View allAll Photos Tagged IsamuNoguchi
"The furniture that Noguchi designed in the 1940's, like the lunar interiors,
was an offshoot of the more narrow sculptural practice that he embraced
during this decade. For in 1942 Noguchi had refocused his energies on studio
sculpture, disillusioned from efforts to construct public amenities at the
Japanese-American relocation camp in Poston, Arizona, which he had entered
voluntarily with hopes of improving the lives of the internees. Back in New
York in a studio on MacDougal Alley he created interlocking slab sculptures
strongly influenced by Surrealism, work that brought him widespread
recognition within the emerging New York School. In addition to the famous
coffee table, the other pieces that he designed for Herman Miller during
these years also displayed such biomorphism, and a sculptural sensibility
oriented toward the individual object. There was the 1944-designed laminated
wood "rudder" dinette table with two bent tubular aluminum legs, and its
companion stools, which also was manufactured as a coffee table. He designed
another three-legged coffee table the next year, this one having a marble
top and wooden legs. The surface of each of these tables featured a sunken
receptacle for the display of flowers. In 1948 Noguchi designed his only
sofa, a free-form padded couch with metal legs, along with a companion bench
of similar shape."
-- Bruce Altschuler
Costa Mesa is in a desert region of S Calif. Noguchi played against this quite well. There are cacti here, and scrub brush, succulents and other desert plants.
In his ... gardens ... Noguchi achieved subtle ... syntheses of nature with the man-made, fusing organic and geometric, balancing intuition with intellect. 'California Scenario' seamlessly integrates them. ... it is an enclosed space adjacent to an office building, 'California Scenario' appears open and spacious; the proportional relationship of the asymmetric pyramid to the smaller rocks and plants creates a sense of vastness and scale beyond the actual dimensions of the garden. Local desert stones unify this environment in color and texture. The channel of water running through the center contrasts with, and enhances, the viewer's awareness of the surrounding dryness. The pronounced individuality of elements of the Beinecke courtyard has here matured into a cohesive whole; sculpture and environment are one.
From the catalogue 'Isamu Noguchi: Master Sculptor', by Valerie Fletcher, Hirshhorn Museum and Sculpture Garden.
Cullen Sculpture Garden. Alberto Giacometti, Large Standing Woman I, 1960. Bryan Hunt (background) Designer: Isamu Noguchi
sculpture: History of Mexico.
artist: Isamu Noguchi.
date: 1936.
materials: colored cement over sculpted brick base.
Archival photograph.
On the opposite side of the pavilion from the hira niwa (flat garden) is this temporary Isamu Noguchi exhibit, We are the Landscape of All We Know (May 3-July 21). You can also see Mt. Hood from here, although it was much too bright to get a shot of it.
Portland Japanese Garden. Portland, Oregon.
Artist Isamu Noguchi, as photographed by Carl Van Vechten in 1935.
Image courtesy of Marquette University Archives. Image No.: MUA_KJP_01139front
Related images at
Created by Isamu Noguchi (1904-1988), The Noguchi Museum opened in Long Island City in 1985, presenting a comprehensive collection of the artist's works in stone, metal, wood, and clay, as well as models for public projects and gardens, dance sets, and Akari Light Sculptures. The Museum is housed in thirteen galleries within a converted factory building and encircles a garden containing major granite and basalt sculptures.
After a two-and-a-half year long renovation, the Museum re-opened in June 2004 with the addition of an education center, a new cafe and shop, more adequate handicap accessibility, and a heating and cooling system that allows the Museum to remain open year-round. Besides launching its first-ever program of temporary exhibitions, the Museum has created a special gallery devoted to Noguchi's celebrated work in interior design.
The Isamu Noguchi Foundation and Garden Museum is supported, in part, with public funds from the National Endowment for the Arts, the New York State Council on the Arts, and the New York City Department of Cultural Affairs.
Artist: Noguchi, Isamu, 1904-1988, sculptor.
Title: Endless Coupling, (sculpture).
Dates: 1988.
Medium: granite
Dimensions: 3 sections. Each: 24 x 14 1/2 x 14 in.
Description: A set of pieces which are stacked to form a vertical column.
Nelson-Atkins Museum of Art
Kansas City, Missouri
This work in granite based upon earlier cast iron version of Endless Coupling of 1957.
