By Chung-Fan Chang, Assistant Professor of Art, Stockton University
Marked as the 10th anniversary for Asia Week New York, this year gathered 48 international galleries, 6 auction houses and 16 cultural institutions in the 10 days celebrations from March 13-23, 2019. Impressed from my last year’s first press tour, I decided to join the “gang leaders,” Margret Tao and Marilyn White this year again to continue our passionate encounter of Asia Art.
If you are traveling to NYC for the week just for the 2019 Asia Week New York, I am most certain you are familiar with the states of flux, and therefore, migration as part of the life course that we often encounter during seasonal change would allow me to present the Migration exhibition by Kaikodo gallery. The Vietnamese Dragon-Decorated White Stoneware Bowl from the 15th century as a tribute item from Vietnam to the Tan dynasty is light lighted in the gallery space as you entered. The bowl was made of stone, a lower-fired ware, instead of porcelains commonly used in China. The dragon design is somewhat different than the Chinese dragon, especially on the shape of the body that was designed to allow extended room for the two claws, front and back. The original use of the bowl is assumed for tea drinking, but I am curious as for what kind of tea were circulated amount the noble in Vietnam that still exit today. If you like driftwood, don’t forget to peak at the eleven (11) pages of Driftwood Portraits 2019 by artist Wang Mansheng.
Kaikodo Gallery
Vietnames Dragon-Decorated White Stoneware Bowl
Later Ly dynasty
15th century
Recent Provenance: Japan
Wang Mansheng
Driftwood Protraits 2019
Album of 11 leaves, link on paper
If you like vessels, Tomimoto Kenkichi’s work is a must-see during Asia Week New York. Pay attention to his intricate brush work and decorative patterns on the Sake flask with fern pattern. The rational design reveals artist’s temperament and embodies his keen interest of nature. Joan Mirviss, owner of the Joan B Mirviss LTD gallery on Manhattan’s Upper East Side, stated in the tour that Tomimoto Kenkich often tell his fellow artist and student don’t make pattern from pattern, and go outside to the nature. Through viewing the work, one can appreciate his design motif that compromise the essence of the form effortlessly.
Tomimoto Kenkichi
(1886–1963)
Sake flask with
fern pattern, after 1952
Glazed porcelain with
gold and silver glazes
over red overglaze
6 (h) 3 7/8 3 1/2 in.
Works are carefully curated for grouping peers of Tomimoto Kenkichi on the shelf. As usual, the exhibition is 88% sold. Come take a look of these amazing pieces before they are placed in private space.
If you can get enough of pattern, artist Alexander Gorlizki’s work is on view at the Cora Ginsburg Gallery. Gorlizki takes traditional elements in miniature painting and mix them with pop iconography and cartoon. You will not be disappointed by his carefully painted works on paper and whimsical sculptures. The works in the Indian Miniatures with a Contemporary Twist are priced from $2,500 to $8,000.
Alexander Gorlizki will give an Artist’s Talk at Kentler International Drawing Space on April 6, 6-8pm.
Just like Alexander Gorlizki’s attention to details, Japanese folding screens at Erik Thomsen Gallery are remarkable.
Itō Kinsen
Folding Screen, Ehite Peacocks and Fatsia, ca. 1915
Ink, mineral colors, and gofun (powdered calcified shell) on gold-washed paper
70 x 110 3/5 in
177.7 x 281 cm
Detailed views of Folding Screen, Ehite Peacocks and Fatsia, ca. 1915
Taruno Takeo
Folding Screen, Leopard, 1919
Ink, mineral colors, and gold wash on paper
66 9/10 x 74 1/2 in
170 x 189.3 cm
Detailed view of Folding Screen, Leopard, 1919
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