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"""It sometimes happens that Santa's sack is subject to wear and tear due to the many reuses and heaviness of the many gifts. And then this can happen..... the sack tears and the gifts fall out......
Fortunately, there is then a watchful eye, that warns Santa Claus in question. The bag is immediately repaired, the gifts are picked up again.
Long story short, it will all be fine again.""" ;-))
Wishing you all a joyful day ;-))
Model: origami Lost articles of Santa
Design: Isamu Asahi
Diagrams in NOA magazine #496
I noticed that a lot of people on Flickr are taking a break, so I hope I'm not to late by wishing you all a very Happy Xmas time or Happy Holidays with your friends and beloved ones!
P.S. This is NOT my last photo, I will continu the Santa-serie until Xmas ;-))
I like origami-Santa's a lot and I collect diagrams since years and years. It started with very simple ones, only suitable for cards and many years ago I decide to make ATC-cards*** (Artist Trade Cards) to create my Santa collection. (I once uploaded them all (see the first comment box))
I promised then to also show them individually in due time, mentioning the designer and where the diagrams can be found. So here are two origami santa's from the same designer.
I tried something new, presenting them in a bigger frame. Let me know what you think of it. ;-))
***Artist trading cards (or ATCs) are miniature works of art about the same size as modern trading cards baseball cards, or 2,5 by 3,5inches (64 mm × 89 mm), small enough to fit inside standard card-collector pockets, sleeves or sheets.
The ATC movement developed out of the mail art movement and has its origins in Switzerland.
Cards are produced in various media, including dry media (pencils, pens, markers, etc.), wet media (watercolor, acrylic paints, etc.), paper media (in the form of collage, papercuts, found objects, etc.) or even metals or fiber.
The cards are usually traded or exchanged. When sold, they are usually referred to as art card editions and originals (ACEOs)***
Info - Wikipedia
The ATC-card on the left shows a two piece Santa Claus by Isamu Asahi, made of wo pieces. Got the diagrams from a friend, don't know which book or magazine.
The ATC-card on the right shows also a Santa Claus by Isamu Asahi, except the shoes. That is a design by Seiryo Takekawa.
You can find the diagrams for this 4 unit Santa in NOA magazine # 184.
Ancient lanterns, made from bamboo and mulberry bark paper, inspired Isamu Noguchi to design a whole range of 'light' sculptures. He called them Akari, a term meaning light as illumination, but also implying the idea of weightlessness.
They are still in production, following the traditional method that Noguchi learned in 1951 in Japan. Watch this short video to see how crafty it is done. The outcome is a resilient paper form, which can be collapsed and packed flat for shipping. The museum shop in New York has them in stock.
The basic round lantern is now copied all over the world, but Noguchi was the first modern promotor. Most of his designs ooze a 'fifties modernity' that is still alluring. "Like the beauty of falling leaves and the cherry blossom," Noguchi wrote, "Akari are poetic, ephemeral, and tentative. All that you require to start a home are a room, a tatami, and Akari.”
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Black Cats poses - Punchtime Break female
((Mister Razzor)) Isamu Tattoo
DarkFire June Tube Top with Shorts
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Drawing a perfect circle in one continuous line was a sign
of mastery. Rembrandt did it in one of his latest self-portraits.
Noguchi however, did the opposite. Read what he wrote
about Sun a Noon.
The assembly technique, no doubt with industrial help, is related
to Noguchi's activity as a designer. Some of his furniture, like
his famous glass coffee table and his paper lanterns, are still in production and very popular.
Credits: bluemoodstyle.blogspot.com/2022/08/blog-post_75.html
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→ ⲊⲢⲞⲚⲊⲞⲄ: [Brior] Kimmy Set BRIOR & DREAMDAY
→ ⲊⲢⲞⲚⲊⲞⲄ: [ATI] Isamu TATTOO Addicted To Ink
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✘ RAON Hair - Mimosa Buns HAIR
✘ LELUTKA HEAD
✘ EBODY REBORN
✘ Vibing -- Ceres Earrings -- Silver
✘ (r)M ~ (RLV) Posture Collar ~
✘ THIS IS WRONG Dominion stone - RED
The airplane has changed our perception of the world. Our connection and intervention with nature are best seen from above. Humans hardly touch the mountain peaks. They settle in river dales and grassy flats. They always design a grid, bordered by roads.
This birds-eye view had a tremendous effect on art in the twentieth century. How could it not? With this piece of granite Isamu Noguchi stressed our bond with nature. Talking about 'Another Land' he said: "When I refer to it as land sculpture, this is what I mean — water flow, nature’s passage."
