What's Happening in Asian Art...

Listening to Clay Opens at Joan B Mirviss LTD

July 20, 2022

Listening to Clay: Works by Artists Featured in the Latest Book by Alice and Halsey North and Louise Cort,
Joan B Mirviss LTD

July 20-August 26, 2022

All sixteen artists showcased in Listening to Clay: Conversations with Contemporary Japanese Ceramic Artists (Monacelli Press/release date: June 14, 2022) are participating in this exhibition in honor of the book’s publication, which was authored by Alice and Halsey North, pioneering collectors and museum patrons, together with Louise Allison Cort, Curator Emerita of Ceramics, National Museum of Asian Art, Smithsonian Institution. Works that best embody the inspirations, challenges, and achievements of their distinguished careers have been selected for this special exhibition. Most of the artists have been long represented by Joan B Mirviss LTD, who has witnessed their impressive artistic development over the decades. Accompanied by the rich personal stories found within the book, the clay works on offer in the exhibition Listening to Clay represent these artists’ innovative brilliance and encapsulate the diversity of ceramics in Japan today.

The gallery exhibition features works by all sixteen artists in the book, Listening to Clay (listed in chronological order):
Hayashi Yasuo (b. 1928)
Mishima Kimiyo (b. 1932)
Morino Hiroaki Taimei (b. 1934)
Kohyama Yasuhisa (b. 1936)
Miyashita Zenji (1939-2012)
Miwa Ryūkishō (Kyūsetsu XII/ Ryōsaku) (b. 1940)
Koike Shōko (b. 1943)
Ogawa Machiko (b. 1946)
Fukami Sueharu (b. 1947)
Kakurezaki Ryūichi (b. 1950)
Miwa Kyūsetsu XIII (Kazuhiko) (b. 1951)
Akiyama Yō (b. 1953)
Kaneta Masanao (b. 1953)
Yagi Akira (b. 1955)
Kitamura Junko (b. 1956)
and Kondō Takahiro (b. 1958)

Read more, click here.

Ippodo Gallery Opens On the Axis: Works by Koto Arinaga and Kiyoko Morioka

July 20, 2022

L-R: Kiyoko Morioka (born 1974), Flower Vase 瓶子型花器, ceramic, H. 8 7/8 x W. 5 7/8 x D. 5 7/8 in.
(22.4 x 15 x 15 cm) and Kota Arinaga (born 1978), Netz インディゴ (Indigo), 2022, glass, H. 17 3/8 x W. 9 5/8 x D. 9 5/8 in. (44 x 24.5 x 24.5 cm)

On the Axis: Works by Koto Arinaga and Kiyoko Morioka,
Ippodo Gallery

July 21-August 25, 2022
Opening reception: July 21, 5-8pm

Ippodo Gallery presents On the Axis, the gallery's first-ever dual exhibition featuring 15 pieces by glass artist Kota Arinaga and 25 by porcelain ceramist Kiyoko Morioka. At first glance, the duality between Arinaga and Morioka is pronounced. Arinaga is a male artist, Morioka female. Arinaga works with the immediacy of glass, while Morioka the patience of kiln firing. And yet, both artists are fascinated by the arcs and axes of time, exploring its dichotomies and the dualities in their work. In the stillness of the exhibition, their explorations complement and challenge one another, so that the viewer can reflect on time’s passages and surprises as it warps or rushes, freezes or evolves. Both glass and clay materials are embedded with the passage of time, requiring expert craftsmanship and patience over an extended period to produce a precious work of art.

Kota Arinaga began working with glass to create delicate patterns with lines. The threads of color seemingly stretch weave across the surface, layering like yards of yarn. As they thicken along the glass, the concept transcends the technique: Despite the rapid process of glassblowing, the permanence of form captures and contains the multitudes which have survived the testament of time.

In contrast, growing up in Kanazawa City, Kioyoko Morioka watched the gray urban sky day after day, as the ombre shades laid over her like a blanket. She grew up and changed, but the sky proved constant. Now her works evoke the same feelings of comfort, safety, and warmth provided under the clouds.

Read more, click here

Moonlight on Stones at Fu Qiumeng Fine Art Closes Soon

July 19, 2022

Wang Mansheng (born 1962), Deep in the Mountains Searching for Ancient Trees, No. 5, 2014,
ink on paper, 71 x 38.5 in.

