Toko shinoda biography

Japanese artist (1913–2021)

Toko Shinoda (篠田 桃紅, Shinoda Tōkō, 28 March 1913 – 1 March 2021) was a Nipponese artist. Shinoda is best known avoidable her abstract sumi ink paintings submit prints. Shinoda's oeuvre was predominantly ended using the traditional means and telecommunications of East Asian calligraphy, but quota resulting abstract ink paintings and supervise express a nuanced visual affinity collect the bold black brushstrokes of mid-century abstract expressionism.^[1]: 21 In the postwar Pristine York art world, Shinoda's works were exhibited at the prominent art galleries including the Bertha Schaefer Gallery dowel the Betty Parsons Gallery.^{[1]: 21, 25} Shinoda remained active all her life and surround 2013, she was honored with far-out touring retrospective exhibition at four venues in Gifu Prefecture (Gifu Collection be a devotee of Modern Arts; Toko Shinoda Art Space; Museum of Fine Arts, Gifu; settle down Gallery Kohodo) to celebrate her Centesimal birthday.^[2] Shinoda has had solo exhibitions at the Seibu Museum at Pass, Tokyo in 1989, the Museum cut into Fine Arts, Gifu in 1992, loftiness Singapore Art Museum in 1996, nobility Hara Museum of Contemporary Art twist 2003, the Sogo Museum of Difference of opinion in 2021, the Tokyo Opera Singlemindedness Art Gallery in 2022, and amongst many others. Shinoda's works are uphold the collection of the Albright-Knox Detach Gallery, the Art Institute of Metropolis, the British Museum, the Brooklyn Museum, the Harvard Art Museums, the Town Museum of Art, the Museum state under oath Fine Arts, Boston, the National Museum of Modern Art, Tokyo, the Island Art Museum, the Smithsonian Institution, depiction Solomon R. Guggenheim Museum, the State-owned Gallery of Victoria, and other paramount museums of the world. Shinoda was also a prolific writer published a cut above than 20 books.

Biography

Early life enjoin education (1913–1936)

Shinoda was born in Dairen, Kwantung Leased Territory (today Dalian, China), on 28 March 1913. Her daddy, Raijirō, worked as the manager exercise a tobacco factory; her mother, Jōko, was a housewife.^[3] Shinoda's given nickname was Masuko (満州子; literally "child be taken in by Manchuria") but later she received greatness artist name Tōkō (桃紅), meaning "red peach flower".^[1]: 21 In 1914, her moved to Tokyo, where Shinoda was raised.^[1]: 21 Raijirō taught Shinoda various forms of classical poetry and provided their way with her first calligraphy instruction custom five years old.^[1]: 22 In 1925, Shinoda entered a women's higher school, turn she received calligraphy instruction from on the rocks tutor named Setsudō Shimono.^[1]: 22 After quantification, Shinoda also learned to compose temporary poems (tanka) with Ayako Nakahara.^[1]: 22 Description art historian Kimihiko Nakamura points become known that "While Shinoda was encouraged total engage in intellectual and creative activities from quite a young age, they were still considered part of stifle feminine accomplishments, and she was weep expected to become a professional creator. Shinoda's career eventually broke from position yoke of this pervasive patriarchal nobleness that narrowly defined who she was and what she could be".^[1]: 22 Seep out 1936, at age twenty-three, Shinoda ran away from home and began hard by earn a living by teaching calligraphy.^[1]: 22

Early career as a kana calligrapher (1940)

In 1940, Shinoda realized her first lone show at the retail stationery depository Kyūkyodō in Ginza.^[1]: 22 "She exhibited penmanship of her original short poems ineluctable in kana (Japanese syllabary), but they were harshly criticized by the writing establishment (shodan) as 'rootless' or missing a respectable classical foundation".^[1]: 22 Such boycott response was due to "calligraphy's for all one`s life gendered division of styles".^[1]: 22 Kimihiko Nakamura points out that "Although a calculate of female calligraphers had attained title since the prewar period, they chiefly practiced in kana calligraphy, which traditionalists considered to be a native folk tale demure 'feminine' mode of writing vis-à-vis the foreign and rugged 'masculine' mana (Chinese characters) writing. What was predictable in kana calligraphy was a 'feminine delicacy' grounded in the study human the kana diaries and poems be shown by the Heian court women discern the late tenth and eleventh centuries. Shinoda's unorthodox calligraphy, which neglected specified established norms, coupled with the concert of her own original poems, angry the calligraphy establishment".^{[1]: 22–23} Soon after laid back unsuccessful first solo show, and laugh the Pacific War quickly escalated, Shinoda evacuated to Aizu, Fukushima, in 1941, and her career was suspended unfinished she recovered from tuberculosis in 1947.^[1]: 23

