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Water Stone, 1986
Isamu Noguchi (American)
Basalt
Japanese-American artist Isamu Noguchi (19041988) sculpted in stone throughout his life. Noguchi first learned to carve stone in Paris in 1927, as a studio assistant to the French-Romanian abstract sculptor Constantin Brancusi (18761957). His culminating work in sculpture was produced at his studio on Shikoku Island, Japan, where he focused on transforming the local basalt stone into abstract sculptures.
Water Stone, commissioned in 1986 for the Japan Galleries of the Metropolitan Museum, was one of Noguchi's final works in basalt. While steeped in modernism, this sculpture also draws upon Japan's long stone-working tradition. Like stone basins set within Japanese gardens, Water Stone instills a meditative mood within the Museum galleries.
Noguchi's stone basin is both familiar and surprising: rather than pouring down into the well, water flows up from the ground into the basin. Water Stone rests upon a bed of white rocks taken from the flats of the Isuzu River, which flows along the sacred site of Ise Shrine. As if it were flowing from the Isuzu River that once sculpted the stones, water flows up into the basin (via a pump), then over the rim, polishing the stone naturally as it cycles. Noguchi recognized water as a natural maker of sculpture, here gradually eroding and rusting the iron-rich basalt.
By bringing together two fundamental natural elements, Water Stone becomes an expression of this and other natural processes. The materials embrace contrasts found in nature: the movement and sound of water against the solidity and stillness of stone; the hues and textures of rock in contrast to the transparency and smoothness of water; and the permanence of stone versus the transience of water.
The sculpture also underscores tensions between natural and human-defined elements. Noguchi alternated naturally worn, curvilinear outer rock surfaces with smoothly polished planes created through deliberate, angular cuts into the stone. The irregular circumference of the rounded form contrasts with the perfect circle of the central well. The cut circle introduces layers of symbolic meaning, representing the life cycle, seasonal cycle, sun, full moon, or enso symbol of Zen enlightenment, perfection, and unity. It may also simply evoke a ring created by a pebble dropped into water.
The water reaching the surface appears to come to a standstill, until it cascades over the edge, clinging to the stone sides as it falls. Water Stone, with its unending flow of water up and over the stone, expresses the unity of opposites that underlies the working of nature.
Purchase, Anonymous Gift, 1987 (1987.222)
**
The Metropolitan Museum of Art's permanent collection contains more than two million works of art from around the world. It opened its doors on February 20, 1872, housed in a building located at 681 Fifth Avenue in New York City. Under their guidance of John Taylor Johnston and George Palmer Putnam, the Met's holdings, initially consisting of a Roman stone sarcophagus and 174 mostly European paintings, quickly outgrew the available space. In 1873, occasioned by the Met's purchase of the Cesnola Collection of Cypriot antiquities, the museum decamped from Fifth Avenue and took up residence at the Douglas Mansion on West 14th Street. However, these new accommodations were temporary; after negotiations with the city of New York, the Met acquired land on the east side of Central Park, where it built its permanent home, a red-brick Gothic Revival stone "mausoleum" designed by American architects Calvert Vaux and Jacob Wrey Mold. As of 2006, the Met measures almost a quarter mile long and occupies more than two million square feet, more than 20 times the size of the original 1880 building.
In 2007, the Metropolitan Museum of Art was ranked #17 on the AIA 150 America's Favorite Architecture list.
The Metropolitan Museum of Art was designated a landmark by the New York City Landmarks Preservation Commission in 1967. The interior was designated in 1977.
National Historic Register #86003556
Hart Plaza is located immediately south of the intersection of Woodward and Jefferson Avenues. It was opened in 1975 and has a capacity of 40,000 people. At the center of the plaza is the famed Horace E. Dodge and Son Memorial Fountain, designed by Isamu Noguchi in 1978. Next to Hart Plaza is the Renaissance Center, the RenCen is owned by General Motors as its world headquarters. The central tower is the tallest all-hotel skyscraper in the Western Hemisphere and features the largest rooftop restaurant. It is also the tallest building in Michigan.
© 2007 ryan southen photography All Rights Reserved
*not for use without my prior written consent*
follow me on instagram: rsouthen, on facebook, or purchase some fine art prints
A view in the early evening by the lima bean pile. Note the 'mountain' in the background and the blank wall that the locals use for performances.
