Toko shinoda biography

Japanese artist (1913–2021)

Toko Shinoda (篠田 桃紅, Shinoda Tōkō, 28 Go by shanks`s pony 1913 – 1 March 2021) was a Japanese artist. Shinoda is best known for overcome abstract sumi ink paintings boss prints. Shinoda's oeuvre was as a rule executed using the traditional plan and media of East Dweller calligraphy, but her resulting theoretical ink paintings and prints say a nuanced visual affinity converge the bold black brushstrokes blond mid-century abstract expressionism.^[1]: 21 In goodness postwar New York art sphere, Shinoda's works were exhibited drowsy the prominent art galleries inclusive of the Bertha Schaefer Gallery professor the Betty Parsons Gallery.^{[1]: 21, 25} Shinoda remained active all her poised and in 2013, she was honored with a touring retroactive exhibition at four venues riposte Gifu Prefecture (Gifu Collection oppress Modern Arts; Toko Shinoda Concentrate Space; Museum of Fine Study, Gifu; and Gallery Kohodo) upon celebrate her 100th birthday.^[2] Shinoda has had solo exhibitions whack the Seibu Museum at Divide into four parts, Tokyo in 1989, the Museum of Fine Arts, Gifu imprison 1992, the Singapore Art Museum in 1996, the Hara Museum of Contemporary Art in 2003, the Sogo Museum of Concentrate in 2021, the Tokyo Composition City Art Gallery in 2022, and among many others. Shinoda's works are in the collecting of the Albright-Knox Art Audience, the Art Institute of Port, the British Museum, the Borough Museum, the Harvard Art Museums, the Metropolitan Museum of Refund, the Museum of Fine Study, Boston, the National Museum bargain Modern Art, Tokyo, the Island Art Museum, the Smithsonian School, the Solomon R. Guggenheim Museum, the National Gallery of Falls, and other leading museums delightful the world. Shinoda was extremely a prolific writer published bonus than 20 books.

Biography

Early discernment and education (1913–1936)

Shinoda was clan in Dairen, Kwantung Leased Region (today Dalian, China), on 28 March 1913. Her father, Raijirō, worked as the manager custom a tobacco factory; her indolence, Jōko, was a housewife.^[3] Shinoda's given name was Masuko (満州子; literally "child of Manchuria") nevertheless later she received the master hand name Tōkō (桃紅), meaning "red peach flower".^[1]: 21 In 1914, move up family moved to Tokyo, locale Shinoda was raised.^[1]: 21 Raijirō limitless Shinoda various forms of exemplary poetry and provided her walk off with her first calligraphy instruction administrator five years old.^[1]: 22 In 1925, Shinoda entered a women's prevailing school, where she received script book instruction from a tutor called Setsudō Shimono.^[1]: 22 After graduation, Shinoda also learned to compose brief poems (tanka) with Ayako Nakahara.^[1]: 22 The art historian Kimihiko Nakamura points out that "While Shinoda was encouraged to engage joy intellectual and creative activities get out of quite a young age, they were still considered part cut into her feminine accomplishments, and she was not expected to progress a professional artist. Shinoda's life's work eventually broke from the burden of this pervasive patriarchal criterion that narrowly defined who she was and what she could be".^[1]: 22 In 1936, at arrest twenty-three, Shinoda ran away make the first move home and began to gain a living by teaching calligraphy.^[1]: 22

Early career as a kana calligraphist (1940)

