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Relevant bibliographies by topics / Isamu Noguchi

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Academic literature on the topic 'Isamu Noguchi'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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Journal articles on the topic "Isamu Noguchi"

1

Winther, Bert, Bruce Altshuler, Diane Apostolos-Cappadona, and Bruce Altshuler. "Isamu Noguchi." Art Journal 54, no. 3 (1995): 113. http://dx.doi.org/10.2307/777614.

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Okubo, Miné. "Letters to Isamu Noguchi." Amerasia Journal 30, no. 2 (January 2004): 19–20. http://dx.doi.org/10.17953/amer.30.2.u708180107877033.

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D'Alessandro, Stephanie. "Figure, 1946 by Isamu Noguchi." Art Institute of Chicago Museum Studies 25, no. 1 (1999): 14. http://dx.doi.org/10.2307/4112976.

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Stevenson, Deborah. "A Boy Named Isamu: A Story of Isamu Noguchi by James Yang." Bulletin of the Center for Children's Books 74, no. 9 (2021): 406. http://dx.doi.org/10.1353/bcc.2021.0273.

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Winther, Bert. "ISAMU NOGUCHI: THE MODERNIZATION OF JAPANESE GARDEN DESIGN." Nippon Teien Gakkaishi 1993, no. 1 (1993): 30–44. http://dx.doi.org/10.5982/jgarden.1993.30.

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Maeda, Robert J. "Isamu Noguchi: A Defining Moment in My Life." Amerasia Journal 20, no. 2 (January 1994): 57–76. http://dx.doi.org/10.17953/amer.20.2.425123j700j15314.

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Maeda, Robert J. "Isamu Noguchi and the Peking Drawing of 1930." American Art 13, no. 1 (April 1999): 85–93. http://dx.doi.org/10.1086/424337.

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Maeda, Robert J. "From Shape and Shadow: The Mother and Father of Isamu Noguchi." Amerasia Journal 22, no. 3 (January 1996): 104–20. http://dx.doi.org/10.17953/amer.22.3.f6770w5p82338758.

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Conley, Jennifer L. "Visions of Landscape in Martha Graham's Errand into the Maze." Congress on Research in Dance Conference Proceedings 2016 (2016): 72–80. http://dx.doi.org/10.1017/cor.2016.12.

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Martha Graham cultivated a dual awareness of self and environment through the use of Earth-based imagery in her technique and repertory. Her Greek dramas are situated in landscapes created by Isamu Noguchi that suggest both geological and topographical landscapes as well as landscapes of the mind and body. In bridging the connection between body and Earth, the characters from these ballets have a dynamic relationship to these terrains that contain, embolden, and empower them. So what happens to the meanings and understandings of these works when they are stripped of their Noguchi habitats? This research investigates Martha Graham's Errand into the Maze (1947) in relationship to a stripped down version of the dance called Errand that premiered in the Graham Company's 2013 season after Hurricane Sandy destroyed the sets.

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10

Moreno Moreno, María Pura. "El jardín japonés de Isamu Noguchi, en la sede de la Unesco en París." Bitácora arquitectura, no. 39 (December 17, 2018): 04. http://dx.doi.org/10.22201/fa.14058901p.2018.39.67816.

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<p>En el jardín japonés de la sede de la Unesco de París, Isamu Noguchi reflejó su visión abstracta del mundo al evidenciar la relación entre espacio y materia. La utilización de los conceptos de tipo, topos y tectónica dirigió esta actuación –en principio escultórica– a una existencia arquitectónica, gracias a la coherencia entre una estructura formal, una topografía simbólica y una precisa materialización constructiva. Su convergencia en la propuesta permitió la reconceptualización de diseño de jardín acotado y logró trascender lo estético y lo funcional a favor de la experimentación sensorial en su recorrido.</p>

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Dissertations / Theses on the topic "Isamu Noguchi"

1

Grove, Nancy. "Isamu Noguchi a study of the sculpture /." New York : Garland Pub, 1985. http://catalog.hathitrust.org/api/volumes/oclc/12556698.html.

