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8505 - Sotheby's NY Contemporary Curated acheives $26.2 million, one of its highest ever mid-season sale totals

Gerhard Richter, Abstraktes Bild (843-4). Oil on aluminum, 21 5/8 by 18 7/8 in. 54.9 by 47.9 cm. Est. $600/800,000. Sold for $1,152,500. Photo: Sotheby's.
Sotheby’s spring season of Contemporary Art auctions commenced today in New York with Contemporary Curated fetching $26,187,625, well over the $16.4/23 million estimate. Coinciding with The Armory Show, the sale opened with In Its Own Light: Property from the Collection of Ed Cohen & Victoria Shaw, led by Gerhard Richter’s Abstraktes Bild (843-4) well-surpassing its high estimate of $800,000 to achieve $1.2 million. Other top prices from the esteemed New York couple’s collection of Post-War and Contemporary Art included Cecily Brown’s Bonus, and Brice Marden’s Cold Mountain Series, Zen Study 1-6 and Untitled (Window Study No. 1), all of which comfortably doubled their high estimates. In his auction debut, Croatian artist Mangelos achieved $56,250 and $16,250 for Paysage of Phoenix Renascence and Capone respectively. Ed Ruscha’s Broken Pencil emerged as an early highlight of the sale’s various-owner sequence, nearly tripling its high estimate of $450,000 to achieve $1.3 million.

“We are thrilled to start our 2017 Contemporary Art auctions with an outstanding Contemporary Curated result,” commented Grégoire Billault, Head of Sotheby’s Contemporary Art Department in New York. “Coupled with the record-setting Impressionist & Modern Art sales earlier this week in London and the strong offerings at the various fairs taking place in New York, it’s clear that there is demand for great works of art at all levels that is creating momentum as we head into the London Contemporary Art sales next week and gather property for the flagship May auctions.”

Courtney Kremers, Vice President, Contemporary Art, noted: “It was an honor to work alongside Ed Cohen and Victoria Shaw for the sale of In Its Own Light, which achieved $7.2 million, far above its high estimate of $5.9 million. Their love for the arts, and the creative forces behind the masterpieces, was matched by spirited global bidding for established artists such as Gerhard Richter, John Currin and Cecily Brown, as well as for relative newcomers including Mangelos and Michael Andrews.”

Emily Kaplan, Head of Sotheby’s Contemporary Curated in New York, said: “We’re overjoyed with the stellar results from today’s sale, which demonstrate Sotheby’s strength and commitment across all parts of the Contemporary Art market. A number of highlights helped to cement the second-highest total for a Sotheby’s Contemporary Curated sale in New York; Ed Ruscha’s Broken Pencil fetched one of the highest prices for a work on paper by the artist in nearly a decade – resulting in a round of applause from the room – and setting two new auction records for female artists: Pat Steir’s The Brussels Group: Misty Mountain Waterfall and Yayoi Kusama’s Sun Green for a work on paper.

These moments, and many more from today, are a glowing representation of not only the diversity of works included in our Contemporary Curated sales, but also the range of price points, and palpable excitement in the market.”


8504 - Clark Art Institute opens new American Decorative Arts Galleries - Williamstown, MASS - U.S.A.


Myer Myers (American, 1723–1795), Sugar Bowl and Cover, New York, c. 1750–60. Silver. Clark Art Institute. Bequest of Henry Morris and Elizabeth H. Burrows, 2003.4.100a-b.
The Clark Art Institute opened the Henry Morris and Elizabeth H. Burrows Gallery on Sunday, February 19. The American decorative arts gallery, housed in 3,275 square feet of newly renovated space in the Manton Research Center, contains the Clark’s important collection of early American paintings and furniture in addition to its exceptional Burrows collection of American silver. Designed by Selldorf Architects, the gallery includes new exhibition cases and an improved layout that enhance the experience of viewing the Clark’s important collection of colonial to early-nineteenth-century American art.

The gallery, located in former exhibition spaces on the upper level of the Manton Research Center, features more than 300 objects, many which have been off view since 2012 and some of which have never been exhibited. Highlights of the display include an iconic portrait of George Washington (1796–1803) by Gilbert Stuart (American, 1755–1828); a beautifully scaled sugar bowl and cover (c. 1795) by Paul Revere, Jr. (American, 1735–1818), and a graceful Sheraton-style secretary (c. 1800) attributed to Nehemiah Adams (American, 1769–1840). The gallery also includes a study center containing additional displays of silver, a computer station, and a small library of books on American silver and furniture, allowing scholars and visitors to further their study of the works on view.

“The Clark’s collection of American decorative arts has been assembled largely through generous donations of important collections,” said Olivier Meslay, Felda and Dena Hardymon Director of the Clark. “We are so pleased to be able to honor the Burrowses, whose keen eyes and collecting acumen built an exemplary collection, and are indebted to them for their generosity in making such an important gift to the Clark. This new gallery, named in their honor, allows us to provide well-deserved prominence to this lesser-known facet of our collection.”

Very little of the Clark’s early American collections stems from the Institute’s founders. It has been developed over time through gifts, most significantly the 2003 Burrows bequest of more than 272 pieces of American silver. In 2001 thirty pieces of colonial and Federal furniture and small decorative arts assembled by distinguished collector George Cluett were received through a bequest from his daughter Florence Cluett Chambers. In 2010 and 2013, Phoebe Prime Swain donated twenty-eight pieces of Chinese export porcelain from the George Washington Memorial Service, each decorated with a memorial to the first president. While several museums own one or two pieces from this noted service, the Clark now has the largest holding of any public institution, featuring diverse forms such as platters, bowls, sauceboats, and custard cups.

“With the leadership of Selldorf Architects, we have converted our former temporary exhibition space into a suite of permanent collection galleries,” said Kathleen Morris. “It is exciting to see these objects, many of which were formerly in storage due to lack of space, assembled in such a warm and welcoming environment.” The reinstallation project included extensive object research conducted by Morris and Alexis Goodin. This research revealed important information about the collections. For example, a looking glass purchased by Cluett, thought to be a rare example from New York, was actually made in Bremen, Germany. Most likely made for the American market, the looking glass was the subject of an intensive research and conservation project in 2015.

The items housed in the Burrows gallery reflect how early American artists and craftsman created a new artistic identity for the fledgling nation through the creation of beautiful, but functional, objects. Their designs demonstrate a knowledge and appreciation of luxury objects being made at the time in Europe, especially in England, but also show a tendency toward a greater simplicity in form and decoration.

The Burrows collection provides a rich overview of silver production in the colonial and Federal periods. The collection is installed with three themes in mind: historic connections; the development of distinct styles in the major centers of silver production (Boston, New York, and Philadelphia); and social uses of silver for serving tea and coffee, drinking alcoholic beverages, dining, presentation, and personal use. Major silversmiths such as Paul Revere, Jr., Myer Myers (1723–1795), and the Richardson family of Philadelphia are well represented, as are many silversmiths working in smaller cities. The installation features nearly the entire Burrows collection.

The Cluett Chambers collection of furniture and decorative arts includes fine examples of case furniture, looking glasses, and clocks. Notable pieces include an imposing desk and bookcase (c. 1770) made in Massachusetts with exuberantly carved “hairy-paw” feet and some fifty-two interior drawers and pigeonhole dividers. An elegant Sheraton-style secretary (1800–1810) attributed to Nehemiah Adams represents the most expensive type of furniture sold in Salem, Massachusetts furniture shops of the time, designed to emphasize the wealth, taste, and erudition of its owner. The Cluett Chambers collection also reveals that imported goods continued to have a place even as the furniture industry in America developed—for example, the collection features looking glasses made for the American market in England and Germany, a gilded bronze clock made in Paris celebrating George Washington, and porcelain and silver imported from China.

The installation is enriched by loans from four private collections. Among these works is the portrait Catherine Couenhoven Clark (1819–1820) of Troy, New York by Ammi Phillips (American 1788–1865), which complements the Clark’s portrait Harriet Campbell (c.1815). The painting is on loan from Nathan Kernan (Couenhoven’s great-great-grandson) and Thomas Whitridge. Another loan object, an elegant pie-crust tea table, stands near a large display of silver made for serving tea and coffee. Additional loans include a mid-eighteenth-century Connecticut side chair; a high chest of drawers (c. 1780–85) attributed to Eliphalet Chapin (American, 1741–1807) and also from Connecticut; another high chest of drawers from Philadelphia of the late 1750s with carving attributed to Nicholas Bernard (American, d. 1789); and a pair of c. 1789 paintings by Christian Gullager (American, 1759–1826), Major Benjamin Shaw and Mehitable Shaw.


