Iede Takahiro (b.1962), Vessel Ritsu (Rhythm), 2019, Metal weaving of shakudo, shibuichi and silver
h. 6 x w. 6 1/4 x d. 6 3/8 in. (15.5 x 16 x 16.2 cm)

The metalwork exhibit at Onishi Gallery, Earth, Air, Fire and Water, originally set to close December 19, will remain on display until further notice.

The gallery hours have been adjusted for the holidays, and the gallery will reopen on Saturday, January 9th.

Shun Sudo (b. 1977)
CELEBRITY
2016
Acrylic on canvas
31 1/2 x 39 in. (80 x 100 cm)

Shun Sudo (b. 1977) is a cutting-edge artist based in Tokyo. Deeply influenced by American pop culture from a young age, Sudo spent his 20s travelling around the United States. When he returned home to Japan in his early 30s, he began working on paintings that reference his creative roots both in Japanese culture and the contemporary street culture of Western life. As a result, Sudo developed two artistic styles that reflect the two different aspects of his personality. His primary aim is to capture his subject matter in a few stylized brushstrokes—otherwise known as Japanese sumi-e brush stroke painting. He then paints over that image with graffiti pop art which makes for a graphically-animated impression that awakens the eyes, mind, and spirit.

In his current series “Paint Over,” which contains allusions to iconic brands such as Chanel and Nike alongside pop art imagery, Sudo gestures to decades of commercial and counterculture forces. He presents portrait images that feature famous icons in Western culture such as Andy Warhol and John Lennon, but reinterprets the familiar through an original colorful lens. By painting over globally-recognized icons with his own favorite images, such as flowers and hearts, Sudo incorporates his individual worldview into a greater tradition, making viewers re-conceptualize what they already know.

Below are more selections from Onishi Gallery's Asia Week New York Contemporary exhibition, Playful Perfection: The Artist’s Imaginary Universe, on view at 521 West 26th Street, from May 2 to 10:

Tomoko Konno (b. 1967)
Creature
2010
Stoneware with nerikomi
h. 21 5/8 x w. 20 1/2 x d. 10 5/8 in. (55 x 52 27 cm)

ITO Sekisui V (b. 1941), Living National Treasure
Sado Island Square Jar
2016
Stoneware
h. 8 5/8 x w. 12 5/8 x d. 9 1/2 in. (22 x 32 x 24 cm)

NAOYA (b. 1958)
PEPO #1.2.1.
2014
FRP
h. 33 x w. 17 1/2 x d. 16 3/4 in. (83.6 x 44.2 x 42 cm)

Takegoshi Jun (b.1948)
Porcelain square vessel decorated with animated blue crested ibises amongst lotus in kutani-style enamel glazing
2017
10 1/4 x 9 1/8 x 8 7/8 in.

This elegant and powerfully painted vessel was recently created by the master of kutani porcelain, Takegoshi Jun (b.1948). On this square vessel with an upraised neck are depictions of animated blue crested ibises amongst lotus, all created with abroad array of artfully applied, colorful glazes based on the ancient kutani five-color tradition. Created specifically for this exhibition, it is one of more than twenty porcelain works by this highly-sought-after ceramist, whose list of international collectors include the Emperor of Japan as well as The Metropolitan Museum of Art.

Below are more selections from Joan B Mirviss LTD's Asia Week New York Contemporary exhibition, Beyond Kutani: Innovations in Form and Color, on view at 39 East 78th Street, Suite 401, from May 2 to 10:

Nakamura Takuo (b. 1945)
Softly pleated stoneware vessel with summer and fall floral design and separate ladle-rest in polychrome under and overglaze
2016
a. 7 7/8 x 11 x 11 in. b. 1/2 x 20 1/2 x 2 3/4 in.

Takegoshi Jun (b. 1948)
Porcelain box with kutani-style enamel glazing depicting a flock of blue kingfishers
2017
4 1/8 x 10 5/8 x 6 1/8 in.

Nakamura Takuo (b. 1945)
Stoneware Box that is not a Box with ivy design in polychrome under and overglaze 
2016
19 x 21 x 13 in.

S. H. Raza
Village dans la Nuit
1957
Oil on Canvas
39.5 × 32 in.

S. H. Raza is amongst India's leading modernists. After being a founding member of the Progressive Artists' Group in 1948, Raza soon moved to France in 1950. During these early, formative years in France, he started experimenting with his oil paintings and was influenced by the landscape and architecture of the countryside.

In this night-time landscape, the houses adorning the undulating surfaces of the French countryside are revealed by reflections of moonlight off of their light colored walls. The gentle movement leads the gaze slowly away from the village, towards the unilluminated nature nearby, leaving the viewer to imagine the realm of experience that awaits there.

This work displays Raza's landscape style at its evolved heights. Compared to the early 1950's, Raza has moved away from sharp delineation of shape, tending instead to prefer the coalescence of form through movement in amorphous polychormatic strokes. The affinity for abstraction shown here foreshadows the progression of his artistic career, first towards highly deconstructed landscapes, and eventually a complete change in subject to the geometric and symbolic.

