Nobuho Nagasawa

BIOGRAPHY

Based in New York since 2001, Nobuho Nagasawa was raised in Europe and Japan, and received her Master’s degree at Hochschule der Künste in Berlin. She came to the United States in 1986 by invitation of the California Institute of the Arts, where she studied art, critical theory, and music. Nagasawa is a transdisciplinary artist whose site-specific and community responsive works explore the politics, ecology, and psychological dimensions of space and people. Her projects range from sculptural installation, architectural intervention, and time-based work to activism, and public art.  
 
Using time and process and community participation as critical components, her environments create experiences that are both tactile and sensory. Her artworks respond poetically to the architectural presence, social and cultural history, collective memory and political consciousness of their sites. Her recent works are shaped by her interest in the intersection of art, science, technology, sound, and synesthesia, a neuro-biological condition where the experiences of the five senses are combined.
 
She works in unconventional environments outside the mainstream art world and gallery settings. She revitalized a destroyed synagogue site in Berlin, turned abandoned World War II bunkers into motels for lovers, transformed the Turkish penitentiary into a sonic environment, paid tribute to the lost knowledge at the Alexandria Library in Egypt and flew kites with the local community in Fukushima after the nuclear disaster. Her works invite participation from their viewers, and she has collaborated with communities to reveal and address wounds from the past and give dignity to the healing process by juxtaposing the weight of the dark history with resilient and revitalizing poetic gestures. 
 
Nagasawa has participated in over 100 exhibitions internationally which includes; the Royal Garden of the Prague Castle (Czech Republic), Ludwig Museum (Germany and Hungary), Rufino Tamayo Museum (Mexico), Alexandria Library (Egypt), the Getty Center for the History of Art and Humanities (US).  She was invited to participate in Asian Art Biennial (Bangladesh, 2002), Book Art Biennial (Egypt, 2002, 2004, 2016), Sharjah Biennial (United Arab Emirates, 2003), Echigo-Tsumari Triennial (Japan, 2003), Sinop Biennial (Turkey, 2006), Setouchi Art Triennial (Japan, 2013, 2016), Fukushima Biennial (Japan, 2012, 2014, 2016), and Nakanojo Biennial (Japan, 2019) 
 
She is a recipient of numerous grants and fellowships including DAAD (German Academic Exchange Service), Berlin State Grant, Rockefeller Grant, California Arts Council Fellowships Award, Brody Arts Fund, and several Japan Foundation Grants. In New York, she was a recipient of the Marie Walsh Sharpe Foundation’s Space Program and Established Artist Fellowships.  In 2013, she received the State University Chancellor’s Award for Excellence in Scholarship and Creative Activities.
 
Her work has been published in books including Japanese Art After 1945: Scream Japanese Against the Sky (Alexandra Munroe, 1994), Lure of the Local: Senses of Place in a Multicentered Society (Lucy Lippard, 1997), Epicenter: San Francisco Bay Area Art Now (Mark Johnstone, Leslie Aboud Holzman, 2002), Art after the Bomb: Iconographies of Trauma in Late Modern Art  (Darrell Davisson, 2008), and “Critique of Art about Tenno Emperor System: Beauty and Universalism and Nature (Hiroyuki Arai, 2004). Her work has also been reviewed in Art in America, Art Asia Pacific, Sculpture, The Los Angeles Times, the San Francisco Chronicle, the Pittsburgh Tribune-Review, and The New York Times by Holland Cotter. 
 
In the field of public art, Nagasawa has been commissioned forty projects and has received numerous awards. She has also published master plans and worked in collaboration with architects and engineers for civic projects such as City Halls, government plazas, schools, libraries, parks and transportation projects. She is a three-time recipient of the “Excellence in Design Award,” the highest governments' public art honor, first in Los Angeles (1996) and then in New York (2006 and 2016) given by the Public Design Commissions. In 2019, Hunter's Point South Waterfront Park where she created a sculptural environment entitled “Luminescence” has been named the Best Urban Landscape Masterworks Award from the Municipal Arts Society.

 

 

ARTWORK

Nagasawa’s interdisciplinary art incorporates traditional media with technology; the artworks are often based on the natural elements of air, water, earth and fire which are transfigured. She uses sound, the sensory properties of space, light, interactive components and ready-made objects mutated to suit the hybrid needs of each project.


