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Masaaki Sato |
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Introductory
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More than ten solo exhibitions at O.K. Harris Works of Art gallery located at Soho, New York...
The Japanese artist Masaaki Sato remains almost as sensitive today to the many sensations exuded by New York City as when he first arrived there, back in 1970. He has chosen since his arrival to process the overwhelming amount of sensory prickles emitted by means of his image-making.
In his mid-Seventies paintings, Sato often withdrew underground, to the innards of the city, where mysteriously perforated subway galleries and train-cars devoid of all human presence, spoke both of this artist’s and most New Yorkers sense of alienation. In that early series, Sato developed a highly personal signature motif of identical and equidistant cone-shaped holes piercing three-dimensional forms, thereby seemingly eating away at the very fabric of reality. The organic randomness and surface-stressing qualities of Pointillism’s scattered dots was thus subverted by means of the geometric regularity and vertiginous illusionism of Sixties Op-Art.
The idea of cones piercing matter was also put to remarkable use in paintings of a woman’s face blown up to colossal size, a yellow cab fronted by a slab of sidewalk, and the Tenth Avenue bus dramatically cropped on the left, in order to allow it to press upon all four sides of the square canvas. The singular motif of the penetrating cone – facetted on the inside and consequently displaying a spectrum of colors – was applied in a cool, mechanical, all-over mode to the most banal urban imagery. By doing so, Sato wished to reveal: “The true nature of contemporary society, where science and humanity are most often at odds.”
In 1980, a decade following his arrival, Sato definitely emerged above-ground and turned to the newsstand as yet another metaphor for life in the bustling, capitalist society which is New York. Since the newsstand dispenses newspapers and magazines recording the very latest stories, stars and trends, it may be interpreted as a symbol of modernity, an issue of obvious importance to a contemporary artist.
The newsstand may also be perceived as a metaphor for democracy and the peoples it serves, since these compact information centers are both monuments to the freedom of the press, and are easily accessible to the public at large as a result of their number, their location and the low cost of their merchandise. Significantly, vendors, customers, and passersby are strangely missing from Sato’s Newsstand series. Instead, figures lifted from both past and contemporary sources ranging from Old Master paintings to the front page of People, are relegated to the covers of magazines where they usually appear in half-length.
In his more recent Newsstand paintings, Sato explores an entire range of expressive possibilities by constantly recombining new texts and images on the covers of the magazines illusionistically exhibited upon his newsstand racks. Sato has stated that the newsstand motif may thus serve as a metaphor for language, since language is likewise subjected to continuous change, as it is being used in New York City by peoples of different origins and varying cultural backgrounds.
Masaaki Sato’s ceaseless wonder before the newsstand as a place supplying both highly sophisticated information and the most vulgar possible entertainment, is strikingly conveyed by his paintings, with their highly saturated, localized colors vibrant drawings and elegantly calibrated compositions. The newsstands are characteristically cropped on all four sides, thereby eliminating their geographical situation and even their architecture in favor of the items on display. Since the latter are presented in dramatic close-up, the paintings become monumental still-lives, which – in the tradition of 17th century still-lives – function as “memento mori”. Indeed, Sato’s images may be interpreted as symbolic reminders of death, for their subject is the passage of time: today’s news will be gone tomorrow. The merchandise this artist so beautifully renders is of an ephemeral nature, for it is quickly discarded following its consumption. On the other hand, newsstands are perpetually replenished and consequently given new life. The thus have a dual nature which remains endlessly fascinating.
The paintings in the Newsstand series can also assume other guises; witness the large, horizontal, seven-paneled Newsstand No. 48 of 1988-90. As the eye moves across this ployptych, it is struck by ever-changing approaches to the newsstand locked out of focus on the left, to the titles of magazines flickering like neon tubes in the dark at the picture’s opposite end. The intermediate panels include one covered with teardrop shapes, with the worked “TIME” appearing at the top, another showing a newsstand painted in a crisp realist style marked by a stunning use of “clair-obscur”, and a third depicting torn fragmentary images from magazines. So many sensations so strikingly conveyed.
Sato’s polyptychs are riveting evocations of the richness of New York City. Imagine speeding down Times Square by night and you obtain some of the wealth of visual information conveyed by these types of pictures. The panoramic Newsstand No. 52 and Newsstand No. 38, comprising seven and eight panels respectively, are over ten meters wide. Here, as in Newsstand No. 48, the artist reportedly seeks to express the notion of cultural differences, by switching from one panel to the next. Thus, these paintings intimate that cultures can harmoniously co-exist as a sort of new universal culture, while mutually reinforcing one another.
Monumental polyptychs such as these may take several years to complete. The small, multi-layered relief-constructions on which Masaaki works in collaboration with his wife Masami seem equally labor intensive, since they are one hundredth of the size of Masaaki’s paintings, which inform them. Sato delights in exploring how his imagery is affected by shifts in scale and changes in substance. Thus, in addition to the collaborative work on the paper relief-constructions, he has produced drawings, lithographs, etchings, serigraphs and woodcuts based upon the Newsstand paintings. He has also cast monumental sculptures of perforated apples in bronze and stainless steel.
