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

Moonlight on Stones | Wang Mansheng 王满晟
Fu Qiumeng Fine Art
May 20-July 23, 2022

Fu Qiumeng will host two special in-person programs to accompany the current exhibition.

Meet the Artist
Saturday, June 4, 12-2pm
Artist Wang Mansheng will lead a tour through the current exhibition of 19 paintings selected from his Night Mountain and Ancient Trees series. Wang will describe his artistic practice and consider philosophical approaches in Chinese landscape painting history. This exhibition contains a relationship between text and image, which is a traditional feature, that 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.

Scholar's Lecture: Poetic Construction of Multiple Times in Tang Poetry 
Friday, June 10, 6-8pm
In this Scholar's Lecture, Dr. Chao Ling, curator of the exhibition, will use the Tang poet Li Shen's (772–846) 李紳 Twenty Poems on the New Tower 新樓詩二十首 as an example to discuss some linguistic and poetic issues. First, how do Chinese poets, responding to the challenge of a syntactically tenseless Chinese language, articulate temporal concepts—such as the sense of temporality, grammatical aspect, and instant in time? Also, why does poetry, which is primarily about spatial constructs (in particular high towers), often yield to a reflection on time?

Dr. Chao Ling (born 1987) is Assistant Professor in the Department of Chinese and History, City University of Hong Kong. Ling primarily researches classical Chinese poetry and art history, with a special focus on the medieval period. He also works on literary theory and philosophical investigations of the relationship between text and image. Ling holds a PhD in East Asian Languages and Literatures from Yale University (2019) and a B.A. in Chinese Languages and Literatures from Peking University (2009).

Read more and register, click here.

For more information about the exhibition Cloud Wanderings of Wang Mansheng at the Hammond Museum and Japanese Stroll Garden, click here.

Bertha Lum (1869-1954), Road to the Forest at Nikko, woodblock print, 13 x 7 3/4 in.

Scholten Japanese Art, which opened in New York in 2000 and has presented more than fifty exhibitions of fine Japanese prints, paintings, and works of art, has never hesitated to explore new artistic avenues to bring the best and most interesting artworks to their collectors and visitors. In the past several years, Rene Scholten and Katherine Martin, President and Director of the gallery, respectively, have expanded the parameters of what is considered Japanese prints and paintings. Namely, their exhibitions have included art by non-Japanese artists influenced by the techniques and imagery that characterizes Japanese traditional visual culture, as well as the impact of Western influences on Japanese artists. The former theme has been at the heart of Scholten’s most recent and upcoming exhibitions.

The gallery described their spring exhibition, Influencers: Japonisme and Modern Japan as “an exploration of the influence of Japanese art on Western art and the development of modern international art modes such as art nouveau and art deco.” Included were 102 woodblock prints and paintings by important artists—male and female—from France, Austria, Germany, Britain, and the United States, as well as from Japan. (Read and see more about this exhibition, click here.)  Katherine Martin, who has directed the gallery since 1999, after several years as specialist of Japanese art at Sotheby’s, commented that she has long been fascinated by exchanges between artists of different cultures, and that even though artistic interactions between Japan and the West are well explored, new ones are always a “revelation.” Martin pointed to a particularly striking example. . . the clear similarity between a print by Utagawa Hiroshige and a painting by James Whistler, who was greatly influenced by the Japanese master, although he never traveled to the country. Especially interesting is that early modern Japanese printmakers were in turn much taken with impressionist artists such as Whistler, as can be seen in a print made by Kobayashi Eijiro.

L-R: Utagawa Hiroshige (1797-1858), Full Moon Over Canal, with Bridge and Huge Stacks of Bamboo along the Bank, woodblock print, circa 1857, Scholten Japanese Art; James Whistler (1834-1903), Nocturne: Blue and Gold-Old Battersea Bridge, circa 1972-5, oil on canvas, Tate Britain (NO1959); Kobayashi Eijiro (1870-1946), Night Scenes: High Bridge by Night, ca. 1910-20s, Scholten Japanese Art

The Influencers exhibition emphasized an exploration of works by non-Japanese artists who employed the woodblock print-making process. Not only were these artists often self-taught, figuring out on their own how their Japanese predecessors achieved various visual effects, but they were often obliged to undertake all aspects of the printmaking process themselves, as they did not have available to them the numerous craftsmen with whom Japanese artists could collaborate. The works of these artists, such as Emil Orlik, B.J.O. Nordfeldt, John Edgar Platt, and Bertha Lum, in turn played a role in reviving interest in woodblock printmaking in Japan, known as the shin-hanga (“new prints”) movement of the early 20th century.

Martin observed that exhibitions at Scholten are a collaboration between herself and Rene Scholten and often “percolate” for years, as additions to the roster are acquired and new artists discovered. Martin was surprised and pleased with the very positive response to Influencers, both by experienced print collectors and several new enthusiasts and that works by the non-Japanese artists sold very quickly.

L-R: Katherine Martin, Rene and Margriet Scholten, 2010

Scholten’s upcoming exhibition, NOH: More Drama, which opens on June 16th, presents paintings, drawings and prints of Japanese theatrical subjects by Paul Binnie. (For more information about this exhibition, click here and watch these pages.) This is the gallery’s fourth solo exhibition of work by this artist, who was born in Scotland in 1967 and spent several years in Japan as an apprentice to learn traditional woodblock printing techniques. Binnie’s use of both Japanese and Western artistic practices to produce images that draw on imagery from many sources is the ongoing embodiment of Scholten gallery’s keen interest in following unexpected developments within the traditions of Japanese art and woodblock printmaking.

