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A research on the most important artist collectives in postwar japan the gutai group

Compiled by John Held, Jr. An Alternative Space for Art. Elsewhere in the text, Gutai magazine is placed within a chronological and geographical context. The Avant-Garde in Exhibition: New Art in the 20th Century. One of the major exhibition catalogs on Gutai, this alas, all in French. However, anyone can gain by perusing the excellent color reproductions. A chronology from 1946-1999, prepared by Hirai Shoichi and Yamamoto Atsuo, running 81 pages, is an exceptional feature of the work.

Alessandra Bellavita contributes a biographical section. Hattari is an Osaka slang word that refers to a person who tries to appear more able or powerful than he actually is, or who does things by guesswork.

This slang term was originally used in a negative way and the word itself lacks dignity, but Yoshihara favored it, seeing in it a good meaning. He taught me to acquire and make use of the spirit of hattari.

The issue presented an incisive and early English language introduction to the movement. Caraotti, Elena and Debbie Bibo, Editors. Cobra, Gutai, Lettrism, Fluxus, Visual Poetry and Mail Art are among the movements given a stage to present their often hidden histories.

This is not true.

Gutai: An Annotated Bibliography

I recall, for example, that the first time I heard about the Gutai group was in 1957, during a conversation with Yves Klein, who had just returned from Osaka in Japan, where he had won a judo competition. And let us not forget that Pollock himself expressed an interest in the work of the Gutai. Nul Negentienhonderd Vijf en Zestig Zero 1965.

Stedelijk Museum, Amsterdam, The Netherlands. April 15 — June 8, 1965. Organized by Henk Peters and the Zero Group, who were attempting to place their group in an international context, the exhibition drew together artists from disparate movements Zero, Nul, Gutai and T. As quoted by Ming Tiampo in Gutai: A group photo of nineteen of the exhibiting artists is included, as well as reproductions of works and installation documentation.

Di Lallo, Emanuela, Editor.

Painting with Time and Space. The catalog also reproduces a significant number of paintings, invaluable documentary photography, and a comprehensive chronology compiled by Shoichi Hirai. Elliott, David and Kazu Kaido, Editors. Avant-Garde Art in Japan, 1945-1965. Museum of Modern Art, Oxford, England.

  • Greenwood Press, Westport, Connecticut;
  • In the post-war period we were made free and at the beginning we were a little lost, but we understood the wonder of freedom above all else.

The catalog to the exhibition provides an excellent social, political and cultural background to the situation of Japanese artists before, during and after World War II. Between Performance and the Object, 1949-1979.

  1. Hattari is an Osaka slang word that refers to a person who tries to appear more able or powerful than he actually is, or who does things by guesswork.
  2. The New Japanese Painting and Sculpture.
  3. An untitled ten point painting manifesto by Shimamoto is included i.
  4. Which was an important characteristic of the art world in tokyo during the postwar years the group postwar years, the most important artist collectives.
  5. This is not true.

However, it is obvious that it has developed around the concrete issues of body and place, resulting in an art form entirely different from contemporary art in Europe and America.

A New Perspective Gutai: Through the Eyes of Fujino, Tadatoshi.

A research on the most important artist collectives in postwar japan the gutai group

Koumyakusya, Miyazaki City, Japan. But the book is somewhat different from the usual book on art. It is made up of photographs and short histories of GUTAI artists, pus my evaluation of the place of GUTAI in modern art…I joined GUTAI in 1965, and for the greater part of 40 years have ben active in showing my work in their exhibits, contributing to discussions, and collecting members work.

Nice section of written and current photographic portraits of Gutai members with reproductions of their work.

Texts in Japanese and English. Live Art Since 1960. Abrams, New York, New York. It was overlooked because it often fit no category, and unexamined because this material could no long be seen, only described. I nevertheless ended up with an unexpected conclusion to my book. Not only did live art by artists represent the very spirit of its own times and reveal the ways in which artists from different disciplines interconnected, it also showed me how certain ideas in a painting or a sculpture, which as a traditional art historian I might have looked for in other paintings or sculptures, often originated is some sort of performed action.

