Commercial art gallery

Contemporary Asian art rubs shoulders with old works during Asia Week in New York

Madhvi Parekh (born 1942) God of the Sea, 1971 Oil on canvas 48 x 72.2 in. (121.9 x 183.4 cm.)

When Asia Week in New York kicks off its nine-day extravaganza of exhibitions, auctions and museum exhibits on March 16, nearly half of the world’s leading galleries will showcase a stunning range of contemporary paintings, prints, oil paintings ink, ceramics, bamboo sculptures and photographs.

“We are thrilled that nearly half of our 26 galleries feature such a wide selection of contemporary art,” said Dessa Goddard, president of Asia Week New York. “Their participation strengthens the scope of our mission to appeal to a new base of collectors.”

Arnold Chang & Michael Cherney Saltscape Lattice, 2018 Photograph and ink on xuan paper mounted on paper 24 x 57 in. (61 x 145cm.)
Qiumeng Fine Arts

Here is a guide to the 11 contemporary exhibitions open during Asia Week New York:

Contemporary Japanese ceramics and contemporary ink paintings will be exhibited simultaneously at Joan B Mirviss LTD when the Beijing-based gallery studio ink join forces to present their respective exhibitions: Kondō Takahiro: making waves and Bingyi: Land of the Immortals. Although their respective mediums (clay and ink) and artistic forms (sculpture and painting) are very different, both artists are deeply engaged with the dynamic forces of nature, in particular the qualities and behavior of water. When seen together, the two artists are clearly engaged in a form of material and artistic transformation that sparks a dialogue about international contemporary art that draws on and advances traditional East Asian art practices. 39 East 78th Street, 4th Floor, Suite 401

Yufu Shohaku Fudo, 2019 Bamboo Madake, bamboo roots and branches 30 x 19 ½ x 19 ½ in. (76.2 x 49.5 x 49.5cm.)
TAI Modern

Fine Art by Fu Qiumeng debuts at Asia Week in New York with Ink Affinities: The Collaborative Works of Arnold Chang and Michael Cherney. salt meshIt is the most innovative and experimental work of the artists in their exhibition. “Salt printing” was one of the first processes for producing positive photographic images on a sheet of standard drawing paper; wetting a sheet of paper with saline solution was the first step in making it light sensitive. As a tribute to this process, Cherney photographed salt crystals dissolving under a microscope. When printed, the fractal qualities of the images are enhanced and take on the appearance of rocks, flowers or other natural shapes. By arranging them in the form of a trellis for printing, Cherney created a “web” of random but orderly configurations that Morristown, New Jersey-based Chang could attempt to weave into a cohesive composition. 65 East 80th Street, Ground Floor

TAI Modern present Fudo, the intricate work of Yufu Shohaku who was born into a family of basket weavers and trained in the preparation of bamboo from his youth. A turning point for the young man came when he was studying in a mountain monastery and saw a statue of Fudo MyooWhere Acala, standing in front of a waterfall with a flame on his back, holding a sword and gritting his teeth. Wind was blowing; the trees swayed; the flowing waterfall, but the statue of Fudo Myoo was motionless. Faced with such a strong presence, he felt the need to express the power of Acala through his art. After some difficulty, he found a technique and style he named “dragon pattern”, which became his signature: a basket that combines the dragon pattern, bamboo rope and half-split bamboo pieces . 38 East 70th Street

Ippodo Gallery characteristics View of Kukai; Sun and Moon, Crescent Moon in From chaos to cosmos, one of the paintings in Ken Matsubara’s solo exhibition. the kukai honors sound because it represents eternity, the perfect order of cycles. As the silver light of the moon shimmers in the dark, waxing and waning with the sun, the heart and its desires too. Matsubara recalls the journey of a Japanese monk (the priestly name is also Kobo or Kobo Daishi). The latter retreated to the Cape Muroto Caves at the southeastern tip of Shikoku, stepping out to see the breathtaking sun and moon rise in the same spot each day against a rocky ocean horizon and starry sky. Struck by the majesty of their permanence, the monk would later be called ‘Kukai’ (774 – 835), for the ‘air’ (Ku) and ‘sea’ (Kai), completely synonymous with his nature excursions. Her story resonated with Matsubara so much that the artist even revisited Kukai’s exact location to get the same feeling. 32 East 67th Street, 3rd Floor