Wang Mansheng's Moonlight on Stones Curated by Dr. Chao Ling,
Fu Qiumeng Fine Art

Concludes July 23, 2022

Moonlight on Stones is the gallery’s first solo exhibition devoted to the Asian-American landscape artist Wang Mansheng (born 1962). Wang uses self-invented organic painting materials, in addition to conventional ones, to explore contemporary forms of landscape and finds enchanting and enlightening visual structures to embody his perception of nature.

Moonlight on Stones features 19 paintings selected from Wang’s Night Mountain and Ancient Trees series. These artworks, executed between 2008 and the present, are on display for the first time. Each work in the Night Mountain collection is inspired by a line from classical Chinese poetry. The relationship between text and image–a traditional scope–has been enacted in a novel way through the artist’s sensitivity and intellectual interests. The Ancient Trees collection represents his consideration of longevity and form. In intimate contact with the ecosystem of the Hudson River Valley, he makes brushes and ink out of local organic materials to paint objects found in the area while demonstrating his reflections on lines, shape and texture.

The exhibition is curated by Dr. Chao Ling, Assistant Professor in the Department of Chinese and History, City University of Hong Kong. An exhibition catalog is available online, in which his introductory essay is included, as well as other print and video materials. Read more, click here


Final Days for TAI Modern's Exhibition Oki Toshie

July 19, 2022

Oki Toshie, Daybreak, 2015, madake bamboo, rattan, 5.25 x 11.75 x 5.75 in.

Oki Toshie, TAI Modern
Last day July 23, 2022

Born in Gunma in 1976, Okie Toshie studied under Iizuka Shokansai. Since she began exhibiting her works in 2002, she has maintained an active schedule of shows, won several important awards, and has had her work enter several museums, including the Portland Art Museum in Portland, Oregon. Most recently, some of her creations were included in Masterpieces of Bamboo Art: Katsushiro Soho and Fujinuma Noboru at the Tochigi Prefectural Museum of Fine Arts in Utsunomiya in 2020.

Commenting on her work, Okie remarked, "It is a joy for me to create my artwork. At the same time, it is painful. Every time I push my creative boundaries, I hit walls of resistance. This makes me realize how incompetent I am and how much there is still to learn. On top of that, it shows a part of me that I want to hide. This process is, however, a necessary part of my life just as eating and sleeping are. I chose to work in the Traditional Craft Organization which has many rules and regulations that limit working in more sculptural forms. Despite this, I am very comfortable working within this restrained freedom to express myself."

An informative and fully illustrated online catalogue is available on TAI Modern's website. Read more, click here.

Korea Society Presents the Final Lecture on Hanbok

July 18, 2022

Hanbok: Gender, Class, and Modernity, Korea Society
Online lecture, July 21, 6pm

Riding the Korean Wave sweeping the world, the traditional Korean costumes have become increasingly visible in global media. In 2021, hanbok-the generic term referring to traditional style Korean clothing-was registered in the Oxford English Dictionary. In this comprehensive series of lectures, Dr. Minjee Kim, the preeminent scholar of Korean textile and fashion in the U.S., illustrates and elucidates hanbok in sartorial, socio-cultural, and historical contexts.

In this third lecture which will wrap up the exploration of hanbok as a new lexicon of world fashion, Dr. Kim will discuss how the notions of gender and class shaped dress practice in Joseon and their modern transitions up to the twenty-first century.

Read more and register, click here

Asia Society Hosts an Artist's Talk

July 17, 2022

Miao Ying, Surplus Intelligence, 2021-2022, single-channel film with sound. Courtesy of the artist

Artist Talk—Mirror Image: A Transformation of Chinese Identity,
Asia Society New York

In-person and online program, July 21, 7-8:30pm EDT

Join a conversation with artists Miao Ying and Pixy Liao (in NYC) and Nabuqi and Tao Hui (joining remotely from China) about their respective practices. The four are among the seven participating artists currently featured in Mirror Image: A Transformation of Chinese Identity at Asia Society Museum. All born in mainland China after the end of the Cultural Revolution in 1976, these artists create works that reflect the generational shift shaped by rapid economic change and a mindset open to the larger global culture. Exhibition guest curator Barbara Pollack moderates the discussion, with translation by Leo Li Chen.

The exhibition Mirror Image: A Transformation of Chinese Identity will be open from 6:00 to 7:00 pm for program attendees. Admission is free with program registration.

