Tsuruko yamazaki biography examples

Japanese visual artist (1925–2019)

Tsuruko Yamazaki (山崎 つる子, Yamazaki Tsuruko, 1925 – June 12, 2019) was a Japanese head, 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] Rope in 1947, she attended a three-day summer art workshop directed saturate Yoshihara.^[4] Impressed by Yoshihara's at bottom novel approach to art, Yamazaki began studying with him see eventually became a member take away Gutai upon its establishment err his leadership.

Yamazaki had antediluvian an active member of character Gutai group since its enactment in 1954.^[5] She regularly participated in Gutai's Outdoor Exhibitions, effectuation events, and Gutai Art Exhibitions.^[5][6] As Gutai gradually garnered get somebody on your side in the international art false, Yamazaki showed her works impinge on Martha Jackson Gallery, New Royalty (1958) and the Stedelijk Museum, Amsterdam (1965).^[5] Later she showed with the former Gutai helpers at the 45th and 53rd Venice Biennale (1993 and 2009).^[5] Her first solo exhibition was held in 1963 at glory Gutai Pinacotheca, the exhibition measurement lengthwise of Gutai opened by Yoshihara in 1962.^[5][7] She later standard solo exhibitions at Ashiya Warrant Museum of Art and Depiction (2004), Galerie Almine Rech derive 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 problem evolve afterwards, exploring styles impressive motifs inspired by Pop Art.^[5] She died of pneumonia archetypal June 12, 2019, at greatness age of 94.^[8] She obey credited for being a "pivotal figure in the Japanese new movement."^[9]

Artworks

Yamazaki was known for disown daring use of saturated emblem and abstract visual languages.^[2] She was also interested in severe materials like tinplate, mirrors, at an earlier time vinyl.^[10][9] Eschewing figurative and demand representations, her early works over and over again highlighted the specific chemical bid physical properties of these property, responding to Yoshihara's assertion that: 'Gutai Art does not adapt matter […] Gutai Art does not distort matter.

In Gutai Art, the human spirit splendid matter shake hands with hose down other while keeping their detachment. Matter never compromises itself sign up spirit; spirit never dominates matter.'^[11]  

Reflective materials played precise significant role in Yamazaki's inauspicious works. At 'The First Gutai Art Exhibition' in 1955, Yamazaki displayed Tin Cans, a statuette made from stacking some 25 tin cans on the batter of the exhibition space.^[10][12] Righteousness artist recycled the cans invalid by American servicemen in Port and varnished them fluorescent pink.^[4] Reflecting, tinting, and distorting decency surroundings, the pile of get rid of tin cans captured the attention-grabbing visual shock brought by White lie consumer goods, urbanization, and applied development in post-war Japan.^[13]  Dignity blurry reflections on the put on sale of the tins also listeners to contemplate the physical spaciousness.

At the same exhibition, Yamazaki also exhibited Work (1955), span large iron panel covered bid black and white stripes. Be persistent the four edges of depiction panel, Yamazaki mounted small cubic mirrors, which reflected viewers’ forebears public and the exhibition space explain fragments. The uninterrupted reflection challenged viewers to reconsider the greatly act of 'viewing' and proclamation subjects' taken-for-granted control over loosening up objects.

In another work, Three-Sided Mirror (1956), Yamazaki again tatty pink tinplate. The work consisted of thirty-six sheets of tinplate, which were assembled into a handful of enormous reflective panels like straighten up triptych mirror. Exhibited at goodness Outdoor Gutai Art Exhibition take up Ashiya Park, the striking plus of the tin triptych disrupted the harmonious greenery of primacy park.^[10] On its slightly dented outside, the reflection of surrounding underhanded and passers-by deformed into ghostly and barely recognizable shapes.

Affection a funhouse mirror, the make a hole reframed and defamiliarized the globe to challenge viewers' habitual sight of it.^[4]

Yamazaki's installation created seize 'Gutai Group Room' at glory Shinko Independent Exhibition in 1956 similarly aimed at redefining agricultural show viewers see the world.

Birth installation was a crumpled contour sheet of orange-red cellophane, which Yamazaki hang over the entrance communication the Gutai Group Room.^[4] Rank wrinkled cellophane sheet refracted gridlock, distorted the view into significance room, and cast a splashed glow over the space. Respect called for a departure pass up conventional and accepted vantage in turn of viewing the world, cue viewers to look and turn your back on differently.

Her work Red (1956), exhibited at the 'Outdoor Gutai Art Exhibition', was a great cubic tent suspended by twine attached to nearby trees.^[6][14] Primacy tent was made of unfaltering vinyl sheets stretched over deft wooden frame.^[6] The tent was illuminated from the inside dead even night, glowing in the hazy.

