Michael Xufu Huang, Co-Founder at M WOODS Museum, Beijing: on ART
https://www.quora.com/session/Michael-Xufu-Huang/1
How do you envision how modern art will change in the next 20 years?
Michael Xufu Huang, Co-Founder at M WOODS Museum, Beijing
Of course I can’t predict the future but I do believe that every period of art has its own specific language and something which shapes it. For instance religion played a major part during Renaissance, the Impressionists were influenced by photography and artists in the 70s and 80s embraced video and moving image.
Now we are living in a period which is hugely influenced by the Internet and the connectivity that it enables. We interact with the world or receive information through the means of technology. Everything is affected by this and naturally art, as a mirror of our times, is the same. Lots of art already employs the language of the Internet, or of the digital.
So for the next 20 years I guess art will continue to be guided by the developments around us, politically, technologically and psychologically. Realities and social issues are revisited through the lens of technology. Many artists work with the theme of identity and the Internet has already pushed a lot of people to think about and redefine their identities, if you think about social media and digital interactions. I guess we need to wait and see.
Michael Xufu Huang
Co-Founder at M WOODS Museum, Beijing
Michael Xufu Huang, graduated from the University of Pennsylvania, is a trustee at the New Museum and recently listed on Forbes “30 Under 30”. He co-founded the independent, not-for-profit museum M WOODS in Beijing. M WOODS has government approval and brings together a team of young founders and staff to present exhibitions of international contemporary art to the Chinese public. Along with a group of other institutions, it is establishing a new institutional system in the city.
As a product of a digital and fast paced age, Michael makes special effort to engage the younger generation in learning about art, championing the M WOODS educational program for students to attend outside of their regular school education. As a patron, Michael is an active advocate for emerging artists. He heavily supports post-internet art and work which fuses art and technology.
Michael has worked closely with the Andy Warhol Museum in Pittsburgh to bring a major exhibition of the artist’s work to Beijing. And this year, he is curating a major exhibition ‘Heart of the Tin Man’, recreating human sensations in this digital age through art. He also became the youngest person to be invited to speak at Harvard University and Wharton Business School.
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Michael Xufu Huang recently hosted a sessionHeld on August 8, 2017
10 AnswersMost Recent / 30-Day Views
What do you think is driving China's millennial luxury paradigm shift?
Michael Xufu Huang, Co-Founder at M WOODS Museum, Beijing
I think the Chinese millennial are re-defining their perception of luxury. The young people in China are generally well-educated and many have studied abroad. We have a global vision and are always...
(more)
As a buyer, how do you know what a piece of art is worth?
Michael Xufu Huang, Co-Founder at M WOODS Museum, Beijing
There are many factors that determine the value of a piece of art. Ultimately the price is always driven by supply and demand so galleries (primary market) and auctions or private dealers (secondary market) may price things differently. I want to approach this question following the average career of an artist, but of course this differs a lot between artists.
When an artist starts his or her career it's usually through exhibitions or representations with a gallery. During the first few years of an emerging artist’s career, the works should be below 10k dollars depending on size. Through more exposure in museum exhibitions (especially solo shows) and biennials the artist could gain more attention and their gallery gradually raises value of their work. Collectors often take biography and portfolio of an artist into consideration before acquiring their work.
The artist’s value will continue to grow as they have more exhibitions and their collector base increases. However, the price of artist will be affected when the works get into secondary market meaning being sold through dealers and auction houses. This is when the price is mainly based on supply and demand, which reflects the exact market asking price of an artist. But this is very dangerous for collectors who treat art acquisition as an investment, because the market of an artist could collapse when the demand suddenly disappears.
Feeds
Michael Xufu Huang recently hosted a sessionHeld on August 8, 2017
10 AnswersMost Recent / 30-Day Views
What do you think is driving China's millennial luxury paradigm shift?
Michael Xufu Huang, Co-Founder at M WOODS Museum, Beijing
I think the Chinese millennial are re-defining their perception of luxury. The young people in China are generally well-educated and many have studied abroad. We have a global vision and are always...
