prospectus moderntwist

modern twist Contemporary Japanese Bamboo Art

Traveling Exhibitions

Mimura Chikuho, Hope, detail, 2004, bamboo (madake), rattan, lacquer. Courtesy of the Clark Family Collection, photo by Susan Einstein.

All images courtesy of the Clark Center for Japanese Art and Culture

International Arts & Artists 9 Hillyer Court NW, Washington, DC 20008Phone 202.338.0680 Fax 202.333.0758 www.artsandartists.org


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Bamboo is a quintessential part of Japanese culture, shaping the countrys social, artistic, and spiritual landscape. Although bamboo is a prolific natural resource, it is a challenging artistic medium. There

are fewer than 100 professional bamboo artists in

Japan today. Mastering the art form requires decades of

meticulous practice while learning how to harvest, split, and

plait the bamboo. Modern Twist brings 38 exceptional works

by 17 artists to U.S. audiences, displaying many of these

technically innovative and imaginatively crafted works for the

first time.

Modern Twist explores the evocative, sensual, and sculptural power of contemporary bamboo art.

Uematsu Chikuyu, Sound of Wind, 1991, bamboo (madake), rattan, lacquer. Courtesy of Alexandra & Dennis Lenehan, photo by Susan Einstein.



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In Japan, functional objects have been woven from bamboo for thousands of years. The blossoming of bamboo as a sculptural art form has religious and cultural roots. By the 8th century, bamboo baskets filled with flowers were incorporated into Buddhist ceremonies. Flower petals from these baskets were offered to deities in sacred rituals. During the 15th to 16th centuries, bamboo vases, tea scoops, ladles, and whisks became important features of Japanese traditions, such as flower arrangements (ikebana) and tea gatherings (chanoyu and senchado).

Over the past century, the creativity and talent of bamboo basket makers has elevated their status from artisan to artist. These artists have redefined aesthetic conventions as their creations have evolved from functional vessels to increasingly sculptural objects.

Bamboo sculpture is a vibrant cultural art form. The artists in Modern Twist have a deep respect for their medium, celebrating the resilience, strength, and integrity of bamboo.

The exhibition is curated by Dr. Andreas Marks, head of the Department of Japanese and Korean Art and director of The Clark Center at the Minneapolis Institute of Arts.Sugiura Noriyoshi, Sailing, 2010, bamboo (madake), rattan. Courtesy of Eric and Karen Ende.

Unlike the ceramist, for whom the fires of the kiln play an important role in the outcome, the bamboo artist bears full responsibility for every step of the creative process. Without splitting the bamboo and working through each of the various steps oneself, one cannot get the feel of each individual bamboo culm and thus know for what kind of piece it will be best suited. And there are no shortcuts in bamboothere is no way to mechanize the process.

- Fujinuma Noboru, Modern Twist artist



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Honma Hideaki, Shore II, 1995, bamboo (madake), lacquer. Courtesy of Eric and Karen Ende. Honma Hideaki, Mystery, 2000, bamboo (madake, menyadake). Courtesy of the Clark Family Collection, photo by Susan Einstein.

I wondered if I might capture that spontaneous feel of nature in my baskets. Because I am a farmer, I understand the smell of nature. I have a keen sense of the seasons. Observing nature I obtain new themes for my baskets. The themes I choose are usually bright and joyful. The beauty of bamboo, to me, is the way it reveals a dynamic line in space. I honor traditional techniques, but I think the development of new techniques is also very important.

- Katsushiro Soho, Modern Twist artist and Japans Living National Treasure



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Uematsu Chikuyu, Moon Rise on Autumn Fields, 2007, bamboo (nemagaridake), rattan, lacquer, Japanese washi paper, hemp. Courtesy of the Clark Center for Japanese Art and Culture, photo by Susan Einsein.

Tanabe Chikuunsai III, Squares and Circles, 2005, bamboo (yadake), rattan, lacquer. Courtesy of the Clark Center for Japanese Art and Culture, photo by Forrest Cavale.

Ueno Masao, Swirl, 2004, bamboo (madake), rattan, lacquer, gold powder. Coutesy of Alexandra & Dennis Lenehan, photo by Dennis Lenehan.



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In a gentle wind, the bamboo moves freely.

It twists and turns and draws an arc in the sky.

The sense of life is intertwined like the silk of a spiders web.

As a thin feeler reaching to receive heavenly revelation,

The bamboo tries to capture the form it seeks.

The shapes of bamboo tell me what road I shall take.

I follow it for a time, not knowing where it will lead,

To a place where I did not expect to go.

It is unclear whether or not I will find new possibilities there.

Still I cannot avoid being drawn to this unknown realm.

