Lisa Beck works with a variety of mediumsĀ 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.Ā
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),Ā Galerie Samy Abraham (Paris),Ā Circuit, (Lausanne), PS1 (Long Island City),Ā White Columns, (NYC),Ā MAMCO ā MuseĆ© dā Art moderne et contemporain (Geneva), and the New Britain Museum of American Art (New Britain, CT). Ā
In 2013, āEndlessā,Ā 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.
Lisaās work has been included in publications includingĀ Painting Abstraction: New Elements in Abstract Painting by Bob Nickas,(2009, Phaidon Press) and Are You Experienced? by Ken Johnson (2011, Prestel).Ā In 2015, The Middle of Everywhere, a monograph on her work, was published by Galerie Samy AbrahamĀ and La Salle de Bains. Ā
Lisa was a recipient of the 2012-13 Marie Walsh Sharpe Space Program Studio Residency in Brooklyn.Ā
Lisa Beck received a BFA from RISD. She lives and works in Brooklyn, NY.Ā
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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, ParisĀ
2016
The House of Eternity, Galerie Samy Abraham, ParisĀ
2015
The Middle of Everywhere, Circuit, Lausanne, Switzerland,Ā curated by Caroline Soyez-Petithomme Ā
2014
Observatory, Galerie Samy Abraham, ParisĀ Ā
You Are Here, 33 Orchard, New YorkĀ
2012
Endless, off site project of La Salle de Bains at Fort du Bruissin, Lyon, FranceĀ
Looking Through, Galerie Lisa Ruyter, Vienna Ā
To Here Knows When, Feature, New YorkĀ
2011
Between Days, Feature Inc., New York Ā
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, MDĀ
Color Block, Triple V, Paris
Playground, Galerie Emmanuel HervƩ, Paris
Vagary of Abstraction, LMAKĀ Gallery, New York
Doomtown, Portland Institute of Contemporary Art, Portland, OR
Beyond Black and White, Westbeth, NY, curated by Henry Brown and Li TrincereĀ
2016
GEOMETRIX: Line, Form, Subversion, Organized by Andrea Pollan and Curator’s Office, Washington DCĀ
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 FiguratifĀ : un regain dāintĆ©rĆŖtĀ , Centre d’art contemporain Meymac, France Ā
First Exhibition, Elizabeth Dee Gallery, New York Ā
Kevin Larmon/ Lisa Beck, CB1 Los Angeles
2015
The Painter of Modern Life, Anton Kern Gallery, New York, curated by Bob NickasĀ
Fertility, 33 Orchard, New York
Iterations, Theodore:Art, Bushwick Ā Ā
Improvised Showboat, 55 Washington St, Brooklyn
Choices Paris, with Galerie Samy Abraham, curated by Alfred Pacquement, ParisĀ
Unexpected Pieces, Galerie Samy Abraham, Paris
Deep End, The Wassaic Project, Wassaic, NY
30/130 Thirty Years of Books and Catalogs, etc.Ā 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 Ā Ā
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 Ā
Let’s Go Let Go – In Memoriam Hudson, 33 Orchard, New York
Raving Disco Dolly on a Rock ‘n’ Roll Trolley, envoy enterprises, NY Ā
Dark Map, Lesley Heller Workspace, New York
The Egg, LABspace, Great Barrington, MAĀ
2013
X-tra, Lesley Heller Workspace, NY Ā
Diamonds, Diamonds, Gallery Diet, Miami, curated by Daniel Feinberg Ā
Swing State, Jane Kim Gallery, NY
The Shining Path, Galerie Samy Abraham, Paris Ā
LAT. 41Ā° 7′ N., LONG. 72Ā° 19′ W, Martos Gallery, East Marion, New York Ā Ā
2012
THING, group exhibition curated by Susan Jennings, West Cornwall, CT
Creature from the Blue Lagoon, Martos Gallery, Bridgehampton, NY Ā
Exposition d’artistes nĆ©(e)s entre le 22 juin et le 22 juillet, Galerie de Multiples, Paris
Tell the Children, La Salle des Bains, Lyon, France Ā
2011
bodybraingame, Rhona Hoffman Gallery, Chicago, curated by Hudson
The 2011 Bridgehampton Biennial, Martos Gallery, Bridgehampton, NY; organized by Bob Nickas Ā
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 Ā Ā
Black Is the Color of My True Loveās Hair, NP Contemporary Art Center, New York
Daniel Hesidence Curates, Tracy Williams, Ltd., New York Ā Ā
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 lāartiste en motocycliste, Le Musee des Beaux Artes, Chaux les Fonds, SwitzerlandĀ
Ā
2018
GVA< >JFK, MAMCO Journal , edition No1, p 28
Scott, Andrea K., āStrange Attractors,ā The New Yorker, October 16 Ā
2017
“One Question, One Answer: Lisa Beck”, Romanov GraveĀ Ā
Butler, Sharon. “Lisa Beck: So-called opposites“, Two Coats of Paint
Saltz, Jerry. “The 10 Best Art Achievements of 2017” Ā Ā
Halle, Howard. “Lisa Beck: Rising and Falling”, Time Out New York
Elizabeth Dee Exhibits Lisa Beck’s New Paintings. artdaily.org,Ā
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 AbrahamĀ
Lescaze, ZoĆ«. Critic’s Pick: The Painter of Modern Life, Artforum Ā
Chang, Chris. āFive Points with Bob Nickasā, Art in AmericaĀ
“5 Must See Gallery Shows in New York”, Art Info
Halle, Howard. “The Painter of Modern Life”, TIme Out New York, April 1Ā
2014
Goleas, Janet. ART REVIEW: āAnother, Once Again, Many Times Moreā on the North Fork,
Hamptons Art Hub, posted 9 August, 2014Ā
Hollingsworth, Dennis. “This One’s Opptimistic: Pincushion.” Ā http://www.dennishollingsworth.us
Lequeux, Emmanuelle. “Observatory,” Le Monde, 26 JanuaryĀ
2013
Saltz, Jerry. āMoMAās Inventing Abstraction Is IlluminatingāAlthough It Shines That Light Mighty Selectively,”
New York Magazine, January 14, Ā vulture.com, 6 JanuaryĀ
Morais, Pedro. āAccidents Geometriques,ā Les Inrockuptibles, 30 January
Pernet, Hugo. ” Lisa Beck Endless,” Zero Quatre, spring 2013
Depuis 1999, Premier catalogue rƩtrospectif de La Salle de bains
