[Congressional Record Volume 156, Number 77 (Thursday, May 20, 2010)]
[Extensions of Remarks]
[Page E899]
From the Congressional Record Online through the Government Publishing Office [www.gpo.gov]




 IN TRIBUTE TO THE NOGUCHI MUSEUM ON THE OCCASION OF ITS TWENTY-FIFTH 
                              ANNIVERSARY-

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                        HON. CAROLYN B. MALONEY

                              of new york

                    in the house of representatives

                         Thursday, May 20, 2010

  Mrs. MALONEY. Madam Speaker, I ask my distinguished colleagues to 
join me in celebrating the twenty-fifth anniversary of the Noguchi 
Museum. Isamu Noguchi was one of the twentieth century's most 
influential and critically acclaimed Japanese-American sculptors. The 
museum, which he established and designed, is considered by many to be 
one of his greatest achievements. It is also the first museum in the 
United States to be founded by a living artist in his lifetime.
  Noguchi's innovation is evident in the museum's construction. He 
converted a 1920s photo-engraving plant in Long Island City into a two-
story, 27,000 square foot exhibition space divided into ten galleries, 
along with a serene sculpture garden. The museum houses the world's 
largest and most extensive collection of Noguchi's work, including his 
complete archives. There is a comprehensive selection of his sculptures 
in stone, metal, wood, and clay, as well as drawings, models for public 
projects and gardens, stage sets, furniture, and his Akari Light 
Sculptures.
  An internationalist, Noguchi drew inspiration from his extensive 
world travels. This influence is evident in the materials and 
techniques he chose to use in his projects. Noguchi believed in the 
social role of sculpture and created public works all over the world 
including a playground in Japan, a plaza in Texas, a garden in Paris, a 
fountain in New Orleans and this museum in Long Island City. He did not 
belong to any particular movement; often his choices reflect his 
commitment to creating art around public spaces.
  Through his collaborations with international artists, Noguchi became 
fluent in a range of different media and schools and set a new standard 
for artistic achievement. The museum repays his debt to the 
international community, by organizing traveling exhibitions and 
loaning works to other institutions for special exhibitions. It serves 
as an international center for the study and interpretation of 
Noguchi's vision, life, and the influence of his work on later artists.
  The museum's steadfast commitment to education is reflected in the 
myriad of public and academic programs and tours offered to children, 
teens, and adults of all ages. Particularly popular are the ``Second 
Sundays'' series, which convene renowned experts in art, architecture, 
and design to explore a variety of timely topics and complement the 
museum's mission and exhibits, and the summer ``Music in the Garden'' 
series. Other programs vary from panel discussions to curators' talks, 
artist-led gallery tours, and poetry readings.
  The Noguchi Museum recently underwent a renovation which has not only 
preserved the artist's vision, but has better enabled its facilities to 
meet the needs of its ever expanding audience.
  Madam Speaker, I rise to pay tribute to all the friends, family and 
supporters of the Noguchi Museum on the occasion of its twenty-fifth 
anniversary.

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