What's Happening in Asian Art...
October 15, 2021
Portland Japanese Garden (Courtesy Portland Japanese Garden)
For centuries people have looked to nature and gardens to provide emotional support, a place to gather to mark important events in their lives, or as an escape from the finite walls of their homes. In The Luxurious Garden and the Gratification of Retreat, a distinguished panel of eminently qualified experts will discuss the origins of these luxurious spaces–designed in the Japanese and Chinese tradition–and their impact on visitors throughout the ages.
“Who at one time or another hasn’t sought out a garden to provide something that enhances their lives?” asks Andrew Lueck, Specialist, Vice President, Chinese Ceramics and Works of Art at Christie’s, who will moderate the discussion. “Whether it’s a tranquil setting at a museum, such as The Astor Court at The Met; the rolling hills of the Huntington Gardens; the waterfall at the Portland Japanese Garden; a private residential refuge; or in their absence, an evocative Japanese woodblock print of a Zen garden, outdoor settings have been providing us with areas of welcome refuge and retreat for centuries.”
Liu Fang Yuan, the Garden of Flowing Fragrance, The Huntington Library, Art Museum, and Botanical Gardens, San Marino, CA
Photograph by Phillip E. Bloom, November 2020
The panel includes:
Phillip E. Bloom, the June and Simon K.C. Li Curator of the Chinese Garden and Director of the Center for East Asian Garden Studies at The Huntington Library, Art Museum, and Botanical Gardens in San Marino, CA. A specialist in the history of Buddhist art, gardens, and designed landscapes of China's Song dynasty (960–1279), he received his Ph.D. in Chinese art history from Harvard University in 2013. Prior to joining The Huntington, he served as assistant professor of East Asian art history at Indiana University, Bloomington, and completed a postdoctoral fellowship at the University of Tokyo. His exhibition, A Garden of Words: The Calligraphy of Liu Fang Yuan, is currently on display at The Huntington.
Maxwell K. (Mike) Hearn, Douglas Dillon Chairman, Department of Asian Art, began working at the Metropolitan Museum in 1971, helping oversee the expansion of the Met’s collection of Chinese art as well as major additions to its exhibition spaces, including the Astor Chinese Garden Court, the Douglas Dillon Galleries, and the renovated and expanded galleries for Chinese painting and calligraphy. He has worked on over 50 exhibitions and authored or contributed to numerous catalogues many of which have become essential resources for the study of Chinese art including The Great Bronze Age of China (1980), Splendors of Imperial China: Treasures from the National Palace Museum, Taipei (1996), Along the Riverbank: Chinese Paintings from the C. C. Wang Family Collection (1999), How to Read Chinese Paintings (2008) and Ink Art: Past as Present in Contemporary China (2013). Mike, who received his undergraduate degree in art history from Yale University and his Ph.D. from Princeton, has taught graduate and undergraduate seminars on Chinese painting at Yale, Princeton, Columbia, and the Institute of Fine Arts at New York University. In 2014 he was elected a Fellow in the American Academy of Arts and Sciences.
Marc Peter Keane is a landscape architect, artist and writer based in Kyoto, Japan. His work is deeply informed by Japanese aesthetics and design: simplicity, serendipity, off-balance balance, and natural patinas. Working in situations as diverse as a 350-year-old house in Japan and a contemporary museum in the United States, he designs singular gardens that are both beautiful and contemplative. Keane is also known for his ceramic sculptures and his many books on Japanese gardens and nature including, Japanese Garden Notes, Japanese Tea Gardens, and The Art of Setting Stones.
Andrew M. Lueck has worked in the Asian art auction business for nearly two decades. He is a Specialist, Vice President, in Chinese Ceramics and Works of Art at Christie’s. He resides near San Francisco and works with West Coast collectors and institutions as well as others throughout the country and globe. He has been responsible for bringing to market notable fine Chinese works of art for sale in New York as well as Hong Kong and advises and works with some of the country’s top collectors and institutions.
