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* Isamu Noguchi
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EXHIBITIONS
Exhibitions
NOGUCHI SUBSCAPES
June 15, 2022 – September 3, 2023
Noguchi Subscapes is a survey of Isamu Noguchi’s particular interest in the
unseen and hidden: invisible forces, subterranean structures and their makers,
spatial metaphors for the unknown, and the inner recesses of the self. This
series of installations of around forty sculptures and designs, mostly drawn
from the Museum’s collection and incorporating photographs from the artist’s
archive, occupies nearly the entire second floor.
It is organized as a complement to the forthcoming special exhibition In Praise
of Caves: Organic Architecture Projects from Mexico by Carlos Lazo, Mathias
Goeritz, Juan O’Gorman, and Javier Senosiain, which will be on view at the
Museum from October 19, 2022 – February 26, 2023.
Above: Isamu Noguchi, Even the Centipede, 1952. Unglazed Kasama red stoneware,
wood pole, and hemp cord. 165 5/8 x 18 x 18 in. Collection of The Museum of
Modern Art, New York; A. Conger Goodyear Fund, 1.1955.a-k. Photo: Nicholas
Knight. © INFGM / ARS
* Exhibition Checklist (PDF)
* Press Release (PDF)
* Read Isamu Noguchi’s “Notes on Orpheus,” n.d.
* Listen to Isamu Noguchi interviewed about Orpheus, 1979, New York Public
Library Digital Collections
Works in the Exhibition
Isamu Noguchi, Snake, 1952. Shigaraki stoneware, glaze. 12 7/8 x 4 3/4 x 6 5/8
in. Private collection, courtesy Nicholas J. Sands & Company Fine Art, New York.
©INFGM / ARS
Isamu Noguchi, Fishbone, 1952. Seto stoneware, black iron glaze. 11 3/4 x 3 7/8
x 1 1/8 in. ©INFGM / ARS
Isamu Noguchi Coffee Table (IN-50) for Herman Miller, 1944 (manufactured
1947–73, 1984–present). Wood, plate glass. 15 3/4 x 50 x 36 in. ©INFGM / ARS
Isamu Noguchi, Origin with Young Balloon, 1967–68. Aluminum. 26 x 40 3/8 x 43
3/4 in. ©INFGM / ARS
Isamu Noguchi, mask (Orpheus’s severed head) for Orpheus, 1948. The Noguchi
Museum Archives, 06665. ©INFGM / ARS
Isamu Noguchi, Set for George Balanchine's Orpheus, 1947 (reworked and enlarged
1972). Mixed media. Dimensions variable. The Isamu Noguchi Foundation and Garden
Museum and New York City Ballet. ©INFGM / ARS
Isamu Noguchi, Lyre, set element for Orpheus, 1948. Resin, balsawood, wood,
paint. 29 1/4 x 20 1/2 x 2 7/8 in. New York City Ballet Archives, Ballet Society
Collection. ©INFGM / ARS
Isamu Noguchi, Lyre for Orpheus, 1948 (cast 1985). Bronze. 28 7/8 x 18 x 2 1/2
in. ©INFGM / ARS
Isamu Noguchi, The Mermaid's Grave, 1983. Basalt. 21 7/8 x 35 7/8 x 35 7/8 in.
©INFGM / ARS
Isamu Noguchi, Floor Frame, 1962 (cast 1984). Fabricated by Fonderia D’Arte
Tesconi, Pietrasanta. Bronze, gold patina. 14 1/2 x 40 3/8 x 24 5/8 in.; 6 3/4 x
13 5/8 x 6 3/4 in. ©INFGM / ARS
Isamu Noguchi, Worm Pyramid, 1965. Granite. 12 x 22 5/8 x 23 1/8 in. ©INFGM /
ARS
Isamu Noguchi, Seen and Unseen, 1962 (cast 1963). Bronze. 19 1/2 x 25 1/2 x 27
in. 6 1/2 x 26 1/2 x 29 in. ©INFGM / ARS
Isamu Noguchi, The Seed, 1946. Italian marble. 17 1/4 x 18 5/8 x 14 1/4 in.