Nagasawa starts by exploring the sociological and psychological content of each site, like a forensic researcher, in order to identify the appropriate materials and media for the environment she aims to create. The concepts and materials are diverse; while the content initially informs the choice of materials, she also establishes a feed-back loop, in which the selected materials in their turn become influencers of the initial content, each enriching the other with unexpected signifiers. Through it, objective history is combined with the memories of space and time to create an intimate and unique relationship.

 

 

RECENT WORK

"Luminescence," 2017-ongoing is a site-specific, public installation on permanent view at Hunter's Point, Long Island City, New York and won the 2017 Excellence in Design award from the NYC Public Design Commission. It consists of seven, 6 ft diameter dome sculptures representing the seven phased of the moon. The mold was crafted using NASA topographic survey data collected by the Lunar Reconnaissance Orbiter (LRO) in order to render an accurate relief of the moon. The moon phases are represented through integrated phosphorus particles and reflective silicon carbide grains. During the day, the moons absorb sunlight, allowing them to glow soft blue at night. 

 

 

"Utsusemi (空蟬)," 2015 is a mixed media installation of sculpture, video and sound. The title of the work is derived from Japanese characters representing “emptiness” and “cicada,” meaning the shell of a cicada, and deals with an awareness of impermanence or Mono no Aware. The viewer enters the installation by walking on a rock salt path to approach 365 resin cicadas arranged in a logarithmic spiral. A video of the artist's throat is projected over the spiral while the sound of cicadas overlaps with the artist whispering "Come back to me," in both English and Japanese. 

 

"Voyage through the Void (Umi no Utsuwa)," 2013 is an installation first presented at the Setouchi Triennial on Shodoshima, Japan. The work is constructed of optical fiber woven in the style of traditional kimono weavers from Nishijin, Kyoto onto a stainless steel "tenma boat" frame with pulsating lights and sound. Nagasawa recorded the ebb and flow of the Inland Sea in Shodoshima and linked the pulsation of the lights with the waves. As a visitor lies in the boat, the color of the optical fiber will change based on their body movements, and the "heart beat" of the boat follows the pulsation of the Setouchi Island Sea.


"Umi no Utsuwa" has a double meaning: "Vessel (container) of the Sea," and "Vessel (womb) of birth/life." When translating to English, "vessel" becomes ship, so the English name was chosen as "Voyage through the Void," as the visitor voyages on the boat on a fleeting journey from the void to birth and traveling through life to the void at death. 

 

PAST INSTALLATION WORK

EXHIBITION HISTORY

SELECTED SOLO EXHIBITIONS

2021 - Westwood Gallery NYC, NY

2016 - "Liminality," University of Florida Gallery, Gainesville, FL
2016 - "Fist Size Survival," Children's Museum of Pittsburg, Pittsburg, CT
2000 - "Geography of Time," Museum of Art and History, Santa Cruz
2000 - "Passage of Time," Post Gallery, Los Angeles, CA
1999 - "Outdoor Sculpture Exhibition," Aquarena Springs, San Marcos, TX
1995 - "1945," Side Street Projects, Santa Monica, CA
1992 - "The Atomic Cowboy: The Daze After," Daniel Saxon Gallery, Los Angeles, CA
1991 - "Invisible Material," A.T. Gallery, Tokyo, Japan
1990 - "Myth of the Gods," German Culture Center, Tokyo, Japan
1989 - "Sound of Earth," Savoir Vivre Gallery, Tokyo, Japan
1987 - "Sound of Shapes," L-Shape Gallery, Valencia, CA
1987 - "Earth Drums," Sonrisa Gallery, Los Angeles, CA

 

