What's Happening in Asian Art...
May 31, 2022
Courtesy of the artist and Zürcher Gallery, New York
Kazuko Miyamoto: To perform a line
Now through July 10, 2022
In the Fine Art section of Friday's (May 27) The New York Times, preeminent art critic and journalist Holland Cotter published an informative, insightful, and complimentary review of Japan Society's current exhibition of the work of Kazuko Miyamoto. In the review, "Maverick Minimalist, Global Citizen", Cotter summarizes Miyamoto's biography, which included her birth in Tokyo in 1942, move to New York in 1964, friendship and work with Sol LeWitt, and decades-long work, life, and involvement with the Lower East Side. Cotter surveys the various influences, developments, and styles of Miyamoto's oeuvre, which is now on display in her first institutional solo exhibition. To read Cotter's review, click here.
Japan Society's website offers more information about the artist and her long career, with a video preview and online 3-D exhibition tour. Also available are details about the organization's current visit protocols and processes. For more details, click here.
May 30, 2022
Bertha Lum (1869-1954), Road to the Forest at Nikko, woodblock print, 13 x 7 3/4 in.
Scholten Japanese Art, which opened in New York in 2000 and has presented more than fifty exhibitions of fine Japanese prints, paintings, and works of art, has never hesitated to explore new artistic avenues to bring the best and most interesting artworks to their collectors and visitors. In the past several years, Rene Scholten and Katherine Martin, President and Director of the gallery, respectively, have expanded the parameters of what is considered Japanese prints and paintings. Namely, their exhibitions have included art by non-Japanese artists influenced by the techniques and imagery that characterizes Japanese traditional visual culture, as well as the impact of Western influences on Japanese artists. The former theme has been at the heart of Scholten’s most recent and upcoming exhibitions.
The gallery described their spring exhibition, Influencers: Japonisme and Modern Japan as “an exploration of the influence of Japanese art on Western art and the development of modern international art modes such as art nouveau and art deco.” Included were 102 woodblock prints and paintings by important artists—male and female—from France, Austria, Germany, Britain, and the United States, as well as from Japan. (Read and see more about this exhibition, click here.) Katherine Martin, who has directed the gallery since 1999, after several years as specialist of Japanese art at Sotheby’s, commented that she has long been fascinated by exchanges between artists of different cultures, and that even though artistic interactions between Japan and the West are well explored, new ones are always a “revelation.” Martin pointed to a particularly striking example. . . the clear similarity between a print by Utagawa Hiroshige and a painting by James Whistler, who was greatly influenced by the Japanese master, although he never traveled to the country. Especially interesting is that early modern Japanese printmakers were in turn much taken with impressionist artists such as Whistler, as can be seen in a print made by Kobayashi Eijiro.
L-R: Utagawa Hiroshige (1797-1858), Full Moon Over Canal, with Bridge and Huge Stacks of Bamboo along the Bank, woodblock print, circa 1857, Scholten Japanese Art; James Whistler (1834-1903), Nocturne: Blue and Gold-Old Battersea Bridge, circa 1972-5, oil on canvas, Tate Britain (NO1959); Kobayashi Eijiro (1870-1946), Night Scenes: High Bridge by Night, ca. 1910-20s, Scholten Japanese Art
The Influencers exhibition emphasized an exploration of works by non-Japanese artists who employed the woodblock print-making process. Not only were these artists often self-taught, figuring out on their own how their Japanese predecessors achieved various visual effects, but they were often obliged to undertake all aspects of the printmaking process themselves, as they did not have available to them the numerous craftsmen with whom Japanese artists could collaborate. The works of these artists, such as Emil Orlik, B.J.O. Nordfeldt, John Edgar Platt, and Bertha Lum, in turn played a role in reviving interest in woodblock printmaking in Japan, known as the shin-hanga (“new prints”) movement of the early 20th century.
