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Jun KanekoFour Ceramic Tiles - Blue1996
1996
$60,000
£46,077.42
€52,804.16
CA$84,465.18
A$94,619.67
CHF 49,305.47
MX$1,154,164.68
NOK 626,559.48
SEK 590,800.93
DKK 394,115.76
About the Item
Blue Rain Glaze on White, Dutch Series (28.5 x 21.5 x 2.5 inches, each)
Publication, Jun Kaneko, Dutch Series Between Light and Shadow, page 48
b. 1942, Nagoya, Japan
Jun Kaneko’s most recognized sculptural form is the boldly glazed, monumental dango (Japanese for “rounded form”). An enormous, rounded monolith, the dango presents visual pleasure and straightforward formal delight. As the distinguished philosopher and critic Arthur C. Danto has noted, “They communicate instantaneously their friendly and reconciling assurances, and wear the real world as well as the brilliant coverings that Kaneko has given them.”
When Kaneko first arrived in Los Angeles from Japan in 1963, he stayed at the home of legendary collector Fred Marer. An aspiring young painter, Kaneko was exposed to a comprehensive collection of revolutionary work by ceramic artists such as John Mason, Peter Voulkos, Jerry Rothman and Ken Price. The portentous encounter with those artists’ work, now four decades old, was a formative experience. “Once I saw all of this,” Kaneko has said, “it was impossible not to be interested in ceramics.”
Jun Kaneko, born in Nagoya, Japan in 1942, has consistently followed his own path and continually experimented with the technical aspects of the ceramic medium. His enormous dango forms, which range as high as eleven feet, challenge the physical limitations of the material and the firing process. Also, in his work at the European Ceramics Work Center, he has succeeded in applying extraordinary glaze color to ceramic tile and slabs, boldly painting in a direct and graphic manner.
Kaneko’s innate architectural abilities figure prominently throughout his work and his installations. Early in his career, the artist spent over three years building a compound of structures, including a studio, near Nagura, Japan. He still maintains an active interest in building, and is currently working on a large-scale project in Omaha, Nebraska. As Kaneko wrote in 1996, “Oftentimes I am asked why I make such large-scale work. In making any object, we cannot escape the problems of scale. I believe each form has one right scale. Whether I’m making a large or small object, in the end I hope it will make sense to have that particular scale and form together and that it will give off enough visual energy to shake the air around it.”
The artist’s sense of spatial organization has afforded him the opportunity to realize several public sculpture commissions, including the Phoenix Airport, a station for the Boston Subway, the Detroit People Mover, the Waikiki Aquarium and over a dozen others. These are in addition to his impressive list of works in major museum collections, such as the Philadelphia Museum of Art, The Los Angeles County Museum of Art, The De Young Museum in San Francisco, the Shigaraki Museum, and thirty others.
- Creator:Jun Kaneko (1942, Japanese, American)
- Creation Year:1996
- Dimensions:Height: 28.5 in (72.39 cm)Width: 92 in (233.68 cm)Depth: 2.5 in (6.35 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:signature on verso Publication, Jun Kaneko, Dutch Series Between Light and Shadow, page 48 Blue Rain Glaze on White, Dutch Series (28.5 x 21.5 x 2.5 inches, each).
- Gallery Location:Phoenix, AZ
- Reference Number:1stDibs: LU13715160602
Jun Kaneko
Jun Kaneko is a Japanese-born American ceramic artist and painter. He is largely known for his large-scale hand-built clay sculptures he calls dangos, which is Japanese for dumpling and refers to their rounded forms. Reaching heights of at least eight feet, these monumental, often abstract ceramic works are aimed at civic engagement and are intended to promote viewers to get involved in issues of public concern.
Kaneko began to explore his creative side during his high school years in Japan where he studied painting. In 1963, Kaneko moved to the United States and continued his studies at the Chouinard Art Institute.
Kaneko was drawn to ceramic sculpture after having been introduced to Fred Marer, a professor of mathematics at Los Angeles City College and a lifelong collector of contemporary ceramics. Marer had built deep relationships with the major West Coast ceramic artists that were represented in his vast collection — which was later donated to Scripps College — and owing to Kaneko’s connection to Marer, the budding Japanese artist studied during the mid-1960s with the likes of Peter Voulkos, Paul Soldner and Jerry Rothman, each a seminal figure in the development of American contemporary ceramics.
Kaneko later taught at art schools and, in 1986, moved to Nebraska, which is his primary residence today. In 1990, Kaneko opened his third studio in Nebraska and has also worked at a variety of experimental studios in the United States, Asia and Europe.
Over the years Kaneko has created costumes and sets for opera productions and has built more than 70 large-scale public installations — both temporary and permanent. His work can be seen in Canada, China and Jakarta, in locations across the United States and elsewhere. Kaneko’s sculptures are also held in the collections of more than 80 museums. The ceramist has received a number of awards over the years including a Commendation from the Minister of Foreign Affairs of Japan, a Gold Medal for Consummate Craftsmanship from the American Craft Council and a Lifetime Achievement Award from the International Sculpture Center.
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