Wikipedia

Ritsuko Taho

Ritsuko Taho (田甫 律子, Taho Ritsuko, born 1950) is a Japanese sculptor and installation artist. After moving to the United States, she got her MFA in Sculpture at Yale University and taught at Harvard University and MIT School of Architecture and Planning, before returning to Japan to become professor at the Tokyo University of the Arts Department of Intermedia. She is a 1993 Guggenheim Fellow and 2010 Anonymous Was A Woman Award winner. As of 1998, she resided in Boston.[1][needs update]

Ritsuko Taho
田甫 律子
Born1950 (age 73–74)
Tokushima Prefecture, Japan
Alma mater
Employer
Awards

Biography

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Taho was born in 1950 in Tokushima Prefecture.[2] She was later educated at Tokushima University (where she got her BA in 1973); Musashino Art University (where she got her BFA in 1977 and MFA in Design in 1979), and Yale University (where she got her MFA in Sculpture in 1985).[2] She was an artist-in-residence at the Fine Arts Work Center from 1985 to 1987, and she received several arts fellowships from the Asian Cultural Council (1986), Pollock-Krasner Foundation (1987), and the Massachusetts Artist Foundation (1991).[2]

She worked as an art lecturer at Harvard University from 1987 to 1989, including at their Department of Visual and Environmental Studies;[2][3] during her time there, she had an art project where her students would together adopt one chicken and then have it slaughtered and eaten and its bones turned into a sculpture.[3] In 1987, an installation of hers was commissioned by the Brattleboro Museum and Art Center for their New Work Japan exhibition.[4] In 1988, she set up Forbidden Building, an installation where she invited others to collect dead leaves to fill a large structure of chain-link fence and scaffolding nearby Ruggles station.[5] She once worked with Jeffrey Spalding for the 1989 installation work Eye of Nature II.[1]

In 1989, Taho moved to the Department of Architecture of the nearby MIT School of Architecture and Planning, where she was assistant professor of visual arts and an Ida Green Career Development Professor.[2][6] In 1991, she did an installation at the Massachusetts College of Art, named On the Path, where she "links her Japanese father's enslavement to the Emperor with the slavery of the American South".[7] In 1993, she was awarded a Guggenheim Fellow for sculpting, as well as a Bunting Institute Fellowship.[2][8]

In 1994, her installation Multicultural Diplomats, where 40,000 inflated medical gloves, containing pieces of paper with the dreams of other people who wrote them down at her request, would be hung from the Margaret Mitchell House and Museum, was exhibited at the Arts Festival of Atlanta.[9][10] On 17 September, Multicultural Diplomats was destroyed, alongside a majority of the building, when an arsonist ignited a fire by spilling kerosene across all three floors above ground.[9] Taho recalled that "We had 40,000 dreams on the roof. I think that kind of fire could be seen as an indication that dreams can come true. The fire eternalized the dreams. It is almost like a god tried to take their dreams".[9]

In 1995, she was promoted to associate professor at MIT.[11] Artforum said that her 1995 exhibition Dawn: Transformation of Zero at Capp Street Project "examined our complex relationship with money".[12] In 1996, she held an installation where Cambridge residents (reportedly including homeless people) would anonymously have their dreams engraved on her Dream Towers sculpture, with The Boston Globe calling her the city's "dream collector".[13] In 2001, she organized an installation where pedestrians near an Amherst garage would read poetry, including from Amherst native Emily Dickinson.[14] She later moved to the Tokyo University of the Arts Department of Intermedia and became a professor there.[15][16] She won an Anonymous Was A Woman Award in 2000.[17]

References

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  1. ^ a b Tousley, Nancy (16 August 1989). "Second look at nature reflects our lost ideals". Calgary Herald. p. E10 – via Newspapers.com.
  2. ^ a b c d e f Reports of the President and of the Treasurer. John Simon Guggenheim Memorial Foundation. 1994. pp. 110–111.
  3. ^ a b "Adoption, killing of chicken meant to be art experience". The Springfield News-Leader. Associated Press. 7 November 1987. p. E1 – via Newspapers.com.
  4. ^ Root, Dolores (30 April 1987). "BMAC readies Perceptions of Japan exhibition season". The Brattleboro Reformer. p. 6 – via Newspapers.com.
  5. ^ Nemser, Rebecca (14 December 1988). "Composition... and decomposition". The Boston Globe. p. 80 – via Newspapers.com.
  6. ^ "Awards and honors". MIT Tech Talk. Vol. 38, no. 3. 25 August 1993. Retrieved 5 November 2024 – via MIT News.
  7. ^ Temin, Christine (11 December 1991). "Taho's forceful, but not forced, work". The Boston Globe. p. 56 – via Newspapers.com.
  8. ^ "Ritsuko Taho". John Simon Guggenheim Memorial Foundation. Retrieved 5 November 2024.
  9. ^ a b c Lewis, Boyd (16 February 2015). "Living at Peggy's: Where Margaret Mitchell Wrote Gone with the Wind". Atlanta Studies. Retrieved 12 November 2024.
  10. ^ "Gloves to cover 'Wind' author's old apartment". Lexington Herald-Leader. 4 September 1994. p. F4 – via Newspapers.com.
  11. ^ "28 are promoted to associate professor". MIT Tech News. 22 March 1995. Retrieved 5 November 2024 – via MIT News.
  12. ^ Porges, Maria (1995). "Ritsuko Taho". Artforum. Vol. 34, no. 1. Retrieved 7 November 2024.
  13. ^ Pelton, Tom (15 September 1996). "Sculptor turns dream collector". The Boston Globe. p. B2 – via Newspapers.com.
  14. ^ Grabbe, Nick (9 January 2001). "Amherst picks 'poem boxes' for art project". Daily Hampshire Gazette. p. B1 – via Newspapers.com.
  15. ^ "Ritsuko Taho". MIT School of Architecture and Planning. Retrieved 5 November 2024.
  16. ^ "Joint international project with the Ecole Regionale des Beaux-Arts de Nantes held in France". Tokyo University of The Arts. 24 March 2014. Retrieved 22 December 2024. Prof. Ritsuko Taho of the Department of Intermedia Art, who supervised the exhibition in Nantes, made the following remarks. "In the Estuary Project symposium entitled "Beyond the Monument," we recognize anew the need for public projects for the future of cities and regions, including efforts to reconcile the mainstream of the public art tradition in which works of art create public spaces with new approaches and considerations for the natural environment, as significant changes occur in the traditional conceptualization of public art as monuments."
  17. ^ "Recipients to Date". anonymouswasawoman.org. Anonymous Was A Woman. Retrieved 22 December 2024. Ritsuko Taho – Sculpture and Public Art, Cambridge, MA – 2000
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