He put this sculpture on the floor, in direct contact with the earth. When we circle around it, it changes. Light becomes dark, shallow becomes deep. Coming from the east or from the west makes a difference...
One of three photographic partial views of "Endlessly Repeating Twentieth Century Modernism", Josiah McElheny, 2007. Blown mirrored glass, mirrors, metal, wood, and electric lighting. Boston Museum of Fine Arts.
Curator's description: "McElheny hand-blew the dozens of glass vessels in this perfect machined, mirrored box, basing them on 20th-century designs. Their glinting reflections reed in an infinitely repeating pattern. The work is inspired by an enclosed and completely reflective world of pure form imagined by architect Buckminster Fuller and sculptor Isamu Noguchi in 1929. By crafting a version of their idea, McElheny reveals what a world purged of human presence and individuality looks like. Though brimming with beautiful objects, it is a place apart, devoid of life."
As I recall, the box is square, maybe a cube, about 2m on a side, with windows all around, containing various arrangements of bottles, with the tallest maybe about 0.3m.
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The Storm King Mountain, overlooking the Hudson River, gave its name to a landscaped sculpture garden that started in 1960. Many well-known artists of that era picked a spot to create work for it.
Isamu Noguchi went even further: he asked for a complete new hill. On top of this elevation, with views all around, he placed a large stone 'ensemble', named Momo Taro. The name refers to an ancient folktale about an elderly couple that - no doubt to everybody's surprise - still got a son. As the tale wants it, he emerged from a peach pit. The round stone - a colossal boulder that had to be split and hollowed out because it was too big to ship from Japan - reminded Noguchi of a giant peach, ready to consume. Visitors, especially children, are invited to enter the cavity and sing a song. The hollow shape resonates beautifully.
Landscaping is an integral part of Isamu Noguchi's oeuvre. He created several playgrounds and also made stage designs. It betrays an important aspect of his work: art is not only useful as an object of meditation or as an expensive luxury. Art should enrich daily life. Art and play are like brother and sister.
Isamu Noguchi remodelled an old factory to create a museum for his own work. It's a hidden gem. Few tourists take the bus into Queens to get there, but it is a quiet oasis for New Yorkers that seek the bridge between nature and culture. The museum reflects the Japanese-American background of Noguchi. Let me introduce his ideas in a small series.
Isamu Noguchi im Musem Ludwig Köln:
Bei 'Sculpture to Be Seen from Mars (Memorial to Man)' entwirft Noguchi eine außerirdische Perspektive auf unseren Planeten. Auf der Oberfläche der Erde erscheint ein riesiges menschliches Gesicht, eine Erinnerung an die Menschheit, die die Erde mit Kultur geformt, aber auch zerstört hat.
Isamu Noguchi respected nature. He could choose a piece of stone and communicate with it as we do with human beings. What do I see inside you? What do you want from me? How can I 'liberate' your potential?
Noguchi always sought a balance between nature and culture. Sometimes crude interventions with powerful tools were enough to turn a rough boulder into a cracking sculpture.
Basalt is very hard. It can stand the polishing force of the ocean well into mythical times, but human tools can quickly loosen its rigid character. The six-sided columns, broken into pieces, fit together like a geometrical puzzle and are often used to reinforce coastal dikes.
Isamu Noguchi uses his tools more subtle. Touching the surface, hammering away like a crazy woodpecker, then seeking deeper and finer, softening and polishing the form, he lays bare its inner beauty.
He does not force the material into a sculptural form. He seeks 'the brilliance of matter beneath the skin'. With that intention, basalt becomes almost fluid.
In the tranquil garden of the Noguchi Museum, art is shown in relation to nature. The sculptures beckon us as landmarks on a walk. Arriving at the spot they can be contemplated for some time while sitting on a bench. Leaving them behind in the embrace of evergreens is like a sweet goodbye.
It is not a classical Japanese rock garden with its nameless 'bones of the earth'. Sculptures are more outspoken as human interventions, but here Noguchi played with the same idea when he carefully placed an anonymous group around a landmark.
The white boulders are 'Practice Stones' of his apprentices. In the background rises his own 'Indian Dancer' like a mountain of stone.
Titles are not-done in abstract art. The dogma says that we should see for ourselves. The exploration of the unknown may be difficult without a clue and some background information, so museums usually provide text as well, but precise words narrow things down, while silent images are open to any connotation.
Isamu Noguchi was not hindered by this dogma. He gave his sculptures beautiful titles, poetic phrases like 'Night Wind' that open new vistas. A piece of black basalt, endlessly caressed by steel tools, rests on a wooden pedestal. We see traces of origin. The twists in stone and wood make it alive.
