Isamu Noguchi ( ??? , Noguchi Isamu , November 17, 1904 - 30 December 1988) is a Japanese artist and Japanese landscape architect whose artistic career spanned six decades, from 1920 onwards. Known for its artwork and sculptures, Noguchi also designed the stage sets for Martha Graham's various productions, and some lights and mass-produced furniture, some of which are still produced and sold.
In 1947, Noguchi began a collaboration with the company Herman Miller, when he joined George Nelson, Paul LÃÆ'¡szlÃÆ'³ and Charles Eames to produce a catalog containing what is often regarded as the most influential body of modern furniture ever produced, including the iconic Noguchi table which is still produced today. His work lives all over the world and at the Noguchi Museum in New York City.
Video Isamu Noguchi
Biografi
Kehidupan awal (1904-1922)
Isamu Noguchi was born in Los Angeles, an illegitimate child of Yone Noguchi, a recognized Japanese poet in the United States, and LÃÆ' Â © onie Gilmour, an American author who edited many of Noguchi's works.
Yone has ended his relationship with Gilmour earlier in the year and plans to marry reporter Ethel Armes, Washington Post. After proposing to Armes, Yone left for Japan at the end of August, settling in Tokyo and awaiting his arrival; their engagement fell months later when he learned about LÃÆ' Â © onie and his newborn son.
In 1906, Yone invited LÃÆ' Â © onie to come to Tokyo with their son. He initially refused, but the anti-Japanese sentiment that grew after the Russian-Japanese War finally convinced him to take Yone's offer. Both departed from San Francisco in March 1907, arriving in Yokohama to meet Yone. Upon arrival, their son was eventually given the Isamu name ( ? , "courage"). However, Yone had married a Japanese woman the moment they arrived, and most were absent from her son's childhood. After returning to secede from Yone, LÃÆ' Â © onie and Isamu moved several times throughout Japan.
In 1912, when both lived in Chigasaki, Isamu's half-brother, pioneer of the American Modern Dance movement Ailes Gilmour, was born to LÃÆ' Â © onie and an unknown father. Here, LÃÆ' Â © onie has a house built for the three of them, a project that she has an 8 year old Isamu "watching". Maintaining the artistic abilities of his son, he puts him in charge of their garden and provides him with a local carpenter. However, they moved once again in December 1917 to the English-speaking community in Yokohama.
In 1918, Noguchi was sent back to the US for school in Rolling Prairie, Indiana. After graduating, he went with Dr. Edward Rumely to LaPorte, where he found the dormitory with a Swedish Swedish priest, Samuel Mack. Noguchi began studying at La Porte High School, graduating in 1922. During his lifetime, he was known as "Sam Gilmour".
Early artistic career (1922-1927)
After high school, Noguchi explains his desire to become an artist for Rumely; although he preferred Noguchi to be a doctor, he acknowledged Noguchi's request and sent him to Connecticut to work as an apprentice to his friend, Gutzon Borglum. Best known as the creator of the Mount Rushmore National Memorial, Borglum at that time worked on a group called Wars of America for the city of Newark, New Jersey, a work that included forty-two digits and two horseman statues. As one of Borglum's disciples, Noguchi received little training as a sculptor; His duties include organizing horses and modeling for the monument as General Sherman. He did, however, take some skills in casting from Italian assistant Borglum, then formed the statue of Abraham Lincoln. At the end of the summer, Borglum told Noguchi that he would never become a sculptor, encouraging him to reconsider his earlier suggestions from Rumely.
He then went to New York City, reunited with the Rumely family at their new residence, and with the financial help of Dr. Rumely registered in February 1922 as a medical student at Columbia University. Soon after, he met with bacteriologist Hideyo Noguchi, who urged him to reconsider art, as well as Japanese dancer Michio It?, Whose celebrity status later helped Noguchi find acquaintances in the art world. Another influence was his mother, who in 1923 moved from Japan to California, then to New York.
In 1924, while still enrolled in Columbia, Noguchi followed his mother's advice to take night classes at Leonardo da Vinci Art School. The principal, Onorio Ruotolo, was immediately impressed by Noguchi's work. Only three months later, Noguchi held his first exhibition, a selection of plaster and terracotta works. He quickly left Columbia University to pursue a full-time statue, changing his name from Gilmour (a family name he had used for years) to Noguchi.
