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25.01.2022 On Sunday 20 September 2020, TAASA members enjoyed a free zoom talk - Conversations 3: Transnationalism in Porcelain Ceramics. First Penny Bailey discussed how Yanagi Setsu established Japan's Folk Craft (mingei) Movement in the 1920s. Affordable, beautiful and useful objects made by ordinary people were the focus. Yanagi started collecting paekcha (white porcelain) objects in the 1910s. He travelled to Korea in 1916, falling in love instantly with the great beauty of Korean...Continue reading
24.01.2022 TAASA Monday evening zoom lecture 15 September 2020 Thank you David Ellis for your very informative zoom lecture this evening - The new Chau Chak Wing Museum at the University of Sydney and its Asian collections. David is the Director of Museums and Cultural Engagement at the University of Sydney. The new 5-storey purpose-built building by PTW architects will enable students and visitors greater access to exhibits in the one building, instead of scattered across a range of ...venues. Thanks to generous philanthropists and donors, the $66.2 million project began in 2015 and will open on 18 November with free entry. An uncompromisingly modern interior with lots of natural light becomes a perfect place to exhibit the objects. There will be about double the amount of objects on display as previously shown. we look forward to exploring it in person soon. Congratulations to David and his team for bringing this all together and making it happen. See more
24.01.2022 Join us next Sunday 20 September 5:00 - 6:00 pm for our free TAASA MEMBERS ONLY ZOOM TALK "Conversations 3:Transnationalism in Porcelain Ceramics" with James MacKean and Penny Bailey HOW TO REGISTER Please email Mandy Ridley to secure your place [email protected]... Part 1: The White Road: A Pilgrimage of Sorts with Edmund de Waal James MacKean takes us along with English potter and author Edmund de Waal to Venice - where he was an invited artist at the 2019 Venice Biennale, creating two exhibitions jointly titled 'Psalm' - including a major new work the Library of Exile. We then look back to the life of that most famous Venetian - Marco Polo - and the emergence of white porcelains from China along the trade routes of the Silk Road. James MacKean is a collector of oriental ceramics and the TAASA Queensland Convenor. Part 2: Yanagi Setsu and Korean Porcelains: An Inspiration in Establishing Japan's Folk Craft Movement Penny Bailey discusses Yanagi’s contact in the 1910s and 1920s with the visual culture of Korea, and how Chosn dynasty (13921910) paekcha porcelains helped to inspire his formulation of the mingei (folk craft) theory that grew out of the establishment of the Japan Folk Crafts Movement from 1926. Penny Bailey is a researcher in Japanese and Korean art history at The University of Queensland. Her doctoral research examined the ways in which the founder of Japan’s Mingei (Folk Craft) Movement, Yanagi Setsu, theorised Korean visual cultures during Korea’s colonial period (19101945) in an effort to campaign for Korean sovereignty.
23.01.2022 This morning started with a smoking ceremony led by Brendan Japangardi Kerin, before we opened the doors to the first public visitors! The Chau Chak Wing Museum is now open 7 days and late on Thursday nights. Entry is free and booking is essential: https://bit.ly/35D0gOC
21.01.2022 Ceramic Artists to the Imperial Household of Japan DANIEL McOWAN Tuesday 27 October 2020 FREE MEMBERS ONLY ZOOM TALK 5:00 - 6:00 pm... This talk focusses on the little known Meiji and later ceramicists who were made Artists to the Imperial Household (teishitsu gigei-in), the precursor of the Living National Treasure designation. Only five ceramicists achieved this recognition, masters of their trade and leaders within the Kyoto ceramics world prior to 1945. Using examples of their work, the differences in their approaches and achievements are explained. Daniel McOwan was Director of Hamilton Art Gallery for 27 years, where he developed the Asian and European decorative arts collections. Now a consultant with his own company art assessment agency he continues his work in the decorative arts field and is a valuer for Japanese art under the Cultural Gifts Program. Daniel collects 20th century Japanese ceramics and 20th century European Decorative Arts. HOW TO REGISTER Please email Carl Wantrup by Saturday 24 October to secure your place. [email protected] IMAGE1: A celadon pail-form mizusashi by Suwa Sozan I IMAGE2: Daniel McOwan IMAGE3: A low-relief carved double gourd vase by Seifu Yohei III
