Miya Ando Sora | Ku Singapore

MIYA ANDO | ( | ) SORA KU SKY EMPTINESS

MIYA ANDO | ( | ) SORA KU SKY EMPTINESS SUNDARAM TAGORE SINGAPORE OCTOBER 30, 2014 TO JANUARY 8, 2015

GAL L E RY M I S S I O N Established in 2000, Sundaram Tagore Gallery is devoted to examining the exchange of ideas between Western and non-Western cultures. We focus on developing exhibitions and hosting not-for-profit events that encourage spiritual, social and aesthetic dialogues. In a world where communication is instant and cultures are colliding and melding as never before, our goal is to provide venues for art that transcend boundaries of all sorts. With alliances across the globe, our interest in cross-cultural exchange extends beyond the visual arts into many other disciplines, including poetry, literature, performance art, film and music.

MIYA ANDO | ( | ) SORA KU SKY EMPTINESS

Sundaram Tagore Galleries in Hong Kong and Ando’s new paintings are shades of vivid blue, Singapore are pleased to present a dual exhibition of pink, green, gray, orange and gold. It is a palette recent paintings by New York artist Miya Ando. inspired by nature, which she conjures from a limited selection of industrial pigments and dyes.

A descendant of Bizen sword makers, Ando spent Combining pigment and urethane, she applies the her childhood among Buddhist priests in a temple in mixture with a brush to the metal canvas in a layered Okayama, Japan, and later, in California. Combining process. This allows for variations of hue and finish, traditional techniques of her ancestry with modern with some areas of the painting matte and others industrial technology, Ando skillfully turns sheets of glossy. To produce a high-gloss finish, she adds metal into ephemeral, abstract paintings suffused with additional layers of urethane and resin, which vividly color. The artist has produced more than ninety new amplify the reflective quality of the metal. Often works for these exhibitions, ranging in size from 30 x Ando will subtract layers by sanding and grinding 30 cm to 182 x 137 cm. in order to achieve the desired finish. The resulting works subtly evoke ethereal, minimalist landscapes, The foundation of Miya Ando’s practice is the cloud formations and abstracted metallic horizons. transformation of surfaces. She alters a metal’s properties by applying heat, sandpaper, grinders, Ando’s goal has always been to create a relationship pigments and chemical substances to produce subtle, between her industrial materials and the natural world. light-reflective gradations of texture and color.

This paradoxical pairing is intentional. Not only is it a Lumina Ume, 2011, hand-dyed anodized aluminum, 15.75 x 15.75 inches/40 x 40 cm

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way for the artist, who is highly attuned to nature, to connect with her heritage, but it is also an exploration of impermanence and the passage of time. Ando attributes the Buddhist notion of ku (emptiness) to her paintings before viewer interaction occurs. Viewers counter the notion of ku and complete the painting when they become aware of the fleetingness of time embodied in the gradations of form and color that occur with the shifting of light over the course of the day and the passage of the seasons.

The artist’s use of color also determines the viewer experience. Ando perceives color as light moving at different frequencies. She plays upon this by employing glossy and matte finishes, as well as mineral dust, and contrasting color with glimpses of the metal canvas.

The results can be translucent yet opaque, creating a juxtaposition that draws attention to transient moments captured in the painting.

A small selection of earlier paintings on anodized aluminum, in which sapphire crystals are electroplated to the metal, will also be on view.

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The Singapore exhibition also includes two installations.

The 1.9-by-1.9-meter installation Emptiness the Sky (Shou Sugi Ban) 2 is constructed of four walls clad in shou sugi ban, a charred wood used as an exterior building material in her hometown of Okayama. Similar to the metal she uses, the wood, once charred, is transformed, becoming stronger and more durable.

On one wall is a small door, a nijiriguchi, a typical architectural element in Japanese chado (tea-ceremony houses). Teahouses are traditionally spaces without hierarchy or elitism and thus the nijiriguchi requires all who enter to bow their heads (traditionally, this included even Samurais, who also had to remove their swords, a symbol of rank, in order to enter). The interior of the sculpture offers a quiet space for contemplation and the experience of stepping inside one of Ando’s metal paintings.

