Utagawa Hiroshige (1797-1858), One Hundred Famous Views of Edo: Fukagawa Susaki and Jumantsubo (Meisho Edo hyakkei: Fukagawa Susaki jumantsubo), printed with mica on the feathers; titled at the upper right, Meisho Edo hyakkei: Fukagawa Susaki jumantsubo, signed Hiroshige ga, with censor’s seals, aratame (examined), and date seal, mi uru go (the year of the snake [1857] intercalary 5th month), followed by the publisher’s seal, Shitaya Shinkuro, Uoei (Sakanaya Eikichi), 1857, oban tate-e 14 by 9 3/4 in., 35.7 by 24.7 cm

Our Gallery Spotlight this week falls upon Scholten Japanese Art, another founding AWNY member who opened their doors in 2000 in New York City. Currently located in the old Meurice Hotel in midtown Manhattan, this venerable gallery specializes in Japanese woodblock prints and paintings. They not only offer traditional ukiyo-e from the 18th to 20th centuries, including shin hanga and sosaku hanga, but also present Japanese-style woodblock prints produced by Western artists to expand and celebrate the visual narrative of Japanese artistic expression.

The gallery’s collection is updated regularly with new and exciting works, including this stunning print from the landscape series, One Hundred Famous Views of Edo, by great ukiyo-e master Utagawa Hiroshige. Depicting scenery from in-and-around Edo, today’s Tokyo, during the mid-19th century, these prints feature Edo-ites going about their lives during a rapidly evolving era in Japan, capturing the beauty and bustle of the city throughout the year. It was groundbreaking in its day, and works from the series are among some of the most iconic in Japanese art.

Fukagawa Susaki and Jumantsubo is one of the most famed prints from Hiroshige’s series and depicts the view from Fukagawa Susaki, the very well known peninsula along Edo Bay with the popular Benten Shrine at the very tip. The land offered excellent shellfish-gathering at low tide in the spring. The view also faces northeast towards Jumantsubo, a tract of land named after its approximate size of one hundred thousand tsubo (about eight acres).

Printed with mica on the eagle’s feathers, this striking work is available to view by appointment, Monday through Friday. Be sure come visit for more of Hiroshige’s prints from this series, along with many other fine Japanese prints and paintings at their gallery.

To learn more, click here.

Hitoshi Fugo (b. 1947), KAMI 1, 2001, gelatin silver print, printed in 2022, 21 3/8 x 16 7/8 in (54.3 x 42.9 cm), edition of 10 plus 2 artist’s proofs, KAMI Series, titled, signed, and numbered on verso

Hitoshi Fugo: KAMI
Closing Saturday, June 1, 2024
24 East 64th Street, Third Floor, NYC

These are the last days to view MIYAKO YOSHINAGA’s final exhibition, Hitoshi Fugo: KAMI, before the gallery closes its location on Saturday, June 1st.

Japanese photographer Hitoshi Fugo (b. 1947)’s still-life studies explore a single subject’s nuanced multi-faceted expressions until the subject becomes detached from its category, meaning, or identity. He commits to an ongoing experimentation in dismantling these boundaries. This exhibition features one of his most ambitious yet long-silenced projects entitled KAMI. Paper in Japanese is kami, a homonym of god. The artist gave the title, KAMI, to this body of work, implying the absence of god in today’s destructive world.

In 2023, he attempted to document the end of that life cycle by burning the paper roll again on the shore, imagining its particles flying into the air like feathers peeling away. But this was not possible due to the weather. This series, in which he tried to capture the paper’s transformation by an irresistible external force, was shown only once in Japan in 2001 and has never been shown overseas until now. This exhibition includes 11 images from the series, two of which were photographed in 2023 of the same paper roll.

While the gallery will go nomadic and continue to work with their artists and clients in different capacities, be sure to visit their Upper East Side space and experience this captivating final show!

To learn more and view the works, click here.

Black Oribe Kutsugata Teabowl “Yama no Ha,” Momoyama – Early Edo Period, Early 17th c., Japan, diameter: 14 cm, courtesy Zetterquist Galleries

We are delighted to shine this week’s Gallery Spotlight on one of our AWNY founding members, Zetterquist Galleries. Well regarded for their collection of the finest Asian ceramics throughout the ages, the gallery was established by Eric J. Zetterquist in 1992 in New York City and is currently located next to Central Park on the Upper East Side.

