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Tea Garden Entry/Area 1 TEA GARDEN ENTRY/AREA 1 The Noguchi Museum March 23 to July 24, 2016 22 30 31 INNER 23 GARDEN 32 19 21 29 25 28 18 20 24 26 27 33 TEA HOUSE 17 14 15 LANDSCAPE 13 16 6 ENTRY 9 OUTER 34 1 Entrance Gate, 2016 Con Ed barrier, corrugated 12 GARDEN steel, plywood, steel 35 hardware, latex paint 11 10 8 7 2 Daisu, 2013 Mixed media 36 3 Isamu Noguchi 2 Tetsubin, 1956 3 Cast iron, brass top 1 4 4 Shoe Library, 2014 MUSEUM Mixed media ENTRANCE ENTRY 5 5 Bench, 2016 Plywood, latex paint, Con Ed barrier, resin, fiberglass, steel hardware, cabosil OUTER GARDEN 6 Isamu Noguchi Shiva Pentagonal, 1981 Basalt 7 Isamu Noguchi Narrow Gate, 1981 Basalt 17 Chumon INNER GARDEN LANDSCAPE 8 Isamu Noguchi (Middle Gate), 2014 23 Isamu Noguchi 31 Hyper Pixel Display Garden Seat, 1983 Con Ed barrier, plywood, Basalt Brilliance, 1982 v1, 2016 latex paint, oil drum, Basalt Con Ed barrier, steel broomsticks 9 Ishidōrō, 2015 hardware, Vizio D-Series Mixed media 24 Isamu Noguchi TEA HOUSE Human Sacrifice, 32 Isamu Noguchi 10 Isamu Noguchi 18 BBQ, 2015 1984 Mountain Breaking Woman, 1983–85 Steel, English porcelain, Basalt Theater, 1984 Basalt RTV silicone Basalt 25 Bonsai, 2016 11 Waiting Arbor, 2014 19 Sawhaus, 2015 Bronze 33 Pond Berm, 2016 Con Ed barrier, corrugated Mixed media Plywood, latex paint, steel, expanded polystyrene, 26 Isamu Noguchi steel hardware, carp, koi steel hardware 20 Mizuya Addition, Deepening Knowledge, 2015 1969 34 Isamu Noguchi 12 Hibachi, and Berms, Con Ed barrier, expanded Basalt Give and Take, 1984 2015–16 polystyrene, resin, Basalt Steel, plywood, latex plywood, steel hardware, 27 Isamu Noguchi paint, fiberglass, epoxy latex paint Break Through 35 Isamu Noguchi Capestrano, 1982 Awa Odori, 1982 13 LAV 3, 2014 21 Tea House, 2011–12 Basalt Mannari granite Mixed media Mixed media 28 Tsukubai, 2014 36 Garden Gate, 2016 14 Room Dividers, 2016 22 Chiri-ana Mixed media Con Ed barrier, corrugated Con Ed barrier, snow (Trash Pit), 2015 steel, plywood, steel fence, zip ties Plywood, bronze, asbestos 29 Ishidōrō, 2015 hardware, latex paint tile, RTV, epoxy, latex paint Bronze Unless otherwise noted, 15 Stupa, 2013 all Tom Sachs works Bronze 30 Waiting Arbor, 2015 Con Ed barrier, corrugated are courtesy of the artist. 16 Isamu Noguchi steel, steel hardware, The Stone Within, 1982 expanded polystyrene Basalt PLEASE DON’T TOUCH THE ART TOM SACHS: TEA CEREMONY The Noguchi Museum March 23 to July 24, 2016 INTRODUCTION ENTRY The traditional culture of Tea has become a technique Tom Sachs: Tea Ceremony is an immersive work of bricolage that for removing us from the din and artificiality that civiliza- juxtaposes the cultures of Tea (the ritualized drinking of matcha tion has superimposed on nature and our relationship to it. The transition starts here in a space devoted to simple prep- in Japan and the microcosmic universe that goes with it); Sachs’ arations: the changing of shoes and socks, the abandon- studio, where the mission is participatory, appropriative, gently ment of phones and keys. But rather than decompression, transgressive world-building; NASA, with its can-do spirit, and we begin with a bit of contradictory pre-tensioning. seat-of-the-pants engineering (now the hallmark of humanity’s Sachs’ Daisu is a rack of mostly terribly inappropriate search for the future); and The Noguchi Museum, an oasis outside garden tools, implements we have employed in despoiling time and space charged with deep, wordless, enduring values. the earth. On the other side of the doorway is Tetsubin, Noguchi’s version of a cast iron tea kettle. Noguchi gave Sachs, like Isamu Noguchi, is a cultural synthesizer committed to one of these to legendary Japanese garden designer Mirei the traditional American dream of a pluralistic, crazy quilt society. Shigemori, who he had enlisted as an advisor on his Both believe that our best futures have at least a foot in the past; “somewhat Japanese” garden for UNESCO’s Paris head- that technology should affirm craft; that the most sustaining sereni- quarters. Shigemori described Tetsubin as violating every convention of what a tea kettle should be, and ties are tinged with chaos; that polarities like East and West can demonstrating that Noguchi had strange ideas about exist harmoniously in productively ambiguous relationships; that what “new” meant with regard to Tea culture. Exactly. the conceptual and the formal are not hand and glove but earth and (Examples of Sachs’ own newfangled kettles can be seen atmosphere; and that the balkanization of creativity into categories in the display of Tea utensils in Area 14.) such as “art” and “design” is nonsense. AREA 1: TEA GARDEN Traditional tea