The artist’s second installation, Fuji (Wisteria) Forest, is composed of hundreds of cascading Bodhi leaves in gradients of purple, alluding to the artist’s heritage. The name Ando translates as “peaceful wisteria” and purple is the color of the wisteria flower. The 1.6-meter-tall

installation also references momiji-gari, the Japanese tradition of traveling to scenic areas to view autumn leaves. Although it is considered a secular event, there is a spiritual element, as viewers are reminded that all things are transitory and that these transformations, cyclical and otherwise, mark time.

Miya Ando has a Bachelor of Arts degree in East Asian Studies from the University of California, Berkeley, and attended Yale 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.

Her work has been shown worldwide, including in a show curated by Nat Trotman of the Guggenheim Museum and an exhibition at the Queens Museum, New York. A large installation is currently on view in Frontiers Reimagined, a collateral event of the 56th Venice Biennale (www.frontiersreimagined.org).

anniversary of 9/11, for which she was recently nominated for a DARC Award in Best Light Art Installation. Awards include the Pollock-Krasner Foundation Grant, 2012.

She lives and works in New York.

-September 2015

Miya Ando has produced numerous public commissions, most notably a thirty-foot-tall sculpture in London built from World Trade Center steel to mark the ten-year

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Aka Red, 2015, pigment, urethane, resin and dye on aluminum, 36 x 36 inches/91.5 x 91.5 cm

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Ephemeral Autumn, 2015, urethane and pigment on aluminum, 48 x 48 inches/122 x 122 cm

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Vermillion Red Orange Shift, 2015, urethane and pigment on aluminum, 48 x 48 inches/122 x 122 cm

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Faint Pewter, 2015, urethane and pigment on aluminum, 36 x 36 inches/91.5 x 91.5 cm 16

Faint Pink Orange Shift, 2015, urethane and pigment on aluminum, 36 x 36 inches/91.5 x 91.5 cm 17

Urushi Lacquer Murasaki, 2015, urethane and pigment on aluminum, 36 x 36 inches/91.5 x 91.5 cm

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Ama No Gawa 2 Milky Way or the River of the Stars in Heaven, 2015, pigment, urethane, resin and mineral dust on aluminum, 36 x 144 inches/91.5 x 366 cm 20

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Ukigumo Floating Cloud White, 2015, urethane and pigment on aluminum, 36 x 36 inches/91.5 x 91.5 cm 22

Ephemeral Indigo, 2015, pigment, urethane, resin and dye on aluminum, 36 x 36 inches/91.5 x 91.5 cm 23

Turquoise, 2015, urethane, pigment and resin on aluminum, 48 x 24 inches/122 x 61 cm

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Urushi Lacquer Indigo, 2015, urethane and pigment on aluminum, 24 x 48 inches/61 x 122 cm 26

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Green Rose Shift, 2015, pigment, urethane, resin and dye on aluminum, 36 x 36 inches/91.5 x 91.5 cm

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Topaz, 2015, urethane, pigment and resin on aluminum, 48 x 24 inches/122 x 61 cm

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Blue Mist, 2015, urethane and pigment on aluminum, 36 x 36 inches/91.5 x 91.5 cm 32

White Gold Light Mist, 2015, urethane, pigment and resin on aluminum, 36 x 36 inches/91.5 x 91.5 cm 33

Watercolor Bokashi Red, 2015, hand-dyed anodized aluminum, 24 x 24 inches/61 x 61 cm

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Winter Indigo, 2015, urethane and pigment on aluminum Alucore, 48 x 48 inches/122 x 122 cm

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Heart Sutra, 2015, urethane on aluminum, 36 x 36 inches/91.5 x 91.5 cm 38

Evanescent Blue Shift (one panel of a diptych), 2015, urethane and pigment on aluminum, 48 x 48 inches/122 x 122 cm 39

Evanescent Blue, 2015, urethane and pigment on aluminum, 36 x 36 inches/91.5 x 91.5 cm

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Gold Diptych, 2015, urethane and pigment on aluminum, 48 x 48 inches/122 x 122 cm

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Winter Dark Grey, 2015, urethane and pigment on aluminum, 36 x 72 inches/91.5 x 183 cm

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Evanescent Vermillion, 2015, urethane, pigment and resin on aluminum Alucore, 36 x 36 inches/91.5 x 91.5 cm

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Evanescent Beni Iro Red, 2015, urethane, pigment and resin on aluminum Alucore, 36 x 36 inches/91.5 x 91.5 cm

