Summer 2021 Chelsea by Sundaram Tagore Gallery

SUMMER 2021 CHELSEA

Blue Green Pink Moon 9.19.42.1.M.1.2.3.G.1.L.20, 2019, pigment, resin and urethane on aluminum, 42 x 42 inches/106.7 x 106.7 cm 4

MIYA ANDO

Miya Ando is an American artist known for creating metal paintings that evoke both ephemerality and permanence. A descendant of Bizen sword makers, Ando spent her childhood among Buddhist priests in a temple in Okayama, Japan, and later, in California. She combines the traditional techniques of her ancestry with modern industrial technology, skillfully transforming sheets of metal into abstract paintings suffused with color. Working across two and three dimensions, Ando’s oeuvre includes abstract painting and sculpture as well as large-scale public pieces that reflect the transitory essence of life. Miya Ando has a Bachelor of Arts degree in East Asian studies from the University of California, Berkeley, and attended Yale University and Stanford University to study Buddhist iconography and imagery. She apprenticed with the master metalsmith Hattori Studio in Japan, followed by a residency at Northern California’s Public Art Academy. Ando’s work has been the subject of solo exhibitions at The Noguchi Museum, New York; Savannah College of Art and Design Museum, Georgia; The Nassau County Museum of Art, Roslyn Harbor, New York; and the American University Museum, Washington D.C. Her work has also been included in group exhibitions at the Los Angeles County Museum of Art, California; Bronx Museum and Queens Museum of Art, New York; and The Nassau County Museum of Art, Roslyn Harbor, New York. In 2015, her work was icluded in Frontiers Reimagined at the 56th Venice Biennale. Ando’s work is in the public collections of Los Angeles County Museum of Art, Detroit Institute of Arts Museum, Luft Museum in Germany, and in numerous private collections. She has been the Grants and awards include the Pollock-Krasner Foundation Grant Award. Ando has produced several public commissions, most notably a thirty-foot-tall sculpture in London built from World Trade Center steel to mark the ten-year anniversary of 9/11, for which she was nominated for a DARC Award in Best Light Art Installation, as well as for The Glass House in New Canaan, Connecticut, designed by Philip Johnson, which is now a museum and National Historic Landmark. Born in Los Angeles, 1973 | Lives and works in New York 5

Indigo Fog, 2020, dye, pigment, resin and urethane on aluminum, 24 x 48 inches/61 x 122 cm 6

Hakanai (Fleeting) Shift 1.20.3.3.1.M.1.2.G.1, 2020, pigment and urethane on aluminum, 36 x 36 inches/91.4 x 91.4 cm

Kumo (Cloud) January 1 2021 11:41 AM NYC, 2021, ink on aluminum composite, 25.5 x 31 x 2 inches/65 x 79 x 5 cm 10

Kumo (Cloud) January 8 2021 7:44 AM NYC, 2021, ink on aluminum composite, 25.5 x 31 x 2 inches/65 x 79 x 5 cm 11

May 14 2021 12:39 PM NYC, 2021, ink on aluminum composite, 60.5 x 37.25 inches/154 x 95 cm 12

May 11 2021 Kumo (Cloud) Diptych NYC, 2021, ink on aluminum composite, 60.5 x 74.5 inches/153.7 x 189.2 cm 13

Homage to Ustad Mansur, Red Fort, Agra, 2017, colour pigment print on Hahnemühle Fine Art Pearl Paper, 48 x 60 inches/122 x 152 cm 14