11.01.2022 This is the publication linked to the Samurai Exhibition at The Art Gallery of South Australia.
10.01.2022 On Monday 9 November 2020, SAMER AKKACH (Professor of architectural history and theory and Founding Director of the Centre for Asian and Middle Eastern Architecture (CAMEA) at the University of Adelaide) talked to us about Islamic Art: Beyond Perception and Perspective. The conceptualisation of Islamic art in western art history discourse relies on two interrelated interpretive tools: perception and perspective. Visual perception places emphasis on appearance and aestheti...c qualities, which becomes ‘a point of view’, a ‘perspective’, when it represents a singular human-generated vision entrusted for providing an authoritative interpretation of what is being seen. This talk will show how human agency and authoritative point of view, as enacted through visual perception and embodied in the concept and technique of perspective, is absent in the traditional Islamic understanding of art making, which tends to take into account the dialectic relationship between the seen, the unseen, and the unseeable. Samer challenged us to see how past art historians might demonstrate European exceptionalism, cultural superiority and Eurocentrism. For example, why was perspective drawn so differently in Islamic illustrations? Europeans related visual perception to your eyes, what you see. They wanted it to look realistic. Arabic concepts of perception are wider than just sight and include imagination. Their illustrations are not restricted to one point of view and can include multiple viewpoints. Samer discussed the Dome of the Rock in Jerusalem as another example of different understandings about place. This monument marks where the spot where Mohammed miraculously transferred to from Mecca and from where he rose up to heaven. Built in 691-692 CE, it was the 1st highly sophisticated islamic building. Christian historians, such as the celebrated art historian Oleg Grabar (1929-2011 ), see it as an Arab political statement, showing their dominance over Jerusalem. When in 1099 Crusaders took it over, they believed it was pre-Islamic, a Christian temple, so it was consecrated by the pope and used as a church for the next 100 years. A 17th century Sufi scholar, Al -Nabulusi, visited it and was indifferent to the building itself. The rock is supposed to hover miraculously above the ground and he believed Europeans had built the building to hide this powerful Islamic concept. This is a completely different perception of this building, where the Rock, held up by divine power, is like a veil to reality. IMAGE1: Samer Akkach IMAGE2: The Holy Rock, Jerusalem, by Carl Frederich Heinrich Werner (German, 1808-1894, visited Jerusalem c. 1862-64). Watercolour, Private collection IMAGE3: The layout of the Haram in Jerusalem as depicted in Sayyid Ali al-Husayni’s Kitab Shawq_nama (mid 16th c.), Rachel Milstein, JSAI 25 (2001): 336.
07.01.2022 During the 1970s artists Nam June Paik and Charlotte Moorman were pioneering collaborators in making art that experimented with new technologies. Go behind the ...scenes with Lisa Catt, assistant curator of international art, and Asti Sherring, senior time-based art conservator, to discover how Paik and Moorman adopted the technological developments of their time and how the Gallery is preserving their innovative art for the future. Filmed on Gadigal and Wangal Country. With thanks to Together In Art supporters: Philanthropic Support Partner AGNSW Women’s Art Group | Presenting Partner of the AGNSW Contemporary Galleries UBS Art #TogetherInArt #WhatsInTheBox #MuseumFromHome #ArtConservation
03.01.2022 A taste for the exotic: The samurai and a world of commodities Thank you Russell for another brilliant TAASA Members Only zoom lecture this afternoon. Russell Kelty is Associate Curator of Asian Art, Art Gallery of South Australia and Curator of the Samurai exhibition. He spent 3 years living and working in Japan and is currently a PhD candidate at Sydney University, examining the depiction of foreign ships in Japan from c.1639 to 1854. Russell led us through each room in th...is exhibition, which opened on 24 July 2020, explaining how the Samurai were so much more than just warriors or killers. They were highly cultured and helped establish many of the ideals of Japanese art and culture that we see today. We looked at important items such as Battle scenes from the Tale of Heike folded screens, rustic bowls, beautifully crafted clothes, an amazing Samurai warrior’s outfit and a jinbaori (surcoat) made from textiles from at least 4 international sources. We heard how Japanese culture was influenced by the Dutch East India Company who traded Indonesian, Indian and Persian textiles. There was also a very strong influence from many Korean ceramic imports. The exhibition will continue for many months yet so you may like to see it in person (free entry). There is an accompanying publication, Samurai Transformed. IMAGE: Battle scenes from the Tale of Heike (Heike Monogatari) IMAGE: Japan, No costume, with autumn grasses design, 1910-20, Japan, silk, metallic thread, natural and synthetic dyes, resist dye and supplementary weft brocade; Gift of Andrew and Hiroko Gwinnett through the Art Gallery of South Australia Foundation 2008, AGSA IMAGE: China and Europe-Japan, Surcoat [jinbaori], with mon, late 18th century with 19th century repairs, brocade, China, velvet and factory print, Japan, possibly France, assembled in Japan, cotton, wool, silk, velvet, metallic thread, natural dyes, supplementary weft and plain weave, wood, 101.0 x 85.0 cm; Helen Bowden Gift Fund 2015, Art Gallery of South Australia, Adelaide
02.01.2022 West Qin #embroidery- Flower tent, historical tent with so many legendary stories on it, now waiting for you to discover!
02.01.2022 Conversations 4 India: Artist responses to the pandemic Sunday 18 October 2020 MEMBERS Free ZOOM TALK 5:00 - 6:00 pm Queensland...Continue reading