8503 - Asia Week New York - 09.03.2017-18.03.2017 announces largest number of exhibitions in the event's history


Tsukioka Yoshitoshi (1839-1892), Picture of the Great Battle of Kawanakajima and Picture of the Bloody Battle of the Brave Generals of the Takeda Clan, 1866 & 1867, woodblock print hexaptych, 14 1/8 by 59 3/4 in., 35.8 by 151.9 cm. Photo: Courtesy of Scholten Japanese Art.
On March 9th, Asia Week New York throws open the doors to the largest number of privately curated exhibitions in the extraordinary event's history: a total of 50! Asia Week New York is the annual 10-day presentation of treasures from all over Asia, a magnet for collectors, museum curators, designers and scholars that is certain to satisfy.

From every corner of the continent of Asia comes an exquisite array of beautiful things to be seen and savored at galleries sprinkled around Manhattan beginning March 9 through March 18. In these museum-quality displays by some of the world's most knowledgeable and discerning Asian art specialists, art lovers will be able to behold examples of painting, sculpture, bronzes, ceramics, jewelry, jade, textiles, prints and photographs gathered from all over Asia.

"In my years as Chairman of Asia Week New York never I have been prouder of this event," says Lark Mason. "Our members are pulling out all the stops to present the best there is to offer in their respective fields. Never before has Asia Week New York offered such a large adventure to seekers of Far Eastern treasures-all on view for the first time. Adds Mason: "Connoisseurs of Asian beauty will feel as though they have traversed a continent and experienced the best it has to offer without ever leaving the island of Manhattan."

Organized by category and region, here is a rundown of the exhibitions by the participating galleries:

Walter Arader Himalayan Art (New York)
Claiming a special place in Recent Acquisitions at 1016 Madison Avenue is an outstanding gilt lacquer Chinese sculpture that likely originated during the Reign of Kangxi (1661-1722). The work once belonged to a set of 12 retinue figures that accompanied a larger sculpture of Shri Devi Magzor Gyalmo. Four examples from this set were first published in Body, Speech, and Mind in 1998, and another suite recently sold at a European auction in 2015. The imperial set would have been very impressive in its entirety and was probably displayed at large state rituals for protection.

Ralph M. Chait Galleries (New York)
A key element in Spring Collection of Chinese Art, and standing 17 inches is a superb famille verte porcelain rouleau vase decorated with a scene from the Chinese classic Romance of the Three Kingdoms, an epic with themes of reverence for the past and loyalty to the ruler. Dating from the Kangxi period (1662-1722), the painting is of the finest quality, beautifully executed in deep and vibrant enamels -- a true masterpiece in decoration and form -- on view at 16 East 52nd Street, 10th Floor.

China 2000 Fine Art (New York)
Stronger Together: Two Western Artists Who Embraced the Chinese Idiom, 1556 Third Avenue, Suite 601, focuses on two Western artists: Roy Lichtenstein and Robert Rauschenberg, both of whom created final projects that re-examined their attraction to Chinese artistic expression and translated this affinity into their own unique idioms. For Rauschenberg's Lotus V (The Lotus Series) of 2008, the last printed project he completed before his death in 2008, the artist made prints based on photographs from his trips to China between 1982 and 1985. In these works, Rauschenberg blends the traditional with the innovative, prompting the viewer to contrast a receding past with the hyper clarity that today's technology has made possible.

Carole Davenport (New York)
Secured in a private collection since World War II, this foot-tall jizo bosatsu, made from aromatic wood (with traces of gesso, lacquer, paint and gilding), has been verified through careful research, including a Carbon 14 test, to have originated in the 9th or 10th century. It is a beautiful and serene sculpture, a protective figure to both travelers and mothers-to-be. Because Japanese works from this time are rare, to say the least, seeing one is an uncommon opportunity at THEN NOW/ Meet Hiroyuki Asano & His Sculpture in a Milieu of Classic Art, 5 East 82nd Street, Suite 2.

FitzGerald Fine Arts (New York)
In their exhibition featuring the work of artist Beili Liu, a work of blown sumi ink on canvas is noteworthy.. Titled Rise & Fall Series, Wind Drawing (Panel 1), on view at 40 Wooster Street, this large-scale triptych evokes the movement and look of wind, conjuring its life-giving energy known as prana. It is typical of the works that Liu is known for, which embody transience, fragility and the passage of time.

Nicholas Grindley (Brooklyn)
From the early Tang period (7th century) bounds a playful shaggy-haired lion-dog, his hind-quarters sticking straight up in the air, his heavy-clawed front paws folded up beneath him. This enchanting creature, which can be seen at Hazlitt, 17 East 76th Street, has a long coat that covers the whole of the body-the thick fur depicted by deep incised lines-and a wide-open teeth-bared mouth with flared nostrils and large eyes surrounded by hairy eyebrows. White slip covers most of the body.

Robert Hall Asian Art Ltd. (London)
Lu Shoukun (1919-75), one of the most influential Hong Kong Chinese artists, founded the new ink movement and was the prime driving force in the development of modern art there in the 1960s and '70s. His work Zen Lotus, in ink on paper executed in 1974, clearly evidences his embrace of a new style, one that combined traditional Chinese and modern Western elements. On view in Chinese Paintings, Works of Art and Snuff Bottles, Gallery Vallois America, 27 East 67th Street, 3rd Floor, the painting embodies calligraphic and Abstract Expressionist features and represents an artistic and theoretic rejuvenation of classical Chinese art.

Michael C. Hughes LLC (New York)
What makes this large famille verte baluster vase particularly significant is the extraordinarily dense depiction of the flora. The painterly combination of peony, bamboo, pine, grasses and rockwork combine and mingle in a continuous design around this elegant vessel. It stands 17 inches and has handles that convey a fine naturalism, which beautifully complements the vase, which is one of the many beautiful objects on view Chinese Ceramics and Works of Art, Gallery Vallois America, 27 East 67th Street, 3rd Floor.

Andrew Kahane, Ltd. (New York)
Although black-glazed vases with russet decoration of birds or flowers of this form and from this period are well represented in public and private collections, examples with iron-oxide 'partridge-feather' splashes are quite rare. The 13-inch pear-shaped vase dating from the Northern Song-Jin Dynasty (12th-early 13th century) compares closely with an example of smaller size in the collection of the Minneapolis Institute of Arts, one in the Hakutsuru Art Museum, Kobe and another of later date in the Tokyo National Museum. The vase is featured at Chinese Ceramics and Works of Art, The Mark Hotel, Madison Avenue and 77th Street, Suite 1207.

Kaikodo LLC (New York)
A stand out in the exhibition, River of Stars, a poetic term in Chinese for the Milky Way, is a 15th -16th century masterwork--a bird and flower painting. The 5 by 10 foot hanging scroll, intended for display in a grand hall, was designed for maximum visual impact and can be seen in all its glory at 74 East 79th Street, Suite 14B.

Alan Kennedy (Santa Monica)
Paintings of beautiful women (meiren) are a type of genre painting that was much appreciated during the Qing Dynasty (1644-1911). Measuring 6'2" x2'1", this example, in ink and colors on silk, is quite rare in that the female subject of the painting represents the Chinese perception of a European lady in her native dress. The artist is unlikely to have had direct contact with a European woman and therefore probably employed a European print as the source image for the work. This unusual work of art is among Chinese and Japanese Paintings and Textiles, James Goodman Gallery, 41 East 57th Street, 8th Floor.

J.J. Lally & Co. (New York)
This rare ancient Chinese limestone stele shows the meeting of two benevolent Buddhist deities: Wenshu mounted on a lion and Puxian mounted on an elephant, with the Seven Buddhas of the Past bearing witness. A dedication inscribed on one side includes a Tang dynasty date corresponding to A.D. 742. The sculpture, formerly in the Worch Collection, brought to America in the 1940's, is one of 23 works included in the exhibition of Buddhist Sculpture from Ancient China, 41 East 57th Street, 14th Floor.