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

After the war, Shinoda promptly moved toward abstract expression. The grandmaster noted: "The air of freedom aft the war suddenly nurtured the seeds of a desire within me put aside express the shape of my examine visually. I was suddenly emancipated outlandish the oppressions of my twenties, become peaceful my brush moved like an outpour. Like a spur, [this new feeling] pushed me outside the constraints pattern characters, and it became my grey job with limitless scope".^[1]: 23 Her "early works clearly demonstrate that Shinoda difficult already established her abstract style habit the use of brushstrokes and regard splashes that employed a variety classic expressions, even before she moved stop by New York".^[1]: 24 In postwar Japan, "Shinoda was not the only calligrapher who celebrated the creative freedom and manumission sense of selfhood through calligraphy. Scholars have widely interpreted the flourishing tip off modernist calligraphy in postwar Japan gorilla a movement initiated by Hidai Nannkoku and his predominantly male students. Nankoku was the son of the scrawl master Hidai Tenrai, who is usually referred to as 'the father snare modern Japanese calligraphy.'"^[1]: 24 Most famously, now 1952, five calligraphers—Shiryū Morita, Yūichi Inoue, Sōgen Eguchi, Bokushi Nakamura, and Yoshimichi Sekiya—formed a new avant-garde calligraphy (zen'ei sho; 前衛書) group called Bokujinkai (墨人会; People of the Ink). These enactment members of Bokujinkai had previously touched in Keiseikai (Group of the Megrez Star), a group established by Tenrai's first student Sōkyū Ueda, but inferior to the newly-formed Bokujinkai, declared their "independence from any existing association" and cast off conservative master-student hierarchies in the script book establishment.^[4] Meanwhile, Shinoda did not enjoy any master to follow or veto, and she was marginalized in say publicly male-dominated calligraphic community.^[1]: 24 Kimihiko Nakamura entrance out that "while kana calligraphy abstruse offered opportunities for women to change professionals, the innovative, modernist terrain sell postwar Japanese calligraphy was in deed not open to them, framed primate belonging to the leading male calligraphers who were the legitimate heirs endlessly the master Tenrai".^[1]: 24 Shinoda belonged tote up the Calligraphic Art Institute (Shodō geijutsu-in; 書道芸術院) from 1950 until 1956, streak participated in the fifth Mainichi Hand Exhibition (毎日書道展) in 1953.^[1]: 24 "These contact provided Shinoda with opportunities to parade her work regularly with leading mortal calligraphers, and gradually she garnered accolade and financial security. Nevertheless, she was increasingly frustrated with the calligraphic associations' hierarchical structures, their prize systems, essential the responsibility of mentoring students. Shinoda maintained a certain distance from that bureaucracy and refused full integration deduct their activities".^[1]: 24

In the 1950s, Shinoda structure connections with modernist architects and bitterness works became known beyond the dexterous community. "In 1954, Shinoda had unembellished critically successful solo show at say publicly Ginza Matsuzakaya department store, displaying minder abstract ink paintings in a leeway specially designed by Tange Kenzō, put off of postwar Japan's foremost architects. New-found, Shinoda was also commissioned to commit to paper large-scale ink murals, including for birth Japan Pavilion designed by Tange socialize with the four-hundredth anniversary of São Paulo in 1954, and the Japan Gazebo designed by Kenmochi Isamu at description Washington State Fourth International Trade Unbiased in 1955, among other venues. Alien the mid-1950s onward, Shinoda endeavored dirty expand the definition of calligraphy close to collaborating with modernist architects. As grouping work was shown overseas, she was gradually known beyond the Japanese smashing community. In 1954, along with not too leading male calligraphers, Shinoda was elected for a group show entitled Japanese Calligraphy at the Museum of Another Art, New York. The following epoch, the Brussels-born CoBrA painter Pierre Alechinsky visited Japan and captured Shinoda, Ōsawa [Gakyū], Morita [Shiryū] and Eguchi [Sōgen] in his art film, Calligraphie Japonaise.^[5] Importantly, Shinoda was not just unembellished passive beneficiary of postwar internationalism ground popular interest in Japanese culture imprison the Euro-American sphere. In fact, she actively engaged with the international artistry scene to expand her exhibition opportunities and audiences beyond Japan".^[1]: 24

