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Chinese Contemporary Art, featuring etchings by Wang Huaiqing | March 13 – April 26th

By Asia Week NY, Wang Huaiqing
Chinese Contemporary Art, featuring etchings by Wang Huaiqing

March 13 – April 26
For Immediate Release

Wang Huaiqing, (born Beijing, 1944), arguably the finest living painter in China today, recently completed several series of etchings based on his larger scale oils.  The exhibition showcases his newest etchings, printed in Barcelona under his supervision.  Wang silhouettes everyday objects and animates them in space.  The bold figurative elements are shorthand versions of Chinese classical furniture, archaic bronzes and porcelain vases.  Flat black shapes are placed against the void, much like Matisse cutouts; but there is no mistaking their Chinese origins. Wang’s genius is in his playful animation of two dimensions and the allegorical inference of Chinese traditional objects.

In 1956, Wang passed the entry examination to study at the Central Academy of Fine Arts (CAFA) High School in Beijing but his schooling was interrupted by the Cultural Revolution.  He and his CAFA classmates were sent to the countryside to work for subsistence farmers in northwest China. Wang does not dwell on this period with regret.  In his indomitable optimism, Wang commented, ”We were young and eager to experience life. In spite of the difficult living conditions, I gained a deep appreciation for Nature and the traditions of Chinese agrarian society.  I feel lucky to have had such an immersion during the formative stages of my artistic development.” During this period, Wang designed numerous political posters, many of which were included in an exhibition at the Asia Society in New York in 2008.  The Soviet-realist-based style in these earlier works foretells the graphic genius in Wang’s mature work.

Finally admitted to the graduate program at CAFA in 1979, Wang painted with oil on canvas in a realistic Western style full of allegorical meaning.  As part of an emerging group of talented artists, “The Contemporaries,” Wang sought beauty and art in the everyday.  In the mid-1980’s Wang branched out stylistically and garnered numerous national painting awards.

Around that time, Wang was profoundly influenced by a sketching trip to eastern China, in the region around Shaoxing where the traditional architecture is dominated by white washed stucco walls and black tile roofs.  Wang was struck by the juxtaposition of the simple black and white buildings, and the intrinsic “Chinese-ness” of the shapes. His painting palette became heavily dependent on black, white and grey in the 1980’s, echoing the interplay between form and negative space in Chinese calligraphy.

The bold, black forms in this current exhibition may remind a Western viewer of Matisse’ “Jazz Suite.”  In the two “Families” series on view, Wang arranged soot-black shapes against the bare paper, based on silhouettes of archaic bronze tripods, vases and bowls to create bold, near-abstract compositions.  The connecting drips of the printing ink recall Chinese calligraphy cursive script. Wang introduced bold color in his work from time to time, such as the cinnabar red of the background of “Peace.” Wang was not only influenced by Chan Buddhist ideas of space and void, but after travelling to the United States, he was deeply impressed by Minimalist artists such as Giorgio Morandi and Sol Lewitt.  This exhibition reveals the full expressive powers of this Chinese master.

M. Sutherland Fine Arts is pleased to present these prints, along with selected works by other artists represented by the gallery for AsiaWeek March 2019.    The exhibition will continue after AsiaWeek (ends March 23) by appointment only until April 26.

Chinese Contemporary Art, featuring etchings by Wang Huaiqing

March 13 – April 26, by appointment

Asia Week Opening Reception Thursday, March 14, 6–8 pm

Asia Week Hours
March 13–23rd,  11am – 5pm daily

 

EXHIBITION PAGE

 

[image] Wang Huaiqing, “Peace”, Etching on rag paper, 2012, 45 x 22.75 inches

NYT and Huang I-Ming show for Asia Week preview

By Asia Week NY, Huang I-Ming, Press

Will Heinrich mentions our Huang I-Ming exhibition in NYT’s Asia Week preview… Asia Week’s Rare and Unusual Objects for Art Lovers and Collectors

A show of abstract ink drawings by the contemporary Taiwanese calligrapher Huang I-Ming at M. Sutherland Fine Arts vividly demonstrates at large scale the unlimited textural and tonal possibilities of black ink on white paper. 7 East 74th Street, 3 fl.; 212-249-0428; msutherland.com.

