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4.3 gutai
4.3 gutai
4.3 gutai
4.3 gutai
4.3 gutai
4.3 gutai
4.3 gutai
4.3 gutai
4.3 gutai
4.3 gutai
4.3 gutai
4.3 gutai
4.3 gutai
4.3 gutai
4.3 gutai
4.3 gutai
4.3 gutai
4.3 gutai
4.3 gutai
4.3 gutai
4.3 gutai
4.3 gutai
4.3 gutai
4.3 gutai
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4.3 gutai

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  • 1. Japanese GutaiArt 109A: Art Since 1945Westchester Community CollegeFall 2012Dr. Melissa Hall
  • 2. Global ExpressionismThe Japanese Gutai Group formedaround the Japanese painter JiroYoshihara around 1954 Photograph of Gutai Artists. Image source: http://guitai.wordpress.com/
  • 3. Global ExpressionismThey were deeply influenced by thework of Jackson Pollock andGeorges Mathieu Photograph of Gutai Artists. Image source: http://guitai.wordpress.com/ Hans Namuth, Jackson Pollock, 1950
  • 4. Global ExpressionismTheir understanding was shaped bythe Life Magazine photos of theartists working Dimitri Kessell, Georges Mathieu, 1957 LIFE
  • 5. Dimitri Kessell, Georges Mathieu, 1957LIFE
  • 6. Global ExpressionismThis shaped the Gutai group’sfocus on an action-orientedapproach to art making Shiraga painting with his feet for Life magazine, at the Nishinomiya factory of Yoshihara’s salad oil company, 1956. Image source: http://www.aaa-a.org/2012/01/18/conversation-with-reiko-tomii/
  • 7. Global Expressionism In 1956 Jiro Yoshiharo published the “Gutai Manifesto” in which he dismissed all past art as “fakes” and “counterfeit objects“With our present awareness, the artswe have known up to now appear to usin general to be fakes fitted out with atremendous affectation. Let us takeleave of these piles of counterfeitobjects on the altars, in the palaces, inthe salons and the antique shops. ”Jiro Yoshiharo, “Gutai Manifesto,” 1956 Joro Yoshiharo Image source: http://www.zerofoundation.de/friends.html
  • 8. Global Expressionism This is because most art disguises the materials from which it is made““These objects are in disguise andtheir materials such as paint, pieces ofcloth, metals, clay or marble areloaded with false significance byhuman hand and by way of fraud, sothat, instead of just presenting theirown material, they take on theappearance of something else.”Jiro Yoshiharo, “Gutai Manifesto,” 1956 Joro Yoshiharo Image source: http://www.zerofoundation.de/friends.html
  • 9. Global Expressionism The Gutai group emphasized a direct encounter and interaction with materials:“Gutai art does not change the materialbut brings it to life. Gutai art does notfalsify the material. In Gutai art thehuman spirit and the the material reachout their hands to each other, eventhough they are otherwise opposed toeach other. The material is notabsorbed by the spirit. The spirit doesnot force the material into submission.If one leaves the material as it is,presenting it just as material, then itstarts to tell us something and speakswith a mighty voice. Keeping the life ofthe material alive also means bringing Joro Yoshiharothe spirit alive, and lifting up the spirit Image source: http://www.zerofoundation.de/friends.htmlmeans leading the material up to theheight of the spirit.”Jiro Yoshiharo, “Gutai Manifesto,” 1956
  • 10. Gutai GroupThe emphasis on human interactionwith materials led to a highlyperformative approach to artmaking Saburo Murakami, Passage, 1956
  • 11. Gutai GroupSaburo Murakami’s Passage was aperformance in which the artistburst through a series of paperscreens Saburo Murakami, Passage, 1956
  • 12. Gutai GroupIn Challenge to the Mud KazuaShiraga created a “work” by literallyengaging his body with mud Kazuo Shiraga, Challenge to the Mud, 1955
  • 13. Gutai GroupThe work evokes Pollock’s drippaintings as well as Yves Klein’sLiving Brush series Kazuo Shiraga, Challenge to the Mud, 1955
  • 14. Gutai Group Shiraga also experimented with other methods of making paintingsShiraga painting with his feet for Life magazine,at the Nishinomiya factory of Yoshihara’s salad oilcompany, 1956. Kazuo Shiraga, Making Painting with his feet, Second Gutai Exhibition, 1956
  • 15. Gutai GroupAtsuko Tanaka’s electric dress isone of the icons of the Gutaimovement Atsuko Tanaka, Electric Dress, 1956
  • 16. Gutai GroupIt was made from hundreds offlashing lights Atsuko Tanaka, Electric Dress, 1956/85
  • 17. Gutai GroupLike Shigeko Kubota’s VaginaPainting, Tanaka’s Electric Dressanticipates the concerns ofFeminist art Atsuko Tanaka, Electric Dress, 1956/85
  • 18. Gutai GroupThis piece by Tanaka consists of asilk hanging, activated by a fanThe floor pieces in front weremeant to be walked on Atsuko Tanaka, Sakuhin (Work), 1955
  • 19. Gutai artist Shozo Shimamotos work in Venice: "Kono-ue wo Aruite Kudasai (Please walk on top)," and "Sakuhin (Work)" [inbackgtround] at Fare Mondi (Making Worlds), la biennale di Venezia.http://www.youtube.com/watch?v=juoqhpCNYDY
  • 20. Gutai GroupThe most innovative aspect ofGutai art was their outdoorexhibitions staged in 1955 and1956 http://www.tofu-magazine.net/newVersion/pages/Gutai56.html
  • 21. Gutai GroupThese exhibitions wereparticipatory events similar toHappenings and FluxusAfter the event, the “works” weredestroyed Akira Kanayama , Ashiato, 1956
  • 22. http://www.nipponlugano.ch/en/gutai-multimedia/narrazione/project/links/Highlights/project/narrazione_home_nav-short.html

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