The bamboo bounces off something trying to suppress it,

Enjoying a moment of change like fireworks shooting into the sky,

Being reborn through my hands.

- Nagakura Kenichi, Modern Twist artist Excerpt from Nagakura Kenichi published by TAI Gallery, Santa Fe, New Mexico, 2011

Matsumoto Hafu, Hanging Flower Vase, 2006, bamboo, lacquer. Courtesy of the Clark Family Collection, photo by Forrest Cavale.



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About the Curator

Dr. Andreas Marks is Head of the Japanese and Korean Art Department and Director of the Clark Center at the Minneapolis Institute of Arts. He is the former Director and Chief Curator of the Clark Center for Japanese Art and Culture in Hanford, California. Prior to this position he was the Managing Director of an international exhibition and fair organizer based in Germany with branches in the U.S., the U.K., Australia, and China. He has a masters degree in East Asian Art History from the University of Bonn, and a Ph.D. from Leiden University in the Netherlands.

At locations like the Clark Center, Berkeley Museum of Art, San Diego Museum of Art, Crow Collection in Dallas, Dr. Marks has curated and co-curated 14 exhibitions on various aspects of Japanese art including paintings, prints, ceramics, weaponry, as well as works of bamboo.

A specialist in Japanese prints, he is the author of Japanese

Woodblock Prints: Artists, Publishers and Masterworks,

16801900 (520 ill., Tuttle, 2010), the only book on Asian art

history that CHOICE, the magazine of the American Library

Association, selected in 2010 as Outstanding Academic

Title. Dr. Marks is co-editor and co-author of Dreams

and Diversions: Essays on Japanese Woodblock Prints

(University of Washington Press, 2010). His Publishers of

Japanese Prints: A Compendium (576 pp., Hotei, 2011), is

the first comprehensive reference work on print publishers

from the 1650s to 1990s. His new book Fukami: Purity of

Form (172 pp., University of Washington Press, 2011) is

a retrospective of the celebrated Japanese ceramic artist

Fukami Sueharu.

Uematsu Chikuyu, Ascending to Heaven, 2007, bamboo (madake), rattan. Courtesy of the Clark Center for Japanese Art & Culture, photo by Susan Einstein.



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Bellevue Arts Museum November 13, 2012 - February 3, 2013



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Bellevue Arts Museum November 13, 2012 - February 3, 2013



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Clark Center for Japanese Art and Culture January 29, 2011 to March 19, 2011



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Number of Works38 bamboo works by 17 contemporary artists

Organized byThe Clark Center for Japanese Art and Culture, Hanford, CA

CuratorDr. Andreas Marks, Head of the Japanese and Korean Art Department and Director of the Clark Center at the Minneapolis Institute of Arts

RequirementsModerate security, approximately 2,500 square feet

Fee$19,000

ShippingIA&A makes all arrangements; exhibitors pay outgoing shipping within the contiguous US

Specifications

Booking Time12 weeks

AvailabilityNovember 2012 to January 2016, with the possibility for extension

Publication

ISBN: 978-0-9662859-8-7 LCCN: 2012946294 Authored by Andreas Marks

ContactMargalit MonroeAsian Art Specialist & Senior Exhibitions [email protected]

Tanioka Shigeo, Floating Island, 2008, bamboo (hobichiku, madake), rattan, lacquer. Collection of the Clark Center for japanese Art & Culture, photo by Susan Einstein.

Born to a family of farmers in Kuroiso City (Nasu Shiobara), Tochigi Prefecture, Katsushiro began learning bamboo weaving at the age of 15 under the tutelage of Kikuchi Yoshii (dates unknown). The apprenticeship lasted six years, during which time Katsushiro also took care of his teachers child and house. In 1965 he started studying under Yagisawa Keiz (19272006) and crafted commercial brooches and vases. Two years later, his work was selected for the 7th Traditional Crafts New Works Exhibition (Dent kgei shinsaku ten). In 1968 he shifted his practice away from making bamboo accessories and began studying under Sait Bunseki (19101991) who encouraged him to explore the aesthetic possibilities of his chosen medium. In 2005, the Japanese government designated Katsushiro Sh a Living National Treasure for his exceptional talent as a bamboo artist.

