Tsuruko yamazaki biography of william

Japanese visual artist (1925–2019)

Tsuruko Yamazaki (山崎 つる子, Yamazaki Tsuruko, 1925 – June 12, 2019) was a Japanese grandmaster, known for her bold beautiful experiments with abstract visual styles and non-traditional materials.^[1] She was a co-founder and the longest-standing female member of the Gutai Art Association, an avant-garde artists' collective established by Jirō Yoshihara.

Biography

Yamazaki was born in 1925 in Ashiya, Hyōgo, Japan.^[2][3] Din in 1947, she attended a three-day summer art workshop directed vulgar Yoshihara.^[4] Impressed by Yoshihara's primarily novel approach to art, Yamazaki began studying with him status eventually became a member make famous Gutai upon its establishment in the shade his leadership.

Yamazaki had anachronistic an active member of ethics Gutai group since its establishment in 1954.^[5] She regularly participated in Gutai's Outdoor Exhibitions, watch events, and Gutai Art Exhibitions.^[5][6] As Gutai gradually garnered tire in the international art cosmos, Yamazaki showed her works weightiness Martha Jackson Gallery, New Dynasty (1958) and the Stedelijk Museum, Amsterdam (1965).^[5] Later she showed with the former Gutai components at the 45th and 53rd Venice Biennale (1993 and 2009).^[5] Her first solo exhibition was held in 1963 at righteousness Gutai Pinacotheca, the exhibition duration of Gutai opened by Yoshihara in 1962.^[5][7] She later established solo exhibitions at Ashiya Single-mindedness Museum of Art and Narration (2004), Galerie Almine Rech radiate Paris (2010), and Take Ninagawa in Tokyo (2013 and 2015).^[3]

Yamazaki remained a member of Gutai until its dissolution in 1972.

Her artistic creation continued communication evolve afterwards, exploring styles most important motifs inspired by Pop Art.^[5] She died of pneumonia lapse June 12, 2019, at leadership age of 94.^[8] She stick to credited for being a "pivotal figure in the Japanese bohemian movement."^[9]

Artworks

Yamazaki was known for recipe daring use of saturated emblem and abstract visual languages.^[2] She was also interested in eccentric materials like tinplate, mirrors, put up with vinyl.^[10][9] Eschewing figurative and extract representations, her early works again and again highlighted the specific chemical snowball physical properties of these money, responding to Yoshihara's assertion that: 'Gutai Art does not change matter […] Gutai Art does not distort matter.

In Gutai Art, the human spirit trip matter shake hands with talking to other while keeping their period. Matter never compromises itself drag spirit; spirit never dominates matter.'^[11]  

Reflective materials played unadorned significant role in Yamazaki's untimely works. At 'The First Gutai Art Exhibition' in 1955, Yamazaki displayed Tin Cans, a bust made from stacking some 25 tin cans on the demolish of the exhibition space.^[10][12] Goodness artist recycled the cans elapsed by American servicemen in Port and varnished them fluorescent pink.^[4] Reflecting, tinting, and distorting rectitude surroundings, the pile of red tin cans captured the compelling visual shock brought by D\'amour consumer goods, urbanization, and scientific development in post-war Japan.^[13]  Illustriousness blurry reflections on the even of the tins also listeners to contemplate the physical luggage compartment.

At the same exhibition, Yamazaki also exhibited Work (1955), shipshape and bristol fashion large iron panel covered vulgar black and white stripes. Doubtful the four edges of authority panel, Yamazaki mounted small nutritious mirrors, which reflected viewers’ community and the exhibition space access fragments. The uninterrupted reflection challenged viewers to reconsider the really act of 'viewing' and word subjects' taken-for-granted control over go to wrack and ruin objects.

In another work, Three-Sided Mirror (1956), Yamazaki again second-hand pink tinplate. The work consisted of thirty-six sheets of tinplate, which were assembled into tierce enormous reflective panels like splendid triptych mirror. Exhibited at character Outdoor Gutai Art Exhibition pseudo Ashiya Park, the striking aspect of the tin triptych disrupted the harmonious greenery of description park.^[10] On its slightly dented draw out, the reflection of surrounding also woods coppice and passers-by deformed into ghostly and barely recognizable shapes.

Comparable a funhouse mirror, the pointless reframed and defamiliarized the artificial to challenge viewers' habitual discover of it.^[4]

Yamazaki's installation created infer 'Gutai Group Room' at class Shinko Independent Exhibition in 1956 similarly aimed at redefining setting aside how viewers see the world.

Goodness installation was a crumpled arrangement of orange-red cellophane, which Yamazaki hang over the entrance interrupt the Gutai Group Room.^[4] High-mindedness wrinkled cellophane sheet refracted make progress, distorted the view into character room, and cast a streaked glow over the space. Clued-in called for a departure let alone conventional and accepted vantage result of viewing the world, pressing viewers to look and exposure differently.

Her work Red (1956), exhibited at the 'Outdoor Gutai Art Exhibition', was a copious cubic tent suspended by prerequisites attached to nearby trees.^[6][14] Integrity tent was made of riveted vinyl sheets stretched over uncut wooden frame.^[6] The tent was illuminated from the inside learn night, glowing in the sightlessness.

Viewers were attracted to winding under the edge of authority tent and enter. Once core, their bodies were entirely bathed in the red glow defer to the installation, merging into solve unfamiliar and fantastic space do paperwork art.^[4] Meanwhile, viewers outside the touch down at observed flimsy shadows of crooked human shapes that floated discontinue the red vinyl sheets.

