Please join us this Saturday, July 22, as I am honored with Cai Guo-Qiang at the Longhouse Reserve:
BOOM! THE COSMIC LONGHOUSE BENEFIT
Our treasured Honorees, Alexandra Munroe and Cai Guo-Qiang
Alexandra’s sweeping exhibition Art and China after 1989: Theater of the World will take over the New York Guggenheim this fall. Cai Guo-Qiang’s solo exhibition October opening at the Pushkin Museum, Moscow in September is directly followed by Cai Guo-Qiang at the Prado: The Spirit of Painting in Madrid. (Since the Prado’s founding in 1819 this is will be the second solo exhibition by a living painter, following that of the late Cy Twombly). And though Nico Muhly’s new Met-commissioned opera Marnie (yes, as in Hitchcock) debuts this year, he too will join this cross-fertile LongHouse evening.
WOW! and BOOM! Yes, we may be treated to a delightful encounter with Cai’s explosion event on this summer evening.
At Jack’s request, you are invited to wear white to our Cosmic Evening.
Saturday, July 22 6:00pm-11:00pm
For further information about any accessibility issues or needs, please contact us at 631.329.3568 or email us at info@longhouse.org.
LongHouse Reserve 133 Hands Creek Rd, East Hampton, NY 11937
Born in 1962 in Seoul, South Korea, Do Ho Suh’s art is very much rooted by his own history of migration, having moved to the United States in his late twenties. From his sculptures, installations and drawings, his works explore the notion of personal space, the boundaries of identity, and the relationship between the individual and the collective body. He is best-known for his extraordinary fabric sculptures – carefully rendered full-scale replicas of personal spaces of the artist, from his childhood home in Seoul, to his New York apartment and studio.
Japanese Art After 1945: Scream Against the Sky
From the new video series: Eyes on Fire with Alexandra Munroe
Produced by: Sartorian Ventures
Photographed by: Amy Khoshbin and Matt Stanton
Edited by: Amy Khoshbin
Music by: Andre Mistier
Photo credits and copyright notices:
Produced by: Sartorian Ventures
Photographed by: Amy Khoshbin and Matt Stanton
Edited by: Amy Khoshbin, https://tinyscissors.com
Music by: http://theadversarymusic.com
MORIMURA Yasumasa
Playing With Gods III: At Night, 1991
Computer-manipulated color photograph
141 ¾ x 98 3/8 in.
Yokohama Museum of Art
Courtesy of the artist and Yoshiko Isshiki Office, Tokyo
YOSHIHARA Jiro
Red Circle on black, 1965
Acrylic on canvas
71 ¾ x 89 ¾ in.
Hyogo Prefectural Museum of Art, Kobe
SHIRAGA Kazuo
Untitled, 1959
Oil on canvas
70 7/8 x 110 in.
Collection Walker Art Center, Minneapolis
T.B. Walker Acquisition fund, 1998
Outdoor Gutai Art Exhibition, Ashiya Park
Ashiya, July 27–August 5, 1956
Osaka City Museum of Modern Art, GA 10
HIJIKATA Tatsumi performing Hijikata Tatsumi and The Japanese – Revolt of the Flesh at the Seinen Kaikan hall, Tokyo, 1968
Photo: Nakatani Tadao
Courtesy of Butoh Laboratory Japan
YANAGI Yukinori
Hinomaru Illumination, 1993
Neon and painted steel, with ceramic haniwa figures
Neon flag 118 1/8 x 177 1/8 x 15 3/4 in.; each haniwa approx. 39 3/8 in. high
Installation at Artec’93, Nagoya City Art Museum, Nagoya
Courtesy of Yanagi Studio
YANAGI Yukinori
Hinomaru Illumination, 1993
Installation at Guggenheim Museum Soho, New York for Japanese Art after 1945: Scream against the Sky, 1995
Courtesy of Yanagi Studio
Various Artists
Fluxkit, 1965
Vinyl-covered attaché case, containing objects in various media
13 3/8 x 17 1/2 x 4 15/16 in.
Museum of Modern Art, New York, The Gilbert and Lila Silverman Fluxus Collection Gift
Yoko Ono
“Voice Piece for Soprano”, Autumn 1961
Yoko Ono. Grapefruit. A Book of Instructions and Drawings by Yoko Ono. New York: Simon & Schuster, 1970.
Special thanks to artists, institutions and individuals for their assistance.
Originally published in Contemporary Japanese Art in America I: Arita, Nakagawa, Sugimoto. Reproduced by permission of the publisher.
Japanese Artists in the American Avant-garde 1945–1970
By Alexandra Munroe
“This universality in art is unaffected by the breaking-up of art into names and nationalities. That is making arbitrary decisions for convenience and comfort. There is Russian art, Chinese art, American art and art of other nations… But these classifications are the grouping of superficial qualities or attributes and do not pertain to the fundamental character of art.”
“His career and oeuvre stand as proof that cultural origins are not binding. An authentic artist can transcend his background, neither accepting its givens without question nor abandoning all he knows; rather, by opening the patterns of his heritage to currents, cultural energies, from elsewhere.”
