Summary
Kenjirō Okazaki (岡崎 乾二郎, Okazaki Kenjirō, born October 24, 1955) is a Japanese visual artist and robotics designer whose works span several genres, including painting, sculpture (reliefs and constructions), as well as landscape design and architecture.
Kenjiro Okazaki | |
|---|---|
岡崎 乾二郎 (Okazaki Kenjirō) | |
| Born | October 24, 1955 |
| Nationality | Japanese |
| Occupation(s) | visual artist, robotics designer |
| Known for | designing robots for studies in natural computing and perception |
Career edit
Many of Okazaki's visual works have been featured in public collections throughout Japan and in various exhibitions around the world. In 2002, Okazaki participated in the Venice Biennale as the director of the Japanese pavilion of the 8th International Architecture Exhibition. His recent works include a collaborative dance performance "I love my robots" with the choreographer Trisha Brown which premiered in early 2007.[1][2]
He is active as a theoretician and critic and is the author or co-author of several books, including Renaissance: Condition of Experience (Chikuma, 2001), featuring his analysis of Filippo Brunelleschi; Ready for Painting! (Asahi Press, 2005), a dialogue with the artist Hisao Matsuura; and Articulation of Arts: technological analyses (FilmArt, 2007). He has also created picture books in collaboration with Japanese poets, including Little Lellolello with Kyong-Mi Park (Shogakukan Inc. 2004),[3] and Popahpe Popipappu with Shuntaro Tanikawa (Crayon House, 2004).[citation needed]
Okazaki has also designed robots for studies into topics such as natural computing and perception.[4][5]
References edit
- ^ Dunning, Jennifer (January 20, 2007). "They May Be Automatons, but They Sure Have Heart". The New York Times. Retrieved February 5, 2016.
- ^ "Trisha Brown Retrospective Dances Into UW World Series This Weekend". Broadway World. February 4, 2016. Retrieved February 5, 2016.
- ^ Kourlas, Gia (December 4, 2009). "Where College Performers Meet Seasoned Choreographers". The New York Times. Retrieved February 5, 2016.
- ^ Yasuhiro Suzuki; Masami Hagiya (July 31, 2015). "Drawing as the Relative Movement Between Subject and Medium: Using a Robot to Show the Subjectivity in Dynamic Flows of Consciousness". In Yasuhiro Suzuki, Masami Hagiya (ed.). Recent Advances in Natural Computing: Selected Results from the IWNC 8 Symposium. Springer. pp. 77–81. ISBN 978-4-431-55429-5. OCLC 886383286. Retrieved February 5, 2016.
- ^ Julie A. Weast-Knapp; Mary Lauren Malone; Drew H. Abney, eds. (July 16, 2015). "Identifying Individual Traits with a Medium Perception Robot". Studies in Perception and Action XIII: Eighteenth International Conference on Perception and Action. Psychology Press. pp. 77–80. ISBN 978-1-317-32900-8. OCLC 914136868. Retrieved February 5, 2016.
Texts by Kenjiro Okazaki edit
A Place to Bury Names(about Isamu Noguchi and Shirai Seiichi)
LIVING BETWEEN DIVERSITY OF TIME(about OWN WORKS)
The lucid, unclouded fog―the movement of bright and swinging water particles.(about FUJIKO NAKAYA)
Abstract Art as Impact(HTML/PDF)
External links edit
- Official website
- Abstract Art as Impact:Exhibition official site