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BOB THOMPSON

Bob Thompson Untitled (After Goya), 1962 Oil on canvas board 6 x 4 in.
Bob Thompson
Untitled (After Goya), 1962
Oil on canvas board
6 x 4 in.
Bob Thompson
Bob Thompson
Bacchanal Study with Three Heads, c.1960
5.75 x 11 in, 3 x 1.7 in, 1.25 x in, 2. 25 x 1.25 in.
Bob Thompson, Study for Expulsion and Nativity
Bob Thompson
Study for Expulsion and Nativity 1963
Crayon and oil on coated printed paper
9 3/8 x 12 7/16 inches, unframed
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LISA BECK

Lisa Beck, Further I
Lisa Beck
Further I,2019
Acrylic and aluminum leaf (silver) on paper
24 x 18 inches (61 x 46 cm)
Lisa Beck, Further II
Lisa Beck
Further II,2019
Acrylic and aluminum leaf (silver) on paper
24 x 18 inches (61 x 46 cm)
Lisa Beck, Further III
Lisa Beck
Further III,2019
Acrylic and aluminum leaf (silver) on paper
24 x 18 inches (61 x 46 cm)
Lisa Beck, Further IV
Lisa Beck
Further IV,2019
Acrylic and aluminum leaf (silver) on paper
24 x 18 inches (61 x 46 cm)
Lisa Beck, Further V
Lisa Beck
Further V,2019
Acrylic and aluminum leaf (silver) on paper
24 x 18 inches (61 x 46 cm)
Lisa Beck, Further VI
Lisa Beck
Further VI,2019
Acrylic and aluminum leaf (silver) on paper
24 x 18 inches (61 x 46 cm)
Vertigo, Works on paper, installation view
Vertigo
Works on paper
Lisa Beck
Installation view
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Lisa Beck works with a variety of mediums  and modes, including painting, sculpture and installation (often in combination), involving inner and outer space, landscape, reflection, and the paradoxical relationship of something and nothing. 

Since the 1980s, her work has been exhibited in the US and internationally in venues including Feature Inc. (NYC), Elizabeth Dee Gallery (NYC), Anton Kern Gallery (NYC),  Galerie Samy Abraham (Paris),  Circuit, (Lausanne), PS1 (Long Island City),  White Columns, (NYC),  MAMCO – MuseĂ© d’ Art moderne et contemporain (Geneva), and the New Britain Museum of American Art (New Britain, CT).  

In 2013, “Endless”,  a survey show of works from 1986-2012, was presented at the Fort du Brussin, a hors le murs exhibition by La Salle de Bains, in Lyon, France.

Lisa’s work has been included in publications including  Painting Abstraction: New Elements in Abstract Painting by Bob Nickas,(2009, Phaidon Press) and Are You Experienced? by Ken Johnson (2011, Prestel).  In 2015, The Middle of Everywhere, a monograph on her work, was published by Galerie Samy Abraham  and La Salle de Bains.  

Lisa was a recipient of the 2012-13 Marie Walsh Sharpe Space Program Studio Residency in Brooklyn. 

Lisa Beck received a BFA from RISD. She lives and works in Brooklyn, NY. 

 

SELECTED ONE PERSON EXHIBITIONS

2019
Always Now, The Suburban, Milwaukee, WI
Send and Receive, The Gallery at the St. Kate, Milwaukee WI

2018
New Works, May 68, NY
Solo presentation at Art Verona with Vin Vin at Ruyter, Vienna

2017
Rising and Falling , Elizabeth Dee, New York
New small works, Galerie Samy Abraham, Paris 

2016
The House of Eternity, Galerie Samy Abraham, Paris 

2015
The Middle of Everywhere, Circuit, Lausanne, Switzerland, curated by Caroline Soyez-Petithomme  

2014
Observatory, Galerie Samy Abraham, Paris  
You Are Here, 33 Orchard, New York 

2012
Endless, off site project of La Salle de Bains at Fort du Bruissin, Lyon, France 
Looking Through, Galerie Lisa Ruyter, Vienna  
To Here Knows When, Feature, New York 

2011
Between Days, Feature Inc., New York  

2019

VERTIGO, Baahng Gallery, New York
Masterpieces, Galerie Thomas Bernard, Paris
Social Photography VII, carriage trade, NYC
Thirty Years of Dutch Courage, Cokkie Snoei, Rotterdam
Notebook, curated by Joanne Greenbaum, 56 Henry, NYC

2018
Le Bon Cout, Galerie Samy Abraham, Paris
Polarities, TOTAH, NYC
The Anthology of Interplanetary Folk Art Vol. 2: The Rings of Saturn, organized by Bob Nickas, Kerry Schuss Gallery, NYC
Lisa Beck and Ranier Lericolas, Galerie Thomas Bernard, Paris

2017
Abandoned Luncheonette, Jeff Bailey Gallery, Hudson, New York
EDGE: Lisa Beck, Eric Brown, Rachel Hellmann, Mary Judge, Marilyn Lerner, Douglas Melini, Ann Pibal, Kate Shepherd, Cary Smith, Li Trincere, Jan van der Ploeg, Philip Slein Gallery St. Louis, MO
Thought Forms, Lisa Beck, Lydia Dona, Joan Waltemath, C. Grimaldis Gallery, Baltimore, MD 
Color Block, Triple V, Paris
Playground, Galerie Emmanuel Hervé, Paris
Vagary of Abstraction, LMAK  Gallery, New York
Doomtown, Portland Institute of Contemporary Art, Portland, OR
Beyond Black and White, Westbeth, NY, curated by Henry Brown and Li Trincere 

2016
GEOMETRIX: Line, Form, Subversion, Organized by Andrea Pollan and Curator’s Office, Washington DC 
Strange Abstraction, Fredericks and Freiser, NY
ALL OVER, curated by Samuel Gross, GALERIE DES GALERIES , Galeries Lafayette, Paris
GVA< > JFK, MAMCO (Musee de lArt Moderen et Contemporain), Geneva, curated by Lionel Bovier
that old school dystopia, Theodore:art, Brooklyn, curated by Stephanie Theodore & Wendy Cooper
Non Figuratif : un regain d’intĂ©rĂȘt , Centre d’art contemporain Meymac, France  

First Exhibition, Elizabeth Dee Gallery, New York  
Kevin Larmon/ Lisa Beck, CB1 Los Angeles

2015
The Painter of Modern Life, Anton Kern Gallery, New York, curated by Bob Nickas 
Fertility, 33 Orchard, New York
Iterations, Theodore:Art, Bushwick   
Improvised Showboat, 55 Washington St, Brooklyn
Choices Paris, with Galerie Samy Abraham, curated by Alfred Pacquement, Paris 
Unexpected Pieces, Galerie Samy Abraham, Paris
Deep End, The Wassaic Project, Wassaic, NY
30/130 Thirty Years of Books and Catalogs, etc.  Bob Nickas at White Columns, White Columns, New York
Thirty Shades of White, Praz-Delavallade, Paris

2014
Real Estate, Ventana 244, Brooklyn, NY
No Ground But Say Ground, Halsey McKay Gallery, East Hampton, NY   
The Last Brucennial, 837 Washington St, New York
Inhabiting Ten Eyck, Storefront Ten Eyck, Bushwick Brooklyn, curated by Karin Bravin
Das Optische Unbewusste / The Optical Unconscious, Kunst(zeug)haus, Rapperswil, Switzerland
curated by Fred Fischli and Niels Olsen, in collaboration with Bob Nickas
This One’s Optimistic: Pincushion, New Britain Museum of American Art, New Britain, CT , curated by Cary Smith
Another, Once Again, Many Times, More, Martos Gallery, East Marion, NY  
Let’s Go Let Go – In Memoriam Hudson, 33 Orchard, New York
Raving Disco Dolly on a Rock ‘n’ Roll Trolley, envoy enterprises, NY  
Dark Map, Lesley Heller Workspace, New York
The Egg, LABspace, Great Barrington, MA 

2013
X-tra, Lesley Heller Workspace, NY  
Diamonds, Diamonds, Gallery Diet, Miami, curated by Daniel Feinberg  
Swing State, Jane Kim Gallery, NY
The Shining Path, Galerie Samy Abraham, Paris  
LAT. 41° 7′ N., LONG. 72° 19′ W, Martos Gallery, East Marion, New York   

2012
THING, group exhibition curated by Susan Jennings, West Cornwall, CT
Creature from the Blue Lagoon, Martos Gallery, Bridgehampton, NY  
Exposition d’artistes nĂ©(e)s entre le 22 juin et le 22 juillet, Galerie de Multiples, Paris
Tell the Children, La Salle des Bains, Lyon, France  