Nickas, Bob. Annual Magazine, issue nĀ°6 Ā
Crest, Russ “.Lisa Beck’s Rorshach Installations”, Beautiful DecayĀ
2012
yes, no, something, nothing, never, always, Feature Inc, New York- catalog of selected works by Lisa Beck 1985-2010, interviews with Hudson andĀ Bob NIckasĀ Ā
Kazakina, Katya. āArt in the Hamptons,ā Bloomberg.com, 1 August Ā
Miller, Michael H. āBob Nickas Curates Summer Show in Bridgehampton One Last Time,ā GalleristNY.com, 22 May Ā
Fessler, Anne Katrin. Review of “Looking Through”, Der Standard, 20 June Ā
2011
Nickas, Bob. Catalog of the Exhibition, 2nd Cannons Publications, Los Angeles (reproduction)
Indrisek, Scott. āThe Pleasures of the Prosaic at the Bridgehampton Biennial,ā Modern Painters, posted 15 AugustĀ Rosenberg, Karen. “All Nooks, Crannies, Bedrooms and Trees are Backdrops for Art,” New York TImes,
8 August C5 (reproductions)Ā Ā Miller, Michael H. āLearning from Bridgehampton,ā New York Observer, 12 July Ā
Miller, Michael H. āSo Long, Chelsea! Bob Nickas to Liven Up the Art World this Summer with Bridgehampton
Biennial,ā New York Observer, 1 July Ā
Johnson, Ken. Are You Experienced?: How Psychedelic Consciousness Transformed Modern Art, Prestel Publishing, New York
2010
Review of āSkulture,ā 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
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 āa transcendental language that anyone can understand.ā 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 āchroniclers of the human condition.ā 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 āworking out of them to explore the primitive aspects of the human being.ā
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 ā 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.
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BIOGRAPHY
1991 Born in New York, NY
Lives and works in New York and Paris, France
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EDUCATION
2014 B.A., Sarah Lawrence College, Bronxville, NY
2013 History of Art, University of Oxford, UK
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SELECTED SOLO EXHIBITIONS
2019 Alexis de Chaunac, Botanica, Silas von Morisse, Sargentās 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
Ā Ā Ā Ā Ā Ā Ā Ā Alexis de Chaunac,Ā Mala Sangre/ Bestiario, Pinacoteca Diego Rivera, Xalapa, Mexico
2014 Alexis de Chaunac, Mala Sangre, Instituto Cultural de LeĆ³n, Guanajuato, Mexico
Ā Ā Ā Ā Ā Ā Ā Ā Alexis de Chaunac, Mala Sangre, Museo Iconografico del Quijote, Guanajuato, Mexico
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SELECTED GROUP EXHIBITIONS
2017 7102 Fantasma semiĆ³tico (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
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COLLECTIONS
Private collections in New York, Los Angeles, Miami, Dallas, Mexico and Paris
Born 1942 in Saitama prefecture, Japan.
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Graduated in 1968 with a M.F.A. in Painting, studying under artist Yoshishige Saito.
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From 1968 into the 1970s, Sekine worked internationally as a central figure of āMono-haā (translated literally as āSchool of Thingsā), a movementĀ considered instrumental in the formation of postwar Japanese art.Ā Ā PhaseāMother 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.
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In 1970, Sekine represented Japan in the Venice Biennale withĀ Phase of Nothingness, consisting of a large natural stone supported by a mirrored stainless steel column.Ā The sculpture is now in the permanent collection of the Louisiana Museum of Modern Art in HumlebƦk, Denmark.Ā Sekine remained in Europe after the Biennale, exhibiting in Italy, Switzerland, and Denmark.Ā 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.
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From 1978 to 1979, Sekine returned to Europe for the traveling exhibition of his workĀ Phase of NothingnessāBlack.Ā The solo exhibition toured from the KĆ¼nsthalle Dusseldorf, Germany, to the Louisiana Museum of Modern Art, HumlebƦk, Denmark; the Krƶller-MĆ¼ller Museum, Otterlo, Netherlands; and the Henie-Onstad Art Centre, HĆøvikodden, Norway.
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In 1993, Sekine andĀ PhaseāMother EarthĀ were cited by 30 participating critics, curators, and journalists in the survey āSengo bijutsu besuto tenā (Postwar art best ten), featured in the prominent art magazineĀ Bijutsu ShinchÅ.
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In 2001, Sekine was included in the exhibitĀ Century CityĀ at the Tate Modern, London, for his critical role in the burgeoning Tokyo art scene between 1969 and 1973.Ā He also participated in the Gwangju Biennale, Korea, the same year.
Selected exhibitions of Sekine and Mono-ha includeĀ Reconsidering Mono-ha,Ā The National Museum of Art, Osaka, 2005;Ā What is Mono-Ha?Ā Beijing Tokyo Art Projects, Beijing, 2007;Ā Requiem for the Sun: The Art of Mono-ha,Ā Blum & Poe, Los Angeles, 2012;Ā Art Unlimited,Ā Art Basel, Basel, 2013;Ā Prima Materia, Punta Della Dogana, Venice, 2013;Ā Parallel Views: Italian and Japanese Art from the 1950s, 60s, and 70s,The Rachofsky Warehouse, Dallas, Texas, 2013.
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Sekine is currently Visiting Professor at Tama Art University and Kobe Design University.