HUANG I-MING: New Ink will open for Asia Week NY, March 15 through May 5th

By Announcement, Asia Week NY, Huang I-Ming, openings, Press

HUANG I-MING : NEW INK, March 15 – May 5, 2018

For Immediate Release

Huang I-ming (b.1952, I-lan, Taiwan) is an accomplished Chinese calligrapher based in Taiwan who also has taught and exhibited extensively in the PRC. Huang has practiced calligraphy his entire life, ever since he could hold a brush as a small child. Much like in the Ming and Qing Dynasties when scholar artists were first court officials and then retired to lives of creative contemplation, Huang, after a short political career, turned to practicing and teaching calligraphy full-time. Few modern calligraphers have full mastery of all script forms, but Huang is an outstanding exception. Huang’s oeuvre includes all calligraphic scripts, from Ancient Seal Script to Han Clerical Script, Regular, Running and Cursive scripts. Teaching at the Central Academy of Fine Arts (CAFA) in Beijing, Huang absorbed the creative excitement and vigor of the art scene there. He came away with renewed enthusiasm for a “modern” calligraphic style.

For many years, calligraphy art has been my life. I have used every ounce of my being to create these lines. All the changes in these lines are produced with feelings and emotions. My frame of mind has evidently affected their creation, and they have, in return, brought me into a new realization and awareness of what is happening to the different environments, matters, and things surrounding me. This is a process of incessant cause and effect evolution………These lines have already become my entirety.

Huang further explains that a piece of Chinese calligraphy has two levels of meaning: wen yi and shu yi. The classical styles of Chinese calligraphy, according to traditional canons, have both wen yi, the literal meaning of the image in Chinese, and shu yi, the expressive content of the brushwork that expresses the feelings of the calligrapher. Some art theorists regard wen yi as the “narrative” aesthetic in contrast with shu yi, the “lyric” aesthetic of calligraphy. Just as musicians interpret a musical score, so calligraphers celebrate the execution of the characters. Huang defines this dualism in modern calligraphy as “classical linearity.”

What happens when wen yi becomes irrelevant to the creative act? The link between an actual symbol or word and brushwork is divorced and shu yi, “lyric aesthetic” becomes paramount. Huang credits the Japanese post –WWII calligrapher, Teshima Yukei of the Shosho group or “Shao Zi Pai” (or “Few Character Group), with promoting the first theoretical basis for separating wen yi from shu yi. To convey the utter despair and ruin of Japan in the late 1940’s and 1950s, Teshima believed that he could only do so by deconstructing and re-forming the written symbols of calligraphy. The resulting works allowed people who cannot read Chinese/Japanese kanji to grasp the intended wen yi or meaning of his visual perception. Inspired by this theoretical basis, Huang forged a new creative path, one where shu yi (expressive/lyrical nature of the brush) is transcendent, without specific reference to written language. Huang describes his new work as “abstract expressionism with classical linearity” and is quick to remind that his works are not paintings per se, as the brushwork is firmly rooted in the framework of calligraphy brush traditions separate from classical ink painting. Further, Huang also gives credit to the influence of Western art on his style, specifically from the Abstract Expressionist painters of the second half of the 20th Century.

The current exhibition will feature Huang’s breadth of style, from unwavering perfection of his small running script in “Autumn Stillness,’ to the mesmerizing abstraction, ”The Changes of Mother Earth.” The show will open for Asia Week (March 15- 24, 2018) and then continue through May 5 by appointment. This is the third exhibition of Huang’s works at M. Sutherland Fine Arts.

 

HUANG I-MING : NEW INK – March 15 – May 5, by appointment

Asia Week Opening Reception Friday, March 16th, 6-8pm

Asia Week Hours
March 15–24th, 11am – 5pm daily

M. Sutherland Fine Arts
7 E 74th Street, Third Floor, New York, NY
Tel. 212-249-0428 | Cel. 301-529-2531

 

[At Top] – Huang I-Ming, Resplendence, 2014, ink on paper 106 x 92cm

 

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Top Picks…

By Press

Thanks to New York Examiner and eagle eyed writer Jennifer Eberhart for commenting on our lovely Hsia I-Fu work also on display during our solo exhibition of Hung Hsien.

 

NYExaminerAsiaWeek2016

THE SINGULAR BRUSH OF HUNG HSIEN

By Asia Week NY, catalog, Hung Hsien

 

THE SINGULAR BRUSH OF HUNG HSIEN

by Martha Sutherland

 

Hung Hsien (aka Margaret Chang) is the most intriguing artist I’ve shown in the fifteen years of M. Sutherland Fine Arts. With Hung’s exhibition during Asia Week 2016, it is my hope that the art world will take notice and recognize her singular position in the pantheon of modern Chinese painting.

I first met Hung Hsien when I was a graduate student in Lawrence, Kansas, in the late Seventies. I was astonished by the fantastic forms in her pictures, her striking pastel palette, and the abstract tension of the compositions. The paintings left an indelible impression. In all my years of looking at contemporary Chinese painting while living in Taiwan, Beijing and Hong Kong, I have never seen anything else like this.