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Ha-Van, Ha-Hong-Van. "Isamu Noguchi (1904-1988) : conscience sociale et artistique d'un sculpteur américain." Paris 7, 1992. http://www.theses.fr/1992PA070042.

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Cette thèse prend pour point de départ l'ébauche de la recherche nouvelle dans laquelle se lança le sculpteur américain Isamu Noguchi (1904-1988), dès 1933. Elle a pour objectif essentiel de comprendre et d'analyser comment la production de l'artiste s'inscrit dans une tentative de définition de la sculpture publique dans la vie des hommes, et analyse les premières conceptions de monument de l'artiste, l'engagement politique de ce dernier, la situation de l'artiste durant les années de dépression et les concours auxquels il participa de 1936 à 1940; elle s'attache en outre au discours de Noguchi sur la réintegration des arts (1948-49) et prend en compte sa recherche d'une définition du loisir. Un chapitre est consacré aux collaborations de Noguchi avec des chorégraphes (Martha Graham, Ruth Page. . . ), et deux autres à l'écriture d'une autobiographie (1968) et a la création d'un musée monographique
This dissertation takes for its starting point the beginnings of the pursuits which the american sculptor Isamu Noguchi (1904-1988) undertook from 1933. The objective of the dissertation is to understand and analyze how the artist's production fits within a definition of public sculpture; it also analyzes the artist's first conceptions of the monument, his political commitment, the situation of the artist during the great depression, and the competitions in which he participated from 1936 to 1940. It investigates Noguchi's arguments concerning the reintegration of the arts (1948-49) and deals with his research into a definition of leisure (1950-56). One chapter is dedicated to noguchi's collaboration with choreographers (Martha Graham, Ruth Page. . . ), and two others to the writing of an autobiography (1968) and to the creation of a monographic museum (1985)

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3

Okashimo, Colin. "Art as contemplative place, with reference to Isamu Noguchi's sited works." Thesis, University of the Arts London, 2007. http://ualresearchonline.arts.ac.uk/2307/.

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The term contemplative place, a new concept that forms the core of this research is defined as "space where a meaningful sense of calm can be experienced." Contemplative place situates itself as a category of place. M. Auge defines place as that which is "relational, historical and/or concerned with identity" (1995). For the artwork to be meaningful, it needs to be expressive and significant through its response to its physical, cultural, historical and/or social identity. With reference to Isamu Noguchi's sited works, three projects are seen as representatively defining his career. They are The UNESCO Garden in France - Noguchi's early attempt at using the landscape as an art form; the California Scenario in the USA -a corporate park where Noguchi successfully creates a meaningful sense of place; and the Domon Ken Museum of Photography in Japan -a simple reductive approach that addresses its context on several levels. Through the analysis and contextual isation of Noguchi's works, I begin to explore the strategic processes and principles that he used to make his works contemplative places. In my practice, I review and test evolving processes that incorporate the notions of place as well as my practice of meditation. Three case studies of past and current works are presented, each with a summary of analysis and a completed (or anticipated) experience. Then, through post-reflective thoughts, I begin to consolidate my own strategic processes and principles, and study how they have evolved and in some instances been influenced by Noguchi. As a final chapter, an evaluation addresses the similarities and differences between Noguchi's works and mine in achieving contemplative place. The intention of this research is that the term contemplative place can be understood and evolve over time with future research. The strategic processes and principles used by Noguchi and those newly developed through my own practice could prove as useful examples to inspire new frontiers for creating contemplative places as art forms.

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4

俊也, 越前, and Toshiya Echizen. "「平和記念」の造営と展示1915-1964 : 広島の陳列館/資料館/公園の50年." Thesis, https://doors.doshisha.ac.jp/opac/opac_link/bibid/BB13142996/?lang=0, 2020. https://doors.doshisha.ac.jp/opac/opac_link/bibid/BB13142996/?lang=0.

