Hayashi Kaku, Zero-Reincarnation , 2020, glazed stoneware, 17 3/4 x 27 1/8 x 9 in.

Hayashi Kaku | ETERNAL CURRENTS, Joan B Mirviss LTD
November 29, 2022–January 13, 2023
Exhibition preview: Tuesday, November 29 from 4:30pm EST

Eternal Currents marks the first solo exhibition outside Japan for highly respected and influential ceramic artist Hayashi Kaku. After decades of exploring clay’s malleability, Hayashi has created confidently formed sculptures covered in strongly contrasting glazes that express the elemental force of Nature. Her latest dynamic series, created exclusively for this exhibition, draw inspiration from the majestic and spiritually significant Kegon waterfall in Nikko that has been celebrated by Japanese artists since antiquity. Located near her home and studio in Tochigi Prefecture, the waterfall and surrounding landscape have long been a source of inspiration for her artistic practice. More recently, she has imbued these works with a renewed vigor despite the isolation and uncertainty of the past few years. Through expressive clay sculptures, Hayashi Kaku explores both the variable and immovable forces ever-present in Nature in her powerful international debut at Joan B Mirviss LTD.

Upcoming Zoom Talk:
Thursday, December 8, 2022 at 5pm ET
Eternal Currents: The Tidal Impact of Japanese Women Clay Artists and Charting a Course for the Future
ZOOM Gallery Talk hosted by Joan B Mirviss LTD
The massive surge in innovation and international stature of Japan’s contemporary ceramic arts can be traced to the rapid incorporation of women into the field in just the past few decades. Once they were finally allowed to get their hands in clay, women artists have provided a burst of creative energy that has pushed the medium into unexpected directions. To discuss the sea change in Japan’s venerated centuries-old, male-dominated ceramic tradition, gallery artist Hayashi Kaku will be joined by Professor Todate Kazuko, a highly respected scholar of Japanese ceramics, and curator Russell Kelty, who recently organized a Japanese sculptural ceramics exhibition at the Art Gallery of South Australia and authored the accompanying handsome publication. Each panelist will examine, from their unique perspective, the unstoppable tide of creative talent from Japanese women clay artists, and at the same time reflect upon the accompanying challenges for them in charting a course through unknown waters.

Panelists:
HAYASHI KAKU, artist
RUSSELL KELTY, Curator, Asian Art at Art Gallery of South Australia (AGSA), Adelaide, Australia
TODATE KAZUKO, Professor at Tama Art University, Tokyo and respected scholar of ceramics
MINA LEVIN, Japanese clay art collector and museum patron based in North Carolina
Moderated by JOAN MIRVISS

Read more and register, click here

Between November 29 and December 4, three AWNY members will participate in two art fairs in Miami. If you will be in town, be sure to visit their booths and see the great Japanese art they’ll have on view.

DESIGN MIAMI:
This 18th edition of Design Miami is curated by Maria Cristina Didero and explores the theme of The Golden Age: Looking to the Future, celebrating a tomorrow of our own creation.

Ippodo Gallery
Extreme Surfaces: Cutting Age Kogei
Ippodo Gallery presents an extensive exhibition of contemporary Japanese kogei (art and craft) that includes works by twenty-one artists.

Thomsen Gallery
On display will be fine bamboo baskets, complemented by Japanese modern bronze vessels, contemporary porcelain vessels, and gold-lacquer boxes.

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ART MIAMI:
An international art fair, Art Miami, is the city’s longest running contemporary and modern art fair.

TAI Modern
The gallery will offer a wide array of Japanese contemporary bamboo art by many of the best practitioners.

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Attributed to Sultan Muhammad (active first half 16th century), The Feast of Sada, Folio 22v from the Shahnama (Book of Kings) of Shah Tahmasp (detail), ca. 1525, opaque watercolor, ink, silver, and gold on paper, Gift of Arthur A. Houghton Jr., 1970, The Metropolitan Museum of Art

As friends and family gather for a holiday feast, we at Asia Week New York pause to wish you all a very Happy Thanksgiving.

