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The article focuses on exhibition "We Do Not Dream Alone," by Michelle Yun and Boon Hui Tan, the curatorial team behind the first-ever Asia Society Triennial in New York City.

The article offers information on the 10-day Asia Week New York art festival to be held on March 9, 2017 in New York City.

An interview with artist Maria Qamar is presented in which she discusses about her solo exhibition "Fraaaandship" at Richard Taittinger Gallery in New York City, what drives her and where does she get inspiration from and her paintings, which look lot like stills from lndian soap operas.

The article discusses an auction of the Asian art collection of art dealer Robert Hatfield Ellsworth by the auction house Christie's in New York City beginning March 17, 2015.

The article offers tips on rooms that should be visited at the Metropolitan Museum of Art in New York City, which include the Greek and Roman Sculpture Court, The Vermeer Collection, and the Asian Art Collection.

The article reports that the Asia Society museum in New York City has begun a campaign to build a large permanent collection of contemporary Asian and Asian-American art. The society has begun by acquiring new media and video works by the artists Nam June Paik, Patty Chang, and Yoko Ono. The museum hopes to draw attention to artists working in India and China, and to attract younger museumgoers.

The article discusses Asian art sales' growth in the context of the opening of an exhibition of art works by artist Zeng Hao. Shanghai artist Zhou Tiehai noted that the celebratory dinner marking the occasion was quite remarkable. In 2006 auction houses Christie's and Sotheby's sold $190 in contemporary Asian art, and at a Beijing auction a painting by Liu Xiaodong sold for $2.7 million to put him in the company of Damien Hirst and Jeff Koons.

The article reports on first New York auction of contemporary Asian art by Sotheby's Auction House. According to the author the appetite for Chinese art is booming in Europe and Asia. The article includes comments on the trend from Henry Howard-Sneyd, managing director of Sotheby's in Asia and Australia.

Art Museums and galleries are in Manhattan unless otherwise noted. Full reviews of recent art shows: nytimes.com/art. [ABSTRACT FROM AUTHOR]

''Infinite Line,'' Sarah Sze's midcareer solo show at Asia Society Museum, promised a new angle on Ms. Sze's mesmerizing, minutely detailed installations. And it delivers one, though the art -- much of it made for the occasion -- doesn't always rise to the challenge. The show makes the case that Ms. Sze, who is Chinese-American, has been profoundly influenced by many forms of Asian art. It also emphasizes her drawings, which have rarely been exhibited, and encourages you to see her three-dimensional artworks as drawings in space. [ABSTRACT FROM PUBLISHER]

As auction houses prepare for their fall sales, Chinese collectors are expected to be a major boost for the market, raising their paddles for big-ticket artworks despite a backdrop of global economic turmoil. With China's economy booming, art collectors there have become an increasingly powerful force in the market, demonstrating a growing interest in Western as well as Asian art. [ABSTRACT FROM AUTHOR]

The Metropolitan Museum of Art's Asian art galleries are some of the most reposeful spaces in New York City. It's hard to imagine that they were banged into place, room by room, from practically nothing over the last 40 years, though they were. Or that they continue to mirror changing times, a changing museum and a changing Asia, though they do. A few months from now they'll be the scene of another change, a shift in stewardship, when the museum's longtime curator of Chinese art, Maxwell K. Hearn, replaces James C. Y. Watt as head of the Asian art department. [ABSTRACT FROM AUTHOR]

Although the Art of the Americas installation is the main event, the Museum of Fine Arts, Boston, is using the special exhibitions gallery in the new, Norman Foster-designed wing to spotlight another of its institutional strengths: Asian art. In 2006 the museum invited nine Chinese artists and a Chinese-American artist each to select a work from the collection and create a response to it. Both the pieces chosen and the new art have been assembled in an ingenious and engrossing show called ''Fresh Ink: Ten Takes on Chinese Tradition'' (through Feb. 13), organized by the museum's curator of Chinese art, Hao Sheng. Some pairings are straightforward, others oblique. The youngest artist, Qiu Ting, born in 1971, chose a misty Northern Song landscape from the museum's great Chinese holdings and made his own version of it. Two artists, Li Huayi and Zeng Xiaojun, went for masterpiece gold in the form of Cheng Rong's renowned ''Nine Dragons'' and came back with landscapes, but in unorthodox formats: Mr. Li's stretches over several large sheets of paper; Mr. Zeng's is framed as a free-standing screen. Li Jin updated an 11th-century scroll of scholars at a gathering by adding his Falstaffian self to the company. The show's sole female artist, Yu Hong, paid homage to the 12th-century scroll ''Court Ladies Preparing Newly Woven Silk'' by -- beautifully -- transforming its figures into contemporary women. [ABSTRACT FROM PUBLISHER]

