What's Happening in Asian Art...

Museum Exhibitions during Asia Week 2022

February 20, 2022

Forest Goddess Parnashavari (detail), 19th century, pigments on cloth, 64 1/2 x 29 in.
Rubin Museum of Art

To help you plan your visit, here is a list of Asian art exhibitions at AWNY-member museums that will be on view in New York City during Asia Week 2022.

Asia Society:
Rebel, Jester, Mystic, Poet: Contemporary Persians — The Mohammed Afkhami Collection
•Video Spotlight: Araya Rasdjarmrearnsook
•Video Spotlilght: Rahraw Omarzad
All the above through May 8, 2022

Read more, click here

Charles B. Wang Center, Stony Brook University:
Auspicious Dreams: Tribal Blankets from Southern China
March 9–May 31, 2022

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Japan Society:
Shikō Munakata: A Way of Seeing
On view through March 20th

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The Korea Society:
Wonju Seo: Travelogue
March 3-May 26, 2022

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The Metropolitan Museum of Art:
Contemporary Japanese Ceramics in Historical Context
Through April 10, 2022
Japan: A History of Style
Through April 24, 2022
Masters and Masterpieces: Chinese Art from the Florence and Herbert Irving Collection
Through June 5, 2022
Shell and Resin: Korean Mother-of-Pearl and Lacquer
Through July 5, 2022
Companions in Solitude: Reclusion and Communion in Chinese Art
Through August 14, 2022
Bodhisattvas of Wisdom, Compassion, and Power
Through October 3, 2022
Celebrating the Year of the Tiger
Through–January 2023

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The Rubin Museum of Art:
Gateway to Himalayan Art
Through June 4, 2023
Shrine Room Projects, Rohini Devasher/Palden Weinreb
Through October 30, 2023
Masterworks: A Journey Through Himalayan Art
Through January 8, 2024
Healing Practices: Stories from Himalayan Americans
March 18, 2022–January 16, 2023

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Tibet House US:
Roof of the World: Gems of the Guardianship Collection at the Tibet House Gallery
March 2-April 17, 2022

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China Institute | Daisy Yiyou Wang on a Portrait of an Empress

February 18, 2022

Pieces of China: Daisy Yiyou Wang on A Portrait of an Empress, China Institute
Online conversation, February 24, 2022, 8-8:30pm

China’s Qing court produced the largest group of surviving paintings of Chinese empresses, many of which were once used for ancestor worship in the private imperial collection. Join us as Daisy Yiyou Wang, who co-curated the 2019 Empresses exhibit at the Smithsonian Museum, explores an extraordinary portrait of Empress Xiaoxian, whose early death broke the heart of the Qianlong emperor. Wang will examine details of the portrait, discuss its remarkable conservation journey, and even share new discoveries about where it used to hang. Wang, who is Deputy Director of the Hong Kong Palace Museum, will also discuss how her institution will look at artifacts from Beijing’s Forbidden City through a modern lens when it opens later this year.

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Christie’s Online Course | Close Encounters with Japanese Woodblock Prints: Making, Meaning, and Impact

February 18, 2022

Utagawa Hiroshige (1797-1858), The Plum Garden Kameido (Kameido Umeyashiki), from the series One Hundred Views of Famous Places of Edo (Meisho Edo hyakkei), courtesy of Christie’s

Close Encounters with Japanese Woodblock Prints: Making, Meaning, and Impact, Christie's Education
Online course, March 7-April 4, 2022

Japanese woodblock prints made fine art available to a wider segment of Japanese people in the Edo period; they opened a new world of inspiration to the Impressionist artists in Europe; and they are among one of the most popular categories among today’s collectors of Japanese art throughout the world. You can learn more about this fascinating and distinctive art form in a series of 5 weekly courses next month at Christie’s Education.

Lead by Karly Allen, an experienced lecturer in art history and observation and a graduate of SOAS, this online course consists of five hour-long sessions on Mondays from March 7-April 4. Students will learn how to recognize the subject matter depicted in ukiyo-e prints, about the economics behind their production and sale, and details of their distinctive cultural context and visual qualities. The course will conclude with a consideration of the impact ukiyo-e had on the development of European art.

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Tiger Parade!

February 18, 2022

Our parade of tiger images, posted on Instagram and RED, stroll by for one last encore to wish you a happy and healthy Year of the Tiger.

Our readers selected as your favorite tiger this South Vietnamese Lai Thiu ware Jar with lid (below) in the National Museum of Asian Art, Smithsonian Institution.

But by far, readers best-loved New Year's image was not a tiger at all but this spectacular contemporary Japanese Gray (Nezumi)-Shino Type Round Platter by Wakao Toshisada from Joan B Mirviss LTD. The plum blossoms remind us that spring is just around the corner!