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Selected Solo ExhibitionsĀ
2014 Blum & Poe, Los Angeles, CAĀ
2011 Re-creations 1970/2011, Kamakura Gallery, Kamakura, Japan Monogatari, Shanghai Sculpture Space, Shanghai,ChinaĀ
2010 BE-UP-ART, Tokyo, Japan
2009 Center Gallery, Yokohama, JapanĀ
Kawagoe Gallery, Kawagoe, JapanĀ
2008 Gallery Bijutsu Sekai, Tokyo, Japan Gallery Art Composition, Tokyo, JapanĀ
PYO Gallery, Seoul, KoreaĀ
2007 Center Gallery, Yokohama, Japan Gallery Bijutsu Sekai, Tokyo, JapanĀ
Shina Gallery, Kyoto, JapanĀ
2006 Saint Paul Gallery, Maebashi, Japan Gallery Bijutsu Sekai, Tokyo, JapanĀ
2005 Gallery Bijutsu Sekai, Tokyo, Japan
MANIF 11! ā05 SEOUL, Seoul Art Center, Seoul, KoreaĀ
2004 Movement, Feeling, Environment, Tokyo Gallery + BTAP, Beijing,China Art Dune, Hamamatsu, JapanĀ
Phase of Nothingness – Black from ā78-ā79 solo exhibition in Europe, Kamakura Gallery, Kamakura, JapanĀ
2003 Kawagoe City Art Museum, Saitama, Japan 2001 Art Dune, Hamamatsu, Japan
1999 Museum Shokyodo, Aichi, Japan
1998 Saint Paul Gallery, Maebashi, JapanĀ
1997 Kawagoe Gallery, Kawagoe, Japan Art Dune, Hamamatsu, JapanĀ
1996 Archaeology of Phase – Mother Earth, Otani Memorial Art Museum, Nishinomiya, JapanĀ
1995 Gallery Art Point, Tokyo, Japan Galleri Akern, Kongsberg, NorwayĀ
1994 Art Dune, Hamamatsu, JapanĀ
1993 Sakura Gallery, Nagoya, JapanĀ
1992 Museum Shokyodo, Aichi, Japan
Nobuo Sekine, Soko Tokyo Gallery, Tokyo, JapanĀ
1991 Kawagoe Gallery, Kawagoe, Japan
Tenmaya Department Store, Okayama, JapanĀ
Anshindo Gallery, Shizuoka, Japan Art Dune, Hamamatsu, JapanĀ
1990 Tenjuen, Niigata, Japan
Soko Museum, Niigata, Japan Atelier Gallery, Niigata, JapanĀ
Sogo Department Store, Hiroshima, Japan
Seibu Department Store – Studio 5, Tokyo,Japan Mitsukoshi Department Store, Tokyo, JapanĀ
1989 Kodosha, Ichinoseki, Japan Gallery Lamia, Tokyo, JapanĀ
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, JapanĀ
1988 Gallery M, Obama, Japan
Art Dune, Hamamatsu, JapanĀ
Kozaido Gallery, Tokyo, Japan Nishida Gallery, Nara, Japan
Soh Gallery, Tokyo, Japan Anshindo Gallery, Shizuoka, Japan Gallery Kura, Kitakyushu, Japan We Gallery, Omiya, JapanĀ
1987 Ginza Jiyugaoka Gallery, Tokyo Gallery Te, Tokyo, JapanĀ
Kawagoe Gallery, Kawagoe, Japan Sakura Gallery, Nagoya, Japan Tokyo Gallery, Tokyo, JapanĀ
1985 Akiyama Gallery, Tokyo, Japan
1983 Sekine and Environment Art Studio, Stripe House Museum, Tokyo, JapanĀ
1982 Sekine’s Prints and Sculptures: Cross Country 7500Km, Keneko Art Gallery, Tokyo, JapanĀ
1981 Kaneko Art Gallery, Tokyo, Japan Sakura Gallery, Nagoya, JapanĀ
1980 Kaneko Art Gallery, Tokyo, Japan Tokyo Gallery, Tokyo, JapanĀ
1978 Nobuo Sekine: Skulptor 1975-1978, Kunsthalle, Dusseldorf, Germany; traveled to Louisiana Museum of Art, HumlebƦk Denmark; Krƶller-MĆ¼ller Museum, Otterlo, Netherlands; Henie-Onstad Art Centre, HĆøvikodden, NorwayĀ
1977 Kaneko Art Gallery, Tokyo, Japan Sakura Gallery, Nagoya, JapanĀ
Tokyo Gallery, Tokyo, Japan 1976 Gallery Dori, Tokyo, JapanĀ
1975 Sakura Gallery, Nagoya, JapanĀ
1973 Tokyo Gallery, Tokyo, JapanĀ
1971 Gallery Krebs, Bern, Switzerland Gallery Birch, Copenhagen, DenmarkĀ
1970 Galleria La Bertesca, Genova, Italy Genoa Gallery Modulo, Milan, ItalyĀ
1969 Tokyo Gallery, Tokyo, JapanĀ
2014 Group āGenshokuā and Ishiko Junzo 1966-1971, Shizuoka PrefecturalMuseum of Art, Shizuoka, JapanĀ
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, JapanĀ
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, TXĀ
2012 Ends of the Earth: Land Art to 1974, Museum of Contemporary Art, Los Angeles, CA; traveled to Haus der Kunst, MunichĀ
Tokyo 1955-1970, Museum of Modern Art, New York, NYĀ
Requiem for the Sun: The Art of Mono-ha, Blum & Poe, Los Angeles, California The ā70s 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,JapanĀ
2011 Galleryās Collection Exhibition: Mono-ha, Tokyo Gallery + BTAP, Tokyo,JapanĀ
2010 Masan Munsin International Sculpture Symposium, Munsin Art Museum, Masan, KoreaĀ
Tokyo Gallery + BTAP 60th Anniversary Exhibition, Tokyo Gallery + BTAP, Tokyo, Japan
Yanpyon Environment Festival, Korea
Printing Exhibition of Shanghai World Expo 2010, Shanghai, ChinaĀ
Micro Salon 60, Tokyo Gallery + BTAP, Tokyo, JapanĀ
2009 Drawing Story I 1960ā1990, Tokyo Gallery + BTAP, Tokyo, JapanĀ
2008 Tamagawa Art Line Project, Tokyo, Japan
Art Scene Revived, Tokyo Gallery + BTAP, Tokyo, JapanĀ
2007 What is Mono-ha?, Beijing Tokyo Art Project, Beijing,China
Nobuo Sekine & Mitsukuni Takimoto, Yokohama Portside Gallery, Yokohama, JapanĀ
2006 Public Art, Gallery NOVITA, Aomori, Japan
Memorial for Yoshiaki Tono, Gallery TOM, Tokyo, JapanĀ