2011
bodybraingame, Rhona Hoffman Gallery, Chicago, curated by Hudson
The 2011 Bridgehampton Biennial, Martos Gallery, Bridgehampton, NY; organized by Bob Nickas  
We Regret To Inform You There Is Currently No Space or Place for Abstract Painting, Martos Gallery, New York
Lisa Beck / Philippe Richard, Theodore: Art, New York

2010
Pull My Daisy, Galerie Lisa Ruyter, Vienna   
Black Is the Color of My True Love’s Hair, NP Contemporary Art Center, New York
Daniel Hesidence Curates, Tracy Williams, Ltd., New York   
Lisa Beck / Olivier Mosset, Bell Street Project Space, Vienna
Wall-to-Wall, Daniel Weinberg Gallery, Los Angeles
Skulture, Feature Inc., New York
Townie, Foley Gallery, New York, curated by Carl d’Alvia
Portrait de l’artiste en motocycliste, Le Musee des Beaux Artes, Chaux les Fonds, Switzerland 

 

2018
GVA< >JFK, MAMCO Journal , edition No1, p 28
Scott, Andrea K., “Strange Attractors,” The New Yorker, October 16  

2017
“One Question, One Answer: Lisa Beck”, Romanov Grave  
Butler, Sharon. “Lisa Beck: So-called opposites“, Two Coats of Paint
Saltz, Jerry. “The 10 Best Art Achievements of 2017”   
Halle, Howard. “Lisa Beck: Rising and Falling”, Time Out New York
Elizabeth Dee Exhibits Lisa Beck’s New Paintings. artdaily.org, 

2016
Saltz, Jerry. Critic’s Pick, that old school dystopia, July 4, nymag.com
2015
Soyez-Petithomme, Caroline, ed.The Middle of Everywhere, essays by Samuel Gross, Bob Nickas, Caroline Soyez-Petithomme, La Salle de Bains, Galerie Samy Abraham 
Lescaze, ZoĂ«. Critic’s Pick: The Painter of Modern Life, Artforum  

Chang, Chris. “Five Points with Bob Nickas”, Art in America 
“5 Must See Gallery Shows in New York”, Art Info
Halle, Howard. “The Painter of Modern Life”, TIme Out New York, April 1 

2014
Goleas, Janet. ART REVIEW: “Another, Once Again, Many Times More” on the North Fork,
Hamptons Art Hub, posted 9 August, 2014 
Hollingsworth, Dennis. “This One’s Opptimistic: Pincushion.”  http://www.dennishollingsworth.us
Lequeux, Emmanuelle. “Observatory,” Le Monde, 26 January 

2013
Saltz, Jerry. “MoMA’s Inventing Abstraction Is Illuminating—Although It Shines That Light Mighty Selectively,”
New York Magazine, January 14,  vulture.com, 6 January 
Morais, Pedro. “Accidents Geometriques,” Les Inrockuptibles, 30 January
Pernet, Hugo. ” Lisa Beck Endless,” Zero Quatre, spring 2013
Depuis 1999, Premier catalogue rétrospectif de La Salle de bains
Nickas, Bob. Annual Magazine, issue n°6  
Crest, Russ “.Lisa Beck’s Rorshach Installations”, Beautiful Decay 

2012
yes, no, something, nothing, never, always, Feature Inc, New York- catalog of selected works by Lisa Beck 1985-2010, interviews with Hudson and Bob NIckas  
Kazakina, Katya. “Art in the Hamptons,” Bloomberg.com, 1 August  
Miller, Michael H. “Bob Nickas Curates Summer Show in Bridgehampton One Last Time,” GalleristNY.com, 22 May  
Fessler, Anne Katrin. Review of “Looking Through”, Der Standard, 20 June  

2011
Nickas, Bob. Catalog of the Exhibition, 2nd Cannons Publications, Los Angeles (reproduction)
Indrisek, Scott. “The Pleasures of the Prosaic at the Bridgehampton Biennial,” Modern Painters, posted 15 August Rosenberg, Karen. “All Nooks, Crannies, Bedrooms and Trees are Backdrops for Art,” New York TImes,
8 August C5 (reproductions)  Miller, Michael H. “Learning from Bridgehampton,” New York Observer, 12 July  
Miller, Michael H. “So Long, Chelsea! Bob Nickas to Liven Up the Art World this Summer with Bridgehampton
Biennial,” New York Observer, 1 July  
Johnson, Ken. Are You Experienced?: How Psychedelic Consciousness Transformed Modern Art, Prestel Publishing, New York

2010
Review of “Skulture,” Goings On About Town, New Yorker, 25 January, 12
Rubin, David S., ed. Psychedelic: Optical and Visionary Art Since the 1960s, with essays by David S. Rubin,
Robert C. Morgan and Daniel Pinchbeck, San Antonio Museum of Art in association with MIT Press, Cambridge, MA, 33, 109

La Musee de Beaux Arts, La Chaux-de-Fonds, Switzerland
Frac des Pays de la Loire, Carquefou, France
Tang Museum, Saratoga Springs, NY USA

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ALEXIS de CHAUNAC

Alexis De Chaunac, Frankenstein's Monster
Alexis de Chaunac
FrankensteinÊŒs Monster (Botanica) 1828
2019
Ink, wax, pigment and color pencils on manuscript paper from 1828 (Framed in Maple wood and glass)
18.5 x 11.5 in. (47 x 22 cm)
Alexis De Chaunac, T.E. Lawrence returns to nature
Alexis de Chaunac
T.E. Lawrence returns to nature (Botanica) 1828
2019
Ink, wax, pigment and color pencils on manuscript paper from 1828 (Framed in Maple wood and glass)
18.5 x 11.5 in. (47 x 22 cm)
Alexis De Chaunac, Van Gogh in contact with nature
Alexis de Chaunac
Van Gogh in contact with nature (Botanica) 1828
2019
Ink, wax, pigment and color pencils on manuscript paper from 1828 (Framed in Maple wood and glass)
18.5 x 11.5 in. (47 x 22 cm)
Alexis De Chaunac, Ovid resting in nature
Alexis de Chaunac
Ovid resting in nature (Botanica) 1828
2019
Ink, wax, pigment and color pencils on manuscript paper from 1828 (Framed in Maple wood and glass)
18.5 x 11.5 in. (47 x 22 cm)
Alexis De Chaunac , Darwin in contact with nature
Alexis de Chaunac
Darwin in contact with nature (Botanica) 1828
2019
Ink, wax, pigment and color pencils on manuscript paper from 1828 (Framed in Maple wood and glass)
18.5 x 11.5 in. (47 x 22 cm)
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ALEXIS de CHAUNAC

(French-Mexican, b. 1991 in New York, NY, lives and works in New York and Paris, France)

Rapidly up-and-coming artist, Alexis de Chaunac draws from literature, religion, mythology, art history, politics, and his own multicultural background to produce exuberant, mixed-media drawings. He describes drawing as “a transcendental language that anyone can understand.” He works quickly, often with ink because of its fluidity, producing rich, multilayered works filled with faces and laden with cultural references. De Chaunac draws inspiration from such diverse artists as Rembrandt, Goya, Delacroix, Schiele, Picasso, and Francis Bacon, whom he groups together as “chroniclers of the human condition.” His own artistic rendering of humanity comes from literature. He claims influences from the Scriptures to great epics and all the way to Beat Generation writers such as William S. Burroughs. Referring to his practice as contemporary myth making, he takes archetypes such as Oedipus, Jesus Christ or Dante “working out of them to explore the primitive aspects of the human being.”

Born in New York and raised in Mexico City and Paris, he grew up surrounded by art and culture, drawing in the studio of his grandfather – a renowned Mexican artist Jose Luis Cuevas. He then lived for ten years in Paris immersed in European culture only to return to the US to study at the Sarah Lawrence College, NY.

