New Yorker: Kishio Suga

April 16, 2018

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Black, white, and the tawny hues of bare wood dominate the Japanese artist’s geometric abstractions, hybrids of painting and assemblage. Color brings moments of drama. In “Elapsing Zones,” tree branches alternate with wooden dowels to create vertical stripes against a blue background. In the more austere “Intersection of Elapsed Factors,” the same materials are used to form a giant “X” against celadon. Suga, who is also known for more evanescent and site-specific works, was a key figure of the Mono-ha (“school of things”) movement, an alchemical confluence of Minimalism, land art, and Arte Povera, which emerged in Tokyo in the late nineteen-sixties. The wall-mounted works here, with their subtle optical effects and deft juxtapositions, are durable counterparts to more ephemeral but no less powerful installations, fashioned from stones, plastic sheeting, wire, and wood.

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