MARC Record from marc_columbia

LEADER: 03175cam a22003614a 4500
001 5612267
005 20221121194000.0
008 050630t20052005waua bc 000 0deng
010 $a 2005018930
020 $a0295985666 (softcover : alk. paper)
024 3 $a9780295985664
035 $a(OCoLC)ocm60826552
035 $a(NNC)5612267
035 $a5612267
040 $aDLC$cDLC$dC#P$dBAKER$dOrLoB-B
042 $apcc
050 00 $aND237.O468$bA4 2005
082 00 $a759.13$222
100 1 $aNakane, Kazuko.$0http://id.loc.gov/authorities/names/n86101718
245 10 $aFrank Okada :$bthe shape of elegance /$cKazuko Nakane.
260 $aLa Conner, Wash. :$bMuseum of Northwest Art in association with University of Washington Press, Seattle and London,$c[2005], ©2005.
300 $a80 :$bcolor illustrations ;$c23 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
500 $aCatalog of an exibition held at the Museum of Northwest Art, Oct. 8, 2005-Jan. 8, 2006.
504 $aIncludes bibliographical references (p. 73-74).
505 00 $tIntroduction : effacing form /$rLawrence Fong -- $tFrank Okada in American art /$rKazuko Nakane -- $tPlates.
520 1 $a"Artist Frank Okada played a significant role in the modern art history of the Pacific Northwest. Born a Nisei in 1931, he was raised in Seattle's International District. Throughout his life he retained its influences and expressed his vivid memories in his art. From his first painting award - received at the Washington State fair - until his death in 2000 at the age of sixty-nine, he worked at the confluence of regional art, Asian culture, and national art movements." "At the beginning of his career, Okada received a series of prominent fellowships - John Hay Whitney in 1957, Fulbright in 1959, and Guggenheim in 1966-67. He was greatly influenced by the artists he met and was a close observer of the art scenes in New York, Paris, and Kyoto in an effort to find his own style of painting and how to be a painter. He began teaching painting at the University of Oregon in 1969, a tenure that lasted thirty years. His work from the seventies, eighties, and nineties balanced forms and colors in intensely worked surfaces. The color blocks gradually became more intellectually structured and his compositions more expressive as he made his colors more powerful. As Nakane notes, without recognizable reference to nature or his own personality, he created a texture that brought light to a field of color. The build-up of color dots underneath and extensive small textural stories across large canvases made progress slow. In order to appreciate his paintings, one needs to spend time observing how the colors respond to the charges of light throughout the day."--BOOK JACKET.
600 10 $aOkada, Frank S.$q(Frank Sumio),$d1931-2000$vExhibitions.
700 1 $aOkada, Frank S.$q(Frank Sumio),$d1931-2000.$0http://id.loc.gov/authorities/names/nr2003027103
710 2 $aMuseum of Northwest Art.$0http://id.loc.gov/authorities/names/nr98012558
856 41 $3Table of contents$uhttp://www.loc.gov/catdir/toc/ecip0515/2005018930.html
852 80 $bfax$hND239 Ok13$iN14