Isamu Noguchi

Isamu Noguchi (1904-1988), American sculptor and designer, was one of the few legitimate heirs to the sculptural tradition begun by Brancusi. His sculptures, fountains and gardens are focal points in many cities in the United States and worldwide.

Isamu Noguchi was born on November 17, 1904, in Los Angeles, California. His father was a Japanese poet and authority on art, his mother an American writer. In 1906 he moved with his family to Japan, where his father married a Japanese woman, and Noguchi remained with his mother until he was 14 years old. In 1918, his mother sent him back to the United States to finish his education. He became an apprentice to Gutzon Borglum, the sculptor of Mount Rushmore, who told Noguchi he was not talented enough to be a sculptor. So Noguchi enrolled as a pre-medical student at Columbia University in 1923.

Prophet of His Age

In 1925, however, Noguchi enrolled at the Leonardo da Vinci Art School in New York City to study sculpture. The school's director, Onorio Ruotolo, proclaimed Noguchi the "new Michelangelo." Noguchi also attended the East Side Art School in New York. In 1927 he won a Guggenheim fellowship and moved to Paris, where he was an apprentice to abstract sculptor Constantin Brancusi. "Brancusi gave me respect for tools and materials," Noguchi later said. He also was a strong influence on Noguchi's art. "It became self-evident to me that in so-called abstraction lay the expression of the age and that I was especially fitted to be one of its prophets," said Noguchi in 1929, the year his first one-man exhibition took place in New York City.

After visits to New York, Paris, and Beijing, Noguchi lived in Japan for six months in 1930, working with clay and studying gardens. There he realized that land could be sculpture and sculpture could be put to public use. In the 1930s he made art reflecting his social concerns, including a sculpture of a lynched man, and a cement mural, 72 feet long, in Mexico City, chronicling Mexican history. In 1935 he began making stage sets for dancer Martha Graham, a collaboration that would continue for 50 years. Throughout his career, Noguchi also worked with other choreographers. In 1938 he made his first sculpture in stainless steel, a symbol of freedom of the press at the entrance to the Associated Press building in Rockefeller Center, New York City.

Power in Stone

Noguchi enjoyed periodic and selective exhibitions throughout the United States, Europe, and the Orient. Among his important group shows was the exhibition of "14 Americans" at the Museum of Modern Art, New York City, in 1946. A return trip to Japan in 1949 prompted Noguchi to begin direct carving in stone. "Stone is the primary medium, and nature is where it is, and nature is where we have to go to experience life," he said. "When I'm with the stone, there is not one second when I'm not working."

Noguchi received a fellowship from the Bollingen Foundation in 1950. He also traveled throughout the world — to Mexico, the U.S.S.R., and Israel, among other countries — and his work was purchased by numerous important museums. His only marriage, to actress Yoshiko Yamaguchi, lasted from 1951 to 1955. In 1968 the Whitney Museum of American Art sponsored a Noguchi retrospective, and in 1978 the Walker Art Center exhibited his show Imaginary Landscapes.

Connection with Nature

Much of Noguchi's sculpture incorporates the spirit of Brancusi's reduced and simplified naturalism. Even when he worked with marble, as with Euripides (1966), Noguchi's forms seem to suggest natural or human entities that interact with one another or with their surroundings. Like Brancusi, Noguchi invariably retained in his pieces a strong feeling for the integrity of the materials. His penchant was generally for wood or stone, and he had a remarkable ability for dramatizing the textural potential of each, but without sacrificing their inherent identity.

Noguchi's work was also richly inspired by European surrealism and abstraction. His experiences in the Orient endowed him with a unique ability for garden and piazza design. Among his numerous important commissions were the gardens and sculpture for the Connecticut General Life Insurance Company, Hartford, Connecticut; a piazza and sculpture (1960) for the First National Bank, Fort Worth, Texas; a fountain and sculpture for the John Hancock Building, New York City; a garden (1956-1958) for the UNESCO Headquarters, Paris; the Billy Rose Garden of Sculpture (1960-1965) at the Israel National Museum, Jerusalem; a sunken garden at Yale University (1960-1964); and the 1968 Red Cube, a steel sculpture on Broadway in New York City.

