Wisdom of the East Exhibition

I'm very pleased to share the news that I've curated an exhibition now on view in the Wallach Study Center of Avery Architectural & Fine Arts Library at Columbia. The show, entitled Wisdom of the East: Buddhist Art from the J. G. Phelps Collection, brings together a group of Asian sculptures and ritual objects from Tibet, Nepal, Japan, and China, dating from the 12th to 19th centuries, in the permanent art collection at Columbia. The image you see above is one of the four cases, this one showcasing three Buddhist sculptures from Japan. The figure on the left is Manjusri, the Bodhisattva of Wisdom who rides a lion, carries religious texts, and defends the faith with his sword. The figures on the right are a Bodhisattva and Buddha associated with Mahayana Buddhist traditions of Japan. All three are gilded and lacquered wood. This exhibition brings together just a small selection of the 50+ sculptures and ritual objects that the NYC socialist politician James Graham Phelps Stokes (1872-1960) donated to Columbia the year before he died. I mentioned Stokes recently as the author of the observation on time and experience in his travel journal to Japan in 1892, an entry I discovered in doing research in anticipation of this exhibition. You can read a little more about the exhibition here. It will be up until September 14, 2018.

Object-Centered Learning Symposium

Next Tuesday, February 17th, my department at work, Art Properties, is hosting a morning symposium at Columbia University entitled Object-Centered Learning: Experiencing the Authentic in a Digital Age. The symposium is free and open to the public. We have an excellent group of speakers. The symposium promises to be an engaging discussion of how close interactions with art works and cultural artifacts enhance classroom teaching across the disciplines, where digital presentation is now the norm. We've intentionally scheduled the symposium to come just after the College Art Association conference (which meets here in NYC this week), hoping to draw people from that. To attend, RSVP by emailing cul-events@columbia.edu.

OBJECT-CENTERED LEARNING:

EXPERIENCING THE AUTHENTIC IN A DIGITAL AGE

A morning symposium, free and open to the public, sponsored by

ART PROPERTIES

AVERY ARCHITECTURAL & FINE ARTS LIBRARY

COLUMBIA UNIVERSITY

Tuesday, February 17, 2015

Butler Library, Room 523

9:00 a.m. Refreshments

9:30 a.m. – 12:30 p.m. Symposium

SPEAKERS

Deborah Cullen, Director and Chief Curator

Wallach Art Gallery, Columbia University

The Object in the Gallery: Teachable Moments in and along the Way

Roberto C. Ferrari, Curator of Art Properties

Avery Library, Columbia University

Buddhas, Bronzes, Ceramics, and a Cradle Board: Columbia’s Art Collections in the Classroom

Senta German, Andrew M. Mellon Foundation Teaching Curator

Ashmolean Museum of Art and Archaeology, University of Oxford

Teaching and Learning at the First University Museum: The University Engagement Programme of the Ashmolean Museum of Art and Archaeology at the University of Oxford

Michele D. Marincola, Sherman Fairchild Distinguished Professor of Conservation

Institute of Fine Arts Conservation Center, New York University

Partnering with Conservators for Object-Based Study and Learning

Avinoam Shalem, Riggio Professor of the History of the Arts of Islam

Department of Art History and Archaeology, Columbia University

What Do Objects Want?

(Image credit: Suzuki Harunobu, The Brine Maidens Matsukaze and Murasame on Suma Beach, from Japan, Edo period, 1769-70, woodblock print, Art Properties, Avery Architectural & Fine Arts Library, Columbia University in the City of New York, Gift of Mrs. Horace Stebbins, 1948)

Review: The Hare with Amber Eyes

I just finished reading a superb book some of you may know: The Hare with Amber Eyes by the ceramics artist Edmund de Waal. It was highly recommended by a former student of mine who was of retired age, and I'm so glad she recommended it. The book is the story of the author's family's ownership of 264 netsuke, including the work you see here, a beautiful ivory hare with eyes inlaid with amber buffalo horn. For those who don't know what netsuke are, they are finely carved and polished Japanese figurines and sculptural objects no bigger than the size of your hand. Often carved in ivory or boxwood, they were originally made as toggles to hold the string that attached a purse/satchel to the Japanese kimono and obi. (You can download for free the Met Museum's excellent collection catalogue of netsuke here.) By the late 1800s, they had become collector's items not only in the West through the influence of japonisme but also in Japan as a form of its cultural past. De Waal's story recounts how his ancestors first acquired the netsuke from a dealer in Paris in the 1870s, and then continues the story of the netsuke as they passed on to relatives in Vienna during the World Wars, then post-War Tokyo, and modern-day London. But the story is not just about these netsuke. It's a cultural biography of his Jewish ancestors, the Ephrussi family from Russia, how they made their fortune and settled throughout Europe, and how they engaged with the art and literature of their day. It's not all high life society, however. The author also tells with pathos the trials his family endured in a world of anti-Semitism and Nazism, and how his family lost everything because of Hitler and the persecution of Jews at the time.