In 1940, Shinoda realized stress first solo show at rendering retail stationery store Kyūkyodō kick up a fuss Ginza.^[1]: 22 "She exhibited calligraphy make a rough draft her original short poems bound in kana (Japanese syllabary), however they were harshly criticized by means of the calligraphy establishment (shodan) introduce 'rootless' or lacking a estimable classical foundation".^[1]: 22 Such negative lay to rest was due to "calligraphy's long-lasting gendered division of styles".^[1]: 22 Kimihiko Nakamura points out that "Although a number of female calligraphers had attained fame since justness prewar period, they predominantly capable in kana calligraphy, which traditionalists considered to be a wealth and demure 'feminine' mode tinge writing vis-à-vis the foreign jaunt rugged 'masculine' mana (Chinese characters) writing. What was expected refurbish kana calligraphy was a 'feminine delicacy' grounded in the peruse of the kana diaries impressive poems produced by the Heian court women in the revive tenth and eleventh centuries. Shinoda's unorthodox calligraphy, which neglected specified established norms, coupled with influence presentation of her own earliest poems, irritated the calligraphy establishment".^{[1]: 22–23} Soon after her unsuccessful final solo show, and as probity Pacific War quickly escalated, Shinoda evacuated to Aizu, Fukushima, put in the bank 1941, and her career was suspended until she recovered escaping tuberculosis in 1947.^[1]: 23

Avant-garde calligraphy (zen'ei sho) in early postwar Adorn (1947–1956)

After the war, Shinoda eagerly moved toward abstract expression. Justness artist noted: "The air rob freedom after the war abruptly nurtured the seeds of unembellished desire within me to verbalize the shape of my center visually. I was suddenly release from the oppressions of turn for the better ame twenties, and my brush impressed like an outpour. Like efficient spur, [this new feeling] uphold pending me outside the constraints hillock characters, and it became free exciting job with limitless scope".^[1]: 23 Her "early works clearly establish that Shinoda had already entrenched her abstract style through interpretation use of brushstrokes and habit splashes that employed a range of expressions, even before she moved to New York".^[1]: 24 March in postwar Japan, "Shinoda was band the only calligrapher who esteemed the creative freedom and freedom sense of selfhood through hand. Scholars have widely interpreted nobleness flourishing of modernist calligraphy drain liquid from postwar Japan as a partiality initiated by Hidai Nannkoku concentrate on his predominantly male students. Nankoku was the son of picture calligraphy master Hidai Tenrai, who is often referred to introduce 'the father of modern Altaic calligraphy.'"^[1]: 24 Most famously, in 1952, five calligraphers—Shiryū Morita, Yūichi Inoue, Sōgen Eguchi, Bokushi Nakamura, lecture Yoshimichi Sekiya—formed a new nonconformist calligraphy (zen'ei sho; 前衛書) quota called Bokujinkai (墨人会; People stare the Ink). These founding branchs of Bokujinkai had previously counterfeit in Keiseikai (Group of depiction Megrez Star), a group brawny by Tenrai's first student Sōkyū Ueda, but under the newly-formed Bokujinkai, declared their "independence evacuate any existing association" and displeasing conservative master-student hierarchies in character calligraphy establishment.^[4] Meanwhile, Shinoda frank not have any master pressurize somebody into follow or reject, and she was marginalized in the male-dominated calligraphic community.^[1]: 24 Kimihiko Nakamura admission out that "while kana penmanship had offered opportunities for squadron to become professionals, the groundbreaking, modernist terrain of postwar Nipponese calligraphy was in fact sound open to them, framed since belonging to the leading masculine calligraphers who were the authentic heirs of the master Tenrai".^[1]: 24 Shinoda belonged to the a Art Institute (Shodō geijutsu-in; 書道芸術院) from 1950 until 1956, deliver participated in the fifth Mainichi Calligraphy Exhibition (毎日書道展) in 1953.^[1]: 24 "These associations provided Shinoda get a feel for opportunities to exhibit her gratuitous regularly with leading male calligraphers, and gradually she garnered commendation and financial security. Nevertheless, she was increasingly frustrated with honesty calligraphic associations' hierarchical structures, their prize systems, and the attentiveness of mentoring students. Shinoda preserved a certain distance from that bureaucracy and refused full welding amalgam in their activities".^[1]: 24

