Paul Binnie (b. 1967), (L): Japanese Zodiac: Rabbit (Junishi no Usagi), 2024, hosoban 13 x 5 3/4 in. (33.1 x 14.5 cm); (R): A Day At the Beach: Tan Lines, (Hamabe no Tsuika: Hiyake no Ato), 2024, hosoban 13 1/8 x 5 1/2 in. (33.3 x 14 cm)

Scholten Japanese Art is excited to announce the release of the second pair of designs in Paul Binnie’s two concurrent series which launched earlier this year; Rabbit from the Japanese Zodiac series, and Tan Lines from A Day at the Beach series.

Japanese Zodiac: Rabbit features a model with tattoos that represent the Year of the Rabbit (which in the zodiac calendar precedes the dragon, featured in the first print in the series). The upper tattoo is derived from an Utagawa Kuniyoshi (1797-1861) print of a toy rabbit ferrying a boat, originally printed as an aka-e (red picture), produced as a lucky talisman to ward off smallpox in the 19th century. Children’s toys were popular subjects of these prints, as were images of Shoki the Demon-Queller, as illness was often framed as the work of demons. The lower tattoo is inspired by the 1889 print by Tsukioka Yoshitoshi (1839-1892) illustrating the Jade Rabbit and the Monkey King before a large pink moon from the One Hundred Aspects of the Moon series. Binnie has added a touch of humor in the placement of the moon in this composition, which alludes to the play on words with the English phrase ‘mooning.’

In A Day at the Beach: Tan Lines, the figure was printed using the same block set to create Rabbit from Binnie’s Japanese Zodiac series. In this non-tattoo version, the figure is printed to show two levels of tan lines, from longer shorts and from a speedo worn at different times, leaving paler areas untanned. The background is reduction printed in approximately 19 colors, and an embellishment of mica has been used to suggest the wet sand at the water’s edge.

To view these vibrant prints and more by Paul Binnie, click here.

Installation view, Hidden Stories and World Play, Alisan Fine Arts New York

Hidden Stories and Word Play: New York
Closing December 21, 2024
120 E 65th St, NYC

This is the final week to view two insightful exhibitions at Alisan Fine Arts before they close on December 21!

Hidden Stories features six contemporary artists who use photography as a powerful medium to tell compelling narratives. Rene Balcer, Stephen King and Myeong Soo Kim form narratives through their depictions of natural landscape, while South Ho, Ho Tam and Pixy Liao’s imagery is more personal, showing glimpses of everyday life, cityscapes and moments that enter the surreal.

Word Play: New York invites viewers to explore the expression, investigation, and transformation of Chinese characters. Showcasing works by six artists across generations—Cui Fei, Hung Keung, Chiu Li, Wang Dongling, Wang Tiande, and Wei Ligang—the exhibition examines the written word, a cornerstone of Chinese culture, as both a subject of reverence and a canvas for bold innovation in contemporary art.

Be sure to visit soon to immerse yourself in the contemplative beauty of these exceptional exhibitions.

To learn more about Hidden Stories, click here.

To learn more about Word Play, click here.

Makino Kōmin, Accessory Box with Hydrangea, 1930s, gold, silver and colored lacquer on wood with shell inlays, 8 x 12½ x 7½ in. (20.5 x 32 x 19.3 cm)

Golden Treasures: Japanese Gold Lacquer Boxes
Closing Friday, December 20, 2024
9 East 63rd St, NYC

There’s still time to view Thomsen Gallery’s annual exhibition of Japanese gold lacquer masterpieces dating from the early 18th century to the present. This year’s collection highlights exquisite lacquer works from the modern era (1910s–1950s), including a stunning screen that was published and exhibited at the annual national art exhibition of 1952.

Don’t miss the opportunity to experience the artistry and enduring allure of these timeless creations before the exhibition closes!

To learn more, click here.

Installation view, KOGEI and Art

KOGEI and Art
Closing Friday, December 20, 2024
16 E 79th Street, NYC

This is the last week to experience KOGEI and Art at Onishi Gallery before the exhibition closes on December 20!

“KOGEI” refers to works made using materials and methods that have stood the test of time, reflecting uncompromising dedication to technical perfection and a search for new forms of expression.  Featuring work by six leading artists working in a range of traditional media: David Stanley Hewett (b.1967), Konno Tomoko (b.1967), Noguchi Ken (b. 1982), Onihira Keiji (b. 1973), Rusu Aki (b. 1976), and Tanaka Terukazu (b. 1945), this winter exhibition highlights the growing role of KOGEI in contemporary Western lifestyle and global art and design.

