Writer-editor based in Bangkok. Contributing Editor for @ArtReview_ Asia magazine.
Bangkok
Joined December 2009
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Max Crosbie-Jones retweeted
Books: Cambodia's stolen gods and the hunt to bring them home s.nikkei.com/4y7sACW
Max Crosbie-Jones retweeted
Jon Mitchell investigates the US and Japan's longlasting subjugation of Okinawa. artreview.com/why-are-we-in-…
Max Crosbie-Jones retweeted
A new museum dedicated to the late Tang Chang lays the groundwork for a comprehensive understanding of the artist’s life and career. artreview.com/poet-tang-chan…
Max Crosbie-Jones retweeted
What gives Kawita Vatanajyankur’s endurance art its sociocritical bite? artreview.com/kawita-vatanaj…
Max Crosbie-Jones retweeted
What do you get when you combine art, marine conservation and tourism?
Max Crosbie Jones visits the Cambodian beach resort town of Kep to find out. artreview.com/art-at-the-cam…
Max Crosbie-Jones retweeted
The art of Mongolian Tuguldur Yondonjamts appears to amplify the voices of the landscape around him, but might more simply be an encouragement for us to listen, says Max Crosbie-Jones. artreview.com/tuguldur-yondo…
Max Crosbie-Jones retweeted
The fourth Thailand Biennale, on view across Phuket, looks beyond the island’s leisure economy artreview.com/thailand-bienn…
Max Crosbie-Jones retweeted
The Bangkok Art & Culture Centre (BACC) has removed and obscured several artworks and artists’ names from their current exhibition following a visit by Chinese embassy officials artreview.com/bangkok-art-cu…
Max Crosbie-Jones retweeted
The prolific Indonesian director’s work has been censored, cancelled and erased. What can we learn from that which remains? artreview.com/the-fruits-of-…
Max Crosbie-Jones retweeted
How Asian artists made their mark on Paris s.nikkei.com/3Z4igMT
Max Crosbie-Jones retweeted
The San Francisco Asian Art Museum (SFAAM) board has voted to return four bronze 'Prakhon Chai' sculptures to Thailand.
Next, Thailand’s Department of Fine Arts, Ministry of Foreign Affairs, and SFAAM will work together to arrange the return. SFAAM is expected to make an official announcement next week.
This decision could set a precedent for returning artifacts from six other U.S. museums, possibly influencing future cases.
The four sculptures are part of a group of 32 artifacts that Thailand requested from the U.S. government in 2019. The U.S. Department of Homeland Security and the Attorney’s Office brought the case to court.
The artifacts were bought from people who illegally excavated them and were then exported, mainly to Spink and Son in London by Douglas Latchford, a well-known figure in the art market. Latchford, who was involved in the illegal trade of Southeast Asian antiquities, co-authored books with Emma Bunker, an academic specializing in Southeast Asian art. However, investigations revealed that their books included artifacts with questionable provenances, later sold at high prices. Latchford was sued but passed away before the trial.
#Thailand #US #ประโคนชัย
Max Crosbie-Jones retweeted
After a 13-year hiatus, BEFF returns as a collective display of artistic might artreview.com/7th-bangkok-ex…
Max Crosbie-Jones retweeted
It’s fun to frolic amid art and nature in Thailand’s newly opened Khao Yai Art Forest, but it might yet take some time for this utopic enterprise to bloom, writes Max Crosbie-Jones artreview.com/inside-thailan…
Max Crosbie-Jones retweeted
Tontey’s practice has gained traction in recent years for her madcap explorations of Indigeneity, ecofeminism and posthumanism. ‘Primate Visions’ at MACAN, Jakarta goes bananas artreview.com/natasha-tontey…
My latest feature for @ArtReview_ Asia highlights some of the many Myanmar artists and collectives finding safe space and allies in Thailand's remote corners, non-profits (@SEAJunction , most notably) and art communities. artreview.com/regroup-and-re…
Max Crosbie-Jones retweeted
lola Lenzi’s survey of Southeast Asian contemporary art gives the lie to both the idea that art can ever disengage from its political and historical contexts and the presumption that it can never meaningfully act upon them, writes Max Crosbie-Jones.
e-flux.com/criticism/644787/…
Max Crosbie-Jones retweeted
For @ArtReview_ I wrote about cinema in 2024, the year the film world turned a blind eye to genocide artreview.com/the-year-in-fi…
Max Crosbie-Jones retweeted
ArtReview’s 2024 edition of the Power 100 list is out now artreview.com/power-100/
Max Crosbie-Jones retweeted
A new show at Storage, Bangkok takes a range of subaltern, diasporic and postcolonial perspectives on home and belonging artreview.com/homing-instinc…
Max Crosbie-Jones retweeted
Introducing the ArtReview Asia Winter 2024 issue, out now. Featuring Riar Rizaldi on the cover, Saule Suleimenova, Mark Bradford; an artist project by Sim Raejung; reports on Myanmar artists and Hong Kong’s art scene; plus reviews and more: artreview.com/artreview-asia…
