Nassau Museum Reveals Blockbuster Color Show
Major paintings by Matisse, Kandinsky, Rothko, Motherwell, Stella and a masterwork by Titian
A wing dedicated to the paintings of Wolf Kahn
A gallery of neon and rising stars of the Contemporary art scene featured
Greta Garbo’s favorite color paintings, including one by her brother, on view
July 21-November 4, 2018
Nothing in art is more powerful than color. From the shock effect the Fauves (“Wild Beasts”) and the rainbows of Delaunay and Kandinsky to the seductive radiance of neon, the story of color is a tale of wonder. The full range of color’s magic is on display in this exuberant show of over 100 works from the original master of color, Titian, to this moment’s hottest talents. The roll call of the great colorists in the show is a hit parade of art history’s most exciting names: Kandinsky, Hofmann, Klee, Albers, Rothko, Warhol, Joan Mitchell, Yves Klein, Ellsworth Kelly, Frank Stella, David Hockney, Wolf Kahn, Peter Halley, Joseph Kosuth, Juan Usle, Nathan Slate Joseph and Callum Innes. The Titian, the only one on view on Long Island, will be presented in a dramatic installation in the library of the former Frick mansion. A painting by Greta Garbo’s brother Sven Gustafson, together with one of the Hollywood star’s favorite works from her “wall of color” in the East Side Manhattan where her collection was on view, have been loaned by her heirs. Among the other lenders to the show are the most important galleries and private collections in the region, including Pace, Kasmin, Sean Kelly, Cheim and Read, Yares, Eric Firestone, Asher B. Edelman and Marc Strauss.
The show also introduces rising stars of the Contemporary scene, such as Miya Ando, Doug Argue, Deborah Kass, and Keith Sonnier. A remodeled gallery will hold huge Color Field and Neo-Geo works, and a wall of display cases will present the pastel glassware designed by Louis Comfort Tiffany, whose paintings are the core of the Museum’s holdings. Among the significant Long Island-based talents in the show, a huge watercolor by Barbara Ernst Prey, an installation by Nathan Slate Joseph, and paintings by Scott McIntire are part of the show.
Programming for the show has been underwritten by Lord & Taylor, part of their celebration of the remodeling of the Manhasset store. There will be two “curated” concerts by local chamber ensembles, the pieces selected to match the contents of the show, as well as a symposium featuring many of the greatest experts on color in design, fashion, film and psychology (including Donald Kaufman, one of the top color minds in the world), as well as artist talks, lectures, Manhattan gallery tours and a director’s seminar held in his private office.
Potent even to the point of being considered dangerous, color is the most exciting element of art, the strongest tool in the toolbox. Because it is also a largely uncontrollable force, it remains the most vital source of new art. “Color, above all, is a means of liberation,” Matisse declared.
Here is a partial list of artists included:
Robert and Sonia Delaunay
Nathan Slate Joseph
The exhibition will be accompanied by a fully illustrated catalogue with essays by curator Charles A. Riley II, PhD, whose book Color Codes is on the required reading list of many art programs including the Rhode Island School of Design, Yale and MIT. In addition, the exhibition will be the center of demonstrations of color theory and technique and classes in painting and drawing at the Manes Family Educational Center that are specifically tailored to the content of the show. The emphasis of the programming will be an inter-disciplinary approach to the study of color, weaving art and music, psychology, literature, philosophy and design.
