Bingyi, White Clouds and Dark Beasts 《白云苍狗》, 2021, ink on xuan paper

Bingyi: Land of Immortals, INKstudio
March 16-25
Exhibiting at:
Joan B. Mirviss Ltd
39 East 78th Street

Bingyi will premier new ink paintings from her site-specific Taihang Mountains series in which she explores the Northern Song landscape tradition.

An artist, architectural designer, curator, cultural critic, and social activist,
Bingyi (冰 逸, b. 1975, Beijing) has developed a multi-faceted practice that encompasses land and environmental art, site-specific architectural installation, musical and literary composition, ink painting, performance art, and filmmaking. Adopting a non-anthropocentric perspective and channeling nature’s creative agency, her work is centrally concerned with the themes of ecology, ruins, rebirth, and poetic imagination. After pursuing university-level studies in biomedical and electronic engineering in the United States, Bingyi earned a Ph.D. in Art History and Archeology from Yale University in 2005 with a dissertation on the art of the Han Dynasty.

This exhibition will be displayed in tandem with Kondō Takahiro: Making Waves at Joan B Mirviss LTD.

Bingyi, Sea of Stars, 2021, ink on xuan paper

INKstudio, founded in 2012 by Craig Yee and Christopher Reynolds and located in Beijing and New York, is an art gallery with the mission to present Chinese experimental ink as a distinctive contribution to contemporary transnational art-making in a closely-curated exhibition program supported by in-depth critical analysis, scholarly exchange, bilingual publishing, and multimedia production. INKstudio's program encompasses Postwar and contemporary artists from China, Taiwan, Hong Kong, Korea and Japan. Dr. Britta Erickson, INK Studio’s Artistic Director and an independent scholar and curator living in Palo Alto, drives all aspects of its programming and scholarly activities. Based in New York, Mee-Seen Loong joined INKstudio as director in 2018 after a long and distinguished career at Sotheby’s, where she spearheaded many new initiatives in the field of Contemporary Ink.

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Anonymous (Late 19th century), Three Deities, ink and color on silk

Korean Paintings and Sculptures: Past and Present
HK Art and Antiques LLC
March 17-April 6

This Asia Week season, HK Art and Antiques presents an exceptional array of traditional and contemporary Korean paintings and sculptures. Based in New York since 2015, this gallery, under the direction of Heakyum Kim, is one of the foremost sources for fine Korean art.

Wonsook Kim (b. 1953), Shadow a Bird, 2006, bronze

One of the highpoints of the exhibition is this bronze sculpture called Shadow of a Bird, by contemporary artist Wonsook Kim, who was born in Busan in 1953 and now lives in Illinois. She is known for story-based figurative paintings and sculptures that are poetic and ethereal in their fluid execution and mythical subject matter.

Henri Vever Papers, FSA.A1988.04, Freer Gallery of Art and Arthur M. Sackler Gallery Archives,
Gift of François Mautin, 1988

Sneak Peek—The Other Gems: Henri Vever’s Persian Painting Collection
National Museum of Asian Art
Online program, Tuesday, March 8 at 12pm

A celebrated jeweler, a skilled draftsman, an avid bibliophile, and a devoted sportsman, Henri Vever (1854–1942) also amassed one of the most significant collections of Persian and Indian paintings, which is housed today in the Arthur M. Sackler Gallery at the National Museum of Asian Art. By the time Vever became fascinated with Persian and Indian arts of the book in the early 1890s, he had already collected and sold an impressive group of Impressionist paintings and was enthusiastically collecting Japanese prints. Drawing on contemporaneous historical sources, including Vever’s own diaries and ledgers, this presentation will consider the jeweler’s career in fin de siècle Paris and the formation of one of the most outstanding holdings of Persian manuscripts and paintings in the early twentieth century.

This talk is part of the monthly lunchtime series Sneak Peek: New Research from the National Museum of Asian Art, where staff members present brief, personal perspectives and ongoing research, followed by discussion. In 2022, the series will focus on collecting practices and the collections of the National Museum of Asian Art.

Massumeh Farhad is The Ebrahimi Family Curator of Persian, Arab, and Turkish Art, Chief Curator, and the Senior Associate Director for Research. She is a specialist in sixteenth- and seventeenth-century arts of the book from Iran.

