Essay #3: Noguchi Museum

The Noguchi Museum is an anomaly in the art world. To have one's own museum is my greatest fantasy as an artist. It is a testament to the impact and cultural capital that Mr. Noguchi created in his lifetime. The museum is filled with his life's work and up until now he was the only artist that was exhibited in the space. I was thrilled to discover that during our visit they would be showing another artist at the museum for the first time, and one of my favorites to boot, Mr. Tom Sachs. It was an interesting opportunity to see Noguchi's work on its own and then to view it mixed with another artist.  I selected one work from each artist for this exercise.

The first piece is by Isamu Noguchi entitled “Heart of Darkness” (1974). It is a free standing 3 dimensional sculpture made with obsidian and wood. The base is two thick, roughly hewn wood planks with a negative space in between that creates an upward channel. It is crowned by natural stone that was partially carved in a subtractive process, then polished and potentially pigmented. The juxtaposition of textures, as well as the carved shapes, conjures an interesting interplay between elements. Most of the piece remains the natural color and texture of the material, while the smooth black areas draw the eye and channel movement. There is an impression that water is involved somehow. The shapes in the composition are also contrasting; the base and the stone are blocky and rectilinear in contrast with the sensual curves of the carved areas. There are strong vertical lines that support the heavy horizontal plane at the top, creating a "flow" of energy that swirls around the objects. It is interesting to think about the “movement” of the piece when it is composed of such typically inert elements.

The second work is by the artist Tom Sachs. Most of his work at the museum is part of the “Tea Ceremony” installation, so I wanted to focus on a stand alone piece that is one of his motifs, “the plywood cinderblock”. As you may have guessed, the piece is made of plywood, a beloved material of the artist. I'm not sure if the base was also created by Mr. Sachs or if it is one of Noguchi's bases appropriated for the display. In any case it, the wooden base creates a visual relationship between the two artists. The cinderblock is visually ironic, normally made with cement and usually a very mundane object used as building material. In this case it is presented as a 3D sculpture, in "natural" plywood, with little finish. It is a polished rendering, with clean lines and precise curves. It draws its visual interest from anomaly. One of the artist's strengths is transforming mundane objects; a "cosmic re-branding" of typical bric-a-brac into something awesome.

These two works are related, in my mind, through form. The strong vertical lines and masculine “upward” energy imply some sort of martial progress. There are sensual curves and textures in both works. While the mood and intention of both artists reads very differently, the forms and what they connote have a common ground.  

It was a pleasure to visit the Noguchi Museum and experience the great work it has to offer. I’m planning to visit the museum again in the near future. They are offering guests who register a chance to participate in Tom Sachs’ Tea Ceremony, so I’m hoping my name will be drawn. In any case, I would like to spend more time contemplating the work and exploring the museum a bit further.