©INFGM / ARS
Isamu Noguchi, Swimming Pool for Josef von Sternberg, 1935 (cast 1977). Bronze.
6 1/2 x 15 x 14 1/2 in. ©INFGM / ARS
Isamu Noguchi, This Place, 1968. Granite. 6 1/4 x 44 x 42 1/4 in. ©INFGM / ARS
Isamu Noguchi, Fudo, 1966–67. Granite, stainless steel. 69 1/4 x 16 x 16 1/2 in.
©INFGM / ARS
Isamu Noguchi, Two Stones, 1982. Granite, steel. 45 3/8 x 20 x 14 in. ©INFGM /
ARS
Isamu Noguchi, Untitled, 1978. Granite, aluminum. 7 3/4 x 11 x 7 7/8 in. ©INFGM
/ ARS
Isamu Noguchi, Zig-Zag Table, 1984. Hot-dipped galvanized steel. 20 x 29 7/8 x
29 3/8 in. ©INFGM / ARS
Isamu Noguchi, Spin-off #1 from Sunken Garden, Chase Manhattan Bank, 1961–64.
Naturally-shaped Uji River basalt. 29 1/4 x 38 1/2 x 38 5/8 in. ©INFGM / ARS
Isamu Noguchi, Even the Centipede, 1952. Unglazed Kasama red stoneware, wood
pole, and hemp cord. 165 5/8 x 18 x 18 in. The Museum of Modern Art, New York;
A. Conger Goodyear Fund, 1.1955.a-k. © INFGM / ARS
Isamu Noguchi, Erosion, 1969. Marble. 5 5/8 x 10 3/8 x 10 1/2 in. ©INFGM / ARS
Isamu Noguchi, Untitled, 1982. Mikage granite, steel. 7 7/8 x 18 5/8 x 12 7/8
in. ©INFGM / ARS
Isamu Noguchi, In Dream – Abacus, 1970. Bardillo marble, Portuguese rose Aurora
marble. 6 3/4 x 43 7/8 x 7 1/4 in. ©INFGM / ARS
Isamu Noguchi, Downward Pulling #2, c. 1972. Spanish Alicante marble, Marquina
marble. 13 1/2 x 35 1/8 x 28 in. Photo: Nicholas Knight. ©INFGM / ARS
Isamu Noguchi, Slowly Slowly, 1966–67. Basalt. 8 1/2 x 21 1/2 x 6 5/8 in. Base:
58 3/8 x 19 7/8 x 18 1/8 in. ©INFGM / ARS
Isamu Noguchi, Serpent for Martha Graham's ‘Cave of the Heart,’ 1946. Magnesite,
fabric, wire mesh, plywood, wood. 15 1/2 x 39 1/2 x 44 in. ©INFGM / ARS
Isamu Noguchi, Little She, 1988 (unfinished). Marble. 16 3/4 x 24 7/8 x 9 in.
©INFGM / ARS
Isamu Noguchi, Snake, 1952. Shigaraki stoneware, glaze. 12 7/8 x 4 3/4 x 6 5/8
in. Private collection, courtesy Nicholas J. Sands & Company Fine Art, New York.
©INFGM / ARS
Isamu Noguchi, Fishbone, 1952. Seto stoneware, black iron glaze. 11 3/4 x 3 7/8
x 1 1/8 in. ©INFGM / ARS
Isamu Noguchi Coffee Table (IN-50) for Herman Miller, 1944 (manufactured
1947–73, 1984–present). Wood, plate glass. 15 3/4 x 50 x 36 in. ©INFGM / ARS
Isamu Noguchi, Origin with Young Balloon, 1967–68. Aluminum. 26 x 40 3/8 x 43
3/4 in. ©INFGM / ARS
Isamu Noguchi, mask (Orpheus’s severed head) for Orpheus, 1948. The Noguchi
Museum Archives, 06665. ©INFGM / ARS
Isamu Noguchi, Set for George Balanchine's Orpheus, 1947 (reworked and enlarged
1972). Mixed media. Dimensions variable. The Isamu Noguchi Foundation and Garden
Museum and New York City Ballet. ©INFGM / ARS
Isamu Noguchi, Lyre, set element for Orpheus, 1948. Resin, balsawood, wood,
paint. 29 1/4 x 20 1/2 x 2 7/8 in. New York City Ballet Archives, Ballet Society
Collection. ©INFGM / ARS
Isamu Noguchi, Lyre for Orpheus, 1948 (cast 1985). Bronze. 28 7/8 x 18 x 2 1/2
in. ©INFGM / ARS
Isamu Noguchi, The Mermaid's Grave, 1983. Basalt. 21 7/8 x 35 7/8 x 35 7/8 in.