Martin observed that exhibitions at Scholten are a collaboration between herself and Rene Scholten and often “percolate” for years, as additions to the roster are acquired and new artists discovered. Martin was surprised and pleased with the very positive response to Influencers, both by experienced print collectors and several new enthusiasts and that works by the non-Japanese artists sold very quickly.
L-R: Katherine Martin, Rene and Margriet Scholten, 2010
Scholten’s upcoming exhibition, NOH: More Drama, which opens on June 16th, presents paintings, drawings and prints of Japanese theatrical subjects by Paul Binnie. (For more information about this exhibition, click here and watch these pages.) This is the gallery’s fourth solo exhibition of work by this artist, who was born in Scotland in 1967 and spent several years in Japan as an apprentice to learn traditional woodblock printing techniques. Binnie’s use of both Japanese and Western artistic practices to produce images that draw on imagery from many sources is the ongoing embodiment of Scholten gallery’s keen interest in following unexpected developments within the traditions of Japanese art and woodblock printmaking.
May 29, 2022
Songtsam offers a series of once-in-a-lifetime hiking experiences.
Hiking near Feilai Temple
Each year, local Tibetans and global travelers come to worship Mt. Kawagebo, the major peak of the Meili Snow Mountain Range and one of the holiest mountains in the larger Tibetan region. Specifically designed as a respite along the spiritual pilgrimage to Mt. Kawagebo, Songtsam Lodge Meili was built in a village away from any tourists and overlooking the majestic mountains. Visitors are invited to incorporate Feilai Temple in their hikes in this region. Originally built in 1614 during the Wanli period of the Ming dynasty and constructed in harmony with the local geography, the temple offers an unmatched view of the mountains and village.
Meili Snow Mountain from Feilai Temple
Mingyong Glacier Hike
Mingyong Glacier is one of the world's top 10 glaciers and might disappear at any time. It has the lowest latitude and elevation of any glacier in China and is a sacred glacier to the local people. Located about a 1.5-hour drive from Songtsam Lodge Meili, it stretches around 11.7km from Meili Snow Mountain to the virgin forests. During the summer the ice and snow melt into a seasonal lake, which turns dark blue in color and is approximately 50m long in diameter.
Baima Snow Mountain Hike
Baima Snow Mountain is the largest and highest nature reserve in Yunnan province. Located between the Jinsha River and Lancang River, it has a complete vertical sight of virgin forests and rare plants and animals, such as the black snub-nosed monkeys (Rhinopithecus bieti) that inhabit the forest.
At the end of a physically tiring by spiritually exhilarating day, there is nothing better than a delicious dinner and serene evening at Meili Lodge. Every window faces the holy Meili Snow Mountain, so that as you sit, clouds float past in the sky and the clear stream winds its way through the valley.
For more information and to book a reservation, click here.
May 29, 2022
Yufu Shohaku (born 1941), Meoto Iwa (The Wedded Rocks), 2020, madake bamboo, rattan, branches, shuro rope, 24 x 61 x 59 in.
Yufu Shohaku, TAI Modern
Concludes May 31, 2022
TAI Modern presents Japanese bamboo artist Yufu Shohaku’s first solo exhibition outside of Japan. This exhibition was initially shown in New York, and has recently travelled to Santa Fe, giving New Mexico art fans the opportunity to view these powerful baskets and sculptures in person.
Yufu Shohaku (born 1941) is not only a master bamboo artist, but also a cultured man with a meticulous mind, a leader in his community, a certified master flower arranger, and head of a local Shigin (chanted poetry) group. He is known for his robust and energetic rough-plaited baskets. Though Yufu’s works have sculptural presence, his belief is that beauty and functionality are at the core of his art. After completing a basket, he arranges flowers in it to determine whether he was successful in its execution. “When I make flower baskets, I always consider the size and balance of the baskets, as well as the type of flowers to be arranged in them,” Yufu explains. “For me, baskets and flowers are inseparable, and I get my inspiration from natural forms such as the earth and cliffs. I try to give my works an organic look, as if they are a part of nature.”
