Sculpture - Escultura: Isamu Noguchi - Part 1 - Data in English y Español - 18 photos - 18 fotos
Posted by Ricardo Marcenaro | Posted in Sculpture - Escultura: Isamu Noguchi - Part 1 - Data in English y Español - 18 photos - 18 fotos | Posted on 21:49
Open your mind, your heart to other cultures
Abra su mente, su corazón a otras culturas
You will be a better person
Usted será una mejor persona
RM
Abra su mente, su corazón a otras culturas
You will be a better person
Usted será una mejor persona
RM
Isamu Noguchi
1 Foot Tree 1928
Gold-plated brass
Isamu Noguchi
2 Globular 1928
Polished brass
Isamu Noguchi
3 Leda
Isamu Noguchi
4 Positional Shape
Isamu Noguchi
5 Red Seed
Isamu Noguchi
6 Sail Shape
Isamu Noguchi
7 Uncle Takagi (Portrait of My Uncle)
Isamu Noguchi
8 Tsuneko San (Head of a Japanese Girl)
Isamu Noguchi
9 José Clemente Orozco
Isamu Noguchi
10 Death (Lynched Figure)
Isamu Noguchi
11 Leda
Alabaster
Isamu Noguchi
12 The World is a Foxhole (I am a Foxhole)
Isamu Noguchi
13 Monument to Heroes
Isamu Noguchi
14 My Arizona
Isamu Noguchi
15 Lunar Infant
Isamu Noguchi
16 Mother and Child
Isamu Noguchi
17 Remembrance
Isamu Noguchi
Biography
Isamu Noguchi (1904–1988) was one of the twentieth century’s most important and critically acclaimed sculptors. Through a lifetime of artistic experimentation, he created sculptures, gardens, furniture and lighting designs, ceramics, architecture, and set designs. His work, at once subtle and bold, traditional and modern, set a new standard for the reintegration of the arts.
Noguchi, an internationalist, traveled extensively throughout his life. (In his later years he maintained studios both in Japan and New York.) He discovered the impact of large-scale public works in Mexico, earthy ceramics and tranquil gardens in Japan, subtle ink-brush techniques in China, and the purity of marble in Italy. He incorporated all of these impressions into his work, which utilized a wide range of materials, including stainless steel, marble, cast iron, balsawood, bronze, sheet aluminum, basalt, granite, and water.
Born in Los Angeles, California, to an American mother and a Japanese father, Noguchi lived in Japan until the age of thirteen, when he moved to Indiana. While studying pre-medicine at Columbia University, he took evening sculpture classes on New York’s Lower East Side, mentoring with the sculptor Onorio Ruotolo. He soon left the University to become an academic sculptor.
In 1926 Noguchi saw an exhibition in New York of the work of Constantin Brancusi’s that profoundly changed his artistic direction. With a John Simon Guggenheim Fellowship, Noguchi went to Paris, and from 1927 to 1929 worked in Brancusi’s studio. Inspired by the older artist’s reductive forms, Noguchi turned to modernism and a kind of abstraction, infusing his highly finished pieces with a lyrical and emotional expressiveness, and with an aura of mystery.
Noguchi’s work was not recognized in the United States until 1938, when he completed a large-scale sculpture symbolizing the freedom of the press, which was commissioned for the Associated Press building in Rockefeller Center, New York City. This was the first of what would become numerous celebrated public works worldwide, ranging from playgrounds to plazas, gardens to fountains, all reflecting his belief in the social significance sculpture.
In 1942 Noguchi set up his studio at 33 MacDougal Alley, in Greenwich Village, having spent much of the 1930s based in New York City but traveling in Asia, Mexico, and Europe.
The Japanese attack on Pearl Harbor and the backlash against Japanese-Americans in the United States had a dramatic personal effect on Noguchi, motivating him to become a political activist. In 1942 he started Nisei Writers and Artists Mobilization for Democracy, a group dedicated to raising awareness of the patriotism of Japanese-Americans. He also asked to be placed in an internment camp in Arizona, where he lived for a brief seven months. Following the War, Noguchi spent a great deal of time in Japan exploring the wrenching issues raised during the previous years. His ideas and feelings are reflected in his work of the time, particularly the delicate slab sculptures included in the 1946 exhibition “Fourteen Americans,” at The Museum of Modern Art, New York.
