What's Happening in Asian Art...
November 22, 2021
Gold Lacquer Box with Pine Cones, 1929, Makie-e gold lacquer with shell and pewter inlays on wood, 5 x 11 x 9 in.
Golden Treasures: Japanese Gold Lacquer Boxes at Thomsen Gallery
Gallery Exhibition, November 22-December 17, 2021
Thomsen Gallery at 9 E. 63rd St in New York opened a new exhibition of exceptional Japanese gold-lacquer boxes dating from the 18th century to the present. You are warmly invited to visit and view the unique art works in person
The masterworks in the exhibition are all examples of maki-e, which literally means "sprinkled pictures" and refers to the technique of sprinkling powders of gold and silver onto wet lacquer, a distinctly Japanese tradition that developed in the Heian Period (794 – 1185).
To register to make an appointment to visit and learn more about the gallery's Covid policies, please email firstname.lastname@example.org or click here.
November 19, 2021
The Diane and Arthur Abbey Collection of Japanese Bamboo Baskets at The Metropolitan Museum of Art (Courtesy of The Metropolitan Museum of Art)
Join us for the webinar Ahead of the Curve: Collecting Contemporary Asian Art on Thursday, December 2 at 5pm EST on Zoom
Continuing their series of lively and thought-provoking webinars, Asia Week New York is pleased to present Ahead of the Curve: Collecting Contemporary Asian Art, a webinar on Thursday, December 2 at 5:00 p.m. EST.
TO REGISTER CLICK HERE.
As contemporary Asian artists find more inventive forms, styles and media to express their creativity, there are more opportunities to entice collectors–both novice and seasoned–to start or build upon a new or existing collection. Whether it’s a geometric-shaped Japanese bamboo basket, a complex Chinese ink drawing from a young emerging artist, a dramatic contemporary Japanese photograph or a contemporary Indian painting, there is one thing that unites them: the collector’s discerning eye.
In partnership with Joan B Mirviss LTD, the panel discussion will spotlight four areas of contemporary Asian art: Chinese ink painting, bamboo art, South Asian art, and Asian photography. With expert insights from gallery owners, auction house experts and curators, alongside their passionate collecting clients, Ahead of the Curve will examine how this flourishing of contemporary Asian art has opened up exciting avenues of interest for savvy collectors. The panelists will discuss the challenges of being at the forefront of their fields: in introducing and promoting an unfamiliar medium, changing public perceptions, establishing new relationships with artists, and illuminating their quality and artistic merits to institutions and the general public. This essential discussion will be moderated by Joan Mirviss, who herself has pioneered the collecting of contemporary Japanese ceramics.
The distinguished panel includes:
Diane and Arthur Abbey have been collecting Japanese bamboo baskets for over 25 years. The culmination of their collecting resulted in a 2017-2018 groundbreaking eight-month exhibition of 90 of their pieces in the Japanese galleries at the Metropolitan Museum of Art, attended by more than 400,000 visitors. Their outstanding collection, which has been gifted to The Met, helped fill a museum gap in the Met’s Japanese Collection. The couple worked closely with the entire Met’s Asian Department–particularly with Monika Bincsik, who served as curator of the exhibition and presently occupies The Diane and Arthur Abbey Curatorship for Japanese Decorative Arts, the first endowed position in the field in the Museum’s history. The Abbey Collection was based upon both emotional and visual appeal more than who the artist was. Some of the pieces are by artists who have been designated as Living National Treasures and some are by artists who are relatively unknown.
Anne Havinga is the Estrellita and Yousuf Karsh Chair of Photography at the Museum of Fine Arts, Boston. She has been a staff member at the MFA since 1989 and has led the Museum’s Photography section since 2001. Now that Photography has become its own separate department at the MFA, she is its first Chair. Havinga has strengthened the MFA’s photography collection in a number of ways, including the building up of its nineteenth century holdings, and the development of a concerted plan—with Anne Nishimura Morse, the MFA’s William and Helen Pounds Senior Curator of Japanese Art—to collect Japanese photography. Havinga has organized a variety of exhibitions, ranging from early photography to contemporary.
