Proposal to the Guggenheim Foundation (1927)

by Isamu Noguchi

It has long been my conviction that sculpture has been too consistently employed as a medium for the idealization and glorification of man, and while it may be granted that the interpretation of the human figure will always remain its chief objective, I am nevertheless of the opinion that nature offers many another subject which would lend itself to some strange and exquisite sculptural treatment.

It is my desire to view nature through natures eyes, and to ignore man as an object for special veneration. There must be unthought-of heights of beauty to which sculpture may be raised by this reversal of attitude. An unlimited field for abstract sculptural expression would then be realized in which flowers and trees, rivers and mountains as well as birds, beasts and man would be given their due place. Indeed, a fine balance of spirit with matter can only concur when the artist has so thoroughly submerged himself in the study of the unity of nature as to truly become once more a part of nature a part of the very earth, thus to view the inner surfaces and the life elements. The material he works with would mean to him more than mere plastic matter, but would act as a coordinant and asset to his theme. In such a way may be gained a true symphony in sculpture.

It is difficult to visualize sculpture in words, especially that kind for which there are but few similes. Some sculptors today appreciate the importance of matter, but are too much engrossed with symbolism. Others who are undoubtedly artists, are interested only in the interpretation of strictly human forms. May I, therefore, beg to recognize no antecedents with this declaration of intentions?

As yet, I have never exhausted any of those ideas, I have rather been saving them as sacred until such time as I should have attained technical confidence and skill. In the handling of clay, I believe that I now have the necessary ability. In the technique of stone and wood cutting, however, I feel that I am still deficient.

My proposition, therefore, should I be so honored as to receive your fellowship, would include a travel study and production period of three yearsthe first year to be spent in Paris, where I should endeavour to acquire proficiency in stone and wood cutting, as well as in a better understanding of the human figure.  I should also gain a certain cultural background from residence in this European metropolis.

The two following years I propose to spend in Asia, going first to India, then through China into Japan, where I should hold an initial exhibition prior to one to be given in New York.

I have selected the Orient as the location for my productive activities for the reason that I feel a great attachment for it, I having spent half my life there. My father, Yone Noguchi, is Japanese and has long been known as an interpreter of the East to the West, through poetry. I wish to fulfill my heritage.

Proposal to the Bollingen Foundation (1949)
A Proposed Study of the Environment of Leisure
by Isamu Noguchi

I - Personal Introduction

The writer has long been convinced that a new relationship between the sculptor and society should be evolved, a relationship at once more creative and rewarding, one to the other.

In the creation and existence of a piece of sculpture, individual possession seems less significant than public enjoyment. Without this purpose the very meaning of sculpture is in question.

By sculpture we mean those spatial and plastic relationships which define a moment of personal existence and illumine the environment of our aspirations. An analogy of this definition is found in the temple sculpture of the past. There, the forms, communal, emotional, and mystic in character fulfill their purpose.

It is apparent therefore, that the function of sculpture, as here defined, is more than merely the decoration of architecture or the treasure of museums. Both of these outlets, worthy though they may be, are but extensions in kind of private ownership. It is not necessary to dwell here on the decline of the third, the original and most potent outlet, religion.

In the technological order that is the life today, another channel must be opened for sculpture if that art is to fulfill its larger purpose.

II - General Introduction

The tragic aftermath of two world wars is a moral crisis from which there is no succor for the spirit. Where once each mans worth found some expression through his hands, his religion and his temple, now there is only mechanization and the concepts of power. The blight of industrialism has pushed the artist in us into a specialized corner, and the lot of man becomes more and more that of a spectator. One may say that the critical area of creativity, that of the individual and his ethos, has become so neglected as to jeopardize his very survival.

In the extremity of this spiritual want there is a renewed search for the meaning of existence a re-creative process which demands the utmost from artist of every kind in order to build an environment equal to our needs.

A re-integration of the arts toward some purposeful social end is indicated in order to enlarge the present arid outlook permitted by our limiting categories of "architects", "painters", "sculptors", and "landscapists".

Although the above views have been variously expressed by numerous critics, as yet there has been no clear formulation of what steps are necessary to achieve such an association. Talk of integration becomes confused as a stylistic issue, when in reality the problem is one of human relationships between the artists themselves and between the arts and society. The claim is also made that before economic and social ills have been solved, no answer is available to the problem. That no constructive solution has as yet emerged is partially explainable by the obvious fact that the problem is too vast for any one craft or any one locale. Cooperation is a lesson still to be learned by humanity - socially, artistically and internationally.

Our reaction to physical environment may be represented as a series of hazy but continuous aesthetic judgements. Such judgements affect, even control, our emotions, bringing order out of chaos, a myth out of the void, a sense of belonging out of our loneliness.  Likewise, through a familiarity with and understanding of formal and tactile relationships we acquire an appreciation of the inventions of Nature and Man.  Hence any change in the emotional climate of our environment becomes a matter of artistic consideration.

Under these circumstances it is proposed to publish a book. The subject of this book should be the environment of leisure.

III - Proposal

The problem of the relationship between the emotional stability of a community and its physical appearance has thus far not been investigated. The imagination of men and of communities should be awakened to their own latent possibilities by showing what has been done and by encouraging new accomplishments.

Though the total field of leisure is beyond the scope of any one book, this more limited objective, to study the physical environment of leisure admits of accomplishment and may be of great importance as a wedge in a new evaluation of living. It is an aesthetic matter, and as such, able to change the very kind and quality of leisure.

It is proposed to make a comprehensive study of the physical aspect of the environment of leisure, its meaning, its use, and its relationship to society. The study will be directed to communally enjoyed leisure space. Special attention will be given to the contemplative uses of leisure (for the re-creation of the mind) and to the play world of childhood.  Contributions will be secured from leaders in the variously connected fields of education, religion, psychology, architecture, the arts, etc. It is hoped that the results may be published in order to invite planning of more beautiful and rewarding communities.

The book would be divided into four sections:

1. Historical (topographical environment)

2. Psychological (conditional environment)

3. Present Achievements (in various fields)

4. Plans and Suggestions (for future development)