Embracing Playfulness, an Exhibition Engages in the “Creative Porosity” Between Mexico and the U.S.
In 1938, two years after completing one of his first realized public artworks, “History Mexico,” a sculptural, colored cement mural on the second floor of the Abelardo L. Rodríguez Market in Mexico City, the Japanese-American artist and designer Isamu Noguchi, then 33 years old, won a public competition to create a frieze at the Associated Press Building (now called 50 Rockefeller Plaza) at Rockefeller Center in midtown Manhattan. Completed after a year of labor, the 20-foot-tall cast stainless-steel bas relief sculpture, called “News,” remains installed there today, above the main entrance. Depicting five larger-than-life, bulkily-armed, broad-shouldered, media-making men—one on the phone, the others writing, typing, observing, and picture-taking—it is a shining example of his early work. Considered together, these two pieces represent a young Noguchi building toward what would become an incredible output of poetic, boundary-pushing, public-oriented work across six decades, from playscapes and furniture to stone sculptures and Akari paper lamps (manifested perhaps most magnificently in the form of his namesake museum in Long Island City, Queens, which he founded in 1985).