Awards1967 Chairmans Prize and Encouragement Prize, 8th Exhibition of Traditional Art Crafts from Eastern Japan (Higashi Nihon dent kgei ten)1983 Tokyo Governors Prize, 30th Exhibition of Japanese Traditional Art Crafts (Nihon dent kgei ten)1997 NHK Chairmans Prize, 44th Exhibition of Japanese Traditional Art Crafts (Nihon dent kgei ten)1998 Medal of Honor with Purple Ribbon (Shiju hosho) for his contributions to academic and artistic developments, improvements, and accomplishments2005 Living National Treasure

Selected CollectionsAgency for Cultural Affairs, Tokyo, JapanAsian Art Museum, San Francisco, California National Museum of Modern Art, Tokyo, Japan Nishinasu City Folk Museum, JapanTochigi Prefectural Museum of Fine Arts, Japan

KATSUSHIRO SH (b. 1934)

Katsushiro Sh, Sunset Glow, 2003, bamboo (susudake), lacquer. Courtesy of the Clark Family Collection, photo by Forrest Cavale.

Fujinuma Noboru was born in Otawara, Tochigi Prefecture. He initially worked as a graphic designer and photographer but in 1976 began an apprenticeship under Yagisawa Keizo (19272006), as did Living National Treasure Katsushiro Sh before him. Only a year later he was admitted to the Traditional Crafts New Works Exhibition (Dent kgei shinsaku ten). In 1980, his work was selected for the 27th Exhibition of Japanese Traditional Art Crafts (Nihon dent kgei ten). At the same event in 1992, he won the Tokyo Governors Prize with an artwork that is now in the collection of the National Museum of Modern Art, Tokyo.

In 2011, the Art Institute of Chicago displayed a significant donation of Fujinumas works, making him the first bamboo artist celebrated with a solo exhibition at a major Western museum. In 2012, the Japanese government designated Fujinuma Noboru a Living National Treasure.

Awards1986 President of the Association Prize, 33th Exhibition of Japanese Traditional Art Crafts (Nihon dent kgei ten)1992 Tokyo Governors Prize, 39th Exhibition of Japanese Traditional Art Crafts (Nihon dent kgei ten)2000 Finalist, Cotsen Bamboo Prize 2004 Medal of Honor with Purple Ribbon (Shiju hosho) for his contributions to academic and artistic developments, improvements, and accomplishments2012 Living National Treasure

Selected CollectionsAsian Art Museum, San Francisco, CaliforniaArt Institute of Chicago, IllinoisClark Center for Japanese Art and Culture, Hanford, CaliforniaDenver Art Museum, Colorado National Museum of Modern Art, Tokyo, JapanThe British Museum, London, UK

FUJINUMA NOBORU (b. 1945)

Fujinuma Noboru, Spring Tide, ca. 1997, bamboo (nemagaridake), lacquer. Courtesy of the Clark Center for Japanese Art & Culture, photo by Forrest Cavale.

Matsumoto Haf was born in Haneda, Tokyo. In 1972, he studied under Iizuka Shkansai (1919 2004), who was the second bamboo artist designated a Living National Treasure (1982) by the Japanese government. After Matsumoto became independent of his master, he opened his own studio in Tokyo, before moving in 1988 to his current location in Tateyama, Chiba Prefecture. Matsumoto has given workshops in New York, San Francisco, and Hawaii.

Awards2004 Finalist, 3rd Cotsen Bamboo Prize2007 Newcomers Prize, 54th Exhibition of Japanese Traditional Art Crafts (Nihon dent kgei ten)2008 Tokyo Governors Prize, 48th Exhibition of Traditional Art Crafts from Eastern Japan (Higashi Nihon dent kgei ten)

Selected CollectionAsian Art Museum, San Francisco, California

MATSUMOTO HAF (b. 1952)

Matsumoto Haf, Hanging Flower Vase, 2006, bamboo (madake). Courtesy of the Clark Family Collection, photo by Forrest Cavale.

Honma Hideaki was a soldier in the Japanese air force, until an accident blinded him in one eye and forced him to resign from service. He learned plaiting techniques from his uncleand adopted fathertalented bamboo artist Honma Kazuaki. As a pupil, Honma spent several years simply splitting and chipping bamboo before learning to weave. Now he is known for employing a wide range of bamboo varieties using incredibly complex weaves. He notably utilizes a mat weaving technique (gozame-ami), creating long bands of plaiting, and attaches lengths of unsplit bamboo to the sides of his sculptures using rattan.

Honma is greatly influenced by the secluded geography and remote beauty of his home on Sado Island, located off the western coast of Honshu, the largest of Japans four main islands. Drawing inspiration from the natural environment, Honma has created a series of sculptures that reference the sea. The result of meticulous planning, Honma will often make hundreds of sketches when desgining his intricate bamboo sculptures. He often uses a soft, pliable bamboo variety called menyadake, which is grown exclusively on Sado Island. He is actively involved in the community and promotes cultural activities such as tea ceremony and (taiko) drumming.

