Michel Tapié, editor. Gutai 9 具体 9 The International Art of a New Era USA, Japan, Europe 25.2 x 26.3cm magazine with 95 pp of black and white and color photographs of artworks, identified with artist’s names. 2 pages of photos of the exhibition, one photo of artists and visitors at the opening party and one page listing artist’s names in English and Japanese. Short biographies of each artist in Japanese and English or Japanese and French text. Essay by Michel Tapié (1909 - 1907) in French and translated into Japanese and an essay by Yoshihara Jirō 吉原治良 (1905 - 1972) in Japanese that is translated into English. A list of artist’s names in Japanese and English is on the final page. This issue’s theme is the Osaka International Art Festival of 1958 (大阪国際芸術祭 Osaka Kokusai Geijutsu Sai).
Art represented in this issue is by Gutai group members and American and European artists, including Carla Accardi, Sam Francis, Kline, De Kooning, Lee Krasner, Martha McKay, Motherwell, Jackson Pollock, Twombly, Murakami, Shimamoto, Shiraga, Atsuko Tanaka, Teshigahara, Uemae, Yamaguchi and Jirō Yoshihara.
Internationally recognized for their contribution to modern art, Gutai artists’s works are held in the Guggenheim Museum, Tate Modern, Tate Gallery, and MOMA, as well as other institutions in Japan and abroad.
Gutai was a radical post-war art movement that preceded performance art in the US by a decade. The Gutai Art Association ( Gutai Bijutsu Kyokai) or Gutai Group was formed in 1954 by Yoshihara and Shimamoto Shozo (1928 - 2013) and was active until 1972. The physical nature of their art (gutai roughly translates to "embodiment" or "the concrete") resulted in kinetic paintings, 3-dimensional sculptures and performances. Audiences came to expect the unexpected. A Gutai Group artist might burst through hanging sheets of paper, paint with his feet while swinging on ropes or wrestle with the paints directly on the canvas, pushing the boundaries of the avant-garde Mavo movement that preceded it. At times the audience was encouraged to join in and create the art with markers on an unfinished canvas or buttons that chimed musical notes.
The Gutai magazine and subsequent PINAKOTHEK catalogs, were an important method of recording the group's art and concepts and extending to audiences abroad. One of those whom the magazine reached was Michel Tapié, a critic and collector. Tapié was a supporter of what he called "L'art informel" (Art Informel); encompassing international art that transcended what was then categorized as modern. He was a great promoter of The Gutai Group, and it was believed he found them through the GUTAI periodical.
Binding is cracked and chipped. Nicks to edges of front cover.