The pictures in this exhibition are clearly modernist, but delivered with the brush skills of a classical ink painter. They are “landscapes” but have more affinity to “mod” designs of the Swinging Sixties (think Lava Lamps and Pucci scarves) than the gong bi (fine line style) bird and flower paintings of Hung’s famed teacher, Prince Pu Hsinyu.

As a teenager in Taipei during the early 1950s, Hung took private painting lessons from Prince Pu Hsinyu, a survivor of the Qing Imperial household, who, to this day, is regarded as one of the great 20th Century Chinese painters. Hung recently explained, “Pu Hsinyu was very old fashioned in his teaching style. I would be given one of his compositions to copy over and over again, stroke by stroke to perfect the techniques. Each week, I would bring my homework to him for a formal critique. I studied with him in this manner for years.”

Hung Hsien ultimately took a completely different path, separate from Pu’s other students. As an art student and teacher in the Chicago area during the late 1950s through the 1970s, Hung was exposed to Abstract Expressionism, which profoundly changed her painting style. She became unafraid to experiment with abstraction and allowed the traditional rock and water forms to become simply a point of departure for her expressive brush. Mary Lawson, a University of Chicago-trained art historian, wrote that Hung Hsien’s mature works embodied “the implication of the eternal flow of nature rather than the reality of identifiable forms and texture.”

In “Ocean Rocks” (1970), the only hint of the subject is revealed in the title. The painting’s strength emerges from the rich coloration and rhythmic brushstroke along with the “inner light” emanating from the compositional push/pull between form and void. There is a connection to the abstracted landscapes of Shi Tao of 17th Century Yangzhou (Hung’s hometown) but also to modern 20th Century American painters such as Arshile Gorky and Mark Tobey.

Yet, without the years of discipline under Prince Pu Hsinyu’s tutelage, Hung would never have had the technical skill—and confidence—to break free of the limits of traditional ink painting. What other student of Prince Pu can boast of belonging to these subsets of influence? And similarly, what other Abstract Expressionist can claim the technical rigor of training by Prince Pu? It is an understatement to say that Hung’s creative vision is unique.

Hung Hsien was born in 1933 in Yangzhou, Jiangsu Province. Her family came from a long line of intellectuals from Yangzhou, one of the cultural and commercial centers of China since the late Ming Dynasty. At the outset of the Sino-Japanese War, when she was just three years old, the family moved to the Chongqing. There, she spent a happy childhood, sheltered from the ravages of war. Her family had a house in the country, surrounded by the lush, verdant Sichuan countryside. After the war, her family moved back to Nanjing for three years. Hung remembers attending the Chinese opera theatre with her older sister every week in Nanjing. To this day, Hung can recall the bright colors of the nien pu (face paint), the swirling robes and stylized movement of the actors on stage. But as Mao Tse-tung’s forces came to power, in 1948 her family resettled in Taiwan, where Hung continued her education through high school and college.

In Taiwan, Hung Hsien became one of the last private students to study with Prince Pu, continuing to take tutorials with him after she entered Taiwan Normal University. “He was very disappointed when I went to the university,” she told me recently. “He wanted me to continue tutorials with him only.”

While studying for her art degree at Taiwan Normal, Hung also took classes in ink painting with Huang Junbi and in oil painting with Zhu Dechun. Huang stayed in Taiwan and is considered one of the great post-war classical Chinese painters. Zhu Dequn emigrated to Paris in 1955, and became one of the most famous and prolific Abstract Expressionist painters of France before dying there in 2014.

One of Hung Hsien’s classmates at Taiwan Normal in the Oil Painting Department was Liu Guosong, the founder of the Fifth Moon Group. Liu, and other classmates formed the Fifth Moon Movement in the late 1950’s as a new approach to art. Michael Sullivan, the acclaimed Asian art scholar, wrote:

“The Fifth Moon Movement was the happy marriage of monumental landscape painting style ofthe Northern Song period (960–1126) and the Xieyi style of the Southern Song period (1129–1279) with modern Western styles and techniques, such as Abstract Expressionism.”

Upon graduating from university, Hung travelled to the United States in 1957 and visited numerous major museums throughout the country. Recently, Hung admitted the trip had a dual purpose: she really wanted to reacquaint herself with her childhood friend, T.C. Chang, who was working in Chicago as an architect. The trip must have been successful as Hung Hsien married T.C. the next year and settled in the Chicago area, where she would live for over 20 years. Her marriage to T.C. exposed her to modern and classical architecture in America and Europe.