Littleton & Hennessey (London)
Littleton & Hennessy-21 Years is the heading given to the retrospective at Daniel Crouch Rare Books, 24 East 64th Street. There, an 18th-century watermelon tourmaline conjoined 'dragon' vase claims significant importance because of its size, the quality of the stone and the expertise of the carving. Two-colored tourmalines of such vibrancy and clarity are incredibly hard to find, and the craftsman who fashioned this five-inch piece almost certainly worked for the Qianlong Emperor, who was known to demand for his court the most exquisite works of art in porcelain, bronze, jade and other precious stones that could possibly be achieved.

Sue Ollemans Oriental Art (London)
This alluring enameled gold ring, on display at Ancient and Modern Design in Asian Jewels, 23 East 73rd Street, 7th Floor, shows a bird with a Basra pearl hanging from its beak, standing on a green base, the shank in lal zamin enamel. The top of the Mughal creation from the 17th-18th century is screwed onto the base, leaving a small, concealed place where potions could have been hidden. This genre of jewelry was exported to Europe, where it influenced Renaissance jewelry design.

Pace Gallery (New York)
Lee Ufan's Untitled, a painting on porcelain from 2016, radiates the artist's mastery of the brush and is one of the many works in ceramic at this single-artist exhibition, Lee Ufan: Ceramics, 32 East 57th Street, 2nd Floor. This is the first exhibition solely of ceramics that the artist has organized in the United States. Through a career spanning five decades. Ufan's work in sculpture, installation, painting and drawing have been the focus of major exhibitions the world over, including a retrospective at the Guggenheim Museum in 2008 and a major installation at the Palace of Versailles in 2014. His conceptual concerns embrace philosophical theories of the East and West and play off the spaces in which they are situated.

Phoenix Ancient Art (New York)
A show-stopper at The Diffusion of Buddha in Antiquity is a head of Bodhisattva, easily one of the most impressive Gandharan heads known. Dating from the 2nd to 3rd century A.D., this impressive schist sculpture is a good centerpiece for an exhibition that will circle around the different depictions of Buddha, on view at 47 East 66th Street, Ground Floor.

19th Century Rare Book & Photograph Shop (Brooklyn)
Island Pagoda is a classic image by John Thomson, one of the greatest figures in 19th-century photography in China. The site is near Fuzhou, now known as Lo-Sing, on the picturesque Min River, long celebrated for its dramatic scenery. The photograph is from Thomson's Foochow and the River Min (1873), the most magnificent of Thomson's photographically illustrated works. Only seven complete sets are known to survive. This and other images are being exhibited in Masterpieces of Early Chinese Photography (exhibition only-not for sale) at PRPH Books, 24 East 64th Street, 3rd Floor.

Priestly & Ferraro (London)
Bowls for tea were (and still are) items of supreme importance in China, made in a variety of methods and adorned with decorations of unending invention to best show off the tea to be drunk from them. This tea bowl was made with the glaze that resembles the fur of the hare, and the dark glaze contrasts with the pale foam of the tea that poured inside. It's from the early Southern Song Dynasty (1127-1279) and is 4½ inches in diameter, and is one of the treasures at Chinese & Korean Ceramics & Works of Art, 3 East 66th Street, Apartment 8B.

M. Sutherland Fine Arts Ltd. (New York)
CMYK-Five Dynasties, Gu Deqian, Waterfowl and Lotuses by Yang Mian is the highlight of Guo Hua: Defining Contemporary Chinese Painting, 7 East 74th Street, 3rd Floor. This large acrylic on canvas (3 feet by 5 feet) is the product of a painstaking, multi-step process using computers to produce digitally-printed layers of stencils and paint, resulting in a unique image loosely yet recognizably based on a masterpiece of classical Chinese painting. Nevertheless, the painting is totally modern, created by Yang through inventive technical processes of his own devising. The ambiguity that results draws in the viewer and stimulates further study.

YEWN (Hong Kong)
Why is this Chinese lattice jadeite ring newsworthy? In 2011, Michelle Obama wore it when she and the President hosted a state dinner for Queen Elizabeth II and Prince Philip. It is a focal point in Have You Seen "Contemporary Chinese Fine Jewelry" Before? at the Aaron Faber Gallery, 666 Fifth Avenue (entrance at West 53rd Street). The 18-karat white gold ring is set with diamonds and shows four bats hovering above a Chinese coin. The word bat carries a witty hint of blessings since in Mandarin it shares an identical pronunciation with the word luck.

Eric Zetterquist (New York)
Making a lasting impression in Chinese and Vietnamese Ceramics with Highlights from the Brow Collection, 3 East 66th Street, No. 1B, is an irresistible parrot lamp. Originating in the Ly Dynasty (11th to 12th century) in Vietnam, the parrot-shaped oil lamp takes its style cues from Indian metalwork, as translated through the Khmer Empire. The techniques employed by the Vietnamese at the time were informed by Chinese Song Dynasty ceramics, resulting in a genre unique to Vietnam. This particular example has striking life-like modeling of the feathers and head of the parrot, and is one of the finest examples in this country.


Dr. Robert R. Bigler (Ruschlikon/Zurich, Switzerland)
Although the 9½-inch Buddha Shakyamuni evidences some wear and signs of age, the quality of its casting is unimpeachable, showing details that are exquisitely modeled. The serene expression of the figure's countenance is striking. In the course of cleaning, an eight-character Chinese inscription was discovered on the back of the double-lotus base, indicating the name of two monks who commissioned the figure. The result of a thermoluminescence test on the work confirmed a dating to the early 14th century. This breath-taking figure is part of the special exhibition Dynasties and Identities, Tibeto-Chinese Buddhist Art of the 13th to 15th Centuries. Dickinson Roundell Inc., 19 East 66th Street.

Prahlad Bubbar (London)
A jewel-like painting of Jahangir (1569-1627), the aesthete whose legacy as Mughal Emperor of India continued well after his lifetime, takes center stage at Indian Paintings and Early Photography 1600-1880: Recent Acquisitions at Arader Galleries, 1016 Madison Avenue. The colors of the painting, dating from 1680-90 and ascribed to Usta Hasan al-Din, are ethereal, lending an atmospheric and lyrical feeling to the work, whereas the composition is clear in its beautifully traced geometric shapes, echoing the sharpness of detail typical of the finest work of Bikaner in the late 17th century.

Buddhist Art (Berlin, Germany)
Hailing originally from Eastern India, this black stone stele from the 11th century is significant both for its Buddhist motif and for its storied provenance. Pala stone sculpture invariably depicts Hindu deities with a rather stiff and motionless demeanor, whereas this Buddhist Lokesvara is just the opposite: full of life and vivacity! Seated in "royal ease" with a flowing body, a beautiful, serene face and a meditative half smile, the figure, is part of the exhibition called Serene Deities, at Arader Galleries, 29 East 72nd Street.

Carlo Cristi (Daverio, Italy)
An important, rare and very large fragment of silk samite displays a bird, possibly an eagle, holding grapes in its beak, perhaps suggesting a ritual associated with the Cult of Dionysus that diffused throughout central Asia, thanks to colonies founded by Alexander the Great. Through carbon-dating, the almost 4-by-4-foot textile, a standout element in Art of India, Tibet, Central Asian Textiles at Leslie Feely Fine Art, 33 East 68th Street, 5th Floor, has been ascertained to have originated in the 7th or 8th century, and it may have been used as a hanging decoration during ceremonies.

DAG Modern (New York)
A portrait on cement by Ramkinkar Baij (born 1922) of Rabindranath Tagore, the first non-European to win the Nobel Prize in literature, was executed in 1938. Baij has never been interested in realistic depictions; rather he strives to evoke the complexity and essence of a subject, as he has masterfully accomplished with this affecting likeness of Tagore, part of The Art of Bengal, 41 East 57th Street, Suite 708.

Oliver Forge and Brendan Lynch (London)
Made in either of the legendary courts of Bijapur or Golconda, in South India, in the late 15th or early 16th century, this lavishly decorated folio is calligraphed with the 99 names of God. An attention-grabber in Indian Court Painting, 9 East 82nd Street, Suite 1A, the page has script that has been rendered in large thulth, a magnificently dominant handwriting generally used for the grandest of Qur’ans, commissioned for use at court or as diplomatic gifts. The quality is impeccable, and there are seals on the reverse that record two previous owners, one of them a certain ’Abd al-Rahim, an officer of Ahmad Shah Bahadur (1725-75), a Mughal emperor who ruled for just six years.