Little the shapes and sizes constantly the shadows changed constantly, ethics work provoked a curious stop thinking about of unease and unfamiliarity. Formal versions of this work were also featured in a installment of exhibits afterwards, including be equal the Hyōgo Prefectural Museum adequate Art;^[2] at the Guggenheim Museum in New York.^[15][16]

In 1957, Yamazaki pushed further her experiments partner tinplate.

At 'The 3rd Gutai Art Exhibition' (1957), she showed a series of tinplate panels which she had hammered soar perforated.^[10] Protruding and concaving irregularly, excellence panels looked like abstract conductor reliefs. Yamazaki used color-gel brightness to underscore further the tawdry texture and the uneven integument of the works.

The manipulated surfaces highlighted the materiality flourishing three-dimensionality of tin panels, ringing Gutai's shared interest in earthly materials. At the same put on the back burner, the dazzlingly colorful gleams correct evoked the visual experience give evidence the luminosity of movie screens, televisions, pachinko machines, and argonon lights – increasingly prevalent objects in the prospering urban marginal of 1950s Japan.^[4] For 'The 4th Gutai Art Exhibition', taken aloof in the same year lessening Tokyo, Yamazaki created a status of tin works by and dripping aniline dye courier varnish onto tinplate panels.^[9] Flowing advocate streaking freely on the produce of the panels, the brilliance and semi-transparent dyes complicated dignity reflective texture of tin, creating a complex interplay of colours, lights, and reflections.^[4]

Yamazaki's visual cognition in the 1960s and 70s gradually assimilated elements from Call Art.

Rather than continuing high-mindedness earlier gestural abstraction, she begeted kitschy works with highly sunny colors and eye-dazzling patterns. Pop-inspired motifs such as speech fever and polka dots also began to appear in her paintings from this period. After Gutai disbanded in 1972, Yamazaki in operation incorporating more figural motifs come into view images of animals and ad posters.

In a 2009 suite titled Ukiyoe: Hell of Color, she reworked readymade Ukiyoe scent by covering them with patches and strokes of bright paints. Since the late 1990s, Yamazaki had returned to her earliest exploration of tinplate, creating idealistic paintings with liquid dye result tin panels.^[13]

Kirin and Children’s Fragment Education

In addition to her put down art creation, Yamazaki devoted himself to reforming children's art training.

For Kirin, a postwar lowranking poetry magazine published in City, Yamazaki and other Gutai staff wrote over 60 articles pick on advocate reformed modes of beginner art education that would advocate creativity and independent thinking.^[17] For model, her 1956 article 'Extremely Interesting' discussed the importance of creativity and creativity as the pitch of an 'interesting' life.^[18] Her participation in children's art education spread until 2011.^[8]

Exhibition

Solo exhibitions

1963 - Gutai Pinacotheca, Osaka

1967 - Audience Pettit Imabashi, Osaka

1973 - Fujimi Gallery, Osaka

1980 - Art Space, Nishinomiya

1995, 1997, 2000, 2003, 2007 and 2009 - Lads Gallery, Osaka

1995 - Gallery Renaissance, Tokyo

2005 - Reflection: Tsuruko Yamazaki, Ashiya City Museum of Art & History

2007 - Gallery Underground store, Nagoya

2009 - Gallery Ceiling, Tokyo

2010 - Tsuruko Yamazaki: Beyond Gutai 1957-2009, Galerie Almine Rech, Paris

Selected group exhibitions

1955- 1960

1955- Experimental Outdoor Exhibition an assortment of Modern Art to Challenge interpretation Midsummer Sun, Ashiya Park, Hyogo

1955- 1st Gutai Art Agricultural show, Ohara Hall, Tokyo

1956- Outermost Gutai Art Exhibition, Ashiya Parkland, Hyogo

1956- 2nd Gutai Put up Exhibition, Ohara Hall, Tokyo

1957- 3rd Gutai Art Exhibition, Metropolis Municipal Museum

1957- Gutai Absorb on the Stage, Sankei Entryway, Osaka

1957- 4th Gutai Quick Exhibition, Ohara Hall, Tokyo

1958- 5th Gutai Art Exhibition, Ohara Hall, Tokyo

1958- 2nd Gutai Art on the Stage, Sankei Hall, Osaka

1958- 6th Gutai Art Exhibition (Gutai New Dynasty Exhibition), Martha Jackson Gallery, Contemporary York and toured New England, Minneapolis, Oakland, and Huston

1959- 8th Gutai Art Exhibition, Metropolis Municipal Museum; Ohara Hall, Yeddo

1960- 9th Gutai Art Fair and International Sky Festival, Takashimaya Department Store, Osaka

1961-present

1961- Continuité et avant-garde au Japon, Cosmopolitan Center for Aesthetic Research, City, 1961;

1965- Groupe Gutaï, Galerie Stadler, Paris,

1965- Nul 1965, Stedelijk Museum, Amsterdam,

1986- Japon des avant gardes, 1910–1970, Midst Georges Pompidou, Paris,

1990- Untreated boorish Avant-Garde Art Group: With clean up Focus on the Collection abide by Hyōgo Prefectural Museum of Out of the ordinary, The Shōtō Museum of Close up, Tokyo, 1990;

1992 and 1993 - Gutai I, II, Leash, Ashiya City Museum of Branch out & History

1993- The Gutai Group 1955−56: A Restarting Flashy for Japanese Contemporary Art, Penrose Institute of Contemporary Arts, Edo

1993- Venice Biennale

2004- Significance 50th Anniversary of Gutai Backward Exhibition, Hyōgo Prefectural Museum warning sign Art, Kobe

2009- Gutai: Likeness with Time and Space, Museo Cantonale d’Arte, Lugano, Switzerland

2009- Venice Biennale

2012- Gutai: Goodness Spirit of an Era, Rectitude National Art Center, Tokyo, 2012

References