Asia

“Queens Museum to open Indian art exhibition next year”

“Queens Museum to open Indian art exhibition next year”

Via “American Bazaar“

“NEW YORK: The Queens Museum has announced that it will open an entire exhibition entitled “After Midnight: Indian Modernism to Contemporary India (1947-1997)” in January 2015, which will highlight important works of art and track the growing modernity of India during its first 50 years of independence.

Malini Shah, Sudhir Vaishnav, Sunil Modi and other community members along with Tom Finkelpearl, President and Executive Director, Debra Wimpfheimer, Director Stategic Partnerships, Hitomi Iwasaki, Director and Curator and Manjari Sihare Curatorial Manager.

In a statement, the museum explained that the timeframe was chosen because its beginning and end dates are significant checkpoints in Indian history. The year 1947 is obviously important because it is when Indian gained independence from the British, but also because it saw the birth and rise of the Progressive art movement in India. The year 1997, when India turned 50, was marked by “economic liberalization, political instability . . . .”

Fla. Artist Smashes $1M Vase in Miami Museum

“Fla. Artist Smashes $1M Vase in Miami Museum”

by Curt Anderson via “ABC News”

“A South Florida artist is facing a criminal charge after police say he smashed a $1 million vase at Miami’s new art museum in what appears to be a form of protest.

Maximo Caminero, 51, was charged with criminal mischief after Sunday’s incident at the Perez Art Museum Miami. According to a Miami Police Department arrest affidavit, a security guard told officers that Caminero picked up a colored vase by Chinese dissident artist Ai Weiwei. When told to put it down, the security guard said Caminero smashed it on the floor.

A police affidavit says Caminero told officers he broke the vase to protest the museum’s lack of local artist displays. Caminero, a painter who lives in Miami, declined comment when reached by telephone Monday. He said he will have an afternoon news conference Tuesday. . . . .”

“Rediscovering China, India and Southeast Asia at the Cleveland Museum of Art: The new West Wing”

“Rediscovering China, India and Southeast Asia at the Cleveland Museum of Art: The new West Wing”

by Steven Litt via “Cleveland Art“

Exhibition: “Chinese, Indian and Southeast Asian Galleries”

Location: 

The Cleveland Museum of Art
11150 East Blvd., Cleveland

Opening Date: Jan. 2., 2014

Cost of Admission: Free

Further Information: www.clevelandart.org

“They were destinations of conquest and desire for millennia. Reaching them by caravan or by sea was dangerous, if not deadly. Yet traders and invaders from across Europe and Asia couldn’t resist the allure of China, India and Southeast Asia.

Thanks to the completion of the Cleveland Museum of Art’s new West Wing, Northeast Ohioans can now travel with ease – artistically speaking – to places that once fired the imaginations of Alexander the Great, Marco Polo, Columbus and Magellan.

 On Thursday, the museum will launch a members-only preview of six new galleries containing nearly 500 works of art in jade, silk, bronze, gold, porcelain, ink on paper and dozens of types of stone, including the blue-gray schist of Afghanistan and the red sandstone of the Ganges Valley. . . . .”

 

“Chinese Painting”

“Chinese Painting”

via the Metropolitan Museum of Art

“The Chinese way of appreciating a painting is often expressed by the words du hua, “to read a painting.” How does one do that? 

Consider Night-Shining White by Han Gan (1977.78), an image of a horse. Originally little more than a foot square, it is now mounted as a handscroll that is twenty feet long as a result of the myriad inscriptions and seals (marks of ownership) that have been added over the centuries, some directly on the painted surface, so that the horse is all but overwhelmed by this enthusiastic display of appreciation. Miraculously, the animal’s energy shines . . . .”

“China’s Broken Art Market”

“China’s Broken Art Market”

by Felix Salmon via “Reuters“

“When 2011 came to an end, the dominance of Chinese artists in the international league tables was clear, if puzzling. Three of the top five artists, in terms of sales, and both of the top two, were Chinese; Zhang Daqian alone managed to gross more than half a billion dollars at auction that year, the first time any artist had come anywhere near that level.

But no one knew what was really going on. One theory — which the peddlers of  . . . “