Mark Dean Johnson - Böcker

In May 1950 Isamu Noguchi (1904–88) returned to Japan for his first visit in 20 years. He was, Noguchi said, seeking models for evolving the relationship between sculpture and society—having emerged from the war years with a profound desire to reorient his work “toward some purposeful social end.” The artist Saburo Hasegawa (1906–57) was a key figure for Noguchi during this period, making introductions to Japanese artists, philosophies, and material culture. Hasegawa, who had mingled with the European avant-garde during time spent as a painter in Paris in the 1930s, was, like Noguchi, seeking an artistic hybridity. By the time Hasegawa and Noguchi met, both had been thinking deeply about the balance between tradition and modernity, and indigenous and foreign influences, in the development of traditional cultures for some time. The predicate of their intense friendship was a thorough exploration of traditional Japanese culture within the context of seeking what Noguchi termed “an innocent synthesis” that “must rise from the embers of the past.”  Changing and Unchanging Things is an account of how their joint exploration of traditional Japanese culture influenced their contemporary and subsequent work. The 40 masterpieces in the exhibition—by turns elegiac, assured, ambivalent, anguished, euphoric, and resigned—are organized into the major overlapping subjects of their attention: the landscapes of Japan, the abstracted human figure, the fragmentation of matter in the atomic age, and Japan’s traditional art forms.  Published in association with The Noguchi Museum.  Exhibition dates:Yokohama Museum of Art, Japan: January 12–March 21, 2019The Noguchi Museum, New York: May 1–July 14, 2019Asian Art Museum, San Francisco: September 27–December 8, 2019

At publication date, a free ebook version of this title will be available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more.The Hasegawa Reader is an open access companion to the bilingual catalogue copublished with The Noguchi Museum to accompany an international touring exhibition, Changing and Unchanging Things: Noguchi and Hasegawa in Postwar Japan. The exhibition features the work of two artists who were friends and contemporaries: Isamu Noguchi and Saburo Hasegawa. This volume is intended to give scholars and general readers access to a wealth of archival material and writings by and about Saburo Hasegawa. While Noguchi’s reputation as a preeminent American sculptor of the twentieth century only grows stronger, Saburo Hasegawa is less well known, despite being considered the most literate artist in Japan during his lifetime (1906–1957). Hasegawa is credited with introducing abstraction in Japan in the mid 1930s, and he worked as an artist in diverse media including oil and ink painting, photography, and printmaking. He was also a theorist and widely published essayist, curator, teacher, and multilingual conversationalist.  This valuable trove of Hasegawa material includes the entire manuscript for a 1957 Hasegawa memorial volume, with its beautiful essays by philosopher Alan Watts, Oakland Museum Director Paul Mills, and Japan Times art writer Elise Grilli, as well as various unpublished writings by Hasegawa. The ebook edition will also include a dozen essays by Hasegawa from the postwar period, and one prewar essay, professionally translated for this publication to give a sense of Hasegawa’s voice. This resource will be an invaluable tool for scholars and students interested in midcentury East Asian and American art and tracing the emergence of contemporary issues of hybridity, transnationalism, and notions of a “global Asia."

When I Remember I See Red: American Indian Art and Activism in California features contemporary art by First Californians and other American Indian artists with strong ties to the state. Spanning the past five decades, the exhibition includes more than sixty-five works in various media, from painting, sculpture, prints, and photography, to installation and video. More than forty artists are represented, among them pioneers such as Rick Bartow, George Blake, Dalbert Castro, Frank Day, Harry Fonseca, Frank LaPena, Jean LaMarr, James Luna, Karen Noble, Fritz Scholder, Brian Tripp, and Franklin Tuttle, as well as emerging and mid-career artists. Taking cues from their forebears, members of the younger generation often combine art and activism, embracing issues of identity, politics, and injustice to produce innovative—and frequently enlightening—work. The exhibition, along with the accompanying catalogue, transcends borders, with some California artists working outside the state, and several artists of non-California tribes living and creating within its boundaries. Diverse cultural influences coupled with the extraordinary dissemination of images made possible by technology have led to new forms of expression, making When I Remember I See Red a richly layered experience.  Published in association with the Crocker Art Museum  Exhibition dates:Crocker Art Museum, Sacramento: October 20, 2019–January 26, 2020Institute of American Indian Arts, Museum of Contemporary Native Arts, Santa Fe: August 14, 2020–January 3, 2021Autry Museum of the American West, Los Angeles: July 18, 2021–February 27, 2022

This expansive catalogue illuminates the social and cultural roots—and global importance—of iconic Filipino American artist and educator Carlos Villa’s artwork and career.Carlos Villa has been described as the preeminent Filipino American artist—a legend in artistic circles for his groundbreaking approaches and his influence on countless artists—but he remains little known to many fans and scholars of modern and contemporary art. Carlos Villa: Worlds in Collision is the first museum retrospective of his work, presented at the San Francisco Art Institute and the Asian Art Museum of San Francisco.  Villa was trained at the San Francisco Art Institute in the 1950s as an abstract expressionist, and over time he transformed his practice to address issues of ethnic and cultural diversity. He concurrently assumed a leadership role in “Third World” and “multicultural” international art movements, and his large-scale works reference non-Western traditions, including tattoo, scarification, ritual, and ceremony. He was also an important theorist, curator, and organizer of public forums that he called “actions.”  This book traces the arc of his career from 1969 until his death in 2013, with emphasis on his feathered works from the 1970s, as well as later works that address aspects of the history of Filipinos in the United States. It illuminates the social and cultural roots—and global importance—of Villa’s art and teaching career as he sought to forge a new kind of art-world inclusion that reflected his own experience, commitment to diversity, and boundary-bending imagination.   Published in association with the San Francisco Art Institute.Exhibition dates:Newark Museum of Art: February 8, 2022–May 8, 2022San Francisco Art Institute & Asian Art Museum: June 17, 2022–Fall 2022