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Hamon Cloudlike Pattern on the Edge of a Sword 4, 2015, urethane and pigment on aluminum, 48 x 96 inches/122 x 244 cm

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Evanescent Tourmaline Shift, 2015, urethane and pigment on aluminum, 36 x 36 inches/91.5 x 91.5 cm

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Autumn Orange Gold Shift, 2015, urethane, pigment and resin on aluminum Alucore, 36 x 36 inches/91.5 x 91.5 cm

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Emptiness the Sky Murasaki, 2015, urethane and pigment on aluminum, 72 x 54 inches/183 x 137 cm

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Winter Indigo, 2015, urethane and pigment on aluminum, 36 x 36 inches/91.5 x 91.5 cm

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Autumn Forest Green, 2015, pigment, urethane, resin and dye on aluminum, 48 x 24 inches/122 x 61 cm

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Hamon 8, 2015, urethane and pigment on aluminum, 24 x 48 inches/61 x 122 cm

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Black Blue Red, 2014, hand-dyed anodized aluminum, 18 x 36 inches/46 x 91.5 cm

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Winter Black, 2015, urethane and pigment on aluminum, 36 x 36 inches/91.5 x 91.5 cm

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Fuji (Wisteria) Forest, 2015, Bodhi Ficus religiosa skeleton leaves, dye and monofilament, 62 x 48 x 4 inches/157.5 x 122 x 10 cm

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White, 2015, urethane, pigment and resin on aluminum, 36 x 36 inches/91.5 x 91.5 cm

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Summer Pink Gold Shift, 2015, urethane, pigment and resin on aluminum, 24 x 48 inches/61 x 122 cm

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Spring Faint Sky Blue Lavender, 2015, urethane and pigment on aluminum, 36 x 36 inches/91.5 x 91.5 cm

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Spring Wisteria, 2015, urethane and pigment on aluminum, 36 x 36 inches/91.5 x 91.5 cm

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Haru Spring Faint Pink, 2015, urethane and pigment on aluminum, 36 x 36 inches/91.5 x 91.5 cm

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Fuyu Winter Blue Green, 2015, urethane, pigment and resin on aluminum, 36 x 36 inches/91.5 x 91.5 cm

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Autumn Gold, 2015, urethane, pigment and resin on aluminum, 24 x 48 inches/61 x 122 cm

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Left: Lumina Hi 1, 2011, hand-dyed anodized aluminum, 15.75 x 15.75 inches/40 x 40 cm Right: Lumina Hi 2, 2011, hand-dyed anodized aluminum, 15.75 x 15.75 inches/40 x 40 cm 84

Left: Lumina Koyo 2, 2011, hand-dyed anodized aluminum, 15.75 x 15.75 inches/40 x 40 cm Right: Lumina Koyo, 2011, hand-dyed anodized aluminum, 15.75 x 15.75 inches/40 x 40 cm 85

Left: Lumina Mizu 2, 2011, hand-dyed anodized aluminum, 15.75 x 15.75 inches/40 x 40 cm Right: Lumina Mizu 5, 2011, hand-dyed anodized aluminum, 15.75 x 15.75 inches/40 x 40 cm 86

Left: Lumina Mizu 6, 2011, hand-dyed anodized aluminum, 15.75 x 15.75 inches/40 x 40 cm Right: Lumina Sakura, 2011, hand-dyed anodized aluminum, 15.75 x 15.75 inches/40 x 40 cm 87

Emptiness the Sky (Shou Sugi Ban) 2, 2015, shou sugi ban facade, wood sub-structure, dyed aluminum panels, 74 x 74 x 74 inches/188 x 188 x 188 cm

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Watercolor Beige Pink, 2015, hand-dyed anodized aluminum, 24 x 48 inches/61 x 122 cm

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Evanescent Spring Blue Green, 2015, urethane and pigment on aluminum, 36 x 72 inches/91.5 x 183 cm

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Ginga Silver River or Galaxy, 2015, pigment, urethane, resin and mineral dust on aluminum, 48 x 48 inches/122 x 122 cm

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MIYA ANDO Born in Los Angeles Certificate of Completion, Public Art Academy, Northern California Apprentice to master metalsmith, Hattori Studio, Okayama, Japan East Asian Studies, Yale University, New Haven, Connecticut B.S., magna cum laude, East Asian Studies, University of California, Berkeley

