拍品 10
  • 10

野口勇

估價
800,000 - 1,200,000 USD
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描述

  • Isamu Noguchi
  • 《怪鳥》
  • 款識:藝術家簽名、紀年45 88並標記AP IX
  • 青銅
  • 55 1/2 x 21 1/2 x 23 英寸,141 x 54.6 x 58.4 公分
  • 1945年構思,1988年鑄造,1版8件,此作為另外2件AP版的第1件

來源

藝術家
野口勇基金會
佩斯畫廊,紐約
現藏家購自上述畫廊

展覽

紐海文,耶魯大學美術館,〈羅丹之後的雕塑〉,1949年1月-2月,頁碼不詳,品號26,載圖(綠色石板版本)(名為《致向日葵》)

紐約,惠特尼美國藝術博物館;華盛頓哥倫比亞特區,菲利普美術館;沃斯堡,沃斯堡藝術中心;洛杉磯,洛杉磯藝術博物館;三藩市,三藩市藝術博物館;明尼阿波利斯,沃克藝術中心;聖路易,聖路易市藝術博物館,〈抽象藝術中的大自然:二十世紀美國抽象繪畫及雕塑與大自然的關係〉,1958年1月-1959年2月,54頁載圖(綠色石板版本)(名為《未知鳥》)

紐約,惠特尼美國藝術博物館,〈野口勇〉,1968年4月-6月,24頁,品號19(綠色石板版本)

紐約,科迪爾及艾克斯特龍畫廊,〈怪鳥〉,1972年5月-6月(黑色青銅版本1/8、2/8、3/8、4/8、5/8、6/8及8/8;包金青銅版本3/8)

倫敦,然佩爾之子畫廊,〈二十世紀雕塑大師〉,1973年1月-3月,頁碼不詳,品號18,載圖(包金青銅版本7/8)

東京,Minami畫廊,〈野口勇雕塑展〉,1973年5月-6月,頁碼不詳,品號9,載圖(鋁版本)

華盛頓哥倫比亞特區,國家藝術館,史密森學會,〈世紀中的美國藝術〉,1973年10月-1974年1月,頁碼不詳,載彩圖(綠色石板版本)

紐約,阿奎維拉畫廊,〈二十世紀大師〉,1972年(黑色青銅版本2/8及8/8)

紐約,佩斯畫廊,〈野口勇-青銅及鐵雕塑〉,1988年5月-6月,13頁,品號3,載圖(青銅版本,現例)

香川縣,丸龜市猪熊弦一郎現代美術館,〈親愛的真心朋友,野口勇〉,1992年11月-1993年3月,頁碼不詳,品號2,載彩圖(鋁版本6/8)

馬德里,胡安·馬奇基金會,〈野口勇〉,1994年4月-6月,35頁,品號7,載圖(鋁版本7/8)

紐約,佩斯·維登斯坦畫廊,〈馬克·古德森收藏現代大師傑作〉,1995年10月-11月,63頁載圖(青銅版本2/8)

紐約,佩斯·維登斯坦畫廊,〈世態:阿爾普、考爾德、野口勇的生物雕塑〉,2000年2月-3月,27頁載彩圖(青銅)

東京,草月美術館,〈野口勇〉,2002年11月-12月(黑色青銅版本2/8;鋁版本6/8)

紐約,野口勇基金會及戶外博物館,〈雕塑與自然〉,2002年6月-2003年1月(鋁版本7/8)

札幌,莫埃來沼公園,〈野口勇:玻璃金字塔展〉,2003年6月-8月(鋁版本6/8)

紐約,佩斯·維登斯坦畫廊,〈野口勇的聯鎖雕塑〉,2003年9月-10月,22頁載圖(1945年攝於野口勇位於紐約MacDougal Alley的工作室,圖中可見藝術家及此雕塑),23頁載彩圖(鋁版本7/8)

紐約,惠特尼美國藝術博物館;華盛頓哥倫比亞特區,赫希洪博物館及雕塑花園,〈野口勇:雕塑大師〉,2004年10月-2005年5月,100頁載圖(1945年攝於野口勇位於紐約MacDougal Alley的工作室,圖中可見藝術家及此雕塑),101頁載圖(綠色石板版本),103頁(內文)

札幌,當代美術館,〈野口勇:無中生有〉,2005年7月-8月(鋁版本6/8)

紐約,野口勇基金會及戶外博物館,〈「幻想西洋棋」展覽回望〉,2005年10月-2006年3月,135頁,品號81a,載圖(綠色石板版本),136頁(內文)

