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Volume 49 – Number 5

Sep/Oct 2018

This autumn, the Crow Collection of Art turns twenty. Founded by the real estate developer Trammell Crow (1914–2009) and his wife Margaret (1919–2014), the Dallas museum completes a multimilliondollar expansion and renovation in September, marked by a name change to the Crow Museum of Asian Art. This transition reflects both the evolution from a privately funded institution to a public one and the Crow’s mission: to put compassion into action through a commitment to celebrate the arts and cultures of Asia. Executive director Amy Lewis Hofland relates the development of the museum, while curator Jacqueline Chao presents highlights of the collection. Taking ‘fabled journeys’ as a theme, curator emeritus Caron Smith considers transformation, pursuit and the passage of time as reflected in selected works.

The subject of an upcoming exhibition at the Museum Rietbergin in Zurich, the enigmatic artist Nagasawa Rosetsu (1754–99) has been labelled ‘eccentric’ and ‘fanciful’ in his work. The show and our two related articles by Matthew McKelway and Khanh Trinh reconsider Rosetsu’s art, the first from the angle of his travels and the second, his depictions of women.

The Chinese Song dynasty (960–1279) achieved breakthroughs in technology, philosophy and art that are in many ways as significant as those that occurred in the European Renaissance. In his article, Colin Mackenzie argues that the Song deserves equal recognition as a turning point in world art.

Katherine Anne Paul looks at selected pieces from the upcoming show ‘Jewels of Transcendence: Himalayan and Mongolian Treasures’ at The Chinese University of Hong Kong. And Rosalie Kim and Dasom Sung discuss the gardens adjoining the byeolseo , or private retreats, of Joseon dynasty (1392–1910) neo-Confucian scholars in Korea.

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