Mono-ha: Lee Ufan, Kishio Suga, Nobuo Sekine – from the 1970ās, Soh Gallery, Tokyo, JapanĀ
2005 Reconsidering Mono-ha, National Museum of Art, Osaka,JapanĀ
2004 Kim Tschang-Yeul, Sekine Nobuo & Susumu Sakaguchi, Gallery Bijutsu Sekai, Tokyo, JapanĀ
The New Tokyo Gallery Exhibition, Tokyo Gallery + BTAP, Tokyo,JapanĀ
2003 The 20th Anniversary of Gallery Q, Gallery Q, Tokyo, JapanĀ
2002 Sculpture Project, Busan Biennale, Busan, Korea
Memorial for Yoshishige Saito, Kawamura Gakuen Art Hall, Tokyo, JapanĀ
2001 Century, Tate Modern Art Gallery, London, UK Mono-ha, Kamakura Gallery, Tokyo, JapanĀ
Mono-ha, Kettleās Yard Art Gallery, Cambridge, UK
Retrospective Exhibition for Nagaoka Museum Prize 1964-68, The Niigata Prefectural Museum of Modern Art, Niigata, JapanĀ
2000 Gwangju Biennale, Gwangju, Korea
Modern Art of Japan: Monet de Paris, French National Mint Bureau, Paris, FranceĀ
1998 Lumieves – Light – Rediscovery of Stained Glass, TN Probe, Tokyo, Japan 1997 Modern Art from a Collector’s View Point: Yamamura Collection, HyogoĀ
Prefectural Museum of Art, Kobe, Japan Street Museum, Kawagoe, JapanĀ
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, FranceĀ
1995 Archeology of Phase – Mother Earth, Otani Memorial Art Museum, Nishinomiya, JapanĀ
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, JapanĀ
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-Ćtienne, Saint-Ćtienne, FranceĀ
1994 Landscape of Stone, Dockyard Garden, The Landmark Tower Yokohama, Yokohama, JapanĀ
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, ItalyĀ
1993 Imura Art Gallery, Kyoto, Japan Konishi Gallery, Kyoto, JapanĀ
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 DiffĆ©rentes Natures, Galerie Art La Defense, Paris, FranceĀ
1992 Avantguardie Giapponesi degli anni 70, Galleria Comunale dāArte Moderna di Bologna; traveled to Setagaya Art Museum, Tokyo, JapanĀ
1991 Gallery Gen-Group Show, Tokyo, Japan
70ās-80ās Contemporary Art: Mono-ha, Kamakura Gallery, Tokyo, JapanĀ
1990 Yokohama Business Park, Yokohama, JapanĀ
1989 Japanese Open-Air Sculptures, Middelheim Museum, Antwerp, BelgiumĀ
1988 Mono-ha: La Scuola delle cose, Museum Laboratorio di Arte Contemporanea, Rome ItalyĀ
Seen by Hands, Seibu Department Store, Yurakucho, Tokyo,JapanĀ
1987 Art in Japan since 1969: Mono-ha and Post Mono-ha, Seibu Museum of Art, Tokyo, JapanĀ
Nobuo Sekine and Koji Enokura Recent Print Works, Naruse Murata Gallery, Tokyo, Japan
Tokyo Gallery Group Exhibition, Tokyo Gallery, Tokyo,JapanĀ
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, FranceĀ
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, FranceĀ
1983 Figure of Wood and Esprit, Saitama Prefectural Museum, Tokyo,JapanĀ
1981 Turning Point of Contemporary Art of 1960ās, 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, JapanĀ
Japanese Contemporary Art, The Korean Culture and Arts Foundation, Seoul, Korea
The 1960ās: A Decade of Change in Contemporary Japanese Art, National Museum of Modern Art, Tokyo, JapanĀ
1980 History of Contemporary Sculpture, Kanagawa Prefectural Hall Gallery, Kanagawa, JapanĀ
1977 Japan Art-Festival, Tokyo Central Museum, Tokyo, Japan Voices in the Modern AgeĀ
Tokyo Gallery Exhibition, Tokyo Gallery, Tokyo, JapanĀ
1976 10th International Biennale Exhibition of Prints in Tokyo, The National Museumof Modern Art, Tokyo, JapanĀ
1975 Contemporary Art Exhibition from 1950 to 1975, Central Museum, Tokyo, JapanĀ
1974 Two-Man Show with Kuniichi Sima, Gallery Coco, Kyoto, Japan 11th Tokyo Biennale, Tokyo, JapanĀ
Contemporary Sculpture Exhibition of 20 Artists, Tokyo Central Museum, Tokyo, Japan
Japan Art Exhibition, Germany
Contemporary Sculpture Symposium, Tochigi Prefectural Museum of Fine Arts, JapanĀ
1973 8th Japan Art-Festival, Tokyo, Japan
11th Contemporary Art Exhibition of Japan, Tokyo Metropolitan Art Museum, Tokyo, JapanĀ
1971 10th Contemporary Art Exhibition of Japan, Tokyo Metropolitan ArtMuseum, Tokyo, JapanĀ
Tokyo Gallery 1971, Tokyo Gallery, Tokyo, JapanĀ
1970 Art Exhibition of World EXPO 1970, Suita, Osaka, Japan 35th Venice Biennale, Venice, ItalyĀ
Human Documents ā70-3, Tokyo Gallery, Tokyo, JapanĀ
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, JapanĀ
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, JapanĀ
1967 Two-Man Show, Tsubaki Kindai Gallery, Tokyo, Japan 11th Shell Art Exhibition, Tokyo, JapanĀ
OOOPLAN, Muramatsu Gallery, Tokyo, Japan Universiad, Tokyo, JapanĀ
Catalogues and MonographsĀ
2013 Atkins, Robert. Artspeak: A Guide to Contemporary Ideas, Movements, and Buzzwords, 1945 to the Present. New York: Abbeville Press, 2013.Ā