Masaaki Sato considers Newsstand No. 66 (The Bible in Art), 1994-2000, to be the highlight of this exhibition, since he believes that this diptych perfectly embodies his personal worldview. The artist attached so much importance to this work, that has taken its composition as the point of departure for a set of no less than twenty mixed-media drawings, in which is reportedly supported by readings in the humanities and sciences. Through his works, Sato seeks to tear down barriers and broaden horizons, by exposing the viewer to foreign cultures both past and present. With singular concentration and seriousness of purpose, Masaaki Sato pointedly critiques the consumer culture he observes around him.
Michael Amy
June 2000
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Artist's Statement
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t is hard to believe, but in fact, we have been in New York over 30 years now. I remember the conversation between my wife, Masami and myself when we arrived in Manhattan together from London on September 2, 1970.
“Don’t you feel like we’ve come back in Tokyo?”
“Well….Yes, but we never lived in Tokyo, did we?”
She replied me with her usual smile. It was the first step of our life in New York.
In March 1967, I left Japan for Europe with a hope to see the roots of American Culture with a dream of showing my works together with Andy Warhol’s or Jasper Jones’s someday in USA. Then to London, origin of Pop Art, where my name MASAAKI SATO was printed on a large poster for a group exhibition of seven local artists by the end of the year being followed by my solo-exhibition in London next year. I had to face the reality of UK market recession including devaluation of Sterling pound that had influenced the art market so severely that there were less reactions of my solo-exhibition even though a favorable review of this young foreign artist appeared in the magazine, “ART”. It eventually made our move to New York City delayed two years than originally planned.
Luckily in New York, my, “Hole paintings” were well accepted and New York Times introduced it on its Sunday paper front page. Then I received requests or invitations to numbers of exhibitions including group shows with such famous artists as I dreamed of when I was in Japan. By mid 70’s, I have got my studio and home in WESTBETH a huge building, specially build for artists by the City, State and Federal Government. Form ‘82 on, I regularly have my solo-exhibition at OK Harris Gallery, as well as participating group exhibitions in the other galleries.
One day when I was staying in Japan for my first print works, my friend told me that he happened to see my work shown in the current exhibition of Frederick Weisman collection being held at Yokohama Sogo Department Museum. The Frederick Weisman Collection is known as one of the eight greatest collection of contemporary art in the world and the show contains every essential work of the collection for Japanese public. Wondering if it can be true, I visited the exhibition. After the entrance, I saw my painting of Newsstand hung in front wall, next to the Warhol painting, and opposite to Jones! I thought I might at least recognize now in Japan. Happily surprised, I approached to the caption, each nationality was indicated by the national flag. The Stars and Stripes for Warhol and Jones, Hinomaru for ARAKAWA, TAKAMATSU and YOKOO, but there were both Stars and Stripes and Hinomaru to my caption! Feeling as if I was an alien, I wanted to take photograph of my painting with my camera and tired to get the permission at the receptionist by telling her that it’s my work, but the request was just flatly refused by the innocent girl on duty. I bought a catalogue in which I was discouraged again to find my name was printed in Katakana, and learning that the exhibition will be traveling Europe after Japan. I had to leave there feeling as I was treated as double nationality while the show goes around the world.
Four years later, when my home town YAMANASHI Prefectural Museum organized special exhibition, “Masaaki Sato-20 years in New York”. I am privileged by many introductions through various medias as Newspaper, Magazines, or TVs that are good enough to make myself identified as Japanese in Japan. And yet, I admit a decade had passed since then while working hard in U.S.
This is my third exhibition in Japan but the first time to be represented by my gallery in Tokyo. Wishing to show my artistic activities as far as possible, I brought here selected works I made from early 70’s to the latest that can be entitled as “30 years in New York”, a melting pot of races where many different culture meet, stimulate one another, creating the new cultural idea. I have been touched by such energy of New York that made me go to work. The newsstand series of this exhibition were selected for showing the development of my work after the last solo show at Yamanashi Museum 10 years ago. In my Newsstand series of paintings I wish to pursue after the universality as the substance of multi-culture. Luckily, I feel I had the artistic experience of extended ideas derived from a single word shared by plural people of different cultural background. Through my own intelligence and emotion after referring history and philosophy, I pick up a vocabulary and portrait to be put into my Newsstand painting so that it makes a resonance of the different both culture and time of history.
“Newsstand No. 66 – AB (The Bible in Art)” is the crucial key work for me in this exhibition. 20 related drawings to it, and the 1/100-miniature relief-constructions realized by my wife’s collaboration will also be shown. Besides No. 66-AB, other Newsstand paintings, prints (by litho, etching, serigraphy and wood-cut), and sculpture belonging to the “hole-series” that I started as early as late sixties before moving to New York when I was in London, will be exhibited together with related prints of “Hole series”. The theme of those my “Hole-series” in 70’s is a sort of instability of my stand-point which later become the basement of my Newsstand series in 80’s. By showing both “hole series” and “Newsstand series” after 10 years absence in Japan, I can sya, all these were possible for m to do only in New York City. I wish you to enjoy.
Thanks you.
