“I don’t get it...”

Haven’t you ever felt like that before a painting? Especially graphical works with colorful circles or squares are admittedly pleasing to the eye, but once you are asked what they mean, you might get stuck for an answer. This exhibition is an opportunity to face such works thoroughly. We hope each one of you, from kids to adults, finds many “I got it!”

Paintings are in a two-dimensional world, which does not have depth. However, painted landscapes or portraits look spatial or stereoscopic. This is a result of efforts: over many generations, artists sought how to translate this three-dimensional world onto flat canvases. Yet artists for the last hundred years came to think the reality of translation to be just a semblance. Therefore some artists noticed that forms, shapes and color in themselves should be subjects for a true reality of art.

Nonetheless, works with such attitude speak in a bit different language from the one of the established art. Thus this exhibition helps you listen to the voices of such works, sometimes with words by artists, and with three points of view, A, B and C.

The first keywords, A: Aspect and Abstraction lead us to the issues like appearance of objects, how to depict with lines and planes and the meanings of these fundamental elements of plastic art. And with works in the next theme B: Beyond the Boundary, we will come and go between the two worlds of different dimensions: surface of picture and space around us. This theme also makes us doubt our sense of sight or mind-set. The third, C: Color and Construction, focuses on nature of color which is not absolute, but relative, and construction of shapes or forms in plastic art. Furthermore we will here step into the essential question, “what constructs art?”

The fact that we see shapes and color, rather than depicted objects... Once we turn our eyes on the fact, the door of modern and contemporary art will be open.

The Museum of Modern Art, Wakayama, the 2nd floor
June 30, 2012 - August 26, 2012
Open 9:30 to 17:00 Closed on Monday, except for July 16 (closed on July 17, instead)
500 (400) yen for adults, 300 (250) for college students, free of charge under 18, over 65, disabled, and foreign students studying in Wakayama. Prices in brackets indicate group rate.

[Associated Events]

• Curator’s Talk:
  July 8 (Sun), July 21 (Sat)/ 14:00 (ticket required)
• Curator’s Talk for Kids:
  July 28 (Sat), August 5 (Sun), August 11 (Sat)/ 14:00- (ticket required)
• Guest Lecture by Nicholas Fox Weber (Executive Director of the Josef and Anni Albers Foundation)
  Josef Albers: A Personal Account of the Man and his Art
  July 15 (Sun), 14:00-, at Auditorium

A: Aspect and Abstraction

At the beginning of the show, you will find works seeing elements of plastic art as their matters, which pursue how to depict objects in the manner of art, or discuss meanings and effects of forms on pictures.

• Albert GLEIZES, Du Cubisme, 1947 (originally published in 1912), Drypoint on paper
• Wassily KANDINSKY, Klänge (Sounds), 1911, Woodblock on paper
• Paul KLEE, Seiltänzer (Tightrope Walker), 1923, Lithograph on paper

Wassily KANDINSKY, Klänge (Sounds), 1911, Woodblock on paper

Paul KLEE, Seiltänzer (Tightrope Walker), 1923, Lithograph on paper

B: Beyond the Boundary

Here are considered various boundaries with a focus on difference between two-dimensional world of pictures and three-dimensional one around us. FUNAI Yutaka paid attention to margin of printings, and Victor VASARELY’s flat planes are kinds of Trompe-l'œil that create virtual space in our eyes. On the contrary, HAYASHI Yasuo’s ceramic works look as if they were flat ones, and shake our vision.

• FUNAI Yutaka, CROSS WORD I, 1972, Lithograph on paper
• Victor VASARELY, Bisoll, 1978, Acrylic on canvas
• HAYASHI Yasuo, Phase 85-2, 1985, Ceramic
• Lucio FONTANA, Concetto Spaziale, Attese (Spatial Concept - Expectation), 1964-65, Waterpaint on canvas

HAYASHI Yasuo, Phase 85-2, 1985, Ceramic

FUNAI Yutaka, CROSS WORD I, 1972, Lithograph on paper

C: Color and Construction

Josef ALBERS who was a member of Bauhaus before the Second World War and afterward went to America comes in the lead of this section. Here are taken up issues of effect of color, ambiguity of vision and construction of forms and shapes. Moreover, fundamental questions such as what in nature color is or what constructs art works will be discussed.