It reminds me of the Japanese 'Torii (gates to a holy place) and - perhaps quite the opposite - the sword of the samurai. Are those personal connotations in conflict with Noguchi's title? I don't think so. Our fingers cannot grasp the 'night wind', our eyes are unable to see it. Yet, it is real. We can hear the wind at night, we can feel it, we can dream it up in stone.
The weather here has been rainy and overcast but given the pleasant museums there's always something in which to delight in Luxembourg. My mind yesterday was turned to the Tropics by that tapestry of which I posted a photo; and the other day we enjoyed the Musée d'Art Moderne (MUDAM). It's situated on the Kirchberg and offers stunning views - even if gray now - of the spired city and the valley of the Alzette River.
The building itself, too, is worth a visit all on its own. But I was struck especially by a fine installation by Isamu Noguchi (1904-1988) and Danh Võ (1975-), 'A Cloud and Flowers'. The lamps are Akari, constructed from the inner bark of mulberry trees and framed by bamboo. Noguchi and Võ here see light as illumination. The plants come into this as well, but I found them rather dessicated. Still the 'object' illuminated my dark, rainy thoughts.
Pose: WRONG - BENTO STATIC MALE POSES-203 @ Manhood Event
Skin: Pumens - Isamu (LELU EVO X) skin
Outfit: [Elementtare] - Domenico set @ ManCave
Tattoo: Boscato - Tygros tattoo @ Alpha
Furniture @ Decor: Mithral - Dirty Dumpster @ Kustom9
Accessories: UNA. - TravelBag Spine @ The Warehouse Event
Backrop: blaink. - Toy Factory @ Manhood Event
Volunteer Park
Seattle, Washington
A 1969 sculpture by Isamu Noguchi. The top of the Space Needle, erected for the 1962 Olympics in Seattle, can be seen through the opening in the disc.
Thanks for stopping by!
© Melissa Post 2024
Some sculptures of Isamu Noguchi could be 'Gongshi': naturally shaped stones that make us ponder the universe. They are placed on the bookshelves of scholars and in Buddhist gardens as objects of meditation.
Art has the same intention. A man-made sculpture is just a silent piece of stone if there is no interaction.
The balance between nature and culture reaches another level in the garden of the Noguchi Museum. His repetitive column of granite and basalt communicates beautifully with the light and dark of the birches.
If you notice a resemblance with the 'endless Column' of Brancusi you are right. Aged 21 Noguchi saw his work in New York and was blown away. A year later (1927) he became Brancusi's student in Paris - only for five months because the roof collapsed in the rain, but it transformed his attitude towards abstract sculpture.
Noguchi's version of the 'endless column' moves upwards with a slow twist - like a turning spine. "I wanted to give torque to Brancusi's column," he said, "I had always felt its lack." A promising student needs a source of inspiration, but he does not stop where the master ends.
The Storm King Mountain, overlooking the Hudson River, gave its name to a landscaped sculpture garden that started in 1960. Many well-known artists of that era picked a spot to create work for it.
Isamu Noguchi went even further: he asked for a complete new hill. On top of this elevation, with views all around, he placed a large stone 'ensemble', named Momo Taro. The name refers to an ancient folktale about an elderly couple that - no doubt to everybody surprise - still got a son. As the tale wants it, he emerged from a peach pit. The round stone - a colossal boulder that had to be split and hollowed out because it was too big to ship form Japan - reminded Noguchi of a giant peach, ready to consume. Visitors, especially children, are invited to enter the cavity and sing a song. The hollow shape resonates beautifully.
Landscaping is an integral part of Isamu Noguchi's oeuvre. He created several playgrounds and also made stage designs. It betrays an important aspect of his work: art is not only useful as an object of meditation or as an expensive luxury. Art should enrich daily life. Art and play are like brother and sister.
The essence of a sculpture must enter on tip-toe, as light as animal footprints on snow.
-- Jean Arp
All works of nature created by God in heaven and on earth are works of sculpture.
-- Benvenuto Cellini
In my opinion, everything, every shape, every bit of natural form, animals, people, pebbles, shells, anything you like are all things that can help you to make a sculpture.
-- Henry Moore
Everything is sculpture... Any material, any idea without hindrance born into space, I consider sculpture.
-- Isamu Noguchi
Where did I learn to understand sculpture? In the woods by looking at the trees...