Masaaki Sato
August 2000
Education
1962-1966
Kofu Fine Arts Institute, Kofu City, Japan
1967-1969
Heatherly School of Fine Arts, 33 Warwich Square, London, England
1971-1974
The Brooklyn Museum Art School, Eastern Parkway, Brooklyn, NY
1974-1976
Pratt Graphics Center, Pratt Institute, New York, NY
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Solo Exhibition
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002
O.K. Harris Works of Art, 383 West Broadway, New York
2000
Fuji Television Gallery, 1-12-1, Yurakucho, Tokyo, Japan
2001
FCCJ Gallery, The Foreign Correspondents’ Club of Japan, 1-7-1, Yuraku cho, Tokyo, Japan
2000
Fuji Television Gallery, Tokyo, Japan
1998
O.K. Harris Works of Art, 383 West Broadway, New York, NY
1996
O.K. Harris Works of Art, 383 West Broadway, New York, NY
1995
O.K. Harris Works of Art, 383 West Broadway, New York, NY
1992
O.K. Harris Works of Art, 383 West Broadway, New York, NY
1990
Yamanashi Prefectural Museum of Art, Yamanashi, Japan
1989
O.K. Harris Works of Art, 383 West Broadway, New York, NY
1987
O.K. Harris Works of Art, 383 West Broadway, New York, NY
1985
O.K. Harris Works of Art, 383 West Broadway, New York, NY
1984
O.K. Harris Works of Art, 4200 North Marshall Way, Scottsdale, AZ
1982
O.K. Harris Works of Art, 4200 North Marshall Way, Scottsdale, AZ
1981
North Salem Gallery, Titicus Road, North Salem, NY
1979
Seibu Fine Arts Galleries, Ikebuturo, Tokyo, Japan
1979
Yamanashi Prefectural Museum of Art, Yamanashi, Japan
1979
Seibu Fine Arts Galleries, Shibuya Tokyo, Japan
1978
Mari Galleries of Westchester, 133 East Prospect Ave., Mamaroneck, NY
1977
Edward Williams College of Farleigh Dickinson University, Hackensack, NJ
1977
Mari Galleries of Westchester, 133 East Prospect Ave., Mamaroneck, NY
1976
Slocumb Gallery, East Tennessee State University, Johnson City, TN
1974
Renaissance Gallery, 168 Waverly Place, New York, NY
1973
Brooklyn Museum Little Gallery, Eastern Parkway, Brooklyn, NY
1973
Wenger Gallery, 855 Montgomery Street, San Francisco, CA
1969
Drian Gallery, 5-7 Porchester Place, Marble Arch, London, England
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Group Exhibition
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2
003
"Pop and More from the Frederick R. Weisman Art Foundation Collection" Luckman
Gallery, California State University, Los Angeles, California
2003
"2003 North American Print Biennial" 808 Gallery, Boston University, Boston, Massachusetts
2002
"Art and Illusion, Selections from the Frederick R. Weisman Art Foundation" Platt Gallery, University of Judaism, Los Angeles, California
2002
"Guide to Contemporary Paintings” Hiroshima City Museum of Contemporary Art, Hiroshima, Japan
2002
"25th Small Works" 80 Washington Square East Galleries, New York University, New York
2002
"The Exhibition of Permanent Collection" Yamanashi Prefectural Museum of Art, Yamanashi, Japan.
2002
"Japanese artists in New York" Takamatsu City Museum of Art, Takamtsu, Japan
2001
"4 1/2 Years at the WAH Center" Williamsburg Art & Historical Center, Brooklyn, New York
2001
"Exhibition of New Acquisitions" Hiroshima City Museum of Contemporary Art, Hiroshima, Japan
2001
"6+6=Prints" Amerasia Bank Exhibition Gallery, Flushing, New York
2001
“Realism in the contemporary art” Takamatsu City Museum of Art, Takamatsu, Japan
2001
“24th Small Works” 80 Washington Square East Gallery New York University, New York
2001
“Westbeth Generations Show” Westbeth Galleries, New York
2001
“International Activities of Print Artists from Yamanashi” Kushigata Shunsen Museum of Art, Yamanashi Japan
2001
“Benefit Exhibition for Tragedy of WTC” O.K. Harris Works of Art, New York
2000
“Williamsburg Bridges Japan” Williamsburg Art & Historical Center, Brooklyn, New York
2000
“23rd Small Works” 80 Washington Square East Galleries New York University, New York
2000
“A Group Exhibition of Artists Represented by Fuji Television Gallery, Tokyo, Japan
1999
“Summer Group Exhibition,” O.K. Harris Works of Art, 383 West Broadway, New York, NY
1999
“Masterpieces of Yamanashi Prefectural Museum of Art,” Yamanashi Prefectural Museum of Art, Yamanashi, Japan
1999
“Black and White Prints,” Art Complex Museum, Duxbury, MA
1999
“22nd Small Works,” 80 Washington Square East Galleries, New York University, New York, NY
1998
“A Group Exhibition of Artists Represented by O.K. Harris Works of Art,” Tortue Gallery, Santa Monica, CA
1998
“21st Small Works,” 80 Washington Square East Galleries, New York University, New York, NY
1998
“The Exhibition of New Collection,” Yamanashi Prefectural Museum of Art, Yamanashi, Japan
1997
“The New American Art Show,” Tweed Gallery, 52 Chambers Street, New York, NY
1997
“Aphrodisia,” Alternative Museum, New York, NY
1996