 

BIOGRAPHY

1991 Born in New York, NY

Lives and works in New York and Paris, France

 

EDUCATION

2014 B.A., Sarah Lawrence College, Bronxville, NY

2013 History of Art, University of Oxford, UK

 

 

SELECTED SOLO EXHIBITIONS

2019 Alexis de Chaunac, Botanica, Silas von Morisse, Sargent’s Daughters, New York, NY

2018 Alexis de Chaunac, Botanica Magnifica, Silas von Morisse, ChaShaMa, New York, NY

2017 Alexis de Chaunac, Rebelde con Causa, XLV FIC, Universidad de Guanajuato, Mexico

2015 Alexis de Chaunac, A Dance with Life and Death, Silas von Morisse Gallery (formerly ART 3), Brooklyn NY

         Alexis de Chaunac, Mala Sangre/ Bestiario, Pinacoteca Diego Rivera, Xalapa, Mexico

2014 Alexis de Chaunac, Mala Sangre, Instituto Cultural de LeĂłn, Guanajuato, Mexico

         Alexis de Chaunac, Mala Sangre, Museo Iconografico del Quijote, Guanajuato, Mexico

 

SELECTED GROUP EXHIBITIONS

2017 7102 Fantasma semiĂłtico (s)cituacionista, Museo de Arte Carillo Gil, Mexico

2014 Inaugural Exhibition, ART 3 Gallery, Brooklyn, NY

2013 What is an Art Book?,Garis & Hahn Gallery, New York, NY

2010 DRAW, the largest contemporary drawing exhibition, curated by Erik Foss and Miguel Calderon, Museo de la Ciudad de Mexico, Mexico

 

COLLECTIONS

Private collections in New York, Los Angeles, Miami, Dallas, Mexico and Paris

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Venezia News reviews SCENTS

June 2019, Vol. 235, P8
Venezia News Vol 235
Venezia News, June 2019
Vol. 235
Venezia News Vol 235
Venezia News, June 2019
Vol. 235, Page 8
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Showcasing a group of finger paintings depicting nature, people, and various manifestations of Buddha, SCENTS, a solo exhibition of GuGu Kim (Korea, 1970), offers a glimpse of journey to enlightenment in life by conferring pleasure of labor and humility.  Presenting scrims made up of endless finger stamps and illuminating lights from inwards, SCENTS is an artist’s attempt to visualize scents of universal beings and deities.  GUGu Kim is primarily known for finger paint art and uses his own recipe of medium; mixture of powdered quartz, soot, graphite, pastel, and India ink. 

 
What does being an artist mean to you?

I believe the artist’s job is to inquire, question, though, there may not be an answer. In fact, I would rather be worn out than rotting away.  In my work, hundreds of thousands of fingerprints must be painted in order to create a work and this process is to me a performance of penance, love, art, and the life itself.

Have you always used fingerprints as a painting technique?

I was born and raised in the countryside of Gwangju, a province of Korea. When I was young, I used to play with charcoal, basically soots left from burning woods which was the main means of heating or cooking. And I used to make drawings in dirt or on paper with my hands, more precisely finger tips.  I remember that drawing with my fingers felt liberated but also fun.  Since then, I kept on using fingers to draw and paint throughout up to college days in art classes. I produced, I thought, better works by using fingers than using brushes. More importantly though, it was that awesome feeling of soft touch on canvas which in turn making imagination a reality, a work of art, with mere finger tips.  What a wonderful feeling that was!  I was mesmerized by this irresistible sensation felt from heart to tips of fingers, then back from the tips of fingers to heart.

What is the difference from using a regular paintbrush?

One of the most beautiful tools that human beings are endowed with is our body.  And most sophisticated means of communication is with body gestures that express feelings and thoughts. I feel most connected with my art when I use fingers instead of brushes.  It is most direct way of communicating myself with my creation, an art. It eliminates unnecessary intermediaries between me and my art.


What thoughts accompany your artistic gesture?

Style of painting does not really matter to me, I am more interested in what I choose to draw as subjects.  I am also not concerned with where I may belong in terms of, so called, a mainstream art.  My artistic gestures are rather instinctive. I am after the ultimate sentiment shared between artist and viewer.


You have a special relationship with food, flavors and scents. How does this relate to your artworks?

Actually, SCENTS is not related or referred to food, flavors, or pregnancies.  It is about scents of all beings in the universe. Humans, animals, plants, do communicate with their scents for affection to survival.  And scents are uniquely unique that no beings ever share exactly same scents as if they are the authentic markings for each beings.

What themes do you address in SCENTS, your new exhibition in Venice?

As curator Jennifer Baahng states, SCENTS addresses “Profound and Mysterious” in all of us. SCENTS attempts to visualize scents of universal beings and deities in temporal as well as spatial dimensions, presenting scrims made up of endless finger stamps.  SCENTS offers an artist’s glimpse of journey to enlightenment in life by conferring joy of labor and deliverance of compassion
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art in ASIA review on Front Lines: Visions from Southeast Asia

Art in Asia

Jan Feb 2009 No. 9, P86 - 89, by Dominick D. Lombardi

Art in Asia
Art in Asia
Art in Asia
Art in Asia
Art in Asia
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Art in Asia

art in ASIA review on Front Lines: Visions from Southeast Asia

by Dominick D. Lombardi
January February 2009 No. 9
Yao Jui-Chung, Golden Baby II - Blue Eyes

FRONT LINES: Visions from Southeast Asia

November 7 - December 31, 2008

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New York Magazine on “FACE: Scavenging Identity”

Renaud Muraire, Icon 2
Renaud Muraire, Icon 2
Renaud Muraire
Icon #2, 2007
Oil on canvas
36 x 29 in.

New York Magazine

ART CANDY section

 

Dirty, Hairy

by Rachel Wolff,  July 18, 2007

 

Zwirner & Wirth isn’t the only gallery taking a studied approach to their summer season. The Zone: Chelsea Center for the Arts has assembled an international roster of painters, photographers, and video artists to pay homage to portraiture as a medium for a group show titled “FACE: Scavenging Identity,” up through August 11. Parisian artist Renaud Muraire, who has several works up in the show, deifies modern beauties, dressing our “icons” with the same sort of signifiers once used to suggest divinity and the sublime. Icon #2(left), is part Odilon Redon (with an uncanny resemblance to his 1890 Les Yeux Clos), part early Renaissance, and part [enter upscale designer name here] perfume ad (dirty hair, inexplicable ecstasy). —Rachel Wolff

 

Source:

http://nymag.com/daily/entertainment/2007/07/dirty_hairy.html

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FACE: Scavenging Identity, installation view

FACE: Scavenging Identity

June 21 – August 11, 2007

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AI WEIWEI

Ai Weiwei, Colored Vases
Ai Weiwei
Colored Vases
Set of 11, approx. 8.8 x 8.3 x 8.3 in. each (22 x 21 x 21 cm)
Ai Weiwei, Colored Vases
Ai Weiwei
Colored Vases
Set of 11, approx. 8.8 x 8.3 x 8.3 in. each (22 x 21 x 21 cm)
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Categories: artists

NOBUO SEKINE

Andy WarholPhase Conception: Spring Sea, 1988 Gold foil, acrylic paint on layers of thick hand-made Japanese paper 64 x 89 x 2.5 in.
Phase Conception by Nobuo Sekine
Nobuo Sekine
Phase Conception
1988
Gold foil, acrylic paint on layers of thick Japanese hand-made paper
64 x 89 x 2.5 in. (163 x 226 x 6.4 cm), detail
Nobuo Sekine
Nobuo Sekine
Phase Conception
1988
Gold foil, acrylic paint on layers of thick Japanese hand-made paper
31.5 x 25.7 in (80.1 x 65.2 cm)
Phase Conception by Nobuo Sekine
Nobuo Sekine
Phase Conception
1988
Gold foil, acrylic paint on layers of thick Japanese hand-made paper
31.5 x 25.7 in (80.1 x 65.2 cm)
Phase Conception by Nobuo Sekine
Nobuo Sekine
Phase Conception
1988
Gold foil, acrylic paint on layers of thick Japanese hand-made paper
31.5 x 25.7 in (80.1 x 65.2 cm)
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Born 1942 in Saitama prefecture, Japan.

 

Graduated in 1968 with a M.F.A. in Painting, studying under artist Yoshishige Saito.

 

From 1968 into the 1970s, Sekine worked internationally as a central figure of “Mono-ha” (translated literally as “School of Things”), a movement considered instrumental in the formation of postwar Japanese art.  Phase—Mother Earth, an earthwork first constructed in Suma Rikyu Park, Kobe, in 1968, is widely recognized as marking the beginning of Mono-ha, and as one of the most iconic works of this period in Japan.

 

In 1970, Sekine represented Japan in the Venice Biennale with Phase of Nothingness, consisting of a large natural stone supported by a mirrored stainless steel column.  The sculpture is now in the permanent collection of the Louisiana Museum of Modern Art in HumlebÊk, Denmark.  Sekine remained in Europe after the Biennale, exhibiting in Italy, Switzerland, and Denmark.  Informed by his observations on art and architecture, urban and public space in Europe, Sekine returned to Japan to establish Environmental Art Studios, a public art agency, in 1973.

 

From 1978 to 1979, Sekine returned to Europe for the traveling exhibition of his work Phase of Nothingness—Black.  The solo exhibition toured from the KĂŒnsthalle Dusseldorf, Germany, to the Louisiana Museum of Modern Art, HumlebĂŠk, Denmark; the Kröller-MĂŒller Museum, Otterlo, Netherlands; and the Henie-Onstad Art Centre, HĂžvikodden, Norway.