Awards1991 Niigata Governors Prize, Niigata Contemporary Arts and Crafts Exhibition (Gendai kgei Niigata kai ten)1993 Encouragement Prize, Niigata Prefecture Exhibition (Niigata-ken ten) 1994 Contemporary Craft Award, Japanese Contemporary Arts and Crafts Exhibition (Nihon gendai kgei bijutsu ten) 1996 Niigata Prefecture Prize, Niigata Prefecture Exhibition (Niigata-ken ten)

Selected CollectionsArt Institute of Chicago, IllinoisAsian Art Museum, San Francisco, California

HONMA HIDEAKI (b. 1959)

Honma Hideaki, Mystery, 2004, bamboo (madake, menyadake). Courtesy of the Clark Family Collection, photo by Susan Einstein.

Ueno Masao first trained as an architect, but soon changed professions to become a bamboo artist. His desire to work more closely with raw materials was the impetus for Uenos career change. For one year, he was a live-in student of Honma Kazuaki. Then Ueno went to Sado Island for further study, and subsequently to Beppu in Kyushu. Since 1981 he has lived in Kamogawa, Chiba Prefecture, southeast of Tokyo.

Utilizing his background in architecture, Ueno created a series of outdoor projects in Thailand, Indonesia, China, and England where he spent six months building a piece of wood and willow. These projects have earned him international acclaim.

Ueno creates bamboo works known for their geometrical precision, which he achieves using computer design software to formulate plaiting concepts. His sculptures are often tinged with gold powder, which has become a signature mark of his pieces, dynamically catching and reflecting light.

Selected CollectionsAsian Art Museum, San Francisco, CaliforniaClark Center for Japanese Art and Culture, Hanford, CaliforniaMuseum of Fine Arts, Boston, Massachusetts

UENO MASAO (b. 1949)

Ueno Masao, Rotation of Ellipse Makes Two Transparent Drums, 2004, bamboo (madake), rattan, lacquer, gold powder. Courtesy of the Clark Center for Japanese Art & Culture, photo by Susan Einstein.

In 1975, Uematsu Chikuy graduated from the Bamboo Craft Department of ita Prefectural Beppu Technical Training School on Kyushu. Only one year later he was selected for the 23rd Exhibition of Japanese Traditional Art Crafts (Nihon dent kgei ten), an incredible testament to Uematsus innate artistic abilities. For nearly 15 years, Uematsu wove flower vases using traditional techniques. However, in 1990 he decided to confine his output to approximately one major sculpture per year. Living in near seclusion outside of Tokyo, Uematsu has geographically and stylistically set himself apart from other bamboo artists.

Uematsu Chikuys new, highly creative works are non-functional and until 2007, were mostly designed to hang on a wall. After completing his largest sculptural work, Ascending to Heaven (122 x 59 inches), Uematsu decided to continue his themed composition through lines (sen ni yoru ksei) series with the creation of smaller sculptures, such as Moon Rise on Autumn Fields. Uematsu is undoubtedly a perfectionist, and his superior craftsmanshipnot only with bamboo, but also with lacqueris reflected in small and large pieces alike. Throughout the progression of Uematsu Chikuys careerfrom traditional flower vases, followed by avant-garde wall-hung sculptures, and then exquisitely scaled-down compositionsall of the artists works are equally innovative and demonstrate his extraordinary technical skills.

Awards1976 Fukuoka Prefectural Governors Prize, 11th Western Japan Art Crafts Exhibition (Seibu kgei ten)1978 Tamaya Prize, 13th Western Japan Art Crafts Exhibition (Seibu kgei ten)1981 Asahi Newspaper Award, 2nd Exhibition of Traditional Art Crafts by Young Artists (Seinen dent kgei ten)

Selected CollectionsClark Center for Japanese Art and Culture, Hanford, CaliforniaOita Prefectural Art Center, Japan

UEMATSU CHIKUY (b. 1947)

Uematsu Chikuy, Ascending to Heaven, 2007, bamboo (madake), rattan. Courtesy of the Clark Center for Japanese Art & Culture, photo by Susan Einstein.

Nagakura Kenichi learned bamboo techniques from his grandfather, but is mostly self-taught, which is very rare in the world of bamboo art. At the age of thirty he had his first local solo exhibition. Following an unorthodox approach to material, he uses roots and lacquer mixed with powdered stone and clay in the creation of his innovative and unconventional bamboo works.

Nagakura is known for developing a very distinctive scorched bamboo aesthetic, as seen in his piece, The Clinging, Fire, which creatively illustrates the effects of this element. He also incorporates driftwoodan unusual material to use in bamboo artwith madake to make the hanging sculpture, Round Web, Fan. Nagakuras most acclaimed works are influenced by shapes found in nature.