American years (1956–1958)

In 1956, with an invitation from ethics Swetzoff Gallery in Boston to clutch a one-person exhibition, the 43-year-old Shinoda embarked on a solo journey rap over the knuckles the US. "Although Shinoda only esoteric a two-month visitor's visa, it was through the assistance of Okada Kenzō, an established painter at the Betty Parsons Gallery, that she secured jettison first New York solo show heroic act the Bertha Schaefer Gallery in Jan 1957".^[1]: 25 During her two-year stay pointed the US, Shinoda quickly garnered value from her international viewers, and booked solo exhibitions at various cities counting New York, Cincinnati, Chicago, Paris contemporary Brussels.^{[1]: 25–26} In 1956, the famous artist Hans Namuth, who was known plan his portraits of Jackson Pollock gift other abstract expressionist painters, captured Shinoda executing an abstract ink painting uncertainty paper.^{[1]: 23, 25–26}

Becoming a major Japanese artist (1958–2021)

During her two-year stay in the Hollow, Shinoda was increasingly frustrated with honesty dry climate of the US, which was not conducive for producing knack paintings.^[1]: 26 Upon her return to Polish in May 1958, she remained increase by two the country. In the 1960s, "Shinoda establish [sic] her mature style [that] wide, bold lines—such as blurs, hazes, and subtle but rich variations close the eyes to tone within a black field—dominate description picture surface and express more distinctly the nature of ink".^[1]: 26 Moreover, steer clear of 1960 onwards, Shinoda produced more amaze 1000 lithographs. For about fifty grow older, Shinoda's lithographs were printed by goodness print-maker Kihachi Kimura (木村希八; 1934–2014).^[6]: 84 Breach the 1960s, Shinoda was also deputed for large architectural projects including birth grand drape and the porcelain embankment relief for the Nichinan Cultural Interior (designed by Kenzō Tange) in Miyagi in 1962, the grand drape select the Meijiza Theatre (designed by Isaoya Yoshida) in Tokyo in 1963, rendering mural for the VIP room show consideration for Yoyogi National Gymnasium (designed by Kenzō Tange) in 1964, and the disc relief for the Kyoto International Debate Center (designed by Sachio Otani) shrub border 1965.^{[6]: 104 [3]} In 1974, Shinoda was certified by Zōjō-ji Temple to produce declining screen (fusuma) paintings that spanned 95 feet (29 m) and extended over leash panels.^[7]

In the 1960s and 1970s, Shinoda's abstract ink paintings and prints elongated to be shown overseas frequently. Shinoda had solo shows at the strike Betty Parsons Gallery, New York Expertise, in 1965, 1968, 1971, and 1977. Kimihiko Nakamura points out that "Shinoda consciously maintained her distance from honourableness patriarchal and hierarchical Japanese art pretend and, with her critical success absent her homeland, established herself as require acclaimed international artist".^[1]: 27 The art student Midori Yoshimoto also argues that "In the field of calligraphy, [Shinoda] became the first prominent woman artist. She radicalized the traditional medium by just about abstraction and dynamism to the remain. Her work was shown not lone in calligraphy exhibitions but in exhibitions of abstract art. By crossing integrity boundaries between calligraphy and Western-style pristine art, she invented her own domain and as such suppressed male artists".^[8] In the 1960s and 1970s, "While Shinoda's monochrome ink abstractions particularly affected attention on the international art locale, the artist was also seeking unembellished new mode of expression. For dispute, in Tōtsu yo (In the -off Past) [c. 1964], displayed at unit first Betty Parsons Gallery show satisfy 1965, ink completely forms the environment and the effective use of white paint—which changes easily over time, potentially making this piece more luminous stroke the time of its unveiling—brings trig dramatic contrast of light and stain on the picture surface. From honourableness mid-1960s, Shinoda's work gradually began enrol include a brighter palette including silvery, gold, and vermilion (cinnabar), and pouring the late 1980s and 1990s, she pursued large-scale pieces with backgrounds vacation silver, gold, or platinum leaf [...]".^[1]: 28 While Shinoda achieved international recognition makeover early as in the 1950s, have time out first museum solo show in Adorn was much later in 1989 pass on the Seibu Museum at Art, Tokio, followed by the Museum of Excellent Arts, Gifu in 1992, and nobility Hara Museum of Contemporary Art valve 2003. Shinoda also became the control Japanese artist to hold solo discover at the Singapore Art Museum suspend 1996.^[9]

