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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Shigematsu Ayumi 重松あゆみ (b. 1958), Yellow Jomon, 2018, stoneware, H. 12.7 x W. 11.0 x
Dia. 10.4 in. (H. 32.5 × W. 28 × Dia. 26.5 cm.)

Future Forms: Avant-Garde Sculpture in Modern Japanese Ceramics
Dai Ichi Arts, Ltd.
March 1-30, 2022

On the occasion of the spring iteration of Asia Week New York 2022, Dai Ichi Arts will present an exhibition, Future Forms: Avant-Garde Sculpture in Japanese Ceramics, showcasing a group of post-war, avant-garde sculptures that exemplify the creed of Yagi Kazuo, Yamada Hikaru, and Suzuki Osamu’s “Objet-Yaki”, or “Kiln-Fired Objects”. As such, this group of work will showcase the instrumental work of Yamada Hikaru, Suzuki Osamu, Hayashi Yasuo, Yanagihara Mutsuo, and the more contemporary sculptures of Miwa Ryosaku.

Tashima Etsuko 田嶋悦子 (b. 1959), Cornucopia 09-Y12, 2009, stoneware, glass, H. 8.6 x W. 16.5 x
Dia. 14.1 in. (H. 22 x W. 42 x Dia. 36 cm.)

Additionally, this group spotlights the works of several distinguished contemporary women sculptors who are part of a vanguard generation of highly influential post-war artists in Japan. For example, the radical works of Tashima Etsuko, Kishi Eiko, and Sakurai Yasuko, who investigate the use of light and color in their clay. On the other hand, the works of Ayumi Shigematsu and Suhama Tomoko explore form and surface as influenced by Suzuki Osamu and West Coast Minimalism. Meanwhile, Yuriko Matsuda, Shingu Sayaka, Kato Mami & others elaborate and explore surfacescape. The exhibition brings to light how female voices have understood the sculptural visual vocabulary & modernisms of the radical Sodeisha Movement.

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Kibe Seihō (born 1951), Sea Breeze Flower Basket, 1990s, bamboo and rattan, 12½ x 8¾ x 8¾ in.
(31.8 x 22.1 x 22.1 cm.)

NOMAD St. Moritz, Thomsen Gallery
March 1-6, 2022

Thomsen Gallery is currently participating in this year's NOMAD St. Moritz, the international art fair for collectible design and contemporary art. Taking place in the historic mansion Chesa Planta in Samedan by St. Moritz, Switzerland, this exhibition offers a select group of exceptional Japanese bamboo ikebana baskets by the great masters from the first half of the 20th century, along with works by highly accomplished contemporary makers. The baskets will be complemented by sophisticated Japanese contemporary ceramics and precious maki-e gold-lacquer boxes.

Madhvi Parekh (born 1942), Sea God, 1971, oil and pastel on canvas, 48 x 72 in. (121.9 x 182.9 cm.)

A Place in the Sun: Women Artists from 20th Century India, DAG
March 15-May 28

DAG presents A Place in The Sun: Women Artists from 20th Century India, an exhibition exploring the remarkable contribution of women artists in the context of Indian modernism, representing a selection of trailblazers, each of whom crafted a unique identity and practice. This exhibition surveys their artistic journeys while fighting prejudice and patriarchy at a time when women were discouraged from pursuing art, and uncovers the wide breadth of their interests, including early abstract painting, the arduous regimen of making sculptures, and printmaking. Curated by Kishore Singh, Senior VP-Exhibitions and Publications at DAG, the exhibition, which will be exhibited at DAG New York, is planned to coincide with Women's History Month.

The history covered in the exhibition spans the twentieth century–from India’s first art school-trained woman artist, Ambika Dhurandhar, who earned her diploma in Bombay, through later women artists who joined art schools in greater numbers, a time when their visual language stopped being contextualized to their gender only–until the end of the twentieth century when they were equal partners in fashioning a modern and contemporary discourse for Indian art. As some sought to explicitly highlight feminist concerns in their work, addressing questions of gender, class, marginalization, and environments; others responded to folk, abstract, tantra or other aspects of art making. The exhibition’s curation begins with the incredible Devyani Krishna, born five years after Sunayani Devi began painting in 1905 at the age of thirty, and Zarina Hashmi, born a decade before independence in 1947. It features 10 artists, including Madhvi Parekh, Shobha Broota, Anupam Sud, Gogi Saroj Pal, Latika Katt, Mrinalini Mukherjee, Navjot and Rekha Rodwittiya.

Gogi Saroj Pal (born 1945), Untitled

Announcing the exhibition, Ashish Anand, CEO and Managing Director, DAG, said: “I have noticed that viewers and critics at our New York gallery always make it a point to ask about the representation of women artists in our exhibitions. I am, therefore, delighted to share a complete exhibition on women artists with them. Their contribution to Indian modern art has been seminal and their recognition needs to be acknowledged.”

Added Kishore Singh, “The exhibition looks at a handful of trailblazers who, each in her own way, has crafted a unique identity and practice, thereby contributing to the rich dialogue around the diversity in style, medium, material and context of India’s twentieth century art. Each of these women artists has come up the difficult way to find a well deserved place in the sun.”

A Place in The Sun features a selection of exceptional works, including Untitled compositions by Zarina Hashmi and Gogi Saroj Pal, Sea God by Madhvi Parekh, Persona by Anupam Sud, Surveyor and the Surveyed by Navjot, and Florescence by Mrinalini Mukherjee. Mukherjee was recently chosen as one of the 213 artists to be shown at the 2022 edition of the Venice Biennale, the world’s largest and most prestigious art exhibition that has a representation from 58 countries.

Read more, click here