2012 Ends of the Earth: Land Art to 1974. Los Angeles: Museum of Contemporary Art, 2012.Ā
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.Ā
2011 Monogatari: Nobuo Sekine Arts Exhibition 1970-2011. Shanghai:Shanghai Peopleās Fine Arts Publishing House, 2011.Ā
2008 Sekine Nobuo. China: Pyo Gallery, 2008.
2007 What is Mono-ha? Texts by Huang Du, Charles Merewether, Yusuke Nakahara,Ā
Yukihito Tabata, and Hozu Yamamoto. Tokyo: Tokyo Gallery + BTAP,2007. 2006 Sekine, Nobuo. Fukei no yubiwa. Tokyo: Tosho Shinbun,2006.Ā
2004 Beijing Tokyo Art Projects. Movement, Feeling, Environment: Nobuo Sekine, Environment Art Studio. Beijing: Beijing Tokyo Art Projects, 2004.Ā
2003 Sekine, Nobuo. Concerning with āEnvironment Artā Sekine. Kawagoe, Japan: Kawagoe Shiritsu Bijutsukan, 2003.Ā
2001 Mono-ha – School of Things. Texts by Tatehata Akira, Simon Groom, Lee Ufan, Cambridge: Kettleās Yard, 2001.Ā
1996 IsoĢ-Daichi no koĢkogaku (Archaeology of Phase-Mother Earth). Nishinomiya: OĢtani Memorial Art Museum, 1996.Ā
Sekine, Nobuo, Masahiro Shino. āIso, daichiā no kokogaku. Nishinomiya, Japan: Otani Memorial Museum of Art, 1996.Ā
1995 Kamakura Gallery. Mono-ha 1994. Tokyo: Kamakura Gallery, 1995.
1994 Munroe, Alexandra. Japanese Art After 1945: Scream Against the Sky. NewĀ
York: Harry N. Abrams, 1994.Ā
1992 Sekine, Nobuo. Sekine: A Message from Environment Art Studio. Tokyo:Process Architecture, 1992.Ā
1989 Sekine, Nobuo, and Yoshifumi Hayashi. Phase Conception II.Tokyo: Environment Art Studio; Niigata, Japan: Loft Museum Ten,1989.Ā
1987 Sekine, Nobuo. Sculpture of Scenery: Works of Nobuo Sekine + Environment Art Studio. Tokyo: Process Architecture, 1987.Ā
1986 Mono-ha. Text by Toshiaki Minemura. Tokyo: Kamakura Gallery, 1986.
1985 Sekine, Nobuo. Half-Autobiography: Art and Urban and Pictoral Fiction.Tokyo:Ā
PARCO Shuppan, 1985.Ā
1983 Sekine, Nobuo, and Environment Art Studio. From Landscape to Open Space. Tokyo: Shotenkenchiku-Sha, 1983.Ā
1978 Nobuo Sekine: Skulptur 1975-1978. Exh. cat. Humlebaek, Denmark: Louisiana Museum, 1978.Ā
Sekine Nobuo 68-78. Cat. raisonnĆ©. Text by Sekine Nobuo. Tokyo:Yuria pemuperu koĢboĢ, 1978.
Sekine Nobuo: 1968-78. Tokyo: Julia Pempel Atelier, 1978.Ā
1977 Sekine Nobuo. Tokyo: Tokyo Gallery and Kaneko Art Gallery; and Nagoya: Sakura Gallery, 1977.Ā
1969 Sekine Nobuo. Text by Nakahara YuĢsuke. Tokyo: Tokyo Gallery, 1969.Ā
Articles and Reviews
2014 Herriman, Kat. “The Simple Complex.” Wmagazine.com, January 16, 2014.Ā
2013 BarrilĆ , Silvia Anna. “Giapponesi graditi all’America.” Il Sole 24 Ore, no. 581 (October 2013): 20-21.Ā
Miyamura, Noriko, ed. Enjoy! Contemporary Art! Tokyo: Yosensha, 2013.
Ruiz, Cristina. āThe Lost Decades: Why the Past Is Back to Stay.ā 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 TechoĢ 65, no. 982 (April 2013): 98-112.Ā
2012 Akel, Joseph. āRequiem for the Sun: The Art of Mono-ha, GladstoneGallery.ā Modern Painters 24, no. 8 (October 2012): 92.Ā
Balestin, Juliana. “Group Exhibitions ‘Requiem for the Sun: The Art ofMono-ha’ at Gladstone Gallery, New York.” Purple.fr, July 22, 2012.
Berardini, Andrew. āMono-ha, the Japanese āSchool of Thingsā at Blum & Poe.ā LA Weekly, March 8, 2012.Ā
Bryan-Wilson, Julia. “Ends of the Earth: Land Art to 1974.” Artforum 51, no. 3 (November 2012): 269-70.