©INFGM / ARS
Isamu Noguchi, Floor Frame, 1962 (cast 1984). Fabricated by Fonderia D’Arte
Tesconi, Pietrasanta. Bronze, gold patina. 14 1/2 x 40 3/8 x 24 5/8 in.; 6 3/4 x
13 5/8 x 6 3/4 in. ©INFGM / ARS
Isamu Noguchi, Worm Pyramid, 1965. Granite. 12 x 22 5/8 x 23 1/8 in. ©INFGM /
ARS
Isamu Noguchi, Seen and Unseen, 1962 (cast 1963). Bronze. 19 1/2 x 25 1/2 x 27
in. 6 1/2 x 26 1/2 x 29 in. ©INFGM / ARS
Isamu Noguchi, The Seed, 1946. Italian marble. 17 1/4 x 18 5/8 x 14 1/4 in.
©INFGM / ARS
Isamu Noguchi, Swimming Pool for Josef von Sternberg, 1935 (cast 1977). Bronze.
6 1/2 x 15 x 14 1/2 in. ©INFGM / ARS
Isamu Noguchi, This Place, 1968. Granite. 6 1/4 x 44 x 42 1/4 in. ©INFGM / ARS
Isamu Noguchi, Fudo, 1966–67. Granite, stainless steel. 69 1/4 x 16 x 16 1/2 in.
©INFGM / ARS
Isamu Noguchi, Two Stones, 1982. Granite, steel. 45 3/8 x 20 x 14 in. ©INFGM /
ARS
Isamu Noguchi, Untitled, 1978. Granite, aluminum. 7 3/4 x 11 x 7 7/8 in. ©INFGM
/ ARS
Isamu Noguchi, Zig-Zag Table, 1984. Hot-dipped galvanized steel. 20 x 29 7/8 x
29 3/8 in. ©INFGM / ARS
Isamu Noguchi, Spin-off #1 from Sunken Garden, Chase Manhattan Bank, 1961–64.
Naturally-shaped Uji River basalt. 29 1/4 x 38 1/2 x 38 5/8 in. ©INFGM / ARS
Isamu Noguchi, Even the Centipede, 1952. Unglazed Kasama red stoneware, wood
pole, and hemp cord. 165 5/8 x 18 x 18 in. The Museum of Modern Art, New York;
A. Conger Goodyear Fund, 1.1955.a-k. © INFGM / ARS
Isamu Noguchi, Erosion, 1969. Marble. 5 5/8 x 10 3/8 x 10 1/2 in. ©INFGM / ARS
Isamu Noguchi, Untitled, 1982. Mikage granite, steel. 7 7/8 x 18 5/8 x 12 7/8
in. ©INFGM / ARS
Isamu Noguchi, In Dream – Abacus, 1970. Bardillo marble, Portuguese rose Aurora
marble. 6 3/4 x 43 7/8 x 7 1/4 in. ©INFGM / ARS
Isamu Noguchi, Downward Pulling #2, c. 1972. Spanish Alicante marble, Marquina
marble. 13 1/2 x 35 1/8 x 28 in. Photo: Nicholas Knight. ©INFGM / ARS
Isamu Noguchi, Slowly Slowly, 1966–67. Basalt. 8 1/2 x 21 1/2 x 6 5/8 in. Base:
58 3/8 x 19 7/8 x 18 1/8 in. ©INFGM / ARS
Isamu Noguchi, Serpent for Martha Graham's ‘Cave of the Heart,’ 1946. Magnesite,
fabric, wire mesh, plywood, wood. 15 1/2 x 39 1/2 x 44 in. ©INFGM / ARS
Isamu Noguchi, Little She, 1988 (unfinished). Marble. 16 3/4 x 24 7/8 x 9 in.
