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Journal articles on the topic 'Isamu Noguchi'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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11

Prudon, Theodore. "Art, Architecture and Public Space in New York, 1950–1970." Art and Architecture, no. 42 (2010): 78–89. http://dx.doi.org/10.52200/42.a.6isnhkdw.

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In the decades after World War II there was much discussion about the need for collaboration between the architect and artist either as embodied in one or as distinctly different creative talents working closely but creatively independently together. Many saw little actual collaboration and questioned the relationship artistically or saw art as a cover for otherwise bland architecture. However, architects like Wallace K. Harrison, Gordon Bunshaft, and others worked regularly with artists like Josef Albers, Isamu Noguchi, Gyorgy Kepes or Richard Lippold. While many of those art installations remain today, they are under constant pressure because of real estate changes, renovations or simply neglect.

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12

Gore, Holly. "Art/Work: J.B. Blunk, Isamu Noguchi and the Intersection of Sculpture and Skilled Labor." Journal of Modern Craft 11, no. 1 (January 2, 2018): 17–25. http://dx.doi.org/10.1080/17496772.2018.1440808.

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13

Rutkoff, Peter M., and William B. Scott. "Appalachian Spring: A Collaboration and a Transition." Prospects 20 (October 1995): 209–25. http://dx.doi.org/10.1017/s0361233300006062.

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In late October, 1944, the Martha Graham Dance Company performed Appalachian Spring at the Library of Congress, establishing Graham as the master of modern dance. The significance of Appalachian Spring, however, went well beyond Graham's artistic development. Notwithstanding its traditional theme, Appalachian Spring heralded an important shift in American art. Following the Second World War a large segment of New York City artists abandoned the effort, so dominant in the interwar years, to create an explicitly “American” art in favor of a “modernist” aesthetic, best exemplified in abstract expressionist painting. Choreographed by Graham, composed by Aaron Copland, and designed by Isamu Noguchi, the “Ballet for Martha” marked an early expression of the shift from American realism to modernism. But unlike much of the radically nonrepresentational work of the late 1940s and early 1950s Appalachian Spring continued to embody the concerns of American realism, even unabashedly displaying its creators' continued embrace of the folk vernacular, while moving toward its modern aesthetic.

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14

Cholij, Irena. "Gerhard, electronic music and King Lear." Tempo, no. 198 (October 1996): 28–34. http://dx.doi.org/10.1017/s0040298200005349.

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Between 1947 and 1962 Roberto Gerhard contributed incidental music to eight Shakespeare plays for the Shakespeare Memorial Theatre (later Royal Shakespeare Company). Of these, easily the most controversial was George Devine's production King Lear for the Stratford Touring Company in 1955. A far cry from his very traditional The Taming of the Shrew (1953) and still relatively ‘safe’ A Midsummer Night's Dream (1954) – for both of which Gerhard also composed music – this was a thoroughly modern production. The sets and costumes were designed by the American sculptor Isamu Noguchi (of mixed American and Japanese parentage), and were his first theatre designs. The rationale behind the production was set out in the programme:Our object in this production has been to find a setting and costumes which would be free of historical or decorative associations so that the timeless, universal and mythical quality of the story may be clear. We have tried to present the places and the characters in a very simple and basic manner, for the play to come to life through the words and the acting.

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15

Robinson, Greg. "What I Did in Camp: Interpreting Japanese American Internment Narratives of Isamu Noguchi, Miné Okubo, Jeanne Wakatsuki Houston, and John Tateishi." Amerasia Journal 30, no. 2 (January 2004): 49–58. http://dx.doi.org/10.17953/amer.30.2.d6227716kn7q6440.

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16

أيوب, منال هلال, and أسماء عبد الجواد السباعي. "الفكر التصميمي للنحات إسامو نوجوتشي كمدخل لتصميم الأثاث ذو الطابع النحتي = Design Thinking in Isamu Noguchi Works as an Approach for Design of Form Oriented Furniture." مجلة التصميم الدولية 7, no. 3 (July 2017): 65–75. http://dx.doi.org/10.12816/0044124.

