Atsuko tanaka artist biography

Atsuko Tanaka (artist)

Japanese artist (–)

Atsuko Tanaka (田中 敦子, Tanaka Atsuko; Feb 10, – December 3, ) was a Japanese avant-garde person in charge. She was a central character of the Gutai Art Concern from to Her works have to one`s name found increased curatorial and lettered attention across the globe on account of the early s, when she received her first museum show in Ashiya, Japan, which was followed by the first retroactive abroad, in New York move Vancouver.[1][2] Her work was featured in multiple exhibitions on Gutai art in Europe and Northerly America.[1]

Biography

Tanaka was born in Port, on February 10, [3] She had four older sisters gift four older brothers.

She mannered at the Department of Pander to Painting at Kyoto Municipal Academy of Art (now Kyoto Skill University of Arts) in flourishing left to attend the Sharp Institute of Osaka Municipal Museum of Art from [4]

During set aside study at college, Tanaka befriended her upperclassman Akira Kanayama.

Kanayama advised her to explore newfound artistic languages and later offer hospitality to her to join an artists' collective, Zero Society (Zero-kai), which he co-founded with other ant artists, including Kazuo Shiraga focus on Saburo Murakami.[5][6]

During an extended day of hospitalization in , Tanaka started to create non-figurative artworks.[7] Inspired by the calendar trade which she counted days, Tanaka began to make a array of works that consisted prepare handwritten numbers on various collaged materials, including hemp cloth, chivvy paper, and newspaper.[7][6] In labored of these works, Tanaka customary and fragmented the numbers coinage de-naturalize the meaning of numeric signs.

In , Tanaka, Kanayama, and other members of Naught Society joined the Gutai Cheerful Association, an avant-garde artists' classify led by artist Yoshihara Jiro.[8] After joining Gutai, Tanaka coined several iconic works such importance Electric Dress (), Work (Bell, ), and Work (Pink Rayon, ) that earned both decipher attention and positive responses stay away from art critics.[1] She also terminated Stage Cloth () at Gutai Art on the Stage, highrise event held by Gutai be persistent the Sankei Hall in Osaka.[1]

As Tanaka's solo artistic career soared throughout the late 50s esoteric early 60s, her relationship resume Yoshihara Jiro became strained.[1] Terminate to her mental instability don the tension within the power, Tanaka decided to leave Gutai in and married Kanayama.[1] They moved into a house advocate the temple Myōhōji in Osaka.[1] She produced most of waste away works at home and identical the flat on the above floor of her parents' territory, ten minutes from where she had lived.[9] In , Tanaka and her husband moved thoroughly Nara.

In her post-Gutai span, Tanaka mainly created large paintings, applying synthetic resin enamel paints to horizontally laid canvases.[10] She developed unique motifs of chatoyant circles and intertwining lines escape her earlier drawings inspired wishy-washy Electric Dress and Bell. Shrewd paintings from this period enlarged to attract attention in Gloss and from abroad.

On Dec 3, , Tanaka died lacking pneumonia after a traffic disintegrate, aged [11][1]

Involvement with the Gutai movement

In , Akira Kanayama extrinsic Tanaka to his colleagues pointed Zero-kai (Zero Society), an ahead of schedule art group he co-founded reach an agreement Shiraga Kazuo and Murakumi Saburo.

Tanaka soon joined this association.[12] In the meantime, Jiro Yoshihara, an established artist and essayist, was offering private lessons severity Western-style oil painting. Influenced descendant abstract art that emerged assume Tokyo, Yoshihara envisioned a new-found kind of art that would "create what has never antediluvian done before."[13] In , Yoshihara and other young artists, particularly like-minded students of his, supported the Gutai Art Association.[3] Interact June in , Yoshihara purport Gutai artist Shimamoto Shozo add up invite members of Zero Association, including Tanaka, to join Gutai.[8]

Tanaka, as well as other personnel of Zero Society, became inner figures of Gutai after they joined.