Their clients include major museums and the most discerning collectors of Asian ceramics from around the world. While most Asian antiquities galleries choose one country and show several different media from that country, Zetterquist chose to show one medium, ceramics, but cover all of East Asia. The flow of materials with stylistic and technical influences around the region over the past 2,000 years tells a fascinating story that gets more exciting with time.

Their current Spring Collection of Ceramics is now on view and includes this Momoyama-early Edo Period (17th century) Black Oribe “Kutsugata” (shoe-shaped) Teabowl covered with a rich, unctuous black glaze. The design of seven circles encasing a geometric hourglass formed of two triangles joined at their points is based on “chikiri” or winding the warp on a loom.  Of particular note is an inscription at the bottom of the unglazed bowl in dark red by the 13th generation Omotesenke tea master Mujin Sousa “Sokuchusai” (1901-1979), who also inscribed the accompanying box “Yama no Ha” meaning Mountain’s Edge.

To view this piece along with their other fine ceramics, schedule an appointment by emailing [email protected]

Long cloth, kain panjang (detail), Jambi, Sumatra, 19th-early 20th c., cotton, hand-drawn batik; Private collection; Courtesy Thomas Murray

Ottoman Influences on Islamic Batik from Indonesia
Thursday, May 30th from 1-3pm PT
Virtual Zoom Lecture Sponsored by the Asian Arts Council
Hosted by The San Diego Museum of Art

Join Thomas Murray for this upcoming lecture on the long relationship between Indonesia and Turkey from the 16th century forward. Murray will consider the role of spice trade economics on European colonialism and Islamic local resistance and survey all forms of calligraphic batik, offering a new interpretation of their purpose, which suggests these cloths may have originated earlier than previously identified, and how this tradition continues in an interesting and unexpected ways.

All participants will be sent the Zoom link via confirmation email with instructions once they sign up, so be sure to secure your spot today!

To learn more and sign up, click here.

Joy Xiao Chen and Arnold Chang, Courtesy Fu Qiumeng Fine Art

Artist Talks | Conversation and Painting Demonstration with Arnold Chang
Sunday, May 26th, 2024
Artist Talk: 10:30-11:20am
Artist Demonstration: 11:30am-12:00pm
Free to Public, In-Person and Online
65 East 80th St, Ground Fl, NYC

Join Fu Qiumeng Fine Art this Sunday for their Artist Talks series with artist Arnold Chang and Joy Xiao Chen, exhibition curator of his solo show The Mountains Show and Hide: Color in the Landscape Paintings of Arnold Chang currently on view at the gallery.

A painting demonstration by Arnold Chang will commence after their morning discussion. Event details are as follows:

Artist Conversation:
In this dialogue, Chen and Chang will engage in conversation about the artist’s art-making process, from his most well-known monochromatic landscape paintings to more recent experimentation with color, the exhibition’s preparation, and things related to their collaborative stories that happened behind the scenes.

Painting Demonstration: 
In this demonstration with commentary, artist Arnold Chang will demonstrate his painting techniques, both ink and color, and present how he incorporates color into landscape creation or even replaces ink to achieve a “boneless” landscape.

The event is free and open to the public and will be conducted both onsite and online.

To RSVP for the in-person event, click here.

To register for the livestream event, click here.

To learn more, click here.

Installation view, Hitoshi Fugo: KAMI, Courtesy Miyako Yoshinaga

This week’s Gallery Spotlight shines brightly on Miyako Yoshinaga who opened their esteemed gallery in New York City 25 years ago this month.  Their current exhibition Hitoshi Fugo: KAMI, closing on June 1st, will be their “final” show before the gallery goes nomadic until further notice. They will continue to work with their artists and clients in different capacities as they embark on a new chapter in the art world.

In these last few weeks, be sure to visit their space for the solo exhibition of photographer Hitoshi Fugo. Featuring one of his most ambitious, yet long-silenced projects, KAMI is a still-life study of large burnt paper rolls that the artist salvaged from a printing factory fire in 1993. In 2001, Fugo began photographing the roll documenting each stage and progress of destruction, sometimes adding new physical forces such as cutting through a thick wall of paper with a chainsaw, which investigated the violence lurking within himself. The result is an unsettling yet fascinating visual rhapsody consisting of 31 black-and-white images that delves into the essence of paper, with its cut and burnt surfaces powerfully exposed.

Paper in Japanese is kami, a homonym of god. The artist gave the title, KAMI, to this body of work, implying the absence of god in today’s destructive world. The exhibition includes 11 images from the series, two of which were photographed in 2023 of the same paper roll.

To learn more and view the works, click here.