Krishna Reddy (1925-2018), Two Fishes, 1957, 2024-118-29

Krishna Reddy: The Movement of Life
August 2 – December 8, 2025
Tour: Saturday, August 2 & Friday, August 15, 1:30-2:15pm
Workshop: Saturday, August 2, 2:30-3:30pm
Korman Galleries 221–223

Krishna Reddy was a key member of the influential printmaking studio Atelier 17 in Paris, where he helped develop color viscosity printing, a technique that expanded both the technical and expressive possibilities for rendering the natural world in print.

This exhibition, timed to coincide with the centenary of Reddy’s birth, explores his abstract images of seeds, flowers, insects, water, and the human figure. Dazzling feats of color and texture, Reddy’s color prints vibrate with the cosmic energy that, according to his personal philosophy, pulses through and connects all elements of nature. Celebrating the gift of 63 prints from the collection of Drs. Umesh and Sunanda Gaur to the PMA, Krishna Reddy: The Movement of Life articulates how Reddy’s iterative working process was an extension of his spiritual beliefs. As works of art, his prints were imbued with a life force of their own. By modifying an image over time—either by reworking his plates or printing in different color combinations—a single composition could be given a new life with each printing.

​Join Heather Hughes and Christina Taylor for special tours on August 2 & 15! Learn how Reddy’s abstract images of plants, insects, water, and humans showcase his personal philosophy that a life force connects all elements of nature. The tours will also include a discussion of the artist’s experimental printmaking techniques, drawing attention to how he modified an image over time by reworking his plates and by printing in different color combinations. Visitors are encouraged to look closely and observe how a single composition is given a new life with each printing. Learn more and sign up here.

Also learn from nature during an outdoor workshop in the Sculpture Garden also on Saturday, August 2! Participants will explore the forms and structures of the natural world by experimenting with drawing and frottage techniques. Learn more and sign up here.

Don’t miss this vibrant tribute to one of the most innovative printmakers of the 20th century!

To learn more, click here.

Unidentified painter and calligrapher, Tale of the Fox (Kitsune no sōshi), 1669, handscroll: ink and color on paper, image: 8 1/8 in. × 26 ft. 7 5/16 in. (20.6 × 811 cm), overall with mounting: 8 1/8 in. × 28 ft. 2 9/16 in. (20.6 × 860 cm), overall with knobs: 8 3/4 in. × 28 ft. 2 9/16 in. (22.2 × 860 cm), Mary and Cheney Cowles Collection, Gift of Mary and Cheney Cowles, 2020, 2020.396.19

The Three Perfections: Japanese Poetry, Calligraphy, and Painting from the Mary and Cheney Cowles Collection
Closing Sunday, August 3, 2025
The Met Fifth Avenue, Galleries 223–232

Don’t miss the final days of The Metropolitan Museum of Art’s extraordinary exhibition drawn from the Mary and Cheney Cowles Collection—one of the finest and most comprehensive holdings of Japanese art outside Japan. This donated and promised gift to the Museum features over 160 rare and exquisite works created in Japan across nearly a thousand years.

The exhibition explores the celebrated “Three Perfections” of East Asian culture—poetry, calligraphy, and painting—revealing their profound interplay and enduring influence. Visitors will encounter luminous folding screens adorned with poems on lavishly decorated papers, dynamic Zen calligraphy from medieval Kyoto, and hanging scrolls blending image and text to evoke Chinese and Japanese literary classics. Complementing these are ceramics used in tea gatherings and other objects that reflect Japan’s rich artistic traditions.

This is a unique opportunity to experience the depth and beauty of Japanese art history. Be sure to catch it before it closes!

To learn more, click here.

Courtesy Thomsen Gallery

Chambre d’Amis
July 27 – 31, 2025
Opening Preview: Sunday July 27, 2-8pm
Exhibition Hours: July 28-31, 12-7pm
Olaf-Gulbransson Museum, Kurgarten 5, 83684 Tegernsee, Germany

Thomsen Gallery is delighted to participate in the art salon Chambres d’Amis, to be held at the Olaf-Gulbransson Museum in Tegernsee, Germany, July 27-31! The salon is a curated sales exhibition juxtaposing contemporary art, old master paintings and drawings, as well as high-end jewelry and Japanese art in a museum context. A selection of sculptures will be on view at the nearby castle Herzogliches Schloss Tegernsee.

Thomsen Gallery will present a refined selection of Japanese art with a focus on Japanese gold lacquer boxes, ceramics, and bamboo ikebana baskets as well as Japanese folding screens and scroll paintings.

They warmly invite you to visit them at the Olaf Gulbransson Museum and experience this exceptional salon from July 27–31.

To learn more, click here.