Four divergent perspectives, encompassing the literary and almost mystical, are on view in the Museum of Modern Art's ContemporAsian series, presenting shorts from Thailand, Malaysia, South Korea and China through Thursday. While its spotlighted auteurs may be largely undiscovered stateside, that status is likely to change. The breakout star is the Thai director Apichatpong Weerasethakul, whose feature ''Uncle Boonmee Who Can Recall His Past Lives'' won the Palme d'Or at Cannes in May and plays the New York Film Festival on Sept. 25 and Sept. 26. His ''Letter to Uncle Boonmee'' (2009) is a prequel of sorts to his Cannes hit. This meditation on a rural home has a dreamlike ambience, using languid tracking shots and dark interiors to evoke hauntingly the Thai village of Nabua, site of a government battle against Communist insurgents in the 1960s. [ABSTRACT FROM PUBLISHER]

If ''Confucius: His Life and Legacy in Art'' at China Institute Gallery has a knockout visual attraction, it is the set of hefty enamel-on-copper altar vessels from the Qing dynasty (1644-1911). The set has five components: a round-bellied incense burner; two vases with slithery dragon handles; and a pair of candle holders with bell-shaped bases, capacious receptacle trays and spikes on top. The outstanding size of each piece is arresting, but it is color that delivers the punch: fat pink peonies wreathed in leaves of a succulent green against a daffodil-yellow ground. The set was a product of imperial largesse, custom-made for the Confucius shrine in Qufu. And it makes a festive jumping-off point for visits to the many gallery shows of East Asian art in Manhattan this week, of which I'll mention three. [ABSTRACT FROM PUBLISHER]

WHEN the Museum of Fine Arts in Houston wanted to create galleries for a display of Asian art a few years back, it wasn't sure where or how to start. So it knocked on the door of the South Korean Consulate, seeking advice and contacts. Soon, museum officials were receiving invitations to a variety of events hosted and attended by members of Houston's thriving Korean community. [ABSTRACT FROM PUBLISHER]

China's ''treasure hunting team'' descended on the Metropolitan Museum of Art in New York last week, and James C.Y. Watt, the patrician head of Asian art, braced for a confrontation. For the past two weeks, the delegation of Chinese cultural experts has swept through American institutions, seeking to reclaim items once ensconced at the Old Summer Palace in Beijing, which was one of the world's most richly appointed imperial residences until British and French troops plundered it in 1860. [ABSTRACT FROM PUBLISHER]

A Minimalist 1950s oil-on-masonite painting, ''Cats and Birds,'' by the celebrated Chinese artist Sanyu fetched a record $5.4 million at Christie's Hong Kong auction, Reuters reported. The Sunday evening sale to an anonymous buyer set a world auction record for Sanyu, a China-born artist who spent several years in France, and was a positive sign for the Asian art market, buffeted by the same financial crisis that has hit art markets worldwide. Three other works -- by Zao Wou-ki, a Chinese artist who, like Sanyu, established a career in France -- sold for several times their pre-sale estimates. Christie's spring sale of Asian art in Hong Kong is considered a key indicator of Asian art market sentiment. Over all, $23.4 million of Asian contemporary and Chinese 20th-century art was sold at auction. Although 11 percent of the lots went unsold, the total represented nearly double the pre-sale estimates, considered a healthy sign for an anemic art market. [ABSTRACT FROM PUBLISHER]

''I'M interested in what makes something Eastern, what makes something exotic,'' the painter Kamrooz Aram says. His curiosity is part personal, part generational. He was born in Iran in 1978, the year that Edward W. Said's seminal book ''Orientalism'' was first published in the West and a year before the Ayatollah Khomeini came to power. Mr. Aram did not discover Said's book until college, but it has been pivotal for his art. (So has the Iranian revolution, although he has lived in the United States since he was 8 and prefers not to discuss his background.) The imagery in his paintings shifts between Giotto angels and Shia imams, the flying carpets in video games and the magical space of Persian miniatures. [ABSTRACT FROM PUBLISHER]

Now in its 55th year, the Winter Antiques Show delivers, in density and extent, an experience akin to a visit to a small museum, albeit one in which the selection and arrangement of the objects remains mysteriously unaccountable. While the accent is on 18th- and 19th-century Americana, variety abounds: there is Asian art; glass; rugs; Egyptian, Roman and Greek antiquities; jewelry; ceramics; paintings; photography; silverware; folk art; prints; rare books -- some 10,000 items in all. Indeed, the 75 booths assembled by dealers from the United States and Europe at the Park Avenue Armory are loaded with beautiful, exotic, rare and odd objects from so many different times and places that it is difficult to know how or where to begin. I advocate grazing: walking the aisles and allowing your eyes to snack on the widest possible variety of objects. [ABSTRACT FROM PUBLISHER]

Reflecting the recent nose dive in confidence in the art and antiquities markets, the International Asian Art Fair held each spring in Manhattan has been canceled. The event's organizers said the current economic slump was the determining factor. Haughton International Fairs, the event's organizer, said on its Web site (www.haughton.com) that the declining global economy had ''strained the resources of many dealers'' who had agreed to participate. The fair (which last year featured pieces from Oi Ling Antiques, above) had been scheduled for March 11 to March 15 at the Park Avenue Armory, at 67th Street. [ABSTRACT FROM PUBLISHER]