 

In 1993, Sekine and Phase—Mother Earth were cited by 30 participating critics, curators, and journalists in the survey “Sengo bijutsu besuto ten” (Postwar art best ten), featured in the prominent art magazine Bijutsu Shinchƍ.

 

In 2001, Sekine was included in the exhibit Century City at the Tate Modern, London, for his critical role in the burgeoning Tokyo art scene between 1969 and 1973.  He also participated in the Gwangju Biennale, Korea, the same year.

Selected exhibitions of Sekine and Mono-ha include Reconsidering Mono-ha, The National Museum of Art, Osaka, 2005; What is Mono-Ha? Beijing Tokyo Art Projects, Beijing, 2007; Requiem for the Sun: The Art of Mono-ha, Blum & Poe, Los Angeles, 2012; Art Unlimited, Art Basel, Basel, 2013; Prima Materia, Punta Della Dogana, Venice, 2013; Parallel Views: Italian and Japanese Art from the 1950s, 60s, and 70s,The Rachofsky Warehouse, Dallas, Texas, 2013.

 

Sekine is currently Visiting Professor at Tama Art University and Kobe Design University.

 

 

Selected Solo Exhibitions 

2014 Blum & Poe, Los Angeles, CA 

2011 Re-creations 1970/2011, Kamakura Gallery, Kamakura, Japan Monogatari, Shanghai Sculpture Space, Shanghai,China 

2010 BE-UP-ART, Tokyo, Japan
2009 Center Gallery, Yokohama, Japan 

Kawagoe Gallery, Kawagoe, Japan 

2008 Gallery Bijutsu Sekai, Tokyo, Japan Gallery Art Composition, Tokyo, Japan 

PYO Gallery, Seoul, Korea 

2007 Center Gallery, Yokohama, Japan Gallery Bijutsu Sekai, Tokyo, Japan 

Shina Gallery, Kyoto, Japan 

2006 Saint Paul Gallery, Maebashi, Japan Gallery Bijutsu Sekai, Tokyo, Japan 

2005 Gallery Bijutsu Sekai, Tokyo, Japan
MANIF 11! ’05 SEOUL, Seoul Art Center, Seoul, Korea 

2004 Movement, Feeling, Environment, Tokyo Gallery + BTAP, Beijing,China Art Dune, Hamamatsu, Japan 

Phase of Nothingness – Black from ’78-’79 solo exhibition in Europe, Kamakura Gallery, Kamakura, Japan 

2003 Kawagoe City Art Museum, Saitama, Japan 2001 Art Dune, Hamamatsu, Japan
1999 Museum Shokyodo, Aichi, Japan
1998 Saint Paul Gallery, Maebashi, Japan 

1997 Kawagoe Gallery, Kawagoe, Japan Art Dune, Hamamatsu, Japan 

1996 Archaeology of Phase – Mother Earth, Otani Memorial Art Museum, Nishinomiya, Japan 

1995 Gallery Art Point, Tokyo, Japan Galleri Akern, Kongsberg, Norway 

1994 Art Dune, Hamamatsu, Japan 

1993 Sakura Gallery, Nagoya, Japan 

1992 Museum Shokyodo, Aichi, Japan
Nobuo Sekine, Soko Tokyo Gallery, Tokyo, Japan 

1991 Kawagoe Gallery, Kawagoe, Japan
Tenmaya Department Store, Okayama, Japan 

Anshindo Gallery, Shizuoka, Japan Art Dune, Hamamatsu, Japan 

1990 Tenjuen, Niigata, Japan
Soko Museum, Niigata, Japan Atelier Gallery, Niigata, Japan 

Sogo Department Store, Hiroshima, Japan
Seibu Department Store – Studio 5, Tokyo,Japan Mitsukoshi Department Store, Tokyo, Japan 

1989 Kodosha, Ichinoseki, Japan Gallery Lamia, Tokyo, Japan 

Chikugo Gallery, Kurume, Japan
Mitsui Gallery, Matsudo, Japan
Gallery TAK, Yokohama, Japan
Susono Art House, Susono, Japan
Kozaido Gallery, Tokyo, Japan
Kobundo Gallery, Obihiro, Japan Gojuichiban-kan Gallery, Aomori, Japan Gallery Picasso, Maebashi, Japan Katsuyama Isozaki Hall, Fukui, Japan Stempfli Gallery, New York, New York Umeda Modern Art Museum, Osaka, Japan 

1988 Gallery M, Obama, Japan
Art Dune, Hamamatsu, Japan 

Kozaido Gallery, Tokyo, Japan Nishida Gallery, Nara, Japan
Soh Gallery, Tokyo, Japan Anshindo Gallery, Shizuoka, Japan Gallery Kura, Kitakyushu, Japan We Gallery, Omiya, Japan 

1987 Ginza Jiyugaoka Gallery, Tokyo Gallery Te, Tokyo, Japan 

Kawagoe Gallery, Kawagoe, Japan Sakura Gallery, Nagoya, Japan Tokyo Gallery, Tokyo, Japan 

1985 Akiyama Gallery, Tokyo, Japan
1983 Sekine and Environment Art Studio, Stripe House Museum, Tokyo, Japan 

1982 Sekine’s Prints and Sculptures: Cross Country 7500Km, Keneko Art Gallery, Tokyo, Japan 

1981 Kaneko Art Gallery, Tokyo, Japan Sakura Gallery, Nagoya, Japan 

1980 Kaneko Art Gallery, Tokyo, Japan Tokyo Gallery, Tokyo, Japan 

1978 Nobuo Sekine: Skulptor 1975-1978, Kunsthalle, Dusseldorf, Germany; traveled to Louisiana Museum of Art, HumlebĂŠk Denmark; Kröller-MĂŒller Museum, Otterlo, Netherlands; Henie-Onstad Art Centre, HĂžvikodden, Norway 

1977 Kaneko Art Gallery, Tokyo, Japan Sakura Gallery, Nagoya, Japan 

Tokyo Gallery, Tokyo, Japan 1976 Gallery Dori, Tokyo, Japan 

1975 Sakura Gallery, Nagoya, Japan 

1973 Tokyo Gallery, Tokyo, Japan 

1971 Gallery Krebs, Bern, Switzerland Gallery Birch, Copenhagen, Denmark 

1970 Galleria La Bertesca, Genova, Italy Genoa Gallery Modulo, Milan, Italy 

1969 Tokyo Gallery, Tokyo, Japan 

2014 Group “Genshoku” and Ishiko Junzo 1966-1971, Shizuoka PrefecturalMuseum of Art, Shizuoka, Japan 

Mono-ha, Tabloid Gallery, Tokyo, Japan
Mono-ha by Anzai: Photographs 1970-1976, Zeit-Foto Salon, Tokyo,Japan Other Primary Structures (Others 2: 1967 – 1970), Jewish Museum,
New York, NY
Mono-ha Artists, Museum of Contemporary Art, Karuizawa, Japan
The Hara Museum Collection at 35, Hara Museum of Contemporary Art, Tokyo, Japan 

2013 Prima Materia, Punta della Dogana, Venice, Italy
Tricks and Vision to Mono-ha, Tokyo Gallery + BTAP, Tokyo, Japan Parallel Views: Italian and Japanese Art from the 1950s, 60s, and 70s, The Warehouse, Dallas, TX 

2012 Ends of the Earth: Land Art to 1974, Museum of Contemporary Art, Los Angeles, CA; traveled to Haus der Kunst, Munich 

Tokyo 1955-1970, Museum of Modern Art, New York, NY 

Requiem for the Sun: The Art of Mono-ha, Blum & Poe, Los Angeles, California The ‘70s in Japan: 1968-1982, Museum of Modern Art, Saitama, Japan; traveled to Hiroshima City Museum of Contemporary Art, Hiroshima, Japan
The Artists of Mono-ha and Its Era, Rakusui-tei Museum of Art, Toyama,Japan 

2011 Gallery’s Collection Exhibition: Mono-ha, Tokyo Gallery + BTAP, Tokyo,Japan 

2010 Masan Munsin International Sculpture Symposium, Munsin Art Museum, Masan, Korea 

Tokyo Gallery + BTAP 60th Anniversary Exhibition, Tokyo Gallery + BTAP, Tokyo, Japan
Yanpyon Environment Festival, Korea
Printing Exhibition of Shanghai World Expo 2010, Shanghai, China 