(more)
As a buyer, how do you know what a piece of art is worth?
Michael Xufu Huang, Co-Founder at M WOODS Museum, Beijing
There are many factors that determine the value of a piece of art. Ultimately the price is always driven by supply and demand so galleries (primary market) and auctions or private dealers (secondary market) may price things differently. I want to approach this question following the average career of an artist, but of course this differs a lot between artists.
When an artist starts his or her career it's usually through exhibitions or representations with a gallery. During the first few years of an emerging artist’s career, the works should be below 10k dollars depending on size. Through more exposure in museum exhibitions (especially solo shows) and biennials the artist could gain more attention and their gallery gradually raises value of their work. Collectors often take biography and portfolio of an artist into consideration before acquiring their work.
The artist’s value will continue to grow as they have more exhibitions and their collector base increases. However, the price of artist will be affected when the works get into secondary market meaning being sold through dealers and auction houses. This is when the price is mainly based on supply and demand, which reflects the exact market asking price of an artist. But this is very dangerous for collectors who treat art acquisition as an investment, because the market of an artist could collapse when the demand suddenly disappears.
6.9k Views · 24 Upvotes · Answer requested by Colleen O'Malley, Yair Livne, and 53 more
Is Instagram an essential marketing platform for artists and collectors in the internet age?
Michael Xufu Huang, Co-Founder at M WOODS Museum, Beijing
I use Instagram primarily for research - it’s a great tool for aggregating all the things I want to keep up with in one place. There is obviously so much to see so social media allows me to filter out the good things and in that way to save time. However, I wouldn’t buy something from only seeing it on my phone, I truly believe you need to experience something in person and have a palpable sense of its form. To that end I don’t think it’s essential for me as a collector, but it definitely helps a lot.
Artists use Instagram, and social media in different ways - to construct a public identity, or to show new works and what they’re making, or to reference their inspirations. But I also don’t think it’s essential for every artist working today to have an Instagram account. However, I do believe that galleries should have them, if they are representing the artists they work with to the best of their abilities. It doesn’t necessarily need to be Instagram, and who knows, it could be replaced by a different app or type of sharing in the near future, but galleries should be engaging with all these different ways of disseminating their artists work to wider audiences.
Feeds
Michael Xufu Huang recently hosted a sessionHeld on August 8, 2017
10 AnswersMost Recent / 30-Day Views
What do you think is driving China's millennial luxury paradigm shift?
Michael Xufu Huang, Co-Founder at M WOODS Museum, Beijing
I think the Chinese millennial are re-defining their perception of luxury. The young people in China are generally well-educated and many have studied abroad. We have a global vision and are always...
(more)
As a buyer, how do you know what a piece of art is worth?
Michael Xufu Huang, Co-Founder at M WOODS Museum, Beijing
There are many factors that determine the value of a piece of art. Ultimately the price is always driven by supply and demand so galleries (primary market) and auctions or private dealers (secondary market) may price things differently. I want to approach this question following the average career of an artist, but of course this differs a lot between artists.
When an artist starts his or her career it's usually through exhibitions or representations with a gallery. During the first few years of an emerging artist’s career, the works should be below 10k dollars depending on size. Through more exposure in museum exhibitions (especially solo shows) and biennials the artist could gain more attention and their gallery gradually raises value of their work. Collectors often take biography and portfolio of an artist into consideration before acquiring their work.
The artist’s value will continue to grow as they have more exhibitions and their collector base increases. However, the price of artist will be affected when the works get into secondary market meaning being sold through dealers and auction houses. This is when the price is mainly based on supply and demand, which reflects the exact market asking price of an artist. But this is very dangerous for collectors who treat art acquisition as an investment, because the market of an artist could collapse when the demand suddenly disappears.
6.9k Views · 24 Upvotes · Answer requested by Colleen O'Malley, Yair Livne, and 53 more
Is Instagram an essential marketing platform for artists and collectors in the internet age?
