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Arakawa

Six Paintings

May 2–26, 2017
West 24th Street, New York

Installation view Artworks © 2017 Estate of Madeline Gins. Reproduced with permission of the Estate of Madeline Gins, photo by Rob McKeever

Installation view

Artworks © 2017 Estate of Madeline Gins. Reproduced with permission of the Estate of Madeline Gins, photo by Rob McKeever

Installation view Artwork © 2017 Estate of Madeline Gins. Reproduced with permission of the Estate of Madeline Gins. Photo: Rob McKeever

Installation view

Artwork © 2017 Estate of Madeline Gins. Reproduced with permission of the Estate of Madeline Gins. Photo: Rob McKeever

Installation view Artwork © 2017 Estate of Madeline Gins. Reproduced with permission of the Estate of Madeline Gins. Photo: Rob McKeever

Installation view

Artwork © 2017 Estate of Madeline Gins. Reproduced with permission of the Estate of Madeline Gins. Photo: Rob McKeever

Installation view Artwork © 2017 Estate of Madeline Gins. Reproduced with permission of the Estate of Madeline Gins. Photo: Rob McKeever

Installation view

Artwork © 2017 Estate of Madeline Gins. Reproduced with permission of the Estate of Madeline Gins. Photo: Rob McKeever

Installation view Artwork © 2017 Estate of Madeline Gins. Reproduced with permission of the Estate of Madeline Gins. Photo: Rob McKeever

Installation view

Artwork © 2017 Estate of Madeline Gins. Reproduced with permission of the Estate of Madeline Gins. Photo: Rob McKeever

Works Exhibited

Arakawa, "NO!!" Says the Volume, 1978 Acrylic, pencil, and art marker on canvas, framed: 75 × 123 inches (190.5 × 312.4 cm)© 2017 Estate of Madeline Gins. Reproduced with permission of the Estate of Madeline Gins. Photo: Rob McKeever

Arakawa, "NO!!" Says the Volume, 1978

Acrylic, pencil, and art marker on canvas, framed: 75 × 123 inches (190.5 × 312.4 cm)
© 2017 Estate of Madeline Gins. Reproduced with permission of the Estate of Madeline Gins. Photo: Rob McKeever

Arakawa, Texture of Time, 1977 Acrylic, pencil, and art marker on canvas, framed: 69 × 103 ½ inches (175.3 × 262.9 cm)© 2017 Estate of Madeline Gins. Reproduced with permission of the Estate of Madeline Gins. Photo: Rob McKeever

Arakawa, Texture of Time, 1977

Acrylic, pencil, and art marker on canvas, framed: 69 × 103 ½ inches (175.3 × 262.9 cm)
© 2017 Estate of Madeline Gins. Reproduced with permission of the Estate of Madeline Gins. Photo: Rob McKeever

Arakawa, From Mechanism of Meaning, 1971 Acrylic and art marker on canvas, 72 × 48 inches (182.9 × 121.9 cm)© 2017 Estate of Madeline Gins. Reproduced with permission of the Estate of Madeline Gins. Photo: Rob McKeever

Arakawa, From Mechanism of Meaning, 1971

Acrylic and art marker on canvas, 72 × 48 inches (182.9 × 121.9 cm)
© 2017 Estate of Madeline Gins. Reproduced with permission of the Estate of Madeline Gins. Photo: Rob McKeever

Arakawa, That Is Not Missing, 1970–71 Acrylic, pencil, and art marker on canvas, 97 × 260 inches (246.4 × 660.4 cm)© 2017 Estate of Madeline Gins. Reproduced with permission of the Estate of Madeline Gins. Photo: Rob McKeever

Arakawa, That Is Not Missing, 1970–71

Acrylic, pencil, and art marker on canvas, 97 × 260 inches (246.4 × 660.4 cm)
© 2017 Estate of Madeline Gins. Reproduced with permission of the Estate of Madeline Gins. Photo: Rob McKeever

Arakawa, A Couple No. 2, 1966–67 Acrylic, colored pencil, graphite, and art marker on canvas, 95 × 124 inches (241.3 × 315 cm)© 2017 Estate of Madeline Gins. Reproduced with permission of the Estate of Madeline Gins. Photo: Rob McKeever

Arakawa, A Couple No. 2, 1966–67

Acrylic, colored pencil, graphite, and art marker on canvas, 95 × 124 inches (241.3 × 315 cm)
© 2017 Estate of Madeline Gins. Reproduced with permission of the Estate of Madeline Gins. Photo: Rob McKeever

Arakawa, In the Shadow There Are 180,000 Wet Lines, 1964 Oil, pencil, and collage on canvas, 86 × 63 inches (218.4 × 160 cm)© 2017 Estate of Madeline Gins. Reproduced with permission of the Estate of Madeline Gins. Photo: Rob McKeever

Arakawa, In the Shadow There Are 180,000 Wet Lines, 1964

Oil, pencil, and collage on canvas, 86 × 63 inches (218.4 × 160 cm)
© 2017 Estate of Madeline Gins. Reproduced with permission of the Estate of Madeline Gins. Photo: Rob McKeever

About

Arakawa (born Shusaku Arakawa in 1936, in Nagoya, Japan) was one of the earliest practitioners of the international conceptual art movement of the 1960s, working within the mediums of painting, drawing, and printmaking. The work of Arakawa is now represented by Gagosian.

Arakawa attended the Musashino Art University in Tokyo before moving to New York from Japan in 1961. Following his arrival, Arakawa began producing diagrammatic paintings, drawings, and other conceptual works that employed systems of words and signs to both highlight and investigate the mechanics of human perception and knowledge.

In 1962, he met his future wife and collaborator—poet, writer, and philosopher Madeline Gins. They were married in 1965 and worked closely together in the years following. In subsequent decades Arakawa continued to exhibit at museums and galleries extensively throughout North America, Western Europe, and Japan with works that grew in scale and visual and intellectual complexity.

In the 1990s, Arakawa and Gins developed the theory of “procedural architecture” to further the impact of architecture on human lives. Through architecture specifically, they endeavored to “learn how not to die,” a concept that they termed “reversible destiny,” believing firmly that the architectural works they created would have an impact on the personal well-being and longevity of those who lived within them.

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