A five-day auction of Asian artwork at Christie's in Hong Kong sold 35 percent less than its presale estimates in another sign of the declining global economy's impact on the art market, Reuters reported. The auction had been expected to take in more than $225 million, but it ended Wednesday with total sales of $146 million, and more than 30 percent of its 2,400 lots went unsold. A Christie's Hong Kong auction in May ended with total sales of $310 million, an all-time high for its Asian offerings. ''Like all markets we are affected by confidence, and we've definitely seen less confidence in our world in the last two or three months,'' Edward Dolman, the chief executive of Christie's International, told Reuters. [ABSTRACT FROM PUBLISHER]

Braving the economic maelstrom, a crowd of 62 dealers from Asia, the United States, the Middle East and Europe are assembled at Pier 92 for the Asian Contemporary Art Fair. The fair's size, look and feel are not all that different from last year, or for that matter from other fairs in this setting. It is a temporary mall for highly sophisticated shoppers, with rows of spacious, elegant and well-lighted booths lining carpeted aisles. [ABSTRACT FROM PUBLISHER]

Adding to speculation about how the worldwide economic downturn will affect next month's big auctions in New York, two sales abroad drew disappointing numbers. On Tuesday an auction of Islamic and Indian art at Christie's in London sold just 47 percent of its 439 lots, Bloomberg News reported. The auction generated total sales of $18.1 million, according to Bloomberg; a similar auction at Christie's in April generated $20.5 million from 282 lots. On Wednesday, Bloomberg reported, Sotheby's in Hong Kong had lower sales than expected at the end of a five-day auction of Asian art. The auction was expected to yield about $257 million, but garnered $141.7 million from a sale of 1,700 items. [ABSTRACT FROM PUBLISHER]

AS any globetrotting art collector knows, some of the hottest art markets these days are in Asia. But to be a part of this bubbling contemporary art scene, you often had to head to the auction houses Christie's and Sotheby's, where Asian works now command record prices. This fall, however, there's a fortuitous new way to discover the contemporary Asian art scene. A crop of international art biennials and triennials has sprouted across Asia in recent years, opening the door to untapped art markets as diverse as Yokohama and Nanjing. And this month, the stars have aligned, so that it's possible to hop to nine major arts shows in five separate Asian countries. [ABSTRACT FROM PUBLISHER]

LEE--Dr. Sherman E. The Board of Trustees and staff of the Cleveland Museum of Art mourn the passing of our friend and colleague, Dr. Sherman E. Lee. During 24 years of service as director, Sherman left an indelible mark on this institution through the acquisition of many of the most significant and treasured works of art in our collection, the expansion of our facilities, and a strong commitment to scholarship. Esteemed for his broad knowledge of the history of art and sound aesthetic judgment, Sherman was instrumental in encouraging a broader appreciation of Asian art among art historians and the general public. We extend our deepest condolences to his wife Ruth and the members of his family. James T. Bartlett, Co-Chairman Michael J. Horvitz, Co-Chairman Alfred M. Rankin, III, President Timothy Rub, Director [ABSTRACT FROM PUBLISHER]

The article offers news briefs related to the arts. A box office revenue of $35.3 million was collected by screening the film "Enchanted" in the U.S. and Canada during November 23-25, 2007. Film actor Spike Lee will receive the Wexner Prize in February 2008. An auction of 20th century and contemporary Asian art opened in Hong Kong, China on November 25, 2007.

The article offers news briefs related to art. Giuseppe Eskenazi, one of the world's leading dealers in Asian art, has begun slowly parting with his collection. An exhibition titled "Modernism: Designing a New World 1914-1939," will open on March 17, 2007 at the Corcoran Gallery of Art in Washington. Hunter College has appointed Joachim Pissarro, a curator of paintings and sculpture at the Museum of Modern Art, as a professor of art history at college and director of its two art galleries.

The article reports on antique Asian lacquerwares collected by Michael C. Hugesh who specializes in Asian art.

Reviews the art exhibition "Vietnam: A Destination for the New Millennium—The Art of Dinh Q. Le" at the Asia Society in New York City.

Reports that the Asia Society, founded in 1956 by John D. Rockefeller III to foster understanding of Asia, has appointed new president, Vishakha N. Desai, the first woman and the first Asian-American to head the organization. Details of Desai's background; Comments by the society's chairman, Richard C. Holbrooke, about the selection process; Background on the evolution of Asia Society from an elite Foreign Service club to a center with broad cultural and educational purpose with offices in the U.S. and abroad; Details of the society's art collection and its activities; Comments by Desai on her plans for the society.

Focuses on the Asian artworks that are featured in some exhibitions and auctions. Chinese figure from the Northern Qi period that Khalil Rizk will exhibit in New York's International Asian Art Fair; Chinese ceramics featured at J.J. Lally & Co. Oriental Art; Southeast Asian sculpture featured at Sotheby's.