Michael Xufu Huang, Co-Founder at M WOODS Museum, Beijing
I use Instagram primarily for research - it’s a great tool for aggregating all the things I want to keep up with in one place. There is obviously so much to see so social media allows me to filter out the good things and in that way to save time. However, I wouldn’t buy something from only seeing it on my phone, I truly believe you need to experience something in person and have a palpable sense of its form. To that end I don’t think it’s essential for me as a collector, but it definitely helps a lot.
Artists use Instagram, and social media in different ways - to construct a public identity, or to show new works and what they’re making, or to reference their inspirations. But I also don’t think it’s essential for every artist working today to have an Instagram account. However, I do believe that galleries should have them, if they are representing the artists they work with to the best of their abilities. It doesn’t necessarily need to be Instagram, and who knows, it could be replaced by a different app or type of sharing in the near future, but galleries should be engaging with all these different ways of disseminating their artists work to wider audiences.
6.7k Views · 15 Upvotes · Answer requested by Colleen O'Malley, Yair Livne, and 25 more
What was it like to be featured in Forbes 30 under 30?
Michael Xufu Huang, Co-Founder at M WOODS Museum, Beijing
It was unexpected, and a huge privilege to be featured in Forbes 30 under 30. It’s a list that I have kept up with for years and I admire so many people who have been featured before. For me, it me...
(more)
What do you think your greatest achievement has been as a curator?
Michael Xufu Huang, Co-Founder at M WOODS (2015-present)
I’ve only just finished curating my first show, Heart of the Tin Man, which is at M WOODS now, so I am coming to terms with how it feels to put an exhibition together. I took many things into consideration when designing the exhibition.
First of all, because of the way I collect and the age of the artists in the collection, I know many of them personally and wanted to do justice to each of their works. We configured the show in a way which gives all the artists room, and shows their work in the best light. I consider that an achievement.
Secondly, we thought for a long time about the way the audience journeys through the exhibition, the way they will discover the artworks and the questions they might have. It is really important to me that the audience takes something away from the exhibition and that they might be inspired to learn more or delve deeper.
To this end, my job as a curator has also been to devise the public program. We’ve had a panel discussion, a performance, and a big street party introducing experimental kitchens in Beijing to provide new ways in to the themes in the exhibition. It’s been the most well-attended exhibition in our history, with tens of thousands of visitors each week. I’m super proud.
401 Views · 11 Upvotes · Answer requested by Janelle Alicia Monroy
Michael Xufu Huang, Co-Founder at M WOODS Museum, Beijing
There are several watershed moments in the development of Chinese contemporary art, but the most frequently quoted as starting an “explosion” is the ’85 New Wave, a term coined by curator/critic Gao Minglu. Now more than 30 years later, we have a bit more perspective on the distinct artistic developments that were occuring across China during the late 20th century. The Pearl River Delta region followed a different track than, say, Chengdu in the southwest or Shenyang in the northeast. State-run art schools now offer new media and performance studies on top of more traditional majors in sculpture and painting.
One could just as easily view the dramatic shifts in Western art over the 20th century as an explosion of creativity. We also can’t ignore the fact that the West, so to speak, and China have maintained an historical dialogue, sharing cultural and artistic influences.
I would conclude by saying both Western and Chinese art has developed slowly over time bringing us to the contemporary. Chinese contemporary art seems to be exploding in the West because that’s when they first encountered it but it has been developing steadily in China. Nowadays, because of technology and the internet, Western and Chinese art can be seen all around the globe and artists often share the same concerns under the technological advancements .
Feeds
Michael Xufu Huang recently hosted a sessionHeld on August 8, 2017
10 AnswersMost Recent / 30-Day Views
What do you think is driving China's millennial luxury paradigm shift?
Michael Xufu Huang, Co-Founder at M WOODS Museum, Beijing
I think the Chinese millennial are re-defining their perception of luxury. The young people in China are generally well-educated and many have studied abroad. We have a global vision and are always...
(more)
As a buyer, how do you know what a piece of art is worth?
