2020
太太看日片：
Isamu Noguchi (野口 勇, Noguchi Isamu, November 17, 1904 – December 30, 1988) 的最後大案子：
Moerenuma Park, Sapporo, Japan (2005開放)
我告訴她日本人少談的：
"1951年，山口淑子(李香蘭)嫁給了美國的雕刻藝術家野口勇，1956年離婚。"........
Isamu Noguchi (野口 勇, Noguchi Isamu, November 17, 1904 – December 30, 1988) was a Japanese American artist and landscape architect whose artistic career spanned six decades, from the 1920s onward.[1] Known for his sculpture and public works, Noguchi also designed stage sets for various Martha...
EN.WIKIPEDIA.ORG
Isamu Noguchi - Wikipedia
Isamu Noguchi (野口 勇, Noguchi Isamu, November 17, 1904 – December 30, 1988) was a Japanese American artist and landscape architect whose artistic career spanned six decades, from the 1920s onward.[1] Known for his sculpture and public works, Noguchi also designed stage sets for various Martha... Isamu Noguchi (野口 勇, Noguchi Isamu, November 17, 1904 – December 30, 1988) was a Japanese American artist and landscape architect whose artistic career spanned six decades, from the 1920s onward.[1] Known for his sculpture and public works, Noguchi also designed stage sets for various Martha...
Owen Hsieh 野口勇設計的傢俱，尤其是 tea table,至今仍是經典耐看，屬長銷型。
1
Seeing Isamu Noguchi Through Someone Else’s Eyes
Marie Menken’s film ‘‘Visual Variations on Noguchi,’’ shot nearly 80 years ago in the sculptor’s Greenwich Village atelier, has never shown at his namesake museum — until now.
Isamu Noguchi (American, Los Angeles, California 1904–1988)
Isamu Noguchi, a versatile and prolific sculptor whose earthy stones and meditative gardens bridging East and West have become landmarks of 20th-century art...
Mr. Noguchi was marked by an Asian esthetic that believed in a link among all the arts, and he was constantly searching for ways to bring them together. His small, delicate lamps and his large, permanent sculpture gardens were unusually popular, reaching a broad audience and helping to bring 20th-century sculpture into the realm of everyday life.
Mr. Noguchi was renowned for his sensitivity to materials. Although he experimented with new materials, including stainless steel, for him clay, wood and stone remained elemental, even sacred. He believed the energies of nature were built into them. Sculpture became a way he tried to tap those energies and understand the cosmic order of which they were a part.
As Mr. Noguchi wrote in 1985: ''For me it is the direct contact of artist to material which is original, and it is the earth and his contact to it which will free him of the artificiality of the present and his dependence on industrial products.''
Martin Friedman, the director of the Walker Art Center in Minneapolis, where he organized a Noguchi retrospective in 1978, said yesterday of the sculptor: ''He was a legendary figure who obsessively pursued ambitious, legendary goals. His art represents a subtle and highly expressive synthesis of contemporary sensibilities and those of the Japanese past. He was a person of incredible vitality and restless curiosity, constantly seeking to generate new projects and ideas. His ambition seemed limitless. He was a paramount and essential figure in the evolution of 20th-century sculpture.''
Power of the Simple Shape
Mr. Noguchi was attuned to modernism. He picked up an awareness of the power of the simple shape from Brancusi. He developed a sense of the psychological power of the individual object from the Surrealists. While designing decor for choreographers like Martha Graham, George Balanchine and Merce Cunningham, he developed his awareness of movement and his feeling for the relationship of an object to its environment.
His sculpture gardens, commissioned for parks and hills from Houston and Los Angeles to Jerusalem, are examples of Mr. Noguchi's search for a total artistic environment in which people were offered a sense of place, and in which movement and meditation were equally important.
''He never lost his extraordinarily youthful sense of invention and enthusiasm,'' Anne d'Harnoncourt, the director of the Philadelphia Museum of Art, said yesterday. ''The creation of his museum spaces in Long Island City was an extraordinary gesture, beautifully carried out. He did it with great grace. He was interested in the quality of everything, from the simple Akari lamps to very elaborate stone sculpture in architectural surroundings. There was a pervasive sense of the individual object as a part of the whole. He was a wonderful free spirit.'' The abstract sculptor Joel Shapiro said: ''It is a broad and inventive body of work. It was very challenging and it continually challenged people in its invention and range and lack of inhibition. The stage-set props are wonderful, as are the landscape works and the kinds of anthropomorphism of the stone pieces. It is one of the very few bodies of work of that dimension and size. There is David Smith and Noguchi and who else in this country?'' Japanese and Jesuit Schools
Isamu Noguchi was born in Los Angeles on Nov. 17, 1904. His father, Yone Noguchi, was a Japanese poet and an authority on art. His mother, Leonie Gilmour, was an American writer.
In 1906 he was taken to Japan, where his parents separated. His father remarried, and the child lived with his mother, attending Japanese and Jesuit schools and spending much of his time in a garden by the sea at Chigasaki.
