Display of Akari at Isamu Noguchi’s 1952 exhibition at Chuo Koron Gallery in Tokyo.
Noguchi produced his first Akari in 1952, after a visit to the town of Gifu in spring 1951. Gifu had been the center of Japan’s paper lantern (chōchin) industry until both foreign knock-offs and World War II decimated its trade. Inspired to help revitalize Gifu’s industry, Noguchi took advantage of the local mulberry bark paper and spiral bamboo rib construction to create shapes of his own design. Working with the Ozeki family, Noguchi created over 100 variations of Akari until his death in 1988. (The Noguchi Museum continues to work with Ozeki to keep Akari in production.) This early photo shows Noguchi exploring the use of color and pattern, which he gradually shied away from, focusing more on innovations to their shape. (Photographer unknown)
For more info: http://shop.noguchi.org/
The Noguchi Museum Archive
THINGS WE LIKE. Cubism and Abstract Art chart from the momalibrary.
Every day at the library reference desk I look at a poster version of this chart. Ever since Alfred Barr composed it for the catalog cover of the 1936 exhibition Cubism and Abstract Art, the chart has been scrutinized, criticized, historicized, revised, and deliciously parodied.
My colleagues have also been scrutinizing charts lately, sparked by the exhibition Inventing Abstraction, 1910–1925. Investigating early abstraction as a global phenomenon, the curatorial team used the chart as a point of departure for visualizing contact among modern artists of the period. This in turn has opened up the general topic of visualizing art history, as seen in these ongoing entries about charts on the exhibition’s in-depth blog.
The chart fascinates me in terms of something Barr wrote in 1946, arguing for popularization
through research which makes publication effective more than that which makes it true, of what might be called the pragmatic rhetoric of education rather than its data.
The “effectiveness” of the chart lies precisely its oversimplicity. Unlike even the most erudite essay, exquisite lecture, or the landmark exhibition itself, Barr’s idea is immediately graspable (effective). In this way the chart forcefully conveys an argument—however flawed—that the art world can (and continually does) push against. -jt
Image: Alfred H. Barr, Jr. Papers, 3.C.4. The Museum of Modern Art Archives, New York. Quote: Alfred H. Barr Jr., “Research and Publication in Art Museums,” Museum News 23, no. January 1 (1946). Reprinted in Alfred H. Barr Jr., Defining Modern Art: Selected Writings of Alfred H. Barr, Jr. (New York: Abrams, 1986), 205–13.
THINGS WE LIKE. Art as a life style. MoMA. New York.
“WARM UP 2012”
MoMA PS1, 22-25 Jackson Ave., Long Island City, NY
Subway E,G,M,7 (intersection of 46th Ave) $15
This year’s Warm Up marks the third year the series will be conceived by a curatorial committee hand selected by the museum to represent a wide spectrum of expertise and experiences in music, sound, and the performing arts, resulting in a unique summer sound that explores, interprets, and combines genres. every Saturday this summer through September 8
Anonymous asked: Hi, do you know where I can get the catalogue of the exhibition "Action and Abstraction: Japanese Postwar Art".
Yes, of course. We prepared an e-catalogue which you can find online here: http://www.artosaka.jp/en/special#3 .
I hope you enjoy ~