23. NOGUCHI AND MARTHA GRAHAM, PASSIONATE COLLABORATORS

  1. Kazuyuki Nimura et al., interview with IN, in “Isamu Noguchi on Gardens, Sculpture and Architecture,” translated by the Noguchi Museum, Hirobu 228 (April 1983): 47–50.

  2. Sc W, 125.

  3. Graham, Blood Memory, 223.

  4. Sc W, 29.

  5. IN, notes for a planned autobiography, NA.

  6. Agnes de Mille, Martha: The Life and Work of Martha Graham (New York: Random House, 1956), 211.

  7. Sc W, 125.

  8. Ibid., 126.

  9. Ibid.

10. Martin L. Friedman, Noguchi’s Imaginary Landscapes, exhibition catalogue (Minneapolis: Walker Art Center, 1978), 30.

11. Sc W, 122.

12. Graham, Blood Memory, 218–19.

13. Ibid.

14. “Noguchi: The Sculptor Acclaimed for Stage Settings and Designs for Ballet,” in Art Voices from Around the World, December 1962, 20, NA.

15. Sc W, 29.

16. Quoted in Harold C. Schonberg, “Isamu Noguchi, Throwback,” The New York Times Magazine, April 14, 1968, 29.

17. Ashton, 56.

18. Sc W, 123.

19. Friedman, Imaginary Landscapes, 23.

20. Malitte Matta, interviewed by the author.

21. Friedman, Imaginary Landscapes, 29.

22. Robert Tracy, Goddess: Martha Graham’s Dancers Remember (New York: Limelight Editions, 1997), 274.

23. Graham, Blood Memory, 232.

24. IN, “Tribute to Martha Graham,” in Essays and Conversations, 122.

24. THE ROCK AND THE SPACE BETWEEN

  1. Sc W, 28.

  2. IN, “On the Structure and Carving of Bronze Plate.”

  3. KK, 108.

  4. Essays and Conversations, 35.

  5. KK, 108.

  6. Margaret Sheffield, “Perfecting the Imperfect: Noguchi’s Personal Style,” Artforum 18, no. 8 (April 1980): 69–70.

  7. Valerie J. Fletcher, “Isamu Noguchi: Master Sculptor,” in Isamu Noguchi: Master Sculptor, exhibition catalogue (New York: Whitney Museum of American Art, 2005), 89.

  8. KK, 108.

  9. Reproduced in Hess, “Isamu Noguchi,” 35.

10. KK, 108.

11. Thomas B. Hess, “The Whitney Draws Slowly to the Left,” Art News 45, no. 1 (March 1946): 62.

12. IN, statement in Fourteen Americans, exhibition catalogue (New York: Museum of Modern Art, 1946), reprinted in Essays and Conversations, 24.

13. Hess, “Isamu Noguchi,” 48–49.

14. Ibid., 34.

15. Ibid., 49.

16. Quoted in Michel Gill, “Stones and Paper: The Work of Isamu Noguchi,” Humanities 18, no. 3 (May–June 1997): 18.

17. Joe Gibbs, “Fourteen Americans at the Modern,” Art Digest 20 (September 1946): 30.

18. Japanese-American Sculptor Shows Weird New Works,” Life, November 11, 1946, 12–13, 15.

25. TARA

  1. Duus, 189.

  2. IN and Nayantara Pandit, postcards to Frida Kahlo, NA.

  3. Nayantara Pandit, letters to IN, NA.

  4. Duus, 201.

26. 1946–48

  1. Essays and Conversations, 85.

  2. Sc W, 130.

  3. Merce Cunningham, interviewed by the author, New York City, February 13, 2007.

  4. Sc W, 130.

  5. David Vaughan, “Merce Cunningham’s The Seasons,” Dance Chronicle 18, no. 2 (1995): 314.

  6. Ibid., 316.

  7. Merce Cunningham, interviewed by the author.

  8. Sc W, 131.

  9. Unidentified newspaper, n.d., clipping, NA.

10. Nicolas Calas, essay in Bloodflames, exhibition catalogue (New York: Hugo Gallery, 1947), n.p.

11. Kobata interview, 54.

12. YN, letter to IN, May 6, 1947, NA.

13. IN, letter to Yone Noguchi, May 15, 1947, NA.

14. Duus, 207.

15. Friedman, Imaginary Landscapes, 45.

16. Mus. Cat., 152.

27. IMPASSE

  1. Ashton, 79.

  2. IN, “Meanings in Modern Sculpture,” Art News 48, no. 3 (March 1948): 12–15, 55–56, reprinted in Essays and Conversations, 33–36.

  3. IN, “Contemporary Documents: Towards a Reintegration of the Arts,” College Art Journal 9 (1949): 59–60, reprinted in Essays and Conversations, 27–28.

  4. Gaston de Havenon, “Reminiscence of Gorky,” handwritten manuscript in the collection of the Archives of American Art, New York. For the story of Gorky’s suicide see Hayden Herrera, Arshile Gorky: His Life and Work (New York: Farrar, Straus and Giroux, 2004), 605.