Read more and register, click here.

Giuseppe Piva Japanese Art Announces New Acquisitions

July 16, 2022

Samurai armor from the Inaba clan, early Edo period (1615–1867)

Giuseppe Piva Japanese Art, which is based in Milan, Italy, has just announced the acquisition of several important and appealing Japanese works of art. At the top of the list is this fine example of tosei gusoku (modern armor), a type that was common throughout the time period but had certain significant innovations added. It was owned by the Inaba clan, who originated in 16th century Mino province and during the Edo period were named daimyō of large and strategic provinces. In addition to this fine suit of armor, Giuseppe Piva has also added several impressive swords and sword furnishings.

Jugyoku II, Large wood netsuke of a Nio guardian, late 19th century, L. 5.8 cm

For those looking for more decorative works of art, the gallery has dramatic paintings and finely crafted three-dimensional art works. A particularly skillfully rendered example is this Large Wood Netsuke of a Nio Guardian. Carved in the late 19th century by Jugyoku II, this powerful and energetic muscular guardian deity is shown wearing a billowing shawl and sitting on a straw sandal, while he pulls on a long rope.

For more information about these and other fine items, click here.

San Antonio Museum of Art Opens Creative Splendor: Japanese Bamboo Baskets from the Thoma Collection

July 15, 2022

Wada, Waichisai III (1899-1975), Flower Basket, 1945-72, madake, rattan, wood and urushi covered metal beads, object: 12.5 x 11 x 12 in. Collection of Carl & Marilynn Thoma, © Artist or artist estate, courtesy of the Carl & Marilynn Thoma Foundation, photo by TAI Modern

Creative Splendor: Japanese Bamboo Baskets from the Thoma Collection,
San Antonio Museum of Art July 15, 2022-January 2, 2024

Creative Splendor: Japanese Bamboo Baskets from the Thoma Collection is a series of three installations of approximately fifteen baskets, each, that will survey the outstanding accomplishments of Japanese basket makers active since the nineteenth century to the present day from three regions of Japan: the Kansai region, which encompasses the ancient capital, Kyoto; the Kanto region, which stretches westward from Tokyo; and the southernmost island of Kyushu. The exhibition demonstrates the specific techniques and styles of cutting and weaving bamboo that are particular to each of these geographic regions.

Final Days for Falcons: Art of the Hunt

July 14, 2022

Follower of Lin Liang (ca. 1428-ca. 1495), Hawk Pursuing Water Birds, hanging scroll,
ink and color on silk, Gift of Charles Lang Freer, F1919.146

Falcons: Art of the Hunt, National Museum of Asian Art, Smithsonian Institution
Final day July 17, 2022

Swift, fierce, and loyal, falcons have been celebrated for millennia. In ancient Egypt, they were closely associated with Horus, the god of the heavens. By the early eighth century in Syria, falcons were being trained to become skillful hunters at the royal courts. The art of falconry soon spread across the rest of the Islamic world, to the Byzantine empire in the west, and to the east as far as China. It is still practiced in many societies today, especially in the Arab world.

Akar Prakar's The Architectonics of Form Closes Soon

July 13, 2022

Ganesh Haloi, Scroll 21, 2021, gouache and Chinese ink stick on Japanese scroll paper, 53.25 x 13.75 inches

The Architectonics of Form: Scrolls by Ganesh Haloi, Akar Prakar
In person in Kolkata and online, July 16, 2022

Sound encompasses both time and space, weaving the two into complex structures of material manifestation that we experience and express as forms through our sensorial perceptions (smell, taste, see, feel and hear). 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, the rhythmicity of the alpana forms, structurality of manmade interventions and the poetics of space.

Ganesh Haloi (b.1936) was born in Jamalpur, Mymensingh(in present-day Bangladesh). He moved to Calcutta in 1950 following the partition. The trauma of displacement left its mark on his work as it did on some other painters of his generation. Since then his art has exhibited an innate lyricism coupled with a sense of nostalgia for a lost world. In 1956, he graduated from the Government College of Art and Craft, Calcutta. In the next year he was appointed by the Archaeological Survey of India to make copies of Ajanta murals. Seven years later, Haloi returned to Calcutta. From 1963 until his retirement, he taught at the Government College of Art and Craft. He is a member of The Society of Contemporary Artists, Calcutta since 1971, and lives and works in Calcutta.

To view the exhibition, click here

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