Read more, including the online catalogue, click here
May 28, 2022
Elaine Ildan Choi, Here and Now, Korean Cultural Center
Now through May 31st
The Korean Cultural Center New York sheds light on the life and art of artist Elaine Ildan Choi (born 1936) in a special documentary and online exhibition that features not only her selected artworks, but the story of her turbulent life and fierce spirit that has remained a constant thread throughout. The video was unveiled on March 8th, 2022 to commemorate International Women’s Day and also as a part of Asia Week New York 2022.
The mini documentary follows the artist's life spanning more than 80 years as she navigates through the tumultuous times from the Japanese occupation of Korea, the Korean War, and the Vietnam War, and as she builds her life around the world starting from Seoul, Korea to Paris, Beijing, and finally to New York.
In celebration of Asian American Pacific Islander Heritage Month (AAPI), the Korean Cultural Center invites viewers to leave comments after watching Elaine Ildan Choi, Here and Now, which currently has over 40k views on YouTube since its premiered back in March, before the end of the day on May 31st. The artist Elaine Ildan Choi will select a total of 10 comments from participants, and the selected 10 will receive a special prize, prepared by the artist and the center.
For more information, including details and eligibility about this special online program, as well as for other related programs, please visit the Korean Cultural Center New York’s website, click here.
May 27, 2022
Karamono and Birds (detail), 18th century, pair of two-panel screens, ink, colors, gofun, and gold leaf on paper, each: 170 x 165 cm, Courtesy of Giuseppe Piva Japanese Art
The exuberant flowers and exotic birds in this vibrant and colorful pair of screens set a lively tone for the beginning of summer. Giuseppe Piva Japanese Art in Milan provides an informative commentary about this 18th century painting.
The term karamono is used to define ceramic, carved lacquerware, furniture, bronzes and other decorative items imported from China. They became highly prized as imported curios, used in Japan as kazari (display items) and even the shōgun would install karamono in his chamber (zashiki) and invite members of the court and clergy to view them. Often karamono have been copied by Japanese craftsmen, so shapes from Chinese bronzes and porcelain have been used in Japan for centuries. Flower baskets for ikebana were also imported from China. These karamono baskets had formal, symmetrical structures with tightly plaited weaves. Unlike those used during the tea ceremony, that maintain a natural and austere wabi-sabi construction, karamono bamboo baskets, like those represented on this pair of screens, were modelled on Chinese bronzes and show classical forms. Chinese bronzes themselves, as seen here, would also be used to display flower compositions.
Even exotic birds would serve as kazari. While bird-keeping was already popular since the early Edo period for the enjoyment of their songs, the habit of breeding birds for aesthetic purposes was quite unusual. Some entertainment stalls kept parrots and other rare specimens in exquisite cages for their customers’ enjoyment. The composition of this pair of screens seems inspired by the same amusement: kept on an elaborate perch or in an elegant cage fitted with a scholar’s stone, these birds are intended to intrigue and fascinate the viewer. Also, natural history studies became fashionable in Japan during the 18th century, due to the import of European books and prints. These imported images inspired paintings of rare birds which, regardless of whether they had any significance or meaning, were highly appreciated by collectors. Painting with this style were introduced by the nanga samurai painter and Confucian scholar Yanagisawa Kien (1703-1758), who began his training with artists of the Kanō school, but became a disciple of Watanabe Shūseki and then of the nanga painter Gion Nankai.
Read more and see more details, click here
May 27, 2022
L-R: Mokichi Otsuka (born 1956), Teabowl, ceramic, H. 3 3/8 x Dia. 4 ¾ in. and Tomoyuki Hoshino (born 1976), Sugar-coated Bowl, ceramic, H. 3 3/8 x Dia. 5 1/8 in.