“Survey of Contemporary American Realism,” The Posco Gallery, Posco Center, Seoul, Korea
1996
“Make To Order, America’s Most Wanted Paintings,” Alternative Museum, New York, NY
1995
“Streets Seen, The Edifice Complex,” Norton Center for the Arts, Center College, Danville, KY
1995
The Exhibition of Contemporary Realism,” Takamatsu City Museum of Art, Yamanashi, Japan
1995
“19th Annual Small Works,” 80 Washington Square East Galleries, New York University, New York, NY
1995
“Relief Constructions and Prints,” Tepper Takayama Fine Arts, Boston, MA
1995
“The Exhibition of New Collection ’94,” Yamanashi Prefectural Museum of Art, Yamanashi, Japan
1994
“Live Form New York: The O.K. Harris Gallery,” Marcia Refelman Fine Art, Toronto, Canada
1994
“Young Guns: East Coast Artist,” Nevada Institute for Contemporary Art, Las Vegas, NV
1993
“Gallery Artist Show,” Martha Tepper Fine Arts, Boston, MA
1992-24
“Visions In between: New York/China, Japan, Korea,” Ise Art Foundation, New York, NY: traveling to: Fukuyama Museum, Hiroshima, Japan; Park Ryu Sook Gallery, Seoul, Korea; Walker Hill Art Center, Seoul, Korea; New Trends Gallery, Taichung, Taiwan; Howard Salon, Taipei, Taiwan; G. Zen Art Gallery, Kao Hsiung, Taiwan; Taipei Gallery, New York, NY
1992
What’s New,” Helander Gallery, Palm Beach, FL
1992
“The Articulated Thumbprint,” Boca Raton Museum of Art, Boca Raton, FL
1992
“New York: City By Day / City by Night,” Gallery Henock, New York, NY
1992
“Summer Group Show,” Wenniger Graphics, 174 Newbury Street, Boston, MA
1991
Japanese Anti-Art: Now and Then,” The National museum of Art, Osaka, Japan
1991
“The Articulated Thumbprints: one Man Show of Don Celender,” O.K. Harris Works of Art, New York, NY
1991
“The Exhibition of New Collection ‘90,” Yamanashi Prefectural Museum of Art, Yamanashi, Japan
1990
“New Work – New York” Galerie Barbara Silverberg, Montreal, Canada
1990
“Collectors’ annual Contemporary Art,” Boca Raton Museum of Art, Boca Raton, FL
1990
“Selections form the Collection Show,” The Aldrich Museum of Contemporary Art, Ridgefield, CT
1989
“16th Annual Boston Printmakers Exhibition,” Art Complex Museum, Duxbury, MA
1989
“Prints and Process,” The University of Hawaii Art Gallery, Honolulu, Hawaii
1989
“Japanese Artists in New York,” Yokohama Sogo, Yokohama, Japan
1988
“Tortue Is O.K.,” Tortue Gallery, 2917 Santa Monica Blvd., Santa Monica, CA
1988
O.K. South Works of Art, 5710 Sunset Dr. Bakery Center, South Miami, FL
1988
“The Exhibition of New Collections ’87,” Yamanashi Prefectural Museum of Art, Yamanashi, Japan
1988
“The Sande Webster Gallery, 2018 Locust Street, Philadelphia, PA
1988
“The 40th North American Print Exhibition,” Brockton Art Museum / Fuller Memorial, Brockton, MA
1987
“Mainstream America,” The Butler Institute of American Art, Youngstown, OH
1987
The Sande Webster Gallery, 2018 Locust Street, Philadelphia, PA
1987
“New Space, New Work, New York,” Helander Gallery, 210 Worth Ave., Palm Beach, FL
1987
“New Frederick R. Weisman Foundation Collection of Art”: France, Germany, Great Britain, Italy, Portugual, Israel, Scandinavia, Spai
1986
The Museum of the City of New York, New York, NY
1986
“Contemporary Japanese Art Created in Other Lands,” Gallery International 52, New York, NY
1986
“The Frederick R. Weisman Foundation Collection of Art”: Laforet Museum, Tokyo; Novio Museum of Art, Osaka; ICA Nagoya, Nagoya; Sogo Museum of Art, Yokohama, Japan
1985
Alternative Museum, New York, NY
1985
“The Art of The ‘70s and ‘80s” Aldrich Museum of Contemporary Art, Ridgefield, CT
1985
Pittsburgh State University, Pittsburgh, PA
1985
Isetan Gallery, Shinjuku, Tokyo, Japan
1984
O.K. Harris Works of Art, 383 West Broadway, New York, NY
1984
“America Seen: Contemporary American Artists View America,” Adams Middleton Gallery Dallas, TX
1984
Dyersburg College, Dyersburg, TN
1984
Lee College, Cleveland, TN
1984
University of Delaware, Newark, DE
1984
Martin Arts Commission, Martin, TN
1984
Warburg College, Waverly, Iowa
1984
Purdue University, West Lafayette, IN
1983
The Museum of the City of New York, 1220 5th Avenue, New York, NY
1983
“Japan Dynasty ’83,” John Wanamaker, Philadelphia, PA
1983
O.K. Harris West, 4200 North Marshall Way, Scottsdale, AZ
1983
Capricorn Galleries, 4849 Rugby Ave., Bethesda, MD
1983
Bergen Community Museum, Paramus, NJ
1983
Cork Gallery, Avery Fisher Hall, Lincoln Center, New York, NY
1983
Warner Communications, 75 Rockefeller Plaza, New York, NY
1983
North Hennepin Community College, Minneapolis, MN
1982
“8th International Exhibition of Original Drawings,” Museum of Modern Art, Rijecka, Yugoslavia
1982
O.K. Harris West, 4200 North Marshall Way, Scottsdale, AZ
1982
Putnam Arts Council, Belle Levine Art Center, Kennicut Hill Road, Mahopac, NY
1982
Rockland Community College, Suffern, NY
1982
Roanoke College, Salem, VA