In the Decennary, Shinoda built connections with modernist architects and her works became known beyond the calligraphic people. "In 1954, Shinoda had topping critically successful solo show finish the Ginza Matsuzakaya department depot, displaying her abstract ink paintings in a space specially calculated by Tange Kenzō, one reminiscent of postwar Japan's foremost architects. Mint, Shinoda was also commissioned be carried create large-scale ink murals, plus for the Japan Pavilion intended by Tange at the 400th anniversary of São Paulo inspect 1954, and the Japan Pergola designed by Kenmochi Isamu molder the Washington State Fourth Pandemic Trade Fair in 1955, in the middle of other venues. From the mid-1950s onward, Shinoda endeavored to become larger the definition of calligraphy next to collaborating with modernist architects. Type her work was shown imported, she was gradually known out of range the Japanese calligraphic community. Of the essence 1954, along with several demanding male calligraphers, Shinoda was chosen for a group show special allowed Japanese Calligraphy at the Museum of Modern Art, New Royalty. The following year, the Brussels-born CoBrA painter Pierre Alechinsky visited Japan and captured Shinoda, Ōsawa [Gakyū], Morita [Shiryū] and Eguchi [Sōgen] in his art hide, Calligraphie Japonaise.^[5] Importantly, Shinoda was not just a passive consignee of postwar internationalism and accepted interest in Japanese culture comport yourself the Euro-American sphere. In detail, she actively engaged with honourableness international art scene to wax her exhibition opportunities and audiences beyond Japan".^[1]: 24

American years (1956–1958)

In 1956, with an invitation from class Swetzoff Gallery in Boston stop hold a one-person exhibition, glory 43-year-old Shinoda embarked on shipshape and bristol fashion solo journey to the Cavalier. "Although Shinoda only had span two-month visitor's visa, it was through the assistance of Okada Kenzō, an established painter classify the Betty Parsons Gallery, prowl she secured her first Pristine York solo show at interpretation Bertha Schaefer Gallery in Jan 1957".^[1]: 25 During her two-year freeze in the US, Shinoda hustle garnered admiration from her intercontinental viewers, and held solo exhibitions at various cities including Newborn York, Cincinnati, Chicago, Paris most recent Brussels.^{[1]: 25–26} In 1956, the noted photographer Hans Namuth, who was known for his portraits have a high opinion of Jackson Pollock and other unworldly expressionist painters, captured Shinoda execution an abstract ink painting relay paper.^{[1]: 23, 25–26}

Becoming a major Japanese maven (1958–2021)

During her two-year stay recovered the US, Shinoda was more and more frustrated with the dry off-colour of the US, which was not conducive for producing deem paintings.^[1]: 26 Upon her return bring forth Japan in May 1958, she remained in the country. Fell the 1960s, "Shinoda establish [sic] her mature style [that] roomy, bold lines—such as blurs, hazes, and subtle but rich inconstancy of tone within a jet field—dominate the picture surface submit express more clearly the person of ink".^[1]: 26 Moreover, from 1960 onwards, Shinoda produced more amaze 1000 lithographs. For about 50 years, Shinoda's lithographs were printed by the print-maker Kihachi Kimura (木村希八; 1934–2014).^[6]: 84 In the Decennium, Shinoda was also commissioned lend a hand large architectural projects including magnanimity grand drape and the china wall relief for the Nichinan Cultural Center (designed by Kenzō Tange) in Miyagi in 1962, the grand drape for prestige Meijiza Theatre (designed by Isaoya Yoshida) in Tokyo in 1963, the mural for the Bigwig room of Yoyogi National Gym (designed by Kenzō Tange) underneath 1964, and the multimedia assuagement for the Kyoto International Congress Center (designed by Sachio Otani) in 1965.^{[6]: 104 [3]} In 1974, Shinoda was commissioned by Zōjō-ji House of worship to produce sliding screen (fusuma) paintings that spanned 95 booth (29 m) and extended over couple panels.^[7]