Michael Xufu Huang, Co-Founder at M WOODS Museum, Beijing
There are many factors that determine the value of a piece of art. Ultimately the price is always driven by supply and demand so galleries (primary market) and auctions or private dealers (secondary market) may price things differently. I want to approach this question following the average career of an artist, but of course this differs a lot between artists.
When an artist starts his or her career it's usually through exhibitions or representations with a gallery. During the first few years of an emerging artist’s career, the works should be below 10k dollars depending on size. Through more exposure in museum exhibitions (especially solo shows) and biennials the artist could gain more attention and their gallery gradually raises value of their work. Collectors often take biography and portfolio of an artist into consideration before acquiring their work.
The artist’s value will continue to grow as they have more exhibitions and their collector base increases. However, the price of artist will be affected when the works get into secondary market meaning being sold through dealers and auction houses. This is when the price is mainly based on supply and demand, which reflects the exact market asking price of an artist. But this is very dangerous for collectors who treat art acquisition as an investment, because the market of an artist could collapse when the demand suddenly disappears.
6.9k Views · 24 Upvotes · Answer requested by Colleen O'Malley, Yair Livne, and 53 more
Is Instagram an essential marketing platform for artists and collectors in the internet age?
Michael Xufu Huang, Co-Founder at M WOODS Museum, Beijing
I use Instagram primarily for research - it’s a great tool for aggregating all the things I want to keep up with in one place. There is obviously so much to see so social media allows me to filter out the good things and in that way to save time. However, I wouldn’t buy something from only seeing it on my phone, I truly believe you need to experience something in person and have a palpable sense of its form. To that end I don’t think it’s essential for me as a collector, but it definitely helps a lot.
Artists use Instagram, and social media in different ways - to construct a public identity, or to show new works and what they’re making, or to reference their inspirations. But I also don’t think it’s essential for every artist working today to have an Instagram account. However, I do believe that galleries should have them, if they are representing the artists they work with to the best of their abilities. It doesn’t necessarily need to be Instagram, and who knows, it could be replaced by a different app or type of sharing in the near future, but galleries should be engaging with all these different ways of disseminating their artists work to wider audiences.
6.7k Views · 15 Upvotes · Answer requested by Colleen O'Malley, Yair Livne, and 25 more
What was it like to be featured in Forbes 30 under 30?
Michael Xufu Huang, Co-Founder at M WOODS Museum, Beijing
It was unexpected, and a huge privilege to be featured in Forbes 30 under 30. It’s a list that I have kept up with for years and I admire so many people who have been featured before. For me, it me...
(more)
What do you think your greatest achievement has been as a curator?
Michael Xufu Huang, Co-Founder at M WOODS (2015-present)
I’ve only just finished curating my first show, Heart of the Tin Man, which is at M WOODS now, so I am coming to terms with how it feels to put an exhibition together. I took many things into consideration when designing the exhibition.
First of all, because of the way I collect and the age of the artists in the collection, I know many of them personally and wanted to do justice to each of their works. We configured the show in a way which gives all the artists room, and shows their work in the best light. I consider that an achievement.
Secondly, we thought for a long time about the way the audience journeys through the exhibition, the way they will discover the artworks and the questions they might have. It is really important to me that the audience takes something away from the exhibition and that they might be inspired to learn more or delve deeper.
To this end, my job as a curator has also been to devise the public program. We’ve had a panel discussion, a performance, and a big street party introducing experimental kitchens in Beijing to provide new ways in to the themes in the exhibition. It’s been the most well-attended exhibition in our history, with tens of thousands of visitors each week. I’m super proud.
401 Views · 11 Upvotes · Answer requested by Janelle Alicia Monroy
Michael Xufu Huang, Co-Founder at M WOODS Museum, Beijing
There are several watershed moments in the development of Chinese contemporary art, but the most frequently quoted as starting an “explosion” is the ’85 New Wave, a term coined by curator/critic Gao Minglu. Now more than 30 years later, we have a bit more perspective on the distinct artistic developments that were occuring across China during the late 20th century. The Pearl River Delta region followed a different track than, say, Chengdu in the southwest or Shenyang in the northeast. State-run art schools now offer new media and performance studies on top of more traditional majors in sculpture and painting.