Magic of the Tea Bowl, Volume 2, Ippodo Gallery
June 2-July 7, 2022
Opening reception: Thursday, June 2, 5-8pm
The Japanese tea ceremony was first established during the 16th century and has continued to flourish to the present day. Closely related to Zen philosophy, it has held a central place in Japanese art, culture, and soul. Known as chawan, tea bowls are handed from the tea master, who prepares the tea, to the guests, transmitting the scent and warmth of the tea through the hands to the lip.
Ippodo Gallery held the Magic of the Tea Bowl exhibition last year, which was collected during the height of the pandemic (2020-2021) by visiting workshops around Japan. Many tea bowls left the hands of potters to the hands of their owners. In this second exhibition, Ippodo has added new artists and collected their masterpieces: Yasushi Fujihira, Hideyuki Fujisawa, Noriyuki Furutani, Hiroshi Goseki, Tomoyuki Hoshino, Morimistu Hosokawa, Takeshi Imaizumi, Koichiro Isezaki, Yukiya Izumita, Tsubusa Kato, Kohei Nakamura, Akio Niisato, Mokichi Otsuka, Kai Tsujimura, Shiro Tsujimura, Yui Tsujimura, Koichi Uchida, and Kodai Ujiie.
Read more, click here
May 26, 2022
Chanoyu: A Taste of Tea, Dai Ichi Arts, Ltd.
Last day May 30, 2022
Dai Ichi Gallery is delighted to present a group of teawares this Spring, functional wares representing the art of Chanoyu, the ritual Japanese tea ceremony that involves serving, taking, and drinking of tea. The modern history of Chanoyu carries through the style and grace of tea tradition. Vases, teabowls, water jars, and other functional objects act as aesthetic anchors for the ceremony.
The exhibition focuses on functional pieces, featuring tea bowls, vases, water jars, and functional works by artists: Kato Mami 加藤真美 (born 1963), Goto Hideki 後藤秀樹 (born 1973), Shingu Sayaka 新宮さやか (born 1979), Murata Gen 村田元 (1904-1988), Shimaoka Tatsuzo 島岡達三 (LNT, 1919-2007), Kinjo Jiro 金城次郎 (LNT, 1912-2004), Sugimoto Sadamitsu 杉本貞光 (born 1935), Nakamura Takuo 中村卓夫 (born 1945), and many more.
Read more, click here
May 26, 2022
Blanket from Zhuang Tribal, early 20th century, silk supplementary weft on a fine cotton tabby ground, 45 x 67 in., Collection of Chinalai Tribal Antiques
Auspicious Dreams: Tribal Blankets from Southern China,
Charles B. Wang Center at Stony Brook University
Last day May 31, 2022
The Charles B. Wang Center celebrates precious, rarely seen Chinese textiles, specifically blankets made by South and Southwest Chinese tribes in Auspicious Dreams: Tribal Blankets from Southern China exhibition. Often made with fine materials, exemplary techniques, and unparalleled artistry, these striking textiles convey the unique identities, statuses, and traditions of diverse Chinese tribal groups. Curated by Vichai and Lee Chinalai of Chinalai Tribal Antiques and Jinyoung Jin, director of cultural programs at the Charles B. Wang Center, the treasures in this exhibition take visitors on a remarkable journey across regions and time.
Read more, click here
May 25, 2022
Art for Breakfast 2022 Japanese Painting for the 21st Century | Ryo Shinagawa
Asia Society Japan
May 31, 8am Tokyo time/May 30, 7pm EDT
Asia Society Japan is honored to invite artist, Ryo Shinagawa for Art for Breakfast this May. His works at first sight look academic and historic. They are contemporary Japanese paintings using traditional Japanese materials but mixing modern expressions that are highly minimized. Like the artist himself, his works are philosophical, quiet, and disciplined.
In this program, Mr. Shinagawa will talk about his process, journey, and experiences abroad had broadened his work to go beyond the limits of Japanese paintings and expand their future. He is bringing together elements of Japanese art to discover contemporary meaning for traditional materials and styles.
Read more and register, click here