ceremony was refined over many years, reached a The Tea Garden is broken into four spaces: the exterior mature state, was codified, and then, like most cultural phenomena that landscape, the outer garden, the inner garden, and the survive an originating generation, more or less stopped developing. tea house. These create concentric circles of remove. The fads that become full-fledged cultures are the ones that capture To understand Sachs’ version of Tea, you have only to lasting values in universal experiences. Tea is one of those because imagine The Noguchi Museum as a remote and rocky it celebrates hospitality, reinforces the development of community version of the natural sublime, and Sachs as an enter- through ritual, and creates a holistic but intimate sense of connection prising, twentysomething-century monk who has built a tea garden here in search of quietude and enlightenment. to the world in fundamental combinations of earth, air, fire, and water. 1 ENTRY/AREA : TEA GARDEN The Outer Garden Sachs is not alone in regarding Tea as strong enough to adapt to new The outer garden is every guest or visitor’s first step worlds. In 1951, Noguchi and his then fiancée, the Japanese movie away from the cares of the world. The difficulty of making star Yoshiko (Shirley) Yamaguchi, hosted a tea ceremony in Charles this escape is suggested by Noguchi’s Narrow Gate. and Ray Eames’ iconic midcentury modern Case Study house in In traditional Tea, guests spend a lot of time waiting: Pacific Palisades, California. The guest of honor was Charlie Chaplin. decompressing in a waiting arbor; admiring elements of the garden such as Sachs’ (a mashup—from Tea was prepared with traditional utensils, but dinner was served Stupa bottom to top—of McDonald’s arches, a pagoda, and on the Eames’ new Wire Base Low Tables (1950), with a selection of a Brancusi) and Ishidōrō, a ceramic-lined lantern built Noguchi’s also new Akari Light Sculptures (electrified paper lanterns) on the frame of a walker; and using the facilities (Sachs’ providing illumination. Yamaguchi likely wore one of the kimonos LAV is a working replica of a Boeing 767 lavatory with Noguchi designed for her featuring a side zip and a tight fit. an Incinolet burn toilet). The premise of Noguchi’s life and work was the idea that the truest The Inner Garden The is a psychological airlock. Once through, form of respect you can show another culture, traditional or Middle Gate the world should drop away. Here you’ll find Sachs’ otherwise, is participation: deep engagement, followed by creative Tsukubai, a water basin for purification; and a Bonsai adaptation. Mr. Noguchi, meet Tom Sachs. Now, in the immortal composed of products we use to plumb and police our words of James Brown: “Get on up. Get into it. Get involved.” own innermost depths. —Senior Curator Dakin Hart The Tea House and Mizuya Addition The Tea House is the inner sanctum. Casual visitors may view but not enter. This is where the host and his guests WHY TOM SACHS: TEA CEREMONY AT THE NOGUCHI MUSEUM? indulge in the most universal and unifying luxury of all: A Formal Proof in Noguchi’s Words just being. The main room features a tokonoma, the small shrine the host customizes as an act of hospitality (the 1. I believe in the true development of old traditions. scroll painting It Ain’t Bragging If You Can Back It Up 2. To be hybrid anticipates the future. depicts Muhammad Ali as Sen no Rikyū, the godfather 3. The future does not belong only to the futurists. of Tea), a scholar’s writing desk (holding five full reams of 4. Nothing is new, but everything’s new. paper and 274 Sharpies), a Shot Clock and Sochin (a 5. I like the Japan that I know and want to know, not the Japan that is boombox), because in Sachs’ Americanized rendering of imposed upon me…I am not about today or yesterday, but only that Tea, enlightenment is on the clock and more easily achieved which is useful to me. Many people live in Japan historically; I don’t. to a good soundtrack. The Mizuya Addition contains the tools the host employs to prepare and serve tea. 6. I expect Japan to be the first country to take off as a whole into outer space! The Landscape 7. Ultimately, I like to think, when you get to the furthest point of The tea garden occupies the landscape of the total work technology, when you get to outer space, what do you find to bring of art of that is Noguchi’s indoor/outdoor galleries and back? Rocks! garden. Here buffalo carp and one koi inhabit a tarn set 8. I don’t look at art as something separate and sacrosanct. between Noguchi’s Mountain Breaking Theater and collaborations with scale and the sub- It’s part of usefulness. Give and Take, lime.
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