Norio Azuma: A Distinct Modern Voice in Serigraphy

In the exhibition catalogue shown, Norio Azuma stands out as one of the few artists working in serigraphy, a medium that at the time was still gaining recognition in the fine-art world. Surrounded by painters, printmakers, and sculptor-etchers such as Karel Appel, David Aronson, Jean Arp, Mario Avati, Leonard Baskin, George Biddle, and Roberto Berdecio, Azuma’s work is presented not as an auxiliary contribution but as a fully realized voice within a diverse and accomplished group. His inclusion alongside these nationally and internationally established artists underscores the seriousness with which his work was regarded during this period.

The catalogue lists Azuma’s entry simply as “Winter,” serigraph, 24 x 18, $50,” placing him within the pricing and size range of other respected artists in the exhibition. The placement of his image—printed clearly and given equal prominence to works by Leonard Baskin, Mario Avati, and others—suggests that his contribution was not peripheral but central to the exhibition’s curatorial vision. It reflects how serigraphy, through artists like Azuma, was emerging as a refined and expressive medium capable of standing beside more established forms such as lithography, woodcut, intaglio, and mezzotint.

The work “Winter” shown in the catalogue illustrates Azuma’s signature approach: a composition built from carefully balanced geometric forms, layered textures, and subtle tonal variations. Rather than relying on figurative imagery or expressive gestures, Azuma’s method emphasizes structure, balance, and quiet atmosphere. The piece is constructed almost like a collage of shapes—rectangles and curved forms arranged in an abstract but harmonious configuration. These forms overlap and float against one another, suggesting the calm stillness of a winter landscape, yet avoiding literal depiction. The restrained palette and soft tonal transitions contribute to a sense of depth and quietude, hallmarks of his style.

What is most impressive is the way Azuma’s work dialogues with other artists in the catalogue. While many artists listed—Appel, Aronson, Baskin, and Biddle—are known for expressive lines, dramatic contrasts, or figurative scenes, Azuma’s contribution introduces a meditative counterbalance. His serigraph represents a modernist sensibility rooted in clarity, minimalism, and structural refinement. This difference enriches the exhibition, demonstrating the range of contemporary printmaking in the period.

The catalogue situates Azuma within an important network: The Weyhe Gallery, located at 794 Lexington Avenue in New York. This gallery was a significant venue for modern printmakers, which further situates Azuma as a serious and recognized member of the American printmaking movement. That his serigraph was priced at $50—respectable for the era—indicates that collectors valued his work and that his prints were accessible but far from commercial ephemera.

Seen through this catalogue, Norio Azuma emerges as a disciplined, modern artist whose work brings quiet geometric beauty to the broader conversation of mid-century American printmaking. His serigraph “Winter” reflects a thoughtful, balanced approach to abstraction, proving that serigraphy could achieve the same artistic depth as more traditional graphic arts. Azuma’s presence in this exhibition is not just notable—it is a testament to his enduring contribution to contemporary printmaking.