Among the contemporary works on offer at the Thomsen Gallery is a polished black lacquer box with a jellyfish motif in gold and silver lacquer by Yoshio Okada. When naming his designs for this series, Okada chose the Chinese characters suigetsu (literally “water moon”) to represent the Japanese word for jellyfish, thus playing with the image of moonlight reflecting off jellyfish floating in the ocean. To make distinctions between the boxes in this series, which all have the same distinctive flared square shape – he selected verbs from ancient poetry with the general meaning of “floating and shimmering”. 9 East 63rd Street

Part of an avant-garde generation of highly influential female artists in post-war Japan whose practices were inspired by concepts of female sexuality and depictions of nature, Tashima Etsuko’s sculptures, exhibited at Dai Ichi Arts, Ltd.–bringing together two historic artisanal mediums: glass molding and ceramic sculpture with a yellow to obey underglaze that emphasize the relationship between light shade and color. Etsuko examines opacity and translucency through materiality as his yellow glazes follow the vibrant colors that stem from the influence of American Expressionism in the 70s, as well as his famous yellow to obey icing. Tashima’s sculptural forms are simplified, like this piece from his Cornucopia series. The glass is cast in the shape of insect wings, while the bright yellow, opaque, biomorphic body features a slight upward curvature. The name, ‘horn of plenty’ recalls the concepts of natural abundance. 18 East 64th Street

Inspired by nature and the ecology of life, Onishi Gallery offers you this lacquer tea box entitled spring wind, by Murose Kazumi, which illustrates the anticipated transition from winter to spring by depicting flying birds in a windy bamboo grove. Kazumi is a living national treasure in the area of maki e (sprinkled with gold on lacquer). 521 West 26th Street

MIYAKO YOSHINAGA presents a unique artist exhibition featuring the work of Jonathan Yukio Clark, whose architectural sculpture explores permeable and temporary elements of separation such as windows, sliding doors and other translucent partitions that frame, view and connect the interiors and exteriors. Light filters through this translucent Japanese paper sculpture mounted on an L-shaped wooden frame, reminiscent of Japanese traditions. shoji screens. The corner piece features a small window as well as inlaid Hawaiian lava rocks – a cast replica of the rock face surrounding her grandparents’ house. Clark’s masterful woodworking technique blends Japanese and Hawaiian wood, especially pieces considered imperfect by the commercial standard. A large rectangular opening reveals the surface of the wood with natural cracks, contributing to a quietly provocative atmosphere. 24 East 64th Street

sea ​​godby Madhvi Parekh, playing at GAD, is a fascinating interpretation of the watery ecosystem around a god of the sea, represented as a powerful, solid, three-legged being with four ears. The sea deity is surrounded by a tight world of creatures, both land and sea, who live their lives contentedly, as evidenced by the smiles on their faces. The Fuller Building, 41 East 57th Street, Suite 708

Tonal Dialog, #10by Sooyean Hong, is one of the artist’s most recent paintings exhibited at HK Art and Antiques LLC. This work is a response to her earlier work, which she considered hard and compact. In this new painting, she sought to break up hard surfaces and express herself freely using an expanded color palette. 49 East 78th Street, Suite 4B

About Asia Week in New York

The collaboration of leading international Asian art galleries, the six major auction houses, Bonhams, Christie’s, Doyle, Heritage Auctions, iGavel and Sotheby’s, and numerous Asian museums and cultural institutions, Asia Week New York is a celebratory week filled with an uninterrupted program of simultaneous gallery open days, Asian art auctions as well as numerous museum exhibitions, conferences and special events. Participants from Britain, India, Italy, Japan and the USA unveil an extraordinary array of museum-quality treasures from China, India, the Himalayas, South East Asia , Tibet, Nepal, Japan and Korea.

Asia Week New York Association, Inc. is a 501(c)(6) non-profit business organization registered with the State of New York. For more information visit @asiaweekny #asiaweekny

About Songtsam, Presenting Sponsor

Songtsam Hotels, Resorts & Tours, an award-winning luxury hotel group with thirteen properties (twelve hotels and one glamping site) located in the Chinese provinces of Tibet and Yunnan, continues to be the title sponsor of Asia Week New York .

Founded by Baima Duoji, in 2000, Songtsam Group is the only collection of Tibetan-style luxury retreats found on the Tibetan Plateau that offers guests sophisticated elegance, exquisite design, modern amenities and discreet service in luxurious venues. of natural beauty and cultural interest. With his lifelong interest in Chinese, Himalayan and Southeast Asian art, Mr. Baima began collecting art long before establishing his first hotel, Songtsam Lodge Shangri-La, located in next to the famous Songzanlin Monastery in Shangri-La. Many properties across the Tibetan Plateau are decorated with Mr. Baima’s personal collection, with each hotel acting as a private art museum. For more information, visit