Past Exhibitions

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View photographs and learn more about past exhibitions at The Noguchi Museum and other institutions around the world.

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04.01.03
Jorge Palacios, ‘Link’
Thursday, August 16, 2018 - Tuesday, November 6, 2018

Flatiron Plaza North, New York, NY

Complementing the exhibition Jorge Palacios at The Noguchi Museum (September 26, 2018–January 20, 2019), the monumental accoya wood sculpture Link (2018) by Jorge Palacios (b. 1979, Spain) is installed at Flatiron Plaza North, adjacent to Madison Square Park in Manhattan. Inspired by Isamu Noguchi's public works, Palacios explores the relationship between scale and civic life.

Image: Jorge Palacios, Link, 2018. Accoya. Courtesy of the artist.
Photo by ImagenSubliminal (Miguel de Guzman + Rocio Romero). ©The Isamu Noguchi Foundation and Garden Museum, NY / ARS and Jorge Palacios.


About Jorge Palacios

Jorge Palacios’s sculptures have been widely shown in public spaces, includ­ing in SoHo, New York City, where he exhibited Sketch in the Air (2015); in front of the Monastery of San Lorenzo de El Escorial, Madrid; in the “Torres de Colón,” in Madrid, and, as part of an exhibition of his urban sculptures in the streets of Toledo, at that city’s Floridablanca Sculpture Gardens, Sun Gate, Bisagra Gate, and Santa Cruz Art Museum. His work has also been exhibited in numerous museums, including the Santa Cruz Art Museum, Museum of Fine Arts of Guadalajara, and the Mirador Hall of the Thyssen-Bornemisza, in Madrid, and it may be found in public and private collections in Canada, Switzerland, Spain, and the United States. Palacios divides his time between his studio in New York City and his workshop in Spain. jorgepalacios.us


About NYC DOT Art

Launched in 2008, the New York City Department of Transportation’s Art Program invigorates the City’s streetscapes with engaging temporary art installations. The Program partners with community-based organizations and artists to present murals, sculptures, projections and performances on plazas, fences, barriers, bridges and sidewalks for up to 11 months. Projects are presented within four program tracks: Arterventions, Barrier Beautification, Community Commissions and Art Display Case. nyc.gov/dotart


About the Flatiron/23rd Street Partnership

The Flatiron/23rd Street Partnership Business Improvement District, formed in 2006, is a nonprofit organization whose mission is to enhance the area’s reputation as one of New York’s most vital and exciting neighborhoods. This is accomplished by maintaining a clean and safe environment for the district’s businesses, residents and visitors; by spearheading area improvement projects; and by marketing the diverse business and retail options in this vibrant and historic neighborhood. flatirondistrict.nyc


The installation of the sculpture Link is made possible thanks to the collaboration of the New York City Department of Transportation’s Art Program and the Flatiron/23rd Street Partnership. Jorge Palacios at The Noguchi Museum is supported by Porcelanosa and the Consulate General of Spain in New York. The exhibition is also supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council and from the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.

Isamu Noguchi: From Sculpture to Body and Garden
Saturday, July 14, 2018 - Monday, September 24, 2018

Tokyo Opera City Art Gallery, Tokyo, Japan

Isamu Noguchi, who hoped to recover the link between art and society, is one of the major artists of the twentieth century. With selected works from New York and Japan, the exhibition introduces the world to his art and his revolutionary vision. Read more at operacity.jp.

Photo: Michio Noguchi.

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Miya Ando: Clouds
Wednesday, April 25, 2018 - Sunday, August 19, 2018

The Noguchi Museum presents Miya Ando: Clouds, an installation of two site-specific sculptures in the Museum’s indoor-outdoor gallery. The works, suspended plate-glass sculptures internally etched with images of clouds, share Isamu Noguchi’s interest in sculpting ephemeral materials, and in using them to shape space.

Raised in a Buddhist temple by the sea in Okayama, Japan, and on 25-acres of redwood forest in coastal Northern California, artist Miya Ando has always been drawn to the immaterial quality of fog and clouds. She began creating images of clouds in glass cubes and slabs in 2011. Pushing the limits of commercial laser etching technology from the outset, she started small. By collaborating with a highly specialized factory, she has been able to gradually enlarge them. The two examples for the Museum, the first she has decided to hang—Haku-Un (White Cloud) 4.8.1, the largest to date, and Haku-Un (White Cloud) 3.3.1—take the work in a new, more environmental direction.

The pairing of her clouds with Noguchi’s large basalt sculptures was inspired by a Japanese zengo (or Zen phrase): “Blue mountain does not move. White cloud comes and goes naturally.” Although the etched image of clouds in the glass is static, the surface of the glass seems to move, as it mirrors changes in the environment. Meanwhile, the clouds shift in and out of sight as viewers walk around them. Seeming to expand and collapse in the charged landscape of the Museum’s indoor-outdoor gallery (Area 1), they are a conceptual and perceptual analogue for Noguchi’s collapsible Akari light sculptures—the subject of the Museum’s current exhibition Akari: Sculpture by Other Means.