©INFGM / ARS
Isamu Noguchi, Snake, 1952. Shigaraki stoneware, glaze. 12 7/8 x 4 3/4 x 6 5/8
in. Private collection, courtesy Nicholas J. Sands & Company Fine Art, New York.
©INFGM / ARS
Isamu Noguchi, Fishbone, 1952. Seto stoneware, black iron glaze. 11 3/4 x 3 7/8
x 1 1/8 in. ©INFGM / ARS
CURATOR’S STATEMENT
Isamu Noguchi’s ultimate conception of sculpture was the manipulation of three
empirical abstractions: the relationships that connect objects, spaces, and
people; the sense of environment those connections produce when more than the
sum of their parts; and the scaling of human awareness to such imaginary
landscapes.
The term “subscape” comes from an essay about the largely unconsidered world
below the level of the chair seat or table top by Noguchi’s sometime employer
George Nelson—the designer, theorist, publisher, and all-around impresario of
American midcentury modern design.1 Nelson’s interest in the “manifold wonders,”
to be found in this “zone of nearly total invisibility,”2 stemmed from what he
characterized as the fantastic “shock that comes with seeing familiar objects
from a strange point of view.”3
In the article, written as a tale of discovery, Nelson recounts falling off his
couch and inadvertently encountering “a region of whose existence,” he had been
“almost totally unaware.”4 He likens the experience to arriving here from Mars.
To design for this limbo, he says, is like penetrating the Iron Curtain or
passing through Alice’s looking glass.5 Undaunted, and “armed with all the fresh
advantages of the mouse-eye view,”6 he sets out to see what he can learn—despite
some problems. “The use of a view camera for the subscape is impossible unless
one chops a hole in the floor for the photographer,” he complained, and
“illumination at subscape levels, whether by day or night, is very poor,
lighting engineers showing no concern for the seeing requirements of dogs,
infants or photographers.”7
Noguchi’s most famous job for Nelson was the creation of his iconic glass-topped
coffee table for Herman Miller. It was designed to illustrate a now-lost article
of Nelson’s entitled “How to Make a Table,” as well as to avenge the theft of a
related design by a well-known furniture company while Noguchi was incarcerated
in the Poston, Arizona, prison camp for Japanese Americans during World War II.
With its transparent top and visible skeletal structure base, the table is a
subscape revelation.
Isamu Noguchi Coffee Table (IN-50) for Herman Miller, 1944 (manufactured
1947–73, 1984–present). Wood, plate glass.
Photo: Joseph Scherschel / The LIFE Picture Collection / Shutterstock. ©INFGM /
ARS
Isamu Noguchi Coffee Table (IN-50) for Herman Miller, 1944 (manufactured
1947–73, 1984–present). Wood, plate glass. Photo: Ezra Stoller. ©INFGM / ARS
* 1
* 2
* Isamu Noguchi Coffee Table (IN-50) for Herman Miller, 1944 (manufactured
1947–73, 1984–present). Wood, plate glass.