Subject: Architecture -- Detail -- Column
Abstract Allegory -- Time -- Eternity
Object Type: Sculpture
References:
Noguchi, Isamu, "The Isamu Noguchi Garden Museum," New York: Harry N. Abrams, Inc., (Isamu Noguchi Garden Museum), 1987.
Grove, Nancy & Diane Botnick, "The Sculpture of Isamu Noguchi, 1924-1979," New York: Garland Pub., 1980, no. 432.
Illustration:
Noguchi, Isamu, "The Isamu Noguchi Garden Museum," New York: Harry N. Abrams, Inc., (Isamu Noguchi Garden Museum), 1987, pg. 251.
-- information from the Smithsonian American Art Museum.
This is a night time pano experiment of Noguchi Garden in Costa Mesa. This work/park is offically titled, "California Scenario," completed in 1982, by Isamu Noguchi.
originally 304 images
Best seen in a large format.
If you want to see another pano perspective from the pyramid, by one of my homies click here.
To learn more about Isamu Noguchi, visit the wiki about him, by clicking here.
To learn more about the work, "California Scenario" click here.
Two works of Isamu Noguchi's in the sculpture court at the Nelson-Atkins Museum of Art in Kansas City, Missouri.
Isamu Noguchi, 1985, Nelson-Atkins Museum Of Art, Southmoreland, Kansas City, Missouri, USA, sculpture
52 West 10th Street
2.5-story Federal-style residential building completed in 1831 as a townhouse for Abner Tucker.
In the last half of the 19th century the parlor floor was gutted and house had the stable.
By the turn of the century William and Alice Evens owned the stable.
In 1918 William Egloff leased this house.
In 1922 painter and sculptor Frederick MacMonnies set to work to convert the ground floor into his studio. Through his associations with Stanford White and Carrere & Hastings, he received numerous architectural-related commissions, including the spandrel reliefs for White’s Washington Square Arch, the Nathan Hale monument in City Hall Park and several groupings for the World’s Columbian Exposition in Chicago.
In 1931 Baird Hall lived here.
In 1937 studio was taken over by modern dancers Bruhs Mero and Felicia Sorel . This house called the Dance Gallery.
Sculptor Isamu Noguchi lived here for a period at the beginning of World War II, and sculptor Concetta Scaravaglione used the studio space several years later.
In 1954 house was converted to a garage according to the Department of Buildings
2fb14_658
Created by Isamu Noguchi (1904-1988), The Noguchi Museum opened in Long Island City in 1985, presenting a comprehensive collection of the artist's works in stone, metal, wood, and clay, as well as models for public projects and gardens, dance sets, and Akari Light Sculptures. The Museum is housed in thirteen galleries within a converted factory building and encircles a garden containing major granite and basalt sculptures.
After a two-and-a-half year long renovation, the Museum re-opened in June 2004 with the addition of an education center, a new cafe and shop, more adequate handicap accessibility, and a heating and cooling system that allows the Museum to remain open year-round. Besides launching its first-ever program of temporary exhibitions, the Museum has created a special gallery devoted to Noguchi's celebrated work in interior design.
The Isamu Noguchi Foundation and Garden Museum is supported, in part, with public funds from the National Endowment for the Arts, the New York State Council on the Arts, and the New York City Department of Cultural Affairs.
Created by Isamu Noguchi (1904-1988), The Noguchi Museum opened in Long Island City in 1985, presenting a comprehensive collection of the artist's works in stone, metal, wood, and clay, as well as models for public projects and gardens, dance sets, and Akari Light Sculptures. The Museum is housed in thirteen galleries within a converted factory building and encircles a garden containing major granite and basalt sculptures.
After a two-and-a-half year long renovation, the Museum re-opened in June 2004 with the addition of an education center, a new cafe and shop, more adequate handicap accessibility, and a heating and cooling system that allows the Museum to remain open year-round. Besides launching its first-ever program of temporary exhibitions, the Museum has created a special gallery devoted to Noguchi's celebrated work in interior design.
The Isamu Noguchi Foundation and Garden Museum is supported, in part, with public funds from the National Endowment for the Arts, the New York State Council on the Arts, and the New York City Department of Cultural Affairs.