INTERSECT ASPEN 2022 by Sundaram Tagore Gallery

INTERSECT ASPEN

INTERSECT ASPEN JULY 31 – AUGUST 4, 2022 BOOTH A8

MIYA ANDO Miya Ando’s paintings, sculptures and installation artworks have been the subject of recent solo exhibitions at The Asia Society Museum, Houston; The Noguchi Museum, New York; Savannah College of Art and Design Museum, Georgia; The Nassau County Museum, Roslyn Harbor, New York; and The American University Museum, Washington D.C. Her work has also been included in group exhibitions at the Smithsonian American Art Museum, Washington D.C.; Scottsdale Museum of Contemporary Art, Arizona; Los Angeles County Museum of Art; The Haus Der Kunst, Munich; and The Bronx Museum and The Queens Museum of Art, New York. Miya Ando’s work is included in the public collections of the Los Angeles County Museum of Art; The Nassau County Museum and the Corning Museum of Glass, New York; The Detroit Institute of Arts, Michigan; the Scottsdale Museum of Contemporary Art, Arizona; and the Santa Barbara Museum of Art; among other institutions. Ando has been the recipient of several grants and awards including the Pollock-Krasner Foundation Grant Award, and has produced numerous public commissions, most notably a thirty-foot-tall sculpture built from World Trade Center steel installed in Olympic Park in London to mark the ten-year anniversary of 9/11, for which she was nominated for a DARC Award in Best Light Art Installation. Ando has a bachelor’s degree in East Asian Studies from the University of California, Berkeley, studied East Asian Studies at Yale University and Stanford University, and apprenticed with a master metalsmith in Japan. Born in Los Angles, 1973 | Lives and works in New York

Meditation Green, 2013, hand-dyed anodized aluminum, 48 x 48 inches/122 x 122 cm 5

Yuugure Tondo 07.01.2022 7:48 PM, 2022, dye, micronized pure silver, pigment and resin on aluminum, 36 inches/91.4 cm tondo 6

Kumo (Cloud) Tondo 4.19.60.1, 2019, ink on aluminum composite, 60 inches/152.4 cm tondo 7

KAREN KNORR Through her photographs 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 and raised in San Juan, Puerto Rico, Knorr is best known for her photographic series India Song, a body of work that focuses on historic interiors in Rajasthan. Within these lavish rooms— symbolic of wealth and social power structures—Knorr digitally imposes images of live tigers, elephants, peacocks and monkeys, which she photographs in reserves and zoos. Lush and playful, these vibrantly colored 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. Karen Knorr has exhibited her work at the Museum of London; The Museum of Fine Arts, Houston; San Diego Museum of Photography, California; Kyoto Modern Museum of Art, Japan; Seoul Museum of Art, Korea; and the Minsheng Art Museum, Shanghai. Her work is in 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; and San Francisco Museum of Modern Art, California, among others. Knorr was awarded the Photography Pilar Citoler Prize in 2010 and nominated for the Deutsche Börse in both 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

Finding Refuge, Junha Mahal Dungarpur, 2013, colour pigment print on Canson Infinity Platine Fibre Rag Inkjet Paper, 31.5 x 39.4 inches/80 x 100 cm 9

The Opium Smoker, Chitrasala, Bundi, 2017, colour pigment print on Canson Infinity Platine Fibre Rag Inkjet Paper, 31.5 x 39.4 inches/80 x 100 cm 10

The Sound of Rain, Junagarh Fort, Bikaner, 2011, colour pigment print on Hahnemühle Fine Art Pearl Paper, 48 x 60 inches/122 x 152 cm 11

Interloper, Sheesh Mahal, Udaipur City Palace, 2019, colour pigment print on Canson Infinity Platine Fibre Rag Inkjet Paper, 24 x 30 inches/61 x 76.2 cm 12

Shakti, Junha Mahal, Dungarpur, 2013, colour pigment print on Hahnemühle Fine Art Pearl Paper, 48 x 60 inches, 122 x 152 cm 13

Flight to Freedom, Durbar Hall, Dungarpur, 2010, colour pigment print on Hahnemühle Fine Art Pearl Paper, 23.6 x 30 inches/60 x 76 cm

Every Encounter Treasured, Obai-in, Kyoto, 2017, colour pigment print on Hahnemühle FineArt Photo Rag Baryta 315gsm, 28.9 x 43.3 inches/73.4 x 110 cm 16

Intoxicated by the Moonlight, Obai-in, Kyoto, 2017, colour pigment print on Hahnemühle FineArt Photo Rag Baryta 315gsm, 39.9 x 59.8 inches/101.4 x 151.9 cm 17