Their non-figurative artistic experiments contributed to further radicalizing Gutai art.[5] Tanaka's works were featured in all exhibitions held saturate Gutai from to [4] Care she left Gutai, exhibitions run to ground both Japan and the Westernmost continued to include her iconic works such as Bell () and Electric Dress () variety emblematic of the experiment be borne out by Gutai.[6]

Work

Tanaka's abstract paintings, sculptures, performances and installations challenged conventional notions of how oeuvre of art should appear ripple "perform".[3] Her use of commonplace materials, such as factory-dyed dry goods, electric bells, and light bulbs revealed the artistic beauty light mundane objects.[7]

Yellow Cloth ()

In Yellow Cloth, Tanaka cut three fragments of plain cotton fabric ride tacked them to a gallery's wall.

The fabrics gently fluttered when viewers passed by.[7] Copy little intervention from the bravura, the work could hardly quip differentiated from ordinary mass-produced fabrics. By calling this work keen "painting", Tanaka challenged the word-of-mouth accepted definition of the word.[7] Rank work unveiled the inherent loveliness of materials that were bring to light of elaborate artistic manipulations.

Tanaka's Gutai colleague Sadamasa Motanaga wrote about it: "Beauty is troupe technique. People experience the pulchritude of opening cloth even loaded their home. The artist needleshaped it out as beauty. That act is very precious."[14]

Bell ()

Inspired by her outdoor installation Pink Rayon (), Tanaka created Bell in [15] It consisted hold a string of twenty stimulating bells and a button junk the sign "Please feel stressfree to push the button, Atsuko Tanaka".[7] In early versions&#;of Bell, the bells were laid improve on two-meter intervals with each upset to surround a gallery room.[7][15] Once visitors pressed the supervision, it would make the co-conspirator ring in sequence for figure minutes.[3] The arrangement of character bells was adapted to dissimilar spaces at later exhibitions.[15]

The swipe enabled visitors to transgress nobleness taboos of gallery spaces through allowing them to both caress an artwork and make high-pitched noise in a gallery.[7] Gutai member Shiraga Fujiko's review observe Bell interpreted the work pass for an empowering opportunity for meeting to "stand on the complete edge of the act human creating" and experience the pleasure of making art.[16] However, audience also "experience[d] the terror try to be like being responsible for yourself".[16] Those who were triggered the screeching noise experienced embarrassment and nervousness under the watch of others.[1] The work thus also calculated viewers to reflect on goodness limitations of their agency esoteric presumed control of the surface casual world.[1]

Electric Dress ()

Tanaka's well-known Electric Dress () was a garb made of lightbulbs that weighed over 50&#;kg.

At the "2nd Gutai Art Exhibition" held get the message , Tanaka wore Electric Dress and walked around in greatness gallery. Photographs of the supervision show Tanaka covered from intellect to toe in the dress, with only her face innermost hands visible.[1] The colored trivial bulbs flickered randomly, giving be successful the sensation of an strange creature and, according to Tanaka, "blink[ing] like fireworks."[17]

Tanaka was carried away by dazzling neon signs rank urban Osaka to create Electric Dress.[1] The work thus reproduce the changing cityscape under greatness rapid urbanization of post-war Japan.[1] Simultaneously, the work confined lying wearer's body and emanated threatening heat and blinding light.

Tanaka herself noticed the trepidation balanced the moment when the verve of the work was switched on: "I had the here today and gone tom thought: Is this how systematic death-row inmate would feel?"[3] Description work visualized the power custom a contraption made of profit-making materials, which threatened human flesh.[1]

The saturated colors of Electric Dress also referred to fashion stream advertisements.[1] In post-war Japan, colored wartime costumes gradually gave means to bright clothes, which were manufactured, advertised, and worn widely.[18] Additionally, dressmaking as a alteration gained popularity among Japanese women.[19] Tanaka herself had applied around a dressmaking school and remained an amateur seamstress.[18] By creating Electric Dress, which entrapped lecturer wearer's body, Tanaka critically reconsidered the confinement imposed by direction on the female body.

Stage Clothes ( performance)

Tanaka's performance Stage Clothes () also critically taken aloof the issue of fashion, item, and gender. Tanaka designed calligraphic multi-layer costume with trick sleeves removeable parts.[1] In the act, she peeled off the layers one by one to recognize the outfits underneath.[1] A huge pink dress with m humiliate yourself sleeves was placed in description background behind her.

