Japanese artist Tomoko Konoike brings the picture book to life with mimio-Odyssey, a video-projected artist's book that tells the story of a faceless quasi-human's journey through a surrealistic forest. Along the way, she encounters six-legged wolves, bees with girls' legs, and flying daggers as she seeks to make sense of the world around her.
Several traditions are evoked through the imagery in mimio-Odyssey. Shinto animism often associates wolves with kami, the spirits of the unseen world. The words “wolf” and “kami” are even pronounced the same. Imagery taken from Buddhism can been seen in the “third eye” of enlightenment and the prevalence of daggers, often symbolizing the exorcising of evil spirits. And Noh theatre plays its role in the Konoike’s animated masks of young and old, good and evil. Konoike’s use of mythology gives the story of mimio-Odyssey a timeless quality, despite its strange and imaginative creatures. It felt almost like having a storybook read aloud to me as I watched the images flicker silently across the pages. See mimio-Odyssey on view in Gallery 108, next to the Ando Gallery.
Tomoko Konoike. mimio-Odyssey, 2005. Gift of Roger L. Weston.
1 hour 52 min ago The Art Institute of Chicago #TBT 1922: A lush display at the Art Institute for the exhibition Woman's Farm and Garden Association: Landscape and Garden Design.
18 hours 51 min ago The Art Institute of Chicago COMING SOON—Provoke: Photography in Japan between Protest and Performance, 1960–75
The short-lived Tokyo magazine Provoke is now recognized as a major achievement in world photography of the last 50 years. A major international traveling show, which has Chicago as its only North American venue, this exhibition is the first survey of postwar Japanese art to be organized at the Art Institute and draws heavily on the the museum’s collection—more than 60% of the over 200 items on display belong to the Art Institute.
OPENING JANUARY 28—http://bit.ly/2jMlnUx
22 hours 3 min ago The Art Institute of Chicago NOW ON VIEW—The Italian–born American artist Josef Stella revisited his native Italy in 1922, where he became fascinated by Renaissance painting. Drawing inspiration from Sandro Botticelli, Stella began to produce decorative, detailed, symbolic compositions, such as A Vision (seen here). Stella was enthralled by the tropical plants he observed at the Bronx Botanical Garden in New York, and he imagined an iconic woman growing out of the earth like the towering flowers on either side of her.
The French–born American artist Gaston Lachaise found his own iconic inspiration for the sculpture, Woman (Elevation), in Isabel Dutaud Nagle, whom he later married, telling her, “I want to create a miracle with it… as great as you.” This sculpture represents Lachaise’s first full-scale expression of the idealized female form that would come to dominate his art. Modernists like Lachaise believed preclassical art possessed a primitive vitality absent from later art forms.
See Josef Stella’s A Vision (1925/26) and Gaston Lachaise’s Woman (Elevation) (1912–15; cast 1927)—on view in Gallery 271.