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17

Tipei, Sever. "Brancusi and Rumanian Folk Traditions. By Edith Balas. Foreword by Isamu Noguchi. East European Monographs, no. 224. Boulder, Colo.: East European Monographs, 1987. Photographs. $20.00, cloth. Distributed by Columbia University Press." Slavic Review 47, no. 3 (1988): 587. http://dx.doi.org/10.2307/2498456.

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18

Hofmann-Kuroda. "Isamu Noguchi's Wartime Playscapes." Verge: Studies in Global Asias 6, no. 2 (2020): 42. http://dx.doi.org/10.5749/vergstudglobasia.6.2.0042.

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19

Larrivee, Shaina D. "Playscapes: Isamu Noguchi's Designs for Play." Public Art Dialogue 1, no. 1 (March 2011): 53–80. http://dx.doi.org/10.1080/21502552.2011.536711.

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20

IMAMURA, Yuriko, and Eiji KUMAZAWA. "THE CONCEPT OF ISAMU NOGUCHI'S GARDEN DESIGN." Journal of Architecture and Planning (Transactions of AIJ) 81, no. 721 (2016): 791–800. http://dx.doi.org/10.3130/aija.81.791.

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21

Winther, Bert. "The Rejection of Isamu Noguchi's Hiroshima Cenotaph." Art Journal 53, no. 4 (December 1994): 23–27. http://dx.doi.org/10.1080/00043249.1994.10791656.

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22

Carpenter, Kim. "“What is this Face?” Isamu Noguchi's Portrait Busts." Sculpture Review 58, no. 4 (December 2009): 24–33. http://dx.doi.org/10.1177/074752840905800403.

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23

Szostak, John. "The Modernist Traditionalism of Isamu Noguchi and Hasegawa Saburo - Changing and Unchanging Things: Noguchi and Hasegawa in Postwar Japan. Edited by Dakin Hart, Mark Dean Johnson, and Matthew Kirsch. Berkeley: University of California Press, 2019. 240 pp. ISBN: 9780520298224 (cloth). - The Saburo Hasegawa Reader. Edited by Mark Dean Johnson, Dakin Hart, and Matthew Kirsch. Berkeley: University of California Press, 2019. xxxi, 175 pp. ISBN: 9780520298996 (paper)." Journal of Asian Studies 80, no. 1 (February 2021): 187–90. http://dx.doi.org/10.1017/s0021911820003800.

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24

Konečni, Vladimir J. "Moerenuma Park in Sapporo, Japan: Isamu Noguchi’s Chef-d’Oeuvre." Art and Design Review 04, no. 03 (2016): 64–76. http://dx.doi.org/10.4236/adr.2016.43009.

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25

IMAMURA, Yuriko, and Eiji KUMAZAWA. "A STUDY ON THE INTENTION OF WORK AS TO ISAMU NOGUCHI'S GARDEN." Journal of Architecture and Planning (Transactions of AIJ) 78, no. 694 (2013): 2619–25. http://dx.doi.org/10.3130/aija.78.2619.

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26

TAI, Yoko, and Kunihiro SASAKI. "Title Isamu Noguchi's Garden Projects, Banrai-sha and Reader's Digest Tokyo Branch." Journal of The Japanese Institute of Landscape Architecture 69, no. 5 (2006): 373–78. http://dx.doi.org/10.5632/jila.69.373.

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27

Winther, Bert. "The Rejection of Isamu Noguchi's Hiroshima Cenotaph: A Japanese American Artist in Occupied Japan." Art Journal 53, no. 4 (1994): 23. http://dx.doi.org/10.2307/777557.

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28

Zwigenberg, Ran. "The most modern city in the world: Isamu Noguchi’s cenotaph controversy and Hiroshima’s city of peace." Critical Military Studies 1, no. 2 (June 4, 2015): 102–15. http://dx.doi.org/10.1080/23337486.2015.1051832.

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29

TAI, Yoko, and Kunihiro SASAKI. "Isamu Noguchi's Garden Projects, the Gardens for Connecticut General Insurance Company and the Gardens for UNESCO." Journal of The Japanese Institute of Landscape Architecture 70, no. 5 (2007): 359–64. http://dx.doi.org/10.5632/jila.70.359.