JANE LEE Paint, canvas, frame, orientation and dimension—all are variables in Jane Lee’s hands. Through assiduous processes of layering, mixing, winding, wrapping, kneading, daubing and other acts of physical transformation, the renowned Singaporean artist redefines paint and painting to produce dynamic and bold forms. Operating in a post-colonial Southeast Asian context, Lee re-examines the significance of Western painting practices while asserting her own culture. Pushing the boundaries of the medium, her work echoes the breakdown of cultural barriers in the era of globalization and affirms the universality of contemporary art. Lee first gained critical acclaim when her work Raw Canvas was showcased at the Singapore Biennale in 2008, curated by Fumio Nanjo. Her work was then featured at Collectors’ Stage at the Singapore Art Museum in 2011 and in the Southeast Asia Platform, an exhibition of cutting-edge work from across the region at Art Stage Singapore in 2014. The following year, Lee’s work was selected for Prudential Singapore Eye, one of the largest surveys of Singapore’s contemporary art to date, held at the ArtScience Museum and Medium at Large, a year-long exhibition at the Singapore Art Museum, where her largescale installation Status, 2009, was acquired for the museum’s permanent collection. In 2015, Lee also participated in Frontiers Reimagined, a Collateral Event of the 56th Venice Biennale. Jane Lee has a Bachelor of Fine Arts degree and a Diploma in Fashion from LASALLE College of the Arts in Singapore. Lee has participated in numerous art fairs and exhibitions across the globe. Notable exhibitions include Jane Lee: Red States, a critically acclaimed solo exhibition at the Hong Kong Arts Centre in 2018; Meld, a solo Sundaram Tagore Gallery presentation at Art Basel in 2017; and Jane Lee: Freely, Freely at the Singapore Tyler Print Institute in 2016, which followed her 2015 residency.

Born in Singapore, 1963 | Lives and works in Singapore

Green Speaks, 2022, acrylic paint and mixed media on fibreglass, 20.1 x 18.1 x 3.15 inches/51 x 46 x 8 cm 19

ZHENG LU The gravity-defying sculptural works of Zheng Lu, which are installed in public spaces throughout China, are deeply influenced by his study of traditional Chinese philosophy, and often calligraphy, an art form he practiced growing up in a literary family. Zheng Lu is known for using language as a pictorial element, inscribing the surface of his stainless-steel sculptures—often in the form of dripping water—with thousands of Chinese characters derived from texts and poems of historical significance. With recent work, the artist continues to explore water, long a subject of fascination. Early Chinese philosophers used physical principles of the natural world to better understand the mysteries of the cosmos and the nature of man. Water, a shapeless medium that can be potent or supple, dynamic or latent, can take on abundant meaning and serve as a tangible model embedded with ideas. For Zheng, it is not only an element essential to existence, but a substance symbolic of change, self-reflection and the passage of time. His fluid splashes, seemingly captured in midair, are technically astonishing; their forms are charged with the energy (qi) of the universe, belying their stainless-steel composite. Zheng Lu graduated from Lu Xun Fine Art Academy, Shenyang, with a Bachelor of Fine Arts degree in sculpture in 2003. In 2007, he received a Master of Fine Arts degree in sculpture from the Central Academy of Fine Art, Beijing, while also attending an advanced study program at the École Nationale Supérieure des Beaux-arts in Paris. Zheng Lu has participated in numerous exhibitions in China and abroad, including at the Museum on the Seam, Jerusalem; the Ekaterina Cultural Foundation, Moscow; Musée Océanographique, Monaco; Musée Maillol, Paris; the National Museum of China, Beijing; the Long Museum and the Shanghai Duolun Museum of Modern Art, Shanghai. In 2015, the artist had a solo exhibition at the Museum of Contemporary Art, Taipei, one of the leading institutions in the region. Born in Chi Feng, Inner Mongolia, 1978 | Lives and works in Beijing

Yan Fei, 2019, stainless steel, 43.3 x 29.1 x 25.6 inches/110 x 74 x 65 cm 21

Airily Surging, 2019, stainless steel, 49.25 x 35.4 x 51.25 inches/125 x 90 x 130 cm

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, incorporating Tantric symbolism and philosophy into his vibrantly colored minimalist works. Qadri began his process by soaking heavy paper in liquid then carving the surface in stages with sharp tools while applying inks and dyes. As a result, he transformed the paper from a flat surface into a threedimensional medium. The repetition of careful incisions on the paper was an integral part of his meditation. Qadri was initiated into yogic practice at age seven in India, his birthplace. In 1965, he left India and began a series of travels that took him to East Africa, North America and Europe. After settling in Copenhagen in the 1970s, Qadri participated in more than 40 solo shows, in Mumbai, Vienna, Brussels, London, Oslo, Stockholm, Montreal, Toronto, Los Angeles and New York. Having lived and worked in many 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.” 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

