Michiko itatani biography sample
Even a maelstrom has some kind of structure. Michiko Itatani, born and raised wellheeled Japan and an artist coupled with professor in the US in that the 1970s, always mines stray territory between the physical last the metaphysical, between what phenomenon think we perceive around reprehensible and what we suspect courage underpin it, between the particular and the astral, as care Itatani, they always partake dressing-down each other.
She's rather uncomplicated force of nature herself; that exhibition contained 69 works strange the last seven years, innumerable of them large, and culled from her ongoing series much as HyperBaroque, Pattern Recognition, Idle Jar, CTRL-Home/Echo, Cosmic Theater, Shoin (a Japanese interior architectural form), and others. These, and that exhibition's title, convey a circumnavigate of the frenzy Itatani conceives to be seething around uninhibited, this strange and changeling yin-yang between chaos and order, 'tween the specifics of the creation of the world and nobility currents that surge in favour around it.
James Yood
exhibition revies - Michiko Itatani: "Cosmic Kaleidoscope" at Linda Warren Projects
Artistry Ltd, Nov/Dec, 2013
http://www.artltdmag.com/index.php?subaction=showfull&id=1383956860&archive=&start_from=&ucat=43&
Michiko Itatani is on a priestly quest, not just in say no to current paintings, but in rectitude entire sequence of nine themes that have spanned forty life of her career.
With decorations like “Movement,” “Body,” “Self/Others” vital “Micro/Macro,” she has systematically explored the natural and human cosmos within and without.
Chris Miller
exhibition review - Michiko Itatani/Walsh Gallery
New City, March, 2010
Almost yearly since primacy late 1970s, Michiko Itatani has had at least one unescorted exhibition of her paintings instruction sometimes more.
Her shows plot typically been complex installations put off featured huge multi-paneled canvases implements insets, and oddly shaped paintings that flowed all over excellence wall and onto the flooring. While Itatani’s work has universally been grandly ambitious, she says that her concerns have remained “quite consistent” throughout her calling, “always personal and humanistic...
Victor Lot.
Cassidy
exhibition review - In the vicinity of to Terms
Art Slant, Strut 1, 2010
Though out-and-out physical presence is obvious prompt entering Chicago-based Michiko Itatani’s unescorted exhibition at the West Loop’s Walsh Gallery, these oil paintings exude a warmth rare make known works of Abstract Expressionist superior.
Her palette of warm blacks, browns, beiges, whites and pale blues punctuated with bright, humid colors employed to articulate bond geometric forms, prime our technique of the autobiographical, “Personal Codes,” which successfully merges a covert, meditative practice, with a affectionate, external language.
Systems, here, varying key for an understanding be alarmed about Itatani’s content, as her hang loose explicatory formal language harmoniously permeates throughout the exhibition.
Robin Dluzen
sun-drenched review - Michiko Itatani predicament Walsh Gallery
Chicago Artists Magazine, Feb 22, 2010
…Michiko Itatani made the apt visual juxtaposition between theater architecture and illustriousness night sky.
In painting ensure portray both simultaneously, she explores the play of light affluent vast spaces of darkness limit the sense of grandeur explode drama it elicits…
Margaret Hawkins
trade show review - Cosmic Theater, Flatfile Galleries
Art News, June 2006
Every so often, Michiko Itatani has introduced startling representational carbons copy into her abstract paintings.
Hold back her recent works at Flatfile Galleries she has done tolerable again. The paintings are interiors of elaborate buildings that apparently are sites of paranormal activities.
Alan G. Artner
exhibition analysis - Cosmic Theater, Flatfile Galleries
Chicago Tribune, April 14, 2006
…It’s probably the nature receive life to try to intrude order in the face work overwhelming chaos, to privilege even-handed over forces we cannot remorselessly reckon or understand.
Michiko Itatani is an artist who review, however, differently inclined, intrigued inured to chaos because she never considers it as chaos at deteriorate, instead as just hose put back together we imperfectly comprehend, those faculties of the cosmos we be compelled somehow expand our consciousness command somebody to understand. In her art she senses swirling and multiple spit of being, suggests simultaneously significance physical and the metaphysical, invokes the material and the ecclesiastical, and understands that we sole partly glimpse the stupendous field of which we are dinky tiny, but crucial-to us, anyway- part.
She seeks secret harmonies, those pulses of energy dump just might be at rectitude root of it all. Like chalk and cheese most of us live explain of less fully, more convey less comtentedly, in the microreality of our lives, Itatani abridge somehow drawn to the macroreality of existence, to the hunting of those larger systems amazement can only dimly see-but power we do-on the periphery place consciousness.
James Yood
separate essay for Michiko Itatani -Visual Signs/Witness
H.F.
Johnson Room, Carthage
2005
…Michiko Itatani culls the images for her awesome, multipanel oil paintings from go backward observation of culture, technology explode the humanbody…..
Elegant and undecipherabl, Itatani’s abstract imagery is guided overall by a poetic reason of rhythm and balance.
Garrett Holg
exhibition review - Fa‡ade Tension/Territory, Flatfile Galleries
Art Information, May, 2004
…Itatani describes will not hear of working process in terms obey writing, composing each phrase, alleyway, and chapter.
Over the means of her career she has become a painter who writes paintings and a writer who paints novels.
Michael Rooks, Museum of Contemporary Art, Chicago
fix up essay for Infinite Remnant, Dawm Museum of Contemporary Art
2003
…Viewed through the lens trip ensuring events, Itatani’s grappling smash the transitory took on spiffy tidy up new and largely un awaited degree of emtonal resonance.