SELECTED GROUP EXHIBITIONS

2016 de Saisset Museum, Santa Clara University (Forthcoming) 2015 1:1 — Pairings from the Escalette Collection of Art, Doy and Dee Henley Galleria, Chapman University, California Miya Ando & Karen Gunderson, 212 Gallery, Aspen Colorado Summer Selections: Miya Ando & Kim Keever, Winston Wachter Seattle SELECTED SOLO EXHIBITIONS Little Piece, ‘Tsuru No Ongaeshi’ Video Installation, Custom

House Studios and Gallery, Ireland 2015 Sora/Ku (Sky/Emptiness), Sundaram Tagore Gallery, Singapore Do You See What I See? Nova Gallery, Manila, Philippines Sora/Ku (Sky/Emptiness), Sundaram Tagore Gallery, Hong Kong Vantage Points, Memorial Sloan Kettering Cancer Center, curated Evenings, Madison Galleries, La Jolla, California

by Sarah Campbell, New York 2014 Outside Looking In, Lesley Kehoe Galleries, Melbourne Samurai! Worcester Art Museum, Massachusetts Fleeting Light, Narthex Gallery Saint Peter’s Church, New York Frontiers Reimagined, 56th La Biennale di Venezia, Museo di Kisetsu (Seasons), Sundaram Tagore Gallery, New York

Palazzo Grimani, Venice Aurora, Mead Carney Fine Art, London Scope New York, Tribeca Grand Hotel, curated by Natalie Kates Light Metal, Sundaram Tagore Gallery, Hong Kong 2014 Group Show, Lora Schelsinger Gallery, Los Angeles Hamon (Cloud-Like Pattern), Lora Schlesinger, Los Angeles Night Light, Fresh Windows Gallery, Brooklyn, New York 2013 Tides & Phases of the Moon, K Imperial Gallery, San Francisco Summer Group Show, Sundaram Tagore Gallery, New York Mujo (Impermanence), Sundaram Tagore Gallery, New York 2014 Current Projects, Smith Andersen Editions, Palo Alto Transformations, Martin Asbaek Gallery and Bang & Olufsen, Group Show, Lora Schlesinger Gallery, Santa Monica Copenhagen Summer Group Show, Sundaram Tagore Gallery, Hong Kong Miya Ando, Dixten Les Docks, Paris Shock of the New, Mead Carney Gallery, Monte Negro 2012 Meditations, Madison Galleries, La Jolla, California Raising the Temperature: Art works in environmental reactions, 2011 The Color of Light, Lora Schlesinger Gallery, Santa Monica, California curated by Luchia Lee, Queens Museum, New York Elements, Galerie Sho Contemporary Art, Tokyo 2013 Wu-Tang Exhibition, Wallplay, New York Reflections, Shibuya Seibu Artspace, Tokyo Unseen, Cult Exhibitions, San Francisco Chado: The Way of Tea, Artxchange Gallery, Seattle, Washington To Be a Lady, Sundaram Tagore Gallery, Singapore 2010 Shinobu, de Castallane Gallery, Brooklyn, New York All of the Above, Church of St Paul the Apostle, New York Meditations, Art Ecology Gallery, Louisville, Kentucky Surface Tension, Sundaram Tagore Gallery, New York Small Meditative Works, Lora Schlesinger Gallery, Santa Monica, Summer Group Show, Lora Schlesinger Gallery, Los Angeles California AIM Biennial, Bronx Museum and Wave Hill, New York 2009 Luminous Transcendent, Bryant Street Gallery, Palo Alto, California Archives of the Ephemeral: Ten Interventions in Nature, Escuela Next Post: 18 Solo Projects, Rupert Ravens Contemporary,

de Bellas Artes de Ponce, Puerto Rico

Newark, New Jersey 8 Women/8 Stories, Sundaram Tagore Gallery, Hong Kong 2008 Vanishing Point of Departures, Anne Reed Gallery, Sun Valley, A Strong Hand that Nonetheless Gets You Nowhere, Kunsthalle Idaho Galapagos, New York Revelation and Reflection, Bandini Art Gallery, Culver City, California Limuw: An Ode to the Sea, Santa Barbara Contemporary Arts Introspective Environments, Newhouse Center for Contemporary Forum, California Art Museum, Staten Island, New York Thinking Like the Universe, K Imperial Gallery, San Francisco and 2007 Miya Ando, Edith Caldwell Gallery, Sausalito, California, and Hatch Gallery, Oakland, California

