Changing and unchanging things : Noguchi and Hasegawa in postwar Japan



Changing and unchanging things : Noguchi and Hasegawa in postwar Japan

edited by Dakin Hart and Mark Dean Johnson with Matthew Kirsch, associate editor ; with essays by Dakin Hart ... [et al.]

Isamu Noguch Foundation and Garden Museum , University of California Press, c2019

大学図書館所蔵 件 / 23


Exhibition catalogue

Published on the occasion of the exhibition organized by the Isamu Noguchi Foundation and Garden Museum. Venues: Yokohama Museum of Art, January 12-March 24, 2019; the Isamu Noguchi Foundation and Garden Museum, May 1-July 14, 2019; Asian Art Museum of San Francisco, September 27-December 8, 2019

Other authors: Koichi Kawasaki, Yasufumi Nakamori, Naoaki Nakamura, Bert Winther-Tamaki

Chronology (Isamu Noguchi and Saburo Hasegawa: 1948-59): p266-272

Includes index



In May 1950 Isamu Noguchi (1904-88) returned to Japan for his first visit in 20 years. He was, Noguchi said, seeking models for evolving the relationship between sculpture and society-having emerged from the war years with a profound desire to reorient his work "toward some purposeful social end." The artist Saburo Hasegawa (1906-57) was a key figure for Noguchi during this period, making introductions to Japanese artists, philosophies, and material culture. Hasegawa, who had mingled with the European avant-garde during time spent as a painter in Paris in the 1930s, was, like Noguchi, seeking an artistic hybridity. By the time Hasegawa and Noguchi met, both had been thinking deeply about the balance between tradition and modernity, and indigenous and foreign influences, in the development of traditional cultures for some time. The predicate of their intense friendship was a thorough exploration of traditional Japanese culture within the context of seeking what Noguchi termed "an innocent synthesis" that "must rise from the embers of the past." Changing and Unchanging Things is an account of how their joint exploration of traditional Japanese culture influenced their contemporary and subsequent work. The 40 masterpieces in the exhibition-by turns elegiac, assured, ambivalent, anguished, euphoric, and resigned-are organized into the major overlapping subjects of their attention: the landscapes of Japan, the abstracted human figure, the fragmentation of matter in the atomic age, and Japan's traditional art forms. Published in association with The Noguchi Museum. Exhibition dates: Yokohama Museum of Art, Japan: January 12-March 21, 2019 The Noguchi Museum, New York: May 1-July 14, 2019 Asian Art Museum, San Francisco: September 27-December 8, 2019


FOREWORD JENNY DIXON INTRODUCTION Changing and Unchanging Things: Noguchi and Hasegawa in Postwar Japan DAKIN HART AND MARK DEAN JOHNSON ONE Modernist Passions for "Old Japan:" Saburo Hasegawa and Isamu Noguchi in 1950 BERT WINTHER-TAMAKI TWO "Accumulated Impressions": A Photographic Travelogue of Noguchi and Hasegawa in Japan MATTHEW KIRSCH THREE Regretting the Future: Noguchi, and Hasegawa Consider the Direction of Postwar Japanese Art KOICHI KAWASAKI FOUR Isamu Noguchi's Memorial to the Dead of Hiroshima: The Monument that Never Was and an Artistic Vision Shared with Saburo Hasegawa NAOAKI NAKAMURA FIVE Saburo Hasegawa in America: A Wide Open Road MARK DEAN JOHNSON SIX True Development of an Old Tradition: Isamu Noguchi's Work in the 1950s DAKIN HART SEVEN Toward Abstraction: Saburo Hasegawa's Exploration of the Photogram YASUFUMI NAKAMORI PLATES Saburo Hasegawa and Isamu Noguchi PRIMARY SOURCES Remembrance of Saburo Hasegawa ISAMU NOGUCHI Noguchi in Japan SABURO HASEGAWA CHRONOLOGY Isamu Noguchi and Saburo Hasegawa: 1904-April 1959 MATTHEW KIRSCH Japanese Translations Contributors Photography credits

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