1957. Item #90976
Michel Tapié, Jiro Yoshihara and Shozo Shimamoto, editors. Gutai 8 具体 8,
Nishinomiya. Sept. 29, 1957. 25.2 x 26.5cm magazine with [44 pp] of black and white and color photographic reproductions of artworks, identified with artists' names. Black and white wrappers with photo images of artwork, with title printed in French on front and in Japanese on rear: L'Aventure Informelle / アヴァンチュール アンフオルメル. Tan publisher’s cardboard enclosure has the same titles in red ink. This issue focuses on L'art informel (Art Informel) and Gutai. Opened western style, the first pages are an introduction and essay in French by critic and promoter Michel Tapié (1909 - 1907), and when opened Japanese style, the introduction and essay are in Japanese. Further text by Tapié and Gutai group co-founder and artist Yoshihara Jirō 吉原治良 (1905 - 1972) throughout. Gutai artists featured include Yoshihara, Yoshihara Michio and Tanaka Atsuko, while Western artists James Brown, De Kooning, Jackson Pollock, Sam Francis, Etienne Martin, Gottlieb, Lee Krasner and Mathieu, as well as others, are included.
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.
Enclosure, which is rare, has wear, staining and damage, but is still intact. The magazine is clean, with nicks to binding and a small crease at right forecorner.