Support DOCOMOMO

Become a Member

Events February 2020

LocalExhibition

Noguchi Museum Dual Exhibition

February 12, 2020
through May 23, 2021

Isamu Noguchi (1904–1988) was profoundly in sync with America’s mid-century obsession with the power of design to shape the modern world. Dual exhibitions Composition for Idlewild Airport and The Sculptor and the Ashtray testify to Noguchi's interest in making sculpture everywhere out of everything.

Composition for Idlewild Airport
In 1956, Noguchi was invited by the architects Skidmore, Owings & Merrill (SOM) to submit a design for a monumental sculpture for the new International Arrivals Building they were designing for New York’s Idlewild Airport, the first large-scale international airport in the world. Four years later, in a 1960 magazine profile of Noguchi written for The Palette, R. Buckminster Fuller (1895-1983) seemed to acknowledge the appropriateness of Noguchi working in the context of an airport, stating, “… Isamu has always been inherently at home—everywhere. He has to-and-froed in his great back and front yards whose eastward and westward extensions finally merged in world encirclement … World airlines pilots … hold history’s travel records. But it is safe to say that Isamu Noguchi is history’s most traveled artist.”

Noguchi’s proposed design, a large, sky-gazing column, was not selected, and the commission went to his contemporary and long-time rival Alexander Calder, who proposed a massive mobile.

Composition for Idlewild Airport explores Noguchi’s design with a variety of related models, maquettes, archival photographs and documents. A highlight is the recently restored competition model Noguchi executed in plaster, as well as a derivative column he made in Greek marble, which was exhibited in his 1959 exhibition at Stable Gallery in New York. That piece, which remained in Noguchi’s collection but was broken at some point and left unrepaired in his lifetime, has also recently been conserved. The exhibition also features a copy of a model of the SOM-designed Lever Brothers Building, now known as Lever House (1952), for which Noguchi designed an unrealized courtyard. That project was the seedbed for the idea Noguchi presented for the Idlewild commission and the inspiration for many stand-alone sculptures, including his variations on Constantin Brancusi’s Bird in Space, one of which, Bird B, is also shown.

View Exhibition images

Exhibition catalog

The Sculptor and the Ashtray
The Sculptor and the Ashtray was inspired by an unpublished article written around 1944 by Mary Mix (Foley), an architecture and design writer who worked with George Nelson, then an editor at Architectural Forum and Fortune. It chronicles Noguchi’s efforts to design the perfect ashtray. Mix noted that this “commonplace gadget” was made and used across the full spectrum of material culture, from tacky novelty items and marketing swag designed by unknown “hacks” to solid-gold objets d’art conceived by the great artisans of the day for the coffee tables of monarchs.

Mix’s article documents Noguchi’s creation of two families of ashtray concepts. The first, handcrafted and biomorphic, was developed through a process of progressive refinement over nine modeled plaster prototypes. These are known from Mix’s account, and two images in the article’s layouts show them grouped together. Of the ninth iteration, which Noguchi seems to have considered the finished design in that line of thinking, Mix wrote that the ashtray appeared “not as a clever design, but as a natural object which grew inevitably and could be no other way.”

The other concept was a modular design conceived for industrial manufacture—to be produced “cheaply by the million” according to Noguchi. It consisted of arrays of standing bullet-shaped projections, to be produced in glass or metal, that could be set into other ashtrays as an accessory, and around which Noguchi designed two complete ashtrays, each with a slightly different scheme for facilitating easy cleaning. Noguchi referred to this version—which he viewed as the result of invention rather than craft—as “an American expression of the machine age.” He told Mix that “an artist who doesn’t take advantage” of America’s “facilities for machine manufacture…is just a fool!” It turned out, however, that the ashtray design was too complex for existing industrial techniques. Neither of the ashtray designs went into production.

The exhibition includes patent applications for Noguchi’s second concept, replicas of the designs contained within them, letters between Noguchi and R. Buckminster Fuller relating to the concept, recently produced exhibition copies of Noguchi’s (inextant) ashtray prototypes, and the original typescript of Mix’s article and two mockup layouts. It also addresses the question of the controversial “Bonniers bowls.”

View Exhibition images

Exhibition catalog

 

Composition for Idlewild Airport and The Sculptor and the Ashtray are supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council and from the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.

Noguchi at work_600 px
Isamu Noguchi working on the figure portion of Composition for Arrivals Building, Idlewild Airport, 1958. ©INFGM/ARS; The Isamu Noguchi Foundation and Garden Museum.
Screen Shot 2020-05-28 at 3.23.49 PM
Installation view, The Sculptor and the Ashtray, The Noguchi Museum, February 12 – August 23, 2020. Photo: Nicholas Knight. ©INFGM / ARS.

0



Week of February 9th