What's Happening in Asian Art...
August 22, 2022
Heeseop Yoon, Still Life with Eiffel Tower, 2022, pen drawing collage on paper, 18 x 24 in., image courtesy of the artist
Heeseop Yoon Agglomeration, Korea Society
Concludes August 25
Although her intricate installations are often so large that they spread over walls onto ceilings and floors, Heeseop Yoon thinks of her work as freehand drawings. All of Yoon’s works are based on real spaces with vast messes, such as basements, workshops, storage spaces, or “places where everything is jumbled and time becomes ambiguous without the presence of people.” Based on photographs, Yoon draws freehand without erasing; based on her own drawings, she creates her enlarged wall drawings using black tapes. In the final installation, her miscalculations and corrections are visible, as Yoon is interested in how memory and perception constantly adjust both for herself and for her viewer, and the paradox that the more she corrects her work, the less legible the drawing becomes. In her solo exhibition at The Korea Society, Yoon will show both her large-scaled line drawing installation and intricate black and white drawings.
Watch the recorded Artist's Talk, which Korea Society posted on July 12th, click here.
Visits to Korea Society require advance appointment. To book a date, click here.
August 21, 2022
Closing Reception for Artists on Site Series 3,
Asia Society Texas
In-person event, Thursday, August 25th, 6:30-8pm
Join Asia Society Texas's final days of Artists on Site Series 3. Over six weeks, Houston-based artists Luisa Duarte, Ruhee Maknojia, Matt Manalo, and Lanecia Rouse Tinsley have each transformed their respective gallery spaces through artistic exploration. Visit with the artists during this free reception and learn more about their practices while enjoying the results of the artists' time on-site.
L-R: Houston-based artists Luisa Duarte, Ruhee Maknojia, Matt Manalo, and Lanecia Rouse Tinsley, whose works are on view this week at Asia Society Texas.
The Artists on Site project was developed in 2020 as an initiative that transforms the galleries into studio and project spaces for Houston-based artists. The idea was born out of conversations starting in early 2020 with many artists, both in Houston and throughout the country, to develop ways that Asia Society Texas could support them and their practices. Through the gallery presentations and related programs, visitors will have the opportunity to connect with these artists and the critically important insights they contribute.
Read more about the artists, click here
August 18, 2022
Summer kimono (hito-e) with swirls, Taishō (1912–26)–Shōwa period (1926–89), 1920s–30s, printed gauze-weave (ro) silk with twisted wefts, 60 13/16 × 45 in. (154.5 × 114.3 cm). Promised Gift of John C. Weber. Image © The Metropolitan Museum of Art, photo by Paul Lachenauer
Kimono Style: The John C. Weber Collection Webinar,
Japanese Art Society of America
Online program, Wednesday, August 24, 5pm EDT
For those who missed JASA's June 28th in-person tour of the exhibition at The Metropolitan Museum of Art, on Wednesday, August 24, 5 p.m. EDT, please join the Zoom Webinar Kimono Style: The John C. Weber Collection, with Monika Bincsik, Diane and Arthur Abbey Associate Curator for Japanese Decorative Arts at The Metropolitan Museum of Art, New York. Dr. Bincsik will share her curatorial perspectives on the transformation of the kimono from the late Edo period (1615–1868) through the early 20th century.
Read more and register, click here
August 17, 2022
Meisen Kimono with Water Droplets, Shōwa period (1926–89), ca. 1930s, plain-weave silk warps and machine-spun silk wefts in double ikat (heiyō-gasuri), 59 × 49 1/4 in. (149.9 × 125.1 cm).
Promised Gift of John C. Weber
Insider Insights: The Japanese Kimono, The Metropolitan Museum of Art
Online program, Saturday, August 20, 2022, 10am-10:30am
Monika Bincsik, Diane and Arthur Abbey Associate Curator of Japanese Decorative Arts, The Met
Marco Leona, David H. Koch Scientist in Charge, Scientific Research, The Met
Join Met experts to explore the history and modernization of the Japanese kimono. Learn about Japan’s famed weaving, dying, and embroidery techniques along with discoveries from new scientific research.
Free. Please note: This program is prerecorded and presented in conjunction with the exhibition Kimono Style: The John C. Weber Collection.
Watch on Facebook or YouTube. Note: No login required. Read more, click here.
August 15, 2022
Tōshūsai Sharaku (active 1794-95), Arashi Ryūzō II as Ishibe Kinkichi, 1794, color woodblock print, with mica ground: ōban tate-e. Courtesy of Sebastian Izzard Asian Art
Asia Week New York is enthusiastically planning for the upcoming Asia Week, which will take place from September 14-23. During that time we will offer our extremely popular Autumn 2022 online exhibition featuring highlights from our members’ current shows. Twenty-one top Asian art galleries and 6 auction houses are participating in September Asia Week in person and online. Asia Week New York will keep you informed with information about all our members’ gallery openings, exhibitions, and lectures with announcements leading up to Asia Week and Daily Digest emails to help you keep track of all the art you want to see and events you don’t want to miss.
August 12, 2022
Artist Talk with Kota Arinaga and Kiyoko Morioka, Ippodo Gallery
Online program, Wednesday, August 17, 5-6pm EDT
On Wednesday, August 17th at 5pm, Ippodo Gallery presents an online panel discussion with artists Koto Arinaga and Kiyoko Morioka, whose works are featured in their current exhibition, with Ippodo Gallery New York’s Director Shoko Aono. This program is in conjunction with On the Axis
, the gallery's first-ever dual exhibition featuring 15 pieces by glass artist Kota Arinaga and 25 by porcelain ceramist Kiyoko Morioka.
