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Listening to Stone: The Art and Life of Isamu Noguchi, by Hayden Herrera
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A master of what he called "the sculpturing of space," Isamu Noguchi was a vital figure for modern public art. Born to an American mother and a Japanese father, Noguchi never felt like he belonged anywhere and spent his life assembling identities in his statues, monuments, and gardens. He traveled incessantly from New York to remote Japanese islands, from Paris to Bangladesh, synthesizing aesthetic values. The result--massive sculptures of interlocking wood, Zen-like gardens of granite, and stone slides--is now seen as a powerful artistic link between East and West.
Drawing on Noguchi's personal correspondence and interviews with artists, patrons, assistants, and lovers, Hayden Herrera creates another compulsively readable biography of one of the twentieth century's most important artists. Noguchi was elusive, forever uprooting himself to reinvigorate what he called the "keen edge of originality." Yet Herrera locates this man in his friendships with artists like Buckminster Fuller and Arshile Gorky, and in his affairs with women like Frida Kahlo. Herrera reveals his playfulness and his intense immersion in his work, from designing sets for Martha Graham to creating the Noguchi Museum in Queens.
A rich meditation on art in a globalized milieu, Listening to Stone is a moving portrait of an artist compulsively driven to reinvent himself as he searched for his own "essence of sculpture."
- Sales Rank: #380006 in Books
- Published on: 2016-04-05
- Released on: 2016-04-05
- Original language: English
- Number of items: 1
- Dimensions: 8.29" h x 1.55" w x 5.42" l, .0 pounds
- Binding: Paperback
- 592 pages
Review
“The genius of Listening to Stone is how its author, Hayden Herrera, inhabits the sculpturing hand of its subject. Rather than focus on the surface, Herrera gest 'beneath the skin,' as Noguchi would say, to the 'brilliance of matter' . . . [An] elegant account.” ―James Panero, The New York Times Book Review
“Masterful . . . Herrera had to synthesize a vast amount of material to produce this authoritative account.” ―Ann Levin, The Associated Press
“Hayden Herrera's welcome and comprehensive biography of [Noguchi] provides a definitive portrait of a figure who, by the time he died in 1988, was seen by many critics as the greatest American sculptor of the 20th century . . . Listening to Stone is a complex account of a flawed and restless visionary.” ―Michael Upchurch, The Seattle Times
“Herrera wisely used the biographical framework for Listening to Stone: The Art and Life of Isamu Noguchi . . . And what a tale it is! One that Ms. Herrera tells with clarity and Measured restraint. Noguchi knew all sorts of people--important artists and architects, patrons and politicians--and met them in a world-wide variety of places. At times Listening to Stone unfolds almost like a novel.” ―E. A. Carmean Jr., The Wall Street Journal
“A passionate stone carver and a constant traveler with a notoriously complicated love life, Noguchi constructed, with tremendous vision, skill, and turmoil, dynamic outdoor installations all around the world. But as Herrera . . . so sensitively illuminates and assiduously documents, his mixed heritage and illegitimate birth caused him endless anguish . . . Herrera tells Noguchi's astounding, many-chaptered story of 'unstoppable creative energy,' fame, and perpetual alienation with thrilling narrative drive and deep perception and reinvigorates appreciation for Noguchi's searching and evocative art.” ―Booklist, (starred review), Donna Seaman
“Herrera delves into the details of the life of influential and enigmatic American sculptor Isamu Noguchi in this thorough and solid biography . . . Herrera's expertise and insight illuminate Noguchi's evolving creative process, as well as the full scope of his personal relationships . . . Herrera adroitly shows that Noguchi was more than just a sculptor-he was a skilled craftsman, a heartbreaker, and a philosopher of design. This biography carves a smooth portrait of one of the most prolific and original artists of the twentieth century.” ―Publishers Weekly (Top Ten Art, Architecture & Photography Pick for Spring 2015)
“A comprehensive biography of a sculptor of stone and space . . . Herrera gives readers an ample, thorough analysis of his estimable art.” ―Kirkus Reviews
“From beginning to end, Listening to Stone is a beautifully written biography and an engrossing tale of one of the most inventive artists of the twentieth century. As she elucidates Noguchi's poetic genius and his wonderfully unclassifiable approach to art, Hayden Herrera brings to life the milieus in which Noguchi lived like no one else. From the mountainous coast of rural Japan to bohemian New York in the 1920s to Paris and Tokyo in the following decade, she vividly presents Noguchi's relationship with his settings. This is an enticing book achieved with an élan consistent with the magical work of a remarkable artist.” ―Nicholas Fox Weber, author of The Bauhaus Group: Six Masters of Modernism
“Listening to Stone provides a sweeping portrait of a rebel genius who was able to make a difference doing the work he most loved. Hayden Herrera helps us understand a man who, like many of his friends and associates, was branded an outlaw because he was so far ahead of his time. Listening to Stone is a monument to the man who created monuments around the world.” ―L. Steven Sieden, author of Buckminster Fuller’s Universe: His Life and Work
About the Author
Hayden Herrera is the author of the Pulitzer Prize–nominated Arshile Gorky: His Life and Work, as well as Frida: A Biography of Frida Kahlo and Matisse: A Portrait.
Most helpful customer reviews
10 of 10 people found the following review helpful.
"I Am Always Nowhere"
By John Thorndike
I’ve seen some of Noguchi’s work, and Hayden Herrera’s discussions of it are enlightening. Still, my fascination is with Noguchi the man. He was clearly not the easiest person to get along with, but his tremendous drive, his insecurities, his amorous quests and intense focus all make for a great story.