Known to her American friends as Margaret Chang, she watched as Chicago expanded exponentially in size and as a cultural center. While T.C. was part of the architectural team to design O’Hare Airport, Hung took classes at Northwestern and then at the Art Institute of Chicago. She was influenced greatly by two painting teachers, George Cohen and Theodore Halkin, both graduates of the Art Institute of Chicago and part of the “Monster Roster” movement of painters. Hung Hsien ‘s greatest influence, however, came from studying the works of Arshile Gorky, the Russian émigré “Father of Abstract Expressionism.” She explained to me recently that it was Gorky’s rhythmic line and sense of color, along with his theoretical bases for painting, that impressed her deeply.

After years of concentrating on western oil painting, in 1965 Hung returned to the traditional Chinese media of ink and color wash on paper. By the late 1960s she was exhibiting her work around Chicago to wider and wider acclaim. In 1969, Liu Guosong, her former classmate from Taiwan Normal University, invited Hung to join the annual exhibitions of the Fifth Moon Group, which had been founded in the late 1950s.

After several decades, by the late 1960s, the Fifth Moon Group had attracted worldwide acclaim as well as a devout following among young painters in Hong Kong and Taiwan. During a Fifth Moon exhibition at Taiwan’s National Museum of History, critic Jennifer S. Byrd writing in the Japan Times (July 22, 1970), said, “Miss Hung’s work like Liu Kuo-sung’s (sic) is among the most exciting I have seen anywhere. She uses a traditional literati brush, in strokes learned from traditionalist teachers, and yet her paintings are uniquely her own and contemporary.”

While Hung’s works gained greater exposure in Asia through Fifth Moon Group shows, her paintings also caught the eye of Professor Chutsing Li, a renowned art historian who taught at the University of Kansas. (Dr. Li was also my grad school professor, a scholarly figure who mentored a whole generation of Asian art historians). Li organized a travelling solo show of Hung’s paintings in the late 1970’s which went to six different museums throughout the States.  Professor Li wrote in his catalogue essay for the show that by 1970, Hung Hsien had achieved a “personal liberation”:

No longer limited by traditional Chinese practices and requirements, and going beyond her early fascination with modern western art, she discovered her own vision of merging east and west. These paintings are her “landscapes of the mind,” to use a traditional Chinese phrase which suggests the artist’s synthesis of a perception of nature and of inner feeling for it. We feel that we are almost at one with the universal spirit, the age-old theme of the great Chinese landscape tradition – but Hung Hsien’s means are completely her own.

In the mid-1970s illness and surgery slowed Hung’s production. However, a trip with her husband for an architectural project on Hornby Island, near Vancouver, rekindled her creative passions. During her solitary visits to the island’s deserted beaches she filled her sketchbooks with brush drawings. She was so moved by the experience that she returned to Hornby Island three times in the 1970s.

In 1978 Hung Hsien left Chicago to teach painting at Chinese University in Hong Kong for three years. In Hong Kong and during her numerous trips back to Taiwan, Hung began a serious study of tai ji with two different masters. In 1984, Hung and her husband retired to Houston, Texas, where they live today. While Hung—Margaret to her friends—has painted sporadically throughout the past few decades, she dedicated more and more time to other pursuits, teaching calligraphy, exploring Jungian psychology and the practice of tai ji. She has taught tai ji for over fifteen years in the Houston area. At eighty-three years old, Margaret recently explained, “The exhilaration from the slow, controlled practice of tai ji is the same feeling as when in the midst of painting. I feel energized, yet calm and serene at the same time.”

Since the 1980s, Hung’s importance as a pivotal figure in modern painting has been known to only a handful of Asian art history scholars in the West, due to her disinterest in self-promotion. The unique character of her painting also defies easy categorization. Ironically, one of her last group shows was entitled “Ten Texas Women Artists” (1991-92). How many Chinese-born artists can claim that label?

For this exhibition we chose works from the 1970s, a decade when Hung Hsien reached the peak of her creative powers. The fluidity of the brushline is impressive in a work such as “ Valley After the Rain”; the outline is like a fine, tensile wire, flowing without inhibition across the surface of the paper. The coloration is subtle, with luscious purples and blues. The word “voluptuous” comes to mind. This painting could hold its own next to one of Georgia O’Keefe’s iconic flower paintings. In “Floating without End,” the composition is a swirling, vibrating abstraction, spread across two huge scrolls. The impact is arresting, as if one were looking into a spiraling funnel cloud or the turbulent waves of a tidal pool. The large scale (approximately 6 x 6 feet) of this powerful diptych arguably makes it one of the most important pieces of Hung’s entire career.