John and Denise Knight collect contemporary ink art and Chinese ceramics. Their collection also includes some examples of recent Western art by artists such as Brice Marden and Joan Mitchell. The Knights are engaged intellectually and aesthetically in the fields they collect and are particularly interested in art that embodies an East/West Asian cultural dialogue. The Knights have spent half of their adult lives in Asia and the Middle East and the remainder in New York, where they currently reside.
Bharti Malkani is a New York-based art collector and philanthropist. She believes in the transformative power of education and has been championing systemic education reform in her native India for many years. Malkani earned her BA at the University of Pennsylvania and began her career in Investor Relations representing small-cap, publicly traded technology companies to the investing community. After several years she left the corporate world for entrepreneurial pursuits and now devotes her time to several non-profit entities including as a member of the Director's Council at the Penn Museum, Philadelphia. Her art collecting journey started in the late 1990's, and her primary focus is on Modern and Contemporary South Asian Art.
Manjari Sihare Sutin heads sales for the Modern and Contemporary South Asian Department at Sotheby’s for the Americas. She joined the auction house in 2015 and brings a breadth and depth of knowledge to her role acquired over eighteen years of experience in the field. Manjari has worked extensively with a range of cultural institutions and private collections in India and the United States. She holds two graduate degrees in Art History and Visual Arts Administration: from the National Museum Institute, New Delhi, and New York University, respectively.
Nasreen Mohamedi, Untitled, Oil on canvas board, circa 1964, 47 x 35 in. (119.3 x 88.9 cm.) (Courtesy of Sotheby’s)
After receiving her Bachelor of Arts degree in Art History from Stanford in 2006, Margo Thoma moved to Santa Fe, where she co-founded the gallery Eight Modern in 2007. In 2014, Thoma purchased the Santa-Fe based TAI Gallery, merging it with her American contemporary art gallery, Eight Modern, and the result is TAI Modern. She and bamboo expert, Koichiro Okada, have continued gallery founder Rob Coffland’s mission of encouraging and advocating for Japanese bamboo art world-wide. Works by TAI Modern artists have been placed in some of the country’s most prestigious institutions, including the Art Institute of Chicago and the Metropolitan Museum of Art, among others.
Craig L. Yee is a co-founding director of INK Studio, a Beijing and New York-based gallery and experimental art space devoted to researching, documenting and exhibiting ink as a medium, language and discourse for the creation of contemporary art. Mr. Yee has played a central organizational and editorial role in a number of major university and museum research projects on classical Chinese painting including New Songs on Ancient Tunes (2007) at the Honolulu Academy of Arts, Selected Masterworks of Modern Chinese Painting (2010) at the Central Academy of Fine Arts in Beijing, and Alternative Dreams (2016), a multi-year research and exhibition program on seventeenth-century Chinese painting at the Los Angeles County Museum of Art.
Originally from Japan, Miyako Yoshinaga founded her namesake gallery in 1999 in New York City, MIYAKO YOSHINAGA. It has flourished as a premier showcase promoting international artists with a focus on innovation and cross-boundary practices. The gallery has also been at the forefront of establishing Japanese and other Asian photography as a viable component in the international art arena. She has been curating survey exhibitions for Japanese and Korean master photographers with a scholarly emphasis, while fostering younger artists’ careers and ambitious projects through exhibitions and international art fairs.
November 17, 2021
Eric Zetterquist, Corvette C8 (Red Liseret), 2021, smb.jpg, 60 x 180 cm.
Salient Lines--Vintage and Supercar Portraits by Eric Zetterquist
November 13-December 26, 2021, Garden Exhibition
Ann Norton Sculpture Gardens is pleased to debut Eric Zetterquist’s work with the Sculpture in Motion exhibition. Eric Zetterquist’s art has always been about celebrating brilliant form. He is best known for abstractions that are derived from his photographs of ancient objects, which have been exhibited in museums and galleries in the US, China, Japan, Taiwan and Thailand. Often shown together with their “source objects”, the aim of the artist is to get his audience to stop and see – not just look – at beautiful form.