KAREN KNORR Through her photography and videos, American/British artist Karen Knorr explores the dynamics of power and its influence on cultural heritage, from the patriarchal structures of the English aristocracy to the roles and representations of animals in art. Born in Frankfurt in 1954 and raised in San Juan, Puerto Rico, Knorr is best known for her photographic series, India Song, which focuses on significant architectural spaces in Rajasthan. Within these lavish rooms—symbolic of wealth and societal power structures—Knorr digitally imposes images of tigers, elephants, peacocks and monkeys she photographed in reserves and zoos. Lush and playful, these vibrant, colorful images appear to be photographic renderings of Indian folklore, in which the line between reality and illusion is blurred. Yet Knorr’s work, which is influenced by surrealism and the mystical realism of Latin America, delves below the surface to consider issues of colonialism, exoticism, appropriation, societal hierarchies and femininity as it relates to the animal world. Knorr’s work has been exhibited at the Museum of London; The Museum of Fine Arts, Houston, Texas; San Diego Museum of Photography, California; Multimedia Art Museum, Moscow; Kyoto Modern Museum of Art, Japan; Seoul Museum of Art, Korea; and the Minsheng Art Museum, Shanghai. Her work is in the collections of the Tate London, Victoria and Albert Museum, and the United Kingdom Government Art Collection, England; Musee d’Art Moderne de la Ville de Paris and Centre Georges Pompidou, France; Moderna Museet, Stockholm; Folkwang Museum, Essen, Germany; San Francisco Museum of Modern Art, California; and the National Museum of Modern Art, Kyoto, Japan, among others. Knorr was awarded the Photography Pilar Citoler Prize in 2010 and was nominated for the Deutsche Börse in 2011 and 2012. She also received nominations for the Prix Pictet in 2012 and 2018. As an advocate for women in photography, she was made an Honorary Fellow at the Royal Photographic Society in 2018, as well as Honorary Chair of Women in Photography. Born in Frankfurt, Germany, 1954 | Lives and works in London 15

The Survivor, Deogarh Palace, Deogarh, 2012, colour pigment print on Hahnemühle Fine Art Pearl Paper, 48 x 60 inches/122 x 152 cm

Flight to Freedom, Durbar Hall, Dungarpur, 2010, colour pigment print on Hahnemühle Fine Art Pearl Paper, 23.6 x 30 inches/60 x 76.2 cm

Full Circle P 3, 2020, oil on linen, 71 x 86 inches/180.3 x 218.4 cm 20

RICARDO MAZAL Ricardo Mazal, one of Mexico’s most prominent contemporary artists, is known for his lush abstract oil paintings in which he explores spiritual themes. He is perhaps best known for his near decade-long investigations into the sacred burial rituals of diverse cultures, from the Mayan tomb of The Red Queen in Palenque, Chiapas, Mexico, to the Buddhist prayer flags of Bhutan. These studies yielded a succession of large, multidisciplinary bodies of work reflective of the artist’s observations. However, his most recent series, Violeta and Prague, are imbued with personal narrative, as Mazal evolves from witness to author. Ricardo Mazal’s work has been shown widely in galleries and museums throughout the Americas, Asia and Europe. Since 2000, he has had fourteen museum exhibitions in Mexico and the United States, including five retrospectives at the Museo de Arte Contemporaneo de Monterrey (2000), the Museo de Arte Moderno de la Ciudad de México (2006), the Museo de Arte de Querétaro (2009), the Museo de Arte Abstracto Manuel Felguerez (2010) and the Center for Contemporary Arts Santa Fe. Thematic exhibitions have been held at the Scottsdale Museum of Contemporary Art (2006), the Museo Nacional de Antropología (2004-2005) and the Centro Cultural Estación Indianilla, among others. In 2015 Mazal’s work was included in Frontiers Reimagined at the 56th Venice Biennale. Mazal’s work is included in the permanent collections of The Minneapolis Institute of Art, Minnesota; Scottsdale Museum of Contemporary Art, Arizona; Museo de Arte Moderno, Mexico City; Museo de Arte Abstracto Manuel Felguérez, Zacatecas, Mexico; Maeght Foundation, Paris; Centro de las Artes, Monterrey, Mexico; Cirque du Soleil, Montreal; the Peninsula Hotel, Shanghai; and Deutsche Bank, New York and Germany.

Born in Mexico City, 1950 | Lives and works in Santa Fe, New Mexico, and New York