The movements that shaped Japanese post-war art

Greenwood Press, Westport, Connecticut. International in scope, a research on the most important artist collectives in postwar japan the gutai group bibliography cites mainly English language texts but does include important foreign language material. Gutai Pinacotheca, Osaka, Japan. I have been able to view a few Gutai publications firsthand, in addition to the Gutai magazine facsimile edition. A Gutai chronology follows with thumbnail photographs of historic Gutai exhibitions.

Catalog of the June 1 — 20, 1964, exhibition of the two Italian artists at the Gutai Pinacotheca. According to the introductory text of Jiro Yoshihara, this was the first time foreign artists were shown at the Pinacotheca.

This two-man show as well is one of such serial activities as ours. Gutai Piacotheca, Osaka, Japan. An example of a catalog produced for an exhibition of one of the Gutai members. The Spirit of an Era. The author argues that while Tokyo dismissed Gutai, it was equally misunderstood in the West. The main text breaks the movement into early, middle and later periods, with extensive photo documentation of each.

Bijutsu Shuppan-Sha, Hyogo, Japan. Curator of the Hyogo Prefectural Museum of Art, Hirai Shoichi, contributes the texts to this wide-ranging yet detailed overview of Gutai history, which he divides into a beginning 1954-1957middle 1957-1965 and ending 1965-1972 period.

Or, to put it another way: Excellent appendixes include a photographic documentary on Gutai venues past and present in Osaka, Kyoto and Tokyo; a selected chronology; a guide to museums with collections of Gutai; biographical sketches of Gutai members, and a guide to primary sources.

An invaluable and path breaking work in the literature of the field. Essays and chronologies on Mavo and Gutai accompany a work laden with documentary photography, with over one-hundred photographs of Gutai activity alone.

Twenty texts are presented, all of them in German. Text and design by happenings innovator Allan Kaprow. Being part of the activity, I was inclined to look at and judge an art-in-the-making as well as influence its course.

Artists, like critics and historians, make the history they reflect, even with the best of intentions to remain objective. I thought, when I began writing, that I should try both to observe and to influence as much as possible. Even earlier in America, John Cage in 1952 organized an event at Black Mountain College combining paintings, dance, films, slides, recordings, radios, poetry, piano playing, and a lecture, with the audience in the middle of the activity.

This is a rare case of modern communications malfunctioning. Kwansei Gakuin University, Nishinomiya, Japan. While most of the texts in this exhibition catalog are in Japanese, there are two English language essays included. It is a vertical picture on about a size 30 canvas of three or four withered sunflower in a clay vase on a table.

In the background I saw a horizontal line in dark ultramarine blue paint squeezed from the tube to lie in relief on the canvas. The sunflowers were partially outlined in vermillion. It was such a unique and powerful painting it made me tremble. Twelve Volume Box Set with Supplement. Impossible to obtain as a set, Gutai Magazine has been an invaluable yet unattainable resource for institutions and researchers alike.

The regional museum around which Gutai members resided, the Ashiya City Museum of Art and History, stepped into this void to supervise the production of a twelve volume facsimile edition with accompanying booklet. The booklet is an invaluable aid for English language readers, as all the text published in Japanese in the original magazines are translated into English.

Sometimes associated with the Fluxus group, Mats B. Metaphysics always escaped the Gutai. Art Anti- Art Non-Art. It seeks to convey a more coherent impression of these artists and to describe the interconnections of groups such as Gutai and Fluxus. Japanese Art After 1945: Scream Against the Sky. Rather, its identity was absorbed by the established movements with which it became associated.

Museum of Modern Art, New York. The New Japanese Painting and Sculpture. Doubleday, Garden City, New York. An introductory essay by co-curator William S. Lieberman with Dorothy C.

Each receives a small biographical sketch with a reproduction of their work. Gutai is a work that continues to exist. Despite the distinct characteristics of the various artists in the group, Gutai is Gutai…Fifty years since its founding and its first recognition abroad, Gutai has gained great esteem in the West, having been exhibited with rising frequency over the past twenty years.

The unflagging efforts of the group have defied Japanese criticism. A Gutai chronology prepared by Dr. Hirai Shoichi is included.