Toko Shinoda

Quietude. Abstract Painting (1979) by Toko Shinoda

1979

Sam FRANCIS (1923-1994) THE YELLOW AND WHITE SQUARE Signed, titled and dated 1959 on the reverse Watercolor on paper 11 by 10 in. (27.9 x 25.4 cm.) Executed in 1959 This work is identified with the interim identification number of SF58-133 in consideration for the forthcoming Sam Francis: Catalogue Raisonné of Unique Works on Paper. PROVENANCE Zoe Dusanne...

Sam Francis (1923‐1994) UNTITLED [SF69-005] acrylic on paper 104.7 x 74.9 cm (41 1/4 x 29 1/2 in) Executed in 1969 Signed and dated on the base This work is identified with the int...

Sol LeWitt (1928-2007) Untitled Gouache on Paper 28.5 x 37.5 cm (11 1/4 x 14 3/4 in) Executed in 1995 Signed and dated 95 lower right Provenance Marco Noire Contemporary Art Turin...

Tadashi Sugimata (1914-1994) WORK P oil on canvas 162.3 x 112.1 cm (63 3/4 x 44 1/8 in) Executed in 1963 Signed Signed and titled in Japanese in the back This work is accompanied...

Senkichiro Nasaka (1923-2014) WORK Mixed media on paper 34 x 22 cm (13.4 x 8.7 in) not considering the frame Executed in 1962 The present work is one of the few paintings pre-dating Senkichiro Nasaka’s affiliation to the Gutai Group. The particular choice of means and technique, inspired by Senkichiro Nasaka’s mastery of both Japanese and Western painting, conveys the semblance of geological accretions, and clearly adheres to Jiro Yoshihara’s motto: “create what has never been done before” About the Artist: Born in Osaka Prefecture in 1923, in 1942 Senkichiro Nasaka entered the Kyoto City Painting University. where he was a contemporary of Kazuo Shiraga. In 1960s he made a career switch from Japanese traditional painting to Western style oil painting, creating works under the influence of the informel style. In 1965 Nasaka presented his work to the 15th Gutai Art...

Senkichiro Nasaka (1923-2014) WORK Mixed media on paper 15.5 x 40 cm ( 6 ¹/₈ x 15 ³/₄ in) not considering the frame Executed in 1962 The present work is one of the few paintings pre-dating Senkichiro Nasaka’s affiliation to the Gutai Group. The particular choice of means and technique, inspired by Senkichiro Nasaka’s mastery of both Japanese and Western painting, conveys the semblance of geological accretions, and clearly adheres to Jiro Yoshihara’s motto: “create what has never been done before” About the Artist: Born in Osaka Prefecture in 1923, in 1942 Senkichiro Nasaka entered the Kyoto City Painting University. where he was a contemporary of Kazuo Shiraga. In 1960s he made a career switch from Japanese traditional painting to Western style oil painting, creating works under the influence of the informel style. In 1965 Nasaka presented his work to the 15th Gutai Art...

Poured beeswax work by Mary Early from her "Study for Līnea" series. "The production, or “pouring,” of beeswax elements has become a meditative process that is integral to my art practice, serving as an observation of time, materials, and space. The raw beeswax I use has taken its form at the end of a long series of natural processes followed by a manufacturing process, and once it is in my hands, the studio becomes a factory. I apply my own methods of transforming the material by casting the beeswax into three-dimensional forms. Once I have fixed both a place and a time in the future for a potential installation, I begin to determine how the beeswax lines will take their aggregated shape in that space and, simultaneously, how many lines might be manufactured for that particular space in the amount of time available." Mary Early (born 1975, Washington, DC) lives and works in Washington, DC. She studied visual art, film, and video at Bennington College, and her work has been exhibited at the United States Botanic Garden, Washington Project for the Arts, the Corcoran Gallery of Art, Second Street Gallery (Charlottesville, VA), Hemphill Fine Arts (Washington DC,) the Austrian Cultural Forum (Washington DC), Galerie Im Ersten (Vienna, Austria), Kloster Schloss Salem (Salem, Germany), Kunstlerbund Tubingen (Tubingen, Germany), and the American University Museum (Washington DC) among other regional and national galleries. Her early work incorporated formed concrete, tarpaper and paraffin wax, fabricated wood structures, and, increasingly over the years, surfaces coated with wax as a method of preserving or concealing an object within. Recent works have relied solely on solid forms cast in wax, abandoning the use of any permanent armature. Temporary installations are guided by schematic drawings and plans, which then serve as a permanent record. In 2014 she exhibited her first large-scale installation of wax lines at Second Street Gallery in Charlottesville, VA, followed by temporary installations in response to various historical sites in Salem, Germany (2016) and Tubingen Germany (2017). In 2017 she participated in the exhibition “Twist-Layer-Pour” at the American University Museum, which included Untitled [Curve], an installation of thousands of beeswax lines assembled on the floor of the museum. In spring 2018 she was commissioned to create a temporary installation at the Sun Valley Center for the Arts, Sun Valley Idaho. This work took the form of two intersecting curtains of hanging beeswax lines bisecting a 12’ foot x 18’ foot room, providing an immersive and enclosed viewing space. Early’s work is included in the collections of the US Department of State/Embassy of Panama, Kimpton Hotels, and the District of Columbia Art Bank among other public and private collections. She is a recipient of the Artist Fellowship Grant from the DC Commission on Arts & Humanities, Washington DC (2020, 2019, 2018, 2017, 2016, 2015, 2014, 2011, 2009, 2007). Early is the director of HEMPHILL Fine Arts, Washington, DC, and serves on the boards of Hamiltonian Artists and Washington Sculptors Group. She handles the work of contemporary artists and artist estates, including the work of William Christenberry, Colby Caldwell, Hedieh Javanshir Ilchi, Linling Lu, Mingering Mike, Robin Rose, Renée Stout...