Francesca Galloway (London)
Showcased in Pahari Paintings from the Eva and Konrad Seitz Collection at W.M. Brady & Co., 22 East 80th Street, is an unforgettable painting of Vishnu’s feet as objects of worship. The footprints of Vishnu (Vishnupada) are important symbols in Vaishnavism, and places where his feet came down to earth are sacred. The soles of Vishnu’s feet are decorated with gold images of his weapons and other symbols associated with the deity: lotuses, a parasol, a flag, the sun, the moon and a fish, among other things. It is a painting from the early 19th century and is exceptionally well painted.

Galerie Christophe Hioco (Paris)
Part of a triad, the standard layout of the Buddhist world, a 14th-century gilt-copper Buddha from Tibet claims a notable spot in New Acquisitions in Indian Art and Himalayan Art at Leslie Feely Fine Art, 33 East 68th Street, 5th Floor. Surrounded by two of the eight great bodhisattvas in a piece, this pieces shows off subtle muscles that seem to come to life. The work is a rare vestige of the great lamaic art of the Mongol era, and the pose of the work is evocative of a Nepalese statuette in the Metropolitan Museum of Art.

Nayef Homsi Ancient Art of Asia (New York)
An abundance of elements used to decorate the gray schist head of Prince Siddhartha as a Bodhisattva makes the 12-inch sculpture exceptionally compelling. A very elaborate turban is tied into a fan shape and held in place with large jewels and a pair of dragons, emphasizing the worldly possessions the prince will have to give up in order to become the Buddha in his simple robe. This fine 3rd-century work of art from Gandhara is a prized element in Recent Acquisitions at 7 East 75th Street, Unit 1A.

Kapoor Galleries (New York)
Occupying a prominent place in Recent Acquisitions is a very fine and important 17-inch bronze sculpture of Vishnu in yogic posture, produced in the same workshop as the version in the collection of the Norton Simon Museum. These two beautiful examples of northern Indian metalwork are derived from the historic and famous Kashmir region and date from the 10th or 11th century, and can be viewed at 34 East 67th Street, 3rd Floor.

Navin Kumar (New York)
In Vajradhara with Consort, a showpiece in Himalayan and Indian Art, 24 East 73rd Street, Suite 4F, a Tibetan painting created sometime between 1676 and 1705, Vajradhara, a deity considered to be the manifestation of phenomena and noumena, is depicted seated in the center in non-dual union with his consort Nairatmya. Surrounding them are the other Dhyana Buddhas, each in non-dual union, representing the qualities of an enlightened being. An exceptionally finely executed work, the painting was commissioned by the Mindrolling Monastery, the most revered center for esoteric teachings in the late 17th century. The inscription on the verso indicates the painting escaped the destruction of the original monastery in 1718 during the Dzungar War and passed to the hands of the fourth Mindrolling abbot, Gyurme Padmashasana (1737-1761).

Alexis Renard (Paris)
A monumental 19th-century ewer and basin, used to perform ablutions before prayers, has been decorated with a diamond pattern and gilded copper. Known as tombak, a word thought to have originated from the Malaysian word tumbaga, gilded copper was a highly sought-after technique in the Ottoman world for prestigious objects like chamfrains, shields and armor. Objects in tombak bearing diamond patterns are exceedingly rare, and this example can be seen at Tambaran Gallery, 5 East 82nd Street, Lower Level.

Samina Inc. (London)
Carved from nephrite jade, inlaid with gold and silver and set with diamonds, emeralds and rubies, this 18th-century cup is a show-stopping feature of The Jewelled Arts of India at Arader Galleries, 29 East 72nd Street. The superb quality of carving of the translucent white nephrite of this small vessel, decorated with fine kundan inlay, illustrates an extraordinary level of craftsmanship associated only with the royal workshops. It was crafted in Mughal or Deccan, India.

Runjeet Singh (Warwickshire, UK)
A wonderful khanjar, or jambiya dagger, with a pale nephrite jade hilt and scabbard mounts, attracts attention at Arms & Armor from the East, on display at Tambaran Gallery, 5 East 82nd Street, Lower Level. There is an abundance of decoration on this weapon: large flower heads and fruits in groupings of cabochon rubies and leaves of cabochon emeralds. Made in the late 17th or early 18th century in Turkey using Indian jade mounts, the dagger’s wavy snake-like blade of watered steel has traces of gold decoration at the forte as well as a gold border.

Tenzing Asian Art (San Francisco)
The subject matter may appear macabre or violent—flayed human skin—but in reality, carpets like this example were commonly used in religious ceremonies and for purifying. Made in Tibet, the carpet was made sometime in the 19th century in the Ningxia region of China, renowned for luxurious wool, and it once belonged to a very high-level Tibetan monk. It measures approximately 2½ by 5 feet and is part of Buddhist Bronzes, Paintings, and Textiles from the Himalayas at Arader Galleries, 1016 Madison Avenue.


The Art of Japan (Medina, Washington)
Fine Japanese Prints and Paintings from 1750-1950 is an exhibition in Suite 215 of the Mark Hotel, 25 East 77th Street, and Beauty Combing Her Hair is a must-see. Dating from 1933, this image, by Torii Kotondo, elegantly conveys the quiet essence of the wonderful Japanese ethic of shibui--less is more. The beautiful woman, lost in quiet thought, arranges her hair and communicates fluently the formal simplicity of the image. This print stands as one of the finest examples of shin hanga bijin designs anywhere

BachmannEckenstein JapaneseArt (Basel, Switzerland)
In Japanese Art—Pre-Modern and Beyond at Gallery Schlesinger, 24 East 73rd Street, 2nd Floor, don’t overlook a woodblock print of a rural scene by Inui Tai (born 1929) whose over-sized hanging scrolls will be on view. No one documents the cheerfulness of everyday life, the joyful festivals (matsuri) and the emotional strengths of tradition quite like Inui. This work measures almost 3 feet by 4 feet with other hanging scrolls as large as 5 1/3 x 2 ½ feet and 6 ½ by 2 ½ feet.

Dai Ichi Arts Ltd. (New York)
In The West in the East, 18 East 64th Street, Suite 1F, a work by Miwa Ryusaku (born 1940) is singled out for special appreciation. Titled Love, this stoneware sculpture stands almost 14 inches tall. It comes in a wooden box, signed on the back by the artist.

Egenolf Gallery Japanese Prints (Burbank, CA)
A visit to Masters of the Genre: Fine 18th-20th Century Japanese Prints, Highlighting Early 20th Century Landscapes, Suite 1806 of the Carlyle Hotel, 35 East 76th Street, will reveal Fukagawa Susaki and Jûman tsubo, in which a powerful eagle soars over the wintry snow-scape of Edo Bay. This print is considered one of the three best designs from Utagawa Hiroshige’s world renowned series One Hundred Famous Views of Edo. The viewer can easily understand from this print, dated 1857, how strongly Hiroshige’s prints—through cropping and unusual angles of vision—influenced major Western artists like Van Gogh, Manet, Monet and Whistler.

Laurence Miller Gallery (New York)
Toshio Shibata’s signature focus as a photographer has always been on the manner by which contemporary municipal infrastructure weaves itself into the traditional Japanese landscape. In his picture Midori City, Gunma Prefecture of 2008, classical Japanese themes are at the fore, whereas a modern bridge in the distance is seen through a screen of cherry blossoms, long venerated by the Japanese as a symbol of the evanescence of life. Shibata frames the picture in a way that emphasizes that this scene, for all its beauty, is also a quotidian roadside moment, embodying his interest in finding beauty where most don’t think to look. These and other photographs are part of Toshio Shibata: Recent Work, 20 West 57th Street, 3rd Floor.

Joan B. Mirviss Ltd. (New York)
Eight Views of the Parlor, circa 1766, is a superb mid-size woodblock print with exceptional color, and it is of little surprise that it is by the hand of the woodblock print master of that era, Suzuki Harunobu (1725-1770). The work is from his landmark series, Zashiki hakkei, and depicts a courtesan seated on a verandah wearing a yukata (bath robe) and gazing at an unusual and expensive clock while her attendant massages her back. This extremely rare impression very nearly matches another impression in the collection of the Museum of Fine Arts, Boston and is one of the many significant works at this milestone exhibition, Timeless Elegance in Japanese Art: Celebrating 40 Years! 39 East 78th Street, 4th Floor.