Kapoor Galleries invites you to a private viewing and tour of the show,
Air India's Maharaja: Advertising Gone Rogue
Tuesday, November 29, 2022, 6-8pm EST
Note the location: Poster House
119 West 23rd Street New York, NY 10011

Rogue’s Gallery, published by Air-India in 1977, was a catalog showcasing the airline’s most iconic travel posters produced from 1946 to 1972. The star of these posters was Air-India’s beloved mascot, the Maharaja, alias “the Rogue.” Conceived in 1946 by Bobby Kooka and illustrated by Umesh Rao, the Maharaja was initially designed for an inflight memo pad. Characterized by his oversized mustache, striped turban, corpulent belly, and aquiline nose, the mascot would go on to become the face of the airline and propel the company to the forefront of advertising genius in the mid-20th century.

The exhibition Air India's Maharaja: Advertising Gone Rogue throws light upon how Air-India’s mascot to this day is most fondly remembered throughout the world for his role in India’s golden age of advertising.

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CHINA/5000 Years, Sotheby's
Online auction November 18-December 1, 2022

This diverse sale includes Chinese works of art from diplomat and collector Frederick William Hinke (1900-1960), who served for several years in China; early ceramics of a West Coast collector; Qing porcelain formerly in the Metropolitan Museum of Art; and a selection of Scholar's Objects, among other treasures.

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The Architectonics of Form: Scrolls by Ganesh Haloi,
Akar Prakar New Delhi
November 23, 2022-Janaury 10, 2023

The scrolls by Ganesh Haloi, are cartographic mappings of the layered sensations that have impressed upon him for decades. Beginning with the steady lyricism of Ajanta murals, resonant whispers of the varying landscapes, rhythmicity of the alpana forms, structurality of manmade interventions and the poetics of space. The architectonics of his visual forms are derived from and yet not limited by these layered impressions and the scrolls presented for the first time in this exhibition extends the survey into the dynamics of space as sound.

There are two primary aspects that trigger the perceptive construction of the forms in Haloi’s scrolls. One is the aspect of space as perceived by the Chinese artist, enhancing the void with the minimalistic spontaneous brush strokes that exemplifies the Daoist ideal of being in harmony with nature, devoid of the self. Dhvani, a theory of suggestions and revelations is the other binding element in Haloi’s composite forms and relations to space.

Haloi’s architectonics derives from the process of integrality. To experience and express nature as a whole. Synchronizing its lyricism, rhythm, resonance, structurality and poetics into a coherent formula. This process abstracts the physicality of forms, and its psychological translucency of meanings and sensations into a sonic algorithm—enfolding, unfolding, and refolding the space-time flux into a continuous act of abstraction, until the self-image is integral to a visual formula of sonic symbolism. The void/space impregnated with dhvani, gives birth to this pulsating architectonic of form.

Forty-eight bidders from Hong Kong, China, Canada, and the United States competed for Painting of Antlers, signed Qianlong Emperor, which sold for $118,750, surpassing its estimate ten-fold.

The three-session online sale, entitled Asian, Ancient and Ethnographic Works of Art, Parts I, II, and III of rare works of Asian art presented by Lark Mason Associates, on iGavelAuctions.com, concluded on November 3rd, and rang up $932,045.00 in sales including buyer’s premium.

“The series of sales exceeded expectations and showed the market to be remarkably resilient, boding well for the 2023 spring sales of Asian art in March,” says Lark Mason. “It included nearly 500 lots with a mix of works ranging from ancient works of art to furniture, resulting in a significant number of bidders pursuing works across a variety of categories.” According to Mason the strong response was due to the variety of material and reasonable estimates, and took into consideration the costs incurred by bidders who were incurring packing and shipping costs, in addition to the hammer price at auction.