• Josef ALBERS, Formulation: Articulation, 1972, Silkscreen on paper
• Frank STELLA, SINJERLI Variations, 1977, Lithograph and silkscreen on paper
• Bridget RILEY, Banner 4, 1969, Acrylic on canvas

Josef ALBERS, from Formulation: Articulation, 1972, Silkscreen on paper

Josef ALBERS, from Formulation: Articulation, 1972, Silkscreen on paper

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The Museum of Modern Art, Wakayama holds an exhibition under the theme of Human and Nature. How humans deal with natural environment varies by regions and times. Yet this fact never changes: nature is necessary for humans. And taking a distance view, human being is nothing more than a part of nature.

In the field of art, nature has been one of the most important subjects through the ages. In modern times, natural objects such as landscape and plants were always objects to be depicted. And now in our time, natural phenomena as visible or recordable as movements of stars, and even as invisible in themselves as time and gravity, are occasionally focused. Furthermore, some artists deal with relation to nature by finding materials in nature or bringing nature itself into their works.

This show introduces various works related to humans and nature from modern to contemporary. The tremendous natural disaster of last year forces us to question our attitude toward nature anew. It will be an opportunity to reconsider the coexistence through art.

• The Museum of Modern Art, Wakayama, the 2^nd floor
• April 14 - June 3, 2012
• Open 9:30 to 17:00
• Closed on Monday, except for April 30 (closed on May 1, instead)
• 500 (400) yen for adults, 300 (250) for college students, free of charge under 18, over 65, disabled, and foreign students studying in Wakayama. Prices in brackets indicate group rate.

JINNAKA Itoko, TSUCHICA Bakusen, YOROZU Tetsugoro, YASUDA Ryumon, KUNIEDA Kinzo, UMEHARA Ryuzaburo, FUJISHIMA Takeji, Henry SUGIMOTO, CHOKAI Seiji, YAMAGUCHI Hachikushi, KANO Koga, SATOMI Katsuzo, TAKABATAKE Tatsushiro

2 Behavior of Nature and Humans

SHIMOMURA Kanzan, YAMAGUCHI Hachikushi, NONAGASE Banka, KANO Koga, HIEDA Kazuho, ISHII Hakutei, KOGA Harue, HAYASHI Yoshiaki, KITAZAWA Shuji, MORITA Tsunetomo, MAEKAWA Sempan, HIRATSUKA Un'ichi, HASEGAWA Kiyoshi, YAMAMOTO Masamichi, Hossein VALAMANESH, OTA Saburo

3 Depiction / Capture

HAYAMI Gyoshu, KISHIDA Ryusei, ITO Sohaku, SUGITA Yujiro, INOUE Eiyu, JINNAKA Itoko, YAMAGUCHI Hachikushi, OOBUCHI Jun, HASEGAWA Kiyoshi, KOMAI Tetsuro, ONO Chikkyo, IMAMURA Hajime, HOSHI Joichi, TOYA Shigeo, HIEDA Kazuho, TSUMAKI Ryozo, SUGIMOTO Hiroshi, NOMURA Hitoshi, KAWAGUCHI Tatsuo

4 In the Nature

CHRISTO, MORIOKA Kansuke, NOMURA Hitoshi, KUNIYASU Takamasa, OKUBO Eiji, Hamish FULTON, KURITA Koichi, OTA Saburo, SEKIJIMA Hisako, Andy GOLDSWORTHY, MAEZAWA Tomoko, Roger ACKLING

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開館時間 : 9:30～17:00（入館は16:30まで）/ 休館日 : 月曜日
観覧料 : 一般340（270）円、大学生230（180）円（ ）内は20名以上の団体料金
高校生以下、65歳以上、障害者の方、県内に在学中の外国人留学生は無料