Micro Salon 60, Tokyo Gallery + BTAP, Tokyo, Japan 

2009 Drawing Story I 1960–1990, Tokyo Gallery + BTAP, Tokyo, Japan 

2008 Tamagawa Art Line Project, Tokyo, Japan
Art Scene Revived, Tokyo Gallery + BTAP, Tokyo, Japan 

2007 What is Mono-ha?, Beijing Tokyo Art Project, Beijing,China
Nobuo Sekine & Mitsukuni Takimoto, Yokohama Portside Gallery, Yokohama, Japan 

2006 Public Art, Gallery NOVITA, Aomori, Japan
Memorial for Yoshiaki Tono, Gallery TOM, Tokyo, Japan 

Mono-ha: Lee Ufan, Kishio Suga, Nobuo Sekine – from the 1970’s, Soh Gallery, Tokyo, Japan 

2005 Reconsidering Mono-ha, National Museum of Art, Osaka,Japan 

2004 Kim Tschang-Yeul, Sekine Nobuo & Susumu Sakaguchi, Gallery Bijutsu Sekai, Tokyo, Japan 

The New Tokyo Gallery Exhibition, Tokyo Gallery + BTAP, Tokyo,Japan 

2003 The 20th Anniversary of Gallery Q, Gallery Q, Tokyo, Japan 

2002 Sculpture Project, Busan Biennale, Busan, Korea
Memorial for Yoshishige Saito, Kawamura Gakuen Art Hall, Tokyo, Japan 

2001 Century, Tate Modern Art Gallery, London, UK Mono-ha, Kamakura Gallery, Tokyo, Japan 

Mono-ha, Kettle’s Yard Art Gallery, Cambridge, UK
Retrospective Exhibition for Nagaoka Museum Prize 1964-68, The Niigata Prefectural Museum of Modern Art, Niigata, Japan 

2000 Gwangju Biennale, Gwangju, Korea
Modern Art of Japan: Monet de Paris, French National Mint Bureau, Paris, France 

1998 Lumieves – Light – Rediscovery of Stained Glass, TN Probe, Tokyo, Japan 1997 Modern Art from a Collector’s View Point: Yamamura Collection, Hyogo 

Prefectural Museum of Art, Kobe, Japan Street Museum, Kawagoe, Japan 

1996 Inside and the Outside of Art, Itabashi Art Museum, Tokyo, Japan 1970-Material and Perception – Mono-ha and Artists Who Ask Root, Saint Ratienu Museum, France 

1995 Archeology of Phase – Mother Earth, Otani Memorial Art Museum, Nishinomiya, Japan 

Japanese Culture: The Fifty Postwar Years, Meguro Museum of Art, Tokyo, Japan; traveled to Hiroshima City Museum of Contemporary Art, Hiroshima, Japan; Fukuoka Prefectural Museum of Art, Fukuoka, Japan; Hyogo Prefectural Museum of Art, Kobe, Japan 

46th Venice Biennale: ASIANA Contemporary Art from The Far East, Palazzo Vendramin Calergi, Venice, Italy
Matter and Perception 1970: Mono-ha and the Search for Fundamentals, Museum of Fine Arts Gifu, Gifu, Japan; traveled to Hiroshima City Museum of Contemporary Art, Hiroshima, Japan; Kitakyushu Municipal Museum of Art, Kitakyushu, Japan; Museum of Modern Art, Saitama, Japan; Museum of Modern Art Sain-Étienne, Saint-Étienne, France 

1994 Landscape of Stone, Dockyard Garden, The Landmark Tower Yokohama, Yokohama, Japan 

Mono-ha, Kamakura Gallery, Tokyo, Japan
Different Natures, La Virreina, Barcelona, Spain
Memorial for Yaeko Fujita: Artists and Sakura Gallery, Sakura Gallery, Nagoya, Japan
Japanese Art after 1945: Scream against the Sky, Yokohama Museum of Art, Yokohama; traveled to Guggenheim Museum Soho, New York, NY; San Francisco Museum of Modern Art, San Francisco, CA
ASIANA Contemporary Art from the Far East, Parazzo, Italy 

1993 Imura Art Gallery, Kyoto, Japan Konishi Gallery, Kyoto, Japan 

Oomitsu Collection, Niigata City Art Museum, Niigata, Japan
Differentes Natures, Visions de l’Art Contemporain, Galerie Art 4 et Galerie de l’Esplanade, Paris, France
Exposition Différentes Natures, Galerie Art La Defense, Paris, France 

1992 Avantguardie Giapponesi degli anni 70, Galleria Comunale d’Arte Moderna di Bologna; traveled to Setagaya Art Museum, Tokyo, Japan 

1991 Gallery Gen-Group Show, Tokyo, Japan
70’s-80’s Contemporary Art: Mono-ha, Kamakura Gallery, Tokyo, Japan 

1990 Yokohama Business Park, Yokohama, Japan 

1989 Japanese Open-Air Sculptures, Middelheim Museum, Antwerp, Belgium 

1988 Mono-ha: La Scuola delle cose, Museum Laboratorio di Arte Contemporanea, Rome Italy 

Seen by Hands, Seibu Department Store, Yurakucho, Tokyo,Japan 

1987 Art in Japan since 1969: Mono-ha and Post Mono-ha, Seibu Museum of Art, Tokyo, Japan 

Nobuo Sekine and Koji Enokura Recent Print Works, Naruse Murata Gallery, Tokyo, Japan
Tokyo Gallery Group Exhibition, Tokyo Gallery, Tokyo,Japan 

1986 Mono-ha, Kamakura Gallery, Tokyo, Japan
Lee Ufan, Nobuo Sekine, Kishio Suga: Methods of the 1970s, Soh Gallery, Tokyo, Japan
Le Japon des Avant-Gardes, Centre Georges Pompidou, Paris, France 

1984 Human Documents ’84/’85-3, Tokyo Gallery, Tokyo, Japan
Art of Present Time. Wood and Paper-Dialogue with Nature, Gifu Prefectural Museum, Gifu, Japan
Development of Contemporary Sculpture, Gallery Seiho, Tokyo,Japan Sculpture Japonaise Contemporaine, Galerie Jullien-Cornic, Paris, France 

1983 Figure of Wood and Esprit, Saitama Prefectural Museum, Tokyo,Japan 

1981 Turning Point of Contemporary Art of 1960’s, National Museum of Modern
Art, Tokyo, Japan; traveled to the National Museum of Modern Art, Kyoto, Japan Modern Japanese Sculpture, Kanagawa Prefectural Museum of Modern Art, Kanagawa, Japan 

Japanese Contemporary Art, The Korean Culture and Arts Foundation, Seoul, Korea
The 1960’s: A Decade of Change in Contemporary Japanese Art, National Museum of Modern Art, Tokyo, Japan 

1980 History of Contemporary Sculpture, Kanagawa Prefectural Hall Gallery, Kanagawa, Japan 

1977 Japan Art-Festival, Tokyo Central Museum, Tokyo, Japan Voices in the Modern Age 

Tokyo Gallery Exhibition, Tokyo Gallery, Tokyo, Japan 

1976 10th International Biennale Exhibition of Prints in Tokyo, The National Museumof Modern Art, Tokyo, Japan 

1975 Contemporary Art Exhibition from 1950 to 1975, Central Museum, Tokyo, Japan 

1974 Two-Man Show with Kuniichi Sima, Gallery Coco, Kyoto, Japan 11th Tokyo Biennale, Tokyo, Japan 

Contemporary Sculpture Exhibition of 20 Artists, Tokyo Central Museum, Tokyo, Japan
Japan Art Exhibition, Germany
Contemporary Sculpture Symposium, Tochigi Prefectural Museum of Fine Arts, Japan 

1973 8th Japan Art-Festival, Tokyo, Japan
11th Contemporary Art Exhibition of Japan, Tokyo Metropolitan Art Museum, Tokyo, Japan 

1971 10th Contemporary Art Exhibition of Japan, Tokyo Metropolitan ArtMuseum, Tokyo, Japan 

Tokyo Gallery 1971, Tokyo Gallery, Tokyo, Japan 

1970 Art Exhibition of World EXPO 1970, Suita, Osaka, Japan 35th Venice Biennale, Venice, Italy 

Human Documents ’70-3, Tokyo Gallery, Tokyo, Japan 

1969 6th Paris Biennale, Paris, France
9th Contemporary Art Exhibition of Japan, Tokyo Metropolitan Art Museum, Tokyo, Japan
1st International Contemporary Sculpture Exhibition, Hakone Open-Art Museum, Tokyo, Japan
9 Visual Points, Muramatsu Gallery, Tokyo, Japan
Tricks & Vision: Stolen Eyes, Tokyo Gallery, Tokyo, Japan
Trend of Japanese Contemporary Art, National Museum of Modern Art, Kyoto, Japan
Japanese Artist Drawing, Tokyo Gallery, Tokyo, Japan 

1968 OOXPLAN, Muramatsu Gallery, Tokyo, Japan
8th Contemporary Art Exhibition of Japan, Tokyo Metropolitan Art Museum, Tokyo, Japan
1st Contemporary Sculpture Exhibition, Suma Palace Park, Kobe, Japan 5th Exhibition, Museum of Contemporary Art, Nagoya, Japan 

1967 Two-Man Show, Tsubaki Kindai Gallery, Tokyo, Japan 11th Shell Art Exhibition, Tokyo, Japan 

OOOPLAN, Muramatsu Gallery, Tokyo, Japan Universiad, Tokyo, Japan 

Catalogues and Monographs 

2013 Atkins, Robert. Artspeak: A Guide to Contemporary Ideas, Movements, and Buzzwords, 1945 to the Present. New York: Abbeville Press, 2013. 