This book is one of those rare stories that beautifully links art and culture with personal experience. De Waal asks questions such as how people from the past felt about life and art, and how they felt to hold these beautifully carved netsuke generation after generation, hand-to-hand, a symbol of a family saga that reaches backward to the unknown makers of these figures, and forward to the author's own children. His personal experience as a craftsman and artist make his telling of the story even more poignant. To quote de Waal: "How things are made, how they are handled and what happens to them has been central to my life for over thirty years. ... How objects embody memory--or more particularly, whether objects can hold memories--is a real question for me. This book is my journey to the places in which this collection lived. It is my secret history of touch." To learn more about Edmund de Waal, his writing, and his exquisite minimalist ceramics and installation pieces, go to his website at http://www.edmunddewaal.com/.

The Cherry Trees Return

If you were waiting for my post on Belgium, you will have to wait another day or so. I decided for my first day back in NYC, some more leisure time was in order. After breakfast with RL and a subway ride into the City to run an errand, I made a trip this afternoon to the Brooklyn Botanic Garden for Hanami, the Japanese tradition of viewing cherry blossom trees, symbols of rebirth celebrating the return of Spring. Considering the recent tragic events in Japan, it seems even more appropriate this year to remember their cultural tradition. It gives me hope that, not unlike the return of the cherry blossoms, the Japanese people will recover. It was absolutely beautiful today, with the sun shining in a clear blue sky and the weather reaching into the 60s. You will recall that I posted about a similar event two years ago and shared a couple of pictures from when I visited then. It's still early in the season for Hanami so not everything is in bloom, but these pictures show you that it was nevertheless a rewarding experience simply to meander among the blossoms and absorb the joy that is nature. In case you're wondering, the delightful little purple flowers in the one close-up shot are periwinkles and hyacinths.

Japan

Earthquake. Tsunami. Radiation. Any one of these things on their own is a serious tragedy, but to have all three happen in one geographical region within a few days of each another is incomprehensible. The notion that the earthquake in Japan was so massive that it actually shifted the country 8 feet to the west simply boggles the mind. These interactive before and after images from The New York Times are disturbing, although, tragedy aside, I have to admit that they also are an incredible use of digital image technology (thanks to PR for the link). Like many, I have been going through periods of information gathering to know more about how the people of Japan are doing through this catastrophe. As of my writing this, 2400 people are dead, more than 3000 are missing, and they are still talking up to 10,000 deaths from this tragedy. Anderson Cooper was reporting on CNN that he was amazed at the dignity of the Japanese who waited patiently in line for water, only to be told there was no more, and not a single person complained. Another CNN reporter responded to him by noting that is part of the legacy of the Japanese people, their need and respect for order.

In honor of that spirit, I thought I would share a little piece of Japanese cultural history. The image above is of a beautiful summer kimono made of silk gauze with carp, water lilies, and morning glories, made during the Meiji period about 1876, at The Metropolitan Museum of Art. It is just one of the many cultural items that the Japanese can call their own. Haiku. Samurai. Sushi. Ukiyo-e. Zen.

To help Japan during this crisis, consider donating to the Red Cross, because they seem to have taken the lead in helping them. The Japan Society here in NYC is also accepting donations for an earthquake relief fund.