1982
Meadows Museum, Shrevepot, LA
1982
Albrecht Art Museum, St. Joseph, MO
1982
University of Southern Mississippi, Hattiesburg, MS
1982
Anchorage Historical and Fine Arts Museum, Anchorage, Alaska
1981
Alternative Museum, 17 White Street, New York, NY
1981
Cork Gallery, Avery Fisher Hall, Lincoln Center, New York, NY
1981
Art Complex Museum, 189 Alden Street, Duxbury, MA
1981
“American Biennial of Graphic Art,” The Museum of Modern Art, La Tertulia, Columbia, South America
1981
“Boston Printmakers 33rd National Exhibition,” Boston Center for the Art and Fitchburg Art Museum, MA
1981
Lever House, 380 Park Ave., New York, NY
1981
Bergen Community Museum, Paramus, NJ
1981
“The Seventh Biennial International Art Exhibition,” The Equitable Gallery, 1285 Avenue of the Americas, New York, NY
1981
Hockaday Center for the Arts, Kalispell, MT
1981
Dayton Art Institute, Dayton, OH
1981
Bass Museum of Art, Miami, FL
1981
New York State College of Ceramics, Alfred, NY
1981
Western Kentucky University, Bowling Green, KY
1981
Southern Alleghenies Museum of Art, Altoona, PA
1980
Art Complex Museum, Duxbury, MA
1980
“American Drawing III,” Portsmouth Museums, Portsmouth, VA
1980
Gallery Eighties, 1280 Bay Street, M8, Yorkville Commons, Toronto, Canada
1980
“American Society of Contemporary Artists Exhibition,” U.S. Custom House museum, Six World Trade Center, New York, NY
1980
Lever House, 380 Park Ave., New York, NY
1980
The Kiva Gallery, 37 Popham Road, Scarsdale, NY
1980
Cork Gallery, Avery Fisher Hall, Lincoln Center, New York, NY
1979
“International Biennial of Graphics Art Yugoslavia,” Ljubljana, Yugoslavia
1979
“Post ‘60s Social Commentary,” Jackson Hall Gallery, Kentucky State University
1979
Houston Gall Gallery, University of Pennsylvania, PA
1979
“Japan Today,” Contemporary Japanese Art Exhibition, One World Trade Center, New York, NY
1979
“Rockford ’70 International Print Exhibition,” Rockford College, Rockford, IL]
1979
Governor Dummer Academy, Byfield, MA
1979
Gallery of Long Island University, Brooklyn, NY
1979
“Nippon-Ten ’79,” The Japanese American Assoc. of New York, New York, NY
1979
Art Complex Museum, Duxbury, MA
1979
“15 New Talents,” The Aldrich Museum of Contemporary Art, Ridgefield, CT
1979
“Prospectus Art in the Seventies,” The Aldrich Museum, Ridgefield, CT
1979
“9th National Print & Drawing Exhibition,” Minot State College, Minot, ND
1979
National Art Club, 15 Gramercy Park South, New York, NY
1979
“Bradley National Print & Drawing Exhibition,” Lakeviw Museum, Peoria, IL
1978
Art Complex Museum, Duxbury, MA
1978
Lever House, 390 Park Ave., New York, NY
1978
“The Boston Printmakers 30th National Exhibition,” Boston Center for the Arts
1978
Alternative Center for International Arts, 28 E. 4th Street, New York, NY
1978
Graphics 1 & Graphics 2, 168 Newbury Street, Boston, MA
1978
National Arts Club, 15 Gramercy Park South, New York, NY
1978
Quadrum Gallery, Chestnut Hill, MA
1978
“Alternations ’78,” Cork Gallery, Avery Fisher Hall, Lincoln Center, New York, NY
1978
Mirage Galleries, 132 Greene Street, New York, NY
1978
Cork Gallery, Avery Fisher Hall, Lincoln Center, New York, NY
1978
Seibu Gallery, Ikebukuro & Shibuya, Tokyo, Japan
1977
Wientraub Gallery, 992 Madison Ave., New York, NY
1977
Nobe Gallery, 250 West 57th Street, New York, NY
1977
Mirage Galleries, 132 Greene Street, New York, NY
1977
“Hawaii National Print Exhibition,” Honolulu Academy of Arts, Hawaii
1977
“7 IN 77,” Arsenal Gallery, 830 5th Ave., New York, NY
1977
Seibu Galleries, Ikebukuro & Shibuya, Tokyo, Japan
1977
Azuma Gallery, 142 Greene Street, New York, NY
1977
Cork Gallery, Avery Fisher Hall, Lincoln Center, New York, NY
1977
Davidson Art Center, Wesleyan University, Middletown, CT
1977
Wenger Gallery, La Jolla, CA
1976
Mari Galleries of Westchester, 133 Prospect Ave., Mamaroneck, NY
1976
“Pleiades & friends, Invitational Exhibition,” Pleiades Gallery, 152 Wooster Street, New York, NY
1976
“Fall Selections, The Aldrich Museum, Ridgefield, CT
1976
“Norman Kramer Gallery, 284 Main Street, Danbury, CT
1976
Gallery of Long Island University, Brooklyn, NY
1976
Westbeth Gallery, 463 West Street, New York, NY
1976
Azuma Gallery, 142 Greene Street, New York, NY
1976
“Contemporary Reflections, Annual,” the Aldrich Museum, Ridgefield, CT
1976
Brownstone Gallery, 76 7th Ave., Brooklyn, NY
1975
“10 Artists: A Selection of Contemporary Japanese Art,” International Art Center, New York, NY
1975
Azuma gallery, 142 Greene Street, New York, NY
1975
Mari Gallery of Westchester, 133 Prospect Ave., Mamaroneck, NY
“Japanese Contemporary Prints Exhibition,” Hobart & William Smith College, Geneva, NY
1975
“Contemporary Artists Exhibition,” The Cork Gallery, Avery Fisher Hall, Lincoln Center, New York, NY
1975
