Shusaku Arakawa

American, 1936 - 2010

BiographyJuly 6, 1936 - May 18, 2010) was a Japanese artist and architect. He had a personal and artistic partnership with writer and artist Madeline Gins that spanned more than four decades.
Shusaku Arakawa (?? ?? Arakawa Sh?saku, July 6, 1936 - May 18, 2010)[1] who spoke of himself as an "eternal outsider" and "abstractionist of the distant future," first studied mathematics and medicine at the University of Tokyo, and art at the Musashino Art University.[2] He was a member of Tokyo's Neo-Dadaism Organizers, a precursor to The Neo-Dada movement. Arakawa's early works were first displayed in the infamous Yomiuri Independent Exhibition, a watershed event for postwar Japanese avant-garde art.
Arakawa arrived in New York in 1961 with fourteen dollars in his pocket and a telephone number for Marcel Duchamp, whom he phoned from the airport and over time formed a close friendship. He started using diagrams within his paintings as philosophical propositions. Jean-Francois Lyotard has said of Arakawa's work that it "makes us think through the eyes," and Hans-Georg Gadamer has described it as transforming "the usual constancies of orientation into a strange, enticing game-a game of continually thinking out." Quoting Paul Celan, Gadamer also wrote of the work: "There are songs to sing beyond the human." Arthur Danto has found Arakawa to be "the most philosophical of contemporary artists." For his part, Arakawa has declared: "Painting is only an exercise, never more than that."
Beginning in 1963, he collaborated with fellow artist and architect Madeline Gins on the research project The Mechanism of Meaning which was then completed by 1973. This research project and the architectural projects that stem from it, both built and unbuilt ones, formed the basis of the 1997 Arakawa + Gins: Reversible Destiny exhibition at the Guggenheim Museum SoHo.
The panels appear as a constellation of views concerning the nature of meaning that made be characterized in broad stroke as "holistic" or as entailments of a holistic view concerning meaning. To date, two editions of the Mechanism of Meaning have been made and many of the panels incorporate collaged elements

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