SELECTED GROUP EXHIBITIONS

2019 - "explorations IN process," Westwood Gallery NYC, NY

2019 - "Women-Designed NYC," Louise McCagg Gallery, Barnard College, NYC, NY

2018 - Faculty Exhibition 2018, University Art Gallery, Staller Center for the Arts, Stony Brook, NY
2016 - Urban Institute for Contemporary Art, Grand Rapids, MI
2015 - Faculty Exhibition 2015, University Art Gallery, Staller Center for the Arts, Stony Brook, NY
2012 - "Toki no Otoshimono," Gallery Masuga, Fukushima, Japan
2011 - "Till All is Green," Miyako Yoshinaga Prospects, New York, NY
2010 - New York Academy of Art, New York, NY
2008 - "Berlin - New York Dialogues: Building in Context," Deutsches Architektur Zentrum, Berlin, Germany
2007 - "Berlin - New York Dialogues: Building in Context," The Center for Architecture, New York, NY
2007 - "Making a Home: Japanese Contemporary Artists in New York," Japan Society, New York, NY
2005 - "Atomica: Making the Invisible Visible," Nuke-Cuisine, Lombard-Fried Fine Arts and Esso Galleries, New York, NY
2004 - "Recent Visions," Clear Tooling, University Art Gallery, Staller Center for the Arts, Stony Brook, NY
2004 - "Mapping Chinatown: Making the Invisible Visible," Asian American Arts Centre, New York, NY
2002 - "In the Shadow of 9/11," Silk Road Place, New York, NY
2002 - "Artists to Artists: A Decade of The Space Program, An Exhibition of Works by 161 Artists from The Space Program of The Marie Walsh Harpe Art Foundation," Ace Gallery, New York, NY
1997 - "Silence No More: Remembering the Japanese-American Internment," Missing House, McHenry Library, University of California, Santa Cruz
1997 - "Faret Tachikawa Art Project," Dragonplane (public art), National Technical Museum, Prague, the Czech Republic
1996 - "UCSC Ladder Faculty Exhibition," Banned Censored, Challenged (public art), Mary Porter Sesnon Art Gallery, University of California, Santa Cruz
1995 - "Transformation," Terra-Mundi (installation), Apex Art Gallery, New York, NY
1994 - "Personally Defining Clay," The Atomic Cowboy (installation), Contemporary Arts Center, New Orleans, Louisiana
1994 - "How Long Can A Good Thing Last?" The Atomic Cowboy (mixed-media installation), Channing Peake Gallery, Santa Barbara, CA
1992 - "Braking Barriers: Re-visualizing the Urban Landscape," For the Birds (sculpture), Santa Monica Museum of Art, Santa Monica, CA
1991 - "Choice," Margo Leavin Gallery, Nuke-Cuisine, Los Angeles, CA
1991 - "27 Chairs," Shelter (sculpture), The Sunshine Mission: Casa de Rosas, Daniel Saxon Gallery, Los Angeles, CA
1989 - "Art and Democracy," Behind the Great Wall (installation), Merging One Gallery, Santa Monica, CA

 

SELECTED INTERNATIONAL INVITATIONAL EXHIBITIONS

2016 - "7th Fukushima Biennial," (installations), Fukushima, Japan
2016 - "3rd Setouchi Triennial, Kagawa, Japan
2016 - "7th Imagining the Books," Alexandria Library, Alexandria, Egypt
2014 - "5th Fukushima Biennial," (installations), Fukushima, Japan
2013 - "2nd Setouchi Triennial," (installations), Kagawa, Japan
2012 - "5th Fukushima Biennial," (installations), Fukushima, Japan
2011 - "The Value of Water," (installation), The Cathedral Church of Saint John the Divine, New York
2006 - "1st Sinopale Biennial," 7 installations and I.E.D. (installation), Sinop, Turkey
2005 - "1st Imagining the Book, International Biennale," (book), Alexandria Library, Egypt
2003 - "6th Sharjah International Art Biennial," Her render: she gives back naturally what is true in her nature (installation), Sharjak Museum, United Arab Emirates
2002 - "Imagining the Books," Vanishing (installation), Lost Knowledge (book), Alexandria Library, Alexandria Egypt
2002 - "10th Asian Art Biennale Bangladesh 2001," On the Edges of Time (installation), Osmani Memorial Hall and Shilpakara Academy, Dhaka, Bangladesh
1997 - "Between Earth and the Heavens: Aspects of Contemporary Japanese Art II," May 13th, 1996, 10 A.M. I called the Pentagon (installation), Rufino Tamayo Museum, Mexico City, Mexico
1996 - "Between Earth and the Heavens: Aspects of Contemporary Japanese Art II," May 13th, 1996, 10 A.M. I called the Pentagon (installation), Nagoya City Art Museum, Japan
1996 - "Origin and Myths of Fire: New Art from Japan, China and Korea," Celsius 233 (installation), Saitama Museum of Modern Art, Saitama, Japan
1993 - "Invisible Nature," Arcus (installation), Ludwig Museum, Budapest, Hungary
1993 - "Invisible Nature," Where are you going? Where are you from? (installation), Prague Castle, Prague, Czech Republic
1992 - "Urban Environment and Art in Japan," My Home Sweet Home in Ruins," (installation), Setagaya Art Museum, Tokyo, Japan
1991 - "Beyond the Manifesto," Babel (installation), Mito Annual '91, Art Tower Mito, Ibaragi, Japan
1987 - "Mythos Berlin," Tower of Babel-Berlin (sculpture), Traveling Exhibition in Europe