“The Westbeth Connection,” Guild Hall, 158 Main Street, east Hampton, NY
1975
“Invitational III” Gallery 91, 91 Atlantic Ave., Brooklyn, NY
1975
Phildook Art Center, Tulsa, Oklahoma
1975
Lever House, 390 Park Ave., New York, NY
1975
Greenwich Country Day School, Greenwich, CT
1974
“Contemporary Artists of Brooklyn Museum Community Gallery, Brooklyn, NY
1974
Contemporary Artists Exhibition,” Union Carbide Gallery, 270 Park Ave., New York, NY
1974
Azuma Gallery, 142 Greene Street, New York, NY
1974
Renaissance Gallery, 168 Waverly Place, New York, NY
1972
“Contemporary Japanese Art Exhibition,” Union carbide Gallery, 270 Park Ave., New York, NY
1969
Cranleigh School gallery, Cranleigh, Surrey, England
1969
Chichester Theological College Gallery, Chichester, Sussex, England
1968
“Paintings, Drawings, Studio Pottery,” Guilford House Gallery, 155 High Street, Guilford, Surrey, England
1964
Tokyo Metropolitan Museum of Art, Tokyo, Japan
1962-1967
Yamanashi Public Hall Gallery, Kofu Yamanashi, Japan
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Bibliography:
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ewspapers, Periodical, and Art Books
- Art in America, Review of Exhibition, “Masaaki Na Masami Sato at O.K. Harris,” Michael Amy, July 1999, pp.93-4
- The collection of Takamatsu City Museum of Art III, Takamatsu City Museum, 1999, p.49
- Yamanashi Nichi nichi Newspaper, “Interview: Masaaki and Masami Sato,” Tetsuya Akai, August 28, 1999
- Gallery Monthly Art Magazine, “Way of the Artists,” Takahito Honda, November, 1999, cover of magazine also pp.42-6 and pp.86-8
-Yamanashi Nichi nichi Nespaper, “Two Person Show at New York by Masaaki & Masami Sato,” November 25, 1988
- ARTODAY by Edward Lucie-Smith, Phaidon Press Ltd., London, England, 1997, pp. 407-8, fig. 450
- Monthly Gallery, Last Supper and Newsstand – Masaaki Sato One Man Show, Gen Hikage, 360 of New York, Vol. 29, Februray, 1997
- Yamanashi Nichi nichi Newspaper, “Each Painting Representative of His Art,” Chiaki Mitomi, September 4, 1997
- The Newspaper in Art, by Garry Apgar, Shaun O’L. Higgins and Colleen Striegel, New Media Ventures Inc., 1996, p.101, Fig. 114.
- Jazzlife, “Consideration of Artists,” Katsuji Abe, The Jazzy photo form the world, Vol. 26, March, 1996, p.41
- The Yomiuri America, “The Last Supper on Front Cover in Magazines,” November 22, 1996, p.3
- New York Art & Galleries, “Japanese Artist in New York,” Koji Ichida, Doyo Fine Art Publishing Co, Tokyo, Japan, 1995, pp.100-05
- Chunichi Newspaper, “Search for the Beauty in Between Different Cultures,” Hiroshi Aoki, May 12, 1994, p.9
- World Journal, “Opening of Asian Artists Exhibition,” March 26, 1994
- The Yamanashi, “The Human: The Big Apple for Eye Mecce,” Ken Nishimuro, October, 1994, p.2-3
- Shintas Journal, “Asian Artist Show at Taipai Gallery,” March 17, 1994
- Monthly Newsletter of the National Museum of Art, Osaka, Japan, “Exhibitions and I in New York,” Masaaki Sato, May 1, 1994, p.3
- Nikkei Art, “Japanese, Chinese and Korean Artist exhibition in New York,” March, 1993, p.60
- The Liberal News of Chinese, “Asian Art Exhibition in Taipai,” may 25, 1993
- Geijutsu Shincho, “Chinese, Japanese and Korean Artist Show in New York,” February, 1993
- Hsiung Shih Art Monthly, “visions In Between New York/China, Japan, Korea,” Eleanor Heartney, September, 1996, pp.12-21
- Chugoku Newspaper, “The Japanese Artist Who Cultivated by America,” Masaaki Noda, June 29, 1993, p.9
- Chugoku Newspaper, “Four Asian Countries Artist Who Living New York Have the Snow of Home Country Traveling Exhibition,” Seishi Hayashi, May 17, 1993, p.11
- Tohsetsu, “Contemporary Chinese Paintings, and Realism of Japanese and American Paintings,” Koji Ichida, December, 1993, p.28
- Inside/Outside Japan, “Expatriate Art,” Robert Chiappetta, April, 1993, p.4-5
- BT, Bijutsu Techo, March 1993, p.134
- OCS News, Asian contemporary Fine Art Exhibition, Nov. 17, 1992
- Yamanashi Nichi nichi Newspaper, “The Both Size Meaning of Language Painted by Symmetrical Composition,” Ken Nishimuro, May 29, 1992
- Asahi Newspaper, “15 Asian Painter Exhibition in New York,” December 8, 1992
- The Yomiuri America, “Art Clip – Once Man Snow of Masaaki Sato,” Kaoru Yanase, May 15, 1993, p.10
- Art Papers, “Review, Florida, The Articulated Thumbprint – Boca Raton Musuem of Art,” Ronnie Greenspan, Summer, 1992
- The Kyodo News Service for All Japanese Newspapers, “Clearly showing Distinction of Nationally,” December 1992 to January 1993
- The Yomiuri America, “Art Clip – Fragrance of the Orient,” Kaori Yanase, December 11, 1992
- Common Wealth Magazine, “New York People: My Dream come True,” Taiwan’s Magazine, November 8, 1992, p.51
- Yamanashi Nichi nichi Newspaper, “YBS Information – The World of Beauty – Introduction of Masaaki Sato in New York,” February 8, 1992