Awards2000 Grand Prize, 1st Cotsen Bamboo Prize

Selected CollectionsAsian Art Museum, San Francisco, CaliforniaClark Center for Japanese Art and Culture, Hanford, CaliforniaThe Mint Museum, Charlotte, North Carolina

NAGAKURA KENICHI (b. 1952)

Nagakura Kenichi, Circle, 1990, bamboo (madake), lacquer. Courtesy of the Clark Center for Japanese Art & Culture, photo by Mochizuki Akira.

Tanabe Chikuunsai III is a third generation bamboo weaver from Sakai, Osaka Prefecture. The eldest son of Chikuunsai II, he learned his skills at a young age from his father and his fathers students, kub Shchikusai and Tsukayoshi Tadayoshi. In 1964, he graduated with a degree in design from Musashino Art University and in the same year was admitted to the Japan Fine Arts Exhibition (Nitten). In the following year, his work was accepted into the Japanese Contemporary Arts and Crafts Exhibition (Nihon gendai kgei bijutsu ten). In 1969, he received the name Shchiku and in 1991 became known as Chikuunsai III.

In an attempt to distinguish himself from his father and grandfather, Chikuunsai III began to recycle old samurai arrows in his art. Arrow bamboo (yadake), named for its stiff, thin culms that were used to make arrow shafts, became Chikuunsai IIIs medium of choice. Yadake is not malleable, and the difficulty required to bend it lends itself to being used straight in art works. Through this material, Chikuunsai III strives to uphold the traditional style of the Chikuunsai family lineage, while also creating works that hold modern appeal, like this sculpture.

Chikuunsai I (18771937) founded the Tanabe family tradition of bamboo basket makers. Now in its fourth generation, this family is represented in the exhibition Modern Twist by Chikuunsai Is grandsons, Chikuunsai III and Tanabe Yta, as well as Chikuunsai IIIs son Shchiku III.

Awards1959 Mayors Prize, Sakai City Art Exhibition (Sakai-shi ten) 1965 Mayors Prize, Sakai City Art Exhibition (Sakai-shi ten) 1967 Second Prize, All Kansai Art Exhibition (Zen Kansai bijutsu ten) 1968 Third Prize, All Kansai Art Exhibition (Zen Kansai bijutsu ten) 1971 Yomiuri TV Prize, Japanese Contemporary Arts and Crafts Exhibition (Nihon gendai kgei bijutsu ten) 1973 Mayors Prize, Osaka Craft Exhibition1977 Governors Prize, Osaka Craft Exhibition 1986 Contribution Award, Sakai City

1998 Personal Achievement Award, Sakai City

Selected CollectionsAsian Art Museum, San Francisco, California

The British Museum, London, UKClark Center for Japanese Art and Culture, Hanford, CaliforniaMuseum of Fine Arts, Boston, Massachusetts Ministry of Foreign Affairs, Tokyo, Japan National Museum of Modern Art, Tokyo, Japan Osaka City Crafts High School, JapanSakai City, Japan

TANABE CHIKUUNSAI III (b. 1940)

Tanabe Chikuunsai III, Sun, Bamboo (yadake and madake), rattan, lacquer, Courtesy of the Clark Center for Japanese Art and Culture, photo by Susan Einstein.

Tanabe Yta was born into one of the most prestigious bamboo weaver families of Japan. He is the second son of Tanabe Chikuunsai II and younger brother of Chikuunsai III. At a young age he began learning bamboo techniques from his father, and was sent to Musashino Art University. However, he initially chose to study oil painting and only later returned to bamboo, graduating in 1967. One year later, at the age of 24, he gave himself the artistic name Yta. In 1976, he was selected for the first time to present his works at the Japan Fine Arts Exhibition (Nitten).

As the younger son of Chikuunsai II, Yta was able to be much more experimental in his art making. Roughly plaiting black bamboo, or kurochiku, he created many visionary, unconventional works. He began with vessel forms and progressed to topographical sculptures that demonstrate not only the high level of his technical skills but also his outstanding creativity.

Selected CollectionsAsian Art Museum, San Francisco, CaliforniaClark Center for Japanese Art and Culture, Hanford, CaliforniaNational Museum of Modern Art, Tokyo, Japan

TANABE YTA (19442008)

Tanabe Yta, Japanese Current I, 1987, bamboo (kurochiku), lacquer. Courtesy of the Clark Center for Japanese Art & Culture, photo by Forrest Cavale.

