What's Happening in Asian Art...

MIYAKO YOSHINAGA Presents Coexistence Online

January 12, 2023

Hai Zhang (born 1976), Yinchuan, Ningxia Hui Autonomous Region, 2015, archival pigment print on fiber paper, 11 x 16 in. (27.9 x 40.6 cm.), Edition of 8 plus 2 APs, Series: Aged Innocence, HAZ029.
Photo: © Hai Zhang / Courtesy of Miyako Yoshinaga Gallery

Online exhibition, January 11-February 15

To kick off the new year, MIYAKO YOSHINAGA is pleased to present Coexistence, an online-exclusive exhibition featuring landscapes by four gallery artists: Jonathan Yukio Clark, Koyoltzintli, Lisa Ross, and Hai Zhang. From documenting villages on the Hawaiian coast and the indigenous cultures in New Mexico to witnessing children at the winery near Helen Mountains and the Uyghur Region surrounding the Taklamakan Desert of China. This exhibition threads through each artist’s unique cultural perspective on the interconnections between the civil and wild world. These works disintegrate the barriers between nature and city, documenting their coexisting relationship across cultures and continents, and investigating our universally physical yet ephemeral footprints in the environment.

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INKstudio at Art SG 2023

January 12, 2023

Zheng Chongbin, Matrix No. 5, 200, ink and acrylic on xuan paper, 2008, 143.5 x 243 cm

Art SG 2023, INKstudio
In person event, now through Sunday, January 15
Sands Expo & Convention Centre
10 Bayfront Avenue, Singapore
Marina Bay Sands Singapore
Booth BB02

For ART SG presentation, INKstudio has selected eight leading contemporary Chinese artists—each of whom take a different approach to constructing an alternate modernity from their engagement with China’s distinctive five-thousand-year history of cultural production.

Bingyi, Zheng Chongbin and Li Huasheng take a Modernist approach deconstructing the language of brush and ink art into its constituent elements. Li Huasheng (1944–2018), for example, reduced painting to the brushline and its indexical connection to the artist’s consciousness. Zheng Chongbin (born 1961), in contrast, abandons the brushline and instead explores how ink manifests the creative agency of nature. Finally, Bingyi (b. 1975) uses the traditional materials of ink, water and paper to allow the landscape itself to “paint” an image of itself.

On the other hand, Li Jin, Peng Kanglong, Su Huang-Sheng, Hung Fai and Wai Pong-yu utilize traditional modes of brush-and-ink painting to create contemporary images reflective of our time. Arguably the first Chinese ink artist to embrace the self-portrait as his primary subject, Li Jin (born 1958) harkens back to the early origins of Chinese painting in the portraiture of moral paragons, extraordinary personas, and counter-cultural iconoclasts. Peng Kanglong (born 1962), in contrast, combines the distinctive traditions of landscape and flower painting from the Ming-Qing and Modern periods into a new synthesis expressive of our time. Finally, the young artist Ethan Su Huang-Sheng (born 1987) explores the contemporary possibilities of mineral pigment painting from Central Asia, China and Japan. Hung Fai (b. 1988) and Wai Pong-yu (b. 1982) fuse parallel lines and freehand curves to create a dense record of otherwise inarticulate nuances of human relationships.

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Extreme Surfaces: Cutting Edge Kogei Opens at Ippodo Gallery

January 12, 2023

Shinya Yamamura, Luminous Shell Nakatsugi Tea Caddy, 2022, lacquer (luminous shell, abalone shell, old leaf, WG leaf, gold powder)

Extreme Surfaces: Cutting Edge Kogei, Ippodo Gallery
January 12-February 16, 202
Opening Reception: January 12, 5-8pm

Ippodo Gallery is a pioneering kogei-focused gallery based in Tokyo and New York. Their mission is to honor the living tradition of Japanese fine art in the contemporary world by cultivating craft- and culture-oriented experiences through the work of the finest living Japanese artists.

In response to the enthusiasm generated by Design Miami 2022, Extreme Surfaces: Cutting Edge Kogei will continue in New York from January 12 to February 16, 2023 and features a substantial collection of works by 22 artists that emphasize the beauty of material and surface.

Ippodo Gallery recorded an insightful conversation with artist Kodai Ujiie. You can watch the recording, click here

Healing Practices at the Rubin Museum Closes Soon

January 11, 2023

Hua Khar (active 1990s), Course of the Lifespan Principle (Chapter 4 Cont.), Chentsa, Amdo region, Northeastern Tibet (Jianzha, Qinghai Province, China), 1995-1996, pigments on cloth, 62 3/8 ×
43 1/4 × 1 7/8 in., Gift of Shelley and Donald Rubin Private Collection

Healing Practices: Stories from Himalayan Americans,
Rubin Museum of Art

Concludes January 16, 2023

Healing Practices: Stories from Himalayan Americans presents the diverse ways that Tibetan Buddhist artworks and practices have served as roadmaps to well-being, with over 25 objects from the Rubin Museum’s collection set alongside personal stories and experiences from Himalayan Americans. Centered around the themes of prevention, healing, and longevity, the exhibition highlights how these living traditions are transformed and adopted for today’s world, inspiring visitors to reflect on their own healing journeys.

