Selected Bibliography
1976 "Japanese Art '76",
Japan
Art Festival Association, catalog, June
1976 William
Wilson,
Los
Angels Times, 10.18
1976 Deloris Tarzan,
Hiroshi Kariya in "Here's looking at you",
The
Seattle Times, 11.23
1976 R.M.
Canbel, Seattle Post-Intelligencer
11.26
1977 "5th International Graphic Biennale"
Kunstverein
zu Frechen, catalog
1977 "Ljubljana Graphic Biennale", Ljubljana
Museum
of Modern Art, catalog
1977 "World Print Competition", San Francisco
Museum
of Modern Art, catalog
1977 Hiroshi Kariya "Japan Art Festival News",
No.
23, Tokyo
1979 "4th International Drawing Biennale"
Cleveland
County Council, catalog, England
1979 Kay Larson "Can You Hear the Music ?"
Voice,
weekly newspaper, 10.2
1981 John Shell "It is called '"The" sound'",
The
New Yorker magazine, 7.27
1981 John Perreault "Monumental Problems."
The
Soho News, newspaper, 5.27
1988 1988-1989 Exhibit Archive
"An Installation of the study of Sutra writing,
EXIT Art 4/8/1989-5/6/1989
1989 Kunie Sugiura "Sutra" as searching
for the meaning of existence,
BT,
monthly art magazine, July
1990 "ICA represents thousands of sutra, by Hiroshi Kariya",
Penn Life, news, Phil., 3.8
1990 "... sutra by linking his installation with those of
ICA's past... recycles walls...by Ilya Kabakov"
University
City Review, weekly, Phil., 3.2
1990 Robin Rice "Still breathing, still thinking",
Philadelphia
City Paper, newspaper, 6.22
1990 Edward J. Sozanski "Contemplating, Creation, Rebirth"
The
Philadelphia Inquirer, newspaper, 3.18
1991 "The East Village Becomes Japan West"
Randall Rothenberg
The New York Times, May 31, 1991
1993 "In Memory of 1992", catalog,
Spark
Gallery II, April
1993 Katsuhiko Sato "Expresses our future by using discarded object",
Kamaishi
Shimpo, newspaper, 2.26
1993 "The Year 1992: as journalist, Kariya shows
the sadness of our world in his "In memory of 1992"",
APO,
biweekly magazine, 3.18
1993 "In memory of 1992, includes 18 wrapped bodies..",
AERA,
Asahi Shimbun Weekly, 3.30
1993 "As journalist's report, Kariya exhibits
today's wounded world; Somalia, Bosnia, AIDS ..."
Asahi,
weekly magazine, 3.12
1993 "Gallery", PIA, weekly magazine, 3.30
1993 "Mourning in 1992..." Art Now, Mar./Apr.
1993 Hiroshi Kariya
"What is here, is one thing;
that
is everythingﾓ, Nikkei Image Climate Forecast, May
1993 "Kamaishi as an example of "City as a resource"
Kamaishi
Shinpo, newspaper, 5.4
1993 Hiroshi Kariya "Tale of Sutra; 9 episodes",
Kamaishi
Shimpo, newspaper, May/June
1993 Katsuhiko Sato "Kariya expresses poverty
and war victims as "used and useless"
by using discarded objects"
Kamaishi Shinpo, newspaper, 5.11
1993 "Kamaishi's life-long employment policy, on
The New York Time's front page"