Since 1999, Katherine Martin has served as the Managing Director of Scholten Japanese Art, one of New York’s preeminent galleries specializing in traditional and contemporary Japanese prints. Prior to her role as managing director, she was a specialist in the Japanese Department at Sotheby's New York, from 1993 to 1999. During her tenure, Ms. Martin was the primary contact for the sale of the Donna and the Late Arthur Levis Collection of Yoshitoshi Woodblock Prints and the New York representative for the London auction of Highly Important Japanese Prints from the Henri Vever Collection. She was also the specialist responsible for the series of auctions of inro, netsuke, and works of art from the Collection of the Late Charles A. Greenfield. Ms. Martin has written several catalogs published by Scholten Japanese Art, including the ongoing series focused on woodblock prints, Highlights of Japanese Printmaking, for which the most recent volume, Part Five-YOSHITOSHI, was released in March 2017. She recently concluded her two-year term as the chairman of Asia Week New York.
Sadafumi (Sada) Uchiyama served as Garden Curator for 2008-2020 and is currently the Chief Curator at the Portland Japanese Garden. Sada is a registered landscape architect and a fourth-generation Japanese gardener from southern Japan. He is devoted to fostering relations between Japanese gardens in Japan and those outside of Japan. He has taught landscape design courses and lectured on Japanese gardening at colleges and public gardens through the United States and Japan. His representative projects include the renovation of the Osaka Garden, the site of the 1893 Great Columbian Exposition at Jackson Park in Chicago, Japanese gardens at the Denver Botanic Gardens, Duke University in NC, and Wellfield Botanic Garden in Indiana.
To reserve a space for this webinar, click here
October 15, 2021
Nov 17—19, 2021, Online
Early bird registration is now live! Register before October 18 to save $50 USD and attend the summit at the early bird price of $150 USD. Starting October 18, the registration rate is $200 USD. Registration includes access to all summit events and an electronic copy of the 2021 Arts & Museum Summit publication, Reimagining Museum Narratives in the 21st Century, a compendium of essays by featured speakers expounding on the topics covered across the summit.
Join us from November 17–19, 2021 for a dynamic convening of curators, artists, and museum and arts professionals—online!
The 2021 Arts & Museum Summit will feature presentations, panel discussions, and workshops by leading arts professionals from the Asia Pacific region and beyond.
About the Asia Society Arts & Museum Summit
The 2021 Summit, Reimagining Museum Narratives in the 21st Century, will focus on issues relating to decolonization in the arts. Some of the topics to be explored include decolonizing curatorial practices, re-negotiating art historical narratives, and deconstructing the legacies of regional colonial histories. Explore the agenda and speakers here. Please note the agenda is subject to change.
The biennial Asia Society Arts & Museum Summit brings together arts and museum professionals from around the world to discuss timely issues across the field. The Summit is intended to identify and navigate the challenges and opportunities within the evolving arts ecologies across Asia and its diaspora, and engenders professional networks and collaborative exchange amongst arts professionals internationally.
This program is made possible with support from the Getty Foundation and the Terra Foundation for American Art through the Elizabeth Glassman Fund for International Museum Partnerships.
October 14, 2021
Hai Zhang American, b. 1976, Wuhan, Hubei Province, 2013, Archival pigment print on fiber paper, 28 x 18 in, 71.1 x 45.7 cm
Hai Zhang: Aged Innocence
September 17-November 20, 2021
Between 2013 and 2017, Hai Zhang frequently returned to his homeland China on his job assignment as a photographer. By then, the economic prosperity in the big cities was visibly affecting the lives in small towns and remote areas. The unprecedented changes before his eyes as a cultural insider urged him to capture tens of thousands of black-and-white and color images that exemplify the historically and culturally complex locales and their inhabitants. The exhibition features a selection from this massive photo archive in the format of small prints and large collages.
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October 14, 2021
Shino Water Jar 志野水指, Shino Stoneware, H8" x W7.6" x D7.5";H20.3 x W19.3 x D19: Lid dimensions H1.2" x W5.4" x D5.1";H3 x W13.7 x D12.9 cm, With Signed Wood Box
Dai Ichi Arts is delighted to present their October special exhibition: “Refining Water: Mizusashi & the Art of the Japanese Tea Ceremony,” bringing focus to the elegant interpretations of Modern & Contemporary ceramicists who re-envision the Mizusashi, or water jar, form. This exhibition will spotlight the importance of the water jar in the context of the Japanese tea ceremony, featuring works by Nakamura Takuo, Higashida Shigemasa, Ueba Kasumi, Suzuki Goro, & many more. Stay tuned for weekly features and exciting new arrivals this October!