Noguchi did not belong to any particular movement, but collaborated with artists working in a range of different mediums and schools. He created stage sets as early as 1935 for the dancer/choreographer Martha Graham, that began a lifelong collaboration, as well as for dancers/choreographers Merce Cunningham, Erick Hawkins, and George Balanchine and composer John Cage. In the 1960s he began working with stone carver Masatoshi Izumi on the island of Shikoku, Japan, a collaboration that would also continue for the rest of his life, and from 1960 to 1966 he worked on a playground design with the architect Louis Kahn.
When given the opportunity to venture into the mass-production of his interior designs, Noguchi seized it. In 1937 he designed a Bakelite intercom for the Zenith Radio Corporation, and in 1947, his glass-topped table was produced by Herman Miller. This design—along with others such as his designs for Akari Light Sculptures which was developed in 1951 using traditional Japanese materials—are still being produced today.
In 1985 Noguchi opened The Isamu Noguchi Garden Museum (now known as The Noguchi Museum), in Long Island City, New York. The Museum, established and designed by the artist, marked the culmination of his commitment to public spaces. Located in a 1920s industrial building across the street from where the artist had established a studio in 1960, it has a serene outdoor sculpture garden, and many galleries that display Noguchi’s work, along with photographs and models from his career.
Noguchi’s first retrospective in the United States was in 1968, at the Whitney Museum of American Art, in New York City. In 1986, he represented the United States at the Venice Biennale. Noguchi received the Edward MacDowell Medal for Outstanding Lifetime Contribution to the Arts in 1982; the Kyoto Prize in Arts in 1986; the National Medal of Arts in 1987; and the Order of Sacred Treasure from the Japanese government in 1988. He died in New York City in 1988.
Noguchi, an internationalist, traveled extensively throughout his life. (In his later years he maintained studios both in Japan and New York.) He discovered the impact of large-scale public works in Mexico, earthy ceramics and tranquil gardens in Japan, subtle ink-brush techniques in China, and the purity of marble in Italy. He incorporated all of these impressions into his work, which utilized a wide range of materials, including stainless steel, marble, cast iron, balsawood, bronze, sheet aluminum, basalt, granite, and water.
Born in Los Angeles, California, to an American mother and a Japanese father, Noguchi lived in Japan until the age of thirteen, when he moved to Indiana. While studying pre-medicine at Columbia University, he took evening sculpture classes on New York’s Lower East Side, mentoring with the sculptor Onorio Ruotolo. He soon left the University to become an academic sculptor.
In 1926 Noguchi saw an exhibition in New York of the work of Constantin Brancusi’s that profoundly changed his artistic direction. With a John Simon Guggenheim Fellowship, Noguchi went to Paris, and from 1927 to 1929 worked in Brancusi’s studio. Inspired by the older artist’s reductive forms, Noguchi turned to modernism and a kind of abstraction, infusing his highly finished pieces with a lyrical and emotional expressiveness, and with an aura of mystery.
Noguchi’s work was not recognized in the United States until 1938, when he completed a large-scale sculpture symbolizing the freedom of the press, which was commissioned for the Associated Press building in Rockefeller Center, New York City. This was the first of what would become numerous celebrated public works worldwide, ranging from playgrounds to plazas, gardens to fountains, all reflecting his belief in the social significance sculpture.
In 1942 Noguchi set up his studio at 33 MacDougal Alley, in Greenwich Village, having spent much of the 1930s based in New York City but traveling in Asia, Mexico, and Europe.
The Japanese attack on Pearl Harbor and the backlash against Japanese-Americans in the United States had a dramatic personal effect on Noguchi, motivating him to become a political activist. In 1942 he started Nisei Writers and Artists Mobilization for Democracy, a group dedicated to raising awareness of the patriotism of Japanese-Americans. He also asked to be placed in an internment camp in Arizona, where he lived for a brief seven months. Following the War, Noguchi spent a great deal of time in Japan exploring the wrenching issues raised during the previous years. His ideas and feelings are reflected in his work of the time, particularly the delicate slab sculptures included in the 1946 exhibition “Fourteen Americans,” at The Museum of Modern Art, New York.