Photo: Joseph Scherschel / The LIFE Picture Collection / Shutterstock. ©INFGM
/ ARS
* Isamu Noguchi Coffee Table (IN-50) for Herman Miller, 1944 (manufactured
1947–73, 1984–present). Wood, plate glass. Photo: Ezra Stoller. ©INFGM / ARS
To understand why Noguchi was so taken with this undiscovered zone—a space most
of us ignore or take for granted—it is helpful to listen to him. Here is how he
explains Infant (1971), which can be found in Area 9 of the Museum lying on the
largest, least-recognized pedestal in the world:
Ultimately, the floor as a metaphor for earth is the basic base beyond all
others. Gravity holds us there. The floor is our platform of humanity, as the
Japanese well know. The floor in its entirety graces all who enter. They partake
in the experience of being sculpture.8
Isamu Noguchi, Infant, 1971. Miharu granite. Photo: Kevin Noble. ©INFGM / ARS
* Isamu Noguchi, Infant, 1971. Miharu granite. Photo: Kevin Noble. ©INFGM / ARS
In other words, these fundamentals, of which we aren’t even consciously aware,
are often the most significant baselines of our existence—their importance
rendered invisible only by their scale. Earth, the underappreciated pedestal
upon which humanity’s existence rests, is the archetypal example of this. In an
excerpt from his autobiography, Noguchi expounds on how everything, seen and
unseen, is connected below view:
In Japan the rocks in a garden are so planted as to suggest a protuberance from
the primordial mass below. Every rock gains enormous weight, and that is why the
whole garden may be said to be a sculpture, whose roots are joined way below.9
The sculptures in the exhibition represent different aspects of this hidden
connectedness: the tunnels, caves, root systems, and rock formations that riddle
Earth’s crust, as well as the creatures and forces that produce them. Noguchi’s
orientation to the unseen surfaces in his conceptualization of the Greek hero
Orpheus’s artistic vision as a form of blindness (symbolized in Noguchi’s design
as a golden mask—a riff on the idea of a golden cage). This idea found a real
world analogue in Noguchi’s association with the Japanese movement Sodeisha
(“Crawling Through Mud Association”), a group of young rebel potters looking for
ways to turn the traditions of Japanese ceramics on their head in order to
establish themselves as modern abstract artists. The formation of Sodeisha was
in part inspired by Noguchi’s ceramic sculptures of the early 1950s, such as
Even the Centipede (1952). The studio in Kita Kamakura on the land of Kitaoji
Rosanjin, where Noguchi hand-built these works, had an earthen wall that Noguchi
excavated out of the hillside.
Interior of Isamu Noguchi’s earthen studio in Kita Kamakura, c. 1951–52. The
Noguchi Museum Archives, 03225. ©INFGM / ARS
View of patio from within Noguchi’s Kita Kamakura studio, c. 1952. The Noguchi
Museum Archives, 03232. ©INFGM / ARS
* 1
* 2
* Interior of Isamu Noguchi’s earthen studio in Kita Kamakura, c. 1951–52. The
Noguchi Museum Archives, 03225. ©INFGM / ARS
* View of patio from within Noguchi’s Kita Kamakura studio, c. 1952. The
Noguchi Museum Archives, 03232. ©INFGM / ARS
Worm Pyramid (1965), one of the least imposing objects on permanent view in the
Museum—often treated as a tripping hazard rather than a small wonder of the
world—is a testament to the ambitions of a creature whose very name, “worm,” is
a derogatory synonym for unworthy of attention. Describing another easily
underestimated early work in the Museum catalogue, Globular (1928), Noguchi
explains never really finding an entirely convincing orientation for it,
concluding with a characteristically perspective-warping statement about its
final state: “The floatingness is now below.”10
But if there is a single object that is perfectly emblematic of Noguchi’s
“subscapes” point of view, it is Boy Looking through Legs (1933), a
self-portrait as a boy of nine or ten. Bent over double from the waist, limber
for action, he surveys the world with bright blue eyes: backwards, upside-down,
and through a forest of his own legs. Though it is not in the exhibition—as it’s
out on loan—Boy Looking through Legs epitomizes Noguchi’s vocational interest
not only in altering perspective, but in understanding how to make mountains out
of molehills, or vice versa.
Dakin Hart
Senior Curator
Isamu Noguchi, Boy Looking through Legs (Morning Exercises), 1933.
Pear wood, blue beads. 28 1/2 x 7 3/8 x 7 1/8 in. Photo: Kevin Noble. ©INFGM /
ARS
* Isamu Noguchi, Boy Looking through Legs (Morning Exercises), 1933.
Pear wood, blue beads. 28 1/2 x 7 3/8 x 7 1/8 in. Photo: Kevin Noble. ©INFGM
/ ARS
--------------------------------------------------------------------------------
1 George Nelson, “Notes on the New Subscape,” in Problems of Design (New York:
Whitney Publications, 1957), 194–200, previously published as “Problems of
Design: Notes on the New Subscape,” Interiors 110 (November 1950).
2 Ibid., 194.
3 Ibid., 198.
4 Ibid., 197.
5 Ibid., 195.
6 Ibid., 197.
7 Ibid., 198.
8 Isamu Noguchi, The Isamu Noguchi Garden Museum (New York: Harry N. Abrams,
Inc., 1987), 122.