(Right): Kai Tsujimura, Shigaraki Wide-Mouthed Jar 信楽広口壺, 2019, ceramic, H23 5/8 x W20 7/8 x D20 7/8 in (H60 x W53 x D53 cm)

Aspen Art Fair
July 29 – August 2, 2025
Collectors’ Preview: Tuesday, July 29, 11am-3pm
Opening Reception: Tuesday, July 29, 3-5pm
Fair Hours: July 30-August 1, 12-6pm & August 2, 11am-4pm
Hotel Jerome, 330 E Main St, Aspen, CO

Ippodo Gallery is proud to make its debut at the second annual Aspen Art Fair, held at the historic Hotel Jerome in the heart of Colorado’s majestic Rockies from July 29 to August 2, 2025.

Coinciding with Aspen Art Week—an internationally celebrated gathering of artists, curators, collectors, and gallerists—the fair offers a vibrant platform for global art exchange in a uniquely intimate alpine setting. They invite you to Room 121 to experience their curated presentation of works that bridge tradition and contemporary expression.

For ticket information and to learn more, click here.

To learn more about the Aspen Art Fair, click here.

Very Rare Chinese Canton Enamel Brushpot, early 18th century, height: 4 ¾ inches (12 cm.), Ex: Private New York Collection

The Newport Show
July 26 – 27, 2025
Gala Preview: Friday, July 25 from 6-9pm
Fair Hours: Saturday, July 26 & Sunday, July 27 from 10am-5pm
St. George’s School Ice Rink – 375 Purgatory Road, Middletown, RI

The summer exhibition schedule is changing this year for Ralph M. Chait Galleries, Inc.! They will be exhibiting for the first time at the Newport Show, from July 26-27 with the Gala Preview on July 25!

The show is a high point of the summer social season and a not to be missed opportunity for fine art and antiques aficionados. It is the main fundraiser for its two beneficiaries, the Newport Historical Society and the Boys & Girls Clubs of Newport County.

As always, Ralph M. Chait Galleries look forward to welcoming you to their booth and are always delighted to hear from you.

To learn more about The Newport Show, click here.

Also be sure to check out the gallery’s recently released Summer Booklet filled with new acquisitions in many directions, including porcelains and later bronzes. You may find one or more to match an occasion or simply add enjoyment into your own collection!

To view the catalog online, click here.

Sasai Fumie, Gentian, 2025, urushi lacquer, hemp cloth, foam polystyrene, 28 x 7.25 x 6.50 in.

Sasai Fumie
July 25 – August 23, 2025
Artist’s Reception: Friday, July 25, 5-7pm
Artist Talk: Saturday, July 26, 2pm
1601 Paseo de Peralta, Sante Fe

TAI Modern proudly presents the first solo U.S. show of Japanese lacquer artist Sasai Fumie, opening on July 25. Currently a professor at Kyoto City University of Arts, where she received her undergraduate and graduate degrees, Sasai reimagines the millennia-old tradition of lacquerware with vibrant colors, inviting forms, and a soft-polished sheen that conveys warmth and approachability.

Sasai Fumie learned the art of kanshitsu, meaning dry lacquer, from Shinkai Gyokuho (1939-2021), her teacher at the Kyoto City University of Arts. He was of the first artists to use the technique to create abstract forms, incorporating lightweight Styrofoam as the base of the piece, and subsequently layering urushi lacquer and pieces of hemp cloth on top of it. This technique allows the pieces to become lighter, thus allowing for more freedom of composition. This is the foundation for every piece Sasai creates.

Guided by the concept of “Fueki Ryuko”—the balance between timeless principles and changing trends—Sasai blends enduring motifs like flowers and fruit with contemporary expression. For this exhibition, Sasai has brought together those changes to create works that speak to the bright and lively nature of contemporary art, both in Japan and in the west. Her forms, from boxes in the shape of realistic peaches and persimmons to abstract collaborations with bamboo artists that meditate on the compositions of eggs in nests, Sasai Fumie prepares to delight and enchant us with her beautiful work.

Join them for the opening reception on Friday, July 25 from 5-7pm, and return on Saturday, July 26, at 2pm for a lecture and gallery walkthrough with the artist.

To learn more and view the online catalog, click here.

Chakrasamvara with Consort Vajravarahi; Kham province, eastern Tibet; 19th century; Pigments on cloth; Rubin Museum of Himalayan Art; Gift of the Shelley & Donald Rubin Foundation; F1997.7.2 (HAR 99)

Gateway to Himalayan Art
Closing Sunday, July 27, 2025
Utah Museum of Fine Arts, University of Utah, Salt Lake City, UT

There’s still time to experience Gateway to Himalayan Art, the Rubin Museum’s traveling exhibition, currently on view at the Utah Museum of Fine Arts before it closes on July 27. This engaging showcase introduces the central forms, concepts, meanings, and vibrant living traditions of Himalayan art.

