TABLE OF CONTENTS

PRINT March 1979

The Visible and Invisible Noguchi

A SENSE OF THE “REAL” Noguchi is hard to come by. He works in an extraordinary range of media: clay, metals, wood, stone, earth, plastic, paper, string and bones, among others, plus electricity. He makes or designs gardens, playgrounds, plazas, sets, monuments, furniture, lamps, interiors, earthworks, monumental and “studio” sculpture. No single mode or “style,” particularly as represented by a lone piece in a museum, can stand for his work as a whole: indeed much of his work remains “invisible.” The public sites and sculptures are (mostly) unlabeled and scattered all over the world; the sets are seen only in performance; the furniture and lamps are so ubiquitous as to be anonymous; the unrealized projects are lost or hidden (along with recent works) in Noguchi’s Long Island City studio. The sculptor rarely exhibits in galleries, and statements by him, though always very articulate, are

Sign-in to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for artforum.com? Register here.

SUBSCRIBE NOW at the discounted rate of $45 a year—70% off the newsstand price—and receive the print magazine plus full online access to this issue and our archive.*

Order the PRINT EDITION of the March 1979 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.