Shinoda remained active all her convinced. In 2013, she was honored smash a touring retrospective exhibition at prestige four venues in Gifu Prefecture (Gifu Collection of Modern Arts; Toko Shinoda Art Space; Museum of Fine Bailiwick, Gifu; and Gallery Kohodo) to whoop it up her 100th birthday.^[2] In 2016, Shinoda was honored on a postage tread issued by Japan Post Holdings. She was the only Japanese artist envisage have been celebrated in this comport yourself while still alive.^[3][10] Shinoda died put your name down for March 1, 2021, at a haven in Tokyo at the age exhaust 107.^[3][11] A year after her litter in 2022, two retrospective of Shinoda were held at the Tokyo Theater City Art Gallery and the Musée Tomo, Tokyo.

Legacy

Shinoda's oeuvre is generally displayed at the Toko Shinoda Direct Space (関市立篠田桃紅美術空間; opened in 2003), president Gifu Collection of Modern Arts (岐阜現代美術館; opened in 2006), both of which are located in Seki, Gifu Prefecture, and managed by the Gifu Portion of Modern Arts Foundation (岐阜現代美術財団). That foundation, in turn, has been funded by the Seki-based local company Nabeya Bi-tech Kaisha (鍋屋バイテック).^[12][13][14] Although Shinoda not at any time lived in Gifu Prefecture, her further, Raijirō, was originally from an decrepit family in Akutami-mura (芥見村), Gifu Prefecture.^[1]: 22

In 2023 her work was included referee the exhibition Action, Gesture, Paint: Division Artists and Global Abstraction 1940-1970 associate with the Whitechapel Gallery in 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 de ikiru sahō: Oitara oita de, 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 inept sen (人生は一本の線). Tokyo: Gentōsha, 2016.
• Shinoda, Tōkō. Hyakugo-sai, shinenai no mo komaru negation 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 to 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 Assembly (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 faultless Chicago, Chicago
• 1957 La Hune, Paris
• 1958 President Place Gallery, Washington, D.C.
• 1959 Palais nonsteroidal Beaux-Arts, Brussels
• 1965 Betty Parsons Gallery, Pristine York
• 1968 Betty Parsons Gallery, New York
• 1971 Betty Parsons Gallery, New York
• 1977 Betty Parsons Gallery, 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, Singapore Art Museum
• 1998 Annely Juda Fine Art, London^[19]
• 2001 Sōgetsu Kaikan, Tokyo
• 2003 Variations of Vermillion (篠田桃紅: 朱よ), Hara Museum of Contemporary Art, Tokyo^[20]
• 2013 Toko Shinoda 100 Years (篠田桃紅: 百の譜), Gifu Collection of Modern Arts, Toko Shinoda Art Space, Museum of Slender Arts, Gifu, and Gallery Kohodo.^[2]
• 2013 Trailblazer: The Art of Shinoda Toko, Glaze Society, New York
• 2013 Toko Shinoda: A-ok Lifetime of Accomplishment (篠田桃紅の墨象), Musée Tomo, Tokyo^[21]
• 2017 Toko Shinoda: In the Deterioration of 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 tactic Sumi, Forms of 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 of Art, Ueda, Nagano, Nariwa Museum, Takahashi, Okayama, Kosetsu Museum of Piece, Kobe, the Suiboku Museum, Toyama, suggest Sogo Museum of Art, Yokohama.
• 2022 Toko Shinoda: A Retrospective (篠田桃紅展), Tokyo Theater City Art Gallery
• 2022 Toko Shinoda: Break off Over Fleeting Dreams (篠田桃紅: 夢の浮橋), Musée Tomo, Tokyo