About the Museum:
Nassau County Museum of Art is located at One Museum Drive in Roslyn Harbor. The museum is open Tuesday-Sunday, 11 a.m.-4:45 p.m. Admission is $12 for adults, $8 for seniors (62 and above) and $4 for students and children (4 to12). Docent-led tours of the exhibition are offered at 2 p.m. each day; tours of the mansion are offered each Saturday at 1 p.m. Media Contact: Charles Riley, (516) 484-9338 x 37, firstname.lastname@example.org
Public Information: Nassau County Museum of Art, (516) 484-9338; nassaumuseum.org
"THE CATHEDRAL" (THE SHRINE OF TREES, THE SISTERS AND THE MOTHER), SILK CHIFFON, CHARRED REDWOOD, 120" X 120", 2018
Miya Ando is concerned with elemental phenomena, specifically concerning metals, clouds and trees. Growing up in the Santa Cruz Mountains, Ando recreates a ring of redwood trees she frequented as a child. In the center of the ring was a “mother tree,” which is charred black after it was struck by lightning. The tree’s seedlings, which grew to be giants, surround and send nutrients to this central tree via their roots and have kept it alive for decades. The Cathedral, invites visitors to explore Ando’s transparent trees, charred wood and memories.
Noguchi Talks | Miya Ando and Dakin Hart
Sunday, June 3, 2018 - 1:00pm - 2:00pm
Artist Miya Ando and Dakin Hart, the Museum’s Senior Curator, discuss Miya Ando: Clouds. Free as part of Community Day; advance registration is not required.
On view April 25–August 19, 2018, the works—suspended plate-glass sculptures internally etched with images of clouds—evoke Isamu Noguchi’s interest in sculpting ephemeral materials, and in using them to shape space.
Photo ©Elizabeth Felicella.
By Gary Duff | May 17, 2018 | Culture
Artists abound in NYC, which makes the Big Apple the perfect place to get inspiration. Here are five not-to-be-missed art events happening right now.
Miya Ando: Clouds
Now through August 19, art aficionados can view Miya Ando's latest sculptures at the intimate indoor-outdoor Noguchi Museum in Astoria, Queens. The two site-specific pieces, suspended plate-glass sculptures with images of clouds etched internally, were inspired by the Japanese zengo: “Blue mountain does not move. White cloud comes and goes naturally.” Ando will take part in an onsite discussion on June 3 with the museum's Senior Curator, Dakin Hart, about her new pieces.
By Mark Jenkins April 26 2018
“Yoake (Dawn)” is one of Miya Ando’s many atmospheric works — they look like paintings, but this one was made using pigments on aluminum — that come together in a Buddhist-industrial style. (Paul Terrie/Miya Ando)
East and West converge in different ways in the work of Miya Ando and Jiha Moon, two Asia-rooted female artists who have shows in adjacent galleries at the American University Museum. While Moon’s art includes some conspicuous American ingredients, Ando’s work might seem to be purely Asian.
Unlike Moon, Ando is a lifelong American citizen. She was born in Los Angeles to a Japanese mother and an American father of Russian Jewish heritage. Moon was born and educated in South Korea before earning an M.A. in Iowa, moving to Washington and then settling in Atlanta.
Yet Ando, who now has a studio in New York, spent part of her childhood at the Buddhist temple her grandfather oversaw in Okayama, midway between Osaka and Hiroshima. And all the pieces in her AU show — and the show itself, “Kumo” — are titled in Japanese.
“Kumo” means cloud, and much of the artist’s minimalist work depicts transient atmospheric phenomena. Ando may contemplate the sky merely for its subtle beauty. But ephemeral mist and light might also represent Buddhist teachings about eternal change and life’s impermanence.
Unlike some artists influenced by Buddhism, Ando doesn’t work with materials that are themselves fragile or fleeting. The cloudlike forms of “Kumo” are etched by laser into large blocks of optical glass, placed here in front of black backdrops that both set off and reflect the wispy images. Some of Ando’s more paintinglike works are made with metallic pigments and other industrial substances on wood, steel or aluminum panels. The imagery is soft, and colors shift among silver, gold, red and gray as the viewer’s perspective changes. But the pieces themselves are hard-edged.
There’s a Japanese reason for that, too. The artist is a distant descendant of one of the samurai-swordsmiths for which the Okayama area was known in centuries past.
But Ando’s sleek, glimmering surfaces also suggest something recent and closer to her birthplace: the work of California’s “finish fetish” artists, who were inspired by the shapes and shines of surfboards and sports cars.