Click here for more information.
October 13, 2021
Aoki Shukuya (1737-1802), The Red Cliff after Wen Zhengming (detail)
The exhibition begins with a selection of Japanese paintings inspired by our particular fascination with an 18th-century painting by the Japanese artist Aoki Shukuya. Shukuya created his “Red Cliff'' after a painting of the subject by one of China’s most celebrated Ming literati painters, Wen Zhengming. Wen’s painting had been inspired by an iconic prose-poem written by the peerless Su Shi of the Northern Song in which Su recounts an autumn boating excursion to a historic Han dynasty site on the Yangzi River.
Not only was Shukuya’s painting a perfect confluence of forces and forms across time and space, deeply meaningful in our field, but it also suggested a perfect way for us to reflect on autumn, with further Japanese works celebrating the season. The Chinese paintings are all from the Ming dynasty, honoring Wen’s role, whereas the works of art were chosen to spark and provide interest and enjoyment. At a time when we would like to travel more than we are able, we are grateful for the artists who invite us on this autumn excursion through their works and the wider world of our imaginations.
To view the exhibition click here
October 13, 2021
Kuniyoshi (1798 - 1861), An Evening View of Hatcho Dike, 1847-48, Woodblock Print, 14.25 x 29 in (36.20 x 73.66 cm)
50 newly acquired prints have been added including: two rarely seen Eisen Tanzaku-e; a vibrant Yoshiharu Circus triptych; Kunisada deluxe portraits published by Kinshodo; a Sadahide fan print; works by Yoshitoshi, Kuniyoshi, and many others. The illustrated triptych by Kuniyoshi is an extremely rare bijin night triptych with a wonderful moody background.
To see the prints, click here
October 12, 2021
Tall Iridescent Vase, 2014, Hand-blown glass with iridescent finish, 19 x 9 1/2 inches, 48.3 x 24.1 cm
Master of Venetian Glass
October 12 – November 19, 2021
Reception for the Artist: Thursday, October 21, 5- 7 pm
Ippodo Gallery and Barry Friedman Ltd. are pleased to present their first collaborative exhibition: Massimo Micheluzzi: Master of Venetian Glass. The imaginative displays of vases will fill the serene space of Ippodo Gallery. We invite you to see the juxtaposition of a Venetian artist in what may seem to be an unusual space. Witness the transcendence of forms and colors. The variety of shapes and patterns create a lovely amalgamation of ultramodern landscapes. This extensive collection contains about 40 pieces from Barry Friedman Ltd.’s collection and new works which have just arrived from Venice. Massimo Micheluzzi (b.1957) uses traditional techniques to achieve a uniquely modern aesthetic.
More information here
October 12, 2021
Among the Vines, ca. 1984-87, Watercolor on paper, Image size: 8 1/2 x 11 3/4 in., Framed size: 16 x 19 1/2 in
DŌ-KI: The Child Demon
Artworks by Ogawa Yoichiro (1939-2002)
The mysterious artist known as Dō-ki was born Ogawa Yoichiro into a family of antique dealers. Exposed to art at an early age, he was a prominent collector and connoisseur. After a visit to European and American museums in 1968, however, he took up the brush and became a painter himself. He moved to the Montparnasse district in Paris, where he created works influenced by the Fauves of the 1920s. Though inspired by modern art movements of the West, he was clearly influenced by Japanese mythologies. His enigmatic artworks are populated by foxes, oni, and yokai. He signed them Dō-ki, which means child demon.