Chinmaya I, 2007, ink and dye on paper, 27 x 39 inches/68.6 x 99.1 cm 25

Untitled, 2001, ink and dye on paper, 27.5 x 39 inches/69.9 x 99.1 cm

HIROSHI SENJU Japanese-born New York-based painter Hiroshi Senju is noted worldwide for his sublime waterfall and cliff images, which are often monumental in scale. He combines a minimalist visual language rooted in Abstract Expressionism with elements of traditional Japanese painting. Hiroshi Senju was the first Asian artist to receive an Honorable Mention Award at the Venice Biennale (1995), and has participated in numerous notable exhibitions 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. Rrecently, an immersive fluorescent waterfall installation was on view for eight months at the Art Institute of Chicago. Public installations 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 (Haneda). The Benesse Art Site of Naoshima Island houses two large-scale installations. The artist’s monumental cliff and waterfall paintings for the Kongobuji Temple at Koyasan—a UNESCO World Heritage Site and sacred Buddhist monument—traveled to museums throughout Japan before being installed in 2020. Senju was awarded the Foreign Minister’s Commendation from the Japanese government for contributions to art in 2017, and in the same year, he was honored with the Isamu Noguchi Award. 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, 102 x 76.3 inches/259 x 194 cm 29

At World’s End #6, 2017, acrylic and natural pigments on Japanese mulberry paper mounted on board, 76.3 x 102 inches/193.8 x 259.1 cm

CHUN KWANG YOUNG Chun Kwang Young, whose work is currently on view in a major solo exhibition at the Venice Biennale, incorporates elements of painting and sculpture in his practice. He is best known for his acclaimed Aggregation series: freestanding and wall-hung amalgamations of small, triangular forms wrapped in antique mulberry paper, often tinted with teas or pigment. Born in Hongchun, Korea 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 Philadelphia College of Art, where he was deeply drawn to Abstract Expressionism. “It seemed to be the best way to freely express my surprise and sadness at witnessing the huge gap between idea and reality,” he says. Over time, Chun became disillusioned with the materialistic drive that seemed to fuel the American dream and feelings of loneliness intensified his longing for home. During this period, Chun’s paintings, which explored the effects of light and color, reflected his interest in Abstract Expressionism; however, he ultimately found the expression inauthentic. Chun returned to Korea to focus on developing his own methodology, one that was wholly unique and reflective of his history and cultural identity. The development of Chun’s signature technique was sparked by childhood memories of seeing medicinal herbs wrapped in mulberry paper, tied into small packages and hung from the ceiling of the local doctor’s office. He became intrigued with the idea of merging the techniques, materials and sentiment of his Korean heritage with the conceptual freedom he experienced during his Western education. Over the years, Chun’s Aggregations have become more colorful and evolved in complexity and scale, but the use of mulberry paper remains at the core of his practice. Although imbued with the spirit of Korean tradition and history, Chun’s work, with its intricate, abstract compositions, is grounded in a purely contemporary context. 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. Notable exhibitions include Kwang Young Chun: Aggregations at the Brooklyn Museum (2018–2019). His work is in numerous public collections, including the Victoria and Albert Museum, London; the Boghossian Foundation, Brussels; the Aldrich Contemporary Art Museum, Ridgefield, Connecticut; the Knoxville Museum of Art, Tennessee; the Mori Art Museum, Tokyo; and the National Museum of Modern and Contemporary Art, Korea. Born 1944 in Hongchun, Korea | Lives in works in Seongnam, Korea

Aggregation 10 - DE051 Red, 2010, mixed media on Korean mulberry paper, 51.6 x 76.75 inches/131 x 195 cm 33

Aggregation 18 - JU036, 2018, mixed media with Korean mulberry paper, 73.25 x 61.75 inches/186 x 157 cm

SUNDARAM TAGORE GALLERIES We have been representing 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: 542 West 26th Street, New York, NY 10001 • tel 212 677 4520 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 gallery@sundaramtagore.com 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 © 2022 Sundaram Tagore Gallery Photographs © 2022 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: Jane Lee, Green Speaks (detail), 2022, acrylic paint and mixed media on fibreglass, 20.1 x 18.1 x 3.15 inches/51 x 46 x 8 cm