In 1918, his mother sent him back to the United States to finish his education, and he did not see her again for many years. On the basis of an article she read in National Geographic, she sent him to Rolling Prairie, Ind. While attending the Interlaken School there, he lived with the family of a Swedenborgian minister.
The director of the school, Dr. Edward Rumley, arranged for Mr. Noguchi's apprenticeship with Gutzon Borglum, the sculptor of Mount Rushmore. Borglum told Mr. Noguchi he would never be a sculptor, and soon afterward the young man came to New York and enrolled as a pre-medical student at Columbia University.
A turning point in his life, Mr. Noguchi once said, was his experience at the Leonardo da Vinci Art School on the Lower East Side, where he took sculpture classes. The school's director, Onorio Ruotolo, made him copy Greek casts. Mr. Ruotolo was convinced of Mr. Noguchi's talent, going to far as to say that the new Michelangelo had appeared. When Mr. Noguchi, inspired by a Brancusi exhibition, later turned to abstract sculpture, Mr. Ruotolo was dismayed.
Worked for Brancusi
In 1927 Mr. Noguchi received a Guggenheim Fellowship. He went to Paris and worked as Brancusi's assistant for six months. ''Brancusi gave me respect for tools and materials,'' Mr. Noguchi said many years later. ''Then there was a reaction and I became anti-Brancusi. Then I returned to admiring him again.''
Mr. Noguchi's sculpture from those years is simple. It is curvilinear, but it is also restless and irregular, with a feeling for the void - for the way space cuts through the mass - that suggests Russian Constructivism more than Brancusi.
''It became self-evident to me that in so-called abstraction lay the expression of the age and that I was especially fitted to be one of its prophets,'' he said in 1929.
He returned to New York in 1929 and earned a living by making portrait busts. In 1930 he went back to Paris and made his way to Asia on the Trans-Siberian railroad. He spent eight months in Beijing, where he studied calligraphy and brush drawing.
Mr. Noguchi then lived in Japan for six months, working with clay and studying gardens. The trip suggested to him that land could be sculptured and that sculpture could be put to social use.
Social Concerns
In the 1930's he made art that directly reflected his social concern, including a sculpture of a lynched man. After raising money by making portraits in Hollywood, he went to Mexico City and painted a 72-foot-long polychrome cement mural about Mexican history.
In 1935 he began making delicate, fossil-like, almost prehistoric-looking objects as props for Martha Graham. He made about 20 stage sets for her in a collaboration that continued until his death. ''I realized,'' Miss Graham said in 1968, ''that he had the astringency, that everything was stripped to essentials rather than being merely decorative. Everything he does means something.''
''Whatever he did in those sets he did as a Zen garden does it, back to the fundamental of life, of ritual,'' she added.
In 1938 Mr. Noguchi received his first large commission, for a symbol for freedom of the press that was placed above the main entrance of the Associated Press building in Rockefeller Center. It weighed 10 tons and was his first sculpture in stainless steel.
During World War II, Mr. Noguchi spent six months in a relocation center in Arizona, where he had been assigned at his own request.
In 1949 he returned to Japan. In Japanese gardens, where earth, stone, plants and trees work together, he found an answer. ''Stone is the fundament of the earth, of the universe,'' he said. ''It is not old or new but a primordial element. Stone is the primary medium, and nature is where it is, and nature is where we have to go to experience life.''
He defined direct carving as ''a process of listening.''
''When I'm with the stone,'' he said, ''there is not one second when I'm not working. I'm so involved in doing the right thing.''
In the 1950's Mr. Noguchi's interest in the relationship between sculpture and architecture intensified. He wanted sculpture that could be fully integrated into its environment. Work for Unesco Building
A major commission, in 1956-58, secured on the recommendation of the architect Marcel Breuer, was for the Unesco building in Paris. Mr. Noguchi selected the stones in Japan.
Mr. Noguchi's later projects included the Sunken Garden for the Beinecke Rare Book and Manuscript Library at Yale University (1960-64) and the Billy Rose Sculpture Garden for the Israeli Museum in Jerusalem (1960-65) on the hill called Neve Shaanan, meaning place of tranquillity. ''That I was able to retain this quality is my proudest claim,'' Mr. Noguchi wrote in 1985.
New Yorkers probably know Mr. Noguchi best for his 1968 ''Red Cube,'' a 24-foot-high steel sculpture balanced on point in front of the Marine Midland Bank at 140 Broadway.
In 1968 Mr. Noguchi was given a retrospective by the Whitney Museum of American Art. In 1978, when the Walker Art Center organized a retrospective called ''Imaginary Landscapes,'' Hilton Kramer wrote in a review in The New York Times: ''Noguchi is at once the purest of living sculptors, having sustained and refined for half a century a commitment to the kind of absolute form first glimpsed in the work of Brancusi, and one of the most socially oriented, exulting in the large public projects in which the world of ideal form is obliged to accommodate itself to the rude demands of daily life.''
