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View of “Requiem for the Sun: The Art of Mono-ha,” 2012.

“Requiem for the Sun: The Art of Mono-ha”

Blum & Poe | Los Angeles

View of “Requiem for the Sun: The Art of Mono-ha,” 2012.

Known for their canny juxtapositions of natural and industrial materials, the artists associated with Mono-ha (literally, the School of Things) have steadily gained recognition in Japan, Korea, and Europe since the group’s emergence in the late 1960s. Organized by Mika Yoshitake, assistant curator at the Hirschhorn Museum and Sculpture Garden in Washington, DC, “Requiem for the Sun,” the first substantial offering of Mono-ha works in the US, expanded upon that base. Installed in a manner best described as conscientious, the exhibition offered a well-chosen sampling of some of the group’s most celebrated works, including Nobuo Sekine’s Phase—Mother Earth, the cylinder-and-hole duo made of dirt mixed with concrete whose original enactment in 1968 is said to have triggered the formation of the movement. Although never bound by a formal association, the Mono-ha artists were

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