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This profile was last updated on 8/1/14  and contains information from public web pages.

Noriko Shinohara

Wrong Noriko Shinohara?
 
Background

Employment History

  • Artist
15 Total References
Web References
Theatre | Girl About Toronto
www.girlabouttoronto.com, 1 Aug 2014 [cached]
Although the title Cutie and the Boxer sounds like a Rocky-style love story, the film is actually a surprising meditation on art and love starring two Japanese New York-based artists Ushio and Noriko Shinohara.
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Noriko, a painter, uses her animation-style art to tell the story of her younger self (Cutie) immigrating to America and falling in love with an older artist, Bully (clearly a reference to Ushio). Her story is marked by financial and emotional struggle, including dealing with her husband's (and later her son's) addiction to alcohol.
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Written byamanda No comments Posted inThe Annex, Theatre Tagged withBloor Theatre, Cutie and the Boxer, documentary films, Hot Docs, hot docs festival toronto, Noriko Shinohara, Toronto Hot Docs Festival, Ushio Shinohara, Zachary Heinzerling
This is a general truth, not ...
orlandoweekly.com, 1 Jan 2014 [cached]
This is a general truth, not a universal truth, but it's certainly true for artist Noriko Shinohara, who is madly in love with her husband and fellow artist, Ushio, who is dubbed Bullie in Noriko's "Cutie" graphic stories. The story of this dynamic pair unfolds at a natural pace as she struggles to find her artistic voice and he struggles to get someone to pay him for his talents so they can keep the lights on.
The feature directorial debut of ...
www.k5international.com, 22 Aug 2013 [cached]
The feature directorial debut of documentarian Zachary Heinzerling is a portrait of artists Ushio and Noriko Shinohara, who met and married in 1970s New York after emigrating from Japan.
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Still, Noriko speaks of the constant struggle of being married to a man whose career and ego has long dominated hers. That's thanks as much to his powerful personality as the fact that she put her own work on hold for many years while assisting her husband in his art-making and raising their son, Alex. (Alex, also a painter, is shown briefly in the film and seems to have a drinking problem of his own. "I did the best I could," Noriko says with a tone of heartbreakingly unsentimental self-awareness.)
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"We are like two flowers in one pot," says Noriko, explaining that sometimes one plant does not get enough nutrients.
At the same time, she suggests, the act of sacrifice can be a beautiful thing.
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Zachary Heinzerling's remarkable documentary debut is an unblinking look at the fierceness of artist Ushio Shinohara, his wife, Noriko, and their artistic and marital...
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Zachary Heinzerling's remarkable documentary debut is an unblinking look at the fierceness of artist Ushio Shinohara, his wife, Noriko, and their artistic and marital journey.
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The director wants us to understand Shinohara is a fierce man.
An artist, Shinohara is known for his "boxing" technique, part of his action painting style that is arguably performance art by itself. We see a demonstration, the boxing gloves dipped into, then dripping with paint, the man hurling himself at a huge canvas - punching, whirling, punching again and again, creating an explosion of imagery and color in real time. Shinohara's body and the canvas are both streaked when he's done, the man exhausted, the art vibrating with energy.
As riveting as Shinohara is, the filmmaker is only setting the groundwork for the real artist he is interested in - Noriko, Shinohara's wife of 40 years.
Unlike her frenetic husband, Noriko, 59, is the rock in the relationship, the lion tamer. The lion keeper. Cutting the fish for a meal, sorting through old canvases with Shinohara for a display of his work the Guggenheim is considering, worrying over the bills that pile up.
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The tone shifts to footage of late nights and too much drink - Shinohara regaling his buddies. It would lead to a very difficult alcohol-drenched stretch for the artist.
When the focus shifts to Noriko, she is 19 and newly arrived in New York on a student visa. Her quick absorption into Shinohara's scene, his life, leads within a year to their marriage and a baby. Her artistic dreams are soon overrun by taking care of Shinohara and their son. There is a telling shot of those early days, Noriko in her artist smock, working on a canvas in a corner of the studio.