Both artists are fascinated by the arcs and axes of time, exploring its dichotomies and the dualities in their work. In the stillness of the exhibition, their explorations complement and challenge one another, so that the viewer can reflect on time’s passages and surprises as it warps or rushes, freezes or evolves.
Read more, click here
August 11, 2022
In this issue, Fredric Schneider tells how and why he formed a collection of cloisonné enamels, now a promised gift to the Peabody Essex Museum in Salem. Tribute is paid to two JASA members, Jacqueline Avant, a Los Angeles lacquer collector, and Kōichi Yanagi, a premier art dealer with a gallery in New York. At the Jewish Museum in New York, Evgeny Steiner considered a display of Edmund De Waal’s netsuke, made famous in The Hare with Amber Eyes. Hollis Goodall describes the world of ghosts and demons exhibited in Santa Fe and New South Wales. Betty Swinton reviews a handy new book on ukiyo-e by Julie Davis, and Rosina Buckland tackles a lavish publication on Japanese screens; even though the book is too heavy to read in bed, it discusses the spatial aspects of screens with a conceptual, often French-focused approach. Samuel Morse introduces an exhibition of pottery in Minneapolis and its catalogue, Kamoda Shōji—The Art of Change. Finally, John Carpenter invokes Shōki, the Demon Queller, called upon in times of epidemic.
Read more and to order copies, click here
August 10, 2022
Shu Hao (active late 19th century), Zhou Dunyi Admiring Lotus Flowers, fan-shaped album leaf, ink and color on silk. Gift of Robert Hatfield Ellsworth, in memory of La Ferne Hatfield Ellsworth, 1986
Companions in Solitude: Reclusion and Communion in Chinese Art,
The Metropolitan Museum of Art
Concludes August 14, 2022
This exhibition explores the twin themes of solitude and togetherness in Chinese art. For more than two thousand years, reclusion—removing oneself from society—has been presented as the ideal condition for mental cultivation and transcending worldly troubles. At the same time, communion with like-minded people has been celebrated as essential to the human experience. This choice, to be alone or to be together, has been central to the lives of thinkers and artists, and Chinese art abounds with images of figures who pursued both paths—as well as those who wove them together in complex and surprising ways. Companions in Solitude brings together more than 120 works of painting, calligraphy, and decorative arts that illuminate this choice—depictions of why and how people have sought space from the world or attempted to bridge the divide between themselves and others. In the wake of 2020, a year that has isolated us physically but connected us virtually in unprecedented ways, this exploration of premodern Chinese reclusion and communion will invite meditation on the fracture and facture of human connection in our own time.
August 9, 2022
A Soul Haunted by Painting, China Institute
In-person program, Thursday, August 11, 2022, 6-8:30pm
Set at the beginning of the 20th century, the film tells the story of Pan Yuliang, a young woman employed as a prostitute, who eventually climbs her way into becoming a professor for a prestigious Chinese institute of learning, and an accomplished artist, renowned as the first woman in the country to paint in the Western style. This film was made in 1994, directed by Huang Shuqin, and featured Gong Li.
The screening will be introduced by Jiaxuan (Jim) Zhang, who has taught Chinese Cinema at Queens College for 20 years. Jim is also an accomplished photographer and calligrapher, as well as a film critic for both Chinese and English publications in the United States, Taiwan, Hong Kong, and mainland China.
The screening is free, although advance registration is requested. All visitors must bring a photo ID when entering the building and present proof of COVID vaccination. Masks are required when on site at China Institute.
To register, click here
August 8, 2022
Bird-shaped Vessel, Three Kingdoms period (57 B.C.–A.D. 676), 3rd century, earthenware,
H. 12 7/8 in. (32.7 cm). Purchase, Lila Acheson Wallace Gift, 1997
Jegi: Korean Ritual Objects, The Metropolitan Museum of Art
August 6, 2022-October 15, 2023
Rituals and customs help celebrate life’s milestones, remember the past, and mark time. In addition to their significance as social conventions, rituals often reaffirm state, governmental, and religious principles. In Korea, performing ancestral rites (jesa) is an enduring tradition that embodies respect for parents and the commemoration of ancestors, key tenets of Confucianism.
During the Joseon dynasty (1392–1910), Neo-Confucianism was the ruling ideology. People engaged in rituals on the birth and death anniversaries for ancestors upward of five generations, and on major holidays, such as the Lunar New Year and Chuseok (Harvest Moon Festival). Court ancestral rites became the bedrock of Joseon political life and were enacted on a grand scale that included musical and dance performances. A key feature throughout was a table bearing food and drink offerings presented on jegi, or ritual objects.
This exhibition features the various types of ritual vessels and accessories that were used for this purpose and entombed, as well as the kinds of musical instruments played at state events. Though the vessels’ shapes, sizes, and materials may differ, a persistent feature is elevation, either through a high foot or a pedestal. In contemporary Korean society, no longer constrained by prescriptive state rules, jegi inspire contemporary artists and influence the form of everyday tableware.
The exhibition is made possible by the Ministry of Culture, Sports and Tourism of the Republic of Korea (MCST).