Gutai: Tsuruko Yamazaki

“Tsuruko Yamazaki endorsed a distinctly non-humanist view of agency by emphasizing the interface between material properties themselves”

Joan Kee, Professor, History of Art, University of Michigan, introduction to “Artist’s Portfolio: Tsuruko Yamazaki,” Artforum, February 2013

A founding member of the Japanese Gutai Art Association, Tsuruko Yamazaki (山崎 つる子) was the only woman artist who remained with the group from its beginning in 1954 to its disbanding in 1972.  

Tsuruko Yamazaki, “Work” (acrylic on canvas,  mounted on board, 1967). Take Ninegawa and Almine Rech.

Tsuruko Yamazaki joined Gutai’s major exhibitions, including the Outdoor Gutai Art Exhibition at Ashiya Park in 1956; the sixth Gutai Art Exhibition held in September 1958 at the Martha Jackson Gallery at 32 East 69th Street, New York (in the same townhouse now occupied by Hauser & Wirth) ; and the international group show “Nul 1965” at the Stedelijk Museum in Amsterdam (see discussion in “Zero: Let Us Explore the Stars,” 4 July – 7 November 2015, Stedelijk Museum, Amsterdam). 

Tsuruko Yamazaki, “Red (Shape of Mosquito Net)” (vinyl, wood, metal fixtures, wires, bolts, light bulbs, 1956). Installation view at  the “Outdoor Gutai Art Exhibition”,  Ashiya Park, along the banks of the Ashiya River, Hyogo, Japan, 1956. Image courtesy of Work” (Red Cube)“, the work was exhibited at the Guggenheim’s “Gutai: Splendid Playground”.

Tsuruko Yamazaki: Beyond GutaÏ,” the first solo exhibition of Tsuruko Yamazaki’s work outside of Japan, was held in 2010 by Almine Rech, Paris, organized in collaboration with Midori Nishisawa and Olivier Renaud-Clément (13 March – 30 April). 

Tsuruko Yamazaki’s work has been exhibited in major surveys of Japanese modern and contemporary arts. Examples include “Japon des Avant-Gardes 1910–1970” at the Centre Pompidou, Paris (1986); “Japanese Art after 1945: Scream Against the Sky,” curated by Alexandra Munroe, at the Yokohama Museum of Art, Japan, the Guggenheim SoHo,New York, and the San Francisco Museum of Modern Art (1994–95); and “Gutai: Splendid Playground” at the Solomon R. Guggenheim Museum, New York (2013).

She participated in the Forty-Fifth (1993) and Fifty-Third (2009) Venice Biennales.

Tsuruko Yamazaki is represented by the Tokyo gallery Take Ninagawa. Take Ninagawa exhibited “Work” (1967) at Art Basel in Hong Kong in 2017.

See:

TsurukoYamazaki at Take Ninagawa

TsurukoYamazaki (1925-2019), Artforum, 13 June 2019

Tsuruko Yamazaki, Art Basel

Joan Kee, introduction to “Artist’s Portfolio: Tsuruko Yamazaki,” Artforum, February 2013

Joan Kee, Professor, History of Art, University of Michigan; to be Clark Professor at Williams College, GradArt, spring 2021

Hilton Als, Joan Kee, Anne Lafont, Kobena Mercer to Join GradArt as Clark Visiting Professors,” Williams College / Clark Art Institute, 24 February 2020

Tsuruko Yamazaki: Beyond GutaÏ,” Almine Rech, Paris 13 March – 30 April 2010

Japanese Art After 1945: Scream Against the Sky,” curated by Alexandra Munroe,  Samsung Senior Curator, Asian Art, and Senior Advisor, Global Arts, at the Solomon R. Guggenheim Museum, New York

Zero: Let Us Explore the Stars,” 4 July – 7 November 2015, Stedelijk Museum, Amsterdam 

A Visual Essay on Gutai at 32 East 69th Street,” Hauser & Wirth, 12 September – 27 October 2012

Tsuruko Yamazaki, WikiArt

Gutai masterpiece ・ Sadamasa Motonaga’s “Work 145” of 1964

Art Basel opens in Switzerland next week.

London-based Alexandre Carel, former Christie’s Paris wunderkind, Stanford MBA, summer intern in real estate at New York-based, global investment firm KKR (Kohlberg Kravis & Roberts; KKR manages multiple alternative asset classes, including private equity, energy, infrastructure, real estate, credit and, through its strategic partners, hedge funds),

and Paris-based gallery Natalie Seroussi are collaborating to curate a booth

exploring post-war Asian and European abstraction.

Carel and Seroussi’s catalogue “Lands of Abstraction,” prepared for their Art Basel joint exhibition, explores abstract movements that arose almost simultaneously in Asia, Europe, and the United States – all of which “matured in parallel to one another.”

Among the many masterpieces on view will be Sadamasa Motonaga’s almost nine-foot “Work 145” of 1964. Asking price: $5 million.

Sadamasa Motonaga (元永 定正, 1922-2011) was a founding member of Japan’s Gutai Art Association (1954-1972).

His “Work 145” of 1964, last shown in New York at the Guggenheim Museum during the 2013 exhibition “Gutai: Splendid Playground,” reflects Gutai’s deep connection to nature, the process of art making, and life-affirming rationale

Carel and Seroussi write:

“Literally translated as ‘concreteness,’ Gutai’s intention was to impart life to matter and reach pure creativity.

“To artists such as Sadamasa Motonaga …, this goal could only be attained by way of a deep connection between the artist’s hand and his spirit.”

See:

  1. Massive Motonaga Stars at Carel & Seroussi Booth at Art Basel,” Marion Maneker, Art Market Monitor, 5 June 2018;
  2. 2) “Lands of Abstraction,” Natalie Seroussi Galerie, Paris & Alexandre Carel, London, Art Basel Highlights, June 2018

 

 

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