Onishi Gallery (New York)
Ito Sekisui V (born in 1941) is revered as a Living National Treasure in Japan. His stoneware Mumyōi Yōhen Jar, made last year, stands as a testament as to why he has been so honored. It is a masterpiece of his craft, standing 12 inches and displaying the full range of the artist’s gifts. The word yohen means "changes in kiln,” and Ito is a wizard at manipulating colors and patterns while one of his works is firing in the hellish temperatures of a kiln. Catch sight of it as part of Japanese Art and Modern Living, Dalva Brothers, Inc., 53 East 77th Street.

Giuseppe Piva Japanese Art (Milan, Italy)
Among the riches gathered into a show titled Japanese Art and Antiques, Samurai armor bearing the crest of the Inaba family is not-to-be-missed. The imposing armor, signed by Myochin Munesada and dated 1757, is on view at Adam Williams and Moretti Gallery, 24 East 80th Street.

Scholten Japanese Art (New York)
At 145 West 58th Street, Suite 6D, a single-artist exhibition celebrates the work of Tsukioka Yoshitoshi (1839-1892), one of the last great ukiyo-e artists of the 19th century. Included in the show is a huge six-panel woodblock composed as two separate triptychs. Lined up, the triptychs illustrate a dynamic composition of a battlefield. Because the triptychs were issued six months apart, complete sets with six panels (with complementary color palettes and conditions) are rare to come across, to say the least.

Erik Thomsen (New York)
In Post-War Japanese Calligraphy, a work titled En (Cycle/Eternity), 1977, garners special notice at 23 East 67th Street, because its maker, Yuichi Inoue (1916-1985), was the most important post-war Japanese calligrapher. He managed to straddle East and West, combining two visual languages—written characters and Abstract Expressionism—to convey deeply felt inner conflicts. The strokes of his characters, sometimes so thick that they are more mass than line, explode onto the paper, and are strongly conveyed in this work.

Hiroshi Yanagi Oriental Art (Kyoto, Japan)
This 16th century sculpture depicts a standing Amida Nyorai and follows the standard iconography for such works: the hair is rendered in a snail shape and the monk’s stole wraps around the body from the left shoulder downward. The left hand is lowered, whereas the right hand is raised. The most important feature is an inscription in ink on the inside of the figure’s body that records the name of the sculptor, Daizō Kakushun Hōgen, and the year he made the work, 1512. It is part of Selections of Japanese Art at Arader Galleries, 1016 Madison Avenue.


HK Art and Antiques LLC (New York)
Working in Seoul and Paris, Tschangyeul Kim (born 1929) is a well-known artist in Korea, the United States and France. His unique untitled oil-on-canvas painting of 1968 dates from the middle period of his career, before he started painting water drops. Acquired from a private collection in the U.S., the painting is part of an exhibition titled, Nature, Rocks, Flowers, Water and Clay at the Jason Jacques Gallery, 29 East 73rd Street.

Kang Collection Korean Art (New York)
A stunning mixed-media work by Jongsook Kim is not to be overlooked. In her Artificial Landscape series, Kim applies hundreds of shimmering crystals to the canvas by hand, a meditative process for the artist that transmits to viewers. Born and raised in South Korea and holding a doctoral degree in art from Hongik University, Kim was influenced by both traditional Korean landscape paintings and contemporary Western artists who also use crystals and other decorative materials in their works, namely the “Diamond Dust” prints of Andy Warhol, Russell Young, and Damien Hirst. Kim’s effort is a prominent part of Korean Contemporary Paintings and Decorative Traditional Arts, 9 East 82nd Street, 3rd Floor.

Tina Kim Gallery (New York)
An entire exhibition at 525 West 21st is centered on the arresting work of artist Seoyoung Chung. In pieces that explore multiple methods of practice in sculpture, installation, drawing, photography, text and video, objects not ordinarily considered sculpture reveal themselves as just that. With Table, constructed from wood in 2007, Chung isolates the moment in which such a “sculpture” emerges into the world.


8502 - ICA Miami to open new permanent home on December 1, 2017 in advance of Art Basel Miami Beach


The Institute for Contemporary Art, Miami announced  that it will open its new, permanent home on December 1, 2017, with a major group exhibition exploring the significance of the artist’s studio, from the post-war period to the present day. Encompassing some 100 works in painting, sculpture, video, and installation, The Everywhere Studio brings together over 50 artists from the past five decades to reveal the artist’s studio as a charged site that has both predicted and responded to broader social and economic changes of our time. The inaugural exhibition reflects ICA Miami’s expanded curatorial purview in its new home, which will create intergenerational dialogues between post-war and contemporary artists, and champion new narratives that provide insight into the most innovative artists working today.
Marking the most ambitious and broad-ranging survey mounted to date by ICA Miami, The Everywhere Studio will inaugurate the new museum’s special exhibition galleries on its second and third floors. The museum’s opening program will also feature installations of contemporary and post-war work on its first floor and sculpture garden, including works from the collection and newly commissioned sculptures by major international artists, as well as a signature project space dedicated to emerging artists.

“ICA Miami’s inaugural program is a reflection of our mission to advance new scholarship on contemporary art and showcase the work of the most innovative and experimental artists of our time,” said Ellen Salpeter, Director of ICA Miami. “With free general admission, the new ICA Miami enables us to deepen our relationship with audiences of all ages and backgrounds from throughout South Florida—and, with a rigorous, thought-provoking program and expanded exhibition spaces, it ensures that Miami will continue to be at the forefront of the discussion on contemporary art at the national and international levels.”

The Everywhere Studio interprets the works of post-war artists and emerging practitioners—including Bruce Nauman, Carolee Schneemann, Dieter Roth, Andy Warhol, Martin Kippenberger, Cheryl Donegan, Elaine Sturtevant, Anna Oppermann, Tetsumi Kudo, Andrea Zittel, Neïl Beloufa, and Laure Prouvost, among others—through the lens of the social and historical conditions in which they were made. Organized chronologically, the exhibition examines the changing relationships that artists have had to their sites of production. From the studio as a site of labor, to one that blurs production, performance, and spectacle, to a concept that defines the artist’s own identity, the exhibition features artists who, in response to changing socio-economic influences, represented new modes of working and living that would subsequently spread across society.

“The Everywhere Studio demonstrates how artists invent and represent ways of working, and can even be harbingers of social, industrial, and economic change. The exhibition reflects our ongoing commitment to developing new narratives of contemporary art and marks. Thanks to our new expanded home, the show also marks the first time in our history that ICA Miami will have the space to bring together historical and recent works to address key forces in contemporary artistic practice, and contemporary life and society,” said Alex Gartenfeld, Deputy Director and Chief Curator.

Designed by the Spanish firm Aranguren + Gallegos Arquitectos and located in Miami’s Design District, ICA Miami’s new 37,500-square-foot home resonates and reflects the museum’s commitment to the contemporary and to serving its community. With more than double the space for exhibition galleries, and a new 15,000-foot sculpture garden, the new building further advances the museum’s mission of providing a dynamic platform for the exchange of art and ideas. The museum will open to the public on December 1, 2017, welcoming the public in advance of Art Basel Miami Beach.

“We embarked on the construction of ICA Miami’s new home to create a vital and enduring cultural resource for our community that fosters appreciation for the work of the most innovative artists of our time,” said Irma Braman, Co-Chair of ICA Miami’s Board of Trustees. Added Co-Chair Ray Ellen Yarkin, “Located in the heart of Miami, our new museum will become an important hub for cultural dialogue and exchange within our community.”

Visitors will approach the museum from the south, encountering a dynamic façade of interlocking metal triangles and lighted panels. The northern façade, in contrast, features a curtain wall of windows that bring natural light into the museum’s galleries and allow visitors to take in views of the sculpture garden and the surrounding cityscape. The new ICA Miami creates an integrated and transparent environment in which visitors can encounter and experience the museum’s varied artistic programming.

The interior of the new museum includes 20,000 square feet of adjustable gallery spaces across three floors that respond to the diversity of artist installations, exhibitions, and performances that ICA Miami presents, as well as increased space for educational and community programming. On the ground floor, six flexible galleries will be dedicated to long-term and rotating exhibitions, the museum’s permanent collection, as well as an artist project space that will provide critical exposure for emerging and under-recognized artists. Second- and third-floor galleries will be dedicated to the museum’s special exhibition program and overlook the sculpture garden, which will showcase an annual schedule of site-specific commissions, new gifts and long-term loans, and major sculptural works by both post-war and contemporary artists.