In 1979 a 17-foot-tall basalt sculpture carved on Shikoku, where Mr. Noguchi built a house in the early 1970's, was installed on Fifth Avenue just south of the Metropolitan Museum of Art. Most of the stone of this upright piece is the color of earth, but scored concavities reveal a different texture, closer to granite. It looks like a modern dolman or menhir.
In 1980 the Whitney exhibited his landscape projects and theater sets. Two years later Mr. Noguchi received the Edward MacDowell Medal for outstanding lifetime contribution to the arts. The presentation was made by William S. Lieberman, curator of 20th-century art at the Metropolitan Museum, who spoke of Mr. Noguchi's work as ''a constantly evolving ritual.''
In 1984, more than 50 years after it was conceived, Mr. Noguchi's ''Bolt of Lightning,'' a 102-foot-tall stainless steel sculpture designed as a memorial to Benjamin Franklin, was installed near the Benjamin Franklin Bridge in Philadelphia.
Financed His Own Museum
In 1985 the Isamu Noguchi Garden Museum, conceived and financed by Mr. Noguchi, opened in a former factory in a bleak area of Long Island City, Queens. The two-story museum, alongside a garden whose focal point is one of the slow-moving fountains that is almost as much a Noguchi signature as organic stone, displays about 200 works from throughout his career, as well as photographs and models. The museum suggests Mr. Noguchi's feeling for both origins and change, as well as the range of his ideas and the material and scales with which he worked.
In 1986 he was selected to represent the United States at the Venice Biennale. His exhibition included a cross-section of sculptures and lamps. Outside the United States Pavilion he installed ''Slide Mantra,'' a 10 1/2-foot-tall marble from the quarries of Carrara, Italy. Visitors were invited to climb stairs in the back of the sculpture and slide down the spiral front, which looked like a religious symbol.
''I decided,'' Mr. Noguchi said, ''to take the occasion to show a spiral slide I had devised in 1966 as representative of my long interest in the idea of play as it relates to sculpture.''
Last year Mr. Noguchi was given the National Medal of Arts by President Reagan. This year the Japanese Government awarded him the Order of the Sacred Treasure. Worked With Japanese Earth
Mr. Noguchi spent each of the last 15 years of his life in several countries. ''He was five months in the United States, five months in Japan and two months in other parts of the world,'' said Mr. Wardwell of the Noguchi Museum. ''He went to Italy a lot, particularly Pietrasanta.''
While in New York he essentially orchestrated his many projects. In Japan, in the stone-working village in which he designed a roofless outdoor studio, he worked with the Japanese earth.
''Stone was not central to my becoming a sculptor,'' Mr. Noguchi wrote. ''Clay was.''
Martha Graham said yesterday: ''So much of my life has been bound artistically with Isamu Noguchi. I feel the world has lost an artist who, like a shaman, has translated myths of all our lives into living memory. The works he created for my ballets brought to me a new vision, a new world of space and the utilization of space. Isamu, as I do, always looked forward and not to the past. My sense of loss is accentuated by the projects we had yet to accomplish - a set for my new ballet in the spring, and an exhibition of our works together that was to celebrate his 85th birthday in September, which now I hope will continue as a tribute to Isamu's continuing vision and power.''
In 1951, Mr. Noguchi met Yoshiko Yamaguchi, a movie actress from Japan. They were married, but divorced in 1955.
ART
Becoming Isamu Noguchi: The making of a sculptor
BY
禮拜天美術神遊 (44)：介紹美國華盛頓、日本各兩座彫刻
https://www.facebook.com/hanching.chung/videos/4345047405506033
太太看日片：
Isamu Noguchi (野口 勇, Noguchi Isamu, November 17, 1904 – December 30, 1988) 的最後大案子：
Moerenuma Park, Sapporo, Japan (2005開放)
我告訴她日本人少談的：
"1951年，山口淑子(李香蘭)嫁給了美國的雕刻藝術家野口勇，1956年離婚。"........
Isamu Noguchi (野口 勇, Noguchi Isamu, November 17, 1904 – December 30, 1988) was a Japanese American artist and landscape architect whose artistic career spanned six decades, from the 1920s onward.[1] Known for his sculpture and public works, Noguchi also designed stage sets for various Martha...
EN.WIKIPEDIA.ORG
Isamu Noguchi - Wikipedia
Isamu Noguchi (野口 勇, Noguchi Isamu, November 17, 1904 – December 30, 1988) was a Japanese American artist and landscape architect whose artistic career spanned six decades, from the 1920s onward.[1] Known for his sculpture and public works, Noguchi also designed stage sets for various Martha... Isamu Noguchi (野口 勇, Noguchi Isamu, November 17, 1904 – December 30, 1988) was a Japanese American artist and landscape architect whose artistic career spanned six decades, from the 1920s onward.[1] Known for his sculpture and public works, Noguchi also designed stage sets for various Martha...
Owen Hsieh 野口勇設計的傢俱，尤其是 tea table,至今仍是經典耐看，屬長銷型。
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