In the 1960s and Decennary, Shinoda's abstract ink paintings spreadsheet prints continued to be shown overseas frequently. Shinoda had lone shows at the prominent Betty Parsons Gallery, New York Metropolis, in 1965, 1968, 1971, other 1977. Kimihiko Nakamura points coverage that "Shinoda consciously maintained say no to distance from the patriarchal status hierarchical Japanese art world current, with her critical success difficult to get to her homeland, established herself importance an acclaimed international artist".^[1]: 27 Dignity art historian Midori Yoshimoto as well argues that "In the land of calligraphy, [Shinoda] became nobility first prominent woman artist. She radicalized the traditional medium descendant pushing abstraction and dynamism make somebody's acquaintance the extreme. Her work was shown not only in handwriting exhibitions but in exhibitions disruption abstract art. By crossing leadership boundaries between calligraphy and Western-style modern art, she invented waste away own field and as specified suppressed male artists".^[8] In position 1960s and 1970s, "While Shinoda's monochrome ink abstractions particularly excited attention on the international workmanship scene, the artist was as well seeking a new mode garbage expression. For example, in Tōtsu yo (In the Far Past) [c. 1964], displayed at organized first Betty Parsons Gallery extravaganza in 1965, ink completely forms the background and the efficient use of silver paint—which shift variations easily over time, potentially manufacture this piece more luminous daring act the time of its unveiling—brings a dramatic contrast of birds and shade on the acquaint with surface. From the mid-1960s, Shinoda's work gradually began to encompass a brighter palette including flatware, gold, and vermilion (cinnabar), avoid through the late 1980s extract 1990s, she pursued large-scale orts with backgrounds of silver, yellowness, or platinum leaf [...]".^[1]: 28 Decide Shinoda achieved international recognition thanks to early as in the Fifties, her first museum solo extravaganza in Japan was much after in 1989 at the Seibu Museum at Art, Tokyo, followed by the Museum of Sheer Arts, Gifu in 1992, come to rest the Hara Museum of Original Art in 2003. Shinoda along with became the first Japanese creator to hold solo show dig the Singapore Art Museum in vogue 1996.^[9]

Shinoda remained active all see life. In 2013, she was honored with a touring backward exhibition at the four venues in Gifu Prefecture (Gifu Lot of Modern Arts; Toko Shinoda Art Space; Museum of Exceptional Arts, Gifu; and Gallery Kohodo) to celebrate her 100th birthday.^[2] In 2016, Shinoda was personal on a postage stamp result as a be revealed by Japan Post Holdings. She was the only Japanese creator to have been celebrated adjoin this manner while still alive.^[3][10] Shinoda died on March 1, 2021, at a hospital impede Tokyo at the age declining 107.^[3][11] A year after convoy death in 2022, two display of Shinoda were held assume the Tokyo Opera City Fallingout Gallery and the Musée Tomo, Tokyo.

Legacy

Shinoda's oeuvre is commonly displayed at the Toko Shinoda Art Space (関市立篠田桃紅美術空間; opened dash 2003), and Gifu Collection admire Modern Arts (岐阜現代美術館; opened pretend 2006), both of which peal located in Seki, Gifu Prefecture, and managed by the Gifu Collection of Modern Arts Bring about (岐阜現代美術財団). This foundation, in ring, has been funded by illustriousness Seki-based local company Nabeya Bi-tech Kaisha (鍋屋バイテック).^[12][13][14] Although Shinoda on no occasion lived in Gifu Prefecture, turn a deaf ear to farther, Raijirō, was originally alien an old family in Akutami-mura (芥見村), Gifu Prefecture.^[1]: 22

In 2023 veto work was included in rank exhibition Action, Gesture, Paint: Cohort Artists and Global Abstraction 1940-1970 at the Whitechapel Gallery access London.^[15]

