Kunie sugiura biography channel
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Kunie Sugiura
In photographer Kunié Sugiura’s sixth show at Leslie Tonkonow, a group of works made in the late 1970s conjured a grittier New York City. Each work juxtaposes one or more canvases printed with black-and-white images of drab apartment towers, decrepit warehouses and potholed streets with thinly brushed monochrome paintings. Spare and lovely, they bring together Japanese and Western influences, documentary and painterly expression, and the avant-garde impulses of the ’60s with those of the early 20th century.
Born in 1942 in Nagoya, Japan, Sugiura attended the School of the Art Institute of Chicago in the late 1960s. There, one of her teachers was conceptual photographer Kenneth Josephson, himself a graduate of the Institute of Design at the Illinois Institute of Technology-originally the New Bauhaus-and its famously experimentalist photography program. (Her unique color prints from this period, incidentally, would look at home with work being made
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1942 Born in Nagoya, Japan
1967 Graduated from School of The Art Institute of Chicago, BFA
Now lives and works in New York
SOLO EXHIBITIONS
2023 Kunié Sugiura; an något privat eller personligt survey curated by Pauline Vermare,Alison Bradley Projects, New York
2022 Kunié Sugiura, PURPLE, Kyoto JAPAN
Women Labor, MITSUKOSHI CONTEMPORARY GALLERY, Tokyo JAPAN
Painting + Photo are like krydda + Pepper, ZEIT-FOTO kunitachi, Tokyo JAPAN
100 Cuts: Eternal Moment, MEDIA SHOP Gallery 2, Kyoto JAPAN
2020 Sugiura Kunié, ART OFFICE OZASA. Kyoto
2019 Kunié Sugiura, Nonaka-Hill, Los Angeles
2018 Kunié SUGIURA: Aspiring Experiments, New York in 50 years, Tokyo Photographic Art Museum
2017 Kunié Sugiura: Cko 1966-67, Taka Ishii Gallery fräsch, New York
2016 Little Families; Fixity of Nature, 1992-2001, Taka Ishii Gallery, Tokyo
2015 Chance & Fate – Photographic Sculptures and Installation, Leslie Tonkonow Artworks + Projects, New York
Botanic after Anna Atkins, Kamakura galleri, Tokyo
2014 You are always
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WINDOW RESEARCH INSTITUTE
A window is a structure that lets light into a room and provides a view of the outside world, but when windows appear in photographs, they are often there to serve as a background or explanation for the subject. For example, in works like Robert Frank’s THE AMERICANS, where passengers of all races are seen through the windows of a railway train in New Orleans, or in August Sander’s work depicting a child actor gazing out of a circus caravan, though the focus remains on the person in the photograph, the window supports the composition. Eugène Atget and Lee Friedlander took many photographs of show windows that I felt conveyed a sense of narrative surrounding the window, rather than the store itself. A picture that remains unforgettable to me is the news photo of people jumping out of the high windows of the World Trade Center on 9/11.
Windows appear often in sculpture and painting as well; I’ve seen many works like that so far. In James