Tanabe Shchiku III (also known as Tanabe Takeo), is the son of Modern Twist artist Chikuunsai III. When his father retires, Shchiku III is expected to become Chikuunsai IV, officially representing the fourth generation of bamboo artists in his prestigious family lineage. The Tanabe family of basket weavers is based in Sakai, Osaka Prefecture. His mother, Tanabe Mitsuko (born 1944), is also a bamboo weaver, as was his uncle, Tanabe Yta.

Growing up learning the art of bamboo weaving, Tanabe Shchiku III first trained under his father. He then went to Osaka City Crafts High School (1991), followed by Tokyo National University of Arts (1999), and Oita Prefectural Bamboo Art Crafts Training Support Center. Shchiku III is unusual among Japanese bamboo weavers in that he is active outside Japan as an ambassador for his art form, exhibiting and demonstrating in Australia, Korea, the Netherlands, New Zealand, the U.S., and Switzerland.

Awards1999 Newcomer Prize, Newcomer Exhibition in Sakai City (Sakai-shi bijutsu shinjin ten) 2000 Labor Ministry Prize, All Japan Technical Exhibition (Zenkoku sogo gino ten) 2001 Oita Governor Prize, Bamboo Craft Exhibition (Kurashi no naka no chikukogei ten) 2001 Mayors Prize, Sakai City Art Exhibition (Sakai-shi ten)2002 Yomiuri TV Prize, All Kansai Art Exhibition (Zen Kansai bijutsu ten) 2004 Osaka Craft Exhibition Choice Award, All Kansai Art Exhibition (Zen Kansai bijutsu ten) 2004 Sakai Art Association Prize, Sakai City Art Exhibition (Sakai-shi ten)2010 Bavarian State Prize, Working Area Braiding (Bayerischer Staatspreis, Werkbereich Flechten)2011 Asahi Newspaper Prize, 13th Exhibition of Traditional Wood and Bamboo Art Crafts (Dent kgei mokuchi

ku ten)

Selected CollectionsAsian Art Museum, San Francisco, CaliforniaClark Center for Japanese Art and Culture, Hanford, CalliforniaLong Beach Museum of Art, CaliforniaMuseum of Fine Arts, Boston, Massachusetts Philadelphia Museum of Art, PennsylvaniaSeattle Art Museum, WashingtonThe British Museum, London, UK

TANABE SHCHIKU III (b. 1973)

Tanabe Shchiku III, Warrior, 2006, bamboo (yadake, madake), rattan, lacquer. Courtesy of the Clark Center for Japanese Art & Culture, photo by Forrest Cavale.

Tanioka Shigeo was born in Sumoto City, Hygo Prefecture. Inspired by the work of Shno Shunsai (1904-1974), the first Living National Treasure in the field of bamboo, Tanioka ended his career in advertising and apprenticed himself to Tanabe Chikuunsai II at the age of 25. After 10 years under Chikuunsai IIs tutelage, Taniokas talent allowed him to become a fully independent bamboo artist. He was selected for the 38th Exhibition of Japanese Traditional Art Crafts (Nihon dent kgei ten) in 1991.

Awards1998 Director of the Agency for Cultural Affairs Prize, 8th Traditional Art Crafts Wood and Bamboo Exhibition1999 Japanese Traditional Art Crafts in the Kinki Area Prize, 28th Exhibition of Japanese Traditional Art Crafts from the Kinki Area (Nihon dent kgei Kinki ten) 2001 President of the Association Prize, 48th Japanese Traditional Art Crafts Exhibition (Nihon dent kgei ten) 2002 Finalist, 2nd Cotsen Bamboo Prize 2004 Grand Prize, 3rd Cotsen Bamboo Prize 2004 Nara Prefecture Education Committee Prize, 33th Exhibition of Japanese Traditional Art Crafts from the Kinki Area (Nihon dent kgei Kinki ten) 2007 Nara Prefecture Education Committee Prize, 36th Exhibition of Japanese Traditional Art Crafts from the Kinki Area (Nihon dent kgei Kinki ten)

Selected CollectionsAsian Art Museum, San Francisco, CaliforniaClark Center for Japanese Arts and Culture, Hanford, CaliforniaCraft Arts Hall in Shiga, JapanSakai City Museum, Japan

TANIOKA SHIGEO (b. 1949)

Tanioka Shigeo, Asuka, 2002, bamboo (susudake), wood (Japanese horse chestnut). Courtesy of the Clark Family Collection, photo by Forrest Cavale.

Tanioka Aiko was born in Tokyo and is among the few women to have earned recognition in the bamboo arts. In 1985, Aiko met Tanabe Chikuunsai III at an exhibition and was so intrigued by his art that she accepted an invitation from Chikuusani III to join his studio. For 15 years, she studied under his tutelage, learning the Tanabe family traditions. She then met Tanioka Shigeo, another student of Tanabe, who she later married.