It is in plumbing the tension between his dreams and hers that the film is at its most intriguing. Noriko had only recently picked up the brush again when Heinzerling began filming.
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But like Noriko, you can't let Cutie's perky braids fool you. She is fierce as she battles her nemesis.
Heinzerling not only shows Noriko making art, he's animated it, using it throughout the film to reveal the real contours of Noriko's journey.
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At some point in the discussions with the gallery owner, Noriko mentions her work, and the ground shifts once again.
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Their years together supply a frame around the art, which properly occupies the foreground: Ushio's abstract paintings and fantastical cardboard figures; Noriko's ink-washed, cartoonlike drawings.
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Noriko, along with their young son, Alex, hovers around the edges of the earlier film, and the home movies that supplement Mr. Heinzerling's observations of the present.
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Ushio struggles for recognition (and beer money) while Noriko hovers in the art-world shadows.
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On its surface, this fly-on-the-wall documentary simply shines a spotlight on adorable husband and wife artists Ushio and Noriko Shinohara, but filmmaker Zachary Heinzerling masterfully plumbs depths to give us a greater understanding of their marriage in relationship to the different art they create.
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Initially, it seems that Ushio's career will be the main emphasis of Cutie And The Boxer, but slowly Heinzerling reveals his film to be a study of Ushio and Noriko, who is more than 20 years younger than Ushio and moved to New York dreaming of becoming an artist herself before falling in love with this charismatic, talented man. Over the course of the film's running time, we learn how Noriko's gift for charmingly low-key illustrated storytelling has been overwhelmed by Ushio's ambition, which intimidated her enough to give up on her dreams, instead becoming a wife and mother.
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Ushio may have been more driven - not to mention problematic because of a bout with alcoholism - but Noriko is hardly blameless, allowing her husband's desires to supersede her own.
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"Art is a demon that drags you along," says 80-year-old visionary painter Ushio Shinohara in first-time director Zachary Heinzerling's delicate portrait "Cutie and the Boxer," but neither Shinohara nor his supportive wife and fellow artist Noriko are looking for a cure.
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Shinohara, a resident of New York's fine art scene since the late sixties, primarily indulges in a practice known as "box painting," an aggressive technique that finds him hurtling paint-covered gloves across a massive canvas, churning out loud, stream-of-conscious abstractions in under three minutes. Heinzerling first shows us this phenomenal practice in an early long take that establishes the movie's engrossing style. The filmmaker brings this world to life with a mixture of realism and vivid imagery. Set to Yasuaki Shimizu's smooth jazz compositions, animations based off Noriko's drawings and subtle camerawork that explores the crevices of Shinohara and Noriko's lives, "Cutie and the Boxer" uses each frame in expressive ways on par with its subjects' work.
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Edited to accentuate the rhythms of the family's daily existence, the movie rests on small moments, from Noriko bathing their cat to Shinohara lugging a suitcase full of artwork to the subway. Elsewhere, the very process of artistic creation comes alive with a cross-cutting strategy that shifts from close-ups of brushstrokes to Shinohara's emotionally involved reactions.
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Unlike Alex, however, Shinohara can't get away with his indolence under his wife's watch. Noriko provides a candid guide to uphill battles with her husband over the years. "I was just following him," she says of their early years, in contrast to her current assertiveness, which turns "Cutie and the Boxer" into a soft-spoken survival tale. "We are the ones suffering the most from art," Shinohara tearfully confesses during one of his darker moments.
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Director Zachary Heinzerling's documentary follows the complicated 40-year marriage of New York-based Japanese artists Ushio Shinohara and his wife Noriko.
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PARK CITY -- A good example of the maxim that opposites attract, Zachary Heinzerling's accomplished and entertaining documentary, Cutie and the Boxer, presents the complicated 40-year marriage of New York-based Japanese artists Ushio Shinohara and his wife Noriko.