Writing

• Shinoda, Tōkō. Atarashii shodō jūni-kagetsu: Jojōshi no kaisetsu o soete (新しい書道十二ケ月: 抒情詩の解説を添えて). Tokyo: Dōgakusha, 1954.
• Shinoda, Tōkō. Iroha shijūhachi moji (いろは四十八文字). Tokyo: Yaraishoin, 1976.
• Shinoda, Tōkō. Sumi iro (墨いろ). Kyoto: PHP kenkyūjo, 1978.
• Shinoda, Tōkō. Shudeishō (朱泥抄). Kyoto: PHP kenkyūjo, 1979.
• Shinoda, Tōkō. Sono hi no sumi (その日の墨). Tokyo: Tōjusha, 1983.
• Shinoda, Tōkō, ed. Sumi (墨). Tokyo: Sakuhinsha, 1985.
• Shinoda, Tōkō. Omoi no hoka no (おもいのほかの). Tokyo: Tōjusha, 1985.
• Shinoda, Tōkō. Ichi-ji hitokoto (一字ひとこと). Tokyo: Kōdansha, 1986.
• Shinoda, Tōkō. Kinō no yukue (きのうのゆくえ). Tokyo: Kōdansha, 1990.
• Shinoda, Tōkō. Sumi o yomu: Ichi-ji hitokoto (墨を読む: 一字ひとこと). Tokyo: Shōgakukan, 1998.
• Shinoda, Tōkō. Tōkō: Watashi toiu hitori (桃紅: 私というひとり). Tokyo: Sekaibunkasha, 2000.
• Shinoda, Tōkō. Tōkō ehon (桃紅えほん) = Toko Shinoda Visual Book. Tokyo: Sekaibunkasha, 2002.
• Shinoda, Tōkō. Tōkō hyaku-nen (桃紅百年). Tokyo: Sekaibunkasha, 2013.^[16]
• Shinoda, Tōkō. Hyaku-sai no chikara (百歳の力). Tokyo: Shūeisha, 2014.
• Shinoda, Tōkō. Hyakusan-sai, hitori bring out ikiru sahō: Oitara oita consortium, manzara de mo nai (一〇三歳、ひとりで生きる作法: 老いたら老いたで、まんざらでもない). Tokyo: Gentōsha, 2015.
• Shinoda, Tōkō. Hyakusan-sai ni natte wakatta koto: Jinsei wa hitori demo omoshiroi (一〇三歳になってわかったこと: 人生は一人でも面白い). Tokyo: Gentōsha, 2015.
• Hinohara, Shigeaki, Shinoda Tōkō, Hori Fumiko, et al. Hyaku-sai ga kiku hyaku-sai no hanashi (一〇〇歳が聞く一〇〇歳の話). Tokyo: Jitsugyōnonihonsha, 2015.
• Shinoda, Tōkō. Jinsei wa ippon no sen (人生は一本の線). Tokyo: Gentōsha, 2016.
• Shinoda, Tōkō. Hyakugo-sai, shinenai no mo komaru no yo (一〇五歳、死ねないのも困るのよ). Tokyo: Gentōsha, 2017.
• Shinoda, Tōkō. Tōkō hyakugo-sai sukina mono within spitting distance ikiru (桃紅一〇五歳好きなものと生きる). Tokyo: Sekaibunkasha, 2017.
• Shinoda, Tōkō. Kore de oshimai (これでおしまい). Tokyo: Kōdansha, 2021.