Be sure to visit and immerse yourself in the timeless beauty and artistry of KOGEI today!

To learn more, click here.

Utagawa Hiroshige (1797–1858), The Village of Yase (Yase no sato 八瀬之里), from the series “Famous Views of Kyoto” (Kyōto meisho no uchi 京都名所之内) (detail), ca. 1834 [Tenpō 5], woodblock print (ōban yoko-e format), ink and color on paper, 8 7/16 x 13 3/16 in. (21.5 x 33.5 cm), mat: 14 3/16 x 19 5/8 in. (36.1 x 49.9 cm); Courtesy Princeton University Art Museum

New Horizons for Japanese Art at the Princeton University Art Museum
December 17, 2024 at 5pm EST
Zoom Webinar

JASA is pleased to present New Horizons for Japanese Art at the Princeton University Art Museum, a live Zoom webinar for their annual holiday program for JASA members.

Reopening in fall 2025 after a multi-year closure, the new Princeton University Art Museum will feature a suite of galleries devoted to the display of Asian Art. As guest speaker Dr. Kit Brooks notes, “The new Museum—double the size of its previous incarnation—will include over 60,000 square feet of gallery space. One of the seven ‘pavilions’ will be devoted to Asian Art, drawing from a collection well known for its Chinese paintings and calligraphy. The Japanese collection has been growing since the establishment of the Museum in the 1880s, ranging from Neolithic to contemporary, and includes sculpture, paintings, prints, and ceramics.”

Dr. Brooks is Curator of Asian Art at the Princeton University Art Museum. Earning their PhD from Harvard University (2017), they previously held positions at the Smithsonian’s National Museum of Asian Art and the British Museum. Their recent projects include the exhibitions Staging the Supernatural: Ghosts and the Theater in Japanese Prints (2024) and Ay-Ō’s Happy Rainbow Hell (2023), the first U.S. museum exhibition dedicated to the psychedelic Japanese Fluxus artist Ay-Ō (b. 1931).

To learn more and register, click here.

Kawase Hasui, Fuji River (Fujikawa), 1933, obaiban yoko-e 15 1/8 x 21 1/2 in. (38.4 by 54.5 cm), Courtesy Scholten Japanese Art

We are delighted to announce the all-star roster for our highly anticipated Asia Week New York 2025 edition! Featuring twenty-six renowned international galleries and six powerhouse auction houses–Bonhams, Christie’s, Doyle, Freeman’s|Hindman, Heritage Auctions, and Sotheby’s–this vibrant celebration of Asian art and culture, will run from March 13th through March 21st.

Heading into our 16th year, Asia Week New York continues to be the ultimate destination for collectors, curators and art enthusiasts from around the globe. This year, returning to the fold are the New York dealers Carole Davenport and SEIZAN Gallery New York, both Japanese specialists, while Lark Mason Associates will mount a special exhibition of Asian art.

“We always look forward to welcoming the many collectors, curators and art aficionados who have enthusiastically supported Asian art through the years,” says Brendan Lynch, chairman of Asia Week New York and co-director of Oliver Forge and Brendan Lynch, Ltd. in London.

From ancient treasures to contemporary masterpieces, the participating galleries will showcase an extraordinary selection of Asian porcelain, jewelry, textiles, paintings, ceramics, sculpture, bronzes, and prints, spanning the second millennium BCE to the present day. Here’s a sneak peek at this year’s stellar dealer roster, organized by specialty:

Indian, Himalayan, and Southeast Asian Art

Avalokiteshvara, Central Tibet, 15th c., copper alloy, height: 13¾ in. (34.9 cm), Courtesy Carlton Rochell Asian Art

• Art Passages (United States)
• Oliver Forge and Brendan Lynch Ltd (England)
• Francesca Galloway (England)
• Carlton Rochell Asian Art (United States)

Ancient and/or Contemporary Chinese Art

A large and rare Inlaid Koryo Celadon Tile, Korean, 12th-13th c., 23 x 30.5 cm, Courtesy Zetterquist Galleries

• Alisan Fine Arts (Hong Kong/United States)
• Fu Qiumeng Fine Art (United States)
• Ralph M. Chait Galleries, Inc. (United States)
• INKstudio (United States/China)
• Kaikodo LLC (United States)
• Lark Mason Associates (United States)
• Zetterquist Galleries (United States)

