Touching the origins of Isamu Noguchi's manufacturing

Isamu Noguchi, a leading sculptor of the 20th century (1904-1988). Even today, excellent modeling works that do not lose charm are highly regarded worldwide.
He is also known for his use of various materials such as wood and stone, metal, clay, and sometimes paper, as well as wood. And he used his own tools to process them into a work.

In this exhibition, Isamu Noguchi's tools stored at the Noguchi Museum in New York, which will be unveiled for the first time in Japan, will be introduced with images, as well as Isamu Noguchi's manufacturing with stone materials, small models, and research materials used as materials.


The venue is the 1st floor hall of Takenaka Carpentry Tools Museum where outdoor light shines. The exhibition consists of three white circular display stands. Noguchi is inspired by a studio unified in Blankush's white, where he was taught in Paris during his youth. In addition, Noguchi's work "Akari" is used for lighting.
 
On the window side, there is a banner summarizing the relationship between Noguchi's biography and tools.
 
The first exhibition stand is the "Woodworking Tools" corner. The exhibition stand is based on a circular work table (wooden drum) used in the studio of McDugal Alley in New York, which was used after the war.
  Surprisingly unknown, Isamu Noguchi lived in Chigasaki, Kanagawa Prefecture when he was a boy, and at the recommendation of his mother, he was studying with a finger craftsman (furniture craftsman). As a result, I was able to use all the Japanese woodworking tools, and when I traveled to the United States at the age of 14, I wrote that I brought them with a set of tools.
 
It is not clear whether the woodworking tools on display this time were used during childhood, but the only thing to keep that memory is the "ink pot". On the back side, there is an inscription of "July 1915 Shincho Isokichi Oishi", which can be seen as a tool of Noguchi Shonen. Did you get it from the craftsman who took care of me?
 
Japanese tools included in the collection. Some saws have spilled blades, indicating that they were used as a practical product.
 
Noguchi was familiar with both Japanese and Western tools. Speaking of today's style, is it a bilingual tool? The exhibits are Western pressed canna (left) and Japanese pulling canna (right). For details on how to use the tools, please see the permanent exhibition in the museum.
 
The second exhibition stand is the "Stoneworking Tools" corner. Speaking of Isamu Noguchi, stone sculpture. The tools and materials that produced them are on display.
 
The tools for processing stones are the same as those used by Japanese masonry craftsmen. Cut with fleas and hammers. Detailed usage is also introduced in the video.
 
This is the tool "Railway" used to cut the surface of the stone in Blankush's workshop during the training period in Paris. It was called "railway" because it moves with a gigigigigi in front and back.
 
The goggles used during the production of relief (1939) of the AP communication building. It is a memorable material that has been completed by continuously processing stainless steel with an electric grinder.
 
A sample of stone borrowed from Izumiya Stone atelier, who was producing works in collaboration with Noguchi. You can see that Noguchi used a variety of stones.
 
The third exhibition stand is the Pottery and Light Sculpture Tools (tools for pottery and light engraving) corner.
 
The lighting "Akari" series that Noguchi called "Sculpture of Light". It is manufactured by Ozeki Corporation in Gifu. This time, I was able to borrow tension type, various tools, and material samples. If you look at the video shown in the venue, you can easily understand that it is manufactured using traditional Gifu lantern technology.
 
In the 1950s, Noguchi became acquainted with artist Kitaoji Rosanjin, and rented a workshop to produce many pottery works. It seems to be the tool used at that time.
 
An installation inspired by the work platform of a studio set up in McDugal Array, New York. The shade of "Akari E" above the exhibition stand is expressed as a mold that is being cut out.
 
This is an exhibition of related materials from the Okayama era in Noguchi. The two pieces of calligraphy made for the production of monuments at the UNESCO Headquarters Garden in Paris (around 1958) are a must-see.
 
This is a study (small model) for monuments produced during the Okayama period. In the world of sculpture, it is called a macket. It is rare for a macket to be exhibited, so please take a look at this opportunity.
 
On the innermost wall is a photograph of Isamu Noguchi's atelier (work warehouse) preserved in Mure-cho, Takamatsu City, Kagawa Prefecture. When you actually visit the site, you can still enjoy the atmosphere that Noguchi is producing here.
In addition, you can watch short video works on a large screen of 60 inches. I hope you will appreciate it along with the exhibition.
  <Video work>
・Isamu Noguchi (3 minutes | around 1970) produced in Henro, Querceta, Italy
・Isamu Noguchi, who produces "Momotaro" at an atelier in Mure, Kagawa Prefecture (3 minutes, around 1978)
・Manufacture of lights at Ozeki (3 minutes | 2019)
  The museum shop sells catalogs of this exhibition, "ISAMU NOGUCHI Isamu Noguchi Garden Museum", "The Road of Discovery of Isamu Noguchi" (2021 Tokyo Metropolitan Art Museum Exhibition Catalog), "Life and Works Isamu Noguchi I want to know more", postcards. Please take this opportunity to purchase it.
  (Chief Curator Tadanori Sakamoto)