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本論は、広島の平和記念施設の敷地において、原爆ドーム前身の物産陳列館設立（1915）から慰霊碑後方の「平和の灯」設置（1964）まで、一貫して、平和ではなく繁栄を目指す造営と展示がなされてきたことを明らかにした。また、原爆ドームは、慰霊碑がある南からの眺めでは、原爆犠牲者の象徴のように見做されるのに対し、原爆スラムがあった北からの相貌では、被曝後を生きるものとして捉えられていたことを指摘した。以上のことから、現代における記念碑の意味を問い直した。
In this dissertation I revealed that there had been consistently construction and exhibitions aimed at prosperity rather than peace, from the establishment of the product display hall (1915), the predecessor of the Atomic Bomb Dome to the setting up of the "Peace Flame" behind the cenotaph (1964) on the site where the Hiroshima Peace Memorial Facility is located. In addition, it was pointed out that the atomic bomb dome was regarded as a symbol of the victims of the atomic bomb in the view from the south where the cenotaph is located, and the appearance from the north where the atomic bomb slum was made to live after exposure. From the above, the meaning of the monument in the present age was questioned again.
博士(芸術学)
Doctor of Philosophy in Art Theory
同志社大学
Doshisha University

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5

Serrano, Carolina 1994. "A dimensão espiritual da escultura através da obra de XIX artistas." Master's thesis, 2018. http://hdl.handle.net/10451/33652.

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The spiritual dimention in art, in the European context, has been, for centuries, almost exclusively related with religion. However, in the modernity, with the loss of prominence of religion, and with the divorce of art and the Church, that dimention has became accessible to be freely and autonomously explored by art, and in this specific case, by sculpture. If, in general, from the point of view of modernism, it is known that art has lost its notion of transcendence, in accordance with a destructive demand of the artistic tradition, concentrating, instead, on exploiring and evaluating its own possibilities, however, it is also possible to notice the presence of a strong spiritual dimension in the life and work of many modern and contemporary artists. This dissertation is the result of a research of this spiritual dimention in the 20th and 21st century sculpture, through an analysis of the life, work and/or cultural circumstances of nineteen artists, namely Constantin Brancusi (1876-1957), Marcel Duchamp (1887-1968), Jean Arp (1886-1966), Jacob Epstein (1880-1959), Alberto Giacometti (1901-1966), Henry Moore (1898-1986), Barbara Hepworth (1913-1975), Isamu Noguchi (1904-1988), Alberto Carneiro (1937-2017), Louise Nevelson (1899-1988), Lourdes Castro (1930), Germaine Richier (1902-1959), Barnett Newman (1905-1970), Anselm Kiefer (1945), Joseph Beuys (1921-1986), Richard Long (1945), Rui Chafes (1966), Anish Kapoor (1954) and Diogo Pimentão (1973)

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6

俊也, 越前, and Toshiya Echizen. "「平和記念」の造営と展示1915-1964 : 広島の陳列館/資料館/公園の50年." Thesis, 2003. http://id.nii.ac.jp/1707/00001617/.

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本論は、広島の平和記念施設の敷地において、原爆ドーム前身の物産陳列館設立（1915）から慰霊碑後方の「平和の灯」設置（1964）まで、一貫して、平和ではなく繁栄を目指す造営と展示がなされてきたことを明らかにした。また、原爆ドームは、慰霊碑がある南からの眺めでは、原爆犠牲者の象徴のように見做されるのに対し、原爆スラムがあった北からの相貌では、被曝後を生きるものとして捉えられていたことを指摘した。以上のことから、現代における記念碑の意味を問い直した。
In this dissertation I revealed that there had been consistently construction and exhibitions aimed at prosperity rather than peace, from the establishment of the product display hall (1915), the predecessor of the Atomic Bomb Dome to the setting up of the "Peace Flame" behind the cenotaph (1964) on the site where the Hiroshima Peace Memorial Facility is located. In addition, it was pointed out that the atomic bomb dome was regarded as a symbol of the victims of the atomic bomb in the view from the south where the cenotaph is located, and the appearance from the north where the atomic bomb slum was made to live after exposure. From the above, the meaning of the monument in the present age was questioned again.
博士(芸術学)
Doctor of Philosophy in Art Theory
同志社大学
Doshisha University

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Books on the topic "Isamu Noguchi"

1

Sam, Hunter. Isamu Noguchi. Seattle, Wash: Bryan Ohno Editions in association with the University of Washington Press [distributor], 2000.