To view exhibition click here
October 11, 2021
On the occasion of the Alfred Ceramic Museum exhibition, The Art of the Teabowl, this conference explores the definitions, histories and contexts of teabowls. For more information about the exhibition visit: https://ceramicsmuseum.alfred.edu/exhibitions/
All times are in Eastern Daylight Time (New York)
Friday October 22
Session 1: 1:00-3:30pm
Welcome remarks, Meghen Jones (Guest Curator, Path of the Teabowl and Associate Professor of Art History, Alfred University) and Wayne Higby (Director and Chief Curator, Alfred Ceramic Art Museum)
Robert D. Mowry (Senior Consultant in Chinese and Korean Art a Christie's, New York; Curator of Chinese Art Emeritus, Harvard Art Museums): “Tea Drinking in China and Song-Dynasty Black-Glazed Wares"
Philip Hu (Curator of Asian Art, Saint Louis Art Museum): “Color, Form, and Silhouette: Northern and Southern Song Tea Bowls and Related Bowl Stands from the Saint Louis Art Museum”
Ellen Avril (Chief Curator and the Judith H. Stoikov Curator of Asian Art, Herbert F. Johnson Museum of Art, Cornell University): “Poetry, Painting and Informal Tea: Two Collaborative Tea Bowls in the Modern Period”
Saturday October 23
Session 2: 8:00am-10:15am
Seung Yeon Sang (Visiting Researcher, Autonomous University of Barcelona): “Cranes Soaring Among Clouds: The Appreciation of Koryŏ Celadon Teabowls”
Yūji Akimoto (Professor/ Director of The University Arts Museum, Tokyo University of the Arts; Director of Nerima Art Museum): “A Free Mood Bowl that Reinterprets Tradition through Subculture, Manga, and Anime Points of View”
Shinya Maezaki (Professor of Art History, Kyoto Women’s University): “The History of Teabowls from the Perspective of Supply and Demand”
Session 3: 10:30am-11:45am
Andrew L. Maske (Associate Professor of Art History, University of Kentucky): “View-ing The Teabowl: The Role of Keshiki in Chawan Appreciation”
Natsu Oyobe (Curator of Asian Art, the University of Michigan Museum of Art): "The Teabowl in Contemporary Toriawase: Activating the Vessel for A One and Only Encounter"
Session 4: 12:30-3:00pm
Morgan Pitelka (Chair, Department of Asian and Middle Eastern Studies, and Professor, Department of History, University of North Carolina at Chapel Hill): “The Social Life of Raku Teabowls”
Meghen Jones (Guest Curator, Path of the Teabowl and Associate Professor of Art History, Alfred University): “The Teabowl at Alfred”
Alfred Ceramic Art faculty roundtable
To register for the conference: https://alfredu.zoom.us/webinar/register/WN_9e3EuXqSSJmRh8SspgN7rA
A conference recording will be available after the event on YouTube.
For information about conference registration, contact firstname.lastname@example.org.
For information on museum events: https://ceramicsmuseum.alfred.edu/events.html
October 8, 2021
A wide array of works from the dealers participating in our Autumn 2021 virtual exhibition was sold. Here are some of the highlights:
Dai Ichi Arts, Ltd.
(top of page) Wakao Toshisada (b. 1933), Shino Glazed Long Platter with Bamboo design, c. Late 1980's, Shino glazed Stoneware, (h) 3.8" x (w) 22.7" x (d) 11.2"; (h) 9.8 x (w) 57.8 x (d) 28.5cm.
In the Shino-glazed platter by Wakao Toshisada (b. 1933), the artist recalls a scene from Taketori Monogatari or The Tale of the Bamboo Cutter: the bamboo grove casting long shadows under a milky white moonlight.
Egenolf Gallery Japanese Prints
Kawase Hasui (1883-1957), Sunset at Ichinokura, Ikegami. [Ikegami Ichinokura (sekiyô)]. Japanese Color Woodblock Print. 1928. 26.3 x 38.4 cm.
This print is from the series “Twenty Views of Tokyo.” The sun sets a brilliant red against what are perhaps rows of tea fields and a line of tall evergreen trees.
Oliver Forge & Brendan Lynch Ltd.
William Simpson (British, 1823-99), The Wazir Khan Mosque, Lahore, dated 1864, Watercolor on paper, inscribed at l.l. Wuzzeer’s Mosque Lahore, signed at center foreground Wm. Simpson 1864, 31.5 by 48.4 cm.; 12 3/8 by 19 in.