2012 Ends of the Earth: Land Art to 1974. Los Angeles: Museum of Contemporary Art, 2012. 

Mono-ha Artists and the Era. Toyama: Rakusui-tei Museum of Art, 2012. Yoshitake, Mika. Requiem for the Sun: The Art of Mono-ha. Los Angeles: Blum & Poe, 2012. 

2011 Monogatari: Nobuo Sekine Arts Exhibition 1970-2011. Shanghai:Shanghai People’s Fine Arts Publishing House, 2011. 

2008 Sekine Nobuo. China: Pyo Gallery, 2008.
2007 What is Mono-ha? Texts by Huang Du, Charles Merewether, Yusuke Nakahara, 

Yukihito Tabata, and Hozu Yamamoto. Tokyo: Tokyo Gallery + BTAP,2007. 2006 Sekine, Nobuo. Fukei no yubiwa. Tokyo: Tosho Shinbun,2006. 

2004 Beijing Tokyo Art Projects. Movement, Feeling, Environment: Nobuo Sekine, Environment Art Studio. Beijing: Beijing Tokyo Art Projects, 2004. 

2003 Sekine, Nobuo. Concerning with “Environment Art” Sekine. Kawagoe, Japan: Kawagoe Shiritsu Bijutsukan, 2003. 

2001 Mono-ha – School of Things. Texts by Tatehata Akira, Simon Groom, Lee Ufan, Cambridge: Kettle’s Yard, 2001. 

1996 Isō-Daichi no kōkogaku (Archaeology of Phase-Mother Earth). Nishinomiya: Ōtani Memorial Art Museum, 1996. 

Sekine, Nobuo, Masahiro Shino. “Iso, daichi” no kokogaku. Nishinomiya, Japan: Otani Memorial Museum of Art, 1996. 

1995 Kamakura Gallery. Mono-ha 1994. Tokyo: Kamakura Gallery, 1995.
1994 Munroe, Alexandra. Japanese Art After 1945: Scream Against the Sky. New 

York: Harry N. Abrams, 1994. 

1992 Sekine, Nobuo. Sekine: A Message from Environment Art Studio. Tokyo:Process Architecture, 1992. 

1989 Sekine, Nobuo, and Yoshifumi Hayashi. Phase Conception II.Tokyo: Environment Art Studio; Niigata, Japan: Loft Museum Ten,1989. 

1987 Sekine, Nobuo. Sculpture of Scenery: Works of Nobuo Sekine + Environment Art Studio. Tokyo: Process Architecture, 1987. 

1986 Mono-ha. Text by Toshiaki Minemura. Tokyo: Kamakura Gallery, 1986.
1985 Sekine, Nobuo. Half-Autobiography: Art and Urban and Pictoral Fiction.Tokyo: 

PARCO Shuppan, 1985. 

1983 Sekine, Nobuo, and Environment Art Studio. From Landscape to Open Space. Tokyo: Shotenkenchiku-Sha, 1983. 

1978 Nobuo Sekine: Skulptur 1975-1978. Exh. cat. Humlebaek, Denmark: Louisiana Museum, 1978. 

Sekine Nobuo 68-78. Cat. raisonnĂ©. Text by Sekine Nobuo. Tokyo:Yuria pemuperu kōbō, 1978.
Sekine Nobuo: 1968-78. Tokyo: Julia Pempel Atelier, 1978. 

1977 Sekine Nobuo. Tokyo: Tokyo Gallery and Kaneko Art Gallery; and Nagoya: Sakura Gallery, 1977. 

1969 Sekine Nobuo. Text by Nakahara Yūsuke. Tokyo: Tokyo Gallery, 1969. 

Articles and Reviews
2014 Herriman, Kat. “The Simple Complex.” Wmagazine.com, January 16, 2014. 

2013 BarrilĂ , Silvia Anna. “Giapponesi graditi all’America.” Il Sole 24 Ore, no. 581 (October 2013): 20-21. 

Miyamura, Noriko, ed. Enjoy! Contemporary Art! Tokyo: Yosensha, 2013.
Ruiz, Cristina. “The Lost Decades: Why the Past Is Back to Stay.” ArtNewspaper (Art Basel ed.), June 14-16, 2013.
Cembalest, Robin. “New Perspectives on Art.” Vogue (Japan), no. 162 (February 2013): 280-81.
Russell, Heather. “Nobuo Sekine and the Japanese Mono-haMovement.” Artnet.com, March 13, 2013.
Morikawa, Manami. “Special Report: ‘Tokyo 1950-1975: A New Avant-Garde’ Exhibition.” Bijutsu Techō 65, no. 982 (April 2013): 98-112. 

2012 Akel, Joseph. “Requiem for the Sun: The Art of Mono-ha, GladstoneGallery.” Modern Painters 24, no. 8 (October 2012): 92. 

Balestin, Juliana. “Group Exhibitions ‘Requiem for the Sun: The Art ofMono-ha’ at Gladstone Gallery, New York.” Purple.fr, July 22, 2012.
Berardini, Andrew. “Mono-ha, the Japanese ‘School of Things’ at Blum & Poe.” LA Weekly, March 8, 2012. 

Bryan-Wilson, Julia. “Ends of the Earth: Land Art to 1974.” Artforum 51, no. 3 (November 2012): 269-70.
Cembalest, Robin. “New Perspectives on Art.” Vogue (Japan), no. 162 (February 2013): 280-81. 

Chang, Ian. “Requiem for the Sun.” Frieze, no. 148 (June-August 2012): 206. Chong, Doryun. Tokyo 1955-1970: A New Avant-Garde. New York: Museum of Modern Art, 2012.
Drohojowska-Philp, Hunter. “Mono-ha Revisited.” KCRW.com, February 23, 2012, http://www.kcrw.com/etc/programs/at/at120223mono-ha_revisited. 

Favell, Adrian. “Mono-ha in LA.” ARTiT.com (blog), February 27, 2012, http://www.art-it.asia/u/rhqiun/zMnqaA0XIdfS8NHW5v2x/.
Ferguson, Russell. “Best of 2012.” Artforum 51, no. 4 (December 2012): 218. From Postwar to Postmodern: Art in Japan 1945-1989 : Primary Documents. New York: Museum of Modern Art, 2012. 

Haber, John. “Zen and the Art of Minimalism.” Haberarts.com, August 3, 2012, http://www.haberarts.com/monoha.htm.
Halperin, Julia. “Blum & Poe’s Survey Touches Off Mono-ha Mania – And It’s Coming to New York.” Artinfo.com, April 23, 2012, http://www.artinfo.com/news/story/800839/blum-poes-survey-touches-off-mono- ha-mania-%E2%80%94%C2%A0and-its-coming-to-new-york. 

Halperin, Julia. “One-Line Reviews: Our Staff’s Pithy Takes on the Mono-ha Retrospective, Summer’s First Group Shows, and More.” Artinfo.com, June 29, 2012, http://www.artinfo.com/photo-galleries/one-line-reviews-our-staffs-pithy- takes-on-the-mono-ha-retrospective-summers-first-group-shows-and-more#one- line-reviews-our-staffs-pithy-takes-on-the-mono-ha-retrospective-summers-first- group-shows-and-more/?image=2&_suid=135542772166208163063190438622. Hiro, Rika. “Exhibition Report – Requiem for the Sun: The Art of Mono-ha inLA.” Bijutsu techō, no. 6 (June 2012): 212-19. 

Hiro, Rika. “‘Requiem for the Sun: The Art of Mono-ha’ in Los Angeles: Encounters with Objects, Mono-ha, and the World.” Bijutsu Techō (English Supplement), no. 2 (Spring 2012): 3-5.
Johnson, Caitlin. “Mono-ha at Blum & Poe.” Los Angeles I’m Yours, April 9, 2012, http://www.laimyours.com/13859/mono-ha-at-blum-poe/. 