The design and construction of the new building, along with the acquisition of land for the sculpture garden, has been funded entirely by a major capital gift from Irma and Norman Braman. The capital campaign for the new building has been additionally supported by a generous donation of land from Miami Design District Associates. The museum is in currently in the quiet phases of an operational campaign to support and ensure the long-term sustainability of the new institution.



8501 - Museum Folkwang launches new exhibition format 6 1/2 Weeks


Eliza Douglas, It Could be True, 2017. Oil paint on canvas, 210 x 180 cm. Courtesy: Air de Paris, Paris. Photo: Ivan Murzin.
Museum Folkwang launched its new exhibition format 6 1/2 Weeks, each time showcasing a new contemporary artist. Up to six times a year, young artists are given a platform to present their latest work for a period of just 45 days. US artist Eliza Douglas kicked off the exhibition series with her show My Gleaming Soul: her first-ever museum showing.

Douglas (b. 1984) is an artist, musician, and performer, currently studying at the renowned Städelschule in Frankfurt am Main. The display Eliza Douglas – My Gleaming Soul (on show from 16 February to 2 April 2017) presents ten new works by the New York artist.

Douglas’s large-scale paintings captivate the eye through their bold style and a striking recurrent motif: the artist’s hands. Occasionally shown in combination with a pair of feet and always depicted against a white background, the naturalistically rendered hands are the pivotal subject of her vibrant paintings. Douglas combines representational and abstract painting by creating novel transitions from one to the next.

As a trope in the history of art, the artist’s own hands have long been the closely linked with the act of artistic creation. In Douglas’s work the creative hands appear to dance around the – wholly absent – body, at the end of a pair of grotesquely long arms. Douglas’s canvases provide a fresh and innovative comment on the time-honoured act of painting using paint applied with a brush. Her form of metapainting is one of the many possible answers to the question of what painting can look like in the 21st century.

With its short turn-around times and quick planning, the new exhibition format 6 1/2 Weeks aims to introduce up-and-coming artists to the public in a straightforward and comparatively spontaneous manner. The format features recent works by young artists and admission is free. The exhibition space will feature the work of six newly discovered artists a year.


8500 - Hammer Museum announces major multiyear transformation plan

New Corner Entry. Image courtesy of MMA.

The Hammer Museum released details of a major multiyear plan to renovate the museum’s existing facility and activate 40,000 square feet of newly acquired space in the adjoining office tower. The ambitious project, led by renowned architect and longtime Hammer partner Michael Maltzan, will completely reimagine the existing building by 2020. The museum will have a major presence along Wilshire Boulevard, fronting a full city block with the museum lobby and gallery spaces. Moreover, it will dramatically increase visibility and accessibility in anchoring the corner of Wilshire and Westwood.

“After years of continuous growth, the Hammer is in need of a physical expansion and upgrade to provide more art for our audiences, more places to study, and more places to gather,” said Hammer Museum Director Ann Philbin. “This transformation will provide 60% more exhibition space including collection galleries and a works on paper gallery to highlight our growing collection of photographs and drawings. We invite all of Los Angeles to enjoy the first stage in our transformation as we open major exhibitions by Jimmie Durham and Jean Dubuffet—this is just the beginning."

“The Hammer has become an essential destination in Los Angeles. This transformation will make it dramatically more visible and inviting, more connected, more immersive. It will mark a major new chapter for what the Hammer is, and what it can be,” said Michael Maltzan.

The current renovation plan builds on Maltzan’s longstanding partnership with the Hammer, which includes the design of the museum’s Billy Wilder Theater (2006), courtyard (2012), and John V. Tunney Bridge (2015). Originally built to showcase a private collection of historical paintings, the Hammer Museum has grown over 25 years to become an internationally recognized institution devoted to contemporary art and culture. Having outgrown the physical space for exhibitions, programs, and staff, the museum plans building improvements that encompass everything from the lobby to the courtyard to the galleries to the office tower.

Beginning with the recent renovation of the third floor galleries to modernize and enlarge the existing exhibition space, the Hammer now has 10,000 square feet of contiguous gallery space which is required for major traveling shows. The transformation will continue to improve every facet of the building and every aspect of museum work. Key project goals include:

• Expanding the galleries by 60% including two major newly constructed galleries to highlight our growing collection

• Increasing visibility of the museum with a dramatic new presence along a full city block of Wilshire Boulevard

• Enhancing 20,000 square feet of community spaces to make the museum more accessible and inviting to both visitors and passersby

• Creating premier facilities to showcase L.A.’s third largest collection and make the Hammer’s outstanding works accessible to students, scholars, and the public

• Supporting the museum’s intellectual, creative, and operational capacity with a two-story expansion of workspace

The Hammer Museum building was originally designed by Edward Larrabee Barnes, and has over the last decade been enhanced and renovated by architect Michael Maltzan. The office tower building, now owned by UCLA, was designed by architect Claud Beelman, a leader in the Art Deco and Modern movements on the West Coast in the middle of the last century.


8499 - Hauser & Wirth to represent the Estate of August Sander


August Sander, Siebengebirge im Winter. Vintage gelatin silver print, 20.8 x 17.4 cm. © Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv, Cologne; ARS, New York. Courtesy of Galerie Julian Sander, Cologne and Hauser & Wirth.
Hauser & Wirth announced its worldwide representation of the Estate of August Sander in collaboration with the artist’s great grandson Julian Sander of Galerie Julian Sander, Cologne. August Sander’s encyclopedic magnum opus, ‘People of the 20th Century,’ constitutes one of the most monumental endeavors in photographic history. Over the course of a career spanning six decades and tens of thousands of negatives, Sander created a nuanced sociological portrait of Germany comprising images of its populace, as well as its urban settings and dramatic landscapes. Working in a conceptually rigorous fashion, he pioneered a precise, unembellished photographic aesthetic that was formative to the establishment of the medium’s independence from painting and presaged conceptual art. Sander’s oeuvre has served as a wellspring of inspiration for modern and contemporary photographers, from Walker Evans and Diane Arbus, to Tina Barney, Rineke Dijkstra, and Bernd and Hilla Becher, and has exerted a profound influence upon new generations of visual artists across mediums.

A significant selection of photographs from Sanders’ portfolio ‘People Who Came to My Door’ forms the heart of the gallery’s group exhibition ‘Serialities,’ on view in New York from 18 February through 8 April 2017.

‘We are honored and delighted to join Julian Sander in assuming the mantle as guardians of August Sander’s illustrious legacy,’ remarked Iwan Wirth, Co-Founder and Co-President, Hauser & Wirth. ‘A decade ago, when our gallery presented the exhibition ‘Someone Else With My Fingerprints,’ it became crystal clear that Sander was not only a giant of the photographic medium, but one of the most revolutionary artists of the 20th century. His visionary approach to documenting people and places challenged accepted notions of what we are and how we live. He broadened perception. And his contributions continue to shape the way artists – including many represented by our own gallery – seek to interpret our world today.’

August Sander titled his larger effort to systematically document contemporary German society ‘People of the 20th Century,’ a project that Sarah Meister, Curator in the Department of Photography of The Museum of Modern Art in New York, has deemed, ‘the single most important body of work of the 20th century.’ Sander created portraits – or, to his mind, enabled self-portraits – of a broad cross-section of German society and categorized these portraits into archetypes: the Farmer, the Skilled Tradesman, the Woman, Classes and Professions, the Artists, the City, and the Last People, which portrayed individuals on the margins of society. His approach afforded all subjects equal dignity throughout this act of cataloguing, depicting them in a clear frontal style with extraordinary detail, their eyes boring into the camera lens and thus into the eyes and mind of the viewer.

This sober documentary aesthetic stood in stark contrast to the dominant photographic style of the day, which mimicked other art forms like painting, and to the work of Sander’s avant-garde peers in the ‘New Objectivity’ movement, who were similarly concerned with social commentary but photographed from extreme perspectives. Portraiture was August Sander’s lifelong love, and he would work on ‘People of the 20th Century’ from the early 1920s until his death, producing the bulk of the photographs during the years of the Weimar Republic. Sander also actively photographed the German streets, architecture, and landscape; the latter category dominated his practice during World War II in part because the subject matter was more acceptable to the Nazis, who con scated and destroyed his book of portraits entitled ‘Face of Our Time.’ The moral terrain into which Sander boldly forayed, exploring who can be represented and how, remains an important area of inquiry for visual art today, perhaps more timely than ever.