 

SELECTED EARTHWORKS

2014 - Earth Vortex, Boma, Tokunishima, Tokunoshima Art Project, Japan
2012 - Time Sculpture; Koro Pok-kuru, Millennium Forest, Tokachi, Hokkaido, Japan
1990 - Temple, Plano, Texas
1988 - Kiva, Ushimado, Okayama, Japan
1987 - Earthwork Process 7, Valencia, CA
1985 - Navel of the Earth, West Berlin, Germany
1985 - Rain Drum, Formine, Italy
1985 - Volcanoes, Florence, Italy
1985 - Spiral, West Berlin, Germany
1985 - Geodesic Dome, West Berlin, Germany
1984 - Noyaki, Tokoname, Japan

 

PRESS

Press coming soon.

 

PUBLICATIONS

2016 - Photos, Midori Yoshimoto, "Umi no Utsuwa and Earth Vortex: Nobuho Nagasawa Interweaves Oceanic and island Imageries.”
2016 - Photos and statement, “Liminality,” University of Florida Gallery, Gainesville, Florida 
2016 - Photos and statement, “7th Fukushima Biennial,” Fukushima, Japan
2016 - Photos and statement, “Imagining the Books Biennial,” Alexandria, Egypt
2015 - Photo and statement, Faculty Exhibition, Zuccaire Gallery, Staller Center for the Arts, Stony Brook, New York
2015 - Photos and statement, “7th Fukushima Biennial,” Fukushima, Japan 
2015 - Photos, Jonathan Goodman “The Poetics of Place and Time,” Sculpture September p. 34-39, photos
2014 - Photos, Midori Yoshimoto, Beyond ‘Japanese/Women Artists’ Transnational Dialogues in the Art of Nobuho Nagasawa and Chiharu Shiota, Third Text, 28:1, 67-81, photos
2014 - Hiroyuki Arai, Critique of Art about Tenno Emperor System: Beauty and Universalism and Nature 
2014 - Midori Yoshimoto, “Beyond Japanese Women Artists: Transnational Dialogues in the Art of Chiharu Shiota and Nobuho Nagasawa,” Third Text 2014, Vol. 28 No.1 p.67-81,Routledge 
2014 - Photos and statement, “6th Fukushima Biennial,” Fukushima, Japan 
2013 - Photos, Sagano, “Setouchi Art Triennial,” Kagawa, Japan
2012 - Photos, Midori Yoshimoto, "Contemporary Art at the Cathedral Church of St. John the Divine,” Art Action, History (Japanese academic journal), (January 5, 2012) No. 124, pp. 5-8
2012 - Photos and statement, “5th Fukushima Biennial,” Fukushima, Japan 
2012 - Photos and statement, “Hokkaido Garden Show,” Millennium Forest, Tokachi, Hokkaido, Japan 
2012 - Photos and statement, “Fourth State of Water,” Centre of Contemporary Art, Toruń, Poland 
2011 - Photo and statement, “The Value of Water,” The Cathedral Church of Saint John the Divine, New York 
2010 - Photo and statement, Faculty Exhibition, University Art Gallery, Staller Center for the Arts, Stony Brook, New York
2009 - “Berlin - New York Dialogues: Building in Context,” The Center for Architecture, Editor: AIA New York Chapter/Center For Architecture/Deutsches Architektur Zentrum, Berlin English/German
2009 - Photos, “Art and Nature Walk SurViving /AboutLive,” Foundation Nature Art Drenthe, the Netherlands  
2008 - Darrell D. Davisson, Art after the Bomb: Iconographies of Trauma in Late Modern Art, Author House p.205
2008 - Photo, Faculty Exhibition 2008, University Art Gallery, Staller Center for the Arts, Stony Brook, New York
2007 - Photos, Panta Rhi, Yumi Kori, Weekly Asahi 
2007 - Photos, “Japanese Meeting Point,” 2B Gallery, (www.pipacs.hu/2b) Budapest, Hungary
2007 - Photos, “Making A Home” Japanese Contemporary Artists in New York, New York,
