#thenoguchimuseum
Isamu Noguchi, Origin, 1968, Black African granite
Photo by Kevin Noble
The Noguchi Museum Archive
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Akari Space, a 2018 construction based on Isamu Noguchi’s Akari PL2 screen (c. 1973).
Installed as part of The Noguchi Museum’s 2018 exhibition, Akari: Sculpture by Other Means, on view through January 27, 2019. More info here:
http://www.noguchi.org/programs/exhibitions/akari-sculpture-other-means
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Building up to our next highlights exhibition, Akari: Sculpture by Other Means, opening February 28, 2018 an on view through January 27, 2019
Installation of "Isamu Noguchi and Hiroshi Teshigahara,“ Sogetsu Art Museum, November 20, 1980 - December 20, 1980.
Unknown photographer
The Noguchi Museum Archive
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Isamu Noguchi, Blackness, 1967-70, basalt on pine base
Photo by Shigeo Anzai
Private collection, on long-term loan to The Noguchi Museum
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Isamu Noguchi, This Tortured Earth, 1942 - 1943 (cast in bronze 1977)
Installed as part of Self- Interned, 1942: Noguchi in Poston Relocation Center, closing this Sunday, January 28
Photo by Kevin Noble
The Noguchi Museum
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Photograph by Isamu Noguchi of a display of his Akari Light Sculptures at Chuo Koron Gallery, Tokyo, August 1952.
The Noguchi Museum Archive.
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Isamu Noguchi, Erai Yatcha Hoi (Kintaro), 1931, terra cotta
Unknown photographer
The Noguchi Museum Archive
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Isamu Noguchi, Small Plate with Figure, 1952, Seto stoneware, Shino glaze
Photo by Akira Takahashi
The Noguchi Museum
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Isamu Noguchi, Zazen, 1982-83, Hot-dipped galvanized steel
Photo by Kevin Noble
The Noguchi Museum
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Photographs by Isamu Noguchi (top) of his collection of ceramics by his friend and mentor Kitaoji Rosanjin, May 1963 and; (bottom) the master at work, 1952.
The Noguchi Museum Archive
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Isamu Noguchi, Uncle Takagi,1931, terracotta
When Noguchi arrived in Japan in 1931, his first visit since childhood, he had a tense visit with his estranged father, Yonejiro, and Yonejiro’s wife and family. “My Uncle Takagi gave me a new house to stay in, and showered me with kindness, as did other relatives who gave me to understand that they favored my mother.” (Isamu Noguchi, A Sculptor’s World, New York: Harper & Row Publishers, 1968: 20.)
The Noguchi Museum
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An 82 year-old Isamu Noguchi tests his Slide Mantra at the 1986 Venice Biennale.
Unknown photographer
The Noguchi Museum Archive
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Isamu Noguchi was born on this day, November 17, 1904
(top) Noguchi at a festival in Japan, 1960s (unknown photographer)
(middle) Noguchi standing on stone in Japan, 1960s (unknown photographer)
(bottom) birthday wishes from Barbara and George Kovacs, 1977
The Noguchi Museum Archive
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Isamu Noguchi, White Composition, 1970, Statuary marble
Photo by Kevin Noble
The Noguchi Museum
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Isamu Noguchi, Ground Wind # 1, 1968, African and Swedish granite, as installed by Noguchi behind his residence at his studio in Mure, Japan
Photo by Kozo Watabiki
The Isamu Noguchi Garden Museum Japan/ Collection The Isamu Noguchi Foundation and Garden Museum
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Photograph by Isamu Noguchi of street musicians in Kathamndu, Nepal, ca. mid- 1950s
The Noguchi Museum Archive
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Our new exhibition, The Sculpture of Gonzalo Fonseca, now on view through March 11, 2018.
Gonzalo Fonseca, Castalia, 1980, Roman travertine
(with detail)
Photos MK
More info at: http://www.noguchi.org/programs/exhibitions/the-sculpture-of-gonzalo-fonseca
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Remembering Sono Osato, dancer, actor, and philanthropist (August 29, 1919–December 26, 2018). Born in Omaha to a Japanese father and French-Irish mother, Osato became at 14 the youngest member of the renowned Ballets Russes de Monte Carlo and the first of Japanese American descent, and went on to perform with the Ballet Theater in New York and on Broadway. Isamu Noguchi sculpted a portrait of the rising star in 1940. Read more about her life in the @nytimes.
