Paul Hughes Fine Arts is an international cultural asset management and consulting firm which provides advice, expertise, and museum qulity planning services to institutions, corporations, foundations and individuals through intersecting service groups and business lines related to the expansion of art, culture, and museums in a global economy.
Founded in 1983 by Paul, we have specialized in developing complete master plans for new museum projects and related services. This work has included the design and development of large-scale cultural master plans; the development of museums and exhibition spaces; generating exhibitions, educational programs and content; and developing collections of the most sophisticated ancient and contemporary art for aesthetic, educational, social and investment purposes.
Creative brilliance and adventure are the hallmarks to the allure of Picasso to Koons — The Artist As Jeweller, a voyage as experienced via the works of the world’s most famous and important artists of the 20th and 21st centuries.
Comprising works by 200 established artists and more than 300 individual wearable artworks to include, Pablo Picasso, Man Ray, Salvador Dalí, Lee Ufan, Yue Minjun, Yayoi Kusuma, Jeff Koons, Damien Hirst, Lucio Fontana and many others.
Andean Pre-Columbian Textiles are one of the seminal yet little known influences to an American prototype of abstraction in the pre and post-war era, art schools such as the Bauhaus and museums collections at the Natural History and the Museum of Primitive Art in NYC where also instrumental, dealers such as Betty Parsons and Andre Emmerich played a major role in these cross fertilizations of visual arts culture. Most of what follows below has verifiable documented evidence to support these findings.
The China Chair Project series is by no means an attempt to try and present an overview of what Chinese contemporary sculptural practice is; addressing this question today is akin to asking a fish about water. This project is, at best, a glimpse at the work and artistic developments of a few very gifted artists that I am privileged to know and with whom I have been fortunate enough to work. The project mutated and grew organically.
I was invited to commission a group of artists to create a chair. It was then up to each individual artist to experiment with this starting point as they saw best. Many of the artists had never worked in three-dimensional media before, and all but one had never worked on a chair, yet the enthusiasm and unbridled creativity that all the artists unleashed on this project more or less astounded me.
Kuramata's works are imbued with traces of the old story of Western fascination of Japanese decorative arts and crafts over hundred years ago with, and later in the 20th century the early modernist hunger for Japanese simplicity and structural purity that strongly influenced the functionalistic dogma "form follows function".
Most importantly, are the stories that the pieces themselves reveal to us today. One continuous thread that runs through these stories is that of dematerialization. "My strongest desire is to be free of gravity, free of bondage. I want to float," said Kuramata, and this approach imbues his work aim with a kind of spiritual search. Kuramata's attempts to defy gravity find formal expressions in transparent materials as glass, acrylic and expanded steel mesh, and in experimenting with incorporating light. In these materials he explores boundaries between...