Yufu Shohaku (born 1941), Meoto Iwa (The Wedded Rocks), 2020, madake bamboo, rattan, branches, shuro rope, 24 x 61 x 59 in.

Yufu Shohaku, TAI Modern
Concludes May 31, 2022

TAI Modern presents Japanese bamboo artist Yufu Shohaku’s first solo exhibition outside of Japan. This exhibition was initially shown in New York, and has recently travelled to Santa Fe, giving New Mexico art fans the opportunity to view these powerful baskets and sculptures in person.

Yufu Shohaku (born 1941) is not only a master bamboo artist, but also a cultured man with a meticulous mind, a leader in his community, a certified master flower arranger, and head of a local Shigin (chanted poetry) group. He is known for his robust and energetic rough-plaited baskets. Though Yufu’s works have sculptural presence, his belief is that beauty and functionality are at the core of his art. After completing a basket, he arranges flowers in it to determine whether he was successful in its execution. “When I make flower baskets, I always consider the size and balance of the baskets, as well as the type of flowers to be arranged in them,” Yufu explains. “For me, baskets and flowers are inseparable, and I get my inspiration from natural forms such as the earth and cliffs. I try to give my works an organic look, as if they are a part of nature.”

Read more, including the online catalogue, click here

Elaine Ildan Choi, Here and Now, Korean Cultural Center
Now through May 31st

The Korean Cultural Center New York sheds light on the life and art of artist Elaine Ildan Choi (born 1936) in a special documentary and online exhibition that features not only her selected artworks, but the story of her turbulent life and fierce spirit that has remained a constant thread throughout. The video was unveiled on March 8th, 2022 to commemorate International Women’s Day and also as a part of Asia Week New York 2022.

The mini documentary follows the artist's life spanning more than 80 years as she navigates through the tumultuous times from the Japanese occupation of Korea, the Korean War, and the Vietnam War, and as she builds her life around the world starting from Seoul, Korea to Paris, Beijing, and finally to New York.

In celebration of Asian American Pacific Islander Heritage Month (AAPI), the Korean Cultural Center invites viewers to leave comments after watching Elaine Ildan Choi, Here and Now, which currently has over 40k views on YouTube since its premiered back in March, before the end of the day on May 31st. The artist Elaine Ildan Choi will select a total of 10 comments from participants, and the selected 10 will receive a special prize, prepared by the artist and the center.

For more information, including details and eligibility about this special online program, as well as for other related programs, please visit the Korean Cultural Center New York’s website, click here.

L-R: Mokichi Otsuka (born 1956), Teabowl, ceramic, H. 3 3/8 x Dia. 4 ¾ in. and Tomoyuki Hoshino (born 1976), Sugar-coated Bowl, ceramic, H. 3 3/8 x Dia. 5 1/8 in.

Magic of the Tea Bowl, Volume 2, Ippodo Gallery
June 2-July 7, 2022
Opening reception: Thursday, June 2, 5-8pm

The Japanese tea ceremony was first established during the 16th century and has continued to flourish to the present day. Closely related to Zen philosophy, it has held a central place in Japanese art, culture, and soul. Known as chawan, tea bowls are handed from the tea master, who prepares the tea, to the guests, transmitting the scent and warmth of the tea through the hands to the lip.

Ippodo Gallery held the Magic of the Tea Bowl exhibition last year, which was collected during the height of the pandemic (2020-2021) by visiting workshops around Japan. Many tea bowls left the hands of potters to the hands of their owners. In this second exhibition, Ippodo has added new artists and collected their masterpieces: Yasushi Fujihira, Hideyuki Fujisawa, Noriyuki Furutani, Hiroshi Goseki, Tomoyuki Hoshino, Morimistu Hosokawa, Takeshi Imaizumi, Koichiro Isezaki, Yukiya Izumita, Tsubusa Kato, Kohei Nakamura, Akio Niisato, Mokichi Otsuka, Kai Tsujimura, Shiro Tsujimura, Yui Tsujimura, Koichi Uchida, and Kodai Ujiie.

Read more, click here

Blanket from Zhuang Tribal, early 20th century, silk supplementary weft on a fine cotton tabby ground, 45 x 67 in., Collection of Chinalai Tribal Antiques

Auspicious Dreams: Tribal Blankets from Southern China,
Charles B. Wang Center at Stony Brook University
Last day May 31, 2022

The Charles B. Wang Center celebrates precious, rarely seen Chinese textiles, specifically blankets made by South and Southwest Chinese tribes in Auspicious Dreams: Tribal Blankets from Southern China exhibition. Often made with fine materials, exemplary techniques, and unparalleled artistry, these striking textiles convey the unique identities, statuses, and traditions of diverse Chinese tribal groups. Curated by Vichai and Lee Chinalai of Chinalai Tribal Antiques and Jinyoung Jin, director of cultural programs at the Charles B. Wang Center, the treasures in this exhibition take visitors on a remarkable journey across regions and time.

Read more, click here