sepiaEYE opens a solo online exhibition of works by Qiana Mestrich
Qiana Mestrich, Queen Imogen (Macha) from Thrall, 2019. Courtesy of the Artist & sepiaEYE.
NEW YORK, NY
.-sepiaEYE is presenting Thrall (2017-2020), a solo online exhibition by Qiana Mestrich. By integrating the outdoor studio, staged portraiture, still life, and family photography, Mestrich externalizes her thoughts around recent political, social, and cultural discussions on white supremacy and Black consciousness.
I was inspired to create this work during a visit to a museum with my children, when we encountered a towering statue of Pandora in front of a large window. In Greek mythology, Pandora is the first woman created by the gods and this sculpture (made in 1871 by Chauncey Bradley Ives) depicts her in the act of opening the box/jar containing humanity s evils.
New Orleans Museum of Art announces extraordinary gift of photographs from Cherye and James Pierce
Robert Capa (American, born Hungary, 1913-1954), The Falling Soldier, 1936. Gelatin silver print, image: 9 1/2 x 14 in. Gift of Cherye R. and James F. Pierce, 57.21.
NEW ORLEANS, LA
.- Distinguished collectors Cherye R. and James (Jim) F. Pierce have gifted more than 260 photographs by master art photographers, ranging from the nineteenth century to the present, to the New Orleans Museum of Art.
The Pierces gift to NOMA is representative of their wide-ranging collecting interests. It includes vintage prints by Ansel Adams, Ilse Bing, Brassaï, and Heinrich Kühn, contemporary masterworks by Laila Essaydi, Deborah Luster, William Eggleston, and platinum prints by Frederick Evans, Manuel Alvarez-Bravo (commissioned directly from the artist), and Lois Conner. Their gift also includes several iconic images such as The Falling Soldier by Robert Capa, Henri Cartier-Bressons Behind t
Exhibition at Joan B Mirviss LTD places Kitaōji Rosanjin s oeuvre in dialogue with works by mid-century masters
Kitaōji Rosanjin (1883-1959), Large Karatsu madara glazed vase. Glazed stoneware, ca. 1955. 17 1/4 x 15 5/8 in.
NEW YORK, NY
.- Rosanjin has long been hailed as one of the greatest ceramists of the twentieth century. His bold, eclectic ceramics emerged from the highly creative atmosphere of postwar Japan. Rosanjin forged a remarkable career, but it was not without first crossing paths, and even colliding, with many of his contemporaries who were themselves renowned ceramic masters and connoisseurs: Arakawa Toyozō, Fujiwara Kei, Kaneshige Tōyō, Katō Tokurō, Kawakita Handeishi, and Koyama Fujio. For Asia Week New York 2021, Joan B Mirviss LTD re-examines the legend of Rosanjin and his place within this Japanese artistic milieu in Tradition Redefined: Rosanjin and His Rivals.
A large inscribed blue and white Red Cliff visit deep bowl
Late Ming-Early Qing (1640-1670)
The deep rounded sides painted to the exterior with a panel enclosing a scene with the poet Su Shi and two companions in a boat seated at a low table under a canopy enjoying wine, an oarsman standing at the helm, the scene enclosed by a larger continuous calligraphy panel with an excerpt from Su Shi s Ode to the Red Cliff, the interior painted with two encircled bands of lotus flower-heads and water fronds, one at the rim, the other at the well, all centered by a Chenghua four-character mark.