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Arakawa

Diagrams for the Imagination

March 5–April 13, 2019
980 Madison Avenue, New York

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

Installation view

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

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

Installation view

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

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

Installation view

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

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

Installation view

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

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

Installation view

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

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

Installation view

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

Works Exhibited

Arakawa, That in Which No. 2, 1974–75 Acrylic, graphite, and marker on canvas, 65 × 102 inches (165.1 × 259.1 cm)© Estate of Madeline Gins. Reproduced with permission of the Estate of Madeline Gins

Arakawa, That in Which No. 2, 1974–75

Acrylic, graphite, and marker on canvas, 65 × 102 inches (165.1 × 259.1 cm)
© Estate of Madeline Gins. Reproduced with permission of the Estate of Madeline Gins

Arakawa, Untitled (Webster’s Dictionary A & B), 1965 Acrylic, graphite, and marker on canvas, 66 × 95 inches (167.6 × 241.3 cm)© Estate of Madeline Gins. Reproduced with permission of the Estate of Madeline Gins

Arakawa, Untitled (Webster’s Dictionary A & B), 1965

Acrylic, graphite, and marker on canvas, 66 × 95 inches (167.6 × 241.3 cm)
© Estate of Madeline Gins. Reproduced with permission of the Estate of Madeline Gins

About

What I want to paint is the condition that precedes the moment in which the imagination goes to work and produces mental representations.
—Arakawa

Gagosian is pleased to present Diagrams for the Imagination, an exhibition of works by Arakawa, made between 1965 and 1984.

Born in Japan in 1936, Arakawa was one of the founding members of the Japanese avant-garde collective Neo Dadaism Organizers, describing himself as an “eternal outsider” and an “abstractionist of the distant future.” In 1961, he moved from Tokyo to New York. By the mid-1960s, his work had taken a pivotal turn with the “diagram paintings,” which combine words with highly schematic images suggestive of blueprints. He began exhibiting at Dwan Gallery in Los Angeles and New York, and was included in the now legendary 1967 exhibition Language to be looked at and/ or things to be read. Over the decades that followed, Arakawa explored the workings of human consciousness, diagrammatic representation, and epistemology.

This exhibition examines the period during which Arakawa worked in two dimensions, using paint, ink, graphite, and assemblage on canvas and paper to demonstrate what critic Lawrence Alloway called “the logic of meaning, the texture of meaning.” From the mid-1960s onward, Arakawa began to augment the simple topography of his diagrams with additional referents, sometimes engaging other sensory faculty or using prompts and instructions to make the viewing of painting into an active endeavor. In A Couple (1966­–67), the bird’s-eye view of a bedroom is mapped out: bed, table, pillow, head, foot, lamp. The image shows only the places where the corresponding physical elements would be, had “a couple” been literally depicted. In this way, the painting becomes a catalyst for the viewer to independently construct an image of a couple in the mind’s eye, rather than receive its depiction directly from the painting.

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Polskin Arts
Meagan Jones
meagan.jones@finnpartners.com
+1 212 593 6485

Gregory Gestner
gregory.gestner@finnpartners.com
+1 212 593 5815

Gagosian
pressny@gagosian.com
+1 212 744 2313

News

Arakawa, And/Or in Profile No. 2, 1974 © Estate of Madeline Gins. Reproduced with permission of the Estate of Madeline Gins

Tour

Arakawa
Diagrams for the Imagination

Saturday, April 6, 2019, 2pm
Gagosian, 980 Madison Avenue, New York

Stephen Hepworth will lead a tour of the exhibition Arakawa: Diagrams for the Imagination at Gagosian, 980 Madison Avenue, New York. This show examines the works Arakawa made in the two decades following his 1961 arrival in New York, a period during which he worked in two dimensions, using paint, ink, graphite, and assemblage on canvas and paper. To attend the free event, RSVP to nytours@gagosian.com.

Arakawa, And/Or in Profile No. 2, 1974 © Estate of Madeline Gins. Reproduced with permission of the Estate of Madeline Gins