About Miya Ando

Miya Ando is based in New York City and Los Angeles. Her work has been the subject of international solo exhibitions including at SCAD (Savannah College of Art and Design), Savannah, GA; Shibuya Seibu, Tokyo, Japan; Sundaram Tagore Gallery, New York, NY; and Lesley Kehoe Galleries, Melbourne, Australia. Her art has also been included in group exhibitions at institutions including the Los Angeles County Museum of Art (LACMA), CA; San Jose Museum of Art, CA; Bronx Museum, New York, NY; and Queens Museum of Art, New York, NY. Her work is included in the collections of LACMA and the Detroit Institute of Arts, MI, as well as in numerous private collections. Ando has been the recipient of numerous grants and awards, including the Pollock-Krasner Foundation Grant Award and Commission for The Philip Johnson Glass House, New Canaan, CT.


Photos: ©Elizabeth Felicella. Miya Ando: Clouds is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.

Isamu Noguchi: From Sculpture to Body and Garden
Saturday, April 7, 2018 - Sunday, June 3, 2018

The Kagawa Museum, Takamatsu, Japan

Isamu Noguchi, who hoped to recover the link between art and society, is one of the major artists of the twentieth century. With selected works from New York and Japan, the exhibition introduces the world to his art and his revolutionary vision. Read more at pref.kagawa.jp.

Photo: Michio Noguchi.

Pratt + Noguchi
Saturday, May 12, 2018 - Sunday, May 20, 2018

A collaboration between The Noguchi Museum and Pratt Institute, Interior Design.

Each Spring, Pratt Institute’s Interior Design Graduate Level Qualifying Design Studio course asks students to draw inspiration from Isamu Noguchi’s work.

This year, students chose objects from the Museum’s permanent collection on long-term view and highlights from the Akari: Sculpture by Other Means exhibition to research and incorporate into a hypothetical Noguchi Museum Annex in the DUMBO neighborhood of Brooklyn.

Work from all participating students is exhibited at The Noguchi Museum in the lower-level gallery; including drawings, examples of object analysis, and four select student projects in their entirety.

Image: Isamu Noguchi with Lessons of Musokokushi, 1966, in his Long Island City studio. Photo: Niki Ekstrom. ©INFGM / ARS.

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The Sculpture of Gonzalo Fonseca
Wednesday, October 25, 2017 - Sunday, March 11, 2018

The Noguchi Museum presents a retrospective exhibition of the sculptural work of Gonzalo Fonseca (1922–1997), a major figure in the development of modern Latin American art who created some of the most enchanting sculptures of his day. The exhibition encompasses some 80 objects, primarily works in stone from the mid-1960s to the 1990s, complemented by selected drawings and sketchbooks.

The Sculpture of Gonzalo Fonseca is organized in partnership with the Estate of Gonzalo Fonseca and curated by Senior Curator Dakin Hart. It is the first museum exhibition of Fonseca’s work in New York since 1971.

Trained as a painter, Fonseca was among a group of exceptional artists who emerged from the theory-rich studio of Uruguayan modernist Joaquín Torres-García in the 1940s. He became a sculptor in the mid-1960s, when the language of forms he had invented in two dimensions seems finally to have demanded development in three. Working first in found limestone, brownstone, and sandstone in New York City, and later, additionally, in a wide variety of marbles in Italy—in the same stone-working community as Isamu Noguchi—he produced wall reliefs, freestanding structures, and sculptures.

A voracious polymath, Fonseca steeped himself in the natural sciences, linguistics, and history, and his sculptures often feel synthesized from, or like an index to, the contents of the lost Library of Alexandria. They are complex fictions: at once playful and serious, austere and whimsical, childlike and, above all, archetypal. Fonseca was interested in the commonalities among Earth’s civilizations, and in how they might be abstracted in a universal vocabulary of forms. In a sense, he spent his entire life reverse engineering the Tower of Babel, that great symbol of human ambition, pluralism, and impermanence. But though the sculptures appear inextricably connected to the ancient world, their intent is more postmodern than archaeological. To encounter them is to enter, as one does at The Noguchi Museum, a virtual encyclopedia of ideas about the relationship between space, place, and human understanding.

Learn more about the artist at gonzalofonseca.com.

The Sculpture of Gonzalo Fonseca is part of the Museum’s ongoing efforts to illuminate the many contexts in which Noguchi worked, and to encourage the broadest possible understanding of his vision.


Publications

On the occasion of the exhibition, The Noguchi Museum has produced two chapbooks: Gonzalo Fonseca: Four Sculptures and Gonzalo Fonseca: At Scale. The Museum is also working with the Gonzalo Fonseca Estate to produce a new monograph on the artist.


Film

Membra Disjecta: Gonzalo Fonseca and the Heart of Stone, a new biographical film by Michael Gregory, received a special advance screening at the Museum to coincide with the exhibition. Read more


Images, from top: Gonzalo Fonseca in his quarry studio in Seravezza, Italy, c. 1979. Photo courtesy of the Estate of Gonzalo Fonseca. Gonzalo Fonseca, Tebaida, 1973–79. Limestone. 27 9/16 x 16 9/16 x 19 5/16 in. Gonzalo Fonseca, Montevideo Ship, 1987. Bronze and gold. 33 1/16 x 7 7/8 x 7 7/8 in. Gonzalo Fonseca, Untitled, 1971. Ink on paper. 18 1/8 x 24 in. Photos (3) by EPW Studio/Maris Hutchinson.

The Sculpture of Gonzalo Fonseca is organized in collaboration with the Estate of Gonzalo Fonseca. The exhibition is supported with public funds from the New York City Department of Cultural Affairs and New York State Council on the Arts. Additional support for the exhibition and publications has been provided by the J.M. Kaplan Fund.
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