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N.Y. ARTS Vol.
5 n 2
The International Millenium @ 450 Broadway
Gallery
ニューヨークでの作品展を「ニューヨーク・アート」誌が 取り上げています。（原文のままで申し訳ありません、ちなみに表紙はナムジュン・パイク氏ですが私たちの作品展とは無関係）
The International Millenium
show at 450 Broadway Gallery,curated by Yoshiko Masuda opend January
11th, 2000 representing a broad range of artists in several media.
It truly represents what the artistic community shall become by
including works from Ａmericn artists, as well as Japanese. In this
setting,oil paintungs like Shiotani Shuhei's large explosion of
red seemed comfortable next to a seris of black and white photographs
by Ellen Warfield. Shuhei's work was back, to sort out the information.
Oka Sakakibara's square vignettes of pastoral calm, playing with
color nature to create field of imaginary nature, such as secret
graden are just that, secrets the artist hides from us as to what
is hiding in the fields of colo, and it is for us to discover. That
is the exciting thing,that not too much is given away, with no pertense
of a grand illlusion.
The energy of the entire show , although diverse and different
in many respcts, converged to such a place where it all made sense.
To hold a "millenium" shoe with several media being represented,
such as glass, painting, sculpture, photgraphy, college, and drwwing
is akin to the times in which we live is apppropiate , as is the
exhibition of artists of many countries. The hotographs by Ellen
Warfield, four in black and white and one in color, are reminiscent
of a certain time in youth, the same age represented
in Mitsuro Sato's Lennon Requiem. These
pictures are about being a child and being unafraid of how others
see you. The millenium has been
built up so mach, that one trembles at the mear mention of a "millenium'
art show, fearing silver objects of the future and visions of the
art world of cyberspace. But, instead, this show, representing artists
of different nationalities, offers the viewer anothe take on the
meaning of the melting pot that is the New York art world. painter
Andrea Lynn Cambio has a whimsical palate of color, calling upon
oblects from everyday life that float in space to tell us the scene,
a story of life in America, as Sakae Shinohara's black ink painting
thes of Japanese settings, rendered with dreamlike quality tell
us just as much about her world in japan. Shinohara's scenery takes
you nthere, incorporating the perspective to draw the viewer into
these serene fields. The Fields of Buddha series is successful for
me as a modern continuation of the historical tradition of Japanese
prints, such sa Utamaro and Hirosige. She takes the natiural world
and translates it to a place we can no longer clearly pin point
as a certain place Japan, and it dosen't really matter, for we can
now make of it what we will.
With a group show it is sometimes hard to pinpoit the focus
of cumallative affct, especially under the auspices of representing
the "millenium." How large of a statement does one want to make,
with regards to paintings and photography being an illustration
of the world we live in now? It is so fitting then. that these pieces
do not "go' together in the trabitional sense. Each individual work
makes its own testament to the fact that pieces of created in Japan,
with subject matter in a clearly Japanese context have a clear and
understandable resonance in the United States, and vice versa. In
this way, this show is a real success to me. Luis Castro's marble
sculpture evoking female breasts inspired by Nabokov's Lolita is
as it is highly sexually charged with the extreme roundness of the
shapes. This Lolitas is very aduult, the definition of woman. To
the left of this sculpture, along the wall are Jason Glasser's paintings
on glass using simple colors and scenes of deer, in his piece, Deer
Pool in the fields evoking images of classical scennery painting,
while at the sama time playing with the ideas of American culture
as it is painted on old fragments of auto glass, making art of trash.
Combining several mediums to paint ordered
compositions that call up calm emotion of rememberace, such as with
the Lennon Requiem, Mitsuro Sato paints with a restrained melancholy. These paintings ara like an illustration of
a memory, nailing into place all the elements that come mind when
you try to recall a specific time or place. Hiroko Maekawa's
illustrative scenes, using the presense of a cat to tell us many
things about the tone and mood of the artists message. These very
colorful works are feminine to me, using Japanese paper in collage
and traditional painting in the tale of a cat. These works really
seem to be trying to tell a story, rather than just calling up a
feeling in the viewer. The show was strong in its variety.
（ by E. Landers） |
「東北のさくら」