Cembalest, Robin. āNew Perspectives on Art.ā Vogue (Japan), no. 162 (February 2013): 280-81.Ā
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. āMono-ha Revisited.ā KCRW.com, February 23, 2012, http://www.kcrw.com/etc/programs/at/at120223mono-ha_revisited.Ā
Favell, Adrian. āMono-ha in LA.ā ARTiT.com (blog), February 27, 2012, http://www.art-it.asia/u/rhqiun/zMnqaA0XIdfS8NHW5v2x/.
Ferguson, Russell. āBest of 2012.ā 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.Ā
Haber, John. āZen and the Art of Minimalism.ā Haberarts.com, August 3, 2012, http://www.haberarts.com/monoha.htm.
Halperin, Julia. āBlum & Poeās Survey Touches Off Mono-ha Mania – And Itās Coming to New York.ā 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.Ā
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 techoĢ, no. 6 (June 2012): 212-19.Ā
Hiro, Rika. āāRequiem for the Sun: The Art of Mono-haā in Los Angeles: Encounters with Objects, Mono-ha, and the World.ā Bijutsu TechoĢ (English Supplement), no. 2 (Spring 2012): 3-5.
Johnson, Caitlin. āMono-ha at Blum & Poe.ā Los Angeles Iām Yours, April 9, 2012, http://www.laimyours.com/13859/mono-ha-at-blum-poe/.Ā
Kee, Joan. āRequiem for the Sun: The Art of Mono-ha.ā Artforum 50, no. 9 (May 2012): 316.Ā
Knight, Christopher. āWorldly, Refined.ā Los Angeles Times, March 21, 2012. Momen, Motin. āRequiem for the Sun: The Art of Mono-ha.āStyleZeitgeist.com (blog), July 2012, http://www.sz-mag.com/news/2012/07/mono-ha/.
Myers, Holly. āSimple, Elegant Design.ā Los Angeles Times, March 9, 2012. Raffel, Amy. āGladstone Gallery, Requiem for the Sun: The Art of Mono-ha.ā 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/.Ā
Rawlings, Ashley. āTurning the World Inside Out: A Major Survey of Mono-ha in Los Angeles.ā Art in Australia 49, no.4 (Winter 2012): 580-83.
Ritter, Gabriel. āRequiem for the Sun: The Art of Mono-ha.ā ArtAsiaPacific, no.79 (July-August 2012): 120.Ā
Schad, Ed. āRequiem for the Sun.ā ArtReview, no. 59 (May 2012): 122-23. Yau, John. “Nobuo Sekine and Charles Ray and Their Sculptures Filledwith Liquid.” Hyperallergic.com, July 29, 2012.Ā
2011 Wallis, Stephen. “Mono-ha Moment.” Art in America 99, no. 11 (December2011): 65-66.Ā
2007 Minemura, Toshiaki. āDifference in the Development of āMonoā: On a Visit tothe What is Mono-ha? Exhibition in Beijing.ā Mainichi Shimbun (evening edition),
June 21, 2007.
Rawlings, Ashley. āAn Introduction to Mono-ha.ā TokyoArtBeat.com, September 8, 2007, http://www.tokyoartbeat.com/tablog/entries.en/2007/09/an-introduction-to- mono-ha.html.Ā
2004 Nakano, Minoru. āZenāei geijutsu no jidai (4) monoha: sozai wo chokushi,
hihyoĢsei tsuyoku ābungeĢ hyakuwaāā (Era of the Avant Garde (4) Monoha:Gazing at material, hard criticality ā100 literary storiesā). Nihon keizai shinbun, December 26, 2004.
OĢtagaki Minoru. āArt shin ko ima kyouto no jikuĢ ni asobu 3 sekine nobuo āisoĢ daichiā to ginkakuji to kogetsudai, jyoĢā (Art new, old and now playing in Kyoto space-time: Sekine Nobuo and Ginkakuji, Kogetsudai, vol. 1). Kyoto shinbun,
July 3, 2004.
OĢtagaki, Minoru. āArt shin ko ima kyouto no jikuĢ ni asobu 3 sekine nobuo āisoĢ daichiā to ginkakuji kogetsudai, jyoĢā (Art new old and now playing in Kyoto space- time: Sekine Nobuo and Ginkakuji, Kogetsudai, vol. 1). Kyoto shinbun, July 10, 2004.
Sugawara, Norio. āKinyoĢ koramu nankai? Na gendai bijutsu, mijika ni kanjiru kokoromiā (Friday column impenetrable? Contemporary art attempts at familiarity). Yomiuri shinbun (evening ed.), January 16, 2004.
Sumi, Akihiko. āTokushuĢ nihonn kingendai bijutsushi 1905-2005: Lee Ufanjidai
to kokkyoĢ wo koeta ādeaiā wo motometeā (Japanese modern art history 1905- 2005: Lee Ufan seeking encounters beyond history and borders). Bijutsu TechoĢ, July, 22-31, 2004.
Sumi, Wakio. āāIsoĢ Daichiā sai-seĢisaku 2003 shimatsukiā (Revisiting āPhase
Mother Earthā document 2003). National Museum of Art, Osaka, no. 138 (March 2004): 3.Ā
2002 āCover Hero: Environmental Artist 20 Sekine Nobuo.ā Bien, no. 20 (2002):4-9. Mita, Haruo. āBijutsu Sekine Nobuo ten toshi kuĢkan to kakawaruniwaā (In orderto engage with urban space). Mainichi Shinbun, April 21, 2002.Ā
Sasaki, Hiroko, Sekine Nobuo, Hamada GoĢshi. āTalk Sairoku Sasaki HirokoX Sekine Nobuo uchinaru iro uchinaru katachi kaiga to choĢkoku wo meguru orijinarityi no yukueā (Re-recording Talk Sasaki Hiroko X Sekine Nobuointernal color internal form the future of originality in painting and sculpture). Bijutsu TechoĢ (December 2002): 151-153.Ā
Sawaragi, Noi. āTokubetsu teisai sensoĢ to banpaku kanketsuron zenpen moĢ hitotsu no sensoĢ bijutsu sokoniwa itsumo <ishi> ga attaā (Special article thewar and the worldās fair conclusion part one the other wartime art there were always ārocksā there). Bijutsu TechoĢ (August 2002): 147-159.Ā
Tsuchiya, Seiichi. āDai 12 kai geĢijutsu hyoĢron boshuĢ nyuĢsensaku happyoĀ
nakushita monono arika wo megutte Saito Yoshishige, 1973, saiseĢsakuā (12th art criticism competition selection honorable mention on the whereabouts ofthings lost Saito Yoshishige reproduction). Bijutsu TechoĢ (May 2002):152-159.Ā
2001 Cowan, Amber. āThe Five Best Shows Nationwide: Mono-ha: School ofThings.ā Times (London), February 6, 2001.Ā
Kumagaya, Isako. āEnokura KoĢji ākabeā sakuhin wo chuĢshin niā (Centering around Enokura Kojiās āwallā piece). Museum of Contemporary Art Tokyo Bulletin, no. 6 (2001): 23-28.