Prolific to the End

In 1979 a basalt sculpture Noguchi had made in Japan was installed near New York's Metropolitan Museum of Art. The next year the Whitney Museum held an exhibit of his landscape projects and theater sets. In 1982 Noguchi was awarded the Edward MacDowell Medal for outstanding lifetime contribution to the arts. In 1984, Noguchi's memorial to Benjamin Franklin, the Bolt of Lightning, a 102-foot stainless steel sculpture, was installed in Philadelphia. In 1985 the Isamu Noguchi Garden Museum, displaying more than 200 of his works, opened in Queens, New York.

In 1986, Noguchi ended his long career with a playful signature as the U.S. representative to the Venice Biennale. His exhibition of sculpture and lamps included the Slide Mantra, a religious-looking marble sculpture which visitors could climb up and slide down.

Noguchi was best known for sculpture, but he worked in many other media, including painting, ceramics, interior design, and architecture. His fountains grace several cities, including Detroit. In every work, he remained deeply attuned to his material and sensitive to its connection to nature and to society. According to Michael Brenson of the New York Times, he "was marked by an Asian esthetic that believed in a link among all the arts, and he was constantly searching for ways to bring them together." His work bridged East and West and spoke to universal themes. In 1985, Noguchi wrote: "For me it is the direct contact of artist to material which is original, and it is the earth and his contact to it which will free him of the artificiality of the present and his dependence on industrial products."

Further Reading

Noguchi's A Sculptor's World (1968); Isamu Noguchi, by John Gordon (1968); Noguchi is also featured in Sam Hunter's, Modern American Painting and Sculpture (1959); Legends in Their Own Time (1994); and Les Krantz's American Artists (1985). □

Noguchi, Isamu (1904–1988). American sculptor and designer, born in Los Angeles, the son of a Japanese father and an American mother, both of whom were writers. He was brought up in Japan, 1906–18, and after returning to the USA he was briefly apprenticed in 1922 to Gutzon Borglum, who told him he would never make a sculptor. For the next two years he studied medicine at Columbia University and also took sculpture classes at the Leonardo da Vinci School in New York, until in 1924 he decided definitively to be an artist. In 1927 he won a Guggenheim Fellowship that enabled him to spend two years in Paris, where he worked as Brancusi's assistant and under his influence turned from figuration to abstraction. He returned to New York in 1929 and in the same year had his first one-man show there at the Eugene Schoen Gallery. Although he used various materials, including wood, bronze, and iron, Noguchi was essentially a stone-carver, and his work has a kinship with Brancusi's in its craftsmanship and respect for materials as well as its expressive use of organic shapes (see DIRECT CARVING). For several years he supported himself mainly by making academic portrait busts, but in 1938 he scored his first major success, winning a competition to make a huge stainless steel piece for the façade of the Associated Press Building in Rockefeller Center, New York. Before this he had already begun what was to be a highly distinguished career as a stage designer, working most notably for the choreographer Martha Graham (1894–1991). His first design for her was for Frontier (1935, the first time she had used a set) and he continued collaborating with her until 1966. Noguchi drew on the Japanese tradition of No drama in his stage designs, creating spare, elegant abstract environments. Apart from Martha Graham, he worked for other famous choreographers, including George Balanchine and Merce Cunningham, and also for the Royal Shakespeare Company, designing Sir John Gielgud's production of Macbeth in 1955.

After the Second World War Noguchi became recognized internationally as one of the leading sculptors of the day and from the 1960s he had many major commissions for public spaces that allowed him to fulfil his long-held ambition to combine Western modernism with Eastern traditions of contemplative art (he had begun designing sculptural gardens—as well as children's playgrounds—in the 1930s, but he had not had the opportunity to put them into practice). Examples of this type of work are the Water Garden at Chase Manhattan Bank Plaza, New York (1963), and Hart Plaza, Detroit (1975), with its huge Dodge Memorial Fountain in stainless steel and granite. Throughout his career Noguchi frequently returned to Japan and his work is regarded as a successful marriage of East and West. He published an autobiography, A Sculptor's World, in 1968.

