Noguchi East And West

An art history professor and author or editor of 30 books on art and culture maps the life of Japanese-American sculptor and designer Isamu Noguchi (1904-1988) and his spiritual journey, both in the events of his life and in the milestones of his art--the sculptures, gardens, public spaces, and stage decors that gained force and significance from Noguchi's double heritage. Photographs.

An art history professor and author or editor of 30 books on art and culture maps the life of Japanese-American sculptor and designer Isamu Noguchi (1904-1988) and his spiritual journey, both in the events of his life and in the milestones of his art--the sculptures, gardens, public spaces, and stage decors that gained force and significance from Noguchi's double heritage. Photographs.

A biography of biracial sculptor/designer/landscape architect Isamu Noguchi, focusing on his childhood in Japan and the building of an east-west house that gave shape to his lifelong creative approach.

This book accompanies the first ever exhibition of work by Isamu Noguchi to be presented in Greece. The exhibition includes sculpture, drawings, models, and photographs, illuminating the diversity of Noguchi's body of work and illustrating the ways in which the New York-based Japanese-American artist draws inspiration from cultures across the globe. ILLUSTRATIONS 80 colour illustrations

In September 1897 Yone Noguchi (1875–1947) contemplated crafting a poem to his new love, western writer Charles Warren Stoddard. Recently arrived in California, Noguchi was in awe of the established writer and the two had struck up a passionate correspondence. Still, he viewed their relationship as doomed—not by the scandal of their same-sex affections, but their introverted dispositions and differences in background. In a poem dedicated to his “dearest Charlie,” Noguchi wrote: “Thou and I, O Charles, sit alone like two shy stars, east and west!” While confessing his love to Stoddard, Noguchi had a child (future sculptor Isamu Noguchi) with his editor, Léonie Gilmour; became engaged to Washington Post reporter Ethel Armes; and upon his return to Japan married Matsu Takeda—all within a span of seven years. According to author Amy Sueyoshi, Noguchi was not a dedicated polyamorist: He deliberately deceived the three women, to whom he either pretended or promised marriage while already married. She argues further that Noguchi’s intimacies point to little-known realities of race and sexuality in turn-of-the-century America and illuminate how Asian immigrants negotiated America’s literary and arts community. As Noguchi maneuvered through cultural and linguistic differences, his affairs additionally assert how Japanese in America could forge romantic fulfillment during a period historians describe as one of extreme sexual deprivation and discrimination for Asians, particularly in California. Moreover, Noguchi’s relationships reveal how individuals who engaged in seemingly defiant behavior could exist peaceably within prevailing moral mandates. His unexpected intimacies in fact relied upon existing social hierarchies of race, sexuality, gender, and nation that dictated appropriate and inappropriate behavior. In fact, Noguchi, Stoddard, Gilmour, and Armes at various points contributed to the ideological forces that compelled their intimate lives. Through the romantic life of Yone Noguchi, Queer Compulsions narrates how even the queerest of intimacies can more provocatively serve as a reflection of rather than a revolt from existing social inequality. In unveiling Noguchi’s interracial and same-sex affairs, it attests to the complex interaction between lived sexualities and socio-legal mores as it traces how one man negotiated affection across cultural, linguistic, and moral divides to find fulfillment in unconventional yet acceptable ways. Queer Compulsions will be a welcome contribution to Asian American, gender, and sexuality studies and the literature on male and female romantic friendships. It will also forge a provocative link between these disciplines and Asian studies.

Throughout the twentieth century, Isamu Noguchi was a vital figure in modern art. From interlocking wooden sculptures to massive steel monuments to the elegant Akari lamps, Noguchi became a master of what he called the "sculpturing of space." But his constant struggle—as both an artist and a man—was to embrace his conflicted identity as the son of a single American woman and a famous yet reclusive Japanese father. "It's only in art," he insisted, "that it was ever possible for me to find any identity at all." In this remarkable biography of the elusive artist, Hayden Herrera observes this driving force of Noguchi's creativity as intimately tied to his deep appreciation of nature. As a boy in Japan, Noguchi would collect wild azaleas and blue mountain flowers for a little garden in front of his home. As Herrera writes, he also included a rock, "to give a feeling of weight and permanence." It was a sensual appreciation he never abandoned. When looking for stones in remote Japanese quarries for his zen-like Paris garden forty years later, he would spend hours actually listening to the stones, scrambling from one to another until he found one that "spoke to him." Constantly striving to "take the essence of nature and distill it," Noguchi moved from sculpture to furniture, and from playgrounds to sets for his friend the choreographer Martha Graham, and back again working in wood, iron, clay, steel, aluminum, and, of course, stone. Throughout his career, Noguchi traveled constantly, from New York to Paris to India to Japan, forever uprooting himself to reinvigorate what he called the "keen edge of originality." Wherever he went, his needy disposition and boyish charm drew women to him, yet he tended to push them away when things began to feel too settled. Only through his art—now seen as a powerful aesthetic link between the East and the West—did Noguchi ever seem to feel that he belonged. Combining the personal correspondence of and interviews with Noguchi and those closest to him—from artists, patrons, assistants, and lovers—Herrera has created an authoritative biography of one of the twentieth century's most important sculptors. She locates Noguchi in his friendships with such artists as Buckminster Fuller and Arshile Gorky, and in his affairs with women including Frida Kahlo and Anna Matta Clark. With the attention to detail and scholarship that made her biography of Gorky a finalist for the Pulitzer Prize, Herrera has written a rich meditation on art in a globalized milieu. Listening to Stone is a moving portrait of an artist compulsively driven to reinvent himself as he searched for his own "essence of sculpture."

This collection of eleven essays concerns the movement of modernity in East-West literary criicism. Most of the contributions address particular cross-cultural relationships such as W.B. Yeat's interest in the 'noh' play, Ezra Pound's imagism, and the influence of Zen aesthetics on Western poetry. The Western writers discussed range from Americans, including Emerson, Thoreau, Faulkner, Wright, and Snyder, to Europeans, such as Marcel Proust. The Eastern writers include Basho, Tanizaki, Lao Tzu, Wan Wei, Tagore, and Yone Noguchi.

The story of Léonie Gilmour (1873-1933)—partner of Japanese writer Yone Noguchi, mother of artist Isamu Noguchi and dancer Ailes Gilmour—a woman who chose a unique path to achieving her personal and professional goals, rising above poverty, racism and an ill-fated marriage to take up the challenge of raising two mixed-race children alone in distant Japan. Bringing together extensive research and lively storytelling, Leonie Gilmour: When East Weds West is the first complete portrait of the unique, pioneering American educator, editor and writer whose story inspired Hisako Matsui's acclaimed film Leonie, starring Emily Mortimer and Shido Nakamura. Gilmour's fascinating tale is told here through her own writings and those of her associates, including rare and unpublished stories and intimate correspondence, along with a detailed biographical account by Edward Marx.