橫濱,橫濱崇光美術館;滋賀,滋賀縣立近代美術館;高松,高松市美術館,〈野口勇:用雕塑聯繫世界〉,2006年4月-11月,84頁,品號56,載彩圖(鋁版本6/8)

紐約,野口勇基金會及戶外博物館,〈巴黎抽象藝術研究〉,2007年5月-9月(綠色石板及包金青銅AP版本)

里茲,亨利·摩爾學院;席凡寧根,海濱雕塑博物館;不萊梅,格哈德·馬克斯博物館,〈違反自然:現代雕塑的混合形態〉,2008年2月-11月,32頁,品號20,載圖;47-48頁載彩圖(展覽現場)(鋁版本7/8)

西約克郡,約克郡雕塑公園,〈野口勇:約克郡雕塑公園展〉,2008年7月-2009年5月(黑色青銅AP版本2/2)

出版

野口勇,〈現代雕塑的意義〉,《ARTNews雜誌》,第48期,品號1,1949年3月,15頁(綠色石板版本)(名為《致向日葵》)

〈野口勇定義大自然與雕塑的潛在重要性─空間的藝術〉,《Interiors雜誌》,第109期,1949年3月,118-123頁(綠色石板版本)

克里斯托弗·弗里曼特爾,〈紐約評論〉,《The Studio雜誌》,1949年7月,30頁載圖(綠色石板版本)(名為《致向日葵》)

長谷川三郎,〈日本抽象藝術〉,《抽象藝術的世界》,編:美國抽象藝術家協會,紐約,1957年,70頁載圖(石版本)(名為《未知鳥》)

野口勇,《野口勇:一個雕塑師的世界》,紐約及埃文斯頓,1968年,73頁,品號56,載圖(綠色石板版本)

詹姆斯·R·梅洛,〈神聖化的觀點〉,《紐約時報》,1968年5月5日,7頁載圖(綠色石板版本)

〈野口勇雕塑〉,《新建築》,第48期,品號8,1973年8月,16頁(鋁版本4/8)

偉恩·安德森,《美國雕塑進行中:1930/1970年》,紐約,1975年,48頁,品號14,載圖(綠色石板版本)

山姆·亨特,《野口勇》,紐約,1978年,79頁(內文)(名為《未知鳥》)

本傑明·富基,〈野口勇的優雅天地:空間與功能〉,《史密森》,1978年4月9日,46-55頁(鋁版本7/8)

南希·格羅夫及黛安·博特尼克,《野口勇雕塑作品集1924-1979年》,紐約及倫敦,1980年,41頁(內文);載圖頁碼不詳,品號232B(青銅版本,編號不詳)

野口勇,《野口勇戶外博物館》,紐約,1987年,230頁,品號28a,載圖(展覽現場)(綠色石板版本);247頁,品號28b,載圖(展覽現場)(鋁版本7/8)

提姆·思雷福爾Ph.D.,《野口勇:雕塑作品賞析─生活的延伸》,蘇塞克斯,1992年,188頁(內文)

展覽圖錄,東京,國立近代美術館,《野口勇回顧展1992年》,1992年,42頁載圖(展覽現場);64頁載圖(展覽現場)

布魯斯·阿特舒勒,《野口勇》,紐約,1994年,封底載彩圖(鋁版本)

黛安·阿波斯托洛斯·卡帕多納、布魯斯·阿特舒勒(編),《野口勇:論文集及對話錄》,紐約,1994年,34頁載圖(1945年攝於野口勇位於紐約MacDougal Alley的工作室,圖中可見藝術家及此雕塑)

展覽圖錄,蒙特雷,當代藝術博物館(及巡展),《野口勇與雕像》,1999年,59頁(內文);60頁,品號32,載圖(版本不詳);98頁,品號15(鋁版本7/8)

展覽圖錄,紐約,佩斯畫廊,《佩斯畫廊50年》,2010年,64頁載圖(〈野口勇的聯鎖雕塑〉展覽現場,紐約,2003年)(鋁版本)

昭二貞雄,《巴克敏斯特·富勒與野口勇:至交好友》,紐約,2011年,191頁(內文);193頁,品號16,載圖(綠色石板版本,編號不詳)

海登·赫雷拉,《聽石:野口勇的藝術與人生》,紐約,2015年,221頁載圖(1945年攝於野口勇位於紐約MacDougal Alley的工作室,圖中可見藝術家及此雕塑);223頁(內文),430頁(內文)