Top photo, clockwise from top left:
Anonymous (19th century), Pair of Screens Depicting an Elephant and Tiger, ink, mineral pigments and gold on silk, San Antonio Museum of Art
Unknown (Educational Series), ca. 1886, Educational Pictorial Instructions: Animals, no. 8, Tiger, Japanese print, Scholten Japanese Art
Tiger, Fourth Rank Military Official, 1850-1870, Chinese silk embroidery on silk, Denver Art Museum
Chinese Carved Soapstone Figure of a Lohan, ca. 1700, Ralph M. Chait Galleries
Pair of Chinese Blue and White Porcelain Plates, Early Kangxi period, ca. late 17th century, Ralph M. Chait Galleries

Second photo, clockwise from top left:
Yoshimura Kokei, Dragon and Tiger, 1836, ink color and gold on silk,
Joan B Mirviss LTD
Kishi Chikudō (1826-1897), Sitting Tiger, ink and color on paper,
Minneapolis Institute of Art
Mountain God with Tiger and Attendants, 1874, Korean ink and color on silk,
The Metropolitan Museum of Art
The Goddess Devi and Her Tiger, ca. 1820, Indian opaque watercolor on paper, Philadelphia Museum of Art
Seated Tiger, Liao dynasty (907-1125), China slip-coated and glazed stoneware,
Art Institute of Chicago

Artist Bingyi: Land of Immortals

February 17, 2022

Artist Bingyi: Land of Immortals, Joan B Mirviss LTD and INKstudio
Zoom panel event, Thursday, February 24, 5pm EST

For the next ZOOM panel event, INKstudio with co-host Joan B Mirviss LTD will bring together Beijing- and Los-Angeles-based artist, writer, film-maker and art historian Bingyi (b. 1975) with distinguished curators Susan L. Beningson, Susanna Ferrell and David Ake Sensabaugh. This group of insightful panelists will discuss the context of Bingyi’s contemporary ink landscape painting practice. How does an artist innovate within a tradition that has been unfolding continuously over a two-thousand-year period? How does she create meaning in the context of a global contemporary art world unfamiliar with Chinese art history and culture? What role does gender play in prompting the transformation of this formerly male-dominated tradition? What is the relevance of East Asian artistic traditions to the development of world culture in the future? Join us to explore these and other questions related to historical and contemporary art practice.

PANELISTS:
BINGYI, artist, writer, film-maker and architectural designer based in Beijing, China and Los Angeles, CA
SUSAN L. BENINGSON, independent curator based in New York, former curator of Asian Art, Brooklyn Museum, NY
SUSANNA FARRELL, Associate Curator of Chinese Art, Los Angeles County Museum of Art (LACMA), CA
DAVID AKE SENSABAUGH, former Ruth and Bruce Dayton Curator of Asian Art and head of the Department of Asian Art, Yale University Art Gallery, CT
Moderated by CRAIG YEE, co-founding partner of INKstudio, a Beijing and New York based gallery devoted to ink as a medium, language and discourse for the creation of contemporary art

A link to the event will be automatically emailed to you once you register. If you would like more information about the artist Bingyi and her artworks, please contact Craig Yee at yee.craig@inkstudio.com.cn

To register, click here

Mark your calendars.....Bingyi's Lotus Dyansty, Performance, Music, and Conversation with Epic Avant-Garde Artist Bingyi, live at China Institute on Wednesday, March 23, 2022 at 6:30pm. Read more, click here

Dunhuang Foundation | A "Devotional Form of Art:" Developing and Recycling Textiles Along the Silk Road

February 17, 2022

Embroidered Buddha, Banner Fragment, 7th-8th century, silk, from Toyuk, Xinjiang, China
Asian Art Museum, Berlin (III6178)

A "Devotional Form of Art:" Developing and Recycling Textiles Along the Silk Road, Dunhuang Foundation
Online talk, February 24, 2022, 7pm EST

The Dunhuang Foundation hosts a lecture by Mariachiara Gasparini, Assistant Professor of Chinese Art and Architectural History at the University of Oregon, that explores the processes involved in developing and recycling textiles in the western regions of China, beyond the main Silk Roads. During the Tang period (618–907), through a system of intra- and extra-monastery circulation of goods, high-ranking officials “sacrificed” some of their wealth in support of Buddhist communities. The gongde, literally ‘merit’ and ‘achievement and virtue,’ was applied to all kinds of Buddhist activities, including the redistribution and circulation of these “gifts.” Among the many goods that were offered and recycled, textiles provided Buddhist communities with various patterns and motifs – many of which were acquired from Turko-Iranian communities - that enabled the Sinicization of Buddhist art and its diffusion in East Asia.

 

The Dunhuang Foundation, founded in the U.S. in 2010, builds upon Dunhuang's rich legacy of intellectual and cultural exchange through programs that encourage participants to explore and expand upon the site's rich histories. The organization regularly organizes lectures by specialists conducting important research relevant to the study and understanding of Dunhuang. Recordings of previous lectures are available on the Foundation's website, click here.