One could just as easily view the dramatic shifts in Western art over the 20th century as an explosion of creativity. We also can’t ignore the fact that the West, so to speak, and China have maintained an historical dialogue, sharing cultural and artistic influences.
I would conclude by saying both Western and Chinese art has developed slowly over time bringing us to the contemporary. Chinese contemporary art seems to be exploding in the West because that’s when they first encountered it but it has been developing steadily in China. Nowadays, because of technology and the internet, Western and Chinese art can be seen all around the globe and artists often share the same concerns under the technological advancements .
450 Views · 11 Upvotes · Answer requested by Nic Greene
What's the collection philosophy at M WOODS?
Michael Xufu Huang, Co-Founder at M WOODS (2015-present)
At M WOODS we have conceived a focus our collection called FAT Art (Free, Alchemical, and Timeless). FAT Art has come to represent the ambition of the museum to remove delineations of time, geography and medium and to focus on a universal quality across all art forms.
FAT Art is a term coined by M WOODS to encapsulate the expanded narrative that the museum seeks in its program and collection. Conceived during the M WOODS Collection exhibition All Means are Sacred in 2016, which placed Tang Dynasty sculpture in conversation with recent film works, Indian tantric drawings, Renaissance painting and contemporary Chinese sculpture in an attempt to highlight the common endeavor towards the spiritual.
To be ‘new’ is of no intrinsic value for M WOODS; an alternative set of guiding principles organizes the collection, which stretch beyond narrow notions of art history to enfold positions as diverse as those of Olafur Eliasson and Buddhist sculptors from the Northern Qi dynasty, or Paul McCarthy and the followers of Hieronymus Bosch.
470 Views · 16 Upvotes · Answer requested by Moi Wood and Colleen O'Malley
What is the role of museums in the art world as opposed to galleries, patrons etc.?
Michael Xufu Huang, Co-Founder at M WOODS Museum, Beijing
No two museums act in the same way. Every museum serves a unique community, and I think the best institutions adapt their roles accordingly. However, if we ignore their differences momentarily, we can see there are functions shared across the board between art museums specifically. They facilitate artistic investigation and preserve our material/cultural history, offering safe spaces that assist in the construction of coherent social identity. This is a condensed notion of how I imagine the role of museums.
Commercial galleries are market driven entities. They want to sell art. They are less invested in public welfare, but there have been recent trends where mega-galleries, like David Zwirner, Hauser & Wirth, and Gagosian, have started to host public programs, stepping in to fill certain functional roles of museums.
Patrons, of course, are not fulfilling any of these functions, but they are providing funds for the artistic community in the form of direct patronage and oversight of exhibition programming and operations at many public institutions that maintain a patrons council.
Museums, galleries, and patrons are three major players forming the ecosystem of art.
629 Views · 16 Upvotes · Answer requested by Ksenia Kulichik, Ta So, and 2 more
How do you combat ageism in the art world?
Michael Xufu Huang, Co-Founder at M WOODS Museum, Beijing
I think ageism exists in every industry and in many facets of life, not just the art world. I think it has to do with how time-poor many people feel, and the logic that if you want something done quickly and professionally, you go to the person with the most experience. In the art world that could translate to wanting to work with the most established museums, or sell to the oldest collector who may have the most money, or biggest collection.
But you have to find your own niche. I think that the Internet has given youth much more power, as I’ve said before, it’s a new language, and one which is both extremely powerful and perhaps harder to learn quickly as you get older. I think younger people have an advantage in this respect, we are growing alongside the Internet. Now if you are savvy, you know how to direct your public persona and social media, how to start conversations and make them grow, it’s helpful. But in saying that, the ultimate way to combat ageism is to be polite, well-read and professional in all your dealings. Myself, the co-founders of M WOODS Lin Han and Wanwan Lei, and our whole team at the museum who are also very young, follow that rule.