This isn’t an affinity the artist just happened to develop while living in L.A. Her father had a garage where he sanded and welded car parts. “I loved metal shops. I felt comfortable around muscle cars,” recalled Ando in a 2011 interview with a Buddhist publication.
That’s the American chassis of Ando’s starkly lovely depictions of dawn, dusk and clouds. The artworks are named in Japanese and Buddhist-inspired, but there’s a little vroom vroom in them as well.
No muscle cars are evident in Jiha Moon’s “Double Welcome, Most Everyone’s Mad Here,” but there are many other American things. Smiley faces, video-game characters and Pennsylvania Dutch folk symbols jostle in the artist’s busy collage-paintings, alongside Asian-style birds, tigers, dragons and flowers. Peaches represent fecundity in Asia, as well as Moon’s now-home of Georgia. “I am a cartographer of cultures,” she writes in her artist’s statement.
The balance is tipped more toward East than West, in part because many of the pieces are painted on fan-shaped pieces of Korean-made mulberry paper. The dominant visual motifs are usually Asian, although acrylic paint is paired with ink, and shards of text employ the Latin alphabet as well as Korean and Chinese writing systems.
The second phrase in the show’s title is derived from “Alice’s Adventures in Wonderland” as “filtered through” the 1951 Disney cartoon adaptation, according to art critic Lilly Wei’s notes on the show. Walt Disney, whose legacy in East Asia is immense, may well be a bigger influence on Moon’s idiosyncratic brand of pop art than Andy Warhol or Jasper Johns.
The specifically Korean elements in Moon’s work are often also specifically female. Some of the paintings are framed by quilted fabric borders, and there’s an array of variations on traditional women’s ornaments, their colorful tassels hanging against a white gallery wall. (These charms, like the Pennsylvania Dutch emblems that Moon incorporates, are supposed to convey good luck.)
A low table set with the artist’s ceramics is a further expression of her interest in domestic crafts often associated with women. Included are pieces in the shape of fortune cookies, another cross-cultural perplexity. They’re widely considered Chinese but actually originated in Japan.
If Ando’s Buddhist-industrial style emulates nature — detached and pristine — Moon’s is more urban and internationalist. The bustling, bright-hued art in “Double Welcome, Most Everyone’s Mad Here” is as lively as a stroll through Seoul or Hong Kong, keeping one eye on Lancaster County, Pa., and the artist’s current home town. Moon’s work is Asian and American, the boundaries deliberately blurred.
IF YOU GO
Miya Ando: Kumo
Jiha Moon: Double Welcome, Most Everyone's Mad Here
American University Museum at the Katzen Arts Center, 4400 Massachusetts Ave. NW. 202-885-1300. american.edu/museum.
Dates: Through May 27.
Miya Ando: Clouds
Wednesday, April 25, 2018 - Sunday, August 19, 2018
The Noguchi Museum presents Miya Ando: Clouds, an installation of two site-specific sculptures in the Museum’s indoor-outdoor gallery. The works, suspended plate-glass sculptures internally etched with images of clouds, share Isamu Noguchi’s interest in sculpting ephemeral materials, and in using them to shape space.
Raised in a Buddhist temple by the sea in Okayama, Japan, and on 25-acres of redwood forest in coastal Northern California, artist Miya Ando has always been drawn to the immaterial quality of fog and clouds. She began creating images of clouds in glass cubes and slabs in 2011. Pushing the limits of commercial laser etching technology from the outset, she started small. By collaborating with a highly specialized factory, she has been able to gradually enlarge them. The two examples for the Museum, the first she has decided to hang—Haku-Un (White Cloud) 4.8.1, the largest to date, and Haku-Un (White Cloud) 3.3.1—take the work in a new, more environmental direction.
The pairing of her clouds with Noguchi’s large basalt sculptures was inspired by a Japanese Zengo (or Zen phrase): “Blue mountain does not move. White cloud comes and goes naturally.” Although the etched image of clouds in the glass is static, the surface of the glass seems to move, as it mirrors changes in the environment. Meanwhile, the clouds shift in and out of sight as viewers walk around them. Seeming to expand and collapse in the charged landscape of the Museum’s indoor-outdoor gallery (Area 1), they are a conceptual and perceptual analogue for Noguchi’s collapsible Akari light sculptures—the subject of the Museum’s current exhibition Akari: Sculpture by Other Means.