Noguchi did not belong to any particular movement, but collaborated with artists working in a range of different mediums and schools. He created stage sets as early as 1935 for the dancer/choreographer Martha Graham, that began a lifelong collaboration, as well as for dancers/choreographers Merce Cunningham, Erick Hawkins, and George Balanchine and composer John Cage. In the 1960s he began working with stone carver Masatoshi Izumi on the island of Shikoku, Japan, a collaboration that would also continue for the rest of his life, and from 1960 to 1966 he worked on a playground design with the architect Louis Kahn.
When given the opportunity to venture into the mass-production of his interior designs, Noguchi seized it. In 1937 he designed a Bakelite intercom for the Zenith Radio Corporation, and in 1947, his glass-topped table was produced by Herman Miller. This design—along with others such as his designs for Akari Light Sculptures which was developed in 1951 using traditional Japanese materials—are still being produced today.
In 1985 Noguchi opened The Isamu Noguchi Garden Museum (now known as The Noguchi Museum), in Long Island City, New York. The Museum, established and designed by the artist, marked the culmination of his commitment to public spaces. Located in a 1920s industrial building across the street from where the artist had established a studio in 1960, it has a serene outdoor sculpture garden, and many galleries that display Noguchi’s work, along with photographs and models from his career.
Noguchi’s first retrospective in the United States was in 1968, at the Whitney Museum of American Art, in New York City. In 1986, he represented the United States at the Venice Biennale. Noguchi received the Edward MacDowell Medal for Outstanding Lifetime Contribution to the Arts in 1982; the Kyoto Prize in Arts in 1986; the National Medal of Arts in 1987; and the Order of Sacred Treasure from the Japanese government in 1988. He died in New York City in 1988.
Isamu Noguchi (野口 勇)(17 de noviembre de 1904 - Los Ángeles,30 de diciembre de 1988).Escultor y diseñador estadounidense- japonés.
Biografía
Fue hijo del poeta japonés Yone Noguchi y la escritora americana Leonie Gilmour, pasó su infancia en Japón y a partir de su adolescencia en América. Empezó los estudios de medicina en la Universidad de Columbia, estudiando paralelamente cursos sobre escultura, se diplomó en La Porte High School de Indiana en 1922. Dos años más tarde amplio sus estudios en Nueva York con Onorio Ruotolo en la escuela Leonardo da Vinci Art School.
En París estudió en la Académie de la Grande Chaumière. Entre 1927 y 1928 trabajó en el estudio parisino del escultor rumano Constantin Brancusi. De ahí viajó y estudió en Inglaterra, China y México.
Trayectoria artística
En 1938 ganó el concurso nacional para decorar el pabellón de la agencia Associated Press en el Rockefeller Center de Nueva York con una enorme escultura de acero inoxidable.
A partir de 1935 realizó diversos decorados para escenarios teatrales y colaboró con una veintena de obras en la coreografía de Martha Graham entre 1944 y 1988.1
Después de 1950 sus proyectos más ambiciosos iban destinados a espacios al aire libre, diseñados según los principios estéticos de los jardines japoneses, en los que grandes esculturas abstractas se disponen en lugares predeterminados para lograr un equilibrio entre ellas, los espacios o jardines que las integran y la arquitectura que las rodea.
Ejemplos destacados son el jardín de la Paz (1956-1958, sede de la UNESCO, París), el jardín del Agua (1964-1965, Chase Manhattan Bank Plaza, Nueva York), el jardín Billy Rose Art (1965, Jerusalén) y la plaza del distrito japonés de Los Ángeles.
Lámparas Akari.
Además, a lo largo de toda su carrera también diseñó muebles de interior, como por ejemplo las lámparas Akari.
Análisis de su obra
Heimar, 1968, Musée d’Israël, Jérusalem, Israël.
Las obras de Noguchi se caracterizan por sus formas abstractas perfectamente pulimentadas, en las que combina la sutileza típica oriental con la más refinada sofisticación del arte occidental.