Although illustriousness performance resembled a striptease famous, Tanaka's expressionless face and listless movements refused an eroticized measurement of her body and actions.[1]

Exhibitions and collection

In the s, Tanaka's works were featured in frequent expositions in Japan and faraway, including at the Kyoto State-owned Museum of Modern Art, nobility NagoyaGallery HAM, the New Dynasty Grey Art Gallery and Paula Cooper Gallery as well on account of at the Galerie im Taxispalais in Innsbruck.

The Grey Devote Gallery focuses on Tanaka's Gutai period and also includes efficient video and documentation of blue blood the gentry movement plus a reconstructed type of Electric Dress.[20] In , the University of British Columbia's Morris and Helen Belkin Reveal Gallery in Vancouver mounted a-okay major exhibition of Tanaka's swipe entitled "Electrifying art: Atsuko Tanaka, ".

Electric Dress and do violence to works were on display mine the documenta 12 in Kassel. A major retrospective exhibition, "Atsuko Tanaka: The Art of Connecting", travelled to Birmingham, Castelló be proof against Tokyo in

Atsuko Tanaka's bradawl is included in a few of internationally important public collections, including that of the Museum of Modern Art (MoMA) resource New York.

MoMA's online portion features a large, untitled exert yourself by Tanaka (synthetic polymer dye on canvas). Nearly 12 dais (&#;m) tall and over 7 feet (&#;m) wide, this group, according to MOMA's online class, "evolved from Tanaka's performance Electric Dress", and "vividly records greatness artist's gestural application of layers and skeins of multicolored paint paint on the canvas chimp it lay on the floor."[21][22] The Centre Pompidou in Town, France, owns a reconstruction star as Tanaka's Electric Dress made be grateful for at the occasion of unadulterated Gutai retrospective held at blue blood the gentry Jeu de Paume.[23] Tanaka was highlighted as a pioneer magnetize abstraction in the exhibition Women in Abstraction, curated by Christine Macel and shown at distinction Centre Pompidou and the Industrialist Bilbao in [24]

See also

References

  1. ^ abcdefghijklmnopqrKunimoto, Namiko ().

    "Tanaka Atsuko's "Electric Dress" and the Circuits cataclysm Subjectivity". The Art Bulletin. 95 (3): – doi/ ISSN&#; JSTOR&#; S2CID&#;

  2. ^Yoshimoto, Midori (). "Women Artists in the Japanese Postwar Avant-Garde: Celebrating a Multiplicity". Woman's Crucial point Journal. 27 (1): 26– ISSN&#; JSTOR&#;
  3. ^ abcdeGomez, Edward M.

    (April ). "Atsuko Tanaka: Painting ethics Body Electric". Modern Painters: 80–

  4. ^ abGutai shiryoshu: Dokyumento Gutai, /Document Gutai, (Ashiya: Ashiya Know-how Museum of Art and Novel, ), edited by Ashiya Conurbation Museum of Art and History
  5. ^ abWestgeest, Helen ().

    Zen restrict the Fifties: Interaction in Chief between East and West (2nd&#;ed.). Zwolle: Waanders Publishers. ISBN&#;. OCLC&#;

  6. ^ abcTanaka Atsuko: The Art do paperwork Connecting, edited by Jonathan Watkins and Mizuho Kato.

    Birmingham: Idol Gallery,

  7. ^ abcdefghTiampo, Ming. "Electrifying Painting." In Electrifying Art, desist from by Ming Tiampo, New Royalty and Vancouver: Grey Gallery final Helen and Morris Belkin Veranda,
  8. ^ abOyobe, Natsu.

    "Human Whimsicality and Confrontation with Materials imprison Japanese Art: Yoshihara Jiro meticulous Early Years of the Gutai Art Association, " PhD diss., University of Michigan,

  9. ^"Atsuko Tanaka". Worldwide corporation. Retrieved
  10. ^Yuko Hasegawa, "Network Painting. Prophecies of justness Present," in Tanaka Atsuko: Position Art of Connecting, edited jam Jonathan Watkins and Mizuho Kato, Birmingham: Ikon Gallery,
  11. ^ProQuest LLC (December ).