My agenda today is actually here at 140 Broadway, where two well-known "Wall Street" outdoor art displays are located. This "Red Cube", technically a rhombohedron rather than a cube, was designed by Isamu Noguchi in 1967, just when the office building seen behind, was completed.
The Red Cube is rather popular with tourists, though the thousands of bankers, lawyers, accountants, traders and office workers who come across it everyday seem rather indifferent about it.
Water Stone, 1986
Isamu Noguchi (American)
Basalt
Japanese-American artist Isamu Noguchi (1904-1988) sculpted in stone throughout his life. Noguchi first learned to carve stone in Paris in 1927, as a studio assistant to the French-Romanian abstract sculptor Constantin Brancusi (18761957). His culminating work in sculpture was produced at his studio on Shikoku Island, Japan, where he focused on transforming the local basalt stone into abstract sculptures.
Water Stone, commissioned in 1986 for the Japan Galleries of the Metropolitan Museum, was one of Noguchi's final works in basalt. While steeped in modernism, this sculpture also draws upon Japan's long stone-working tradition. Like stone basins set within Japanese gardens, Water Stone instills a meditative mood within the Museum galleries.
Noguchi's stone basin is both familiar and surprising: rather than pouring down into the well, water flows up from the ground into the basin. Water Stone rests upon a bed of white rocks taken from the flats of the Isuzu River, which flows along the sacred site of Ise Shrine. As if it were flowing from the Isuzu River that once sculpted the stones, water flows up into the basin (via a pump), then over the rim, polishing the stone naturally as it cycles. Noguchi recognized water as a natural maker of sculpture, here gradually eroding and rusting the iron-rich basalt.
By bringing together two fundamental natural elements, Water Stone becomes an expression of this and other natural processes. The materials embrace contrasts found in nature: the movement and sound of water against the solidity and stillness of stone; the hues and textures of rock in contrast to the transparency and smoothness of water; and the permanence of stone versus the transience of water.
The sculpture also underscores tensions between natural and human-defined elements. Noguchi alternated naturally worn, curvilinear outer rock surfaces with smoothly polished planes created through deliberate, angular cuts into the stone. The irregular circumference of the rounded form contrasts with the perfect circle of the central well. The cut circle introduces layers of symbolic meaning, representing the life cycle, seasonal cycle, sun, full moon, or enso symbol of Zen enlightenment, perfection, and unity. It may also simply evoke a ring created by a pebble dropped into water.
The water reaching the surface appears to come to a standstill, until it cascades over the edge, clinging to the stone sides as it falls. Water Stone, with its unending flow of water up and over the stone, expresses the unity of opposites that underlies the working of nature.
Purchase, Anonymous Gift, 1987 (1987.222)
**
The Metropolitan Museum of Art's permanent collection contains more than two million works of art from around the world. It opened its doors on February 20, 1872, housed in a building located at 681 Fifth Avenue in New York City. Under their guidance of John Taylor Johnston and George Palmer Putnam, the Met's holdings, initially consisting of a Roman stone sarcophagus and 174 mostly European paintings, quickly outgrew the available space. In 1873, occasioned by the Met's purchase of the Cesnola Collection of Cypriot antiquities, the museum decamped from Fifth Avenue and took up residence at the Douglas Mansion on West 14th Street. However, these new accommodations were temporary; after negotiations with the city of New York, the Met acquired land on the east side of Central Park, where it built its permanent home, a red-brick Gothic Revival stone "mausoleum" designed by American architects Calvert Vaux and Jacob Wrey Mold. As of 2006, the Met measures almost a quarter mile long and occupies more than two million square feet, more than 20 times the size of the original 1880 building.
In 2007, the Metropolitan Museum of Art was ranked #17 on the AIA 150 America's Favorite Architecture list.
The Metropolitan Museum of Art was designated a landmark by the New York City Landmarks Preservation Commission in 1967. The interior was designated in 1977.
National Historic Register #86003556
© 2014 ryan southen photography All Rights Reserved
*not for use without my prior written consent*
follow me on instagram: rsouthen, on facebook, or purchase some fine art prints
It's feeling cold again today, but hopefully there's no more snow this season.
More Winter shots are in my set
This article is by: Gabriela Enamorado and Angela Abdala - November 3, 2020
As a result of the Challenger tragedy, memorials were built across the United States. The grandest and most celebrated was designed by famed Japanese-American sculptor Isamu Noguchi, who died a few weeks before the memorial was officially unveiled on December 30, 1988, without seeing his work completed. The double helix-shaped steel and granite sculpture firmly stands in the southwest corner of Bayfront Park in Miami.