After moving to his own studio, Noguchi found work through a commission for portraiture, he won the Logan Medal of the Arts. During this time, he often visited avant garde in modernist galleries such as Alfred Stieglitz and JB Neuman, and paid particular attention to the performances of Romanian-born sculptor Constantin BrÃÆ'nà ¢ ncu? I.
In late 1926, Noguchi applied for the Guggenheim Fellowship. In his cover letter, he proposes to study stone and wood cuts and to get a "better understanding of the human figure" in Paris for a year, then spend another year traveling through Asia, showing off his work, and returning to New York. He was awarded a grant even three years shorter than the age requirement.
Initial journey (1927-1937)
Noguchi arrived in Paris in April 1927 and soon afterwards met American writer Robert McAlmon, who took him to Constantin BrÃ?  ¢ ncu studio? I for introductions. Although there are language barriers between two artists (Noguchi barely speaks French, and BrÃÆ'nng ncu? I do not speak English), Noguchi was taken as an assistant to BrÃÆ'nà ¢ ncu? I for the next seven months. During this time, Noguchi gained his footing in a stone statue, a medium he did not recognize, though he later admitted that one of the greatest teachings of BrÃÆ'nà ¢ ncu? I was to appreciate the "value of the moment." Meanwhile, Noguchi finds himself in a good company in France, with a cover letter from Michio It? helping him to meet artists such as Jules Pascin and Alexander Calder, who live in the studio Arno Breker. They became friends and Breker did a bronze statue of Noguchi.
Noguchi produced only one of his marble stones in the first year, but during his second year he lived in Paris and continued his training in stone work with Italian sculptor Mateo Hernandes, producing more than twenty abstractions of wood, stone and sheet metal. Noguchi's next major goal is India, from where he will travel east; he arrived in London to read about the Oriental Statue, but was denied an extension to the Guggenheim Fellowship he needed.
In February 1929, he left for New York City. BrÃÆ' Â ¢ ncu? I recommend that Noguchi visit Romany Marie's cafe in Greenwich Village. Noguchi did it and there met Buckminster Fuller, with whom he collaborated on several projects, including the Dymaxion Fuller car modeling.
Upon his return, the Noguchi abstract sculpture made in Paris was exhibited in his first one-man show at the Eugene Schoen Gallery. After none of his works were sold, Noguchi completely abandoned the abstract art for the portrait statue to support himself. He soon finds himself receiving commissions from wealthy clients and celebrities. A 1930 exhibition of sculptures, including works by Martha Graham and Buckminster Fuller, earned positive reviews, and after less than a year of portraiture statues, Noguchi has earned enough money to continue his journey to Asia.
Noguchi left for Paris in April 1930, and two months later received his visa for the Trans-Siberian Train. He chose to visit Japan earlier than in India, but after learning that his father Yone did not want his son to visit using his surname, the shaken Noguchi went to Beijing. In China, he studied painting with Qi Baishi, staying for six months before finally sailing to Japan. Even before his arrival in Kobe, the Japanese newspaper had taken Noguchi's alleged reunion with his father; although he denied that this was the reason for his visit, the two met in Tokyo. He then arrived in Kyoto to study the pottery with Uno Jinmatsu. Here he records the local Zen gardens and haniwa, a clay funeral figure from the period of Kofun that inspired his queen's terracotta .
Noguchi returned to New York in the midst of the Great Depression, found several clients for his portrait statue. Instead, he hopes to sell his newly produced statues and paintings from Asia. Although very few are sold, Noguchi considers this one man's exhibition (which began in February 1932 and toured Chicago, the west coast, and Honolulu) as "the most successful". In addition, the next attempt to go into abstract art, the great figure of Ruth Page dancer entitled Miss Expanding Universe, was not well received. In January 1933, he worked in Chicago with Santiago MartÃÆ'nez Delgado in a mural for the Chicago of Progress Exposition, then re-invented the business for his portrait statue; he moved to London in June hoping to find more work, but returned in December just before the death of his mother Leonie.