Gateway to Himalayan Art is a flexible exhibition designed to meet the needs of diverse educational institutions, art museums, and their audiences. It serves as an entry point to the integrated components of Project Himalayan Art (a three-part initiative comprising a traveling exhibition, publication, and digital platform), highlighting a thematic approach for teaching and engagement with objects.

The exhibition’s three areas of focus are Symbols and Meanings, Materials and Technologies, and Living Practices. Traditional scroll paintings (thangkas), sculptures in various media, and ritual items comprise the diverse range of objects on view. Among the featured installations are in-depth displays that explain the process of Nepalese lost-wax metal casting and the stages of Tibetan thangka painting. Multimedia features include videos of art making and religious and cultural practices, audio recordings of voices from Himalayan communities that highlight the living traditions, and much more on the integrated digital platform that offers rich contextual material to dive deeper.

To learn more and view the full exhibition’s traveling schedule, click here.

Courtesy Fu Qiumeng Fine Art

Light & Grain: 秋麦 | Artist-led Gallery Tour
Saturday, July 26, 2025 from 2-4pm
65 East 80th St, NYC

Fu Qiumeng Fine Art is pleased to invite you to a special afternoon with artist Michael Cherney on Saturday, July 26, from 2-4pm.

The program will begin with a preview screening of a short teaser from their upcoming documentary on Michael Cherney’s life and work. This preview offers a glimpse into the personal stories, objects, and inspirations that have shaped Cherney’s cross-cultural practice, providing context for the artistic journey behind Light & Grain 秋麦.

Following the screening, Michael Cherney will lead an in-depth, interactive gallery tour through the exhibition. This is a rare opportunity to engage directly with the artist as he shares first-hand insights into the creation of his photographs, the underlying concepts of his work, and the unique ways he adapts classical Chinese formats within a contemporary photographic language. Audiences will have the chance to ask questions, experience his handscrolls up close, and hear the personal narratives that inform his creative process, offering a deeper and more intimate perspective beyond what is visible on the wall.

Don’t miss out on this special event with the artist—RSVP here!

Utagawa Hiroshige III (Ando Tokubei) (1842-1894), Famous Places in Tokyo: Foreigners’ Houses in Tsukiji, (Tokyo meisho zue: Tsukiji ijinkan), oban tate-e 13 3/4 x 9 3/8 in. (35 x 23.7 cm)

Meiji Era Prints
From a Private New York Collection
July 2025
145 West 58th St, Ste 6D, NYC

Scholten Japanese Art is pleased to announce the addition of a selection of Meiji era prints recently added to their website from a private collection assembled by a prominent American defense attorney who was one of the first foreigners to pass the Japanese bar exam and co-founded a law firm in Tokyo, where he lived the rest of his life. The trove passed to his son who shared his father’s appreciation of Yokohama and Meiji Period prints and continued to curate the collection both here in New York and abroad.

The Meiji Period (1866-1912) was an era of tremendous transformation in Japan following the Meiji Restoration, which ended the rule of the Tokugawa shogunate and ‘restored’ the rule of the Emperor Mutsuhito (1852-1912, posthumously named Emperor Meiji) and a centralized government. The name of the era, Meiji, meaning “enlightened rule” signified Japan deliberate emergence from an isolationist and feudal society to a modern and industrialized nation, eager to catch up with Western powers of the time.

In 1853 Japan was opened up to the West by Commodore Matthew Perry (1794-1858), ending the country’s 220 year isolation policy. Western technologies in all aspects of life were quickly implemented, and these advancements can be seen in the prints that were produced in this era; both in subject matter depicted and the printmaking process itself. Artists inspired by readily available brilliant synthetic dyes and the dynamic growth of Tokyo and Yokohama produced urban scenes populated with foreigners and locals bustling together among new types of architecture and methods of transportation. Likewise, the techniques utilized evolved as some artists began to mimic etching methods found in Western printmaking – this can be particularly be seen in works by Kobayashi Kiyochika (1847-1915).

The declaration of war with China in 1894 stimulated a burst of productivity in the woodblock print market, with Kiyochika in particular leading the charge. Depictions of battles from the front, often in triptych format, became highly popular with the print-buying public, and served as a way to promote national pride and support for the war effort. Although many of the war prints illustrated new explosive weapons and modern technologies, the artists themselves did not see these events first-hand, but rather based their compositions on a combination of traditional ukiyo-e portrayals of warrior subjects and their own imaginations.

To explore this extraordinary collection, click here.