New York, February 21, 2019—Sundaram Tagore is pleased to present 72 K? (Seasons), an exhibition of new and recent paintings, works on paper and leaf mandalas by New York and Los Angeles-based artist Miya Ando. Informed by the 72 seasons of an ancient Japanese calendar system, in which subtle, periodic occurrences of the natural world mark the passing year, the work in this show expands on the artist’s ongoing exploration into concepts of time and transition.
This show comes on the heels of a tremendous year for the artist, whose work was featured in numerous museum exhibitions, including at the Los Angeles County Museum of Art and The Noguchi Museum in 2018. Additionally, Ando’s work is currently on view in public spaces, such as the Los Angeles International Airport and the San Francisco International Airport, and her wrapping of the Versailles Hotel in mesh clouds for the Faena Festival was one of the most talked about site-specific installationsduring Basel week in Miami. This year promises to be even bigger, with more special projects and exhibitions coming up, including a show at the Corning Museum of Glass in early May.
The centerpiece of the exhibition—and the inspiration for the show’s title—is a vibrantly colorful, large-scale installation comprising 72 small, light-reflecting metal paintings arranged in a chronological grid. A meditation on temporality and transition, 72 Seasons is a visual expression of the Japanese calendar system (by way of China), in which there are 24 seasons that are further segmented into 72 seasons per year, with each season paying homage to nature’s fleeting beauty and the passage of time.
“I’m investigating this as a practice of acute awareness to time via minute and subtle observations of nature,” says Ando. “I’m incorporating transitions into the lexicon as I examine a much more detailed time system than our traditional four seasons.” In breaking down the familiar structure of time, Ando draws awareness to seasonal shifts in weather, temperature, light and natural phenomena, which she articulates through form and color.
Additionally on view will be a selection of paintings on metal from Ando’s Kasumi (Mist) series, which centers on transience and offers sublime, abstract renderings of the mutable atmospheric condition the title suggests. Here, the palettes are soft and muted and the gradual shift between colors is nearly imperceptible. Ando produces these luminous gradations of color by painting multiple layers of urethane and pigment into the surface of the aluminum.
Alongside the Kasumi works, several of Ando’s Kumo (Cloud) paintings will be on view. Capturing the evanescence of clouds shifting from one moment to the next, this body of work encapsulates one of the core concepts of the artist’s practice: the nature of reality is that all constituent forms which create the universe are temporary—an idea rooted in both Buddhism and quantum physics.
As with many of her works, Ando expresses her concept using industrial materials, in this case, brushed aluminum composite for the canvas. The metal’s textured surface compounds the mercurial quality of light. The clouds are rendered with matte ink, which gives the overall effect of light emanating only from the negative space—the metal surface—in the same way light radiates from the sky. One of the works from this series, Cloud 6 (Kumo), was exhibited in Atmosphere in Japanese Painting (2017) at the Los Angeles County Museum of Art and is now part of the museum’s permanent collection.
Ando also explores ideas of transition with her mandala works, where she uses skeleton leaves from the Bodhi (Ficus Religiosa) tree, the species under which The Buddha gained enlightenment, to form the compositions. Each leaf is treated, dyed and assembled into a gradient of color, suggesting transformation and the changing seasons. In Buddhism, a mandala represents the universe and is traditionally used as a meditation tool.
Ando’s Gekkou (Moonlight) paintings—inspired by the moon, a celestial body that emits no light of its own, but casts brilliant reflections from the sun—integrate silver leaf into a palette of soft pinks, yellows and blues to describe the subtle, light-reflective qualities of moonlight. These radiant new works expand on Ando’s concepts, but with more evidence of the artist’s hand than ever before.
Collectively, the works in this show take the viewer through a full spectrum of seasons, but it’s the process of examining the individual works—interacting with them from different vantage points as a way to vary perceptions—that provides the viewer with space for quiet contemplation and an opportunity to slow down the hands of time.
Miya Ando will be in the Singapore gallery from 3 to 5 PM on Saturday, March 16, to talk about her creative practice and the work in the show. This event is free an open to the public, but seating is limited, so kindly RSVP to firstname.lastname@example.org or call 6694 3378 by Tuesday, March 14 to hold a spot.
“Sora Versailles”, 133 x103 ft, printed mesh
3425 COLLINS AVENUE, MIAMI BEACH
Commissioned by Faena Art
This large-scale installation examines perception, as the historic Versailles Building is transformed into the sky itself, becoming void-like or transparent. The installation investigates one’s relationship to time as sunset and sunrise are depicted on the four sides of the building.
The Japanese kanji 空 is pronounced “Sora” and means sky or heaven. This word also has another reading, pronounced “kū” and means “emptiness or void”. Void is one of the five elements (earth, water, fire, wind, void). “Sora Versailles” installation is inspired by the idea of both sky and emptiness. In Buddhism as well as in Quantum Physics, the fundamental nature of reality is that all constituent forms that make up the universe are temporary, a concept termed ‘Sunyata.’ Artist Miya Ando pays homage to the building’s original architect Roy France’s design philosophy of “let in the air and sun” as she wraps one of Miami’s most iconic buildings in clouds.