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2

1904-, Noguchi Isami, ed. Isamu Noguchi. New York: Abbeville Press, 1994.

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Sam, Hunter, and Bryan Ohno Gallery, eds. Isamu Noguchi. Seattle, Wash: Bryan Ohno Editions, 2000.

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4

Isamu, Noguchi. Isamu Noguchi ten. [Tokyo]: Asahi Shinbunsha, 1992.

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1953-, Takahashi Kōji, Mizutani Takeshi, Tsuzuki Chieko, Tōkyō Kokuritsu Kindai Bijutsukan, Kyōto Kokuritsu Kindai Bijutsukan, and Asahi Shinbunsha, eds. Isamu Noguchi ten. [Tokyo]: Asahi Shinbunsha, 1992.

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6

Bijutsukan, Sezon, ed. Isamu Noguchi to Kitaōji Rosanjin: Isamu Noguchi, Rosanjin Kitaoji. [Tokyo]: Sezon Bijutsukan, 1996.

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7

Grove, Nancy. Isamu Noguchi: Portrait sculpture. Washington City: Published by the Smithsonian Institution Press for the National Portrait Gallery, 1989.

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8

Noguchi, Isamu. Isamu Noguchi: Sculptural design. Weil am Rhein: Vitra Design Museum, 2001.

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Isamu, Noguchi. Isamu Noguchi: Sculptural design. [Weil am Rhein, Germany]: Vitra Design Museum, 2001.

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Isamu, Noguchi. Isamu Noguchi: Sculptural design. [Berlin, Germany]: Vitra Design Museum, 2001.

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Book chapters on the topic "Isamu Noguchi"

1

Hinchman, Mark, and Elyssa Yoneda. "Noguchi, Isamu." In Interior Design Masters, 184–85. Routledge, 2018. http://dx.doi.org/10.4324/9781315168203-90.

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2

"Days with Isamu Noguchi." In The Saburo Hasegawa Reader, translated by Reiko Tomii, 80–83. University of California Press, 2019. http://dx.doi.org/10.2307/j.ctvr7fcc3.20.

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"Selected Letters to Isamu Noguchi." In The Saburo Hasegawa Reader, 39–50. University of California Press, 2019. http://dx.doi.org/10.1525/luminos.70.e.

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"12. Days with Isamu Noguchi, 1950." In The Saburo Hasegawa Reader, 80–83. University of California Press, 2019. http://dx.doi.org/10.1525/9780520970922-018.

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"Conversations with Isamu Noguchi June 8 and 9." In The Saburo Hasegawa Reader, translated by Yoriko Yamamoto and Mark Dean Johnson, 76–79. University of California Press, 2019. http://dx.doi.org/10.2307/j.ctvr7fcc3.19.

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"Selected Letters from Hasegawa to Isamu Noguchi, 1950–1951." In The Saburo Hasegawa Reader, 41–50. University of California Press, 2019. http://dx.doi.org/10.2307/j.ctvr7fcc3.15.

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7

"7. Selected Letters from Hasegawa to Isamu Noguchi, 1950–1951." In The Saburo Hasegawa Reader, 41–50. University of California Press, 2019. http://dx.doi.org/10.1525/9780520970922-013.

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"11. Conversations with Isamu Noguchi June 8 and 9, 1950." In The Saburo Hasegawa Reader, 76–79. University of California Press, 2019. http://dx.doi.org/10.1525/9780520970922-017.

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"Embodied Nature: Isamu Noguchi’s Intetra Fountain." In Meanings of Abstract Art, 179–93. Routledge, 2012. http://dx.doi.org/10.4324/9780203126264-16.

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