Takenobu igarashi biography of barack

One of Japan’s most prolific artists, Takenobu Igarashi attained international acclaim as a graphic designer in the mid-1970s through his axonometric alphabets and just in case you are wondering what this is, be prepared to enter the multi dimensional artistic landscape of a man who makes headlines anyway possible. Either as a featured artist himself or an editor and designer for publications that strived to introduce outstanding works of international designers TakenobuIgarashi is a true Japanese at heart. “My approach to design and sculpture has always wavered between my wish to do something useful for society, and my desire to create something beautiful with my own hands. In my opinion there are three essential things in work: passion, challenge and discovery. Without that, work gets boring; with that, work is enjoyable. And artwork that is enjoyable also results in success” he says.

Having designed visual identity programs for domestic as well as international clients such as Meiji Milk Products Co. Ltd., Suntory Holdings Ltd., Mitsui Bank Ltd., Tama Art University, Oji Paper Co. Ltd., and UHAG., the man who was born in Hokkaido in 1944 advanced into the field of product design in the 80’s, whilst he started making alphabet sculptures. The calendar with three-dimensional numerals, which he designed for eight consecutive years for the Museum of Modern Art is one of his masterpieces. In the late 80s he supported Japanese regional industries by designing products employing their traditional craftsmanship.

A man of many talents, just like the variety of materials he experiments with, Igarashi is a member of Alliance Graphique Internationale (AGI) since 1980 and he is actively involved in nurturing the younger generation as a teacher at Chiba University and the University of California, Los Angeles (UCLA), as a collaborator in the foundation of the Faculty of Design at Tama Art Univer

A Hub for Creative Sensibility
Education at KIT

The Igarashi Takenobu Archive is a new learning hub for students to cultivate the ability to perceive and imagine this world from a unique perspective.

Today we live in an ever-changing world, shaped daily by evolving technologies in robotics, artificial intelligence, and the Internet of Things. Accordingly, there is an increasing need to nurture talent capable of contributing to future society through critical thinking, articulation of one’s own ideas, and attuning one’s senses to the surrounding world. KIT has incorporated STEAM* into its ethos. For “A (Art),” KIT introduces creative sensibility education as the key pivot. The Igarashi Takenobu Archive will spearhead the study of art at KIT through a unique program with the works and research materials of sculptor and designer Takenobu Igarashi.

*An acronym for five closely connected areas of study: science, technology, engineering, art, and mathematics.

A Hub for Creative Sensibility Education at KIT

Japan needs a “1% for Art” Program

How do Japanese artists, who were involved with the creation of public art through Percent-for-Art Program*¹ abroad, feel about this program?　We interviewed IGARASHI Takenobu, the former president of Tama Art University, to hear his thoughts. (Interviewer : NISHIKAWA Megumi, October 2015)

——You were involved with the creation of public art in the US.

In the US, the momentum for public art started in early 1950s. There soon appeared abstract sculptures in Manhattan, New York, initially with work of Tony Rosenthal*², followed by Red Cube by Isamu Noguchi*³, a bright red cube work with a hole. I had a chance to see these works in1968 when I went to study in the US. Public art has a role to vitalize cities, creating an artistic landscape in urban spaces. I think Tony’s black cube sculpture is the very first abstract sculpture that was designated to be permanently preserved.

——What benefits can public art bring to artists?

Public art started in Europe, expanding then to the US. Certain percentage of the public construction cost is allocated to public art and in case of the US, I think it was initially 0.5%. The amount of work created for artists this way is totally different from procurement in museums or sales of art works by galleries. It creates

Bio:

He attained international acclaim as a graphic designer in the mid-1970s through his axonometric alphabets. In 1979, GRAPHIS, a leading Swiss design magazine introduced and... featured his work, followed by four more issues, the last one in 1998. On the other hand, he strived to introduce outstanding works of international designers by planning, gathering material, editing, and doing the layout and design all by himself in publications such as Graphic Designers on the West Coast, a special issue of IDEA magazine, and three volumes of World Trademarks and Logotypes. During this time, he also designed visual identity (VI) programs for domestic as well as international clients such as Meiji Milk Products Co. Ltd., Suntory Holdings Ltd., Mitsui Bank Ltd., Tama Art University, Oji Paper Co. Ltd., and UHAG. In the 1980s he started making alphabet sculptures and also advanced into the field of product design. For the Museum of Modern Art, New York, he produced a series of graphic and product design goods. The calendar with three-dimensional numerals, which he designed for eight consecutive years, is one of his masterpieces. In the late 80s he supported Japanese regional industries by designing products employing their traditional craftsmanship. The series of products (YMD) developed through this project was sold in American and European museum stores. He was nominated and accepted as the member of Alliance Graphique Internationale (AGI) in 1980. From 1983 to 1989 he served two terms in the board of directors of the organization. Actively involved in nurturing the younger generation, he has taught at Chiba University and the University of California, Los Angeles (UCLA). He collaborated in the foundation of the Faculty of Design at Tama Art University (Kaminoge Campus) to set up the first computerized design education in Japan, and was the first Head of Design Department. In 1988, he was invited as a Hallmark Fellow to give a speech on the final d