About Miya Ando
Miya Ando is based in New York City and Los Angeles. Her work has been the subject of international solo exhibitions including at SCAD (Savannah College of Art and Design), Savannah, GA; Shibuya Seibu, Tokyo, Japan; Sundaram Tagore Gallery, New York, NY; and Lesley Kehoe Galleries, Melbourne, Australia. Her art has also been included in group exhibitions at institutions including the Los Angeles County Museum of Art (LACMA), CA; San Jose Museum of Art, CA; Bronx Museum, New York, NY; and Queens Museum of Art, New York, NY. Her work is included in the collections of LACMA and the Detroit Institute of Arts, MI, as well as in numerous private collections. Ando has been the recipient of numerous grants and awards, including the Pollock-Krasner Foundation Grant Award and Commission for The Philip Johnson Glass House, New Canaan, CT.
Miya Ando: Clouds is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.
© The Noguchi Museum
Open Today, 10 am–5 pm | 9-01 33rd Road (at Vernon Boulevard), Long Island City, NY 11106 | 718.204.7088
Nancy Toomey Fine Art is pleased to announce an exhibition of works by Miya Ando entitled "Oborozuki" (Moon Obscured by Clouds) on view from January 4 to February 17, 2018.
Miya Ando's inspiration for this exhibition is the Japanese word Oborozuki, meaning "the moon obscured by clouds." Pieces in the show, Ando's second at Nancy Toomey Fine Art, include a new series of paintings on aluminum entitled Yoake (Dawn), ink on aluminum called Kumo (Cloud), as well as works on paper, Gekkou (Moonlight).
The word "Oborozuki" in Japanese means "The moon obscured by clouds". Ando's inspiration for the theme of this exhibition is derived from the oldest known Japanese novel entitled " the tale of genji". Written by Murasaki Shikibu, the book is composed of minute, poetic observations of nature by it's lead female protagonist, Lady Murasaki. This ancient novel takes as its premise the fundamental interconnectivity of all things, and the fleeting, transitory awareness this recognition engenders. Nature is depicted not as a force, but as the vehicle that inspires in us contemplation and reverie.
A 48 x 96 inch painting (pigment, dye, urethane, resin, aluminum) from the new series "Yoake" (Dawn) as well as ink on aluminum alucore "Kumo" (Cloud) paintings in addition to works on paper from the series "Gekkou" (Moonlight) will be on view.
The works in this exhibition are an ongoing investigation into time and temporality. Ando employs visual vocabulary drawn from natural phenomena and reimagines it utilizing metal-based materials. Her paintings of cloud phenomena become a frozen record in time, focusing on the transformative power of shifting light. The works echo the way the sun changes the quality of light in the sky to obscure the true color of everything it strikes.
Created by painting on sheets of aluminum with chemicals and then manipulating color and texture using heat, sandpaper, dyes, and other processes, these works nonetheless contain tremendous spiritual depth.
Highly industrial and technically painstaking, Ando's works evoke a meditative quality, born from her own cultural roots and her ongoing Buddhist practice.
On Display until February 17, 2018.
On view through February 25 2018 “Looking Glass” Exhibition @cornellartmuseum #Alchemy series #sculpture solid #Redwood & #Silver Nitrate #Gekkou (#Moonlight) #worksonpaper #miyaando
New #paintings for @artmiamifairs @sundaramtagore See you in #Miami #artbaselmiami #SundaramTagore #ArtMiami Art Miami is in a new location: One Herald Plaza at Northeast 14th Street, downtown Miami on Biscayne Bay, between the Venetian and MacArthur Causeway
Two 48" x 96" pigment urethane aluminum #paintings #installed! @terauch1 #miyaando @hirotaketoyokawa @aakiiie