Below are more selections from Navin Kumar Gallery's Asia Week New York Contemporary exhibition, Selections: Modern Indian Masters, on view at 24 East 73rd Street, Suite 4F, from May 2 to 10:

F. N. Souza
Untitled (Landscape)
1962
Oil on Canvas
40.5 × 37.5 inches

M. F. Husain
Blue Woman with Monkey
1960
Oil on Canvas
54.5 × 20.75 inches

Seungmo Park (b. 1969)
b-3, Maya7616
2011
Stainless steel mesh
64.6 x 3.9 x 64.6 in (164 x 10 x 164 cm)

Park creates giant ephemeral portraits by cutting layer after layer of wire mesh. Each work begins with a photograph, which is superimposed over layers of wire with a projector, then using a subtractive technique Park slowly snips away areas of mesh. Each piece is several inches thick as each plane that forms the final image is spaced a few finger widths apart, giving the portraits a certain depth and dimensionality that’s hard to convey in a photograph. The Maya series is in line with the artist’s idea of constructing a space or scene that transcends its existence. Prompting viewers to interact with the portrait and their own immediate surroundings, the artist enacts a way of seeing beyond what is real and visible. 

Below are more selections from Kang Contemporary Korean Art's Asia Week New York Contemporary exhibition, Korean Art: Now and Then, on view at 9 East 82nd Street, 3rd Floor, from May 2 to 10:

Ik-Joong Kang (b. 1960)
Happy World – Blue Jumbo Airplane
1992-2015
Mixed media on wood
47 x 47 in (119.5 x 119.5 cm)

Minjung Kim (b.1962)
Pieno di vuoto
2005
Mixed media on rice paper
59 1/8 x 82 5/8 in (150 x 210 cm)

Jongsook Kim
ARTIFICIAL LANDSCAPE-Neo-Geo Purple
2013
Mixed Media on canvas, made with Swarovski’s cut crystals
27 1/2 x 27 1/2 in (70 x 70 cm)

Wang Mansheng (b. 1962)
Red Lotus
2016
Hanging scroll
Ink, walnut ink and color on paper
179.0 x 97.0 cm. (70 x 38 in.)

Mansheng is noted for the creation of bold paintings of lotus ponds, dense with giant leaves in seductive brown and black, cradling lotus blossoms in bright red. The present vertical scroll is a departure from the horizontal formats he normally uses for this subject, such as those now gracing the Baltimore Museum of Art and private collections as well.  The image here successfully and strikingly conveys both the organic nature of the subject and the compelling abstract qualities of color and form.  

Below are more selections from Kaikodo LLC's Asia Week New York Contemporary exhibition Twenty Years of Ink Art, on view at 74 East 79th Street, Suite 14B, from May 2 to 10:

Wucius Wong (b. 1936)
Casual Ideation
1990
Ink and color on board
Group of 8
#1,2,3,5,7,10,11,112
24.9 x 22.2 cm. (9 ¾ x 8 ¾ in.)

Qiu Mai (Michael Cherney) (b. 1969)
Map of Mountains and Seas #18
2017
Photography, ink on mitsumata paper
Mounted as a hanging scroll
128.7 x 56.6 cm. (50 ½ x 22 ¼ in.)

Wu Qiang (b. 1977)
Spirited Away
2011
Ink and color on silk, framed
28.5 X 7.0 cm. (2 3/4 X 11 1/4 in.)

Paul Binnie (b. 1967)
Waking
ca. 1993-94
Watercolor on paper
10 5/8 by 15 1/8 in. (27 by 38.5 cm)

A reclining male nude lies horizontally against a deep teal background, bearing a blue koi tattoo down the sides of his chest, while hiding his face with his left arm. The dappled light dances on the subject's body in much the same way that light would hit the surface of water, enlivening the tattoo of stylized waves and carp swimming upstream.

Paul Binnie, a Scotsman living in London, has over the past 25 years become one the most important artists working in the Japanese tradition of woodblock printmaking. He has taken up the mantel of the shin-hanga ('new print') artists of the early to mid-20th century, producing works that can only be described as innately Japanese. This painting is one of an array of early Binnie paintings, sketches and prints of nude and tattoo (and nudes with tattoos) subjects being shown alongside his beloved woodblock print series A Hundred Shades of Ink of Edo (Edo Zumi hyaku shoku), which playfully references timeless imagery from classic ukiyo-e and inventively placed them on modern nude subjects. 

Below are more selections from Scholten Japanese Art's Asia Week New York Contemporary exhibition, on view at 145 West 58th Street, suite 6D, from May 2 to 10:

Paul Binnie (b. 1967)
A Hundred Shades of Ink of Edo: Yoshitoshi’s Ghosts
2004
Woodblock print
17 by 11 3/4 in., 42.5 by 29 cm

Paul Binnie (b. 1967)
A Hundred Shades of Ink of Edo: Utamaro’s Erotica
2005
Woodblock print
16 3/4 by 11 3/8 in., 43 by 30 cm

Paul Binnie (b. 1967)
A Hundred Shades of Ink of Edo: Sharaku’s Caricatures
2011
Woodblock print
16 7/8 by 12 1/4 in., 43 by 31 cm