—
Eliot Elisofon, Portrait of Sono Osato with Isamu Noguchi and ‘Sono Osato,’ 1940, plaster. Photograph in the #NoguchiArchives. ©The LIFE Picture Collection / Getty Images / The Isamu Noguchi Foundation and Garden Museum / Artists Rights Society (ARS).
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Isamu Noguchi’s ceiling for the American Stove Company building, 1948, interior design with plaster, colored glass, electric components (St. Louis, MO; Harris Armstrong, architect)
Unknown photographer
The Noguchi Museum Archive
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Isamu Noguchi, model for unrealized design for U.S. Pavilion at Expo ‘70 in Osaka, Japan, 1968, painted plaster, wire, paint
Photos by Kevin Noble
The Noguchi Museum
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Photo of Isamu Noguchi’s granite sculptures Ground Wind # 2 (1969, foreground) and Another Land (1968) at his studio in Mure, Shikoku, Japan, ca. 1970s
Unknown photographer
The Noguchi Museum Archive
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(Above)
Isamu Noguchi guiding the placement of elements in one of two gardens he designed for IBM Headquarters, Armonk, NY, c. 1964
(Below)
Isamu Noguchi’s “Garden of the past,” IBM Headquarters, Armonk, NY, 1964
Photos by Minoru Niizuma
The Noguchi Museum Archive
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Detail photograph by Isamu Noguchi of his sculpture Student, then installed at his combination indoor/ outdoor space Shin Banraisha, Keio University, Tokyo, c. 1951
The Noguchi Museum Archive
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Photograph by Isamu Noguchi of the Lord Vishnu sculpture, Budhanilkantha Temple, Kathmandu, Nepal, 1956
The Noguchi Museum Archive
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(top)
Isamu Noguchi’s preparatory model for his Constellation (for Louis Kahn) for the Kimbell Art Museum, Fort Worth, 1982, plasticine and plywood
Photo: Galerie Maeght
(bottom)
Isamu Noguchi, Constellation (for Louis Kahn), 1982, Site-specific grouping of four basalt elements
Photo: Kimbell Art Museum
The Noguchi Museum Archive
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Isamu Noguchi, model for unrealized design for playground for United Nations, New York, 1952, plaster
Photo: Charles Uht
The Noguchi Museum Archive
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Photographs of Tsukuba granite elements and plantings from Isamu Noguchi’s collaboration with Skidmore Owings & Merrill at First National City Bank Plaza, Fort Worth, Texas, soon after its completion, 1961.
Unknown photographer (possibly Noguchi’s own)
The Noguchi Museum Archive
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Isamu Noguchi, Shinto, 1974-75, aluminum (now destroyed)
Commissioned by Bank of Tokyo for its renovated lobby in Manhattan’s Financial District, Noguchi’s Shinto was intended to act as a counterpoint to the Corinthian columns it was suspended between, left intact from the original space by the architects. Unfortunately the looming 17 foot tall form was claimed to have intimidated customers and Bank of Tokyo dismantled and removed it in 1980. Noguchi only learned of its removal after the fact.
Photo by Ezra Stoller / ESTO
The Noguchi Museum Archive
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Photograph by Isamu Noguchi of his work Apartment (1952, unglazed Seto stoneware) soon after its completion.
(now in the collection of the Museum of Modern Art)
The Noguchi Museum Archive
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Photograph by Isamu Noguchi of his ceramics being removed from a kiln (with the multi- element Even the Centipede on the plank in the foreground), Japan, 1952
The Noguchi Museum Archive
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Isamu Noguchi, Tamanashiki (The Wrestler), 1931, terra-cotta
(below)
Period study photo of the wrestler Tamanashiki San'emon (1903-1938) from the Noguchi Museum Archive
The Noguchi Museum
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Isamu Noguchi, Large Walking Box, 1952, Karatsu stoneware, wood dowels
Photo: Kevin Noble
The Noguchi Museum
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