9 Isamu Noguchi, Isamu Noguchi: A Sculptor’s World (New York: Harper & Row,
1968; Göttingen, Germany: Steidl, 2004), 40. Citation refers to the Steidl
edition.
10 Noguchi, The Isamu Noguchi Garden Museum, 232.
Installation Views
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May 7,
2023. Photo: Nicholas Knight. ©INFGM / ARS
Photos: Nicholas Knight. ©INFGM / ARS
RELATED EXHIBITIONS
Veronika Spierenburg, still from Aus-Höhlen, 2015. HD Video, 21 min. Courtesy of
the artist
Veronika Spierenburg, Aus-Höhlen
June 15 – October 2, 2022
Presented across two galleries on the first floor, Veronika Spierenburg,
Aus-Höhlen is a screening of two films by Veronika Spierenburg (b. 1981) that
place the viewer as though looking out from within a series of monastery caves
in Georgia. The complex melding of physical environment, psychic space, and
social awareness that the observer experiences in these films connects directly
with what Noguchi meant by using the sculpture of space to “illumine the
environment of our aspirations.”
Explore the Exhibition
--------------------------------------------------------------------------------
Mexican painter and architect Juan O’Gorman (1905–1982) and his wife, American
botanist Helen O’Gorman (née Fowler), play chess c. 1959 in the home he designed
and decorated in Mexico City. Photo: Eliot Elisofon / The LIFE Picture
Collection / Shutterstock
In Praise of Caves: Organic Architecture Projects from Mexico by Carlos Lazo,
Mathias Goeritz, Juan O’Gorman, and Javier Senosiain
October 19, 2022 – February 26, 2023
Projects by four artist–architects working in Mexico under the broad rubric of
organic architecture explore the adaptation of natural structures to modern
living, practical and environmental benefits of moving underground, and how
humanity might reconnect with the essential happiness of living in concert with
nature.
Explore the Exhibition
--------------------------------------------------------------------------------
Noguchi Subscapes is 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 the Office of the
Governor and the New York State Legislature.
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* Isamu Noguchi Coffee Table (IN-50) for Herman Miller, 1944 (manufactured
1947–73, 1984–present). Wood, plate glass. 15 3/4 x 50 x 36 in. ©INFGM / ARS
* Isamu Noguchi, Origin with Young Balloon, 1967–68. Aluminum. 26 x 40 3/8 x 43
3/4 in. ©INFGM / ARS
* Isamu Noguchi, mask (Orpheus’s severed head) for Orpheus, 1948. The Noguchi
Museum Archives, 06665. ©INFGM / ARS
* Isamu Noguchi, Set for George Balanchine's Orpheus, 1947 (reworked and
enlarged 1972). Mixed media. Dimensions variable. The Isamu Noguchi
Foundation and Garden Museum and New York City Ballet. ©INFGM / ARS
* Isamu Noguchi, Lyre, set element for Orpheus, 1948. Resin, balsawood, wood,
paint. 29 1/4 x 20 1/2 x 2 7/8 in. New York City Ballet Archives, Ballet
Society Collection. ©INFGM / ARS
* Isamu Noguchi, Lyre for Orpheus, 1948 (cast 1985). Bronze. 28 7/8 x 18 x 2
1/2 in. ©INFGM / ARS
* Isamu Noguchi, The Mermaid's Grave, 1983. Basalt. 21 7/8 x 35 7/8 x 35 7/8
in. ©INFGM / ARS
* Isamu Noguchi, Floor Frame, 1962 (cast 1984). Fabricated by Fonderia D’Arte
Tesconi, Pietrasanta. Bronze, gold patina. 14 1/2 x 40 3/8 x 24 5/8 in.; 6
3/4 x 13 5/8 x 6 3/4 in. ©INFGM / ARS
* Isamu Noguchi, Worm Pyramid, 1965. Granite. 12 x 22 5/8 x 23 1/8 in. ©INFGM /
ARS
* Isamu Noguchi, Seen and Unseen, 1962 (cast 1963). Bronze. 19 1/2 x 25 1/2 x
27 in. 6 1/2 x 26 1/2 x 29 in. ©INFGM / ARS
* Isamu Noguchi, The Seed, 1946. Italian marble. 17 1/4 x 18 5/8 x 14 1/4 in.