2006 - Midori Yoshimoto, "Beyond Memories of Wars and Conflicts: Healing Art of Nobuho Nagasawa," Image and Gender (Japanese academic journal), vol. 6 (March 2006), pp. 58-64.
2006 - “Sotheby’s Contemporary Art Asia: China • Korea • Japan,” (installation) New York, New York 
2006 - Photos, Sinopale, “1st Sinop Biennial,” Sinop, Turkey 
2005 - Statement and photos, Arune, Shape of Life
2005 - Photo, Faculty Exhibition, University Art Gallery, Staller Center for the Arts, Stony Brook, New York    
2005 - Photos, “The 1st International Biennial for Artist Books,” Alexandria Library, Egypt
2004 - Midori Yoshimoto, "Reflections on Creative Collaborations in Contemporary Art: Collaborative Art of Nobuho Nagasawa," The Academic forum (New Jersey City University), vol. 13, no. 2 (2004), pp. 1, 55-61. 
2004 - Photos, and statement, “Recent Visions,” Clear Tooling, University Art Gallery, Staller Center for the Arts, Stony Brook, New York
2003 - Photo, Faculty Exhibition 2003, University Art Gallery, Staller Center for the Arts, Stony Brook, New York    
2003 - Photos, “2nd Echigo-Tsumari Art Triennial”, Niigata, Japan
2003 - Photos, “6th Sharjah International Art Biennial”, Sharjah Mesuem, United Arab Emirates
2002 - Mark Johnstone, Leslie Aboud Holzman Epicenter: San Francisco Bay Area Art Now Chronicle Books, pp.172-177 (photos) 
2002 - Photos, “Imagining the Books”, Alexandria Library, Alexandria, Egypt 
2002 - Photos, Landscape of Life, “Artists to Artists: A Decade of The Space Program, An Exhibition of Works by 161 Artists from The Space Program of the Marie Walsh Sharpe Art Foundation,” Ace Gallery, New York, New York
2002 - Photos and statement, 10th Asian Art Biennale Bangladesh, Osmani Memorial Hall and Shilpakara Academy, Dhaka, Bangladesh
2001 - Photo, Faculty Exhibition 2001, University Art Gallery, Staller Center for the Arts, Stony Brook, New York
2000 - Photos, New Urban Plaza for the 21st Century, Landscape Design Winter 2000, No. 22 p.32
2000 - Photos and statement, Echigo-Tsumari International Art Triennial 2000, Niigata, Japan
1999 - Statement and photos in 1998/99 Visual Arts Fellowship, California Arts Council Web site: http://www.cac.ca.gov/secondary_page/gallery_pg.htm 
1999 - Photo and statement, Far West-Far East, “Arborescence,” Paradise Wood Sculpture Grove, Santa Rosa, California 
1997 - Lucy R. Lippard, The Lure of the Local: Senses of Place in A Multicentered Society, New Press, New York, p.67 (photos)
1997 - Takashi Serizawa, Wander on this Planet: Alternative Way of Life in the Age of Internet, Iwanami Shoten Tokyo, pp.26-27
1997 - Photos and statement, May 13th, 1996, 10 A.M. I called the Pentagon, “Between Earth and the Heavens: Aspects of Contemporary Japanese Art II,” Rufino Tamayo Museum, Mexico City, Mexico 
1996 - Photos and statement, Celsius 233, “Origin and Myths of Fire: New Art from Japan, China and Korea,” Saitama Museum of Modern Art, Saitama, Japan  
1996 - Photos and statement, May 13th, 1996, 10 A.M. I called the Pentagon, “Between Earth and the Heavens: Aspects of Contemporary Japanese Art II,” Nagoya City Art Museum, Nagoya, Japan 
1995 - Mitsuhiro Kimura, Fram Kitagawa, Faret Tachikawa Art Project: A “New Century for City and Public Art,” Gendai Kikaku Shitsu, Tokyo, Japan, p.155, pp. 233-234, p. 267 (photos and statement)
1995 - Statement and photos, The World of Public Art, Taiyo, p.39, p.147