- The Yamanashi Grapevin, “On Subways and Newsstands: The Energy of New York - Through the Eye of Masaaki Sato,” Brett Krause, Summer, 1992, p.6-7
- Museum Letter, Yamanashi Prefectural Museum of Art, “Retrospection of Masaaki Sato’s Exhibition: Twenty Years of New York,” Masahiko Moriya, February 1, 1991, p.2-3
- BT, Bijustsu Techo, “Studio & technique, The Painting of Mirror,” Ikuo Yamamoto, November 1990, pp. 158-162
- Nikkei Art, “Artist’s History: Masaaki Sato,” Hideya Sakata, November, 1990, pp.113-117
- Sansai, Special Report Masaaki Sato “The Melting Pot of Culture, Painting of New York,: December 1990, pp.66-7
- Aera, “Aera Report – Art, Two Exhibitions of Magazine’s Motif,” Sanzo Tanaka, September 11, 1990, p.47
- Pia, “Art Front, Interview – Newsstand City’s Cell, The Artists Who Cares About World Universality in New York,” Hiroaki Ochiai, August 30, 1990, p.263
- The Kyodo News Service for all Japanese Newspapers, “The Painter Masaaki Sato-Locus of Twenty Years of New York,” Kazuko Ide, August and September, 1990
- The Yamanashi, “Gallery of Month, The Feeling Get Along With At Present of New York,” August, 1990, p.8
- Homme-Reukotsushin, “Japanese in Manhattan-Hello Kids, The American Who Have Japanese Face-Masaaki, Masanori and Hiroaki: Sato,” Hideko Ohtake, September, 1990, pp.42-3
- Yamanashi Nichi nichi Newspaper, “Masaaki Sato Exhibition New York Works 1970-1990 at Yamanashi Prefectural Museum of Art,” Ken Nishimuro, February 3, July 20-26, August 9-11, 25, 27-29, September 1-9, 1990
- The Kyodo News Service fro All Japanese Newspapers, “Attached to Newsstand, Masaaki Sato’s One Man Exhibition in New York,” Tamaki Tachibana, May-June, 1989
- The Sunday Star, “Art Scene,” by Marcia Morse, April 2, 1989
- Asahi Newspaper, “Main Street of Earth,” Masahiko Yokoi, May 8, 1989
- The Kyodo News Service for All Japanese Newspaper, “Forum 5, Living in New York as an Artist,” Norikiyo Tsukada, June-August, 1988
- New York Contemporary Fine Art, 1960-1988, Tatsuo Kondo, 1988
- New York Times, “Gallery View: 3 Japanese Artists In Search of a World Language, “ Michael Brenson, May 24, 1987
- Focus, “Japanese Painter in New York,” May 22, 1987
- Downtown, “Soho, My Beat,” Mare Furstenberg, May 18, 1987
- OCS News, “Artrandom,” Keiko Yamaguchi, May 15, 1987
- New York Yomiuri, “Masaaki Sato’s One Man Exhibition,” April 30, 1987
- The Kyodo News Service for All Japanese Newspapers, “Masaaki Sato’s One Man Show in New York,” June-July, 1987
- Geijitsu Shincho, “World,” July, 1987
- Bijutsr Techo, Nenkan ’86, “The Position of Japanese Artists in New York,” Tatsuo Kondo, 1986
- Yomiuri Newspaper, “Contemporary Japanese Art Created in Other Lands,” June 11, 1986
- New York Times, “Weekend Review,” Michael Brenson, June 21, 1985
- Mainich Newspaper, February 8, 1985
- Harper’s Magazine, Cover photography, January, 1985
- Geijitsu Shincho, “World,” August 1985
- OCS News, “Artrandom,” Keido Yamaguchi, June 14, 1985
- Mainich Graph, “Contemporary Art Expo Tokyo ’85,” February 17, 1985
- New York Times, “Off Beaten Path At City’s Museums,” Michael Brenson, January 13, 1984
- Scottsdale Daily Progress, “Stands, Signs, Volume Space,” Victoria Beaudin, March 30, 1984
- Annual Repot, Museum of the City of New York, January 1984
- New York Newsday, “New York City On Canvas,” Paul D. Colford, October 19, 1983
- Hsintu, Cover photography, September 1981
- Ichimai, no.E, “New York: Japanese Artist in the World,” Koji Ichida, June, 1980
- Fairpress, (CT), “New Talents Show Is One of Fairfield County’s Best,” Mia Breuch, October 17, 1979
- Mainich Newspaper, “Masaaki Sato’s One Man Show,” August 20, 1979
- Super Art, “Super Gallery: Works of Masaaki Sato,” Hiromi Ito, October, 1979
- The World Trade Center News, “A Feast of Things Japanese Awaits You,” April-May, 1979
- Burlington Free Press, “Vibrant Colors Dominate Japanese Art Exhibit,” Peg Bryant, August 22, 1978
- Greeneville Sun, “Prominent Artist Donates ETSU,” October 13, 1977
- Bristol Herald Courier, “Young Artist Remembers Long, Rough Road to Top,” October 9, 1977
- The Standard Star, “Another Face In Crowd? No More!” Kathie Beals, March 18, 1977
- New York Times, “It’s Spring in Connecticut, and New Talent Blooms,” John Canaday, May 9, 1975
- Johnson City Press-Chronicle, “Slocumb Art Gallery Showing Works of Sato,” March 8, 1976
- Newsday, “The Westbeth Connection,” Malcolm Preston, July 31, 1975
- Urbia, Cover of magazine, Spring-Summer 1974
- San Francisco Examiner, “An Artist of Many Styles,” Arthur Bloomfield, September 24, 1973
- Artweek, (West Coast), September 24, 1973
- Arts (England), “Gallery Reviews,” Richard Walker, August 31, 1968
Selected Collections
The Aldrich Museum of Contemporary Art, Ridgefield, CT.