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The Met Offers an Art History Study Group Gathering

January 9, 2023

Tsuji Kakō (1870–1931), After High Tide (detail, right screen), 1917, pair of six-panel folding screens, ink, color, and gold and silver paint on silk, The Metropolitan Museum of Art, Purchase, Mary and James G. Wallach Foundation Gift, in honor of John T. Carpenter, 2022 (2022.163.1, .2)

Art History Study Group:
Nihonga: Restyling the Past and Present in Modern Japanese Painting,
The Metropolitan Museum of Art

Online program, January 11, 4-5:30pm
John Carpenter, Mary Griggs Burke Curator of Japanese Art, Department of Asian Art, The Met

Expand your knowledge of art history through virtual introductions to core themes and close examination of works of art in The Met collection with Museum experts.

Nihonga, or modern-style Japanese painting of the late 19th and early 20th century, can be seen as a “renewal” of traditional Japanese pictorial themes and painting techniques in the modern age. Although the Museum’s departments of Asian Art and Modern and Contemporary Art have tended to neglect Nihonga in the past, they have made concerted efforts to build The Met collection in this area in recent years. Join John Carpenter, Mary Griggs Burke Curator of Japanese Art, to explore how prominent Nihonga artists, such as Hashimoto Kansetsu, Kainoshō Tadaoto, Tsuji Kakō, and Enomoto Chikatoshi, among others, used the human figure as a subject in early 20th-century paintings.

Fee: $40. Please note: This live event takes place on Zoom. Space is limited; advance registration is required. Registration closes Wednesday, January 11, 2022, or when registration is full. Read more, click here

Picturing Paradise: Blue and Green in Chinese Landscape Paintings Opens at the Nelson-Atkins

January 8, 2023

Festival of the Peaches of Longevity (detail), Ming Dynasty (1368–1644), 1300s–1400s, handscroll, ink, color, and gold on silk, 20 1/2 in. x 15 ft. 8 13/16 in. (52.07 x 479.5837 cm). Gift of the Herman R. and Helen Sutherland Foundation Fund, F72-39.

Picturing Paradise: Blue and Green in Chinese Landscape Paintings,
Nelson-Atkins Museum of Art

January 6-July 29, 2023

Beginning in the 400s C.E., Chinese painters used qinglü, a palette of blues and greens, to depict paradise or fantastical places. These pigments came from minerals and botanic materials, which had medicinal properties. Therefore, the colors connected ideas of health, healing, and longevity to the scenes of paradise. Artists originally used this palette to depict Buddhist and Daoist paradises.

In the 700s C.E., painters expanded this tradition beyond religious connotations. Some used blue and green to portray tranquil retreats where a hermit might escape the chaotic world. Others favored blue and green to illustrate well-known stories or enhance dramatic scenes.

The paintings and objects dating from the 1200s to 1800s in this exhibition, organized by the Nelson-Atkins, exemplify the enduring tradition of blue and green landscape painting. The colorful landscape paintings span many contexts, showing how a visual vocabulary can be created, built upon, and transformed.

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NMAA Hosts a Sneak Peek

January 7, 2023

Zhangzhou ware bowl with design of dragons and plants, Ming dynasty, late 16th–early 17th century, porcelain with opaque white and cobalt-blue glazes and iron and cobalt pigments and white slip under clear glaze, Purchase—Rosalind, Sidney, and Stephen Glazer Memorial Fund for Chinese Ceramics, Freer Gallery of Art, F2006.6a–d

Sneak Peek: Overseas Demand for Chinese Zhangzhou Ceramics
National Museum of Asian Art, Smithsonian Institution

Online program, January 10, 12pm

Zhangzhou ceramics, also known as Swatow ware, are fancifully decorated wares that were made in southern Fujian province from the 1560s to the 1630s. From the outset, they were sought after abroad, especially in Southeast Asia and Japan, but Western interest in Zhangzhou ware pales in comparison to the attention garnered by porcelain from Jingdezhen in Jiangxi province. This talk introduces NMAA’s collection of Zhangzhou bowls, showcasing the potters’ creativity and ingenuity in making greatly appealing wares at a rapid pace to supply a vibrant overseas market. They worked in a range of palettes: red, green, and turquoise; blue and white; and blue, brown, and white with built-up slip. A bowl decorated with dragons that was originally exported from China to Japan and is now in the Freer collection is a special highlight of the talk.