Beginning in February 1934, Noguchi began sending its first designs to public spaces and monuments to the Public Works Program. One such design, the monument to Benjamin Franklin, has remained unrealized for decades. Another design, a gigantic pyramid of land titled Monument to the American Plow , was also rejected, and his "sculpture landscape" from playground Play Play was personally denied by Parks. Commissioner Robert Moses. He was eventually expelled from the program, and again supported himself with a statue of a portrait statue. In early 1935, after another solo exhibition, New York Sun Henry McBride called Noguchi Death, depicting African-Americans who were hanged, as "a bit of a Japanese mistake". In the same year he produced sets for Frontier , the first of many designs set for Martha Graham.
After the Federal Art Project began, Noguchi once again propose a design, one of which is the work of other selected land for the airport in New York City titled Relief Seen from the Sky ; after further rejection, Noguchi went to Hollywood, where he returned to work as a portrait sculptor to earn money for a stopover in Mexico. Here, Noguchi was chosen to design his first public work, a relief mural for Abelardo Rodriguez market in Mexico City. History 20-meter Judging from Mexico in 1936 very-sighted political and social, featuring the symbols of modern like the Nazi swastika, hammer and sickle, and the equation E Ã, = mc Ã,². Noguchi also met Frida Kahlo during this time and had a brief but passionate affair with him; they remained friends until his death.
Further career in the United States (1937-1948)
Noguchi returned to New York in 1937. He again began producing portraits, and after various proposals were selected for two statues. First, a fountain made of automobile parts for the Ford Motor Company exhibit at the 1939 New York World Expo, was considered bad by critics and Noguchi, but nevertheless introduced it to fountain and magnesite construction. Instead, the second sculpture, a nine-ton stainless steel relief entitled News , was launched over the entrance to the Associated Press building at Rockefeller Center in April 1940 for much praise. After further refusal of his playground design, Noguchi left his cross-country journey with Arshile Gorky and Gorky's fiancee in July 1941, who eventually broke away from them to go to Hollywood.
After the attack on Pearl Harbor, anti-Japanese sentiment was energized in the United States, and in response Noguchi formed "Writer and Nisei Artist for Democracy". Noguchi and other group leaders wrote to influential officials, including a congressional committee headed by Representative John H. Tolan, hoping to stop the Japanese American's entirety; Noguchi then attended the hearing but had little effect on their results. He then helped organize the documentary of his alienation, but left California before being released; as an official resident of New York, he was allowed to go home. He hoped to prove Japanese-American allegiance by somehow aiding the war effort, but when other government departments rejected him, Noguchi met with John Collier, head of the Office of Indian Affairs, who persuaded him to travel to an internment camp located in an Indian Reservation in Poston, Arizona, to promote arts and crafts and communities.
Noguchi arrived at the Poston camp in May 1942, being the only voluntary apprentice. Noguchi first worked in a carpentry shop, but his hope was to design parks and recreation areas inside the camp. Although he made several plans at Poston, including designs for baseball, swimming pools and funerals, he found that the War Relocation Authority did not intend to implement them. To the WRA camp administrators he was a troubling smuggler from the Indian Affairs Bureau, and to the internees he was a camp administration agent. Many do not believe it and see it as a spy. He finds nothing in common with Nisei, who thinks of him as a strange stranger. In June, Noguchi appealed for release, but the intelligence officer referred to him as a "suspicious person" for his involvement in "The Writer and the Nisei Artist for Democracy". She was finally given a full month's leave on November 12, but never returned; although he was granted permanent leave afterwards, he immediately afterwards received a deportation order. The Federal Bureau of Investigation, accusing him of espionage, launched a full Noguchi inquiry that ended only through the intervention of the American Civil Liberties Association. Noguchi later recounted his wartime experience in the World War II documentary series The World at War.