SP Black 21, Oil on linen, 50 x 55 inches/127 x 139.7 cm 22

SP Text 6, oil on linen, 55 x 66 inches/139.7 x 167.6 cm 23

Full Circle P 6, 2020, oil on linen, 63 x 86 inches/160 x 218.4 cm

Anshula, 2006, ink & dye on paper, 60 x 45 inches/152.4 x 114.3 cm 26

SOHAN QADRI The late artist, poet and Tantric guru Sohan Qadri was one of the few modern painters of note deeply engaged with spirituality. He abandoned representation early on in his long career, incorporating Tantric symbolism and philosophy into his vibrantly colored minimalist works. Qadri worked primarily in paper, covering the surface of heavy paper with structural effects by soaking it in liquid and carving it in stages with sharp tools while applying inks and dyes. He transformed paper from a flat surface into a three-dimensional medium. The repetition of careful incisions was an integral part of his meditation. Having lived and worked in more than a dozen countries, Qadri was one of India’s many post-Independence artists who formed a sprawling diaspora. He once said, “I did not want to confine myself to one place, nation and community….My approach to life has been universal, and so is my art.” Qadri was initiated into yogic practice at age seven in India, his birthplace. In 1965, he left India and began travels that took him to East Africa, North America and Europe. After settling in Copenhagen in the 1970s, Qadri participated in more than forty solo shows, in Mumbai, Vienna, Brussels, London, Oslo, Stockholm, Montreal, Toronto, Los Angeles and New York. Sohan Qadri’s works are included in the British Museum, London; the Peabody Essex Museum, Massachusetts; the Rubin Museum of Art, New York; the National Gallery of Modern Art, New Delhi; the Los Angeles County Museum of Art; the Royal Ontario Museum, Toronto; as well as the private collections of Cirque du Soleil, Heinrich Böll and Dr. Robert Thurman. In 2011, Skira Editore published the monograph Sohan Qadri: The Seer. Born in Chachoki, Punjab, India, 1932; died 2011 | Lived and worked in Copenhagen and Toronto

Agamas III, 2008, ink and dye on paper, 55 x 39 inches/139.7 x 99.1 cm 28

Balini III, 2010, ink and dye on paper, 55 x 39 inches/139.7 x 99.1 cm 29

Amisha III, 2007, ink and dye on paper, 39 x 27 inches/99 x 69 cm

Iguacu, 2008, fluorescent pigment on mulberry paper mounted on board, 108 x 167.75 inches/274 x 426 cm 32

HIROSHI SENJU The Japanese-born New York-based painter was the first Asian artist to receive an Honorable Mention Award at the Venice Biennale (1995), and has participated in noted exhibitions around the world, including The New Way of Tea, curated by Alexandra Munroe, at the Japan Society and the Asia Society in New York, 2002; Paintings on Fusuma at the Tokyo National Museum, 2003; and Frontiers Reimagined at the Venice Biennale, 2015. Recent awards include the 77th Imperial Prize and the Japan Art Academy Prize from the Japan Art Academy, the Foreign Minister’s Commendation from the Japanese government for contributions to art and the Isamu Noguchi Award. Senju is expecially noted for his numerous public installations. These include seventy-seven murals at Juko-in, a sub-temple of Daitoku-ji, a Zen Buddhist temple in Japan and monumental waterfalls at Tokyo International Airport. The Benesse Art Site of Naoshima Island houses two large-scale installations. Most recently, the artist created two monumental paintings—a waterfall and a cliff—for the Kongobuji Temple at Koyasan in Japan to celebrate the venerated UNESCO World Heritage site’s 1,200th anniversary. Hiroshi Senju’s work is in The Metropolitan Museum of Art and Brooklyn Museum, New York; the Los Angeles County Museum of Art and the Museum of Contemporary Art, Los Angeles; the Asian Art Museum, San Francisco; the Nelson-Atkins Museum of Art, Kansas City, Missouri; the Royal Ontario Museum, Toronto; the Museum of Modern Art, Toyama, Japan; the Yamatane Museum of Art, Tokyo; Tokyo University of the Arts; and the Kushiro Art Museum, Hokkaido. In 2009, Skira Editore published a monograph of his work titled Hiroshi Senju. The Hiroshi Senju Museum Karuizawa in Japan opened in 2011. Born in Tokyo, 1958 | Lives and works in New York

Waterfall, 2014, acrylic pigments on Japanese mulberry paper, 71.6 x 179 inches/182 x 455 cm 34

Waterfall, 2019, natural pigments on Japanese mulberry paper mounted on board, 51.3 x 76.3 inches/130 x 194 cm 36

Waterfall, 2021, natural pigments and platinum on Japanese mulberry, paper mounted on board, 44.125 x 57.3 inches/112 x 145.5 cm 37

