Artists & Identity

This conversation celebrates the opening of the exhibition Out of Character: Decoding Chinese Calligraphy (on view at the Asian Art Museum from October 5, 2012–January 13, 2013). It explores the overlapping interests of internationally recognized contemporary artist Xu Bing and Jerry Yang, a passionate collector and practitioner of Chinese calligraphy. The museum’s director, Dr. Jay Xu, moderates the discussion, focusing on the new artwork by Xu Bing commissioned for the exhibition, along with masterpiece artworks from Jerry Yang’s collection.

Dubbed “one of Southeast Asia’s leading contemporary artists,” Jakkai Siributr is noted for his detailed tapestries and installations that comment on the religious, social and political issues facing Thailand today. Asian Art Museum Art Speak interns sat down with Jakkai to discuss his three works in the exhibition Here/Not Here: Buddha Presence in Eight Recent Works (on view at the Asian Art Museum from April 1–October 23, 3011) and his perspectives on politics, art school, free time, and much more.

Artist Joanna Swan discusses India and her work during the during the PechaKucha Night at the Asian Art Museum.

Hermit in landscape, approx. 1618–1652, Chen Hongshou (1598-1652). China; Ming dynasty (1368–1644) or Qing dynasty (1644-1912). Hanging Scroll; ink and colors on silk. Museum purchase, B79D8.

New Delhi-based artist Jagannath Panda lives in the burgeoning city of Gurgaon, which is one of India’s major outsourcing hubs and bases of operation for global corporations. His works illustrate the city’s tensions, as overdevelopment threatens natural habitats and infrastructures collapse before they are completed. Panda’s mix of mythology and realism points to the evolving nature of Indian identity and experience today.

Watch artist Kong Pak-yu demonstrate brushpainting at the Asian Art Museum.

Students create a murakkaalar (calligraphy album) of their name and adjectives that describe their personality written in Arabic. They will make a calligraphy reed and learn to write with it. A kit’alar is a calligraphic work written on a rectangular piece of paper pasted onto a cardboard backing. Equal margins are left around the calligraphy in which the artist decorates with marbled paper (ebru) or illumination. A murrakkalar is a series of kit’alar attached together in an album that resembles an accordion.

In addition to superior strategic and military ability, most elite samurai were expected to be versed in the cultural arts. The warrior’s ideal balance of military and artistic skill is captured well in this description of the sixteenth century daimyo Hosokawa Yusai (1534–1610): “Renowned for his elegant pursuits, he is a complete man combining arts [bun] and arms [bu] . . .” Learn more.

This selection of resources introduces students to the vocabulary, techniques, and values of East Asian ink painting. Lessons and background information compliment the Brushpainting: Nature in Art school program at the Asian Art Museum.

Learn about the Japanese artist Utagawa (Ando) Hiroshige (1797–1858).