Painter, sculptor, teacher, and internationally renowned fountain designer, George Tsutakawa (1910-1997) was one of the treasure of the Pacific Northwest. In his life and his work he achieved a rare synthesis of the traditions of Japan, his parents’ native land, where he lived and went to school for ten years, and those of America, where he was born and to which he returned at the age of seventeen.Martha Kingsbury draws upon her own and others’ interviews with Tsutakawa to reveal the way his accomplishments have been shaped by, but have also transcended, the influences of his dual cultural heritage. Throughout we hear the artist’s own voice--witty, ironic, passionate, irreverent--the voice of a man possessed of deep convictions and great wisdom. In six chronologically arranged sections, Kingsbury discusses Tsutakawa’s long life and distinguished career, examining his artistic development in two extended periods.The first period, from the late 1920s into the mid-1950s, encompasses the artist’s early education, growing mastery, and artistic awareness from his student days to beyond World War II. He studied with teachers as divers as Alexander Archipenko, Ambrose Patterson, and Paul Bonifas, and enjoyed the exhilarating company of the e active and talented artists who came to be identifies as the “Northwest School”--among them Mark Tobey, Morris Graves, Kenneth Callahan, Paul Horiuchi, and Kamekichi Tokita. Throughout the Great Depression they painted, talked about art, and socialized long into the night. At this time Tsutakawa thought of himself as a “Sunday painter,” a modern artist in the western tradition, striving for expression of a private personal vision.By 1956, Tsutakawa--married and settled in his native Seattle--had gained artistic confidence and success as an painter, printmaker, sculptor, and teacher. Two events in that year influence a major shift in his thinking about art. he returned to Japan after an absence of thirty years, to rediscover a deep appreciation of his Japanese heritage. And he read, in a book by William O. Douglas, a description of the ritually stacked rock structures, obos, left by pilgrims at spiritually auspicious sites in the Indian Himalayas. Tsutakawa began to study the organic, almost fortuitously stacked and piled shapes of the obos, compelled by their public nature, the way they combined anonymity with personal meaning. The obos forms (which he was later to see himself on a trek in the foothills of Mt. Everest) inspired a long series of sculpture beginning in 1957, and led Tsutakawa in the 1960s to consider the possibilities of using them in fountains.In more than sixty fountains designed and built since that time, as well as in the sumi drawings he has produced for many years, Tsutakawa has expressed his beliefs about our relationship with nature. His fountains are not the traditional structures in which jets of water squirt at or out of a sculpture, but ones in which the water’s movement over shapes, its sounds, and its reflected light are indispensable to the concept of the form as a whole.This profusely illustrated book, published in connection with an exhibition at the Bellevue Art Museum includes an appreciation of the artist’s fountain sculptor written by the Japanese art historian and critic Sumio Kuwabara, professor at the Musashino College of Arts.

George Tsutakawa

Arts & Photography

Kingsbury, Martha

History & Criticism

Bellevue Art Museum

Jean Jongeward in the Northwest Design Tradition

Larsen, Jack Lenor

Hill, Warren

Douglas, Diane

Mendoza, David C.

Alden Mason: Paintings

Hull, Roger

Individual Artists

Over the past 40 years, Mary Lee Hu has affirmed her distinctive voice in the world of jewelry with her elegant, voluptuous creations. Using wire the way hand weavers use threads, Hu has blazed a trail as both artist and innovator, exploring the nexus between metalsmithing and textile techniques, often through the recovery of historical precedents from an ancient past, and inspired by her innate aspiration to perfection and her stubborn curiosity. Hu's apparently effortless and graceful creations, resulting from twining, weaving, knotting, and braiding, investigate both the possibilities and limits of wire by melding fiber art and jewelry, structure and pattern, light and line. 
Knitted, Knotted, Twisted, and Twined features exquisite earrings, rings, brooches, and neckpieces drawn from public and private collections internationally. The book traces the evolution and refinement of Hu's processes and skill from her earliest experimental pieces in the late 1960s--capturing the spirit of a time when craft and lifestyle were so passionately intertwined--to the confidence and movement of her contemporary creations. 
Mary Lee Hu taught metalsmithing at the University of Washington until her retirement in 2006.

Knitted, Knotted, Twisted, and Twined: The Jewelry of Mary Lee Hu

Koplos, Janet

Falino, Jeannine

Catalani, Stefano

Gloria Bornstein: Retelling, 1975-1998

Halper, Vicki

Lippard, Lucy R.

Bornstein, Gloria

Margaret Tomkins, 1975-1981: Bellevue Art Museum, April 17-May 27, 1982, Cheney Cowles Memorial Museum, October 21-November 28, 1982

Margaret Tomkins

This stunning catalogue was published to accompany the inaugural exhibition at the new Bellevue Art Museum, designed by internationally acclaimed architect Steven Holl. Luminous can be described as on the boundary between the disciplines of art and architecture. The focus here is on light, which is the dominant sculptural force in the architecture of the new museum. Thematically linked to the design of the new building, the works included amplify, complicate, or otherwise intensify the viewer's impressions of the building that contains them and are intended to focus attention on the profoundly physical character of light and on the deeply embodied nature of vision. Included here are media art, painting, design, photography, sculpture, and site-specific art focusing on artists' use of light, with works by Iole Alessandrini, James Carl, Dan Flavin, Rodney Graham, Morris Graves, Joseph Kosuth, Tokihiro Sato, Julianne Swartz, Hap Tivy, Mark Tobey, Bill Viola, and Dan Webb.

Luminous: January 13-June 17, 2001

Bellevue Art Museum (Wash.)

Collections, Catalogs & Exhibitions

Max Benjamin, 1964-1984

Benjamin, Max

Robert Sperry: A Retrospective

Kangas, Matthew

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Books by Bellevue Art Museum