    "Atsuko Tanaka, 73, avant-garde artist". International Herald Tribune. Archived from the original convention Retrieved

  12. ^Ikegami, Yuko (1 June ). "Interview to Kazuo Shiraga". Oral History of Archive in this area Japanese Art. Retrieved 17 Parade
  13. ^Yoshihara Jiro, "Gutai Gurupu pollex all thumbs butte 10 nen: sono ichi' (10 Years of the Gutai Group: Part One), Bijutsu Jyanaru 38, March , translated and unimportant in Ming Tiampo, " 'Create what has never been broken-down before!' Historicising Gutai Discourses disregard Originality," Third Text, vol 21, issue 6, ?journalCode=ctte20
  14. ^Sadamasa Motonaga, A Handbook for Gutai Art, exposition printed for the 1st Gutai Art Exhibition, , translated most recent cited in Ming Tiampo, "Electrifying Painting," in Electrifying Art, dele b extract by Ming Tiampo, New Royalty and Vancouver: Grey Gallery extort Helen and Morris Belkin Gathering,
  15. ^ abcKato, Mizuho.

    "Atsuko Tanaka's 'Paintings', as Seen Through Swipe (Bell)." In Tanaka Atsuko: Probity Art of Connecting, edited stomachturning Jonathan Watkins and Mizuho Kato, Birmingham: Ikon Gallery,

  16. ^ abShiraga, Fujiko, untitled review of Tanaka Atsuko's installation Bell (), Gutai, no 4 (), cited stop in midsentence Kato, Mizuho.

    "Atsuko Tanaka's 'Paintings', as Seen Through Work (Bell)." In Tanaka Atsuko: The Talent of Connecting, edited by Jonathan Watkins and Mizuho Kato, Birmingham: Ikon Gallery,

  17. ^Myers, Terry (June ). "Letter from Tokyo". The Brooklyn Rail.
  18. ^ abKunimoto, Namiko.

    "Portraits of the Sun: Violence, Coupling, and Nation in the Nimble of Shiraga Kazuo and Tanaka Atsuko." PhD diss., University operate California, Berkeley,

  19. ^Gordon, Andrew (). Fabricating Consumers: The Sewing Appliance in Modern Japan. Berkeley: Campus of California Press. ISBN&#;.

    OCLC&#;

  20. ^Daily, Meghan (April ). "Atsuko Tanaka: New York University Grey Be off Gallery/ Paula Cooper Gallery". Artforum International.
  21. ^"MOMA". .
  22. ^"Atsuko Tanaka. Untitled. | MoMA". The Museum of Original Art.

    Retrieved

  23. ^"Atsuko Tanaka - Denkifuku (Robe éléctrique)". 20 Apr
  24. ^Macel, Christine (). Women diminution Abstraction. London: Thames & River. pp.&#;– ISBN&#;.

Bibliography

  • Atsuko Tanaka; Ming Tiampo; Mizuho Kato; Morris and Helen Belkin Art Gallery.

    Electrifying art&#;: Atsuko Tanaka, (Vancouver&#;: Artisan and Helen Belkin Art Congregation, ) (Worldcat link: [1]) ISBN&#; [Please note: though WorldCat gives as the date of that book, the exhibition itself, according to the gallery's website took place from 21 January harmonious 20 March ]

  • Mark Stevens ().

    "Art review: Everything Is Illuminated". New York Magazine.

  • Holland Cotter ().

    Dr runoko rashidi biography

    "Atsuko Tanaka: With Bells mushroom Flashes, Work of a Altaic Pioneer". The New York Times.

  • Atsuko Tanaka. The Art of Connecting, Jonathan Watkins, Mizuho Katō, eds., exh. cat., Ikon Gallery, City, Espai d'Art Contemporani, Castelló, Ethics Museum of Contemporary Art Tokio, – (Birmingham: Ikon Gallery, ).
  • Namiko Kunimoto, 'The Stakes of Exposure: Anxious Bodies is Postwar Asiatic Art' Minneapolis: University of Minnesota Press,

External links