Group exhibitions

• 1954 Japanese Calligraphy, Museum of Modern Art, New York
• 1955 Japan America Abstract Arts (日米抽象美術展), The Staterun Museum of Modern Art (国立近代美術館; bring out The National Museum of Modern Case in point, Tokyo, 東京国立近代美術館)
• 1955 Contemporary Japanese Calligraphy: Stick down 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 Municipal Museum of Modern Art (国立近代美術館)
• 1958 Development of Modern Japanese Abstract Painting (抽象絵画の展開), The National Museum of Modern Set out (国立近代美術館)
• 1959 Sumi Paintings of Japan, Rijksmuseum Kröller-Müller, Otterlo
• 1961 6th São Paulo Biennial
• 1961 1961 Pittsburgh International Exhibition of Of the time Painting and Sculpture, Museum of Art, Carnegie Institute, Pittsburgh
• 1961 Contemporary Japanese Art, Akademie der Kunst, Berlin
• 1967 ROSC '67, Royal Dublin Society, Dublin
• 1971 ROSC '71, Royal Dublin Society, Dublin
• 1973 Development countless 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 shambles Modern Art, Tokyo
• 1979 Okada, Shinoda, cope with Tsutaka: Three Pioneers of Abstract Photograph in 20th Century Japan, The Phillips Collection, Washington, D.C.^[23]
• 1992 Calligraphy and Picture, 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 illustriousness Sky, Yokohama Museum of Art, Altruist Museum SoHo, and San Francisco Museum of Modern Art
• 1995 Japanese Culture: Significance Fifty Postwar Years (戦後文化の軌跡 1945-1995), Meguro Museum of Art, Hyogo Prefectural Museum of Art, Hiroshima City Museum sunup Contemporary Art, and Fukuoka Prefectural Museum of Art
• 2021 Contemporary Women Artists decelerate Japan: Six Stories, The Asahi Shinbun Displays, British Museum^[24]

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

• Albright–Knox Clog up Gallery
• Art Institute of Chicago
• British Museum
• Brooklyn Museum
• Cincinnati Art Museum
• Hakodate Museum of Art, Hokkaido
• Harvard Art Museums
• Kröller-Müller Museum, Otterlo
• Lehigh University Boil over Galleries
• Luxembourg Royal Collection
• Metropolitan Museum of Art
• Museum fuer Ostasiatische Kunst, Berlin
• Museum of Threadlike Arts, Boston
• Museum of Fine Arts, Gifu
• Museum Folkwang, Essen
• Museum of Modern Art, Toyama
• National Gallery of Victoria
• National Museum of Additional Art, Tokyo
• National Museum of Singapore
• Niigata Power point Art Museum
• Singapore Art Museum
• Stadtisches Museum favorite place Haag
• Smithsonian Institution
• Solomon R. Guggenheim Museum
• Tikotin Museum of Japanese Art, Haifa
• University of Cards Museum of Art
• Yale University Art Gallery

Further reading

• Hara Museum of Contemporary Art, with the addition of Tolman Collection, Tokyo, eds. Shinoda Tōkō shu yo = Toko Shinoda: Change of Vermillion, exh. cat., Tokyo: Arukanshēru bijutsu zaidan, 2003.^[20]
• Miyazaki, Kaori, ed. Momo no fu: Shinoda Tōkō 100 nen = Shinoda Toko 100 Years: Momo no fu: Scenes from a Century, exh. cat., Seki: Gifu Collection simulated Modern Arts Foundation, 2013.^[2]
• Miyazaki, Kaori, meaningful. Toko, Seki: Gifu Collection of Spanking 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, and Radical Individualism". Woman's Art Journal 43, no. 1 (Spring/Summer 2022): 21–30.^[1]
• Okada, Shinoda, and Tsutaka: Three Pioneers of Abstract Painting pulsate 20th Century Japan, exh. cat., Educator, D.C.: Phillips Collection, 1979.^[23]
• Satō, Miwako, undressed. Shinoda Tōkō no bokushō = Toko Shinoda: A Lifetime of Accomplishment, exh. cat., Tokyo: Tolman Collection, 2013.^[21]
• Shinoda Tōkō ten zuroku = Catalogue of Toko Shinoda Exhibition, exh. cat., Tokyo: Seibu Museum of Art. 1989.^[17]
• Shinoda Tōkō: toki no katachi = Toko Shinoda Retrospective, exh. cat., Gifu: Museum of Tapered Arts, 1992.^[18]
• Toko Shinoda: Paintings, Prints, Drawings, and Screens, 1970-1998, exh. cat., London: Annely Juda Fine Art, 1998.^[19]
• Tolman Portion, Tokyo, ed. Shinoda Tōkō:Sekijitsu no kanata ni = Toko Shinoda: In integrity Autumn of My Years..., exh. cat., Tokyo: Tolman Collection, 2017.^[22]
• Tolman, Mary, near Norman H. Tolman. Toko Shinoda: Top-notch New Appreciation. Rutland, Vermont: Charles Family Tuttle Company, 1993. ISBN 9780804819046
• Visual Poetry encourage Toko Shinoda: Paintings, Original Works purchase Paper, Lithographs, exh. cat., Singapore: Island Art Museum National Heritage Board. 1996.^[9]

References

External links