Jan Stuart is the Melvin R. Seiden Curator of Chinese Art at NMAA. Her work focuses on Chinese arts from the tenth century to the present. Currently, she is working on a book about ceramics in the Freer Gallery of Art and an exhibition of a lacquer screen made in 1672. She co-curated and coedited the exhibition and catalogue Empresses of China’s Forbidden City, 1644–1912 in 2018–19. Between 2006 and 2014, she was Keeper of Asia (department head) at the British Museum.

Read more and register, click here.

Zetterquist Galleries Presents the Cowles Collection of Chinese Ceramics in March

January 6, 2023

L-R: Sui-Tang Dynasty White Ware Vase, 6th-7th century, H. 25.6 cm. and Baofeng Junyao Bowl,
Song Dynasty 960-1127, Dia. 19.2 cm., Provenance: ex Hellner Collection, Sweden

The Mary and Cheney Cowles Collection of Chinese Ceramics
Zetterquist Galleries
Asia Week New York March 2023

Eric Zetterquist announced that during Asia Week New York this March 2023, his gallery will exhibit and sell the exceptional collection The Mary and Cheney Cowles Collection of Chinese Ceramics.

This collection has been quietly and judiciously assembled over the last fifty years, purchased from many of the world’s finest dealers and auctions, with an eye for artistic beauty and excellent quality. The fifty-six pieces offered span one thousand years from the 4th through 14th centuries and include concentrations in white and sancai Tang Dynasty earthen wares, as well as Yue, Yaozhou, Ding, Qingbai, Jun, and Cizhou type wares, with black and brown kilns from Northern and Southern China represented.

This gathering of ceramics has been known to only to a handful of visiting scholars over the years and has rarely been seen in its entirety. This March will offer a rare moment to see this extraordinary collection before it disperses.

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Bonhams New York To Offer the Cowles Collection of Classical Chinese Furniture in March

January 6, 2023

The Mary and Cheney Cowles Collection of Classical Chinese Furniture, Ming dynasty huanghuali chair.

Three rare and important Ming dynasty huanghuali chairs are among the star lots of the Mary and Cheney Cowles Collection of Classical Chinese Furniture sale to be offered at Bonhams during Asia Week New York in March 2023. This twenty-lot collection was carefully purchased in the late 1980’s and early 1990’s by the Seattle-based couple known for their recent landmark gift of over 550 Japanese paintings, calligraphy, and ceramics to the Metropolitan Museum of Art, Smithsonian’s National Museum of Asian Art, and the Portland Museum of Art.

Mr. Cowles has been collecting Asian Art for over 40 years, since he went to law school in San Francisco, and was encouraged by his aunt, Phoebe McCoy, who was then a docent at the Asian Art Museum. He was inspired to collect Chinese furniture through his trips to the Metropolitan Museum in New York and later the Nelson Atkins Museum in Kansas City, where he viewed their fine holdings of classical Chinse furniture. He founded the Crane Gallery in 1975, specializing in Asian Art, which he owned until his retirement in 2016. Over these decades, he and his wife, Mary have enhanced their private collection with superb Japanese paintings, calligraphy and porcelain alongside their passion for Chinese art. They have been active philanthropists and supporters of museums and educational ventures in Asian Art.

Living in Two Times: Photography by Bahman Jalali and
Rana Javadi
Closes Soon

January 5, 2023

Living in Two Times: Photography by Bahman Jalali and Rana Javadi,
National Museum of Asian Art, Smithsonian Institution

Concludes January 8

Living in Two Times features the work of Bahman Jalali (1944–2010) and his wife and closest collaborator Rana Javadi (born 1953). Noted for their sharp documentary images and haunting photomontage works, the artists are among the most influential figures in the development of late twentieth-century photography in Iran. Driven by the medium’s powerful—and fragile—relationship to memory, Jalali and Javadi created an unparalleled visual record of a tumultuous period in their homeland.

This exhibition features images by both photographers from the iconic series Days of Blood, Days of Fire, capturing events in Tehran during the 1979 Iranian Revolution, as well as images from Jalali’s Khorramshahr: A City Destroyed and Abadan Fights On, drawn from his years spent on the Iran-Iraq warfront. Throughout his career, Jalali returned continually to his project of observing the changing lives and landscapes of Iran. A third section of the exhibition presents a selection of his images of fishing communities along the northern Persian Gulf. In addition to their documentary projects, Jalali and Javadi preserved early twentieth century archives, which they used as a basis for creating vivid photomontages that explore the role of the medium in documenting history. This will be the first museum retrospective in the United States that offers a glimpse of Jalali’s extensive practice and the first to be presented together with a selection of Javadi’s evocative work from the late 1970s to the present.

Curator-Led Tour—Living in Two Times: Photography by Bahman Jalali and
Rana Javadi

In-person program, January 7, 2-3pm
Meet curator Carol Huh in the galleries for a tour of Living in Two Times: Photography by Bahman Jalali and Rana Javadi. The tour will begin at Arthur M. Sackler gallery at the entrance of the exhibition on level B1.

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