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With the timing of a comedy duo exchanging barbs, the macho, self-absorbed Ushio and the elegant, independent-minded Noriko are delightful company in this intimate exploration of life and art.
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Noriko was a 19-year-old art student when she fell in love with Ushio and abandoned her own work to become his assistant and caretaker. Until recently a consummate alcoholic, Ushio was a handful to manage. But Noriko is no pushover, and their sparring is entertaining and soulful. Usiho accuses her of never listening to him, and that's not far from the truth. Behind Ushio's bravado, one senses a great tenderness and affection for his wife.
What gives these lives form and content and makes them so interesting to watch is their dedication to their art and the creative process. Working out of cluttered neighboring studios in Brooklyn, Ushio freely admits that art is a demanding mistress, and Noriko compares their co-existence to two flowers trying to grow in the same pot; the result can be heaven or hell.
The film started out to be portrait of Usiho, but several years ago, drawing on her lifetime of frustration, Noriko finally found her voice in a series of humorous paintings accompanied by text explaining the trials of being married to an egotistical alcoholic. "Cutie and the Bullie," as Noriko titled her work, resembles a large-scale graphic novel. By will of her personality and wit, to some extent, Noriko takes o
Cast: Noriko Shinohara, Ushio ...
www.dvdizzy.com, 16 Aug 2013 [cached]
Cast: Noriko Shinohara, Ushio "Gyu-chan" Shinohara, Alexander Kukai Shinohara, Reiko Tomii, Alexander Munroe, Shuhei Yamatani, Ethan Cohen
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Shinohara fills the latter part of the title with his unusually method of painting. He puts on oversized foam-topped boxing gloves covered with paint and violently punches a large canvas right to left, usually taking no more than a couple of minutes to finish. Ushio also makes distinctive cardboard sculptures of motorcycles.
Noriko, meanwhile, paints Cutie, a character clearly based on herself. This always naked alter ego has her hands full with her man, Bullie, based on Ushio. There is also a child, recalling the one Noriko became pregnant with six months after meeting Ushio. She was 19. He was 41. Though Ushio has had his share of fame and renown, most people find his avant-garde art striking but not to their taste. Few of his creations have sold and the couple can still barely afford rent and utilities.
Ushio and Noriko are an interesting couple who earn the attention of Heinzerling and viewers.
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That child, Alex, is all grown up, but like Noriko still living in Ushio's shadow.
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The pigtailed, beauty-marked Noriko discusses the boy's inferiority complex growing up and her similar own artistic marginalization, which we see when art gallery owners consider exhibiting the couple's work.
Noriko Shinohara's own artwork has always been secondary to her husband Ushio's, the sale of which to the Guggenheim she here tries to facilitate.
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Noriko describes life with Ushio as a constant struggle, though love and a wealth of shared experience clearly outshine their frequent bickering. Noriko's illustrations, which earn seemingly the MPAA's first R rating purely for "nude art images", are at times brought to life with animation, her charming imperfect English captions intact.
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Shinohara: The Last Artist (23:17, SD) is the complete early 1970s TV documentary excerpted in the film.
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Ushio and Noriko Shinohara slug each other with paint-covered boxing gloves in the closing scene of "Cutie and the Boxer."
The Annex | Girl About Toronto
www.girlabouttoronto.com, 2 May 2013 [cached]
Although the title Cutie and the Boxer sounds like a Rocky-style love story, the film is actually a surprising meditation on art and love starring two Japanese New York-based artists Ushio and Noriko Shinohara.
...
Noriko, a painter, uses her animation-style art to tell the story of her younger self (Cutie) immigrating to America and falling in love with an older artist, Bully (clearly a reference to Ushio). Her story is marked by financial and emotional struggle, including dealing with her husband's (and later her son's) addiction to alcohol.
...
Written byamanda No comments Posted inThe Annex, Theatre Tagged withBloor Theatre, Cutie and the Boxer, documentary films, Hot Docs, hot docs festival toronto, Noriko Shinohara, Toronto Hot Docs Festival, Ushio Shinohara, Zachary Heinzerling
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