The opening of the Wellin Museum of Art’s two new exhibitions, Yun-Fei Ji:The Intimate Universe and Pure Pulp: Contemporary Artists Working in Paper at Dieu Donné, was attended by a large receptive crowd that included several arts writers. The result has been several articles about the shows in significant arts publications reaching audiences far removed from Clinton, N.Y.

Randian, owned by China Art Times Limited (Hong Kong), an online outlet created “to foster intellectual exchange between China and the rest of the world,” including “independent commentary on art, artists, exhibitions and galleries, as well as video, architecture and design,” published an article on Feb. 10. Reviewer Iona Whittaker wrote, “The exhibition’s oxymoronic title is apt: in single framed works and across long scrolls unfolds a detailed contemporary world rendered proximate to us by the artist’s lively hand and sense of empathy both for his subjects and, more widely, the expansive culture of which they are part and which advances inexorably at the crossing of history and the present.

“Given due attention, Yun-Fei’s works impress one with their rare fantasia, and as messengers about real life and its endings.”

On the same day Artdaily, the first arts publication established on the Internet in 1996, also wrote about the Yun-Fei Ji show, noting that this was the largest U.S. survey of his work to-date.

The reviewer described several of the major works in the exhibition. “While the displacement of over a million and a half people due to the construction of the Three Gorges Dam on the Yangtze River is the basis for one long scroll on view, The Move of the Village Wen (2012), many of the more recent drawings and scrolls featured, including a new series created for the Zeno X Gallery in Antwerp, look to other places and times, or to a timelessness, to convey a sense of a world no longer in harmony and a present day haunted by ghosts of the past.”

Artdaily also featured the Pure Pulp exhibition in an article titled “Wellin Museum of Art showcases contemporary art inspired by the millennia-old process of printmaking.” The review explained the meaning of the show’s title: “It is the most familiar form of art object, the `work on paper.’ But what about art created not on traditional paper, but out of it? Linen, cotton, abaca, pigments, water, and methyl cellulose: since 1976 a small, non-profit paper studio in New York City has empowered some of the most influential artists of the day to experiment with these and other papermaking materials.” The article described the exhibition as “designed to convey the range and vitality of artmaking over the course of 40 years at Dieu Donné, one of the world’s leading collaborative papermaking studios.”

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