In addition to the painting of antlers signed by Emperor Qianlong, other lots that surpassed their original estimates were a Chinese Peking Amber Glass Octagonal Bottle Vase, eagerly pursued by 38 bidders and snapped up for $17,500; an ink-on-silk Korean Four Panel Ink Screen by Kim K-Chang (1913-2001) sold for $18,125, exceeding its estimate three-fold, with 26 bids. A pair of Chinese Faux Cloisonne Porcelain Jardinieres, mid-Qing Dynasty sold for $25,000, twice its estimate; a Chinese Brown Jade Huang Form Dragon Pendant sold for $25,000; a pair of Chinese Porcelain Magpie and Prunus Vases, 20th Century far exceeded its $1,200-1500 estimate and garnered $20,625; and a 19th century Carved Beige Stone Gourd Form Snuff bottle rang up $8,125.

Sunrise in Udaipur, ca. 1722–23, The City Palace Museum-Udaipur, Maharana of Mewar Charitable Foundation (MMCF), Udaipur, 2012.20.0015

A Splendid Land: Paintings from Royal Udaipur,
National Museum of Asian Art, Smithsonian Institution
November 19, 2022-May 14, 2023

Around 1700, artists in Udaipur (a court in northwest India) began creating immersive paintings that conveyed the mood (bhava) of the city’s palaces, lakes, and mountains. These large paintings and their emphasis on lived experience have never been the focus of an exhibition.

With dazzling paintings on paper and cloth—many on public view for the first time—A Splendid Land reveals how artists conveyed emotions, depicted places, celebrated water resources, and fostered personal bonds over some two hundred years in the rapidly changing political and cultural landscapes of early modern South Asia.

The exhibition is organized as a journey that begins at Udaipur’s center and continues outward: first to the city, then to the countryside, and finally to the cosmos. A soundscape by the renowned filmmaker Amit Dutta invites contemporary audiences to sense—and not just see—the moods of these extraordinary places and paintings.

Seated Ganesha, 14th–15th century, Orissa, ivory, H. 7 1/4 in. (18.4 cm). Gift of Mr. and Mrs. J. J. Klejman, 1964 (64.102)

Ganesha: Lord of New Beginnings, The Metropolitan Museum of Art
November 19, 2022-Feburary 25, 2023

Ganesha, the son of Shiva and Parvati, is a Brahmanical (Hindu) deity known to clear a path to the gods and remove obstacles in everyday life. He is loved by his devotees (bhakti) for his many traits, including his insatiable appetite for sweet cakes and his role as a dispenser of magic, surprise, and laughter. However, Ganesha is also the lord of ganas (nature deities) and can take on a fearsome aspect in this guise.

The seventh- to twenty-first-century works in this exhibition trace his depiction across the Indian subcontinent, the Himalayas, and Southeast Asia. Featuring 24 works across sculptures, paintings, musical instruments, ritual implements, and photography, the exhibition emphasizes the vitality and exuberance of Ganesha as the bringer of new beginnings.

L-R: CFGNY, New Fashion II, 2018, Courtesty of CFGNY. Photograph by David Brandon Geeting and Wataru Tominaga, Untitled from 31st Hyères Mode Festival, 2016, 2015, Courtesy of Wataru Tominaga

Refashioning: CFGNY and Wataru Tominaga, Japan Society
November 18, 2022-February 19, 2023

Japan Society presents the exhibition Refashioning: CFGNY and Wataru Tominaga from November 18, 2022 through February 19, 2023. The first show devoted to the art of contemporary fashion at Japan Society, the exhibition explores the work of CFGNY and Wataru Tominaga, two emerging fashion labels that engage with the intersections between fashion, art, and identity. Featuring garments, accessories, and textile-related works, the exhibition examines the ways in which these two practices—one based in New York, and the other in Tokyo—experiment with artistic mediums beyond conventional forms of dress, while challenging preconceived notions of gender and identity.

Artists in Conversation: CFGNY and Wataru Tominaga
In-person event, November 22 at 6pm

Join fashion and art collective CFGNY and designer Wataru Tominaga for a talk delving into their artistic practices and the works featured in their new exhibition, Refashioning: CFGNY and Wataru Tominaga. Moderated by Dr. Yuniya Kawamura, Professor of Sociology at the Fashion Institute of Technology, New York, this conversation will highlight the artists’ distinctive, yet shared approaches to exploring fashion as a medium to initiate broader dialogues.

Read more ang register, click here.