Imagine a boy of mixed parentage, born in the U.S., raised partly in Japan, who sets off alone at the age of thirteen on a ship bound from Yokohama to Seattle. From there, still alone, he makes his way across the U.S. by train to a boarding school in Indiana. Early on, from a story like this, we see much of Noguchi’s character: he was a traveler, he was unafraid, and he was forever torn between two cultures. Because of his mixed blood, he said, “I am always nowhere.” “When I’m in Japan, I think I should be I the United States, and when I’m there I want to be back in Japan.”
This same geographic impulse—“I simply can not stay in one place for a long time”—also seems to have played out with his romantic liaisons. Reading about his long list of lovers, I thought of the old line, “She who flies from me, I follow, and she who follows me, I fly from.” Or, as Noguchi himself put it: “I’m nice to women who are bad for me and bad to women who are good for me.”
He could be cantankerous, ungrateful and self-centered—as well as wonderfully buoyant and supportive. It all makes for a great read, in this biography of one of our country’s most notable sculptors.
7 of 7 people found the following review helpful.
A strong biography, albeit imperfect
By Slope Biker
Preparing to lead tours of Noguchi's works at the Brooklyn Botanic Garden this fall, I found this biography an extremely helpful resource. It is clean and clear, if a bit prosaic. Herrera leans heavily on Noguchi's own autobiography and seems to draw little from other sources, save a few still living individuals close to the artist, including Noguchi's last lover. The book is best when it maps narrative to image, and the inclusion of some wonderful hard-to-find photos is one of the book's strongest attributes. The book also is especially adept at detailing virtually every lover of import the artist had, including Frida Kahlo (about whom Herrera has also authored a biography), which makes for some saucy reading. The major struggle I faced was the implication that there was a seemingly precise turning point when Noguchi turned from starving and struggling artist to overnight success. This is not, in fact, an accurate portrayal of Noguchi's arc. I don't fault Herrera for failing to capture the trajectory or finding the inflection point, for, in fact, I don't believe there was one. But I'm not sure why she seems to have decided she needed this in the telling of the tale. Another peculiar aspect to the story, related to my primary misgiving, is that Herrera seems to paint Noguchi as a critical failure, even into the 1960s, when he was anything but. On the one hand, he was receiving, she points out, retrospectives and major commissions around the globe. Yet, she routinely depicts reviews of the artist's work that carried harsh judgments or worse. I suspect Herrera selects this approach to continually cast her subject as an underdog, but it creates the peculiar impression that Noguchi was not an accepted artist when he clearly was. These are, in the end, relatively small problems in a well-constructed, competently researched narrative. But they leave the reader wondering why Herrera didn't thread the needle just a tad more carefully -- in the service of what would have made this important book even more believable.
0 of 0 people found the following review helpful.
Very Good story, Less Good Man
By feather pen
So interestingly researched and written, this book kept me engaged, but I did not finish it with more respect for the man, as his foibles, illogic, and nastiness were revealed, oh so gently. The author's admiration, and the world's accolades, do carry through, but so does his character. She tells gracefully the sequences and connections of what she found out, very elegantly. One justification she (and he) continually brings up for his bad behavior is his 'mixed blood'. Really? Really? like the rest of us Americans do not have mixed blood, only him, and this gives him carte blanche to kick over the stone lanterns and bonsai brought from Japan by the Japanese gardener, Sato, hired to help, whose family had been making gardens in Japan for sixteen centuries because he did not like their placement? yes, the author uses the word 'kick'. We are tiresomely asked to forgive his sense of cultural displacement because of his dual blood line, as if his duality is merely attributable to his having been brought up in two countries, yet has it not happened for most of us to get here? This is not merely racial, as it has more to do with national identity [USA vs Japan], and although the subject is painfully explored, his dismissal by his father must have been far more important to him. The mother was a wonderful, large spirited, broad and deep thinking woman, it appears; lucky for him, and he credits her, later with the source of much that is good in him and his ideas: 'she would have approved'; though for a good amount of his youth he seems not to have appreciated her wisdom.. He was good at dissing. It was interesting that he did not carve the rock on some (many?), did not cast the ceramic on a wheel, but merely directed, sometimes from across the sea. If you are buying his art, this might be useful to discover. He seems not to have learned Japanese fluently, yet his English is shallowly poetic: in trying to reveal how he is essential, he challenges the taste of flour as having altered the taste of wheat, declaring 'I am the wheat'. And who enjoys raw wheat? rat? horse? cow? a good deal of the rest of the world considers the cultivation and development of wheat and bread to be one of the major advances in civilization; maybe he is trying to saw his art is primordial? before civ? It is a metaphor which might sound nice, but carries no meaning, and the illogic is dumbfounding. The author shows beautifully how his early life prepared him for his later work, from gardening, carving, traveling, being independent and thinking for himself, fending for himself. Later he developed a social sense of people not evident in him mother. s Herrera notes, he was a master manipulator, good at getting people to do things for him, like pay his bills, find an apartment, keep his car in order, organize a party in celebration. He seems to have asked several women to marry him within weeks of their meeting. Unhappily, most let it slide. His handling of the WWII conflict he handled with aplomb, noting how the people of Japan were not in a democracy and could have no say in the governmental and military policy, which he found difficult from the mid 30's.His rapprochement with his Japanese father, and extenuating family, after the war is quite touching. This is a really careful and personable book well worth reading. It will be interesting to revisit the museum he established in LIC, now I have a fuller sense of his life.
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