Only since 2000, at the age of 53 years old, did she begin exhibiting her works regularly and is therefore still considered an emerging bamboo artist.

Awards2000 Chairmans Prize, Sakai City Exhibition (Sakai-shi ten dehin) 2002 Osaka Education Committee Prize, 31th Exhibition Japanese Traditional Art Crafts from the Kinki Area (Nihon dent kgei Kinki ten) 2003 Chairmans Prize, Shinbi Art Crafts Exhibition (Shinbi kgei ten) 2004 Hiramatsu Prize, Osaka Art Crafts Exhibition (Osaka kgei ten) 2005 Nara Prefecture Education Committee Prize, 34th Exhibition Japanese Traditional Art Crafts from the Kinki Area (Nihon dent kgei Kinki ten) 2005 Sakai City Mayor Prize, Sakai City Exhibition (Sakai-shi ten) 2007 Sakai Art Association Prize, Sakai City Exhibition (Sakai-shi ten)2011 Wood-Bamboo Participation Prize, 13th Exhibition of Traditional Wood and Bamboo Art Crafts (Dent kgei mokuchiku ten)

Selected CollectionsAsian Art Museum, San Francisco, CaliforniaClark Center for Japanese Art and Culture, Hanford, California

TANIOKA AIKO (b. 1947)

Tanioka Aiko, Peaceful Mother Earth, 2003, bamboo (madake), rattan, lacquer. Courtesy of the Clark Center for Japanese Art & Culture, photo by Susan Einstein.

Honda Shry hails from ita prefecture on Kyushu, the southernmost of Japans four main islands. In ita prefecture, the city of Beppu is the center of bamboo production on Kyushu, and a high percentage of bamboo objects used in daily life is produced in this area.

At the start of his career, Honda studied flower basket making, and continued to produce these baskets for many years to earn a living. Eventually, he felt restricted by the conventions of traditional ikebana basketry. His current, wall-hung sculptures signify a new trajectory in bamboo design, and demonstrate Hondas departure from his earlier focus on functional vessels.

Inspired by nature, time, and spacetube-like, contorted forms have become a staple in the evolution of Hondas personal sculptural style. He helps nurture the careers of emerging bamboo artists, such as Mimura Chikuh and Nakatomi Hajime, both represented in Modern Twist.

Awards1981 Association Prize, 16th Exhibition of Japanese Traditional Art Crafts from Western Japan (Nishi Nihon dent kgei ten) 1986 ita Governors Prize, 21st Exhibition of Japanese Traditional Art Crafts from Western Japan (Nishi Nihon dent kgei ten)2000 Finalist, 1st Cotsen Bamboo Prize2002 Finalist, 2nd Cotsen Bamboo Prize2004 Finalist, 3rd Cotsen Bamboo Prize

Selected CollectionsAsian Art Museum, San Francisco, CaliforniaClark Center for Japanese Arts and Culture, Hanford, CaliforniaThe Mint Museum, Charlotte, North CarolinaMuseum of Arts and Design, New York, New YorkMuseum of Fine Arts, Boston, Massachusetts

HONDA SHRY (b. 1951)

Honda Shry, Undulation, 2005, bamboo (madake), rattan. Courtesy of Alexandra and Dennis Lenehan, photo by Dennis Lenehan.

Mimura Chikuh originally planned to become a trombonist and even went to conservatory in Germany. When he discovered his passion for bamboo, Mimura moved to Kyushu and trained under Yufu Shhaku (b.1941). Yufu gave Mimura the professional name of Chikuhwhich literally translates as bamboo sproutand taught him a rustic basket-making style that utilizes complete chunks of bamboo.

Mimura defies convention by avoiding Japans professional organizations and public exhibition systems, preferring to remain an independent artist. He emphasizes the natural beauty of bamboo in his evocative, sensual, toffee-colored sculptures, and creatively incorporates bamboo stems and roots into his open plaited works.

Selected CollectionsAsian Art Museum, San Francisco, CaliforniaClark Center for Japanese Art and Culture, Hanford, CaliforniaPhiladelphia Museum of Art, Pennsylvania

MIMURA CHIKUH (b. 1973)

Top: photo courtesy of TAI Gallery, Santa Fe, NM

Bottom: Mimura Chikuh, Hope, 2004, bamboo (madake), rattan, lacquer. Courtesy of the Clark Family Collection, photo by Susan Einstein.

