1948 Born
in Japan
1977 Lives and works in New York City
Solo Gallery Exhibitions
1990 Ihara
Ludens Gallery, New York
"Sutra, New Works; 8000 Years Spring, 8000
Years Spring" and others
1993 Spark
Gallery II, Tokyo
"In Memory of 1992; 18 Wraps, 415 Palestinians"
1994 Mizuma Art Gallery, in conjunction with
Art Tower Mito Exhibition, Ibaraki, Japan)
"Sign of the Times: 1993"
1995 Mizuma
Art Gallery, Tokyo
"Chalkboard Sutra:
8000 Years Spring, 8000 Years Autumn"
1996 Mizuma
Art Gallery, Tokyo
"Void"
1997 Mizuma
Art Gallery, Tokyo
"1996 Sutra"
Solo Museum, Institution Exhibitions and (Web Project)
1977 St.
Michael's College, Vermont, USA
"School Days"
1978 McCarthy
Art Center, Vermont, USA
"State of Things"
1989 Exit Art,
New York
"Sutra; 4/8/1977-4/8/1989; 12 years of work"
1990 I.C.A. Philadelphia,
Pennsylvania
"Sutra: One thing in everything: Everything in
one thing",
(8000 Years Spring, 8000 Years Autumn,
Sutra Tomb, Ilya Kabakov's Wall)
"Recycle for the better tomorrow" piece project
2001- Art Tower Mito
on going Web project:
Selected Group Exhibitions
1976 Tokyo
Royal Museum
"Japan Art Festival Exhibition",
Traveling Exhibitions; Henry Gallery,
University of Washington, Seattle /
Broadway Plaza, Los Angeles
"Here's looking at you"
1977 Tokyo Metropolitan
Museum of Art/
Kyoto Municipal Museum of Art, Japan
"Contemporary Art Exhibition of Japan"
1977 San Francisco Museum of
Art
"World Print Competition", San Francisco/
Smithsonian Traveling Exhibition;
15 Museums in U.S.A. and Canada
1977 Ljubljana
Museum of Art, Yugoslavia
"Ljubljana International Biennial of Graphic Art"
1978 Kunstverein
zu Frechen, Germany
"International Grafic Biennale"
1979 Camden Arts Center/Middlesbrough
Art
Gallery, England
"International Drawing Biennial"
"Something about Bernd (Bernd Jansen)"
1979 P.S. 1 Museum,
New York
"Sound Show"
special project; "Meditation"
1981 Gowanus
Memorial Art Yard, New York
Carl
Andre, Keith Haring Komar & Maramid
"The" sound instrument
1990
Ihara Ludens Gallery, New York
"Sanc-Q",
"Stuck at rundom"
1994 Art Tower Mito,
Ibaraki, Japan
"Sign of the Times 1993" in conjunction with
Mizuma art gallery, Tokyo
1995 Painted Bride Art
Center, Philadelphia
"No Man Is Free Who Is Not Master of Himself",
in conjunction with the citywide project,
"Prison Sentences; Prison as subject, Prison as site",
(Reassemble of work "Sign of the times" previously shown
at Art Tower Mito, Ibaraki, Japan
1996 Ise Art
Foundation, New York
"Our Deities"
"Chalkboard Sutra; Erases to write; Writes to erase"
1996 Hakodate Museum of Art, Hakodate Japan
"Spiritual Fragment; Drawing Letters in Art",
Installation; "415 Palestinians, and 45 Chalkboard"
1998 Ecole Nationale Sup屍ieure
des Beauz-arts
"Donai Yanen! Et Maintenant !"
La cr斬tion contemporaine au Japon,
Paris,
France
Installation; "1995 Shrine:
We are the chalk. We are the eraser. We are the chalkboard."
2000 Williamsburg Art and
Historic Center,
New
York
Installation; "Reading candle writing/ Reading candle lighting",
"Chalkboard perspective"
2003 Abington Art
Center, Philadelphia
"Labor"
Installation: "Seed Sutra: One piece of 8,640,000,000 years"
Lectures, Artist Talks, Public Appearances
1976 "Japan Art Festival Exhibition", Henry Gallery,
University of Washington, Seattle
1990 I.C.A. Philadelphia, University of Pennsylvania
"Sutra ? What it is"
1991 Rutgers University, New Jersey
"Sutra works slide show",
1994 Art Tower Mito, Ibaraki, Japan
Mito Annual "Open System", with Cai Guo Qian,
Ritsuko Taho, and Yukinori Yanagi
Selected Bibliography
1976 "Japanese Art '76",
Japan
Art Festival Association, catalog, June
1976 William
Wilson,
Los
Angels Times, 10.18
1976 Deloris Tarzan ÒHiroshi 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
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
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 ﾒWriting on chalkboardﾓ
"Sign of the times" Mizuma Art Gallery
1994 Hiroshi Kariya ﾒMan never dies.ﾓ
"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 Robin Rice, "Hiroshi Kariya emphasizing the
individual's responsibility for his spiritual state."
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"
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"
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"