Currently living and working in Tehran and celebrating her 90th birthday, Farmanfarmaian articulates her singular vision through reverse-painted glass and mirror objects that recall both Qajar-era Persian interior decoration and high modernist abstraction of the 20th century. Having lived in New York during the 1940s and 50s as an art student at Cornell University and the Parsons School of Design, and later as a fashion illustrator for the department store Bonwit Teller alongside Any Warhol, she absorbed the art of the new, Abstract Expressionism.
NanHai Art is pleased to announce a three-part seminar series for the month of November featuring prominent scholars on the tropic of Chinese art. This new series will host noted academics on topics pertinent to the evolution of Chinese art, and the transformation of Eastern and Western culture through the exchange of artistic practice and aesthetics.
Multiple Encounters puts the video work of Yang Fudong in direct dialogue with historical Chinese paintings, a juxtaposition that raises questions about how we view both Yang’s work and classical art. Connecting the fifteenth century to the twenty-first, this exhibition suggests that some of the magical qualities of Yang’s work may be inherited from the Chinese classical tradition.
Apparitions, Ranu Mukherjee’s second solo show at Gallery Wendi Norris, features a vibrant array of new textile prints, ink paintings, collage and hybrid films. Expanding upon materials and themes developed for her exhibitions at the San Jose Museum of Art and Yerba Buena Center for the Arts, Mukherjee articulates relationships between the compressed spaces of the body, stage and picture plane. Operating as a conduit between the liminal and the social, these ‘apparitions’ are reflections of multiple and simultaneous senses of time travel, catastrophe, fragility, desire, and identification with the natural world.
Eugene Wang, Abby Aldrich Rockefeller Professor of Asian Art at Harvard University, looks at Yang Fudong's work in the context of the profound shifts in art making in China over the past twenty years, and also considers Yang's use of the film medium and relationship to traditional Chinese art.