開館時間 : 9:30～17:00（入館は16:30まで）/ 休館日 : 月曜日
観覧料 : 一般340（270）円、大学生230（180）円（ ）内は20名以上の団体料金
高校生以下、65歳以上、障害者の方、県内に在学中の外国人留学生は無料

手軽な印刷術を芸術の域にまで高めた昭和の謄写版画家、清水武次郎、若山八十氏たち。資料を含む約250点により、知られざるアートの冒険を紹介します。

開館時間 : 9:30～17:00（入館は16:30まで）/ 休館日 : 月曜日
観覧料 : 一般500（400）円、大学生300（250）円（ ）内は20名以上の団体料金
高校生以下、65歳以上、障害者の方、県内に在学中の外国人留学生(外国人就学生も含む)は無料

開館時間 : 9:30～17:00（入館は16:30まで）/ 休館日 : 月曜日
観覧料 : 一般340（270）円、大学生230（180）円（ ）内は20名以上の団体料金
高校生以下、65歳以上、障害者の方、県内に在学中の外国人留学生は無料

We are proud to announce the exhibition of IDA Shoichi (1941-2006), who questioned anew the concept of printing and developed his unique style.

IDA Shoichi was born in Kyoto in 1941, and learned at Kyoto City University of Arts, finishing his master in Oil Painting in 1965. There he learned printing from YOSHIHARA Hideo, and began his career as a lithograph artist. He found much potential in the flatness of lithography, as it does not depend on the emotional or sentimental aspect of stroke and touch. Then he came to make constructive works with simple color planes. After that, he also tried somewhat pop art style taking in the technique of silk-screen printing. It was based on his intent to express images much superficially. Such conscious toward lightness or thinness brought him to an attempt to embody immaterial subsistent like wind and air. Moreover he also tried installations using prints.

Above all, the most remarkable work was a series of Surface is the Between, which began in the mid 1970's. He focused on the paper plane on which vertical energy and horizontal one come across, and on which images and paper meet. His experiments with various printing technique are still quite unique, and for example, he prints on both sides of paper.

It all started from a stone left on paper. One day, when he just moved the stone, he noticed the slight dent on paper, the mark the stone weight left. It was for him the nature of surface proved by the action and effect, the horizontality and verticality, the gravity and plane and the position and self-weight. He recognized these all are the printing processes themselves.

IDA sought the relation between nature and himself, questioning the printing processes fundamentally. The quest went beyond the print and into various media like paperwork, bronze work and ceramics.

In this show, we would like to introduce his pursuit with our collection and artifacts remained at his studio. About 70 works will be on view.

• The Museum of Modern Art, Wakayama, the 1^st floor
• March 6, 2012 - May 27, 2012
• Open 9:30 to 17:00
• Closed on Monday (Open on holiday Mondays and closed on next weekday)
• Adults: 340yen, Students: 230yen [free under 18 (high school pupils), over 65 and the disabled]

Surface is the Between - Between Vertical and Horizon - "Paper Between a Snowed Stone and Water Stain,"

Surface is the Between-Between Vertical and Horizon - "Descended Blue," 1982, Etching with Aquatint, Drypoint, Spit Bite and Chine Colle on Paper

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開館時間 : 9:30～17:00（入館は16:30まで）/ 休館日 : 月曜日
観覧料 : 一般340（270）円、大学生230（180）円（ ）内は20名以上の団体料金
高校生以下、65歳以上、障害者の方、県内に在学中の外国人留学生は無料

開館時間 : 9:30～17:00（入館は16:30まで）/ 休館日 : 月曜日
観覧料 : 一般340（270）円、大学生230（180）円（ ）内は20名以上の団体料金
高校生以下、65歳以上、障害者の方、県内に在学中の外国人留学生は無料

The Museum of Modern Art, Wakayama, whose predecessor was the Wakayama Prefectural Museum (founded in 1963), inaugurated in the building of Kenmin Bunka Kaikan (the Cultural Hall for Citizens) in November 1970, and started its activities anew at the current building designed by the architect KUROKAWA Kisho in 1994. It mainly focuses on introducing artists related to Wakayama, and now holds more than 10,000-piece collection from home and abroad. The exhibits at Collection Galleries are changed seasonally with various featured corners.

