Seeing and Believing: Krishna in the Art of B. G. Sharma
This exhibition of paintings and prints tells the story of the much-loved and “eternally sweet” Hindu god Krishna with vibrant works of art that reflect the mutual relationship of divine and devotional love, while also embodying fundamental human needs.
Vivan Sundaram: Re-take of Amrita
Vivan Sundaram: Re-take of Amrita reassembles the extended story of the artist’s family as seen in photographs and albums made by his grandfather, a philosopher and amateur photographer. The resulting digital photomontages combine images collapsing both time and space into contemporary fictions.
Jean Shin: Inclusions
Jean Shin: Inclusions presents a selection of Shin’s work in video, installation, photography, and mixed media. The title of the exhibition draws attention to the inclusive nature of her artistic practice, which relies heavily on accumulating large quantities of material or objects that would oth ...
Jean Shin, Celadon Landscape
New York based contemporary artist Jean Shin presents Celadon Landscape, a new monumental site-specific sculpture for The Crow Collection of Asian Art Sculpture Garden and Inclusions, a selection of her artwork in video, installation, photography, and mixed media at the Crow Collection.
Fundamental and Superfluous: The Arts of Life in China, Japan, and Korea
This exhibition examines works of art from the Museum’s permanent collection that present artistic imagery and auspicious symbolism as design elements embedded within sculptural objects with a functional purpose. These vases, chests, and objects d’art are imbued with symbols and beliefs of the ...
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This 18-foot-tall, three-dimensional “character” is a sculptural exploration of written language, architectural in scale and feel, it is less about words than about the meaning behind words.
Traditionally placed as guardians outside entrances to convey protection and noble authority, this pair of carved stone lions is activated with new energy in these monumental sculptures.
Contrasted in brilliant red and shadowy black, these magnificent bronze figures depict Tibetan monks engaged in the act of sweeping, both a daily chore and a ritualized practice.
This Mugal Façade is characterized by a complex synthesis of native Indian forms, media, and iconography with Islamic-inspired geometric designs and natural motifs.
Cut from blocks of rock crystal quarried in central Japan and accompanied by an intricately fashioned stand, this sphere is the second largest flawless crystal ball known in the world.
Modeled after a prized central Asian stallion, this serene and regal figure was a popular mingqi (spirit good) or tomb furnishing during the Tang Dynasty.