Kee, Joan. “Requiem for the Sun: The Art of Mono-ha.” Artforum 50, no. 9 (May 2012): 316. 

Knight, Christopher. “Worldly, Refined.” Los Angeles Times, March 21, 2012. Momen, Motin. “Requiem for the Sun: The Art of Mono-ha.”StyleZeitgeist.com (blog), July 2012, http://www.sz-mag.com/news/2012/07/mono-ha/.
Myers, Holly. “Simple, Elegant Design.” Los Angeles Times, March 9, 2012. Raffel, Amy. “Gladstone Gallery, Requiem for the Sun: The Art of Mono-ha.” Workspacesllc.com (blog), July 26, 2012, http://www.workspacesllc.com/blog/gladstone-gallery-requiem-for-the-sun-the- art-of-mono-ha-until-august-3/. 

Rawlings, Ashley. “Turning the World Inside Out: A Major Survey of Mono-ha in Los Angeles.” Art in Australia 49, no.4 (Winter 2012): 580-83.
Ritter, Gabriel. “Requiem for the Sun: The Art of Mono-ha.” ArtAsiaPacific, no.79 (July-August 2012): 120. 

Schad, Ed. “Requiem for the Sun.” ArtReview, no. 59 (May 2012): 122-23. Yau, John. “Nobuo Sekine and Charles Ray and Their Sculptures Filledwith Liquid.” Hyperallergic.com, July 29, 2012. 

2011 Wallis, Stephen. “Mono-ha Moment.” Art in America 99, no. 11 (December2011): 65-66. 

2007 Minemura, Toshiaki. “Difference in the Development of ‘Mono’: On a Visit tothe What is Mono-ha? Exhibition in Beijing.” Mainichi Shimbun (evening edition),
June 21, 2007.
Rawlings, Ashley. “An Introduction to Mono-ha.” TokyoArtBeat.com, September 8, 2007, http://www.tokyoartbeat.com/tablog/entries.en/2007/09/an-introduction-to- mono-ha.html. 

2004 Nakano, Minoru. “Zen’ei geijutsu no jidai (4) monoha: sozai wo chokushi,
hihyōsei tsuyoku ‘bungē hyakuwa’” (Era of the Avant Garde (4) Monoha:Gazing at material, hard criticality ‘100 literary stories’). Nihon keizai shinbun, December 26, 2004.
Ōtagaki Minoru. “Art shin ko ima kyouto no jikū ni asobu 3 sekine nobuo ‘isō daichi’ to ginkakuji to kogetsudai, jyō” (Art new, old and now playing in Kyoto space-time: Sekine Nobuo and Ginkakuji, Kogetsudai, vol. 1). Kyoto shinbun,
July 3, 2004.
Ōtagaki, Minoru. “Art shin ko ima kyouto no jikū ni asobu 3 sekine nobuo ‘isō daichi’ to ginkakuji kogetsudai, jyō” (Art new old and now playing in Kyoto space- time: Sekine Nobuo and Ginkakuji, Kogetsudai, vol. 1). Kyoto shinbun, July 10, 2004.
Sugawara, Norio. “Kinyō koramu nankai? Na gendai bijutsu, mijika ni kanjiru kokoromi” (Friday column impenetrable? Contemporary art attempts at familiarity). Yomiuri shinbun (evening ed.), January 16, 2004.
Sumi, Akihiko. “Tokushū nihonn kingendai bijutsushi 1905-2005: Lee Ufanjidai
to kokkyō wo koeta ‘deai’ wo motomete” (Japanese modern art history 1905- 2005: Lee Ufan seeking encounters beyond history and borders). Bijutsu Techō, July, 22-31, 2004.
Sumi, Wakio. “’Isō Daichi’ sai-sēisaku 2003 shimatsuki” (Revisiting ‘Phase
Mother Earth’ document 2003). National Museum of Art, Osaka, no. 138 (March 2004): 3. 

2002 “Cover Hero: Environmental Artist 20 Sekine Nobuo.” Bien, no. 20 (2002):4-9. Mita, Haruo. “Bijutsu Sekine Nobuo ten toshi kūkan to kakawaruniwa” (In orderto engage with urban space). Mainichi Shinbun, April 21, 2002. 

Sasaki, Hiroko, Sekine Nobuo, Hamada Gōshi. “Talk Sairoku Sasaki HirokoX Sekine Nobuo uchinaru iro uchinaru katachi kaiga to chōkoku wo meguru orijinarityi no yukue” (Re-recording Talk Sasaki Hiroko X Sekine Nobuointernal color internal form the future of originality in painting and sculpture). Bijutsu Techō (December 2002): 151-153. 

Sawaragi, Noi. “Tokubetsu teisai sensō to banpaku kanketsuron zenpen mō hitotsu no sensō bijutsu sokoniwa itsumo <ishi> ga atta” (Special article thewar and the world’s fair conclusion part one the other wartime art there were always ‘rocks’ there). Bijutsu Techō (August 2002): 147-159. 

Tsuchiya, Seiichi. “Dai 12 kai gēijutsu hyōron boshū nyūsensaku happyo 

nakushita monono arika wo megutte Saito Yoshishige, 1973, saisēsaku” (12th art criticism competition selection honorable mention on the whereabouts ofthings lost Saito Yoshishige reproduction). Bijutsu Techō (May 2002):152-159. 

2001 Cowan, Amber. “The Five Best Shows Nationwide: Mono-ha: School ofThings.” Times (London), February 6, 2001. 

Kumagaya, Isako. “Enokura Kōji ‘kabe’ sakuhin wo chūshin ni” (Centering around Enokura Koji’s ‘wall’ piece). Museum of Contemporary Art Tokyo Bulletin, no. 6 (2001): 23-28.
Reed, Robert. “How Mono-ha shocked the world.” Daily Yomiuri, April 19, 2001. Safe, Emma. “Mono-ha – School of Things.” Art Monthly, no 248 (July-August 2001): 34-35.
Sekine, Nobuo. “Saito Yoshishige wo otono nai hakushu de okutta” (Wegave Saito Yoshishige a silent round of applause.” Aida (October 2001): 6.
“Zenēi bijutsu no nihon Matsuri no zenya” (The avant garde’s Japan the evening before the festival). Bijutsu Techō (October 2001): 93. 

1999 Reed, Robert. “Terror in the Bronze.” Winds (January 1999):30-32. 

1997 Chiba, Shigeo. “Tsuitō Yoshida Katsuro mirukoto no hirogari” (Inmemoriam Yoshida Katsuro the expanse of looking). Hanga gējutsu, no. 106 (1997): 98-103. Sawaragi, Noi. “Rensai nihon gendai bijutsu dai 7kai ‘monoha’ towa nanika” (Series Japanese contemporary art part 7 what is ‘monoha’). Bijutsu Techō (January 1997): 163-183. 

Suzuki Kenshi. “Ki ga ringo kara ochiru kokuritsu kokusai bijutsukan ‘jūryoku sengo bijutsu no zahyōjin’ ten” (The tree falls from the apple: National Museum of Art, Osaka exhibition “Gravity coordinates of post-war art”). Bijutsu Techō (January 1997): 188-193.
Tani Arata, Mita Haruo, Sugawara Norio, and Takashima Naoyuki. “Nihon-teki hyōgen kūkan to insutarēshon” (Japanese spatial expression and installation). Bijutsu Techō (November 1997): 80-96. 

1996 Hyōgyoku, Masahiko. “Gendai bijutsushi no ‘jiken’ ou ‘bijutsu no kōkogaku’ten” (An “incident” in contemporary art). Nihon keizai shinbun, July 10, 1996.
Shiraki, Midori. “Tenhyō Bijutsu no kōkogaku—zenēi bijutsu no nijikensaikenshō” (The archeology of art—re-evaluating two incidents in the avant garde). Nihon Keizai Shinbun (Osaka ed.), July 5, 1996. 

Sugawara, Norio. “Torendo in bijutsu aitsugu ‘sengo’ kikaku kenshō womeguru taishō-teki shuhō” (Trends in art: a string of ‘post war’ shows contrast methodology in their examination). Yomiuri shinbun, July 10, 1996.
Tanaka, Sanzōu. “Mono no ninshiki saguru sugata ‘Enokura Koji isaku’ ten to ‘bijutsu no kōkogaku’ ten (bijutsu)” (The state of searching for theunderstanding 

of things exhibits ‘posthumous works by Enokura Koji’ and the ‘archeology of art’). Asahi Shinbun, June 27, 1996. 