 

See also, the exhibition page for: Hung Hsien: A Singular Brush

HUNG HSIEN: A Singular Brush | Asia Week 2016

By Asia Week NY, Hung Hsien, Press

Hung Hsien is the most intriguing artist I’ve shown in the fifteen years of M. Sutherland Fine Arts. With Hung’s exhibition during Asia Week 2016, it is my hope that the art world will take notice and recognize her singular position in the pantheon of modern Chinese painting.

I first met Hung Hsien when I was a graduate student in Lawrence, Kansas, in the late Seventies.  I was astonished by the fantastic forms in her pictures, her striking pastel palette, and the abstract tension of the compositions. The paintings left an indelible impression. In all my years of looking at contemporary Chinese painting while living in Taiwan, Beijing and Hong Kong, I have never seen anything else like this.

The pictures in this exhibition are clearly modernist, but delivered with the brush skills of a classical ink painter. They are “landscapes” but have more affinity to “mod” designs of the Swinging Sixties (think Lava Lamps and Pucci scarves) than the gong bi  (fine line style) bird and flower paintings of Hung’s famed teacher, Prince Pu Hsinyu.

As a teenager in Taipei during the early 1950s, Hung took private painting lessons from Prince Pu Hsinyu, a survivor of the Qing Imperial household, who, to this day, is regarded as one of the great 20th Century Chinese painters. Hung recently explained, “Pu Hsinyu was very old fashioned in his teaching style.  I would be given one of his compositions to copy over and over again, stroke by stroke to perfect the techniques.  Each week, I would bring my homework to him for a formal critique. I studied with him in this manner for years.”

Hung Hsien ultimately took a completely different path, separate from Pu’s other students.  As an art student and teacher in the Chicago area during the late 1950s through the 1970s, Hung was exposed to Abstract Expressionism, which profoundly changed her painting style.  She became unafraid to experiment with abstraction and allowed the traditional rock and water forms to become simply a point of departure for her expressive brush.  Mary Lawson, a University of Chicago-trained art historian, wrote that Hung Hsien’s mature works embodied “the implication of the eternal flow of nature rather than the reality of identifiable forms and texture.”

In “Ocean Rocks” (1970), the only hint of the subject is revealed in the title.  The painting’s strength emerges from the rich coloration and rhythmic brushstroke along with the “inner light” emanating from the compositional push/pull between form and void.  There is a connection to the abstracted landscapes of Shi Tao of 17th Century Yangzhou (Hung’s hometown) but also to modern 20th Century American painters such as Arshile Gorky and Mark Tobey.

Yet, without the years of discipline under Prince Pu Hsinyu’s tutelage, Hung would never have had the technical skill—and confidence—to break free of the limits of traditional ink painting. What other student of Prince Pu can boast of belonging to these subsets of influence?  And similarly, what other Abstract Expressionist can claim the technical rigor of training by Prince Pu? It is an understatement to say that Hung’s creative vision is unique.

Our Asia Week 2016 exhibition draws from only a portion of Hung Hsien’s personal collection of favorite works.  It is our hope that in the future the gallery will show more selections of Hung Hsien’s unique paintings.  Margaret and her husband, T.C. Chang, will be present during AsiaWeek 2016 Open House Weekend.

[at top, Hung Hsien, Ocean Rocks, 1970, ink and color wash on paper, 86 x 43 inches]

 

Hung Hsien: A Singular Brush

EXHIBITION CATALOG (2.1mb)

ASIA WEEK NY 2016, MARCH 12–19

M. Sutherland Fine Arts

55 East 80th Street, Second Floor

New York, NY  10075

 

OPEN HOUSE WEEKEND MARCH 12–13

Saturday and Sunday  11am–5pm

 

HOURS Daily, 11am–5pm

 

(otherwise by appointment)

the New York Times gets behind “Contemporary Ink”.

By Press

The New York Times gives us an overview of the Asia Week offerings, at the top of the list of contemporary galleries to see…

Much of the contemporary art exhibited in Asia Week’s galleries involves recent translations of ancient traditions like calligraphy, scroll painting or ceramics. A dealer with a solid roundup of contemporary ink painting is M. Sutherland (55 East 80th Street), including work by Jia Youfu, one of the best-known interpreters of the Song painting tradition.

 

Nearby, they attribute our Liang Quan tea stain painting to another gallery, but we understand: it was a maddening crush of press events yesterday.

Read the complete article here:  NYT: Asia Week Celebrates
Our thanks to NYT Art & Design and Linda Rosier!