![]() ![]() In Spiro Flower 2 (1978), Inukai pairs a shape of swirling circles formed into a triangle with what appear to be two characters written in calligraphy. Surrounding that work, several works on papers, framed in light wood, lean against custom-built shelves, in the same light wood.Ī second smaller gallery acts as a transition from those colorful abstractions to the moodier ones he made later, displaying here Inukai’s initial experiment with sumi-e ink calligraphy. In one untitled painting from 1978, a parabola made of deep red as it changes to orange is set against various contrasting blocks of blue with a red dot at its center. In the first gallery, Inukai’s playful silkscreen prints are filled with vibrant colors, shapes, and lines. ©Kyohei Inukai/Courtesy of Inukai Estate (2) Left Photo: Nicholas Knight Each space is intended to emphasize the particular nature of the work,” exhibition designers Masamichi Udagawa and Sigi Moeslinger, of the New York–based firm Antenna Design, told ARTnews.įrom left: Kyohei Inukai’s Untitled (1978) and SPIRO FLOWER 2 (1978). ![]() “We divided the galleries into two distinct zones: one light, airy, and approachable, the other dark, quiet, and reflective. That journey of understanding his cultural identity filtered through various art historical influences is reflected in the show’s exhibition design. For me, I see that he’s trying to find his own way to visualize some of those artistic and cultural traditions in his life.” “You see American abstraction, Pop art, Op art as influences in his silkscreen prints,” Lambert said in an interview, “and then you also see the washi, the use of sumi-e (ink painting) as a pathway to abstraction in his work. Curated by Tiffany Lambert, the Japan Society Gallery’s interim director, the show features over 100 works by the artist, dating from the late 1960s through 1985, the year of his death, showing the range of Inukai’s experimentation in style and technique, all the while incorporating and grappling with his Japanese heritage. Photo Nicholas Knight/©Kyohei Inukai/Courtesy Inukai Estateīut interest in Inukai’s work is slowly changing, nearly 40 years after his death, with his first institutional solo exhibition currently on view at the Japan Society in New York, through June 25.
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