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Isamu Noguchi: A Sculptor's World
Foreword by R. Buckminster Fuller. Text by Isamu Noguchi.
An essential autobiography from the iconic sculptorA Sculptor's World is the long-awaited reprint of Isamu Noguchi's 1968 autobiography, which Steidl last printed in 2004. It remains Noguchi's most comprehensive statement about the art that brought him international acclaim. Told in words and images, A Sculptor's World is essential reading for anyone with an interest in the life and work of this seminal artist or a general interest in sculpture. Reissued in 2004 and since out of print, A Sculptor's World is now in its third edition, reprinted by Steidl. This volume includes the original foreword by R. Buckminster Fuller as well as a new timeline of major events in Noguchi's life between 1968, when he created his seminal autobiography, and his death in 1988.
Featured images are reproduced from Isamu Noguchi: A Sculptor's World.
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FROM THE ARTBOOK BLOG
CORY REYNOLDS | DATE 9/9/2015
"We breathe in, we breathe out, inward turning, alone, or outgoing, working with others, for an experience that is cumulative through collaboration," Isamu Noguchi writes in his autobiography, A Sculptor's World, originally published in 1968 and now available in an exquisite new edition from Steidl. "Theater is the latter kind. My interest is the stage where it is possible to realize in a hypothetical way those projections of the imagination into environmental space which are denied us in actuality. The theater of the dance in particular adds the movement of bodies, in relation to form and space, together with music. There is joy in seeing sculpture come to life on the stage in its own world of timeless time. Then the very air becomes charged with meaning and emotion, and form plays its integral part in the re-enactment of a ritual. Theater is a ceremonial; the performance is a rite. Sculpture in daily life should or could be like this. In the meantime, the theater gives me its poetic exalted equivalent." Featured images are from George Balanchine's 1948 production of Orpheus,, for which Noguchi designed both sets and costumes. "Never was I more personally involved in creation than with this piece," he writes, "which is the story of the artist." continue to blog
FROM THE ARTBOOK BLOG
CORY REYNOLDS | DATE 9/10/2015
"Brancusi said that when an artist stopped being a child, he would stop being an artist," Isamu Noguchi writes in A Sculptor's World, his 1968 autobiography, now available in a new edition from Steidl. "Children, I think, must view the world differently from adults, their awareness of its possibilities are more primary and attuned to their capacities. When the adult would imagine like a child he must project himself into seeing the world as a totally new experience. I like to think of playgrounds as a primer of shapes and functions; simple, mysterious, and evocative: thus educational. The child's world would be a beginning world, fresh and clear. The sculptural elements here have the added significance of usage—in actual physical contact—much as is the experience of the sculptor in the making." Featured image is of Noguchi's metal models for playground equipment, Hawaii, 1939. continue to blog
FROM THE ARTBOOK BLOG
CORY REYNOLDS | DATE 9/8/2015
"Isamu Noguchi and the airplane were both born in the United States of America in the first decade of the twentieth century. At two years of age, Isamu 'took off' or was taken off by his Japan-bound mother in what since has proved to be a half century of continuous world peregrinations. The airplane era laid a new cosmic egg in the nest of everyday reality, integrating all the previously separate civilizations' experiences in one history and geography. Unaware that the absolute political sovereignties of yesterday's world were to melt and merge into a unitary cosmos, Isamu travelled on and on, not as a tourist, not as a dilettante escapist, not as a routine airline pilot, nor as a sailor, soldier or gypsy, but as the intuitive artist precursor of the evoluting, kinetic one-town world man. As the unselfconscious prototype artist of the new cosmos, Isamu has always been inherently at home—everywhere. He has to-and-froed in his great back and front yards whose eastward and westward extensions finally merged to encircle the earth." So begins R. Buckminster Fuller's exquisite Foreword to Isamu Noguchi: A Sculptor's World, Steidl's gorgeous new edition of Noguchi's influential illustrated autobiography. Featured image is "The Victim," 1962. continue to blog