Kahoku
Shinpo, newspaper, 5.12
1994 Yasushi Kurabayashi "Writing on chalkboard"
"Sign of the times" Mizuma Art Gallery
1994 Hiroshi Kariya "Man never dies."
"Open system" catalog essay,
Art
Tower Mito
1994 Hiroshi Kariya "100 Bouquet, Candle light, Chalk writing"
performance
essay, Art Tower Mito 4.2
1994 Yasushi
Kurabayashi
"Writing on chalkboard", Mizuma Art Gallery, catalog essay
1994 Yasushi Kurabayashi "Open System", essay
Art
Tower Mito, catalog
1994 Seiichi Watanabe "Open System", essay,
Art
Tower Mito, catalog
1994 Previews "Will Closed Art be opened ?"
Art
News, Japan, April
1994 "Mito Annual '94"
Shin
Ibaraki Shinbun, newspaper, 4.1
1994 "Kariya's performance; 100 bouquet,
Candle light, Chalk writing"
Shin
Ibaraki Shinbun, newspaper, 4.2
1994 "Gate of Bandages", "Wall of absence (Torn Bosnia)",
"Turk's Window", through "100 Wrapped Bodies"
Ibaraki
newspaper, 4.6
1994 Tamaki Harada "As sutra copying, he picks
up-dated topics from daily newspaper...",
Mainichi
Graph, weekly magazine, 4.17
1994 Miki Miyatake "Open system" offers signs of hope"
The
Japan Times, newspaper, 4.17
1994 Dylana Accolla "Kariya's powerful monument to war dead"
Asahi
Evening News, 4.21
1994 Taiji Yamaguchi, "Floor filled with an
enormous
amount of writings in chalk, an
installation, you walk on to",
Akahata,
newspaper, 4.22
1994 Tsutomu Shimoda "Discarded object as a
reference to our previous life, expresses our "Karma"'
Iwate
Nippo, newspaper, 4.23
1994 "Sign of the times, monument of the
world's events Year 1993"
Iwate
Broadcasting TV, 4.26
1994 "Kariya picks up the daily topics from the
newspaper, then he copies the titles on the chalkboard"
PIA, weekly magazine, 4.26
1994 Tamaki Harada "Our world exists as humanity does
all on the same plane, at the same time,
they are all connected in one by "Karma"'
City
road, April/May
1994 "His work examines the sign of the times,
with his unique work; Journalistic Painting, Sculpture"'
Geijutsu
Kohron, magazine, May
1994 Ryoko Hirabayashi "...to guide art for a higher level of system"
Elle
Japon, magazine, 5.5
1994 "Expression of spirit as open- minded in '94 Mito Annual"
CLIQUE,
magazine, 5.5
1994 Chie Kaihotsu "... small chalkboard, with
written topics from the daily newspaper"'
Studio
Voice, May
1994 "His installation of 1083 pieces plays up the
ridiculous repetition of life's events."
Tokyo
Time Out, May
1994 "Installation, Hiroshi Kariya's The class
room with labyrinth"
NHK
Broadcasting TV, 5.8
1994 "100 human figure objects, wrapped in white cloth,
Kariya's caustic statement on "WAR"...",
Asahi
shinbun, newspaper, 5.12
1994 Tamaki Harada "Every event of the world is
connected to our time in "The now is"'
CAZ,
magazine, 5.25
1994 Junichi Konuma "Strong and powerful,
Kariya exhibits material as historical
evidence and proof of its preexistence",
monthly
art magazine BT, June
1994 "Open System as '94 Mito Annual..."
Artist,
magazine, Taipei, June
1994 "Kariya's life work theme; "The existence
is what "The now is" writing is'
Nikkei
Art, magazine, July
1994 "Shocking, 100 wrapped dead bodies,
Collapsed girl and vulture waited"
comment by reader "Gallery" magazine, July
1994 "The artist who is searching for the answer in
his "the now is" writing'
Nikkei
Art, magazine, July
1994 Akio Sagegami "His work, which he has
simply named "SUTRA" is the string to
connect everything from dust to debris",
Shodoh
Kai, magazine, Aug.
1994 Yasushi Kurabayashi "Conceptual"
Prints
21, magazine, winter
1994 Yukiko Shikata "Open System"
World
Art, magazine, Autumn
1994 "Is This Art?, How it could be ?"
After viewing "Open System" series of (4)
Web
168, Vol. 01, Art Tower Mito, 9.1.1994
1995 Taiji Yamaguchi "small chalkboards, similar
to a memorial tablet, framed in gilt rests on
its gilded chalk ledge..the surface layered
with repetition of his "the now is sutra"
writing and erasing."
Akahata
newspaper, 6.23
1995 Toshihiko Washio "Striking at first, then a
moment of serenity washed over me"
Kohmei newspaper, 6.23
1995 Tamaki Harada "the work is a healing art.
His writing of "the now is the now is.." strikes
us very deeply to heart."
monthly magazine CAZ, 6.27
1995 Toshihiko Washio "capture "Time" by means
of his symbols ..."
Art Journal, magazine, July
1995 "..by using discarded objects to rebuild Time"',
monthly
Gallery, June
1995 Hideki Nakamura "Art as representation
of today's mental structure",
monthly
art magazine BT, June
1995 T. Kuresawa "Chalkboard Sutra with combined
element, chalkboard, chalk and eraser
as one component.of our world"
monthly
art magazine BT, Sept.
1995 Toshihiko Washio "They stood out like a light house
in the darkness"
Art Journal, Art Critical File, September Issue
1995 Robin Rice, "Incarceration: Two Perspectives may be the last
satelitr show connected with Prison Sentences,."
First Friday Picks, Citypaper.net, October
1996 "Gallery", weekly magazine PIA, 4.30
1996 Toshihiko Washio "The concept of "The reason of making"
as a Buddhist theory of composition...