Condition

This sculpture is in very good condition. Please contact the Contemporary Art Department at +1 (212) 606-7254 for the report prepared by Jackie Wilson of Wilson Conservation, LLC
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

拍品資料及來源

Conceived first in 1945 and later cast in bronze with black patina in 1988, Strange Bird is an outstanding example of Isamu Noguchi’s aesthetic creed. Balanced on a sleek tripedal support, Strange Bird is comprised of a series of bonelike elements whose rounded contours effortlessly interlock with one another. Relying entirely on the principles of tension and suspension to hold these planar slabs in horizontal and vertical equilibrium, Strange Bird exemplifies the technical and creative prowess which established Noguchi as one of the most influential and critically acclaimed sculptors of the 20th century. Indeed, Noguchi’s interlocking sculptures comprise his most celebrated and iconic works; casts of Strange Bird have been exhibited extensively internationally in the most prestigious museums, including the Whitney Museum of American Art in New York, the Los Angeles County Museum of Art, the San Francisco Museum of Art, the Walker Art Center, the National Gallery of Art in Washington, D.C., and the Hirshhorn Museum and Sculpture Garden in Washington, D.C. Of the twelve materials that Noguchi cast in this compositional format, the present work is one of three in bronze with black patina; the other two reside in the esteemed collections of the Isamu Noguchi Foundation and the Locks Foundation. Of the eight examples and two artist's proofs from this edition, many reside in museum collections, such as the Mount Holyoke College Art Museum, the Kagawa Museum, and the Noguchi Museum in Japan. Noguchi’s unique abstract visual language draws on the iconography of Surrealist biomorphism, European modernism, and Japanese minimalism, hinting at numerous figurative interpretations while ultimately resisting any singular association.

As with Noguchi’s most compelling sculptural compositions, Strange Bird defies narrow characterization. While its title implies an association with movement and flight, Strange Bird’s form more closely resembles the gawky legs and weighty body of a flightless bird, such as an ostrich or an emu. Originally titled To the Sunflower after the verses of William Blake’s ode to a sunflower in 1794, Strange Bird’s elegant vertical planes and open face are also reminiscent of the heliotropic movement of a sunflower, twisting and rising up in its daily effort to capture as much sunlight as possible: ‘Ah, Sunflower! Weary of time / Who countest the steps of the sun / Seeking after that golden sweet clime / Where the traveller’s journey is done.’ Just as the rootedness of the sunflower challenges its ability to capture sunlight, Strange Bird is perhaps an expression of the somewhat oxymoronic and frustrated rootedness of an earthbound bird. Despite suggesting figurative associations, Noguchi expressed that Strange Bird “does not refer descriptively to this form but to the spirit of longing, which I hope it expresses, of Blake’s famous poem.”

First conceived and cast in 1945, Strange Bird emerges from a moment in history in which many artists grappled with how to express in their artwork the physical destruction and psychological devastation in the wake of World War II. In Strange Bird, Noguchi captures with meticulous precision both the profound existential anguish of wartime experience and the fragility of the human psyche. However, Noguchi believed in the human capacity for mental and spiritual transcendence – the capacity for birth, rebirth, and corporeal transformation – and the freedom that this mindset permits. The mid-1940s were also a pivotal period in Noguchi’s artistic career during which he experimented with concept and form and gained prominence in the New York art scene, as testified by his inclusion in the Museum of Modern Art’s influential exhibition Fourteen Americans in 1946.

As a young sculptor working in New York in 1927, Noguchi wrote in his application for a Guggenheim fellowship: “It is my desire to view nature through nature’s eyes, and to ignore man as an object for special veneration. ..Indeed, a fine balance of spirit with matter can only concur when the artist has so thoroughly submerged himself in the study of the unity of nature as to truly become once more part of nature.” (Diane Apostolos-Cappadona and Bruce Altshuler, eds., Isamu Noguchi: Essays and Conversations, New York, 1994, p. 16) The Guggenheim fellowship afforded Noguchi the opportunity to travel to Paris, where he spent six months as an assistant in Constantin Brancusi’s studio. Noguchi’s admiration of the sublime grace and quiet power of Brancusi’s sculptural genius is a clear inspiration for Noguchi’s earliest movement away from realist figuration and toward an abstraction that blended the most natural materials with a primal sensibility. Strange Bird is the quintessential summation of Noguchi’s oeuvre in its expression of his fundamental concern for art’s integration with its surrounding space and for the elimination of the nonessential through formal reduction.