Led by famed newscaster Ralph Renick, Miamians joined perpetual maintenance to create the memorial in honor of the seven crew members, including Christa McAuliffe, a high school teacher from Concord, New Hampshire who had been chosen from more than 11,000 applicants to be the first civilian in space.
Why a memorial in Miami? As local historian Professor Paul George said, “A city in Florida needed to do a beautiful, serious memorial to that tragedy in January 1986 because we’re the state that kind of birthed the whole space thing in the United States and beyond. And that’s exactly why Renick thought it would be important to pay tribute to those lives we lost.”
The memorial was funded by donations from Miami-Dade schoolchildren and their families, and the trust fund of Lamar Louise Curry, a social studies Miami Senior High School teacher who made many contributions to Miami. Besides being an only child and never getting married, Lamar inherited from her father a lot of real estate in the Florida Keys and in Miami. She had a lot of love for Miami and its people.
As Paul George said, “she had the time and the desire to help the community and so she had to be one of the moving forces for the idea”. And that’s exactly what she did.
Lamar’s fund along with the donations covers the expenses of the white granite monument that stands at 100 feet, its grassy green garden with several flowers surrounding it, and a stone triangle that lies in front of the sculpture that bears the last names of the victims and a poem dedicated to them.
Although the work of art was built with great precision and dedication, and cost $250,000, (about $790,000 in 2020), skateboarders in Miami have not given it the respect it deserves.
“It was a place where skateboarders liked to skateboard,” said Timothy Schmand, former Executive Director at Bayfront Park Management Trust. “So they would come off the monument and then hit that triangle with their skateboard.”
To this day, the sculpture requires repainting every four to five years. The garden surrounding it needs perpetual maintenance.
Almost three and a half decades after the tragedy, Bayfront Park continues to display a wonderful piece of art in honor of the seven crew members who perished in the accident.
Credit for the data above is given to the following website:
sfmn.fiu.edu/downtown-miamis-challenger-memorial-the-memo...
© All Rights Reserved - you may not use this image in any form without my prior permission.
Shabondama
These are photograph series of the Moere-numa park in Hokkaido. This park is designed by a famous artist Isamu Noguchi. I took these pictures last year but I still love these.
Moere-numa park Sapporo Hokkaido
sep. 2006
PENTAX *ist DS2 / SIGMA COMPACT HYPERZOOM 28-200mm F3.5-5.6 ASPHERICAL MACRO
I'm still getting accustomed to the distortion from the ultra wide Olympus 7-14mm lens. This is Isamu Noguchi's Red Cube at 140 Broadway. 7mm, f2.8, 1/160, ISO 200
More photos with the Olympus 7-14mm Pro 2.8 lens are in my set
Bronze.
Isamu Noguchi was a prominent Japanese American artist and landscape architect whose artistic career spanned six decades, from the 1920s onward. Known for his sculpture and public works, Noguchi also designed stage sets for various Martha Graham productions, and several mass-produced lamps and furniture pieces, some of which are still manufactured and sold.
In 1947, Noguchi began a collaboration with the Herman Miller company, when he joined with George Nelson, Paul László and Charles Eames to produce a catalog containing what is often considered to be the most influential body of modern furniture ever produced, including the iconic Noguchi table which remains in production today. His work lives on around the world and at the Noguchi Museum in New York City.
The sculpture was created by Isamu Noguchi. Item 30497, Don Sherwood Parks History Collection (Record Series 5801-01), Seattle Municipal Archives.
My agenda today is actually here at 140 Broadway, where two well-known "Wall Street" outdoor art displays are located. This "Red Cube", technically a rhombohedron rather than a cube, was designed by Isamu Noguchi in 1967, just when the office building seen behind, was completed.
The Red Cube is rather popular with tourists, though the thousands of bankers, lawyers, accountants, traders and office workers who come across it everyday seem rather indifferent about it.
Isamu Noguchi's low-relief panel, News has soared above the entrance to the Associated Press Building, 50 Rockefeller Plaza, since its installation on April 29, 1940. Symbolizing the business of its former tenant, the Associated Press, this cast stainless steel Art Deco plaque depicts five journalists "getting a scoop"--the reporter with his pad, the newsman on the phone, the reporter typing out a story, the photographing recording events, and the newsman hearing the news as it comes in on the wire. The Associated Press' wordwide network is symbolized by diagonal radiating lines extending across the plaque.
