Past Special Exhibitions

2018

Nobuyoshi Araki-I, Photography

San 17 December 2017 - Sun 25 March 2018
closed: 25-31 December 2017
Nobuyoshi Araki, Flower Cemetary, 2017 ©Nobuyoshi Araki
courtesy of the artist and Yoshiko Isshiki Office, Tokyo

Shigeo Arai -Poems of Life

Sat 14 April - Sun 1 July 2018
Open Everyday
Born in Nagano Prefecture, Shigeo Arai (1920-) displayed an aptitude for drawing in childhood. After studying Yuzen (fabric dyeing) and Nihonga (Japanese-style painting) in Ueda, Nagano, Arai studied under Genichiro Inokuma. He thereafter relentlessly pursued new creative expression without regard for boundaries between Nihonga and Yoga (Western-style painting) or possessing a fixed style.
In every period of endeavor, Arai has explored his influences from Inokuma, such as skillfully manipulated bright colors, surprising combinations of media and motifs, and fresh perceptions of things encountered in daily life. As he has done so, the individual spirit he established has come to life.
This exhibition is an important opportunity to fully display Shigeo Arai's career of over 70 years in his "second home," Marugame.

[Detail]

Genichiro Inokuma-Landscapes, Faces

14 July 2018 - 30 September 2018
Among the diverse works created by Genichiro Inokuma (1902-1993) during a 70-year career, his abstract “Landscape” paintings produced mainly in the early 1970s and his simply depicted, late-period “Faces” are well known. His “Landscape” paintings—works that define his unique style of abstract expression—emerged from the “city” theme paintings he created during some 20 years living and working in New York in the USA, where he moved in 1955 and freed himself from figurative painting. “Faces,” on the other hand—which he began to paint after the death of his beloved wife, Fumiko, at the age of 85—are works by which he reached a territory beyond distinctions of figurative and abstract, at the end of his career.
This exhibition features works of “Landscape” and “Face” motif painted at intervals by Genichiro Inokuma since his twenties. Inokuma steadily eliminated everything unnecessary from his works, seeking to achieve what he always valued most—a painting that had “beauty as a picture.” We invite you to travel with the artist on his aesthetic journey, through two of his most important motifs.
* Inokuma Genichiro no Sekai Ten (“Genichiro Inokuma’s World” exhibition; MITSUKOSHI, 1990)



[Detail]
Genichiro Inokuma, Faces 80, 1989 ©The MIMOCA Foundation
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