Galerie Sho, Tokyo 2012 Timekeeper, The State Hermitage Museum, St. Petersburg, and

iMAL, Brussels 96

Archives of the Ephemeral: Ten Artistic Interventions in Nature, Sagrado Corazon University, Puerto Rico Summer Group Show, Installation 1, Sundaram Tagore Gallery,

New York Galerie Sho Contemporary Art, New York Armory Fair Art Meets New York, Shibuya Seibu Gallery and Galerie Sho, Tokyo Stories to Wake up With, The Market Studios, Dublin, Ireland Language Is the House We Live In, Kunstfilmtag; Auditorium of the Artists Association Malkasten, Düsseldorf 2011 Perspectives, Sundaram Tagore Gallery, New York

Wa: The Art of Japan, Gensler Art Gallery, San Francisco

The Cutting Light, Galerie Vanessa Quang, Paris Wide Open, curated by Nat Trotman, associate curator, Guggenheim Museum, BWAC, Red Hook, New York Misc, Art Finance Partners, New York 2010 Sweetcake Enso, travelling zendo exhibition, Empty Hand zendo,

New Rochelle, New York

The Happy Tree, Monster Children & Element, Sydney

Diversity in Dialogue, Muriel Guepin Gallery, Brooklyn, New York

The Art of Light, Dam, Stuhltrager Gallery, Berlin 2009 Hypothetical Landscapes, Janet Kurnatowski, Brooklyn, New York

W Hotel, White Gallery, New York 2008 Out of the Blue, Attleboro Arts Museum, Attleboro, Massachusetts

Places and Manners of Worship, Museum of Byzantine Culture,

Thessaloniki, Greece Theme of Compassion (in collaboration with gathering feat. His Holiness the Dalai Lama of Tibet), ArtXchange Gallery, Seattle, Washington Lack of Desire, Brooklyn Arts Council, New York 2007 Duopolis, Chandra Cerrito Contemporary, Oakland, California

Distilled Moments, 111 Minna Gallery, San Francisco

New Wave Contemporary, Galerie Sho, Tokyo

A Geneology of War, Homo Bellicus, Berlin

Director’s Selection, Edith Caldwell Gallery, Sausalito, California MUSEUM COLLECTIONS AND EXHIBITIONS Attleboro Arts Museum (exhibition) Bronx Museum (exhibition) Byzantine Museum, Athens (exhibition) Chapman University, Orange, California (collection) De Saisset Museum, Santa Clara University (forthcoming exhibition)

The State Hermitage Museum, St Petersburg (exhibition) Newhouse Center for Contemporary Art, Staten Island, New York (solo exhibition) Queens Museum, New York (exhibition) PUBLIC COMMISSIONS 2015 Ascension Leaves & Bodhi (Ficus Religiosa Leaf Mandala), Montefiore Hospital Lobby Public Commission, Bronx, New York Vantage Points, Memorial Sloan Kettering Cancer Centre, New York Since 911, public memorial sculpture installed permanently at Queen Elizabeth Olympic Park, Zaha Hadid Aquatic Centre, London Collaboration with Calvin Klein Home, Collective Design Fair, New York 2014 Obon [Hudson River], Queens Museum, New York Narthex Chapel, Saint Peter’s Church, New York 2012 Obon: Puerto Rico (outdoor, ephemeral public art commission),

Fist Art Foundation, Puerto Rico 2011 Obon: Temple (outdoor public commission), Haein Art Project, one-hundred-eight luminous resin and phosphorescent cube sculptures for the millennial celebration of the Haeinsa Buddhist Temple, Korea Reflectivity, September 11 memorial sculpture made from a twenty-four-inch piece of World Trade Center steel, for CalFire California Fire Department After 9/11, September 11 memorial sculpture, created from thirtyfoot pieces of World Trade Center steel, London 2010 Quietness, Non Denominational Chapel, San Francisco General Hospital

Obon [Meditation 1-8], Thanatopolis Outdoor Memorial Sculpture,

Norwalk, Connecticut

Sakura Reichstag (temporary outdoor installation, invisible

luminous paint on snow), Berlin

Beautiful Night (invisible luminous wall mural), Safdi Plaza Realty,

Brooklyn, New York Shelter [Meditation 1-12], forty-feet installed, The Healing Place Non Denominational Chapel Woman’s Shelter, Louisville, Kentucky 2009 8-Fold Path, Against the Stream Buddhist Meditation Society, Los Angeles