Nakatomi Hajime was a business student at Waseda University in Tokyo before pursuing a career in the bamboo arts. He went to Kyushu and studied at both the ita Prefectural Technical Institute and the Beppu Advanced Industrial Arts and Technology Institute. While living in Beppu, Nakatomi apprenticed with Modern Twist artist Honda Shry.

Through his sculptures, Nakatomi aims to honor traditional styles while finding his own contemporary voice. Nakatomi has been exhibiting his works internationally since 2003.

Selected CollectionsAsian Art Museum, San Francisco, CaliforniaClark Center for Japanese Art and Culture, Hanford, CaliforniaNational Taiwan Craft Research Development Institute, TaiwanPhiladelphia Museum of Art, PennsylvaniaRacine Art Museum, Wisconsin

NAKATOMI HAJIME (b. 1974)

Nakatomi Hajime, Natural Prism triangle 20, 2007, bamboo (torachiku), rattan. Courtesy of the Clark Center for Japanese Art and Culture. Gift of Robert T. Coffland and Mary Hunt Kahlenberg in honor of Bill Clark's 80th birthday. Photo by Forrest Cavale.

Sugiura Noriyoshi was 33 when he decided to train in the bamboo arts. Like Nakatomi Hajime, Sugiura also studied in the Department of Bamboo Arts at the ita Prefectural Beppu Technical College and the Beppu Industrial Arts Institute. In 2003 he apprenticed under Watanabe Chikusei II, and in 2005 he studied under the tutelage of Okazaki Chikuhsai II. He lives and works on Kyushu. During the 2008 Oita National Sports Festival, a flower basket by Sugiura was presented to the Emperor of Japan.

Awards2004 Oita Prefectural Governors Prize, 40th Living with Bamboo Art Crafts Exhibition (Kurashi no naka no chikukgei ten)2007 Oita Prefectural Governors Prize, 43th Living with Bamboo Art Crafts Exhibition (Kurashi no naka no chikukgei ten)2007 Oita Asahi Broadcasting Prize, 42nd Western Japan Art Crafts Exhibition (Seibu kgei ten)2009 Oita Prefectural Governors Prize, 45th Living with Bamboo Art Crafts Exhibition (Kurashi no naka no chikukgei ten)2010 Design Prize (tawara Mayor Prize), 15th National Bamboo Art Exhibition (Zenkoku chikugei ten)2010 Beppu Mayor Prize, 46th Living with Bamboo Art Crafts Exhibition (Kurashi no naka no chikukgei ten)2011 Special Jury Prize, 16th National Bamboo Art Exhibition (Zenkoku chikugei ten)

SUGIURA NORIYOSHI (b. 1964)

Sugiura Noriyoshi, Sailing, 2010, bamboo (madake), rattan. Courtesy of Eric and Karen Ende, photo by TAI Gallery, Santa Fe, New Mexico.

Yonezawa was born and trained in ita Prefecture, the heart of bamboo production on Kyushu. In 1989 he moved with his American wife to Portland, Oregon, where he lived and worked for the following eighteen years. His time in Portland exposed Yonezawa to American crafts, which continues to significantly influence his work, even after his return to Kyushu in 2007.

Yonezawa does not hesitate to integrate unorthodox material like styrofoam and steel wire in his art in order to achieve the shapes and forms he has in mind. His works show great diversity in size, ranging from 12 inches to 7 feet tall.

Awards1991 Jurors Award of Recognition, Basketry >From All Directions, Arrowmont School of Arts and Crafts, Gatlinburg, TN1993 Excellence in Craftsmanship, Ninth Celebration of the Arts, Arts in Oregon Council, Salem, OR1993 Excellence in Craftsmanship, Content/Container, Textile Arts Centre, Chicago, IL 1993 WESAF/NEA regional fellowship alternate 1993 Excellence in Craftsmanship, The Pacific Northwest Contemporary Basketry Exhibit 91, Bumbershoot, Seattle, WA

Selected CollectionsAmerican Craft Museum, New York, NYBellevue Art Museum, WashingtonCalifornia Crafts Museum, San Francisco, CaliforniaCharles A. Wustum Museum of Fine Art, Racine, WisconsinCity of Portland, OregonThe Contemporary Museum, Honolulu, HawaiiCorvallis Art Center, OregonCraft Alliance, St. Louis, MissouriLong House Reserve, East Hampton, New YorkMicrosoft Corporation, Redmond, WashingtonThe Mint Museum, Charlotte, North CarolinaPortland Art Museum, OregonSpringfield Museum, Oregon

YONEZAWA JIR (b. 1956)

Yonezawa Jir, Crescent-shaped Flower Basket, ca. 2000, bamboo (hbichiku), lacquer, metal. Courtesy of the Clark Family Collection, photo by Forrest Cavale.

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