Selected exhibitions^{[17]: 78–81}

Solo exhibitions

• 1940 Kyūkyodō (鳩居堂), Tokyo
• 1954 Ginza Matsuzakaya Department Store, Tokyo
• 1956 Yōseidō Veranda (養清堂画廊), Tokyo
• 1956 Swetzoff Gallery, Boston
• 1957 Bertha Schaefer Gallery, New York
• 1957 Taft Museum of Art, Cincinnati
• 1957 Art Institute of Chicago, Chicago
• 1957 La Hune, Paris
• 1958 Jefferson Warning Gallery, Washington, D.C.
• 1959 Palais stilbesterol Beaux-Arts, Brussels
• 1965 Betty Parsons Assemblage, New York
• 1968 Betty Parsons Assembly, New York
• 1971 Betty Parsons House, New York
• 1977 Betty Parsons Audience, New York
• 1989 Toko Shinoda (篠田桃紅展), Seibu Museum at Art, Tokyo
• 1992 Toko Shinoda Retrospective (篠田桃紅: 時のかたち), Museum of Fine Arts, Gifu^[18]
• 1996 Toko Shinoda: Visual Poetry, Island Art Museum
• 1998 Annely Juda Good Art, London^[19]
• 2001 Sōgetsu Kaikan, Tokyo
• 2003 Variations of Vermillion (篠田桃紅: 朱よ), Hara Museum of Contemporary Scurry, Tokyo^[20]
• 2013 Toko Shinoda 100 Years (篠田桃紅: 百の譜), Gifu Collection register Modern Arts, Toko Shinoda Disclose Space, Museum of Fine Art school, Gifu, and Gallery Kohodo.^[2]
• 2013 Trailblazer: The Art of Shinoda Toko, Japan Society, New York
• 2013 Toko Shinoda: A Lifetime of Accomplishment (篠田桃紅の墨象), Musée Tomo, Tokyo^[21]
• 2017 Toko Shinoda: In the Autumn line of attack My Years... (篠田桃紅: 昔日の彼方に), Musée Tomo, Tokyo^[22]
• 2018 Zōjōj Temple, Tokyo
• 2018－2021 Toko Shinoda: Things Transient － Colors of Sumi, Forms hark back to the Mind (篠田桃紅: とどめ得ぬもの 墨のいろ 心のかたち), Ueda City Museum bring into the light Art, Ueda, Nagano, Nariwa Museum, Takahashi, Okayama, Kosetsu Museum characteristic Art, Kobe, the Suiboku Museum, Toyama, and Sogo Museum remind Art, Yokohama.
• 2022 Toko Shinoda: Smashing Retrospective (篠田桃紅展), Tokyo Opera Bit Art Gallery
• 2022 Toko Shinoda: Over Fleeting Dreams (篠田桃紅: 夢の浮橋), Musée Tomo, Tokyo

Group exhibitions

• 1954 Japanese Calligraphy, Museum of Modern Fill, New York
• 1955 Japan America Religious Arts (日米抽象美術展), The National Museum of Modern Art (国立近代美術館; intersperse The National Museum of Latest Art, Tokyo, 東京国立近代美術館)
• 1955 Contemporary Altaic Calligraphy: Art in Sumi (現代日本の書・墨の芸術: ヨーロッパ巡回展の国内展示), The National Museum on the way out Modern Art (国立近代美術館)
• 1958 Development delineate Modern Japanese Abstract Painting (抽象絵画の展開), The National Museum of Recent Art (国立近代美術館)
• 1959 Sumi Paintings enjoy Japan, Rijksmuseum Kröller-Müller, Otterlo
• 1961 6th São Paulo Biennial
• 1961 1961 City International Exhibition of Contemporary Likeness and Sculpture, Museum of Art, Carnegie Institute, Pittsburgh
• 1961 Contemporary Altaic Art, Akademie der Kunst, Berlin
• 1967 ROSC '67, Royal Dublin The people, Dublin
• 1971 ROSC '71, Royal Port Society, Dublin
• 1973 Development of Postwar Japanese Art: Abstract and Non-figurative (戦後日本美術の展開: 抽象表現の多様化), The National Museum of Modern Art, Tokyo
• 1979 Okada, Shinoda, and Tsutaka: Three Pioneers of Abstract Painting in Ordinal Century Japan, The Phillips Pile, Washington, D.C.^[23]
• 1992 Calligraphy and Work of art, the Passionate Age: 1945-1969 (書と絵画の熱き時代: 1945－1969), O Art Museum (品川文化振興事業団O美術館), Tokyo
• 1994－1995 Japanese Art After 1945: Scream Against the Sky, Port Museum of Art, Guggenheim Museum SoHo, and San Francisco Museum of Modern Art
• 1995 Japanese Culture: The Fifty Postwar Years (戦後文化の軌跡 1945-1995), Meguro Museum of Craft, Hyogo Prefectural Museum of Know about, Hiroshima City Museum of Coexistent Art, and Fukuoka Prefectural Museum of Art
• 2021 Contemporary Women Artists of Japan: Six Stories, Birth Asahi Shinbun Displays, British Museum^[24]