50 UK Days: Week 2.5

I took an opportunity this past Monday to stroll through the Leeds Art Gallery. I had been wanting to do this for quite some time, because they have a few important Victorian paintings by artists like Holman Hunt, Waterhouse, and Leighton. Alas, work by the first two was not on display, but Leighton’s painting Persephone, 1891, was, which I was glad to see. However, the picture that struck me most was the one you see above: Retribution by Edward Armitage, 1858 (image: romanticism-in-art). The painting is larger than life in size. On first examination, even in digital form, one might find it somewhat bizarre. A fierce she-man is about to slay a tiger, while a woman and child lie dead in the foreground near an open Bible, and another woman looks on from behind waiting to be rescued. In the background are palm trees and, behind the main figure, a domed building that resembles the Taj Mahal. The juxtaposition of Western classicism with Eastern exoticism tells you this is a painting about Western colonialism. Indeed, anyone who is familiar with Edward Said’s book Orientalism or Linda Nochlin’s essay “The Imaginary Orient” would be quick to point out that this picture shows the oppression of the East. The date and title of the picture, however, tell you much about its historical origins. In 1857 the Sepoy Rebellion in India led to a massacre of numerous British women and children affiliated with the British East India Company. Their bodies were violated, dismembered, and tossed into wells. This shocking news of barbarism led to the immediate governmental order to suppress the rebels and overtake the country. It was then that India officially was annexed by the British Empire, and subsequently led to Queen Victoria being named Empress of India in 1876. This painting then admittedly can be seen by us today as Orientalist oppression, but in its day it was a symbol of patriotism. The she-male is Britannia, the allegorical representation of the British Empire, and the tiger, fear now evident in its eye, is India, aware of its impending demise against the British. The picture was intended for a British public angry about the treatment of its people by an inferior, savage race, and were determined to exact retribution. A picture like this easily could be dismissed by viewers today as melodrama or kitsch, but in fact the story behind it demonstrates how powerfully political a painting could be then, and how its message can still resonate today.

In an inversion of the West-East divide, I went to a talk on Wednesday evening given by artist Marie Redmond, whose work has been influenced by Japanese Ukiyo-e prints. Redmond is a graduate of the School of Art in Glasgow (as a native Scot, her accent was so strong I had to listen very closely for the first few minutes until I became accustomed to it!). Redmond has a few pieces in the current exhibition Undone at the Henry Moore Institute. Now, as bklynbiblio readers know, I’m not typically a fan of contemporary art. I’ve been known, in fact, to call it on more than one occasion Self-Indulgent Crap. I freely admit, however, it’s because I don’t “get” it, and I do believe many of these artists are purposely ridiculing us Philistines for attempting to appreciate the idea behind their art-capital-A (call me cynical). However, I have a much greater appreciation for—and can even say I like—contemporary artists whose work connects with the art historical past or relates to the presence of the body (e.g. see my laudatory reviews on Yinka Shonibare and Marina Abramovic). Redmond explained how “The Floating World,” Japanese Ukiyo-e and Shunga (erotic) prints, influenced the making of her art. She discussed how issues of viewing (peeping/spying), interiors/exteriors, gender, and bodily forms (e.g. kimonos as sculptured objects) inspired her in the creation of specific sculptures. Her art is comprised of both found everyday objects, from corrugated metal to bamboo, and crafted objects, such as tie-dyed fabrics. What struck me as she spoke was that even though the physical body as one perceives it in Japanese prints does not appear directly in her sculptures, the suggestion of bodily presence is seen through the arrangement of the objects, and narrativity become apparent through her titles and use of specific materials. One reviewer of her work (Sarah Lowndes) described it as “stories masquerading as objects,” which I think is apt, especially when you see how she installs it in a gallery space. The pathway that is created through and among each of the objects makes you realize that they are like chapters in a story unfolding spatially around you. It many ways it is not unlike Japanese prints or Chinese scroll paintings, which are unfolded or unrolled, giving you bits of a story, and inviting you to continue to the next stage. Redmond is represented by The Modern Institute, but you can see a few images of her work when she won the 2009 Paul Hamlyn Foundation Award. Considering the picture we began with, I couldn’t help but close with one of the more titillating Shunga prints Redmond showed us, an amusing erotic scene entitled Woman Holding Umbrella Throwing a Snowball from Outside at Lovers in an Interior by Suzuki Harunobu, from about 1765-70 (image: British Museum). And, yes, they are doing what you think they’re doing.

Cherry Blossoms in Brooklyn

I went to the Brooklyn Botanical Garden today for Hanami, the Japanese tradition of viewing cherry blossoms, which started a few days ago. The viewing of cherry blossoms has been a recurring theme in Japanese art for centuries. (Click here to see an example of an Ukiyo-e print with geisha and cherry blossoms by Kitagawa Utamaro I at the Museum of Fine Arts, Boston.) At the botanical garden, not all of the trees were in bloom yet, but I did manage to take a few pictures with my digital camera about 1pm today, until the batteries in my camera died. Both of the pictures you see here were taken near the Japanese Hill-and-Pond Garden. I used today's gorgeous blue sky as a backdrop for the pink blossoms in the picture above. The one below has white blossoms framing the pond and the torii gate that traditionally is found at the entrance of a Shinto shrine.