Let There Be Light, St. John’s Bread & Life Non Denominational

Chapel, New York

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HONORS AND AWARDS

SELECTED PRESS

2015 Invitation to The White House to meet Vice President Joe Biden, Secretary of State John Kerry and Japanese Prime Minister Shinzo Abe, Washington D.C. 2014 The Metropolitan Museum of Art, New York, Spark Series lecture 2013 Bronx Museum AIM Residency 2012 Pollock-Krasner Foundation Grant Award

Finalist, Bloom Art Award, Germany 2010 Thanatopolis Special Artist Award and Public Outdoor Commission

Puffin Foundation Grant Award 2009 Fundraiser Co-Chair, The Indigo Youth Movement, New York and

Durban, KwaZulu-Natal Public Ambassador, Element Advocate, International print and

media campaign 2007 Honorable Mention, Jury Prize, Nascent Art, New York

RESIDENCIES

2015 Spoon and Tamago, Emptiness the Sky: A Tea House-Inspired Installation Made From Charred Wood by Miya Ando Blouin Artinfo, Calvin Klein Home Designs VIP Lounge for

Collective Design Fair Cadillac Magazine, In Between PMc Magazine, The Plane of Serenity 2014 Wired Magazine, Miya Ando’s Artwork Brings Colour to Sheets

of Aluminum Gotham Magazine, Miya Ando Smile Design Gallery Charity South China Morning Post, Arts Preview, Miya Ando Art Radar Asia, Light Metal interview with Miya Ando Artnews, Sundaram Tagore Gallery Singapore To Be a Lady

exhibition review Asia Tatler, Miya Ando at Sundaram Tagore Gallery Hong Kong Queens Chronicle, Raising the Temperature at Queens Museum Engadget, Miya Ando & Bang Olufsen 2013 Blouin Artinfo, 10 Art Shows we would like to see in Hong Kong in 2014 Trendhunter, Minimialist-Inspired Speakers – Bang Olufsen &

Miya Ando San Francisco Chronicle, Visual Art Picks for Nov 14–17, Miya Ando Tides and Phases of the Moon exhibit Vice Magazine/The Creators Project, Miya Ando Bloomberg, Bang & Olufsen by Miya Ando CNBC, Transformations, An Alliance Forged by Craftsmanship,

Miya Ando & Bang Olufsen

Art Asia Pacific Magazine, Singapore Biennial Parallel Events The Art Newspaper, 9/11 sculpture made from twisted steel

column finds home in London New York Daily News (front page), Britain’s 9/11 memorial

sculpture languishes in London warehouse Art News Blog, 9/11 Art Artreview, 9/11 Sculpture promised permanent London home BBC News, Rusting 9/11 sculpture to be installed in Olympic Park ITV, 9/11 memorial to be given new home at the Olympic Park Time Out London, Forgotten 9/11 sculpture finds its place at the

Olympic Park Trend Hunter, Minimalist-Inspired Speakers Newsweek, Mighty Miya: Artist Miya Ando’s alchemy on display

at Sundaram Tagore Blouin Artinfo, Miya Ando’s burnished metals at Sundaram

Tagore Gallery Modern Metals Magazine, Metal Masterpieces Artspace Magazine, Artist Miya Ando on her connections to the

natural world

2014 Marble House Artist Residency, Vermont Smith Andersen Editions Residency, Palo Alto 2012/ Bronx Museum AIM Residency, New York 2013 2010 I-Park Outdoor Sculpture Residency, Connecticut 2009 Northern California’s Public Art Academy, San Jose, California SELECTED TELEVISION BBC London News, London Memorial Unveiling, September 5, 2011 ITV 1 London Tonight, London Memorial Unveiling, September 5, 2011 China Broadcast, London Memorial, September 6, 2011 Sky News Australia, Miya Ando commissioned to create ‘After 9/11” sculpture for London, September 6, 2011 ITV 1 London Today, London Memorial Unveiling, September 5, 2011 Good Morning Nippon, NHK News Japan, 9/11 Artist Miya Ando Documentary, September, 2011 NY1 News, Brooklyn Artist Debuts 9/11 Memorial Sculpture Across the Pond, September 2011 Sky News England, 9/11, September 5, 2011 New York One Arts Report, NY1 Television News (by Stephanie Simon), Artist Helps Forge Mission of Brooklyn Soup Kitchen, 2010 The Morning, Noon and Night Show, Plum TV (interview), Subtraction and Steel, 2008