En sus primeras obras de terracota y piedra, Noguchi plasmó una parte del misterio y del espíritu de un arte primitivo, principalmente de las obras de barro cocido japonesas, que estudió y aprendió con el alfarero japonés Uno Jinmatsu durante un viaje a Japón realizado entre 1930 y 1931. Noguchi, formado en medicina en la Universidad de Columbia, intuyó la enorme interrelación que existe entre los huesos y las rocas, preocupándose por lo que denominó la anatomía comparada de la existencia, que plasmó en su obra Kurós de 1945, conservada en el Museo Metropolitano de Nueva York. Esta obra, realizada en mármol, supone una interpretación abstracta de la escultura griega. En 1949 realizó otro viaje a Japón, en él descubrió la piedra en sí misma, un importante paso en su desarrollo estético. La importancia que tenía para el artista el contacto con la naturaleza se pone en evidencia en el techo de su estudio.
Referencias
↑ Adèle Adorno, "Martha Graham, pionnière et légende de la modern dance américaine", in Martha Graham Dance Company. 14-18 abril 2009 (notas del programa del Théâtre du Châtelet).
http://es.wikipedia.org/wiki/Isamu_Noguchi
Biografía
Fue hijo del poeta japonés Yone Noguchi y la escritora americana Leonie Gilmour, pasó su infancia en Japón y a partir de su adolescencia en América. Empezó los estudios de medicina en la Universidad de Columbia, estudiando paralelamente cursos sobre escultura, se diplomó en La Porte High School de Indiana en 1922. Dos años más tarde amplio sus estudios en Nueva York con Onorio Ruotolo en la escuela Leonardo da Vinci Art School.
En París estudió en la Académie de la Grande Chaumière. Entre 1927 y 1928 trabajó en el estudio parisino del escultor rumano Constantin Brancusi. De ahí viajó y estudió en Inglaterra, China y México.
Trayectoria artística
En 1938 ganó el concurso nacional para decorar el pabellón de la agencia Associated Press en el Rockefeller Center de Nueva York con una enorme escultura de acero inoxidable.
A partir de 1935 realizó diversos decorados para escenarios teatrales y colaboró con una veintena de obras en la coreografía de Martha Graham entre 1944 y 1988.1
Después de 1950 sus proyectos más ambiciosos iban destinados a espacios al aire libre, diseñados según los principios estéticos de los jardines japoneses, en los que grandes esculturas abstractas se disponen en lugares predeterminados para lograr un equilibrio entre ellas, los espacios o jardines que las integran y la arquitectura que las rodea.
Ejemplos destacados son el jardín de la Paz (1956-1958, sede de la UNESCO, París), el jardín del Agua (1964-1965, Chase Manhattan Bank Plaza, Nueva York), el jardín Billy Rose Art (1965, Jerusalén) y la plaza del distrito japonés de Los Ángeles.
Lámparas Akari.
Además, a lo largo de toda su carrera también diseñó muebles de interior, como por ejemplo las lámparas Akari.
Análisis de su obra
Heimar, 1968, Musée d’Israël, Jérusalem, Israël.
Las obras de Noguchi se caracterizan por sus formas abstractas perfectamente pulimentadas, en las que combina la sutileza típica oriental con la más refinada sofisticación del arte occidental.
En sus primeras obras de terracota y piedra, Noguchi plasmó una parte del misterio y del espíritu de un arte primitivo, principalmente de las obras de barro cocido japonesas, que estudió y aprendió con el alfarero japonés Uno Jinmatsu durante un viaje a Japón realizado entre 1930 y 1931. Noguchi, formado en medicina en la Universidad de Columbia, intuyó la enorme interrelación que existe entre los huesos y las rocas, preocupándose por lo que denominó la anatomía comparada de la existencia, que plasmó en su obra Kurós de 1945, conservada en el Museo Metropolitano de Nueva York. Esta obra, realizada en mármol, supone una interpretación abstracta de la escultura griega. En 1949 realizó otro viaje a Japón, en él descubrió la piedra en sí misma, un importante paso en su desarrollo estético. La importancia que tenía para el artista el contacto con la naturaleza se pone en evidencia en el techo de su estudio.
Referencias
↑ Adèle Adorno, "Martha Graham, pionnière et légende de la modern dance américaine", in Martha Graham Dance Company. 14-18 abril 2009 (notas del programa del Théâtre du Châtelet).
http://es.wikipedia.org/wiki/Isamu_Noguchi
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Thanks
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