One of the nineteenth century’s most accomplished and prolific topographical artists, Simpson travelled widely in India and the Middle and Far East and was patronized by Queen Victoria. His work can be found in the Royal Collection, Buckingham Palace, the Victoria & Albert Museum, London, and the Yale Center for British Art.
Fu Qiumeng Fine Art
Tai Xiangzhou (b. China, 1968), Celestial Tale – The Leaping Dragons in Crystal Sound, scroll, mounted and framed, ink on silk, ca. 2021, Inscribed and signed with one seal of the artist, dated May 18th, xingchou year (2021), 12 2/5 × 55 3/25 in/ 31.5 × 140 cm.
The key to Tai’s practice is his dual concern with modern physics and ancient Chinese cosmology. He is particularly interested in topological phase transition, the process by which physical objects transform between gas, liquid, and solid states.
HK Art & Antiques, LLC
Cho Taikho (B. 1957), Light on Sea 4, 2018, Acrylic on canvas 12.9 x 21.6in. (33 x 55cm.).
This is one of a group of recent paintings by the Paris-based artist, inspired by the sea.
Ken Matsubara (1948-present), Crescent Moon, Painting, H35 x W49 in, H88.9 x W124.46 cm.
Featured worldwide from the Tokyo Metropolitan Art Museum to Paris and Cologne, Matsubara’s paintings are serene, drifting, yet contained and dynamic. From intense brush strokes to delicate texture, each painting represents a return to nature, an appreciation, and consideration of the earth and natural elements.
Hu Jing (paintings dated 1609-1640), “Retreat Under Pines” 1640, Hanging scroll, ink on figured silk, 112.0 x 44.6 cm. (44 1/8 x 17 1/2 in.) Inscription: “During the tenth lunar month of the year 1640, painted by Xianqing at the Xiangxue Studio.” Artist’s seals: Hu Jingzhi yin; Wolu
Hu Jing, born in Nanping in Fujian province, trained as a scholar, known for his poetry and calligraphy, became a monk toward the end of his life. The “Retreat Under Pines” is distinguished by the artist’s use of a figured silk as ground for his painting. The juxtaposition here of its subtle pattern with the painted image yields an interesting pictorial tension and rewards close viewing of the painting.
Vishnu, South India, Tamil Nadu, Vijayanagara period, 16th century, Copper alloy 28 in. (71.1 cm.) high.
Just as those created in Tamil Nadu in prior centuries, this copper alloy sculpture of Vishnu from the Vijayanagara period, 16th century, was both an important temple commission as well as an object of transient worship, as it is fitted for processions with bronze loops and tangs at its base.
Henry Spencers and Son Auctioneers, The Square, Retford, January 1996.
Private New York collection, since the early 2000s.
Joan B. Mirviss LTD
Itō Hidehito (b. 1971) "Space" craquelure celadon-glazed, flattened round sculpture with ridged waist 2021, Glazed porcelain 9 3/8 x 16 3/4 in.
“Space” is one of Itō’s first fully sculptural works. The flattened sphere is, upon closer inspection, a half-rounded base capped by a slightly larger, flattened dome heightened by thick layers of dripping glaze around the ridged waist. The artist’s mastery of glaze is on full display in this, one of his largest works ever, as the glass-like surface reveals a “cracked ice” effect underneath in brilliant blue.
Scholten Japanese Art
Takahashi Shotei (Hiroaki), 1871-1945, Famous Places in Nikko, Snow, Moon & Flowers, signed at lower right Hiroaki with artist's seal Shotei, with publisher's seal at lower right, (limited edition of 300), ca. 1929, oban tate-e 15 1/2 by 10 1/4 in., 39.5 by 26.1 cm.
The role of Takahashi Hiroaki (Shotei) in the shin-hanga movement is arguably as integral as it has been overlooked. He was one of the most prolific among the shin-hanga artists. This print is from a series published by Fusui Gabo in 1929, Famous Places in Nikko (Nikko Meisho) which included three designs based on the classical theme of Snow, Moon, and Flowers (Setsugekka) and all three designs are quite scarce.
“Starry Night,” porcelain sculpture by Ipek Kotan. It is the largest piece in the group of works presented in the first one-woman New York show by the Turkish-born ceramic artist. She re-fired it several times since 2015 to get the glaze to crystalize in such a way.