A lifelong auto enthusiast, Zetterquist has now turned his lens to the glories of brilliant automotive design. Using a similar technique, he photographs cars and amplifies the salient, form-defining lines. He then turns them into large, inky abstractions reminiscent of Asian calligraphy.
For more information click here.
November 17, 2021
Kojiro Yoshiaki, Breaking Composition #16, 2017, kiln-cast & slumped foaming glass, 4.50 x 11.00 x 11.00 in.
Mountains & Sky
November 19-December 31, 2021
It is impossible to live in Santa Fe without falling a little bit in love with the mountains and sky. This winter, TAI Modern pays homage to these pillars of the high desert landscape with an exhibition of works from Japan and America that evoke or are inspired by the natural world.
Mountains and Sky brings together a selection of vessel makers, painters, and sculptors. The references to nature can be straightforward, as in Black Mesa, Linda Whitaker’s powerful oil-pastel of a local landscape, or more difficult to pinpoint, as in Hatakeyama Seido’s Mountain Range, a jar-shaped bamboo basket with a decorative knotted motif reminiscent of the titular forms.
“For me, inspiration comes from the workings of nature, both large and small, near and distant” Japanese sculptor Nagakura Kenichi wrote in 2016. “My desire is to share with other human beings the silent voice of nature.” His work Looking Through a Mountain Sky exemplifies the guiding themes of this exhibition, possessing both an earthy gravity and a form that seems to stretch skyward.
For more information click here
November 12, 2021
Samurai armor with dō-maru, Early Edo period, 17th-18th century, courtesy of Giuseppe Piva Japanese Art
Certificate: The armor is accompanied by a certificate of registration as Koshu Tokubetsu Kicho Shiryo (Especially Important Armor Object) no. 1277 issued by the Nihon Katchu Bugu Kenkyu Hozon Kai (Japanese Armor Preservation Society), 2020.11.01
This flamboyant Samurai armor is entirely made of small individual scales (hon-kozane), lacquered in black and gold and laced together with blue, orange, and white silk, in order to create a multicolored pattern.
The helmet (kabuto) is very elaborate, of suji-bachi construction, made of 62 plates joined with hammered rivets, with three gilt-copper shinodare, descending in the front from a rich tehen-no-kanamono (decorative fittings around the edge of the opening at the top of the helmet). The maedate (front ornament) is a classical ken-kuwagata, with stylized horns and a votive sword. The neck protection (shikoro) has the same color-scheme as the whole armor. The cuirass (dō) is of dō-maru type and made into a single piece with individual small scales laced together, which were used in the early suits of armor. As expected in an armor of the early Edo period, the shoulder guards (chū-sode) are small, and the neck protection is of the hineno-type, following the shape of the shoulders.
The suit of armor bears a rare samurai family crest in the design of three white oak leaves. This appears not only on the helmet’s flanges (fukigaeshi), but also on all the gilt-copper support plates (kanamono) of the cuirass.
For more information, click here
November 11, 2021
Yojiro Imasaka, Illuminating Earth 17, 2019, Toned gelatin silver print, edition of 2 + 1 artist proof, 60 x 99 in / 152.4 x 251.5 cm © Yojiro Imasaka
Grand Palais Ephémère
Champ-de-Mars, Place Joffre, 75007 Paris
and online viewing room
November 11-14th, 2021
1pm - 8pm from Thursday 11th to Saturday 13th
1pm - 7pm on Sunday 14th
For more information, click here.
Miyako Yoshinaga is featuring works by Rose Farrell & George Parkin, Hitoshi Fugo, Mikiko Hara, Yojiro Imasaka, Karen Miranda Rivadeneira, and Bianca Sforni. (Stand F17).
November 11, 2021
Hasui (1883 -1957), Evening Snow at Terajima, 1920, Woodblock Print, Series: 12 Views of Tokyo
35 newly acquired prints have been added, including: a collection of Charles Bartlett woodblocks and etchings; a group of Kunisada actor portraits published by Kinshodo; two fine pre-earthquake Hasui Prints and a rare Kuniyoshi triptych that is known only in incomplete examples.