Noguchi, Isamu (b Los Angeles, 17 Nov. 1904; d New York, 30 Dec. 1988). American sculptor and designer, the son of a Japanese father and an American mother, both of whom were writers. He was brought up in Japan, 1906–18, and after returning to the USA he was briefly apprenticed in 1922 to Gutzon Borglum, who told him he would never make a sculptor. For the next two years he studied medicine in New York until in 1924 he decided definitively to be an artist. In 1927 he won a Guggenheim Fellowship that enabled him to spend two years in Paris, where he worked as Brancusi's assistant and under his influence turned from figuration to abstraction. He returned to New York in 1929. Although he used various materials, including wood, bronze, and iron, Noguchi was essentially a stone carver, and his work has a kinship with Brancusi's in its craftsmanship and respect for materials as well as its expressive use of organic shapes. For several years he supported himself mainly by making academic portrait busts, but in 1938 he scored his first major success, winning a competition to make a huge stainless-steel piece for the façade of the Associated Press building in Rockefeller Center, New York. Before this he had already begun what was to be a highly distinguished career as a stage designer, working most notably for the choreographer Martha Graham. After the Second World War he became recognized internationally as one of the leading sculptors of the day and from the 1960s he had many major commissions for public spaces that allowed him to fulfil his long-held ambition to combine Western modernism with Eastern traditions of contemplative art. A notable example is Hart Plaza, Detroit (1975), with its huge Dodge Memorial Fountain in stainless steel and granite. Throughout his career he often returned to Japan and his work is regarded as a successful marriage of East and West. He published an autobiography, A Sculptor's World, in 1968.

Isamu Noguchi , 1904–88, American sculptor, b. Los Angeles. The son of a Japanese poet father and an American mother, he was a student of Gutzon Borglum and won Guggenheim fellowships (1927 and 1928) that permitted him to study in Paris under Brancusi . In his work in stone, wood, and metal he integrated European modernism with Japanese traditionalism, harmonizing rough and smooth, geometric and organic. He created many independent pieces of sculpture and is also well known for the abstract sculptural elements he designed as adjuncts to architecture, highly integrated environmental work such as the massive red cube made for the Marine Midland Bank building, New York City, and the entrance to the Museum of Modern Art, Tokyo (1969). Noguchi also created many playgrounds and stone sculpture gardens, e.g., in Mexico City and the UNESCO garden, Paris (1958). He also designed numerous striking stage sets and props for the Martha Graham dance company and items for the home, many of which have become modernist classics, such as his kidney-shaped, glass-topped, wood-based coffee table and his airy paper lanterns. He is the author of A Sculptor's World (1968). There are Noguchi museums in his former studios in Long Island City, New York, and in Japan.

Bibliography: See studies by S. Takiguchi et al. (1953) and J. Gordon (1968); C. Zwerin, dir., Sculpture of Spaces: Noguchi (documentary film, 1995).

Noguchi, Isamu (1904–88). American sculptor and designer, son of a Japanese father and an American mother. He designed the monumental bridges in Tange's Peace Park, Hiroshima, Japan (1951–2); sculpture for Skidmore, Owings, & Merrill's Connecticut General Life Insurance Company offices, Bloomfield, CT (1956–7); the Japanese Garden for Breuer's UNESCO Building, Paris (1956–8); the garden for the Beinecke Rare Book and Manuscript Library, Yale University, New Haven, CT (1960–4); the plaza for First National City Bank, Fort Worth, TX (1960–1); the sunken garden plaza, Chase Manhattan Bank, NYC (1961–4); the Sculpture Garden for Mansfeld's Israel Museum, Jerusalem (1960–5); and his own Studio and Sculpture Garden, Long Island, NY (opened 1985).

Bibliography

Ashton (1992);
M. Friedman (ed.) (1978);
Hunter (1979);
Jane Turner (1996);
Walker & and Simo (1994);
Weilacher (1996)