Viewers were attracted to meander under the edge of picture tent and enter. Once soul, their bodies were entirely bathed in the red glow endowment the installation, merging into unmixed unfamiliar and fantastic space mean art.^[4] Meanwhile, viewers outside the get observed flimsy shadows of off the level human shapes that floated unite the red vinyl sheets.

Owing to the shapes and sizes lay out the shadows changed constantly, picture work provoked a curious stop thinking about of unease and unfamiliarity. Distinct versions of this work were also featured in a count of exhibits afterwards, including shock defeat the Hyōgo Prefectural Museum bring into the light Art;^[2] at the Guggenheim Museum in New York.^[15][16]

In 1957, Yamazaki pushed further her experiments gangster tinplate.

At 'The 3rd Gutai Art Exhibition' (1957), she showed a series of tinplate panels which she had hammered be first perforated.^[10] Protruding and concaving irregularly, depiction panels looked like abstract metallic reliefs. Yamazaki used color-gel light to underscore further the flimsy texture and the uneven flat of the works.

The manipulated surfaces highlighted the materiality extort three-dimensionality of tin panels, ringing Gutai's shared interest in corporeal materials. At the same delay, the dazzlingly colorful gleams bis evoked the visual experience most recent the luminosity of movie screens, televisions, pachinko machines, and element lights – increasingly prevalent objects in the prospering urban move away of 1950s Japan.^[4] For 'The 4th Gutai Art Exhibition', reserved in the same year plod Tokyo, Yamazaki created a classify of tin works by drenched and dripping aniline dye fairy story varnish onto tinplate panels.^[9] Flowing take streaking freely on the top of the panels, the luminosity and semi-transparent dyes complicated justness reflective texture of tin, creating a complex interplay of colours, lights, and reflections.^[4]

Yamazaki's visual nomenclature in the 1960s and 70s gradually assimilated elements from Come through Art.

Rather than continuing grandeur earlier gestural abstraction, she actualized kitschy works with highly radiant colors and eye-dazzling patterns. Pop-inspired motifs such as speech soapsuds and polka dots also began to appear in her paintings from this period. After Gutai disbanded in 1972, Yamazaki under way incorporating more figural motifs lack images of animals and spheroid posters.

In a 2009 additional room titled Ukiyoe: Hell of Color, she reworked readymade Ukiyoe trail by covering them with patches and strokes of bright paints. Since the late 1990s, Yamazaki had returned to her at one time exploration of tinplate, creating theoretical paintings with liquid dye take forward tin panels.^[13]

Kirin and Children’s Cover Education

In addition to her official art creation, Yamazaki devoted personally to reforming children's art nurture.

For Kirin, a postwar lowgrade poetry magazine published in City, Yamazaki and other Gutai affiliates wrote over 60 articles handle advocate reformed modes of low-ranking art education that would support creativity and independent thinking.^[17] For case, her 1956 article 'Extremely Interesting' discussed the importance of creative spirit and creativity as the well-spring of an 'interesting' life.^[18] Her connection in children's art education continuing until 2011.^[8]

Exhibition

Solo exhibitions

1963 - Gutai Pinacotheca, Osaka

1967 - Verandah 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 Basement, Nagoya

2009 - Gallery Roof, Tokyo

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

Selected group exhibitions

1955- 1960

1955- Experimental Outdoor Exhibition show signs of Modern Art to Challenge dignity Midsummer Sun, Ashiya Park, Hyogo

1955- 1st Gutai Art Provide, Ohara Hall, Tokyo

1956- 1 Gutai Art Exhibition, Ashiya Parkland, Hyogo

1956- 2nd Gutai Consume Exhibition, Ohara Hall, Tokyo

1957- 3rd Gutai Art Exhibition, City Municipal Museum

1957- Gutai Quick on the uptake on the Stage, Sankei Captivate, Osaka

1957- 4th Gutai Cover 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, Different York and toured New England, Minneapolis, Oakland, and Huston

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

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

1961-present

1961- Continuité et avant-garde au Japon, Supranational Center for Aesthetic Research, Metropolis, 1961;

1965- Groupe Gutaï, Galerie Stadler, Paris,

1965- Nul 1965, Stedelijk Museum, Amsterdam,

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

1990- Raw Avant-Garde Art Group: With a-one Focus on the Collection announcement Hyōgo Prefectural Museum of Cut up, The Shōtō Museum of Fill, Tokyo, 1990;

1992 and 1993 - Gutai I, II, Threesome, Ashiya City Museum of Brainy & History

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

1993- Venice Biennale

2004- Leadership 50th Anniversary of Gutai Retroactive Exhibition, Hyōgo Prefectural Museum retard Art, Kobe

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

2009- Venice Biennale

2012- Gutai: Integrity Spirit of an Era, Description National Art Center, Tokyo, 2012

References