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Tricycle Magazine, Miya Ando Solo Show Mujo ‘Impermanence’ Studio Visit Magazine, Miya Ando Wall Street International, Miya Ando: Mujo ‘Impermanence’ at

Sundaram Tagore Gallery Tricycle Magazine, Miya Ando ‘The Alchemist’ studio visit video Artpulse Magazine, Archives of the Ephemeral Art Radar Journal, Drawing Attention: female artists across Asia XOXO Magazine, Miya Ando Interview 2012 Sculpture Magazine, Commissions in Brief, Miya Ando Obon Huffington Post, Remembering September 11th, 2001: 20 Artworks Inspired by 9/11, September Spoon and Tamago, Obon: Miya Ando’s installation of 1000 bioluminescent floating leaves London Design Journal, Obon Installation: Miya Ando Clam Magazine, Paris, Fresh by Miya Ando Visual Art Beat Magazine, New Collections: Miya Ando 2011 The Seattle Stranger, Steel Like Sky: the twisted memorials and

other art by Miya Ando The Metropolis, Tokyo, Miya Ando Exhibition: Sword smith influenced memorial art VHS Magazine (Japan), Miya Ando exhibitions The New York Times, Lost Lives, Diminished Power CNN, Miya Ando: 9-11 Meets 3-11 in Altered Metal Art Wall Street Journal, London Unveils 9/11 Memorial Forbes, US Artist Miya Ando poses for photographers after the unveiling of her artwork ‘After 9/11’ BBC News, 9/11 Sculpture Unveiled in Battersea Park Blouin Artinfo, Art Historian Simon Schama on Why He Supports London’s Controversial 9/11 Memorial NHK News Japan, Miya Ando featured in 9/11 Documentary The Art Newspaper, World Trade Center Steel in London: A sculpture by the New York artist Miya Ando uses wreckage from the 11 September Attacks Washington Times, Remnants of Twin Towers find role in

London’s 9/11 Memorial The Telegraph, 6 September 2011 The Telegraph, Boris Johnson: ‘people believe a load of tripe about 9/11’ September Business Insider, Blinded out Adrenaline Rush Art in New York City, Perspectives at Sundaram Tagore Gallery Trend Hunter, Impermeable Dressing Gowns Miya Ando Kimono Red Bull, Interview and Studio Visit with Miya Ando MoMA PS1, Studio Visit, Miya Ando Art Daily, Second coming of Ando Steelworkers

India Times, Miya Ando Art of Light Vice Magazine, Miya Ando Ausstellung Morgen!

LA Times, ‘Meditative Fields’ Miya Ando at Lora Schlesinger Woman Magazine, Miya Ando Women’s Writing New York Times, Works from New Talent…

Nylon Magazine, Miya Ando artist featured in national Campaign for Element

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SUNDARAM TAGORE GALLERIES new york new york hong kong singapore

547 West 27th Street, New York, NY 10001 • tel 212 677 4520 fax 212 677 4521 • gallery@sundaramtagore.com 1100 Madison Avenue, New York, NY 10028 • tel 212 288 2889 57-59 Hollywood Road, Central, Hong Kong • tel 852 2581 9678 fax 852 2581 9673 • hongkong@sundaramtagore.com 5 Lock Road 01-05, Gillman Barracks, Singapore 108933 • tel 65 6694 3378 • singapore@sundaramtagore.com

President and curator: Sundaram Tagore Director, New York: Susan McCaffrey Director, Hong Kong: Faina Derman Designer: Russell Whitehead Contributing editors: Kieran Doherty and Esther Bland Art consultants: Teresa Kelley, Gabrielle Mattox, Raj Sen, Melanie Taylor, Addison Ying, Chelsea Zhao

WWW.SUNDARAMTAGORE.COM Text © 2015 Sundaram Tagore Gallery Photographs © Miya Ando 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: Ephemeral Sapphire Jade, 2015, urethane and pigment on aluminum, 48 x 48 inches/122 x 122 cm