At World’s End #20, 2017, acrylic and natural pigments on Japanese mulberry paper, mounted on board, 63.8 x 51 5.3 inches/162.1 x 130.3 cm

Aggregation 08 - JL016 Blue, 2008, mixed media with Korean mulberry paper, 57.5 x 44.5 inches/146 x 113 cm 40

CHUN KWANG YOUNG Korean artist Chun Kwang Young incorporates elements of painting and sculpture in his practice. He is best known for his acclaimed Aggregation series. These assemblages, made from multitudes of triangular forms wrapped in antique mulberry paper tinted with teas or pigment, merge the techniques, materials and sentiment of his Korean heritage with the conceptual freedom he experienced during his Western education. Born in Hongchun in 1944, Chun grew up during the end of Japanese colonization and the brutality of the Korean War. In the early 1970s, he moved to the United States to pursue a Master’s Degree at the Philadelphia College of Art, where he was drawn to Abstract Expressionism. Over time, he became disillusioned with the materialistic drive that seemed to fuel the American dream and feelings of loneliness intensified his longing for home. Chun returned to Korea to focus on his own methodology, one that was wholly unique and reflective of his history and cultural identity. The development of his signature technique was sparked by childhood memories of medicinal herbs wrapped in mulberry paper and tied into small packages hanging from the ceiling of the local Chinese apothecary. Chun Kwang Young received a Bachelor of Fine Arts Degree from Hongik University, Seoul, and a Master of Fine Arts from the Philadelphia College of Art, Pennsylvania. His work is in numerous public collections, including The Rockefeller Foundation and the United Nations, New York; the Woodrow Wilson International Center for Scholars, Washington, D.C.; the Philadelphia Society Building, Pennsylvania; the National Museum of Modern and Contemporary Art, Seoul, and the Seoul Museum of Art; the National Gallery of Australia, Canberra; the Victoria and Albert Museum, London; and the National Museum of Fine Arts, Malta. In 2009, Chun was awarded the Presidential Prize in the 41st Korean Culture and Art Prize by the Ministry of Culture, Sports and Tourism.

Born in Hongchun, Korea, 1944 | Lives in works in Seongnam, Korea

Aggregation 19 - MY039, 2019, mixed media with Korean mulberry paper, 49.25 x 41.25 inches/125 x 105 cm 42

Aggregation 19 - JU45, 2019, mixed media with Korean mulberry paper, 45.75 x 39.4 inches/116 x 100 cm 43

Aggregation 18 - OC060 (Star 6), 2018, mixed media with Korean mulberry paper, 43.25 inches/110 cm tondo

SUNDARAM TAGORE GALLERIES The gallery has represented established and emerging artists from around the world since 2000. We show work that is aesthetically and intellectually rigorous, infused with humanism and art historically significant. We specialize in paintings, drawings, sculptures and installations with a strong emphasis on materiality. Our artists cross cultural and national boundaries, synthesizing Western visual language with forms, techniques and philosophies from Asia, the Subcontinent and the Middle East. We show this work alongside important work by overlooked women from the New York School. The gallery also has a robust photography program that includes some of the world’s most noted photographers.

NEW YORK Chelsea: 547 West 27th Street, New York, NY 10001 • tel 212 677 4520 Madison Avenue: 1100 Madison Avenue, New York, NY 10028 • tel 212 288 2889 gallery@sundaramtagore.com

SINGAPORE 5 Lock Road 01-05, Gillman Barracks, Singapore 108933 • tel 65 6694 3378 singapore@sundaramtagore.com

LONDON 4 Cromwell Place, London, SW7 2JE President and curator: Sundaram Tagore Senior Director, New York: Susan McCaffrey Director, Singapore: Melanie Taylor Director, New York: Kathryn McSweeney Registrar: Julia Occhiogrosso Designer: Russell Whitehead Editorial support: Kieran Doherty

WWW.SUNDARAMTAGORE.COM Text © 2021 Sundaram Tagore Gallery Photographs © 2021 Sundaram Tagore Gallery All rights reserved under international copyright conventions. No part of this catalogue may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any other information storage and retrieval system, without prior permission in writing from the publisher. Cover: Aggregation 18 - OC060 (Star 6), 2018, mixed media with Korean mulberry paper, 43.25 inches/110 cm tondo