August Sander was born in Herdorf, a mining town east of Cologne, in 1876. While working at a local slagheap he serendipitously encountered a visiting landscape photographer. ‘My rst camera was for me the same magic box that it is for anybody coming to one for the rst time,’ Sander said. He purchased photographic equipment with nancial aid from his uncle. During his subsequent military service and in the years that followed, Sander served as an itinerant photographer’s assistant. In 1910, after working his way to being the sole proprietor of a photo studio in Linz, Sander moved to Cologne and opened a studio at 201 Dürener Strasse, where the majority of his portraits would be taken.

In the early 1920s, Sander befriended the Group of Progressive Artists in Cologne, a left-wing artist’s group spearheaded by Heinrich Hoerle and Franz Wilhelm Seiwert. It was around this time that Sander formalized the concept for his major project ‘People of the 20th Century,’ an effort to systematically document contemporary German society. He introduced the public to this project with an exhibition of approximately 100 portraits at the Kölnischer Kunstverein, which was followed by the publication of his rst book, ‘Face of Our Time,’ in 1929. ‘Face of Our Time’ included a selection of 60 portraits from ‘People of the 20th Century,’ which occupied Sander from the early 1920s until his death. The Nazi party, which had recently come to power, confiscated and destroyed Sander’s ‘Face of Our Time’ in 1936, likely because of the publication’s representation of marginalized groups and a heterogeneous German society. Around 1942, Sander left Cologne and moved to a small village in Westerwald. His studio in Cologne was destroyed in a 1944 bombing raid, but the negatives that he relocated to Westerwald – and by 1945 he had over 40,000 – survived. Unfortunately, only 11,000 of his 40,000 negatives made it to the Westerwald. Sander’s work was exhibited at the Photokina in Cologne in 1952 and included in Edward Steichen’s famous exhibition ‘The Family of Man’ at the Museum of Modern Art in New York City in 1955. In 1964, just four years after the Federal Republic of Germany awarded Sander the Order of Merit, August Sander died in Cologne.

Gunther Sander (1907 – 1987), who served as his father’s apprentice in the studio from May 1925 to April 1928 and worked with him in his photographic studio until 1936, continued to promote the work of his father after his death. Gunther organized several exhibitions and publications, including ‘Men Without Masks’ (1971, Verlag C.J. Bucher, Lucerne, Switzerland and Frankfurt am Main, Germany.) In 1984, Sander’s estate passed into the hands of his grandson, Gerd Sander. Gerd founded the August Sander Archive to organize and protect the artist’s work. In January of 1993, the August Sander Archive was acquired by Kulturstiftung der Stadtsparkasse Köln. Julian Sander follows in the footsteps of his father Gerd as a gallerist, representing the work of August Sander.

Sander has been honored with major solo exhibitions and inclusion in important group shows and public collections. Recent solo exhibitions include: ‘August Sander: Menschen des 20. Jahrhunderts, People of the 20th Century’ at the 30th São Paulo Biennial, Sao Paulo, Brazil, 2012; ‘Artists Rooms: August Sander’, Tate Modern, London, England, 2010; ‘August Sander: People of the Twentieth Century’, The Getty Center, Los Angeles CA, 2008, and ‘August Sander: People of the Twentieth Century’ which traveled from the Die Photographische Sammlung/SK Stiftung Kultur, Cologne, Germany, 2001, to the San Francisco Museum of Modern Art, San Francisco CA, 2002 – 2003, to the Metropolitan Museum of Art, New York NY, 2004. Sander is represented in the following museum collections: National Gallery of Victoria, Australia; National

Gallery of Canada, Ottowa; The National Museum of Denmark, Copenhagen; Bibliothèque nationale de France; Centre Pompidou, Paris; Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archiv, Cologne; Museum Ludwig, Cologne; Wallraf-Richartz Museum, Cologne; Museum Folkwang, Essen; Sprengel Museum, Hannover; The Walther Collection, Ulm; Museum of Contemporary Art, Tokyo; Stedelijk Museum, Amsterdam; Fotostiftung Schweiz, Winterthur; Tate Modern, London; Victoria and Albert Museum, London; Museum of Fine Arts, Boston MA; Art Institute of Chicago, Chicago IL; Museum of Contemporary Photography at Columbia College, Chicago IL; Harvard University Art Museums, Cambridge MA; Cleveland Museum of Art, Cleveland OH; Los Angeles County Museum of Art, Los Angeles CA; J. Paul Getty Museum, Los Angeles CA; Metropolitan Museum of Art, New York NY; The Museum of Modern Art, New York NY; ICP- International Center of Photography, New York NY; New York Public Library, New York NY; George Eastman House, Rochester NY; Philadelphia Museum of Art; San Francisco Museum of Modern Art, San Francisco CA; New Mexico Museum of Art, Santa Fe CA; Seattle Art Museum, Seattle WA; Milwaukee Art Museum, Milwaukee WI; Corcoran Gallery of Art, Washington, D.C.; National Gallery of Art, Washington, D.C.; and Centre Pompidou, Paris.


8498 - Asia Week New York spotlights contemporary art - 09.03.2017-18.03.2017


Lee Ufan, Untitled, 2016. Photo: Pace Gallery.
When Asia Week New York launches its ten-day extravaganza, on March 9, many of the top-tier galleries will showcase contemporary work alongside classical objects, while others will be devoted solely to present-day works of art.

Among the stand-outs:

Stronger Together: Two Western Artists Who Embraced the Chinese Idiom at China 2000 Fine Art, focuses on two important western artists, Roy Lichtenstein and Robert Rauschenberg, both of whom created their final projects by re-examining an earlier fascination with Chinese artistic expression and translating this affinity into their own unique idioms.

To celebrate her exhibition entitled ThenNow, Carol Davenport will honor the renowned Japanese sculptor, Hiroyuki Asano, who has generously allowed four pieces to be shown during Asia Week New York. Asano, known for his precise forms and circular voids, brings a refined life to the soul of the stone, representing time, space, and movement through the universe. He has recently surged in popularity in the East, using his classical training in Italy and uniquely Japanese style to win numerous international sculpting awards. His works are in public and private collections around the globe, including Japan, China, Korea, Germany and the U.S. Ms. Davenport welcomes him to her gallery during Asia Week.

In River of Stars, Kaikodo LLC features five contemporary works-three in the traditional format of ink on paper and two contemporary photographs mounted as hanging scrolls. Included among these is "Sandalwood Tree," 2013 by Luo Jianwu, a folding-fan-shaped painting, ink and color on paper. Mr. Luo Jianwu lives in Beijing and is famous for doing portraits of old trees as a way to honor their presence.

Laurence Miller Gallery presents the work of Toshio Shibata, whose signature focus is the ways in which contemporary municipal infrastructure is interwoven into the traditional Japanese landscape. Over the past thirty years Toshio Shibata has photographed man made structures in balance with nature. Elements of infrastructure were everywhere he travelled. Despite the ubiquity and commonality of the dams, sluices and irrigation canals, his pictures transform the ordinary into the lyrical, concrete and steel into abstraction, each with a uniquely Japanese perspective.

In Timeless Elegance in Japanese Art: Celebrating 40 Years, at Joan B. Mirviss Ltd., attention is given to contemporary ceramics with the major sculptural work by the master ceramist, Suzuki Osamu. Through exhaustive experimentation, Suzuki has developed his own modern take on the traditional shino (creamy white feldspathic glaze). With his noteworthy thicker walls, longer firing time and slow cooling periods his works possess an air of modernity and dynamism not found elsewhere. Works of this scale and importance by Suzuki are extremely rare to find on the market today. In 1994 he was designated as only the second Living National Treasure (LNT), for shino ware.

Hsu Kuohuang's recent work, "Waterfall Hidden," (Ink and colorwash on paper, 2016), will be among the contemporary works featured at M. Sutherland Fine Art, Kuohuang boldly uses splashed ink and color in an ambiguous "contemporary" view of mountains flattened out against the painting surface. It can be described as guo hua not just because of the traditional landscape theme but also because of the materials. Hsu's adept calligraphy inscriptions show his years of writing practice, something that his Mainland artistic contemporaries were not allowed to do openly until after the Cultural Revolution. (Beginning in the late 1970's, the ban on studying the past, such as ancient calligraphy scripts, was lifted after a hiatus of over 30 years).