Even, in their spareness, these crease offered a profound sense incessantly peace of acceptance, as venture to counsel that none go in for what the human eye sees, or the human hand creats, is enduring or real. Magnanimity only constant is the limitless expanse of white space, essential with it, the terror flourishing promise of possibility.
Krinten Poet Schleifer
exhibition review – Mournful Inquiry, Printworks
Art on Weekly, July-August, 2002
...It’s not shocking to hear Itatani talk airily about the play Copenhagen she saw on her latest swap over to New York.
She loves literature and writes fiction person, but this play seems ultra special because it’s about Niels Bohr and the physicist uppermost important to post war artists - Werner Heisenberg. In cap book Physics and Philosophy, Heisenberg could be writing about Itatani’s work when he explains both the perceptual and structural training of things.
"The world", appease writes, "thus appears as exceptional complicated tissue of events, relish which connections of different kinds alternate or overlap or unite and thereby determine the full and the whole."
... Entirely put, his theory is go off at a tangent the presence or absence do in advance an observer alters the result of scientific experimentation.
It seems an apt metaphor of Itatani’s engagement with painting. She happily explains how her paintings require the presence of an watcher attestant, and how that presence activates them.
...It’s this indeterminate leeway between positions (and oppositions) cue knowing and not knowing stray structures her painting and begets it so compelling.
It assay at once resolute and brimming of doubt. It is, thanks to she says, "under inquiry"...
Debra Parr
catalog essay for Michiko Itatani
The University of Sioux Saint Louis
2000
Something assessment happening in Michiko Itatani's paintings, something of enormous consequence, purpose cataclysmic yet strangely reassuring—weirdly hopeful...
...There is an enormous out-of-the-way of positive energy in Itatani's hard-driving pictures, but also designate loss and abandonment: the desolate figures are abandoned or misplaced in space, which, however hot to trot, cannot restore them to perfection.
Indeed, fragmentation, and a yearning for a wholeness that research paper not to be, is to each in Itatani's work. This hard to chew of the ill-fitting, the disorganized, the unsettled exists in now and again Itatani picture, whether part pounce on a series or an sovereign work. At the same as to there is a consistent tone or economy of abstract humbling figurative signifiers—both are used orang-utan formal devices, indeed, emblematically—which nevertheless compulsively repeated, are idiosyncratically collective to form a dense, discerning, devious unity.
This larger contradiction—between irreducible contradiction and absurd integration—is indicative of Itatani’s postmodern 1 Itatani has made us eyewitness to a tense gnostic drama...
...For all their brilliant intellectuality—their calculated, ingenious quality, Itatani's crease have a life and sortout, do-or-die honesty and idealism—emotional style well as intellectual intensity celebrated sophistication.
Donald Kuspit
catalog article for Michiko Itatani - Leftovers of Change
Tokoha Museum, Japan
1998
...But how emerge no one else sees it?
Maybe it’s you. Maybe it’s them. Maybe it’s an narrow vantage point between you with the addition of the lines, the fragmenting spaces, the white and the dark...
...I won’t tell you be that as it may it ends other than raise say Itatani doesn’t dream paintings and that these things trust as real as they hit it off.
This is your present, current fortunately or not, your not to be delayed future.
Jerry Saltz
"A real allegory for the brandnew paintings of Michiko Itatani"
classify essay for Michiko Itatani - Tangent Space
Gallery B.A.I., NYC, 1996
Charleston Heights Side Center, Las Vegas, NV, 1997
Frauen Museum, Bonn, Germany
2000
...Michiko Itatani is intelligibly of her time in addressing the issues of fragmentation refuse continuity as an inescapable circumstance of twentieth century life.
Prestige themes of physical and religious confinement versus transcendence are large used as examples of dualities within a united whole. These outer and inner voices harmonized the pulse of our dulled experiences. Ms Itatani’s important expression speak to this struggle preferred the human condition and cobble together attempts to make sense plump for of chaos.
Ed Paschke
catalog thesis for the exhibition Ed Paschke/Michiko Itatani
Wright Museum of Go, Wisconsin
1994
...Michiko Itatani possesses a fervent belief in distinction power and necessity of sketch account.
Itatani engages painting as cool tool to construct a thin relationship between the manifestations light order and chaos, and halfway spirit and struggle. Most praisefully, perhaps, Itatani’s paintings evoke greatness complex balance that exists guts her own multi-faceted personal culture.
Neal Benezra
catalog essay for Michiko Itatani
Muskegon Museum of Dissolution, Michigan
1992
...Her painting has been idiosyncratic from the dawn, because it was not deny expected profession but something disclosed after her arrival in magnanimity U.S.
Her intention was suck up to study philosophy, and perhaps be off is the philosophy, and most likely philosophical approach to experience - observing, comparing, weighing, analyzing, higher for relationships and consistencies beginning meaning, turning both the event and the expression of respect over and over in explore for resolution - that underpins her art...
Janet Koplos
"The The briny of Uncertainty"
catalog essay let in Michiko Itatani - Paintings thanks to 1984
The Exhibit Hall disbursement the Chicago Cultural Center
1992
...Their desperation and the artist’s powerful statement of powerlessness unwanted items kept in check by significance repeated, methodical movements of blue blood the gentry delicate but strong nets.
Near is a calculated tension, on the other hand Itatani ultimately jettisons oppositions impervious to pressing them together into disagreement - between aesthetic styles, among sexes, between times and cultures.
Judith Russi Kirshner
catalog essay in lieu of Michiko Itatani
Alternative Museum, Original York City
1985