1995 - Statement and photos, West Coast Clay, Artweek, Vol. 26, No. 5, San Francisco, California (May)
1995 - Photo and statement, Nucleus, “Exploring A Movement: Feminist Visions In Clay: Society and Politics,” Downey Museum of Art, Downey, California  
1995 - Drawing, photos and statement, Bunker Motel:  Emergency Womb, “Peace Sculpture 1995, I, II,” Jutland, Denmark 
1995 - Photo and statement, Barefoot, “Sense of Loss, Feathers, and Footprints:  An Exhibition of Environmental Art,” University Art Gallery, California State Polytechnic University, Pomona, California
1995 - Photos and statement, Orient•a•tion, “A Gathering Place: Artmaking by Asian/Pacific Women in Traditional and Contemporary Directions,” Pacific Asia Museum, Pasadena, California 
1995 - Photo, Kiva, “Japanese Art After 1945: Scream Against the Sky,” Guggenheim Museum, New York, New York 
1994 - Photos, “Verbogene Natur-Shizen,” Ludwig Forum für Internationale Kunst, Aachen, Germany 
1994 - Photo and statement, The Atomic Cowboy, “Personally Defining Clay,” Contemporary Arts Center, New Orleans, Louisiana    
1994 - Drawing and statement, Mappa Mundi: Geo Politics/Geo Art: “Connections 2: Explorations in the Getty Center Collections,” The Getty Center for the History of Art and the Humanities, Santa Monica, California 
1994 - Photo, Kiva, “Japanese Art After 1945: Scream Against the Sky,” Yokohama Museum of Art, Yokohama, Japan
1993 - Statement and photos, “Artist Talk,” A.N. Press, Vol. 8, Tokyo, Japan (August)
1993 - Statement and photos, “Art in the Environment/Environment in Public,” A.T.E. Workshop Report, P3xNEC, P3 Art and Environment, Tokyo, Japan (June)
1993 - Photos, “Invisible Nature,” Ludwig Museum, Budapest, Hungary
1993 - Photos, “Invisible Nature,” Prague Castle, Prague, the Czech Republic
1992 - Alexandra Munroe, Japanese Art After 1945: Scream Against the Sky, Abrams, Inc. New York pp.268-269 (photo)
1992 - Yuji Maeyama, Contemporary Artists in Japan: Sculptors and Installation Artists, pp.166-167
1992 - Nobuho Nagasawa, Toh Vol. 50, Process 1984–1990, Kyoto Shoin, (November 25, 1992) Designed, images and text by Nobuho Nagasawa
1992 - Photos and statement, My Home Sweet Home in Ruins, “Urban Environment and Art: My Home Sweet Home in Ruins,” Setagaya Art Museum, Tokyo, Japan 
1992 - Photo, “New Sounds in New Shapes,” Hollywood Bowl Museum, Los Angeles, California
1991 - Statement and photos, “What is the Relationship between the Artist and the Society?” Atelier, No. 775, Tokyo, Japan (September)
1991 - Photos, “Invisible Material,” A.T.Gallery, Tokyo, Japan 
1991 - Drawing, Shelter, “27 Chairs,” The Sunshine Mission: Casa de Rosas, Daniel Saxon Gallery, Los Angeles, California 
1991 - Drawing, photos and statement, Babel, “Beyond the Manifesto,” Mito Annual ‘91 Vol. I, II, Art Tower Mito, Ibaragi, Japan
1990 - Photos and statement, “Artists Today,” Yokohama Citizen’s Gallery, Yokohama, Japan 
1990 - Photo, Kiva, “Japanese Clay Work Today,” Tochigi Prefecture Museum of Fine Arts, Tochigi, 
1987 - Photo, “Universiada International Art Exhibition,” Kobe, Japan
1987 - Photo and statement, Tower of Babel-Berlin, “Mythos Berlin,” Traveling Exhibition in Europe
1985 - Photos, “Hochschule der Künste Berlin FB1 Exhibition,” Germany

 

 

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