1995 “Biji-shūi 1970nen Bushitsu to chikaku monoha to kongen wo tou sakka tachi” (Gleaning/re-examining good things 1970 Material and perception mono-ha, artists who interrogate origin). Bijutsu Techō (March 1995): 148.
Hyōgyoku Masahiko. “Bijutsu no ashimoto wo tou tamemi, ‘1970nen—bushitsu to chikaku’ ten” (Questioning the foundation of material, exhibition “1970—material and perception”). Nihon keizai shinbun, Novermber 9, 1995. 

Jacob, Mike. “The Hole and its Parts: Sculptor pursues ‘Special MentalState’” Daily Yomiuri, January 1995.
Koshimizu, Susumu. “Tokubetsu kiji shōgen monoha ga kataru monoha nokoto Yami no naka e kieteiku mae no yabu no naka e.” Bijutsu Techō (May1995). Lee, Ufan. “Tokubetsu kiji shōgen monoha ga kataru monoha kigen matawa monoha no koto” (Mono-ha talks mono-ha the origin, or about mono-ha). Bijutsu Techō (May 1995): 255-258. 

Ōi, Kenji. “Exhibition Review” Bijutsu Techō (August 1995): 173.
Sekine Nobuo. “Tokubetsu kiji shōgen monoha ga kataru monoha no koto seishun to dōgigo no monoha to genzai (ima)” (The youth and synonym of mono- ha and the present (now)) Bijutsu Techō (May 1995): 261-263.
Yoshida, Katsuro. “Tokubetsu kiji shōgen monoha ga kataru monoha no koto chottoshita chigai ga zōfuku sarete” (Mono-ha talks mono-ha: little differences that multiply). Bijutsu Techō (May 1995): 258-260. 

1993 Minemura, Toshiaki, and Sumi Akihiko. “Monoha no keisei wo meguttezenpen” (On the formation of mono-ha). Bijutsu Techō (July 1993): 182-205.
Minemura Toshiaki, and Sumi Akihiko. “Monoha no keisei wo meguttekōhen” (On the formation of mono-ha). Bijutsu Techō (August 1993): 170-181. 

1990 Sekine, Nobuo. “Rensai essei watashino katachi katachi narazaru katachi” (My form: Form that is not form). Hanga gēijutsu, no 69 (1990): 145. 

1989 Haruo, Sanada. “The Japanese Contemporary Exhibition in Belgium.” Mainichi Daily News, Aug 24, 1989. 

Yonekura Mamoru. “Suzuki Minoru chōkoku ten to sekine nobuo shinsakuten” (Sculptures by Sumi Akihiko and new works by Sekine Nobuo). Asahi Shinbun, June 9, 1989. 

1987 Akita, Yuri. “Exhibition Monoha to posuto monoha no tennkai ‘nihon bijutsu’wo meguru futatsu no ‘chikara’ 1969nen ikō no nihon no bijutsu” (Exhibition: The evolution of Monoha and post-Mono-ha, two forces in Japanese art: Japanese art after 1969). Bijutsu Techō (September 1987): 189. 

Fujita, Yaeko. “Kikikaki, garōjin, sakura no obachan (10).” Bijutsu Techō (January 1987): 98-99.
Inui, Yoshiaki, Sakai Tadayasu, Tōno Hōmei, and Yonekura Mamoru. “Zadankai bijutsu kihyō ’87aki “‘mono-ha to posuto mono-ha no tennkai’ ten hoka” (Round table talk, seasonal review, Fall ’87 “the evolution of Mono-ha and post-Mono-ha” et al.). Mizue (Fall 1987): 86-101. 

Lee, Ufan. “Tokubetsu kikō mono-ha ni tsuite.” (Special article onMonoha). Mizue (Fall 1987): 102-105.
Lee, Ufan, Takubo Kyōji, Okazaki Kanjirō, Minemura Toshiaki Kanjirō, Minemura Toshiaki, and Chiba Shigeo. “Sairoku shinpojiumu kimihananiwoshitekitaka gekironn 70~80nendai no genndai bijutsu” (Re-recording Symposium: whathave 

you been doing? Heated discussion on contemporary art from the 70s and 80s). no. 1, 2, 3, 4, Seibu geijutsukan geppō, myūjiamu repōto, vol. 8, 9, 10,11.
Millet, Catherine. “Tokushū Ponpidū no ‘zenēi geijutsu no nihon 1910-1970’ten, watashitachi no yumemita radikalizumu kikan fukanō na jiten to shite” (“Japon des avant-gardes, 1910-1970” at the Pompidou, the radicalism we dreamed of as the point of no return). Bijutsu Techō, (April 1987): 144-151. 

Minemura, Toshiaki. “Wadai Pari, ponpidū centā ‘zenēi geijutsu no nihon1910- 1970’ ten no shinsō geijutsu no kihon wo machigaetewa imasenka” (The truth behind “Japon des avant-gardes, 1910-1970” at the Pompidou Center, Paris. Could you be misunderstanding the basis of art?) Art, no. 119 (1987): 70-72. Shiraga, Kazuo and Chiba Shigeo. “Shiraga Kazuo ga kataru” (Shiraga Kazuo speaks). Geijutsu hyōron (August 1987): 5-20. 

1978 “Nobuo Sekine.” Louisiana Revy, 19, no. 1 (August 1978): 18-23.(translated sections of the Kunsthalle Dusseldorf catalog). 

1975 Yasui, Shūzō. “Sekine Nobuo shōron. Kono <isō> no shitsuyō natankyūsha” (Short essay on Sekine Nobuo. A tenacious investigator of this “phase”). Hanga geijutsu (Print arts), no. 11 (1975): 142-48. 

1973 Yasui, Shūzō. “Sekine Nobuo e no tegami” (A letter to Sekine Nobuo). Kindai kenchiku, June 1973. 

Minemura, Toshiaki. “Geijutsu jānaru: Sekine Nobuo koten” (Art journal:Sekine Nobuo solo exhibition). Obararyū sōka, June 1973. 

1972 Haryu, Ichiro. “Dialogue number 31: Sekine, Nobuo, Interviewer Haryu, Ichiro.” Mizue 9-10, no. 812 (1972): 84-101. 

1971 Ufan, Lee. “Chokusetsu genshō no chihei ni (Sekine Nobuo ron)” (From the horizon of a direct phenomenon [On Sekine Nobuo]). Pts. 1 and 2. SD, no. 74 (December 1970); no. 75 (January 1971). 

1970 Ōkubo, Takaki. “Sekine Nobuo no kūsō” (Sekine Nobuo’s phase ofnothingness). Kai, March 1970. 

1969 Ōkubo, Takaki. “Sonzai to mu o koete-Sekine Nobuo ron” (Beyond beingand nothingness – On Sekine Nobuo). Sansai, June 1969, 51-53. 

1968 Yūsuke, Nakahara. “<Tsuchi no chōkoku> no episode” (The episode of the“dirt sculpture”). Geijutsu shinchō, December 1968, 43. 

Hakone Open-Air Museum, Hakone, Japan
Hara Museum, Tokyo, Japan
Hiroshima Contemporary Art Museum, Hiroshima, Japan
Kanai Museum, Hokkaido, Japan
Kawagoe City Art Museum, Saitama, Japan
Louisiana Museum, Denmark
Museum of Contemporary Art, Nagaoka, Japan
National Museum of Art, Osaka, Japan
National Museum of Modern and Contemporary Art, Gwacheon, Korea Peter Stuyvesant Foundation, Amsterdam, Holland 

Prefectural Museum, Gunma, Japan
Prefectural Museum, Omiya, Saitama, Japan Prefectural Museum, Tochigi, Japan
Riijksmuseum Kroller, Otterlo, Holland
Seibu Museum, Tokyo, Japan
Setagaya Art Museum, Tokyo, Japan
Sonji Henie-Nils Onstad Culture Center, Oslo, Norway Takamatsu Museum of Art, Kagawa, Japan
Toyota Municipal Museum of Art, Toyota, Japan Yokohama Business Park, Yokohama, Japan 

1969 Concour Prize, 1st International Contemporary Sculpture Exhibition,Hakone, Japan 

Prize Group Work, 6th Paris Biennale, Paris, France 

1968 Concour Prize, 8th Contemporary Art Exhibition of Japan, Tokyo, Japan
Asahi Newspaper Prize, Contemporary Sculpture Exhibition, Suma Palace Park, Kobe, Japan
First Prize, 5th Exhibition, Museum of Contemporary Art, Nagaoka, Japan 

1967 Commendatory Prize, 11th Shell Art Exhibition, Tokyo, Japan

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RON GORCHOV

Ron Gorchov, Blue
Ron Gorchov
Oil on linen
23 x 30 x 7 in. (58 x 76 x 118 cm)
Ron Gorchov, Red
Ron Gorchov
Oil on linen
20 x 25.5 x 5.8 in (51 x 65 x 15 cm)
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Categories: artists