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Sacred Screens and Scrolls: Decoding Buddhist Symbols in Shikō Munakata’s Prints, Japan Society
Online program, March 8 at 6pm

In this virtual walkthrough of Shikō Munakata: A Way of Seeing, D. Max Moerman, professor and chair of Asian & Middle Eastern Cultures at Barnard College, delves into the artist’s rich Buddhist roots, unveiling key philosophies, motifs and figures at the heart of Munakata’s oeuvre. In conversation with Japan Society’s Chief Program Officer Ramona Handel-Bajema, Ph.D., Moerman discusses the religious significance of works such as Eulogy to Shōkei (1945), a six-panel screen containing 24 individual prints, and The Ten Great Disciples of Buddha (1939/1948), a set of 12 expressive, black-and-white hanging scrolls, as well as several calligraphic works.

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A Prince Receiving Water at a Well, Imperial Mughal, ascribed to Kalyan Das (also known as Chitarman), c. 1720–30, opaque pigments and gold on paper

Court, Epic, Spirit: Indian Art 15th-19th Century, Francesca Galloway
Currently on view-March 24, 2022

In collaboration with Luhring Augustine Tribeca at 17 White Street in Manhattan, Court, Epic, Spirit presents a variety of artworks, including textiles, paintings, and courtly objects. Grounding the works in their historical context, the selection will offer insights into artistic and cultural movements in India during this time.

The title of the exhibition refers to three key lenses through which to view the multi-faceted and extraordinarily inventive arts of India: court, epic, spirit. With these organizing principles as a guide, the exceptional and iconic works of art in the installation can be more fully considered and understood.

Pichhvai of Dana Lila (the demanding of toll), Deccan, possibly Hyderabad, mid 19th century, cotton; with stencilled and painted design, gold and silver applied with an adhesive and painted pigments, including copper acetate arsenite (‘emerald green’)

This exhibition was highlighted by Andrea K. Scott in a recent issue of The New Yorker. To read the article, click here

Francesca Galloway's website contains a wealth of information about this exhibition, including a video preview; a poetry-reading and essay by poet, art critic, and curator Ranjit Hoskote; and a review of the exhibition by Hperallergic. To access these features, click here.

Arnold Chang & Michael Cherney, Mount Hua, photography and ink on xuan paper mount on paper

Ink Affinities 墨缘: The Collaborative Works of Arnold Chang and
Michael Cherney, Fu Qiumeng Fine Art
March 18-May 7
Opening reception: March 18, 6-8pm

During Asia Week New York 2022, Fu Qiumeng will present Ink Affinities 墨缘: The Collaborative Works of Arnold Chang and Michael Cherney—the first New York exhibition devoted entirely to their cross-medium and cross-cultural collaboration. More than 20 recent works, none of which have been exhibited or published before, will be on view.

Arnold Chang & Michael Cherney, Mountain Depths #1, 2019, photography and ink on xuan paper mount on paper

Since 2009 the artists Arnold Chang 张洪 (born 1954) and Michael Cherney 秋麦 (born 1969) have created a series of collaborative works that combine traditional ink painting with photography in ways that subtly blur the distinction between the two media. The photographs of Cherney, an American residing in Beijing, and the ink landscapes of Chang, a Chinese-American living in New Jersey, are both rooted in the centuries-old tradition of Chinese painting. The collaborative works begin with Cherney’s meticulously selected excerpts of photographs taken in China and printed on xuan paper, and combine them with Chang’s elegant brushwork, resulting in a dialogue between the two media, as well as a conversation between the two artists. These works challenge the definition of shuimo 水墨 (“ink painting”), while simultaneously embracing and reaffirming the traditional aesthetics of Chinese landscape art.

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Two Court Ladies Drinking Wine, Mughal India, circa 1760, opaque pigments with gold on paper

India and Iran: Works on Paper, Oliver Forge and Brendan Lynch Ltd.
Live exhibition March 16-24
Opening reception March 16, 5-8pm
67 E. 80th St., Suite 2
New York, NY

Based in London since 1998, Oliver Forge and Brendan Lynch are former directors of the Antiquities and Islamic and Indian Art departments at Sotheby’s, London. Their professional expertise encompasses Near Eastern, Egyptian, Greek, Roman and Islamic art. They also specialize in the art of the Indian subcontinent, the Himalayas and Southeast Asia, covering works from the Buddhist and Hindu dynasties to the Mughals, with a special emphasis on Indian and Islamic miniature painting and manuscripts.