©INFGM / ARS
* Isamu Noguchi, Swimming Pool for Josef von Sternberg, 1935 (cast 1977).
Bronze. 6 1/2 x 15 x 14 1/2 in. ©INFGM / ARS
* Isamu Noguchi, This Place, 1968. Granite. 6 1/4 x 44 x 42 1/4 in. ©INFGM /
ARS
* Isamu Noguchi, Fudo, 1966–67. Granite, stainless steel. 69 1/4 x 16 x 16 1/2
in. ©INFGM / ARS
* Isamu Noguchi, Two Stones, 1982. Granite, steel. 45 3/8 x 20 x 14 in. ©INFGM
/ ARS
* Isamu Noguchi, Untitled, 1978. Granite, aluminum. 7 3/4 x 11 x 7 7/8 in.
©INFGM / ARS
* Isamu Noguchi, Zig-Zag Table, 1984. Hot-dipped galvanized steel. 20 x 29 7/8
x 29 3/8 in. ©INFGM / ARS
* Isamu Noguchi, Spin-off #1 from Sunken Garden, Chase Manhattan Bank, 1961–64.
Naturally-shaped Uji River basalt. 29 1/4 x 38 1/2 x 38 5/8 in. ©INFGM / ARS
* Isamu Noguchi, Even the Centipede, 1952. Unglazed Kasama red stoneware, wood
pole, and hemp cord. 165 5/8 x 18 x 18 in. The Museum of Modern Art, New
York; A. Conger Goodyear Fund, 1.1955.a-k. © INFGM / ARS
* Isamu Noguchi, Erosion, 1969. Marble. 5 5/8 x 10 3/8 x 10 1/2 in. ©INFGM /
ARS
* Isamu Noguchi, Untitled, 1982. Mikage granite, steel. 7 7/8 x 18 5/8 x 12 7/8
in. ©INFGM / ARS
* Isamu Noguchi, In Dream – Abacus, 1970. Bardillo marble, Portuguese rose
Aurora marble. 6 3/4 x 43 7/8 x 7 1/4 in. ©INFGM / ARS
* Isamu Noguchi, Downward Pulling #2, c. 1972. Spanish Alicante marble,
Marquina marble. 13 1/2 x 35 1/8 x 28 in. Photo: Nicholas Knight. ©INFGM /
ARS
* Isamu Noguchi, Slowly Slowly, 1966–67. Basalt. 8 1/2 x 21 1/2 x 6 5/8 in.
Base: 58 3/8 x 19 7/8 x 18 1/8 in. ©INFGM / ARS
* Isamu Noguchi, Serpent for Martha Graham's ‘Cave of the Heart,’ 1946.
Magnesite, fabric, wire mesh, plywood, wood. 15 1/2 x 39 1/2 x 44 in. ©INFGM
/ ARS
* Isamu Noguchi, Little She, 1988 (unfinished). Marble. 16 3/4 x 24 7/8 x 9 in.
©INFGM / ARS
* Isamu Noguchi, Snake, 1952. Shigaraki stoneware, glaze. 12 7/8 x 4 3/4 x 6
5/8 in. Private collection, courtesy Nicholas J. Sands & Company Fine Art,
New York. ©INFGM / ARS
* Isamu Noguchi, Fishbone, 1952. Seto stoneware, black iron glaze. 11 3/4 x 3
7/8 x 1 1/8 in. ©INFGM / ARS
* Isamu Noguchi Coffee Table (IN-50) for Herman Miller, 1944 (manufactured
1947–73, 1984–present). Wood, plate glass.
Photo: Joseph Scherschel / The LIFE Picture Collection / Shutterstock. ©INFGM
/ ARS
* Isamu Noguchi Coffee Table (IN-50) for Herman Miller, 1944 (manufactured
1947–73, 1984–present). Wood, plate glass. Photo: Ezra Stoller. ©INFGM / ARS
* Isamu Noguchi, Infant, 1971. Miharu granite. Photo: Kevin Noble. ©INFGM / ARS
* Interior of Isamu Noguchi’s earthen studio in Kita Kamakura, c. 1951–52. The
Noguchi Museum Archives, 03225. ©INFGM / ARS
* View of patio from within Noguchi’s Kita Kamakura studio, c. 1952. The
Noguchi Museum Archives, 03232. ©INFGM / ARS
* Isamu Noguchi, Boy Looking through Legs (Morning Exercises), 1933.