Allen & Co., New York, NY.
Allen Memorial Art Museum, Oberlin College, OH.
Alternative Museum, New York, NY.
American Bankers Insurance, Miami, FL.
American Express Company, New York, NY.
American Republic Insurance Co., Des Moines, Iowa.
The Art Complex Museum, Duxbury, MA.
Art Forum, Honolulu, HI.
Belgian American Investments & Trade, Dallas, TX.
The Bennett Agency, Los Angeles, CA.
Brooklyn Museum of Art, New York, NY.
Center for the Arts, Vero Beach, FL.
Chas, Levy Company, Chicago, IL.
Chopin Fine Art, Ltd., New York, NY.
Coca Cola Enterprises, Inc., Atlanta, GA.
Color Factory Gallery, Los Angeles, CA.
Concept/NY, New York, NY.
Counsel Corporation, Toronto, Canada.
DDB Needham Worldwide, New York, NY.
Deep Pacific Fishing Co., Ltd. Seattle, WA.
Delaware Art Museum, Wilmington, DE.
East Tennessee State University, Johnson City, Tenn.
East Texas Distributing Co., Chicago, IL.
E. Jean Belloni, Geneva, Switzerland.
Enos and Associates, Los Angeles, CA.
Fairdan Ltd., Hong Kong.
Falcon Cable TV, Los Angles, CA.
Falcon Communication, Pasadena, CA.
The Farber collection, New York, NY.
Fay Gold Gallery, Atlanta, GA.
Fiona Press, Inc., Newtown, CT.
Fogg Art Museum Harvard University, Cambridge, MA.
Frederick Weisman Foundation of Art, Los Angeles, CA.
The Fuijioka Collection, Long Grove, IL.
G.H. & Associates, Bangkok, Thailand.
Hess International, Toronto, Canada.
Helender Gallery, Palm Beach, FL.
Honolulu Academy of Art, Honolulu, Hawaii
Honolulu Advertisers Collection, Honolulu, Hawaii
Honolulu advertisers Inc., Honolulu, Hawaii
Lowenthal, Landau, Fischer & Ziegler, New York, NY
LPM Management, Toronto, Canada.
Marcai Rafelman Fine Arts, Ltd., Toronto Canada.
Minnesota Museum of Art, Saint Paul, Minn.
Minot State College, Minot, N. Dakota.
The Morowitz collection, New York and New Jewsey
Mr. & Mrs. Robert Schmier Collection, Boca Raton, FL.
Museum of Modern Art, La Tertulia, Columbia.
The Museum of the City of New York
New York Obstetrical & Gynecological Association, P.C. New York, NY
Pearlnesco, Inc., Itasca, IL.
Pende Fine Arts, Toronot, Canada.
Portland Art Museum, Portland, OR.
Posco Gallery, Posco Center, Seoul, Korea.
Rentarts, Co., Ltd., Hong Kong
Richmore International, Tokyo, Japan.
Rockford Colege, Rockford, IL.
San Diego Museum of Art, San Diego, CA.
Sandler O’ Neill & Partners, L.P., New York, NY.
Seibu Department Stores, Tokyo, Japan.
Senna Design, LLC. Vernon Hills, IL.
Singer Brothers, Tulsa, Oklahoma.
601 Corporation, Des Moines, IA.
The Steiner-Liff Metals Group, Nashville, Tenn.
Taiwan Museum of Art, Taichung, Taiwan.
Takamatsu City Museum of Art, Kagawa, Japan.
Toyo Institute of Art and Design, Tokyo, Japan.
Tortue Gallery, Santa Monica, CA.
Tufts University, Medford, MA.
United Lithograph Inc., ELK Grove Village, IL.
U.S. Sanko Corporation, Los Angeles, CA.
Yamanashi Prefectural Museum of Art, Yamanashi, Japan.
Zimmerman/Saturn Gallery, Nashville, TN.
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Number
of Critiques : 7
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06/14/2010
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