Ancient and/or Contemporary Japanese Art

Wada Morihiro (1944-2008), Overlapping Comma Pattern Vessel, ca. 2004, glazed and slip-glazed stoneware, 14 1/2 x 8 1/4 x 8 1/4 in., Photo by Richard Goodbody, Courtesy Joan B Mirviss LTD

• The Art of Japan (United States)
• Dai Ichi Arts, Ltd. (United States)
• Carole Davenport (United States)
• Egenolf Gallery Japanese Prints (United States)
• Ippodo Gallery (United States)
• Joan B Mirviss LTD (United States)
• Onishi Gallery (United States)
• Scholten Japanese Art (United States)
• Sebastian Izzard Asian Art (United States)
• SEIZAN Gallery New York (United States)
• Shibunkaku (Japan)
• TAI Modern (United States)
• Thomsen Gallery (United States)
• Hiroshi Yanagi Oriental Art (Japan)

Ancient and Contemporary Korean Art

Bohnchang Koo (b. 1953), HA 07 BW, 2005, archival pigment print, 9 7/8 x 7 3/8 in. (25 x 20 cm), Courtesy HK Art & Antiques LLC

• HK Art & Antiques LLC (United States)

Installation view, Ik-Joong Kang: We are Connected

Ik-Joong Kang: We are Connected
Closing Friday, December 13, 2024

Don’t miss Ik-Joong Kang: We Are Connected, an exhibition that bridges East and West through the artist’s evocative work at the Korean Cultural Center. Kang’s art weaves diverse elements into a harmonious tapestry, reflecting the deep interconnectedness of our global community.

At the heart of Kang’s aesthetic is a macrocosmic worldview that transcends boundaries of race, nationality, and gender, paired with a microcosmic perspective shaped by his experiences as a Korean artist in 1980s-90s New York. His monumental works, such as the vast installations composed of thousands of small parts, serve as metaphors for the collective human experience. Each fragment, whether it be a piece of glazed porcelain, a Hangeul tile, or a multimedia element, embodies a story, a memory, or a piece of cultural heritage.

Kang’s contemporary reinterpretations of traditional Korean motifs, like Moon Jars and Hangeul, celebrate the timeless beauty of Korean culture while exploring universal themes of love, hope, and connection. His art transcends boundaries, weaving individual stories and traditions into a collective narrative.

As you explore this exhibition, may you be moved by the intricate details, the blend of old and new, and the silent conversations between East and West. Kang’s art invites reflection on our own journeys, our connections with others, and the beautiful complexity of the world we inhabit.

To learn more, click here.

Courtesy Korea Society

Dyadic | Annette Hur & Hayoon Jay Lee
Closing Friday, December 13, 2024

These are the last days to catch Dyadic | Annette Hur & Hayoon Jay Lee, a duo exhibition where two Korean-born artists based in New York present their own expositions and elucidations on abstract art.

With her bold colors and brushstroke, Annette Hur deliberately positions her paintings in between abstraction and figuration, dealing with the conflicts of the real lived experience and how her body remembers and processes it. Hayoon Jay Lee uses rice as object, motif, metaphor and visceral biomorphic forms, meticulously and meditatively arranging individual grains of rice into a surface with modeling paste to create physical and emotional topographies.

Please note that the Korea Society Gallery is open by appointment only. The appointment must be made at least 24 hours prior to the scheduled visit. To make an appointment, please contact [email protected]

To learn more, click here.

Aries (Mangala), from a series of Astrological Paintings, Indian, c. 1810, opaque watercolor and gold on paper, 7 3/4 × 6 in. (19.69 × 15.24 cm); Gift of Wayne and Nancy Hunnicutt, 2019.63.1

Mapping the Heavens: Art, Astronomy, and Exchange between the Islamic Lands and Europe
December 14, 2024 – January 11, 2026
Gallery 203

Where are we? When are we?

These fundamental questions drove the development of astronomical sciences and religious practices across different times, regions, and faiths, to map and understand our place in the world and its relationship with the heavens.

The story of Mapping the Heavens at Nelson-Atkins Museum of Art opening on December 14 begins in the Islamic World during the Early Middle Ages (c. 500s – 1200s CE), where Muslim scientists preserved and advanced the study of astronomy. Access to these scientific texts– many collected and translated in Spain in the 1200s and widely disseminated in books after the invention of the printing press in the 1400s–fueled a revolution of new discoveries and created a shared astronomical knowledge across Europe.

The works presented in this exhibition introduce the advancement of astronomy as a multi-cultural and multi-faith dialogue between scholars and scientists, showcasing the beauty and importance of the books, instruments, and images that communicated these discoveries.

To learn more, click here.