evening in Beijing amid much fanfare and captivated audiences to the biggest stars across the spectrum of Chinese and western art – from Cai Guo-Qiang and Sui Jianguo to Sir Norman Foster and Anish Kapoor - also revealed considerable journeys: of 'arriving' and returning. It too was as much about art as making statements, and serious ones. - Emily de Wolfe Pettit

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    CCTV Televised Interview with Evelyn Lin & Emily de Wolfe Pettit at Sotheby’s Hong Kong, October 2007

    At Sotheby's autumn sales on Sunday, Chinese artists have racked up new records. The stunning new prices highlight the world's new enthusiasm for contemporary Chinese art. What's more, experts believe this is just the beginning. Evelyn Lin From Sotheby's Hong Kong said, "The market has matured over two to three years. New records have been set in the last two years. Many experienced collectors have started to release the artists' early works. Like the auction this time, there are many early pieces of the artists. That's the main reason they are breaking records." Emily De Wolfe Pettit, Director of Arts Influential China, said, "In terms of other big name international artists, contemporary and modern, the prices are actually relatively low in comparison, if you think of a Rothko going for 72 million. So the potential for the Chinese market, now that the mainland Chinese are diversifying their acquisitions and so on - this is just the beginning." - Nina Mehra, Reuters, Hong Kong

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    Vignettes on Art Basel, June 2007

    The most thought-provoking was arguably to be found at Art Unlimited:- Xu Zhen's staged invasion of China's neighbours Myanmar, Mongolia and Russia with toy war vessels - a story whose fey facade revealed many of the enduring attributes of the Taoist philosophy of 'wu-wei' upon deeper reflection. Omer Fast's anticipated video focused on miscommunication in two stories of a US soldier told in parallel – one depicting his time in a warzone, the other an ill-fated love affair in German. All in stills with voice over, it reinforced Noam Chomsky's contention that language must be studied in the context of human interactions. The alienating, Kafka-like industrial settings of Mayer's 'Encounters' created an unsettling backdrop to romantic dalliance. Finally, Vallance's humourous project in which the neckties he had sent as gifts to Heads of State around the world, from Tehran to Tokyo, went on display. With accompanying letters of reply, each case provided a revealing look at cultural etiquettes, mostly all too conforming to stereotypes, over the considerable course of thirty years. - Emily de Wolfe Pettit

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