Norio Azuma: Transforming Serigraphy Into a Modern American Art Form

Norio Azuma, born in Japan in 1928, stands among the most important contributors to the evolution of American serigraphy during the mid-20th century. His journey—from his arrival in the United States in 1955 to his emergence as a celebrated printmaker—reveals an artist deeply committed to exploring the expressive possibilities of a medium that was, at the time, still struggling to gain the recognition it deserved. Through discipline, innovation, and an unmistakable visual language, Azuma elevated serigraphy into a painterly, highly refined art form.

The work featured in this catalog, Town (1965), showcases Azuma at the height of his artistic powers. Created using many shades of gray and black, one blue, and two browns, the piece exemplifies his command of subtle tonal relationships and layered structure. With a careful arrangement of rectangles and overlapping forms, Azuma constructs a composition that feels architectural yet meditative—an abstract city built through harmony, texture, and quiet rhythm. His prints are never flat; instead, they glow with a sense of depth, movement, and controlled atmosphere.

Town was produced in an edition of 50, each one signed and numbered, and quickly earned institutional recognition. It was exhibited in the Smithsonian Institution’s landmark show “Prints of the Sixties” in 1965, an exhibition that helped define the decade’s printmaking achievements. That same year, the Library of Congress purchased Town, a testament to its cultural value and to Azuma’s growing reputation. In 1966, the work received awards from both the Boston Museum and the Silvermine Guild, and it was later selected for the 20th National Exhibition of Prints—a prestigious survey hosted by the Library of Congress each summer.

Azuma’s technical mastery is rooted in his bold approach to serigraphy. He frequently used as many as 18 screens in a single work, an extraordinary level of complexity that allowed him to achieve delicate gradients, painterly surfaces, and precision in color modulation. His prints carry the nuance of brushwork, yet remain grounded in the structural purity of modern abstraction. This unique fusion positions Azuma not only as a master printmaker but also as an innovator who expanded the expressive range of the medium.

Since relocating to the United States, Azuma consistently explored how serigraphy could convey mood, emotion, and refined spatial balance. Throughout the 1950s and 60s, he played an important role in bringing Japanese sensibilities—harmony, minimalism, subtlety—into the context of American modernism. His works were frequently exhibited in major institutions across the country, and his style continues to resonate with collectors who appreciate thoughtful abstraction and technical excellence.

Today, Norio Azuma’s contributions stand as a vital part of the American printmaking story. Works like Town demonstrate a rare combination of craftsmanship, vision, and timeless visual poetry. Living and working in New York City, Azuma helped define a generation of serigraphers who transformed the medium from a commercial process into a respected fine art form—one subtle layer at a time.