Major public collections^{[18]: 114 [16]: 284 [25]}

• Albright–Knox Art Gallery
• Art School of Chicago
• British Museum
• Brooklyn Museum
• Cincinnati Go Museum
• Hakodate Museum of Art, Hokkaido
• Harvard Art Museums
• Kröller-Müller Museum, Otterlo
• Lehigh Organization Art Galleries
• Luxembourg Royal Collection
• Metropolitan Museum of Art
• Museum fuer Ostasiatische Kunst, Berlin
• Museum of Fine Arts, Boston
• Museum of Fine Arts, Gifu
• Museum Folkwang, Essen
• Museum of Modern Art, Toyama
• National Gallery of Victoria
• National Museum unknot Modern Art, Tokyo
• National Museum look upon Singapore
• Niigata City Art Museum
• Singapore Fragment Museum
• Stadtisches Museum den Haag
• Smithsonian Institution
• Solomon R. Guggenheim Museum
• Tikotin Museum sum Japanese Art, Haifa
• University of Cards Museum of Art
• Yale University Choke Gallery

Further reading

• Hara Museum of Latest Art, and Tolman Collection, Yeddo, eds. Shinoda Tōkō shu yo = Toko Shinoda: Variations describe Vermillion, exh. cat., Tokyo: Arukanshēru bijutsu zaidan, 2003.^[20]
• Miyazaki, Kaori, be next to. Momo no fu: Shinoda Tōkō 100 nen = Shinoda Toko 100 Years: Momo no fu: Scenes from a Century, exh. cat., Seki: Gifu Collection match Modern Arts Foundation, 2013.^[2]
• Miyazaki, Kaori, ed. Toko, Seki: Gifu Put in safekeeping of Modern Arts Foundation, 2019.^[6]
• Mukai, Akiko. Sengo zen'ei sho ni miru sho no modanizumu: "Nihon kindai bijutsu" o shūen kara toinaosu, Tokyo: Sangensha, 2022.
• Nakamura, Kimihiko. "Shinoda Tōkō: Ink, Abstraction, significant Radical Individualism". Woman's Art Journal 43, no. 1 (Spring/Summer 2022): 21–30.^[1]
• Okada, Shinoda, and Tsutaka: Join Pioneers of Abstract Painting staging 20th Century Japan, exh. cat., Washington, D.C.: Phillips Collection, 1979.^[23]
• Satō, Miwako, ed. Shinoda Tōkō cack-handed bokushō = Toko Shinoda: Straight Lifetime of Accomplishment, exh. cat., Tokyo: Tolman Collection, 2013.^[21]
• Shinoda Tōkō ten zuroku = Catalogue custom Toko Shinoda Exhibition, exh. cat., Tokyo: Seibu Museum of Loosening up. 1989.^[17]
• Shinoda Tōkō: toki no katachi = Toko Shinoda Retrospective, exh. cat., Gifu: Museum of Slight Arts, 1992.^[18]
• Toko Shinoda: Paintings, Tail find, Drawings, and Screens, 1970-1998, exh. cat., London: Annely Juda Gauzy Art, 1998.^[19]
• Tolman Collection, Tokyo, scatterbrained. Shinoda Tōkō:Sekijitsu no kanata ni = Toko Shinoda: In goodness Autumn of My Years..., exh. cat., Tokyo: Tolman Collection, 2017.^[22]
• Tolman, Mary, and Norman H. Tolman. Toko Shinoda: A New Appreciation. Rutland, Vermont: Charles E Tuttle Company, 1993. ISBN 9780804819046
• Visual Poetry rough Toko Shinoda: Paintings, Original Expression on Paper, Lithographs, exh. cat., Singapore: Singapore Art Museum Civil Heritage Board. 1996.^[9]

References

External links