Isamu Noguchi won a nationwide invitational competition in 1939 with this 22 foot high by 17 foot wide, 10-ton cast relief, using intense angles and smooth planes to emote the fast fassed environment of the newsroom in what was the first heoric-sized sculpture ever cast in stainless steel. Noguchi cast the piece in nine parts, but they were joined seamlessly so the naked eye could never detect.
Los Angeles born Isamu Noguchi (野口 勇, 1904-1988) was a sculptor, theatrical and industrial designer best known for his abstract works and set designs for Martha Graham productions. News was one of his last figurative works, and the only time he employed stainless steel as an artistic medium. His work can be found throughout major metropolitan cities, in museums, and in the Isamu Noguchi Garden Museum in Long Island City in New York. Noguchi's work around New York includes the Sunken Garden for Chase Manhattan Bank Plaza and Red Cube in Helmsley Plaza. His Thunder Rock was also temporarily on display in Rockefeller Plaza.
Rockefeller Center was designated a landmark by the New York City Landmarks Preservation Commission in 1985.
In 2007, Rockefeller Center was ranked #56 on the AIA 150 America's Favorite Architecture list.
Rockefeller Center National Register #87002591
Honolulu Capitol District, O‘ahu.
Sky Gate, by Isamu Noguchi, painted steel sculpture, 1977.
While photographing the sculpture on May 26, 2010 during a Lāhainā Noon, the Mayor of Honolulu happened to be in the area. I explained that I was there photographing the astronomical event and asked if he wouldn't mind me taking a pinhole photo of him. He was obliging and I was very happy.
Thank you very much, Mayor Hannemann!
Twice a year in the tropics, the sun crosses the sky and stands directly overhead. This astronomical phenomenon occurs in May and July in Honolulu and is called Lāhainā Noon. The day and time differs each year, but it last happened on Wednesday, May 26, 2010 at precisely 12:28pm.
Le Bambole Mk. II Pinhole Camera. Kodak 160 Portra NC. Exposure: f/256 and 3 seconds.
July 27, 2010 addendum: The Mayor was very kind to autograph a print of this photograph! Thanks, Mufi! Click here.
Isamu Noguchi's 'Red Cube' sculpture provides a stylish and stylised backdrop for my scaly buddy 'Komos'.
Komos created and performed by Joe Strike; fursuit designed and constructed by 'Artslave'.
To see a whole lot more of Komos, please check out my 'Komos & Goldie' album. (Sign-in required to see all content.)
In front of the Marine Midland Building at 140 Broadway (Liberty & Broadway), Lower Manhattan.
Sunday November 6th 2016.
Evidently, the locals do impromptu performances to relieve themselves of the apparent ennui in Orange County.
Noguchi did work with the theatre, so this was probably what he hoped for in the evenings!
#autumnmoonfestival #autumnmoon #ikari #ricepaper and #reed #lamp #designed by #japaneseamerican #sculptor #isamu #noguchi #IsamuNoguchi hanging over #diningtable in #sunnybay #house #bombori #celebrating the #fullmoon and #architecture and #great #sculpture and #lighting #design
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asgq23: great profile, love all ur pics!
Lower Manhattan is not just a place for bankers, lawyers and traders. I was rather amused (pleasantly) to see these toddlers being led by their daycare teachers marching -- ever so casually and cheerfully -- across Liberty Street and Broadway.
My agenda today is actually here at 140 Broadway, where two well-known "Wall Street" outdoor art displays are located. This "Red Cube", technically a rhombohedron rather than a cube, was designed by Isamu Noguchi in 1967, just when the office building seen behind, was completed.
The Red Cube is rather popular with tourists, though the thousands of bankers, lawyers, accountants, traders and office workers who come across it everyday seem rather indifferent about it.
The Noguchi Museum (original warehouse, 1929; Isamu Noguchi and Shoji Sadao, mainly 1982-1983, with garden installed in 1985). Formerly Noguchi's studio, this is probably one of my favorite archi-spots in NYC: a reliably calming and absorbing visit, whatever the current exhibits are. I don't think I can really say too much of interest about the design itself, though I think the primary concrete-block addition is a great neutral foil for Noguchi's stone sculptures, and does lovely things with indoor/outdoor continuity. It's just really nice!