[ Current Exhibition ]

Special ExhibitionTAIJI MATSUE gazetteer

Taiji Matsue (b. 1963) made his debut as a photographer after graduating from the geography department at the University of Tokyo. Strongly fixated on compositions without horizon lines and two-dimensionality, Matsue has captured images throughout the world with a consistent style defined by shooting in direct light to avoid producing shadows. Thoroughly eliminating of any sense of centrality, periphery, depth or contrast, Matsue’s works are displayed as flat pictures, which treat every element equally. This exhibition, Matsue’s first solo show at a public museum, spans the artist’s career, including some new pieces, and reexamines at his challenging approach to the ever-changing techniques that arise out of technological advances.

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Collection Exhibition2018-3 Collection Highlights & Special Feature: Like a Face

The exhibition is made up of two sections: “Collection Highlights,”and the special feature, “Like a Face.”In the first, we focus on artists who, as leaders in a number of important trends, are indispensable to any discussion of 20th century art. In a special feature titled “Like a Face,” we focus on two- and three-dimensional works using the face as a motif.

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Phillip King
Monument for Hiroshima, 1987-88

Open ProgramPhillip King and Anthony Caro

Along with King’s Monument for Hiroshima (1987-88), which was commissioned by the museum, and Caro’s Water Street Starter (1980), this exhibition places special emphasis on King’s work of the 1980s. As King’s Head (1982-83), an outdoor sculpture on permanent exhibition at the museum, is related to the theme of Like a Face, a special display in the current collection exhibition, it promises to provide viewers with further insight into the artist’s style during this period.

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Video Art Program[The 63rd Program] Marta Krześlak

As the electric door of a garage opens and closes, various objects move around: a mattress hung from strings and wires, life preservers, a plastic shovel. Surrounded by concrete walls in the inorganic, homogeneous space of a garage interior, these three-dimensional readymade objects function like elements in an abstract painting.

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