For more information about Professor Gasparini's lecture and to register, click here

A Night at the Museum: Introducing Hong Kong's New M+ Art Center

February 16, 2022

A Night at the Museum: Introducing Hong Kong's New M+ Art Center
China Institute and Asia Art Archive in America

Online program, Wednesday, February 16, 2022, 8pm

M+, Hong Kong’s new museum of 20th and 21st century visual culture, opened to the public in November 2021. The museum’s collections include visual art, design, architecture, and moving image from Hong Kong, Mainland China, elsewhere in Asia and beyond. Join China Institute and Asia Art Archive in America for a virtual walkthrough and live Q&A with M+ curators Pi Li, Sigg Senior Curator and Head of Curatorial Affairs, and Yokoyama Ikko, lead curator of design and architecture.

Following a brief introduction, the curators will guide the audience through their opening exhibitions: M+ Sigg Collection: From Revolution to Globalisation, a survey of contemporary Chinese art from the early 1970s to the present, and Things, Spaces, Interactions, an assemblage of more than five hundred design objects that have had a profound influence in Asia and across the globe over the last seventy years.

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Thomas Murray at Winter Bruneaf 2022

February 16, 2022

Mamuli Heirloom Ornament, Sumba, 19th century, gold, 2.75 x 2.25 in. (7 x 5.7 cm.), 38.8 grams

Winter Bruneaf 2022, Thomas Murray Asiatica/Ethnographica
Online exhibition, February 16-20, 2022

This week Thomas Murray is participating in the prestigious Winter Bruneaf for non-European art in Brussels with an online exhibition. This biannual fair was established in 1988 and is one of the leading gatherings for specialists and galleries in Tribal Art. This season's show, which includes 28 galleries from Europe and the United States, features a wide array of Asian, Indonesian, African, Pre-Columbian, and Aboriginal Australian sculptures, masks, jewelry, coins, and other ritual or domestic treasures.

Among the selections of art works presented by Thomas Murray is this exceptional gold ornament from Sumba, an island in eastern Indonesia. In the shape of the characteristic omega form, which has been interpreted to represent the female genitalia and thereby reference fertility, it is balanced with “male” goats, which stand in profile at the base and bring about a cosmic harmony, even while symbolizing wealth and prestige. This exceptionally rare and important Goat Mamuli is possibly the companion to the related Goat Mamuli in the Metropolitan Museum of New York.

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Chinese Art Programs at the Huntington

February 15, 2022

Wan-go H. C. Weng, (1918–2020), Garden of Flowing Fragrance, 2007, handscroll, ink on paper, image: 10 3/8 x 50 7/8 in. (26.3 x 129 cm.), The Huntington Library, Art Museum, and Botanical Gardens

A Garden of Words: The Calligraphy of Liu Fang Yuan
The Huntington Library, Art Museum, and Botanical Gardens

San Marino, California
Now on view through May 16, 2022

Celebrating the recent opening of the final phase of its Chinese Garden, The Huntington presents an exhibition of contemporary Chinese calligraphy as the inaugural installation in the garden's new art gallery, the Studio for Lodging the Mind. The exhibition, designed to illuminate the art form and foster deeper appreciation of its expressive qualities, will be presented in two 16-week rotations of 20 works each. The work of 21 contemporary ink artists will be featured, including Bai Qianshen, Michael Cherney, Grace Chu, Fu Shen, Lo Ch’ing, Tang Qingnian, Wang Mansheng, Wan-go Weng, Zhu Chengjun, and Terry Yuan, among others. The works on view comprise the original calligraphic scrolls that served as the models for inscriptions throughout the garden.

Ordering the Myriad Things:
From Traditional Knowledge to Scientific Botany in China

Thursday, February 17, 2022, 7:30pm PST/10:30pm EST

In his new book, Ordering the Myriad Things, Nicholas K. Menzies, research fellow in The Huntington's Center for East Asian Garden Studies, examines how traditional knowledge of plants in China gave way to scientific botany between the mid-19th and mid-20th centuries. This talk will focus especially on images of plants, contrasting their representation in late-imperial Chinese painting and materia medica to the conventions of scientific botanical drawing. It will highlight the work and careers of three 20th-century Chinese artists who paved the way for today's professional botanical illustrators.

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Last days for Ippodo's Layers of Time: Spatial Ceramic Works by Yukiya Izumita

February 14, 2022

Yukiya Izumita (b. 1966), Sekisoh Layers, 2021, ceramic, 12 1/2 x 20 x 7 in.

Layers of Time: Spatial Ceramic Works by Yukiya Izumita
Closing day Feburary 17, 2022

The 25 ceramic works in the Yukiya Izumita exhibition are in perpetual tension. His inventive use of layered clay is as sophisticated as it is attuned to the earth, with the folds of mud suggestive of the toil they require. Now more than ever, the tactility of the works speaks to our need to reconnect—to the earth and to one another. An emphasis on environmental embrace has always been central to Ippodo Gallery’s mission, and its pertinence echoes through each work of art.

Read more, click here

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