Solo exhibition Jacob Hashimoto: Gas Giants and Uncertain Atmospheres at Wäinö Aaltonen Museum of Art, Turku, Finland.
Hashimoto's art blur the line between the works and the spaces that they occupy. This is the first time Hashimoto's art is extensively displayed in Finland. He is best known for working with light, kite-like elements, from which he contructs large-scale, minimalistic and colourful tapestries and installations.
Included in group exhibition 40 Years/Part 1 at Rhona Hoffman Gallery, Chicago, Illinois.
“40 Years: Part 1” features significant Minimal and Conceptual works like Incomplete Open Cube by Sol LeWitt; a Fred Sandback yarn sculpture; Measurement: Wall (1969) by Mel Bochner; a conceptual ruler drawing and a painting by Sylvia Plimack Mangold; Dan Flavin’s neon light piece; Wolfgang Laib’s Rice House, and two 1960s prints by Donald Judd. Works by Portuguese artist Pedro Cabrita Reis, whom Hoffman first exhibited in the United States, and Barbara Kruger, who executed her first floor text piece in the gallery, are a testament to Rhona Hoffman’s commitment to pushing the boundaries with new ideas. Spencer Finch’s light work Goldberg Variations, new paintings by Art & Language, Michael Rakowitz’s What Dust Will Rise project from Documenta, a hanging sculpture by Richard Rezac, and other recent works buttress the exhibition’s historical pieces...
Article by Hilary Moss Creating Order in the Universe With Thousands of Kites in The New York Times’s T Magazine online.
In late 2006, Mary Boone phoned the artist Jacob Hashimoto several months ahead of his first show at her venerable gallery to ask about his progress. “She said, ‘I heard that you haven’t finished any of the work,’ and she explained that when she does a show of six or seven pieces, she hopes to choose from 15,” he remembers. “I told her that my studio is like a sourdough bread bakery — you have the mother, which is the dough that you’re growing, and you feed it flour and water, and the mother gets bigger and keeps leavening. And, eventually, you take off chunks and make your biscuits, but most of the time, you’re feeding the mother...”
Solo Exhibition In the Cosmic Fugue at Rhona Hoffman Gallery, Chicago, Illinois.
In the Cosmic Fugue is Rhona Hoffman Gallery’s fourth solo exhibition of Jacob Hashimoto’s enormously imaginative and laboriously created work. The show will occupy the entire gallery with six new oil paintings and fourteen kite pieces, created from innumerable hand-painted and collaged rice paper and bamboo “kites,” Hashimoto’s signature medium. These visually striking, multi-dimensional works engross viewers through their organizational, geometric complexity, changing sight lines, and sheer beauty...
Solo exhibition Never Comes Tomorrow at Studio La Città in collaboration with Doubletrouble95, Milan, Italy.
On the occasion of the MiArt and Salone del Mobile fairs, Studio la Città will be transferring to a temporary venue in Milan, DOUBLETROUBLE95, to propose an installation by Jacob Hashimoto: Never Comes Tomorrow, already exhibited with great success in Verona last May. This installation will once again be a proof of Hashimoto's maniacal interest in architecture, space and time, and the astral dynamics of planets and constellations. Proportions, relationships, and surfaces will be closely interrelated with the building hosting the large-scale installation, in this was concretizing DOUBLETROUBLE95's dream: to host the site-specific work of an important international artist.
Review by David Frankel of exhibition Skyfarm Fortress at Mary Boone Gallery, NYC, NY, in Artforum.
To say that Jacob Hashimoto makes kites, then strings them together in the air, will do as a description of his process but gives no sense at all of the visual quality of Skyfarm Fortress, 2014, the installation that made up this show...
Included in group exhibition NOW-ISM: Abstraction Today at the Pizzuti Collection, Columbus, Ohio.
In one weird, hyphenated word, NOW-ISM insists that the works in it are both of the moment—particular to the circumstances in which they were made and attuned to the digital phase of the Information Age as it hurtles us through the first decade and a half of the twenty-first century—and outside of time: unshackled by the constraints of context and the restrictions of history because, as works of art, they are fully present in the moment and available to be intimately engaged by innumerable viewers, over and over again, in perpetuity. The beauty of now is that it never grows old. Its biggest drawback is that it doesn’t last: Constantly slipping away, now never lets anyone rest with what happened yesterday. To attend to the works in this exhibition, you have to be on your toes, at the top of your game, attentive to details, alive to subtlety, and in touch with the peculiar poetry of visual experience...