Pear wood, blue beads. 28 1/2 x 7 3/8 x 7 1/8 in. Photo: Kevin Noble. ©INFGM
/ ARS
* Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May
7, 2023. Photo: Nicholas Knight. ©INFGM / ARS
* Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May
7, 2023. Photo: Nicholas Knight. ©INFGM / ARS
* Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May
7, 2023. Photo: Nicholas Knight. ©INFGM / ARS
* Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May
7, 2023. Photo: Nicholas Knight. ©INFGM / ARS
* Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May
7, 2023. Photo: Nicholas Knight. ©INFGM / ARS
* Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May
7, 2023. Photo: Nicholas Knight. ©INFGM / ARS
* Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May
7, 2023. Photo: Nicholas Knight. ©INFGM / ARS
* Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May
7, 2023. Photo: Nicholas Knight. ©INFGM / ARS
* Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May
7, 2023. Photo: Nicholas Knight. ©INFGM / ARS
* Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May
7, 2023. Photo: Nicholas Knight. ©INFGM / ARS
* Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May
7, 2023. Photo: Nicholas Knight. ©INFGM / ARS
* Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May
7, 2023. Photo: Nicholas Knight. ©INFGM / ARS
* Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May
7, 2023. Photo: Nicholas Knight. ©INFGM / ARS
* Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May
7, 2023. Photo: Nicholas Knight. ©INFGM / ARS
* Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May
7, 2023. Photo: Nicholas Knight. ©INFGM / ARS
* Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May
7, 2023. Photo: Nicholas Knight. ©INFGM / ARS
* Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May
7, 2023. Photo: Nicholas Knight. ©INFGM / ARS
* Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May
7, 2023. Photo: Nicholas Knight. ©INFGM / ARS
* Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May
7, 2023. Photo: Nicholas Knight. ©INFGM / ARS
* Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May
7, 2023. Photo: Nicholas Knight. ©INFGM / ARS
* Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May
7, 2023. Photo: Nicholas Knight. ©INFGM / ARS
* Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May
7, 2023. Photo: Nicholas Knight. ©INFGM / ARS
* Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May
7, 2023. Photo: Nicholas Knight. ©INFGM / ARS
* Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May
7, 2023. Photo: Nicholas Knight. ©INFGM / ARS
* Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May
7, 2023. Photo: Nicholas Knight. ©INFGM / ARS
* Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May
7, 2023. Photo: Nicholas Knight. ©INFGM / ARS
* Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May
7, 2023. Photo: Nicholas Knight. ©INFGM / ARS
* Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May
7, 2023. Photo: Nicholas Knight. ©INFGM / ARS
* Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May
7, 2023. Photo: Nicholas Knight. ©INFGM / ARS
* Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May
7, 2023. Photo: Nicholas Knight. ©INFGM / ARS
* Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May
7, 2023. Photo: Nicholas Knight. ©INFGM / ARS
* Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May
7, 2023. Photo: Nicholas Knight. ©INFGM / ARS
* Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May
7, 2023. Photo: Nicholas Knight. ©INFGM / ARS
* Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May
7, 2023. Photo: Nicholas Knight. ©INFGM / ARS
* Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May
7, 2023. Photo: Nicholas Knight. ©INFGM / ARS
* Installation view, Noguchi Subscapes, The Noguchi Museum, June 15, 2022 – May
7, 2023. Photo: Nicholas Knight. ©INFGM / ARS
* Veronika Spierenburg, still from Aus-Höhlen, 2015. HD Video, 21 min. Courtesy
of the artist
* Mexican painter and architect Juan O’Gorman (1905–1982) and his wife,
American botanist Helen O’Gorman (née Fowler), play chess c. 1959 in the home
he designed and decorated in Mexico City. Photo: Eliot Elisofon / The LIFE
Picture Collection / Shutterstock