Poured beeswax work by Mary Early from her "Study for Līnea" series. "The production, or “pouring,” of beeswax elements has become a meditative process that is integral to my art practice, serving as an observation of time, materials, and space. The raw beeswax I use has taken its form at the end of a long series of natural processes followed by a manufacturing process, and once it is in my hands, the studio becomes a factory. I apply my own methods of transforming the material by casting the beeswax into three-dimensional forms. Once I have fixed both a place and a time in the future for a potential installation, I begin to determine how the beeswax lines will take their aggregated shape in that space and, simultaneously, how many lines might be manufactured for that particular space in the amount of time available." Mary Early (born 1975, Washington, DC) lives and works in Washington, DC. She studied visual art, film, and video at Bennington College, and her work has been exhibited at the United States Botanic Garden, Washington Project for the Arts, the Corcoran Gallery of Art, Second Street Gallery (Charlottesville, VA), Hemphill Fine Arts (Washington DC,) the Austrian Cultural Forum (Washington DC), Galerie Im Ersten (Vienna, Austria), Kloster Schloss Salem (Salem, Germany), Kunstlerbund Tubingen (Tubingen, Germany), and the American University Museum (Washington DC) among other regional and national galleries. Her early work incorporated formed concrete, tarpaper and paraffin wax, fabricated wood structures, and, increasingly over the years, surfaces coated with wax as a method of preserving or concealing an object within. Recent works have relied solely on solid forms cast in wax, abandoning the use of any permanent armature. Temporary installations are guided by schematic drawings and plans, which then serve as a permanent record. In 2014 she exhibited her first large-scale installation of wax lines at Second Street Gallery in Charlottesville, VA, followed by temporary installations in response to various historical sites in Salem, Germany (2016) and Tubingen Germany (2017). In 2017 she participated in the exhibition “Twist-Layer-Pour” at the American University Museum, which included Untitled [Curve], an installation of thousands of beeswax lines assembled on the floor of the museum. In spring 2018 she was commissioned to create a temporary installation at the Sun Valley Center for the Arts, Sun Valley Idaho. This work took the form of two intersecting curtains of hanging beeswax lines bisecting a 12’ foot x 18’ foot room, providing an immersive and enclosed viewing space. Early’s work is included in the collections of the US Department of State/Embassy of Panama, Kimpton Hotels, and the District of Columbia Art Bank among other public and private collections. She is a recipient of the Artist Fellowship Grant from the DC Commission on Arts & Humanities, Washington DC (2020, 2019, 2018, 2017, 2016, 2015, 2014, 2011, 2009, 2007). Early is the director of HEMPHILL Fine Arts, Washington, DC, and serves on the boards of Hamiltonian Artists and Washington Sculptors Group. She handles the work of contemporary artists and artist estates, including the work of William Christenberry, Colby Caldwell, Hedieh Javanshir Ilchi, Linling Lu, Mingering Mike, Robin Rose, Renée Stout...

In Amid The Blue Waves color, line, shape, and texture collide with handwritten romantic fragments of prose on Kozuke ivory paper. This one-of-a-kind, unmounted encaustic monotype il...

A painting on paper set in a white shadow box frame, 51.5x50" framed, protected by an acrylic glazing. Known for his erratic and expressive abstract works, Daniel Diaz-Tai uses vari...

A painting on paper set in a white shadow box frame, 44.5x71.5" framed, protected by an acrylic glazing. Known for his erratic and expressive abstract works, Daniel Diaz-Tai uses va...

A painting on paper set in a white shadow box frame, 30x 22" framed, protected by an acrylic glazing. Known for his erratic and expressive abstract works, Daniel Diaz-Tai uses vario...