Kazuko miyamoto string art projects

  • To produce her.
  • The exhibition String and Thread begins with a particular period in the 1970's when Miyamoto created a series of ephemeral constructions using only nails and.
  • Kazuko Miyamoto, Untitled, 1975, Installation view, John er Gallery, string and nails, approximately 183 x 274 x 5 cm.

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    Manhattan’s Japan Society Explores Artist Kazuko Miyamoto’s Relationship with her Studio Architecture

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    Recreating the artist studio in an exhibition has always been a challenge for curators and exhibition designers––bringing in the right amount of “mess,” intricately revealing the workings of artistry, and maintaining the visual coherence are all boxes to be checked while letting the audience behind the curtain. Kazuko Miyamoto: To perform a line, Japan Society’s survey of the artist’s five-decade career in sculpture, drawing, and performance solves this challenge in ways that are both practical and poetic.

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    Miyamoto’s string constructions series pairs the simplicity of her two materials—thread and nail—with the visual allure of their seemingly impossible harmonious assemblage. Countless repeating lines of thread are affixed onto the wall and the floor in hallucinatory compositions that gently

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    Kazuko Miyamoto, Woman in Snow, 1998, archival inkjet print from original slide, 25 x 38 cm, printed 2009

    Black Poppy, 1979, Installation view, EXILE, 2009, hand-dyed wool and nails, 280 x 280 x 290 cm

    Black Poppy, 1979, Installation view, A.I.R. Gallery, 1978

    Kazuko Miyamoto, Untitled, 1973, string construction drawing, pen on paper, 59 x 47 cm

    Kazuko Miyamoto, Man in Red Kimono, 1985-86, Tompkins Square Park, NY, unique photocopy on brown paper, 21.6 x 27.9 cm

    Kazuko Miyamoto, Manja and Kazuko in the loft on Chrystie Street, 1988, unique photocopy of black and white photograph on brown paper, 43.2 x 27.9 cm

    Untitled, 1972, String construction drawing, color pencil on velum, 48 x 61 cm

    Untitled, 1972, String construction drawing, color pencil on velum, 48 x 61 cm

    Rope. ca 1983, unique photocopy of original sculpture, 43.2 x 27.9 cm

    Kazuko Miyamoto, Ladder to Well, 2009, paper and wood, 59 x 290 x 7 cm

    Kazuko Miyamoto, W

  • kazuko miyamoto string art projects

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    Untitled II

    Born in Tokyo during the second world war, Miyamoto moved to the United States in 1964 to study at the Art Students League, New York. In 1968 she rented her first studio and began making minimal and conceptual work influenced, in part, by artists Sol LeWitt and Adrian Piper whose studios were located in the same building. Miyamoto subsequently formed a strong friendship with LeWitt and became one of his first assistants, working on the production of his wall drawings and open cube sculptures (important examples of which are held in the Collection).

    ‘Untitled II’ 1971 is an important, early wall work by Miyamoto that is emblematic of her use of thread to create works that articulate both line and volume in space. Contemporary with Fred Sandback, who was working on the West Coast while Miyamoto was active in New York, she developed an idiosyncratic version of minimal art that hovered between sculpture and drawing. According to the artist,’ Untitled II’ was first insta