The first section Artists from Wakayama and Japanese Modern introduces the stream of art since Meiji-era and artists related to Wakayama at that time. From the end of Meiji-era to the beginning of Taisho-era, young artists began to seek new ways of expression, and among them were TANAKA Kyokichi and YASUDA Ryumon. TAKAI Teiji approached an experimental expression or the new machine age. NONAGASE Banka, who joined in the organization of Kokuga Sosaku Kyokai (National Creative Painting Association), looked for his own art in the field of Japanese painting. And also the interaction of KINOSHITA Takanori, KINOSHITA Yoshinori and KAWAGUCHI Kigai bore fruit of the Society of 1930. On the other hand, artists like HAMAJI Seisho, ISHIGAKI Eitaro and Henry SUGIMOTO crossed the sea and learned in America. Along with these native artists of Wakayama, you will also enjoy footmarks by representatives of Japanese Modern.

Followingly, Sense of Human section introduces artists like SAKAI Yoshie whose works are full of striking presence of humans. In the section of Twisting World, you will see the worlds captured by three artists: USAMI Keiji, YUKAWA Masaki and TSUMAKI Ryozo. The last section Wall features walls as a theme of art, and also features works that look like walls. About 70 works will be on view.

• The Museum of Modern Art, Wakayama, the 1^st floor
• March 6, 2012 - May 27, 2012
• Open 9:30 to 17:00
• Closed on Monday (Open on holiday Mondays and closed on next weekday)
• Adults: 340yen, Students: 230yen [free under 18 (high school pupils), over 65 and the disabled]

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「なんだかよくわからない」――作品の前でそう感じたことはありませんか。特に丸や四角など図形のようなかたちやあざやかな色の作品は、もちろん目には楽しいけれど、何を意味しているのかと聞かれると、ちょっと答えに困ってしまうかもしれません。この展覧会は、そういった作品にじっくりと向き合い、大人もこどもも一緒になって、たくさんの「わかる！」を感じてもらおうという試みです。

奥行きのない絵の世界は二次元という世界です。ですが風景であったり人物であったり、描かれているものは立体的に見えます。それは昔からたくさんの芸術家たちが、奥行きのある三次元の世界をうつしとる方法を探し求めてきた結果です。けれどもここ100年ほどの芸術家たちは、うつしとることは「見せかけ」でもあるのでは、と頭を悩ませてきました。そうして、見せかけではなく本当・本物を目指すなかで、かたちや色そのものをテーマとすることに気づいたのです。

とはいえ、こうして生まれてきた作品たちが語る言葉は、それまでの美術とはほんの少しちがった言葉になってしまいました。そこでこの展覧会では三つのテーマ、A、B、Cをきっかけにして、作者の見方や考え方、時には実際に書かれた文章も借りながら、少し変わった作品たちの言葉に耳を傾けてみたいと思います。

まずAの「見かけとかたち（Aspect and Abstraction）」では、ものの見かけとそれが線や面の組み合わせで考えられてゆく流れ、そしてそれらが持つ意味について考えられている作品を紹介します。続くB「あちらとこちら（Beyond the Boundary）」は、絵という奥行きのない二次元と、実際の世界である三次元を行き来するような作品を中心に、私たちの目や考え方までも疑わせる作品を取り上げます。三番目のC「色と組み立て（Color and Construction）」では、組み合わせによって違っても見える色の問題やかたちの組み立て、そして色とは何か、作品を成り立たせるものとは何かという問題にも踏み込みます。

作品になにが描かれているか、ということ以前に、私たちは作品の「かたち」や「色」を見ているという事実。そこに目を向けたとき、気づいてみればおもしろい現代の美術の世界が、さらに広がることでしょう。

