A prominent member of the international Fluxus art movement of the 1960s, Shigeko Kubota was invited to move to New York from Tokyo in 1964 by the movement’s unofficial leader, George Maciunas. While Kubota’s interdisciplinary work pointed to her influences from John Cage and Marcel Duchamp, in her compositions of television monitors embedded in wooden boxes and other sculptural structures, Kubota emphasized form and permanence rather than the destruction and mutability found in many Fluxus performances. Reflecting the Buddhist environment in which she was raised, Kubota had a fundamental interest in the unfolding of time as depicted in mural paintings and hand scrolls, one which she believed was paralleled in the frame-by-frame unfolding of video.
For the High Line, Kubota presented her silent video, Rock Video: Cherry Blossom (1986). Comprised of layered shots of pale pink cherry blossoms against a bright blue sky, the video uses electronic processing techniques to transform and manipulate the delicate images, creating a dynamic convergence of the natural forms of the blossoms and the technological form of the medium on which they are captured.
Photos by Timothy Schenck.