The Hindu God Vishnu as Venkateshvara, probably Tirupati, Andhra Pradesh, India, late 18th century, gouache heightened with gold on paper

Included in their exhibition in New York is this striking image of The Hindu God Vishnu as Venkateshvara, dated late 18th century. This gouache heightened with gold on paper depicts the four-armed Hindu god Vishnu in his human avatar as Venkateshvara or forgiver of sins. It was painted in Andhra Pradesh in south India, probably at Tirupati, northwest of Madras (Chennai), where a school of painting flourished in the eighteenth century. The style of painting, with lavish use of gold, is distinctly south Indian.

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Online Events during Asia Week March 2022

Asia Week New York’s Launch
Tuesday, March 15 at 6 pm
Join Asia Week New York for an overview of all the engaging exhibitions, sales, and artworks that will be available during this year’s Asia Week. Stay tuned for details on how to watch.
 
Asia Week New York’s Online Exhibition
Opens Wednesday, March 16
As an added feature, Asia Week New York is preparing an online feature of all the galleries and auction houses participating in Asia Week.  This special online exhibition will be on view on AWNY’s website.
 
Gallery Online Exhibitions
The following galleries will participate in Asia Week via their own online exhibitions. Links will be available during Asia Week:
•Akar Prakar, Jayashree Chakravarty: Feeling the Pulse (in the pandemic),
March 15-April 15
•Thomas Murray, Indian, Indonesian and Other Textiles and Masks Then and Now, March 16-25
•Kaikodo LLC, The Ancients Among Us: Chinese and Japanese Paintings and Works of Art, March 15-25
•Egenolf Gallery Japanese Prints, Masterworks by Tsukioka Yoshitoshi
(1839-1892), March 16-25
 
Online Lectures
National Museum of Asian Art
Fit for a Palace: The Craze for Safavid Carpets in Seventeenth-Century Europe,
March 15 at 12–1pm
Fashioning an Empire: Design Inspirations from Iran, March 17 at 6–7pm

Nelson-Atkins Museum of Art
Curators in Context, March 16 at 6pm CDT/7pm EDT

Asia Society
Water in a Shared World: Artist Perspectives (Practice or Action):
Online Panel Discussion, March 17th at 10am

Denver Art Museum
Zoom Discussion Panel:Fantastic Brush: Twentieth-Century Chinese Ink Art,
March 17th at 11am MDT/1pm EDT

Joan B Mirviss LTD
ZOOM panel discussion with the celebrated artist Kondō Takahiro,
March 17 at 5pm EDT

Christie's
Virtual Preview of Japanese and Korean Art Including the Collection of David and Nayda Utterberg and Important Chinese Ceramics and Works of Art,
March 17 at 5pm
Adopt, Adapt, Assimilate, and Transform: Early Chinese Buddhist Sculpture,
March 18 at 1pm
The Bottles They Carried, March 20 at 12pm

San Antonio Museum of Art
Riders from the North: The Qidan—Their Culture, Lifestyle and Beliefs,
March 22 at 6-7pm CDT/7-8pm EDT

Tsukioka Yoshitoshi (1839-1892), Flute Player Triptych (Fujiwara Yasumasa Plays the Flute by Moonlight), 1883, woodblock print

Masterworks by Tsukioka Yoshitoshi (1839-1892)
Egenolf Gallery Japanese Prints
Online exhibition beginning March 16th

Tsukioka Yoshitoshi (1839-1892) was the last of the great 19th century ukiyo-e artists, known for his early works of explicit gore, as well as for his mature works of transcendence and pathos. A consummate draftsman, he developed a unique style of representation and narrative expression after first closely adhering to the manner of his teacher, Utagawa Kuniyoshi. A master at portraying complex narratives, he could illustrate a scene at both the moment of poignant reflection, as well as at the explosive moment of dramatic intensity. Egenolf Gallery is pleased to offer a number of his most famous triptychs, including the Flute Player Triptych (Fujiwara Yasumasa Plays the Flute by Moonlight), widely considered his masterpiece.

Tsukioka Yoshitoshi (1839-1892), Ichikawa Danjuro IX as Kusunoki Masatsura at the Battle of Shionawate, 1886, woodblock print

Yoshitoshi’s work presaged aspects of our modern world, as he lived through the tumultuous events of the Meiji Period in the 19th century. He took the personal experience of witnessing a battle during the Japanese civil war and used this to portray works of wrenching emotional power. His work also reflected his own temperament, which was subject to extremes as well as bouts of serious mental illness. Japan itself was undergoing unprecedented change in its rush towards modernization, and many of the touchstones of Japanese life were being swept away. Yoshitoshi’s work reflects both his own sympathies with the vanishing samurai class, as well as a deep respect for the cultural traditions of Japan, which were fast disappearing in intensity.

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