His creation, as well as destruction "
Komei newspaper, 5.15
1995 A.M. Weaver "Hiroshi Kariya's installation
"No man is free who is not master of himself"
Epictetus
Painted
Bride Art Center, catalog essay
1996 Akio Sagegami "innumerable "the now is"
writings in chalk, lead us to another dimension...
while you are focusing on the spiral writing"
Shodoh
Kai magazine, July
1996 Miki Miyatake "Planting the seed of an idea
in the here and now"
Related work: Seed Sutra (22 Grasps) 1996 New
The
Japan Times, 5.1
1996 Toshiaki Hozumi "Spiritual Fragment; Drawing letters in art"
Catalog
essay, Hakodate Museum of Art
1996 Masanobu Furuie "Spiritual Fragment; Drawing letters in art".
Hokkaido
newspaper, 11.21
1996 Toshiaki Hozumi "Hiroshi Kariya repetition
of chalk writings as prayer to the lost of
time in his chalkboard",
Hokkaido newspaper, 11.27
1997 "Art Words 90s",
Art
Tower Mito Contemporary Art Center
1997 Yasushi
Kurabayashi
"Tripartite Unity of 'the now is'" Catalog essay,
Mizuma
Art Gallery, April
1997 Akio Sagegami "Sutra as art: Art as sutra"
monthly
magazine Shodohkai, July
1997 Takashi Kitakouji "1996 Sutra...What am I
seeing here, is the ruins from the Sarajevo war ?
Is this the fragment ? ... No ! "
monthly
art magazine BT, July
1997 Toshiaki Hozumi "After the exhibition;
Drawing letters in art", Art Pen, winter
1998 Alfred Pacquement, Eric Mézil, Makiko Hara,
Yoko Hayashi, Izumi Omata, Yuko Hasegawa,
"Et maintenant ? Donai Yanen! ",
La création contemporaine au Japon", catalog,
Ecole nationale supérieure des beaux-arts,
Septembre
1998 "Hiroshi Kariya avec une piéce sombre plaquée
d'ardoises, précédée d'une allée
d'ex-voto rappelant les catastrophes planétaires, recré
un sanctuaire oppresant qui rappelle Boltanski..."
AFP,
France 9.22
1998 Elisabeth Lebovici "Au Japon, la création en réaction",
Liberation,
9.23
1998 "L'art contemporain japonais
á l'Ecole nationale des Beaux-Arts",.."Hiroshi Kariya avec
une piéce somber plaquée d'ardoises, précée
d'une aliée d'ex-voto rappelant les catastrophes
planetaires, recré un sanctuaire oppressant qui
rappelled
Boltanski,
Paris
Normandie, 9.26
1998 Muriel Steinmets "Trente-sept artistes Japonais portent
un regard anxieux sur leur pays",
L'Humanité, 10.17
1998 "Et Maintenant ? Donai Yanen ! ",
Le
Monde, aden, 11.11-17
1998 "Création japonaise"
L'Express, 10.22-28
1998 Cette préoccupation se retrouve dans la
boltanskienne installation de Hiroshi Kariya",
Le
Point, 10.17-23
1998 "Le nouveau Japon",
Le
Journal du Dimanche, 10.11-17
1998 Olivier Cena, "Un réveil difficile...et les avions
américains låchérent leurs bombes sur
Hiroshima et Nagasaki, créant de gigantesques..",
installation de Hiroshi Kariya",
Télérama, 10.7-13
1998 J.-L.P., "Création contemporaine japonaise Soleil couchant",
Figaroscope,
9.30-10.6
1998 Catherine Schwaab, "Donai Yanen Au-dessous du Fuji-Yama",
Match,
9.23-29
1998 J.-F.L, "Japon année zéro",
Le
Journal des Arts, 9.25-10.8
1998 Alfred
Pacquement,
Le
Journal des Arts, 10.9-22
1998 "Les Expositions de l'ENSBA",
Le
Journal des Beaux-Arts, Octbre
1998 "Eclats de japon",
Connaissance
des arts, Octobre
1998 Olivier Reneau, "Japon...
ART Contenporain: Le Temps du Social",
Beaux
Arts magazine, Octbre
1998 "Le blues des artistes nippons",
Biba,
Octobre
1998 "Et maintenant! Donai Yanen!",
Paris
Capitale, Septembre
1998 Eric Mézil + Claire Jacquet, "La cré
action contemporaine au Japon",
Le
Journal du Centre de La Photographie, 9.9.1998-1.4.1999
1998 Alexandre Bohn, "Le réve du futur et sa face
cauchemardesque",
Hulturspiegel,
11.6
1998 Alain Croubalian, "L'envers du paradis technologique",
Le
Temps, 10.24
1998 "From Exhibitions",
Elle Decoration Japon, Décembre
1998 "Et maintenant ? Donai Yanen!",
Vogue,
Novembre
1998 "Et maintenant ? Donai Yanen!",
Bijutu
Techo, monthly magazine, December
1998 "Donai Yanen! Et Maintenant!",
Revue
de Presse, ENSBA, 1998
1998 "Donai Yanen! Et Maintenant!",
Modern
Japanese Creative Power, ENSBA, 1998 9.22-11.15
2003 "Labor"
Julie Courtney
Abington
Arts Center web site:
2003 "Labor"
Galleries
2005 "Mizuma 10 Years"
2006 "Hiroshi Kariya, 5th dan, teaches on Tuesday evenings."
Japan Karate Association at Columbia University
2006 "We are the chalk, We are the eraser, We are the chalkboard"
Quotes about human potential