Upon his return to New York, Noguchi picked up a new studio in Greenwich Village. Throughout the 1940s, the Noguchi statue withdrew from the ongoing surrealist movement; these works cover not only mixed media constructions and landscape reliefs, but lunar - self-brightening reliefs - and a series of biomorphic statues made of interlocking plates. The most famous of these slab-assembled works, Kouros , was first shown in the September 1946 exhibition, helping to solidify its place in the New York art scene. In 1947 he started a relationship with Herman Miller of Zeeland, Michigan. This relationship proved very useful, resulting in several designs that have become a symbol of modernist style, including the iconic Noguchi table, which is still produced today. Noguchi also developed a relationship with Knoll, designing furniture and lamps. During this period he continued his engagement with the theater, designing sets for Martha Graham's Bollingen Fellowship and life in Japan (1948-1952)
After the suicide of his friend Arshile Gorky in 1948 and a failed romantic relationship with Nayantara Pandit, Indian nationalist nephew Jawaharlal Nehru, Noguchi appealed for the Bollingen Fellowship to travel the world, proposing to study public spaces as research for a book on "The recreational environment. "
A few years later (1952-1988)
In the following years, he gained popularity and praise, leaving his masterpiece in many major cities of the world. He got married with the iconic Chinese-Japanese song and cinema Yoshiko? Taka between 1951 and 1956.
In 1955, he designed sets and costumes for the controversial theater production of King Lear , starring John Gielgud.
In 1962, he was elected to the American Academy of Art and Literature.
In 1971, he was elected a colleague of the American Academy of Arts and Sciences.
In 1986, he represented the United States at the Venice Biennale, showing a number of Akari light statues.
In 1987, he was awarded the National Medal of Arts.
Isamu Noguchi died on December 30, 1988 at the age of 84. In his obituary for Noguchi, The New York Times called him "a versatile and prolific sculptor who has soil stones and meditation gardens that bridge East and West have becoming a 20th century art landmark ".
Maps Isamu Noguchi
Famous works
- Japanese Garden at UNESCO Headquarters, Paris, France
- Bridge in Peace Park, Hiroshima, Japan
- Kodomo no Kuni , children's playground in Yokohama, Japan
- Bayfront Park, 1980-1990, Miami, Florida
- Intetra (1976), Four Arts Society, Palm Beach, Florida
- Sunken Garden for Beinecke Rare Book & amp; Library Manuscripts, Yale University, New Haven, Connecticut
- Sunken Garden for Chase Manhattan Bank Plaza in New York, New York
- Garden for IBM headquarters, Armonk, New York
- Billy Rose Sculpture Park, Museum of Israel, Jerusalem
- Playscapes , children's playground in Atlanta, Georgia
- Statue of Martha Graham , Honolulu Art Museum, Honolulu, Hawaii
- Tsuneko-san (1931), Honolulu Art Museum
- Lunar Landscape (1943-44), Crystal Bridges Museum of American Art
- Statue for Building the First National City Bank, Fort Worth, Texas
- The Cry (1962), Albright-Knox Art Gallery, Buffalo, New York
- Red Cube (1968), HSBC Building, New York, New York
- Octetra (1968), Crystal Bridges Museum of American Art. It was first located near Spoleto Cathedral This is a painted abstract concrete sculpture.
- Untitled Red (1965-66) , Honolulu Art Museum
- garden fountain for Expo '70, Osaka, Japan
- Twin Statue (1972), Munich, Germany
- Sky Gate (1977), Honolulu Hale, Honolulu, Hawaii
- Portal , Complex Center for Justice, Cleveland, Ohio.
- Dodge Fountain and Philip A. Hart Plaza in Detroit, Michigan (created in collaboration with Shoji Sadao)
- Black Sun (1969), Volunteer Park, Seattle, Washington
- Untitled (1981), wood and obsidian sculpture, Honolulu Museum of Art
- California Scenario (1980-1982), Costa Mesa, California
- Bolt of Lightning... A Memorial to Benjamin Franklin (compiled 1933, installed 1984), Franklin Square (Philadelphia), Philadelphia, Pennsylvania
- Cloud Landscape , in lobby 666 Fifth Avenue, New York, New York
- Lillie Sculpture Park and Hugh Roy Cullen (1986) for the Fine Arts Museum, Houston, Texas
- Moerenuma Park, Sapporo, Japan
His final project is the design for Moerenuma Park, a 400 acre (1.6 km ²) park for Sapporo, Japan. Designed in 1988 shortly before his death, he was completed and opened to the public in 2004.
Gallery
Awards
Noguchi received Edward MacDowell Medal for Life Contributions Against Art in 1982; National Medal of Arts in 1987; and the Order of Treasure from the Japanese government in 1988.
In 2004, the US Post Office issued a 37 cents stamp to honor Noguchi.
Legacy
Source of the article : Wikipedia
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