Reed, Robert. āHow Mono-ha shocked the world.ā Daily Yomiuri, April 19, 2001. Safe, Emma. āMono-ha – School of Things.ā Art Monthly, no 248 (July-August 2001): 34-35.
Sekine, Nobuo. āSaito Yoshishige wo otono nai hakushu de okuttaā (Wegave Saito Yoshishige a silent round of applause.ā Aida (October 2001): 6.
āZeneĢi bijutsu no nihon Matsuri no zenyaā (The avant gardeās Japan the evening before the festival). Bijutsu TechoĢ (October 2001): 93.Ā
1999 Reed, Robert. āTerror in the Bronze.ā Winds (January 1999):30-32.Ā
1997 Chiba, Shigeo. āTsuitoĢ Yoshida Katsuro mirukoto no hirogariā (Inmemoriam Yoshida Katsuro the expanse of looking). Hanga geĢjutsu, no. 106 (1997): 98-103. Sawaragi, Noi. āRensai nihon gendai bijutsu dai 7kai āmonohaā towa nanikaā (Series Japanese contemporary art part 7 what is āmonohaā). Bijutsu TechoĢ (January 1997): 163-183.Ā
Suzuki Kenshi. āKi ga ringo kara ochiru kokuritsu kokusai bijutsukan ājuĢryoku sengo bijutsu no zahyoĢjinā tenā (The tree falls from the apple: National Museum of Art, Osaka exhibition āGravity coordinates of post-war artā). Bijutsu TechoĢ (January 1997): 188-193.
Tani Arata, Mita Haruo, Sugawara Norio, and Takashima Naoyuki. āNihon-teki hyoĢgen kuĢkan to insutareĢshonā (Japanese spatial expression and installation). Bijutsu TechoĢ (November 1997): 80-96.Ā
1996 HyoĢgyoku, Masahiko. āGendai bijutsushi no ājikenā ou ābijutsu no koĢkogakuātenā (An āincidentā in contemporary art). Nihon keizai shinbun, July 10, 1996.
Shiraki, Midori. āTenhyoĢ Bijutsu no koĢkogakuāzeneĢi bijutsu no nijikensaikenshoĢā (The archeology of artāre-evaluating two incidents in the avant garde). Nihon Keizai Shinbun (Osaka ed.), July 5, 1996.Ā
Sugawara, Norio. āTorendo in bijutsu aitsugu āsengoā kikaku kenshoĢ womeguru taishoĢ-teki shuhoĢā (Trends in art: a string of āpost warā shows contrast methodology in their examination). Yomiuri shinbun, July 10, 1996.
Tanaka, SanzoĢu. āMono no ninshiki saguru sugata āEnokura Koji isakuā ten to ābijutsu no koĢkogakuā ten (bijutsu)ā (The state of searching for theunderstandingĀ
of things exhibits āposthumous works by Enokura Kojiā and the āarcheology of artā). Asahi Shinbun, June 27, 1996.Ā
1995 āBiji-shuĢi 1970nen Bushitsu to chikaku monoha to kongen wo tou sakka tachiā (Gleaning/re-examining good things 1970 Material and perception mono-ha, artists who interrogate origin). Bijutsu TechoĢ (March 1995): 148.
HyoĢgyoku Masahiko. āBijutsu no ashimoto wo tou tamemi, ā1970nenābushitsu to chikakuā tenā (Questioning the foundation of material, exhibition ā1970āmaterial and perceptionā). Nihon keizai shinbun, Novermber 9, 1995.Ā
Jacob, Mike. āThe Hole and its Parts: Sculptor pursues āSpecial MentalStateāā Daily Yomiuri, January 1995.
Koshimizu, Susumu. āTokubetsu kiji shoĢgen monoha ga kataru monoha nokoto Yami no naka e kieteiku mae no yabu no naka e.ā Bijutsu TechoĢ (May1995). Lee, Ufan. āTokubetsu kiji shoĢgen monoha ga kataru monoha kigen matawa monoha no kotoā (Mono-ha talks mono-ha the origin, or about mono-ha). Bijutsu TechoĢ (May 1995): 255-258.Ā
OĢi, Kenji. āExhibition Reviewā Bijutsu TechoĢ (August 1995): 173.
Sekine Nobuo. āTokubetsu kiji shoĢgen monoha ga kataru monoha no koto seishun to doĢgigo no monoha to genzai (ima)ā (The youth and synonym of mono- ha and the present (now)) Bijutsu TechoĢ (May 1995): 261-263.
Yoshida, Katsuro. āTokubetsu kiji shoĢgen monoha ga kataru monoha no koto chottoshita chigai ga zoĢfuku sareteā (Mono-ha talks mono-ha: little differences that multiply). Bijutsu TechoĢ (May 1995): 258-260.Ā
1993 Minemura, Toshiaki, and Sumi Akihiko. āMonoha no keisei wo meguttezenpenā (On the formation of mono-ha). Bijutsu TechoĢ (July 1993): 182-205.