開館時間 : 9:30～17:00（入館は16:30まで）/ 休館日 : 月曜日（7月16日（祝）は開館、翌17日閉館）
観覧料 : 一般500（400）円、大学生300（250）円（ ）内は20名以上の団体料金
高校生以下、65歳以上、障害者の方、県内に在学中の外国人留学生(外国人就学生も含む)は無料

【関連事業】

• フロアレクチャー（学芸員の展示解説）
  7月8日（日）、7月21日（土）14時から、2階展示室にて（要観覧券）
• こどもギャラリートーク（子どもを対象としたトーク。親子でも参加できます）
  7月28日（土）、8月5日（日）、8月11日（土）14時から、2階展示室にて（要観覧券）
• 講演会「アルバース、その人と芸術」
  講師：ニコラス・フォックス・ウェーバー氏（アルバース財団理事長・美術史家）
  7月15日（日）14時から（13時30分開場）、２階ホールにて

A：見かけとかたち／Aspect and Abstraction

展覧会のはじめに、ものの見かけを絵のなかでどう表すかというテーマに取り組んだ作品や、かたちそのものが持つ意味や画面の中での効果について考えたパウル・クレーの造形など、線や面といったかたち自体が問題とされる作品を紹介します。

• アルベール・グレーズ　『キュビスムについて』より《無題》　1947年（1912年初版）ドライポイント、紙
• ヴァシリー・カンディンスキー　詩画集《響き》　1911年　多色木版、紙
• パウル・クレー　《綱渡り》1923年　リトグラフ、紙

ワシリー・カンディンスキー　詩画集《響き》より
1911年　多色木版、紙

パウル・クレー《綱渡り》
1923年　リトグラフ、紙

B：あちらとこちら／Beyond the Boundary

ここでは平面である絵の世界と、わたしたちのまわりにある三次元空間との違いを中心に、さまざまな境目について考えます。版画の画面にどうしても生まれる余白にまで目を向けた舩井裕や、目だましのような効果によって絵の中に不思議な奥行きを作りだすヴィクトル・ヴァザルリ、そして陶芸でありながらまるで平面のようにも見える作品に取り組んだ林康夫らを取り上げます。

• 舩井裕　《CROSS WORD I》1972年　リトグラフ、紙
• ヴィクトル・ヴァザルリ　《ビソール》　1978年　アクリル、キャンバス
• 林康夫　《Phase 85-2》　1985年　陶
• ルーチョ・フォンタナ　《空間概念−期待》 1964-65年　水性塗料、キャンバス

林康夫《Phase 85-2》
1985年　陶

舩井裕《CROSS WORD I》1972年　リトグラフ、紙

C：色と組み立て／Color and Construction

戦前ドイツのバウハウスにおいて学び、アメリカに渡ったジョセフ・アルバースを中心に、わたしたちのあいまいな色の見方やかたちの組み立てについて取り上げます。さらに色とは何か、作品自体を組み立てるものはなにかという問題にも目を向けたいと思います。

• ジョセフ・アルバース　《Formulation: Articulation》　1972年　シルクスクリーン、紙
• フランク・ステラ　《シンジェルリ》のヴァリエーション　1977年 リトグラフ、シルクスクリーン、紙
• ブリジット・ライリー　《Banner 4》　1969年　アクリル、キャンバス

ジョセフ・アルバース
《Formulation: Articulation I-1》より　1972年　シルクスクリーン、紙

ジョセフ・アルバース
《Formulation: Articulation I-8》1972年
シルクスクリーン、紙

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開館時間 : 9:30～17:00（入館は16:30まで）/ 休館日 : 月曜日（7月16日（祝）は開館、翌17日閉館）
観覧料 : 一般340（270）円、大学生230（180）円（ ）内は20名以上の団体料金
高校生以下、65歳以上、障害者の方、県内に在学中の外国人留学生は無料 ※『なつやすみ特集　野田哲也』と共通