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30

Kenjirō, Okazaki. "A Place to Bury Names, or Resurrection (Circulation and Continuity of Energy) as a Dissolution of Identity: Isamu Noguchi’s Memorial to the Dead of Hiroshima and Shirai Sei’ichi’s Temple Atomic Catastrophes." Review of Japanese Culture and Society 26, no. 1 (2016): 304–17. http://dx.doi.org/10.1353/roj.2016.0009.

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31

"Isamu Noguchi." Choice Reviews Online 32, no. 02 (October 1, 1994): 32–0690. http://dx.doi.org/10.5860/choice.32-0690.

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32

"Isamu Noguchi: portrait sculpture." Choice Reviews Online 27, no. 04 (December 1, 1989): 27–1927. http://dx.doi.org/10.5860/choice.27-1927.

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33

Le Bot, Guillaume. "Isamu Noguchi, Parques/Playscapes." Critique d’art, May 9, 2018. http://dx.doi.org/10.4000/critiquedart.25598.

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34

"Isamu Noguchi: essays and conversations." Choice Reviews Online 32, no. 04 (December 1, 1994): 32–1914. http://dx.doi.org/10.5860/choice.32-1914.

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35

"The life of Isamu Noguchi: journey without borders." Choice Reviews Online 42, no. 06 (February 1, 2005): 42–3203. http://dx.doi.org/10.5860/choice.42-3203.

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36

Kwon, Margarita. "Reinterpretación del jardín japonés en el paisaje occidental del Siglo XX a través de tres paisajistas: James Rose, Isamu Noguchi y Peter Walker." Cuadernos del Centro de Estudios de Diseño y Comunicación, no. 82 (August 12, 2020). http://dx.doi.org/10.18682/cdc.vi82.3721.

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Resumen: En el presente artículo, se analizará el modo en que las diversas epistemologías influencian el paisaje occidental del siglo XX. En efecto se analizará puntualmente cómo los conceptos del jardín japonés influyeron en el paisaje occidental, rompiendo con los lineamientos axiales impuestos por la academia clasicista europea. Para ello se profundizará en las obras de tres paisajistas: James Rose, Isamu Noguchi y Peter Walker. El primer, James Rose, adepto al budismo zen, fue pionero en el paisaje moderno americano. Su aproximación a la cultura y filosofía japonesa le permitió interactuar de forma directa y espontánea con la naturaleza. Por su parte, Isamu Noguchi, con un amplio bagaje cultural, trasgredió los criterios de los jardines de sus ancestros y desarrolló un micropaisaje escultórico en pleno centro urbano. Finalmente, Peter Walker, estuvo influenciado por el minimal art como así también por los jardines geométricos de Japón. Se observa la geometría yuxtapuesta con lo natural. En efecto, es en el jardín japonés, y en la epistemología oriental en donde estos paisajistas exploran y extraer ideas con las que logran dar un vuelco novedoso y casi espiritual al paisaje occidental.

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37

"Isamu Noguchi and modern Japanese ceramics: a close embrace of the earth." Choice Reviews Online 41, no. 04 (December 1, 2003): 41–1947. http://dx.doi.org/10.5860/choice.41-1947.

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38

Matsugi, Hiromi. "Invention d’un nouvel espace public : la collaboration entre Isamu Noguchi et Gordon Bunshaft." In Situ, no. 32 (July 4, 2017). http://dx.doi.org/10.4000/insitu.14987.

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39

Kwon, Marci. "The Fence and the Chair: Isamu Noguchi, Appalachian Spring, and Internment as Modernist Setting." Modernism/modernity Print Plus 3, no. 1 (March 23, 2018). http://dx.doi.org/10.26597/mod.0044.

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40

Sengunalp, Caner. "ISAMU NOGUCHI’S SCULPTURAL GARDEN AND PLAYGROUND DESIGNS." Idil Journal of Art and Language 7, no. 51 (November 30, 2018). http://dx.doi.org/10.7816/idil-07-51-18.

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41

"Spaces of the mind: Isamu Noguchi's dance designs." Choice Reviews Online 38, no. 10 (June 1, 2001): 38–5371. http://dx.doi.org/10.5860/choice.38-5371.

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