To see the prints, click here.
November 9, 2021
Wonsook Kim, Shadow a bird, 2010, Oil on canvas, 30 x 40 in. (76 x 101 cm.)
Dreams of Nature
November 11-30, 2021
The November exhibition will include paintings by Woonsook Kim and ceramics by Geejo Lee, who are both Korean artists.
Wonsook Kim creates story-based figurative paintings that are poetic and ethereal in their fluid execution and mythical subject matter. She accepts that calligraphy has a clear influence on her work because she grew up surrounded by images of this type. Kim’s artworks are the result of her lifetime experiences in Korea and the United States. The highlight among her recent paintings is "Walking the Dryland III” from the series "The Wilderness" (Gwang-ya) paintings.
Geejo Lee, Moon Jar, 2020, White porcelain, 19 1/8 in. (48 cm.) high
Geejo Lee was born in Jeju Island. He received both his BA and MA from Seoul National University. In his pieces, Lee is fully absorbed with interpreting the unique aesthetics of Joseon white porcelain. The moon jar, dated 2020, is one of the best works from his series of moon jars.
November 5, 2021
Sako Ryuhei (b. 1976), Mokume-gane Uchidashi Vase 02, 2020, silver, copper, shakudo, shibuichi and kuromido, h. 7 x dia. 5 1/8 in. (18 x 13.1 cm)
Onishi Gallery is proud to present The Eternal Beauty of Metal at Salon Art + Design, at the Park Avenue Armory from November 11th through the 15th. Onishi Gallery is the only gallery in the United States representing contemporary Japanese metalwork artists and strives to foster a market for this art form outside of Japan.
Featuring room vignettes, the Gallery’s exhibition demonstrates the way in which Japanese art and design fits in the American home, merging Japanese sensibility with a Western contemporary lifestyle. The artists in the Salon Art + Design exhibition include Living National Treasures Osumi Yukie, Nakagawa Mamoru, Tamagawa Norio, Taguchi Toshichika, as well as leading metal artists from Japan, Miyata Ryohei, Sako Ryuhei, Iede Takahiro, Hata Shunsai. Onishi Gallery’s booth is curated by New York City design connoisseur and curator Dr. Daniella Ohad. The space, furnished with a combination of pieces of modern and contemporary furniture, acts as a backdrop for the collection of Japanese contemporary metalwork, which transforms and enhances the soul of the interior.
Select metalwork artists will be among those featured in The Metropolitan Museum of Art’s current exhibit: Japan: A History of Style.
November 4, 2021
After a half century in the field, Kawase Shinobu is regarded as Japan’s most outstanding artist working within the ancient tradition of celadon.
In this latest dazzling body of work, Kawase moves beyond Song Dynasty models and showcases his brilliance on the wheel, paired with an unrivaled command of celadon glazes in a range of luscious and delightfully surprising colors. Having represented Kawase for decades, Joan B Mirviss LTD is thrilled to present over thirty works that irrefutably declare his mastery of celadon.
Known as seiji-sensei or "Master of Celadon" in Japan, and with a comparably devoted international following, Kawase Shinobu (b. 1950) stands apart as an artist honoring the historic precedents of celadon while pushing its limits beyond any other living artist in the medium. He has captivated a worldwide audience with his successful fusion of contemporary forms and ancient techniques in precise, jewel-like vessels astounding to behold.
His works are in the permanent collections of more than twenty major Western museums across the globe, including: the Art Institute of Chicago, IL; Metropolitan Museum of Art, NY; Minneapolis Institute of Art, MN; St. Louis Art Museum, MO; Royal Ontario Museum, Canada; and the British Museum, UK. He was the youngest recipient of the prestigious Japan Ceramic Society Award and won their Gold Prize lifetime achievement award in 2014.
Contact email@example.com for more information.
Click here to register for Mastery of Celadon: An Artist's Talk with Kawase Shinobu
Wednesday, November 10 at 5pm EST