* New monograph on bamboo artist Tanabe Chiku'unsai IV* Reveres the long tradition of bamboo art in Japan* A detailed exploration of Chiku'unsai IV's life and motivations* Exclusive insights into the working methods of a master craftsman* Chiku'unsai IV has exhibited at TAI Modern, Mingei Gallery and the Metropolitan, among many moreThe bamboo: tall, strong and flexible. This fast-growing shoot has been used as a construction material, a foodstuff and fuel for millennia, from India to Japan. Tanabe Chiku'unsai IV's art elevates bamboo to new heights. By weaving together small pieces of fibrous stalk, he creates vast, detailed sculptures without the use of rivets or adhesives. Under Chiku'unsai IV's skilled craftsmanship, bamboo is more than a functional tool: it is modern art, a unifying symbol of Japanese culture. His sculptures revere traditional workmanship, while conveying important contemporary messages - the codependence of nature and man, and the importance of protecting our environment. Part autobiography, part introduction to the craft, this monograph follows Chiku'unsai IV's growth from a child marveling at his grandfather's mastery of bamboo, to a maestro in his own right. Bamboo weaves his past to his present, providing a sturdy foundation on which his art continues to build. "Love bamboos, live with bamboos," says Chiku'unsai IV. As this book demonstrates, he has done precisely that.

"A homage to nature and to a long tradition of Japanese craftsmanship, Godai is a large-scale temporary bamboo installation by Tanabe Chikuunsai IV. Like all the works of this artist, this new creation balances tradition with modernity. Like an organic architectural form, Godai emanates a keen positive energy, forcefully captured in the photographs of Tadayuki Minamoto, taken in Paris during the exhibition at the Musee national des Arts asiatiques." -- Book jacket.

- Brings together two masters of light and darkness, materiality and abstraction, French painter Pierre Soulages and Japanese bamboo artist Tanabe Chikuunsai IV- The catalog for a show at the Baur Foundation in Switzerland, a museum of Far Eastern Art, from November 2021 - March 2022This catalog documents an exhibition at the Baur Foundation that brings together work by the French painter Pierre Soulages (b.1919) and the Japanese master bamboo artist Tanabe Chikuunsai IV (b. 1973). Soulages, still working at 102 years old, has painted almost exclusively in black since 1979 and is known as the "master of luminous blacks". Tanabe Chikuunsai IV is a renowned bamboo artist, known for his twisting organic sculptures and room-sized instalations made from tiger or black bamboo. The aim of this exhibition is to explore how their work resonates, despite different approaches, in the dark and light effects of their materials.Text in French and English.Published to accompany an exhibition at the Baur Foundation in Switzerland, a museum of Far Eastern Art, from November 2021-March 2022.

Throughout this stunning hardcover package, paper vellum overlays reproduce Saeki's unique method for adding colour to his b/w artwork. He does not apply colour directly, but instead uses overlays to indicate the exact colours he wants. He calls this method chinto printing - the picture is complete only after it has been printed - a modern version of ukiyo-e, a genre of Japanese woodcut prints.

Published on the occasion of the exhibition Changing and Unchanging Things: Noguchi and Hasegawa in Postwar Japan, organized by The Isamu Noguchi Foundation and Garden Museum. Venues: Yokohama Museum of Art, January 12-March 24, 2019; The Isamu Noguchi Foundation and Garden Museum, May 1-July 14, 2019; Asian Art Museum of San Francisco, September 27-December 8, 2019. This exhibition is made possible through lead support from the Terra Foundation for American Art.

Planning to travel to Istanbul and want to know what adventures will await you? Already been and want to know more? "Inside Out In Istanbul" is a collection of short stories about life in Istanbul by author Lisa Morrow. Lisa first went to Turkey in 1990, where she stayed in the small village of Göreme for three months during the Gulf War. Since that time she has travelled back and forth between Turkey and Australia many times, living and working in Istanbul and Kayseri in central Turkey, before finally settling for good in Istanbul. The stories in this collection take you beyond the world famous sights of Istanbul to the shores of Asia, to an Istanbul that is vibrantly alive with the sounds of street vendors, wedding parties, weekly markets and more. Come behind the tourist façades and venture deep into this sometimes chaotic, often schizophrenic but always charming city.

Issued in connection with an exhibition organized by the Clark Center for Japanese Art and Culture and International Arts & Artists, held Nov. 13, 2012-Feb. 3, 2013, Bellevue Arts Museum, Bellevue, Washington, and at four other institutions at later dates.

Japanese bamboo baskets have a very long history. Until the 16th century, they were primarily utilitarian and rustic items. Those with an aesthetic value were imported from China. Mirror of the Confucian values, they displayed perfectly symmetrical shapes and a surprisingly regular weaving. The turning point came from the codification of the tea ceremony in the 16th century. Due to their extreme refinement, the Japanese bamboo vases ( hanakago ), containing floral arrangements (ikebana) are elevated to the rank of works of art. The masters of the golden era, founders of this art, constituted in dynasties, established a special relationship between the artist and the patron. But one artist will be particularly honored, Iizuka Rokansai (1890-1958), called the "Picasso of the basket" with his forty pieces. The post-war period is crucial in the diffusion of this art across the world, especially in the USA, in private collections or museums. This resulted in the use of new shapes by contemporary artists, but also in attempts at blending bamboo with new materials. The main question is then about the artistic status of contemporary or modern artists whose work requires great technical and artisanal skills. Inspired by classical formalism, which vocabulary was set up thoroughly by Iizuka Rokansai, the baskets of young contemporary artists are now becoming sculptures. Devoid of any function, they open up a unique artistic field.

Street Talking is a massive accumulation of graffiti and street art photographs taken over the last decade by photographer Mike Popso. Exploring a cross-continental swath of urban areas, Popso captures hard-to-reach spots where there is an explosion of bright color and brighter ideas on canvases ranging from abandoned schools in Detroit to the back alleys of Istanbul, Turkey. From illegal tagging under ground to the commissioned productions above ground, Street Talking documents works by an entirely new generation of "writers" and artists under the influence of yesterday's masters. An artistic platform for today's global voices in street art, Popso's compilation features works by The MSK Crew and other cutting edge artists working in Detroit, New York, the West Coast, and Europe--a must have for all street art collectors, practitioners, and enthusiasts.

This catalogue is published by the Fine Arts Museums of San Francisco in association with Rizzoli Electa on the occasion of the exhibition Ed Hardy: Deeper than Skin at the de Young from July 13 to October 6, 2019.