Photo: Kerry McLaney
11.15.2018 - 02.10.2019
Humans have used symbols of earth, fire, water, and air for millennia, using them as metaphors to communicate universal ideals and truths about the world in which we live. This exhibition dives into a variety of contemporary practices that continue to express our awe, reverence, and dependence on two of the four Aristotelian elements, in unexpected and dynamic ways.
pictured: “Obon” (The returning of the spirits) Bodhi (Ficus Religiosa) leaves, phosphorescence, resin.
JEAN-PAUL NAJAR FOUNDATION
a contemporary art museum
October 23, 2018 – February 28, 2019
United Arab Emirates, DUBAI – The monochrome is considered to be one of the most accomplished forms of painting. The importance of the monochrome lies in its conception, in its artistic and philosophical principles, and for some, in its ability to address social concerns. Kazimir Malevich’s Black Square (1915) is considered to be the first monochrome in the history of art. But can the origin of the monochrome be situated prior to the early twentieth- century?
The Jean-Paul Najar Foundation (JPNF) presents The Monochrome Revisited, an exhibition that explores the history and evolution of the monochrome. The exhibition is divided into three parts: the first section focuses on the ‘first monochromes’ found in printed matter from the seventeenth to the nineteenth centuries, putting into question its genesis; the second section takes its inspiration from Marcia Hafif’s seminal text Beginning Again, illustrating her purpose with selected works; and the final part of the exhibition looks at how artists today continue to be preoccupied with the monochrome, engaging with it in their practice to explore contemporary issues.
In late 2015, an announcement was made at the State Tretyakov Gallery in Moscow that incited controversy. Art historians at the national museum had discovered, under Kazimir Malevich’s iconic composition Black Square (1915) a scrawled reference to a provocative work sardonically titled Negroes Fight in a Tunnel by poet Paul Bilhaud. First exhibited in 1882 at Les Arts Incohérents, Bilhaud’s politically incorrect work (today considered to be the first documented monochrome) intended to simultaneously ridicule modernism as it acknowledged its radicalness. Fifteen years later, in 1897 Alphonse Allais published Album primo-avrilesque, which featured a number of works including Paul Bilhaud appropriated black monochrome. This section of the exhibition looks at this publication as well as others including Robert Fludd’s (first published in 1617) masterwork Utriusque cosmi maioris scilicet et minoris metaphysica, physica atque technica historia (The Metaphysical, Physical and Technical History of the Two
45 Alserkal Avenue
PO Box 928040 Dubai, UAE
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The second part of the exhibition takes as its core Marcia Hafif’s influential essay Beginning Again, published in Artforum in 1978. Throughout her fifty-year artistic career, Hafif, sought to push against any notion that “the enterprise of painting”1 had come to an end. She writes, “It was necessary to turn inward to the means of art, the materials and techniques with which art is made. Artists still interested in painting began an analysis – or destruction – of painting, turning to the basic question of what painting is.”2 We pay homage to Hafif and the important artists she references in her text exploring not only their use of material and technique but the contemplative attributes they bestow onto the monochrome. Artists include James Bishop, Dale Henry, Ralph Humphrey, Douglas Sanderson, Lucio Pozzi, and Susanna Tanger. The exhibition then looks at how these artists elaborated and expounded on the art form, giving a deeper understanding of monochrome painting.
Finally, we look at how contemporary artists today engage with the monochrome. Working across various mediums including painting, photography, and the ready-made, the monochrome has once again undergone an evolution, as artists redefine what it is and what it can be. Contemporary artists such as Miya Ando, David Batchelor, Alteronce Gumby, Alfredo Jaar, Mohammad Kazem, and Hassan Sharif demonstrate the vitally important role the monochrome continues to play in contemporary art. A provocative and innovative art form to this day, the monochrome retains the power to address contemporary issues, challenging our perception of the world we live in.
The Monochrome Revisited is on view at the Jean-Paul Najar Foundation in Dubai through February 28, 2019.
The Jean-Paul Najar Foundation gratefully acknowledges the support of all the artists, individuals and organizations that have made this exhibition possible. Special thanks to Alanna Heiss, The Dale Henry Estate, David Batchelor, Alteronce Gumby, the Estate of Hassan Sharif, Alfredo Jaar Studios, Mohammed Kazem, Gallery Isabelle van den Eynde and Lily Wei.
Full List of Artists (in alphabetical order):
Miya Ando, David Batchelor, James Bishop, Alteronce Gumby, Marcia Hafif, Dale Henry, Ralph Humphrey, Alfredo Jaar, Mohammad Kazem, Lucio Pozzi, Douglas Sanderson, Hassan Sharif, and Susanna Tanger.
About the JPNF
The Jean-Paul Najar Foundation for Contemporary Art is a non-profit ICOM registered private museum, gathering abstract European and American art from the 1960s through today. The JPNF is also home to a remarkable archive tracing forty years of artist-collector exchanges. Education is central to the museum’s mission. We are committed to presenting an educational program that promotes a spirit of discovery and inquiry that engages our diverse communities. The JPNF is designed by Mario Jossa, of Marcel Breuer and Associates, and is presented in partnership with Alserkal Avenue in Dubai.
For further information or images, please contact Wafa Jadallah on T +97142587078 or email@example.com Link to Marcia Hafif’s Essay ‘Beginning Again’
www.jpnajarfoundation.com | @JPNFMUSEUM JPNF is open Sunday – Saturday, 11AM – 6PM
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
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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.