-- Auguste Rodin
Sculpture, Manhattan, New York, 1999
“Red Cube,” Isamu Noguchi, 140 Broadway New York, NY 10005
ENGLISH
Isamu Noguchi’s massive steel sculpture is a site-specific installation on the plaza of 140 Broadway, a Modernist gem designed by Gordon Bunshaft for Skidmore, Owings, & Merrill. It balances, seemingly improbably, on one corner, drawing the eye to its placement within the building’s public plaza (a byproduct of the city’s zoning laws, which allowed for a taller skyscraper in exchange for open space). No less a critic than Ada Louise Huxtable called it a “brilliant accent” against the dark steel of Bunshaft’s tower.
CUBED, NEW YORK
One of the Japanese new year preparations is extensive cleaning which is done at work as well as home before new year’s holiday, because it is important for Japanese people to welcome a new year with clean state.
Windows of the buildings shine most beautifully throughout the year and that is where I come to shoot.
Look-up shot from the entrance to Sogetsuryu school of flower arrangement located in Akasaka, Tokyo.
It’s not a perfect symmetry but geometric perspective in the urban space looks quite interesting.
Taken with Olympus E-M5 and M.Zuiko Digital ED 12mm F2.0
Setting: ISO 100 / 12.0 mm / f 8.0 / 0.4 sec.
The picture shows the skyline of Detroit seen from the Philip A. Hart Plaza. The 14-acre plaza, which is named for the late U.S. Senator Philip Hart, opened in 1975. At the center of the plaza is the Horace E. Dodge and Son Memorial Fountain, designed by Isamu Noguchi and Walter Budd in 1978. The stainless steel fountain is composed of two legs topped by a ring to the height of 30 feet above a circular, black granite pool. The fountain contains 300 jets and 300 lights and has intricate and computerized lighting and nozzle functions, which can create different configurations, dependent on temperature. (see Wikipedia)
At 140 Broadway in Lower Manhattan, Isamu Noguchi's Red Cube stands out prominently against the backdrop of the soaring Brown Brothers Harriman high rise. Halal carts are frequently parked nearby and adjacent buildings that house HSBC bank and the Bank of America flank the “cube” on its sides. Tonight was a foggy and rainy night and it gave it a different mood than usual.
To use a rock, it has to be 'freed' from the mountain. This starts in the quarry, where drilling holes can split stone at a precise place. Noguchi likes to direct this first step himself. Destruction is part of the creation.
In this sculpture, he shows the drilling marks as an elementary part of the process. Polishing only parts of the rough surface makes us deeper aware of our intervention with nature. Art is born in love and pain.
Mothership arrival.
Horace Dodge and Son Memorial Fountain
Isamu Noguchi - 1978-1981
ANR Building (One Woodward)
Minoru Yamasaki - 1962
Kamera: MinoltaXG1
En opsamling fra et halvt år i USA i 1986
Her er Isamu Noguchi’s Røde Kube dog fået et anslag i sh.
One Chase Manhattan Plaza Building — Chase Bank's former headquarters lately renamed "28 Liberty Street" to tie it to the street and to make life easier for postal workers.
Sculpture "Group of Four Trees" by French artist Jean Dubuffet. 1970.
In 1969, David Rockefeller, then chairman of Chase Manhattan Bank, asked Jean Dubuffet to design models for a possible sculpture to be placed in front of the bank’s new building. Already, the building’s plaza included Isamu Noguchi’s Sunken Garden, completed in 1964, and the bank’s leaders wanted to add another sculpture as well.
Dubuffet submitted a number of models, of which Group of Four Trees was chosen. He then enlarged the piece for placement in the plaza. The sculpture is made of synthetic plastic over an aluminum frame, with a steel armature holding the whole piece together.
Lower Manhattan, New York.
Isamu Noguchi (1904-1988) was a Japanese-American sculptor.
From the website:
Isamu Noguchi’s ultimate conception of sculpture was the manipulation of three empirical abstractions: the relationships that connect objects, spaces, and people; the sense of environment those connections produce when more than the sum of their parts; and the scaling of human awareness to such imaginary landscapes.
In 1985, Noguchi opened The Isamu Noguchi Garden Museum (now known as The Noguchi Museum), in Long Island City, New York. The Museum, established and designed by the artist, marked the culmination of his commitment to public spaces. Located in a 1920s industrial building across the street from where the artist had established a studio in 1960, it has a serene outdoor sculpture garden, and many galleries that display Noguchi’s work, along with photographs, drawings, and models from his career. He also indicated that his studio in Mure, Japan, be preserved to inspire artists and scholars; a wish that was fulfilled with the opening of the Isamu Noguchi Garden Museum Japan in 1999.