At Pace Gallery, Lee Ufan:Ceramics, is the first exhibition that the artist has organized solely in this medium. With a career that spans over five decades, Lee Ufan's Untitled 2016 radiates the artist's mastery of the brush. Conceptual concerns that embrace philosophical theories of the East and West are expressed in the spatial play of mark making and their correspondence to the field in which they are situated. Ufan's work in sculpture, installation, painting and drawing was part of a retrospective exhibition at the Guggenheim Museum in 2008 and more recently a major exhibition at the Palace of Versailles in 2014, among many other international museum and gallery exhibitions throughout his renowned career.

Chung Seoyoung's large-scale sculpture East West North South, 2007 at the Tina Kim Gallery, amplifies the theatrical quality of a gallery space by confining a void territory by imposing spatial control using steel fences. Without any correspondence to the exact orientation of the gallery, the artwork distorts the viewer's geographic bearings and holds one's attention in a contained zone, causing us to question our own relationship with time.

Additional galleries not to be missed are: Dag Modern, Dai Ichi Arts, Ltd., FitzGerald Fine Arts, Robert Hall Asian Art,Ltd., HK Art & Antiques LLC, Kang Collection Korean Art, Onishi Gallery, Erik Thomsen, and YEWN.

Asia Week New York draws an international coterie of collectors, curators and enthusiasts from every corner of the globe. Says Lark Mason, Chairman of Asia Week New York 2017, "We are proud to present this annual event, which augments the city's already rich cultural holdings with world-class Asian art exhibitions, many of which might be worthy of display in any one of the city's top-tier museums."

Asia Week New York unites an illustrious roster of international Asian art specialists-the largest number to date-with five major auction houses: Bonhams, Christie's, Doyle, iGavel, and Sotheby's and 15 world-renowned museums and Asian cultural institutions. All work together towards a single purpose: that of weaving Asian art into the cultural fabric of New York and beyond. For discerning, in-the-know collectors, curators, scholars and Asian art enthusiasts from all around the world, it has become an essential destination in March."

Asia Week New York exhibitions, which are open and free to the public, will reveal the rarest and finest Asian examples of porcelain, jewelry, textiles, paintings, ceramics, sculpture, bronzes, prints, photographs and jades, representing artistry, ingenuity and imagination from every quarter and period of Asia.

To help visitors easily navigate the Asia Week New York's activities, a comprehensive guide with maps will be available at all participating galleries and auction houses, along with select museums and cultural institutions, and online at www.AsiaWeekNY.com.


Discover FICEXPO 2

presents the exhibitions from the following blogs
Blog I
Blog II
Blog III.
Blog IV
Blog V
Blog VI

and auctions from
Blog IX
The items are publiched by exhibition closing date with a link.
You can also make a selection by blog.


8497 - Award-winning architect Diébédo Francis Kéré to design the Serpentine Pavilion 2017

Serpentine Pavilion 2017, Designed by Francis Kéré, Design Render, Exterior ©Kéré Architecture.

Diébédo Francis Kéré, the award-winning architect from Gando, Burkino Faso, has been commissioned to design the Serpentine Pavilion 2017, responding to the brief with a bold, innovative structure that brings his characteristic sense of light and life to the lawns of Kensington Gardens.

Kéré, who leads the Berlin-based practice Kéré Architecture, is the seventeenth architect to accept the Serpentine Galleries’ invitation to design a temporary Pavilion in its grounds. Since its launch in 2000, this annual commission of an international architect to build his or her first structure in London at the time of invitation has become one of the most anticipated events in the global cultural calendar and a leading visitor attraction during London’s summer season. Serpentine Artistic Director Hans Ulrich Obrist and CEO Yana Peel made their selection of the architect, with advisors David Adjaye and Richard Rogers.

Inspired by the tree that serves as a central meeting point for life in his home town of Gando, Francis Kéré has designed a responsive Pavilion that seeks to connect its visitors to nature – and each other. An expansive roof, supported by a central steel framework, mimics a tree’s canopy, allowing air to circulate freely while offering shelter against London rain and summer heat.

Kéré has positively embraced British climate in his design, creating a structure that engages with the ever-changing London weather in creative ways. The Pavilion has four separate entry points with an open air courtyard in the centre, where visitors can sit and relax during sunny days. In the case of rain, an oculus funnels any water that collects on the roof into a spectacular waterfall effect, before it is evacuated through a drainage system in the floor for later use in irrigating the park. Both the roof and wall system are made from wood. By day, they act as solar shading, creating pools of dappled shadows. By night, the walls become a source of illumination as small perforations twinkle with the movement and activity from inside.

As an architect, Kéré is committed to socially engaged and ecological design in his practice, as evidenced by his award-winning primary school in Burkina Faso, pioneering solo museum shows in Munich and Philadelphia, and his immersive installation in the 2014 exhibition Sensing Spaces at London’s Royal Academy.

Building on these ideas, Kéré’s Serpentine Pavilion will host a programme of events exploring questions of community and rights to the city, as well as the continuation of Park Nights, the Serpentine’s public performance series, supported by COS. Now in its third year, Build Your Own Pavilion, the digital platform and nationwide architecture campaign supported by Bloomberg Philanthropies, will invite young people to consider the relationship between architecture and public space, to ask critical questions about the future of their cities and to design the cities in which they would like to live.

Kéré’s design follows Bjarke Ingels Group (BIG), whose ‘unzipped wall’ structure was visited by more than 250,000 people in 2016, making it one of the most visited Pavilions to date. Four commissioned Summer Houses in 2016 by Kunlé Adeyemi – NLÉ (Amsterdam/Lagos), Barkow Leibinger (Berlin/New York), Yona Friedman (Paris) and Asif Khan (London), attracted almost 160,000 visitors.

Diébédo Francis Kéré, architect of the 17th Serpentine Pavilion, said: “As an architect, it is an honour to work in such a grand park, especially knowing the long history of how the gardens evolved and changed into what we see today. Every path and tree, and even the Serpentine lake, were all carefully designed. I am fascinated by how this artificial landscape offered a new way for people in the city to experience nature. In Burkina Faso, I am accustomed to being confronted with climate and natural landscape as a harsh reality. For this reason, I was interested in how my contribution to this Royal Park could not only enhance the visitor’s experience of nature, but also provoke a new way for people to connect with each other.”

Serpentine Galleries CEO, Yana Peel, and Artistic Director, Hans Ulrich Obrist, said: “We are thrilled to reveal the designs for Francis Kéré’s Pavilion, which highlight the power of simplicity by reducing architecture to its core elements, modelled in harmony with the natural context of Royal Kensington Gardens. This Pavilion will be a space of conversation, collaboration and exchange. We share Kéré’s belief that architecture, at its best, can enhance our collective creativity and push people to take the future into their own hands.”

Richard Gnodde, Vice Chairman of the Goldman Sacks Group Inc. and CEO of Goldman Sachs International, said: “We are delighted to support the Serpentine’s Summer Pavilion programme for a third year running. Francis Kéré’s design this year promises to celebrate the diversity, vibrancy and collaborative potential of communities, something we value deeply at Goldman Sachs.”

David Glover, Technical Advisor said: "The Serpentine Pavilion is about the opportunity of using everyday materials and techniques in innovative and creative ways that challenge our perception of architecture. Francis Kéré and his team have achieved this by creating a Pavilion that, through the use of colour and form, will continually morph under the influence of light, shadow, its users and the surrounding park to surprise and delight the visitor.”

The annual Serpentine Pavilion commission has become an international site for architectural experimentation, presenting projects by some of the world's greatest architects, from Zaha Hadid in 2000 to Bjarke Ingels Group in 2016.

The brief is to design a 300-square-metre Pavilion that is used as a community hub and café by day and a forum for learning, debate and entertainment at night. Each Pavilion is sited on the Serpentine Gallery's lawn for four months and the immediacy of the commission makes it a pioneering model worldwide.

The selection of an architect, someone who has consistently extended the boundaries of architectural practice but is yet to build a structure in London, is led by the curatorial approach that guides all Serpentine programming: introducing contemporary artists and architects to the widest public audience.

The Serpentine Pavilion is among the top ten most visited architectural and design exhibitions in the world. There is no budget for the project, which is realised through sponsorship, in-kind support and the sale of the Pavilion.