Minemura Toshiaki, and Sumi Akihiko. āMonoha no keisei wo meguttekoĢhenā (On the formation of mono-ha). Bijutsu TechoĢ (August 1993): 170-181.Ā
1990 Sekine, Nobuo. āRensai essei watashino katachi katachi narazaru katachiā (My form: Form that is not form). Hanga geĢijutsu, no 69 (1990): 145.Ā
1989 Haruo, Sanada. āThe Japanese Contemporary Exhibition in Belgium.ā Mainichi Daily News, Aug 24, 1989.Ā
Yonekura Mamoru. āSuzuki Minoru choĢkoku ten to sekine nobuo shinsakutenā (Sculptures by Sumi Akihiko and new works by Sekine Nobuo). Asahi Shinbun, June 9, 1989.Ā
1987 Akita, Yuri. āExhibition Monoha to posuto monoha no tennkai ānihon bijutsuāwo meguru futatsu no āchikaraā 1969nen ikoĢ no nihon no bijutsuā (Exhibition: The evolution of Monoha and post-Mono-ha, two forces in Japanese art: Japanese art after 1969). Bijutsu TechoĢ (September 1987): 189.Ā
Fujita, Yaeko. āKikikaki, garoĢjin, sakura no obachan (10).ā Bijutsu TechoĢ (January 1987): 98-99.
Inui, Yoshiaki, Sakai Tadayasu, ToĢno HoĢmei, and Yonekura Mamoru. āZadankai bijutsu kihyoĢ ā87aki āāmono-ha to posuto mono-ha no tennkaiā ten hokaā (Round table talk, seasonal review, Fall ā87 āthe evolution of Mono-ha and post-Mono-haā et al.). Mizue (Fall 1987): 86-101.Ā
Lee, Ufan. āTokubetsu kikoĢ mono-ha ni tsuite.ā (Special article onMonoha). Mizue (Fall 1987): 102-105.
Lee, Ufan, Takubo KyoĢji, Okazaki KanjiroĢ, Minemura Toshiaki KanjiroĢ, Minemura Toshiaki, and Chiba Shigeo. āSairoku shinpojiumu kimihananiwoshitekitaka gekironn 70~80nendai no genndai bijutsuā (Re-recording Symposium: whathaveĀ
you been doing? Heated discussion on contemporary art from the 70s and 80s). no. 1, 2, 3, 4, Seibu geijutsukan geppoĢ, myuĢjiamu repoĢto, vol. 8, 9, 10,11.
Millet, Catherine. āTokushuĢ PonpiduĢ no āzeneĢi geijutsu no nihon 1910-1970āten, watashitachi no yumemita radikalizumu kikan fukanoĢ na jiten to shiteā (āJapon des avant-gardes, 1910-1970ā at the Pompidou, the radicalism we dreamed of as the point of no return). Bijutsu TechoĢ, (April 1987): 144-151.Ā
Minemura, Toshiaki. āWadai Pari, ponpiduĢ centaĢ āzeneĢi geijutsu no nihon1910- 1970ā ten no shinsoĢ geijutsu no kihon wo machigaetewa imasenkaā (The truth behind āJapon des avant-gardes, 1910-1970ā at the Pompidou Center, Paris. Could you be misunderstanding the basis of art?) Art, no. 119 (1987): 70-72. Shiraga, Kazuo and Chiba Shigeo. āShiraga Kazuo ga kataruā (Shiraga Kazuo speaks). Geijutsu hyoĢron (August 1987): 5-20.Ā
1978 “Nobuo Sekine.” Louisiana Revy, 19, no. 1 (August 1978): 18-23.(translated sections of the Kunsthalle Dusseldorf catalog).Ā
1975 Yasui, ShuĢzoĢ. āSekine Nobuo shoĢron. Kono <isoĢ> no shitsuyoĢ natankyuĢshaā (Short essay on Sekine Nobuo. A tenacious investigator of this āphaseā). Hanga geijutsu (Print arts), no. 11 (1975): 142-48.Ā
1973 Yasui, ShuĢzoĢ. āSekine Nobuo e no tegamiā (A letter to Sekine Nobuo). Kindai kenchiku, June 1973.Ā
Minemura, Toshiaki. āGeijutsu jaĢnaru: Sekine Nobuo kotenā (Art journal:Sekine Nobuo solo exhibition). ObararyuĢ soĢka, June 1973.Ā
1972 Haryu, Ichiro. āDialogue number 31: Sekine, Nobuo, Interviewer Haryu, Ichiro.ā Mizue 9-10, no. 812 (1972): 84-101.Ā
1971 Ufan, Lee. āChokusetsu genshoĢ no chihei ni (Sekine Nobuo ron)ā (From the horizon of a direct phenomenon [On Sekine Nobuo]). Pts. 1 and 2. SD, no. 74 (December 1970); no. 75 (January 1971).Ā
1970 OĢkubo, Takaki. āSekine Nobuo no kuĢsoĢā (Sekine Nobuoās phase ofnothingness). Kai, March 1970.Ā
1969 OĢkubo, Takaki. āSonzai to mu o koete-Sekine Nobuo ronā (Beyond beingand nothingness – On Sekine Nobuo). Sansai, June 1969, 51-53.Ā
1968 YuĢsuke, Nakahara. ā<Tsuchi no choĢkoku> no episodeā (The episode of theādirt sculptureā). Geijutsu shinchoĢ, December 1968, 43.Ā
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, HollandĀ
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, JapanĀ
1969 Concour Prize, 1st International Contemporary Sculpture Exhibition,Hakone, JapanĀ
Prize Group Work, 6th Paris Biennale, Paris, FranceĀ
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, JapanĀ
1967 Commendatory Prize, 11th Shell Art Exhibition, Tokyo, Japan