  5. IN, interviewed by Karlen Mooradian, 1966, tape recording, Eastern Diocese of the Armenian Church of America, New York.

  6. Sc W, 30.

  7. Katharine Kuh, interviewed by Matthew Spender, in Spender, From a High Place (New York: Knopf, 1999), 368.

  8. Sc W, 30.

  9. Diane Rosenberg Karp, “Arshile Gorky: The Language of Art,” Ph.D. dissertation, University of Pennsylvania, 1982, 37.

10. Mooradian interview.

11. Sc W, 30.

12. Mooradian interview.

13. Sc W, 30.

14. Mark Stevens and Annalyn Swan, De Kooning: An American Master (New York: Knopf, 2004), 221–25.

15. Sc W, 29.

16. The New York Times, March 6, 1949, clipping, NA.

17. Judith Kaye Reed, review of Noguchi’s show at the Charles Egan Gallery, Art Digest (March 1949), 12, clipping, NA.

18. Clement Greenberg, “Art,” The Nation, March 19, 1949, 341.

19. Sc W, 29.

28. BOLLINGEN TRAVELS

  1. Cummings interviews, 46.

  2. The Bollingen Foundation, which took its name from Bollingen Tower, Carl Jung’s country home in the Swiss town of Bollingen, had been set up in 1945 to support scholarly study and intercultural activities. The foundation’s ideology was imbued with Jungian thought, and its initial purpose was to disseminate Jung’s work. Until 1968, when it became inactive and was subsumed into the Andrew W. Mellon Foundation, the Bollingen Foundation granted over 300 fellowships and published some 250 books by writers such as Joseph Campbell, D. T. Suzuki (Zen and Japanese Culture), and Alan W. Watts (The Way of Zen).

  3. Sc W, 29–30.

  4. Ibid., 29.

  5. Michael Brenson, “Noguchi Gets MacDowell Medal for a Life’s Work,” New York Times, July 19, 1982.

  6. Cummings interviews, 46.

  7. BM, 17.

  8. Cummings interviews, 55.

  9. BM, 1.

10. Ibid., 2.

11. IN, “Noguchi on Brancusi,” 113–14.

12. BM, 3.

13. Ibid.

14. IN, Bollingen notes, n.d., NA.

15. Ibid.

16. BM, 5.

17. Ibid., 7.

18. Ibid., 8.

19. Ibid.

20. IN, letter to Jawaharlal Nehru, January 7, 1950, NA.

21. BM, 9.

22. Ibid., 11.

23. Ibid., 13.

24. Sc W, 31.

29. HARBINGER PIGEON

  1. BM, 15.

  2. Sc W, 31.

  3. IN, “The Artist and Japan: A Report of 1950,” unpublished manuscript of his report to the Bollingen Foundation, 3, NA.

  4. Duus, 208.

  5. Cummings interviews, 60.

  6. IN, “The Artist and Japan,” 1.

  7. IN, “Notes by the Artist on His Recent Work in Japan,” Arts and Architecture 67, no. 11 (November 1950): 24–27.

  8. IN, “The Artist and Japan,” 2.

  9. Ibid.

10. Ibid., 3.

11. IN, “Geijutsu to shudan shakai—Art and Community,” Bijutsu techo 31 (July 1950): 3–5, quoted in Duus, 209. According to Noguchi’s friend the sculptor Tsutomu Hiroi, who was in the audience and met Noguchi the following day, the painter Takeo Terada served as translator. Hiroi recalls that after the lecture he asked Terada to write a letter of introduction for him to meet Noguchi. “So I made an appointment to meet Noguchi at his family’s new built house.” Tsutomu Hiroi, interviewed by the author, Tokyo, October 24, 2009.

12. Cummings interviews, 48.

13. Ashton, 91.

14. Saburo Hasegawa, “My Time with Isamu Noguchi,” Geijutsu-Shincho, typed translation, NA.

15. Saburo Hasegawa, “The Isamu Noguchi Exhibition,” in the exhibition catalogue for Noguchi’s 1952 show at the Kamakura Museum of Modern Art, unpublished translation, NA.

16. Hasegawa, “My Time with Isamu Noguchi,” n.p.

17. Ibid.

18. Sc W, 31.

19. Hasegawa, “My Time with Isamu Noguchi.”

20. Saburo Hasegawa, quoted in article in The New York Times, n.d., clipping, NA.

21. IN, “The Artist and Japan,” 4.

22. Saburo Hasegawa, Roh (Sha San Sei: Japan, 1951).

23. Hasegawa, “My Time with Isamu Noguchi.”

24. IN, “The Artist and Japan,” 4.

25. IN, unpublished text, NA, quoted in Ashton, 111.

26. BM, 16.

27. Ashton, 107.

28. Ibid., 109.

29. BM, 16.

30. Ashton, 102.

31. Ibid.