The Shift from Traditional to Contemporary Art in Japan
Defining contemporary art is not an easy feat, however, in Japanese culture mean contemporary art: “Japanese Spirit and Western knowledge” and “Japanese Spirit and Japanese knowledge”. “Japanese Spirit and Western knowledge” refers to an original work made in Japan being subsumed by western art and not mistaking Japanistic for true Japanese-ness (Munroe 307). “Japanese Spirit and Japanese knowledge” refers to a more postmodernism contemporary art style combined with nationalism. Neither of those contemporary art styles are an exact definition of that particular movement in Japan. While contemporary art can loosely be defined as a unique style of art that for the most part has never seen done before, each piece has some power, emotion, or idea behind it that may not be so apparent at first glance. The artists’ feeling in their work are molded to create a feeling for the viewer and the abstract is the language they use to get their point across. Before the rise of contemporary art, which later became the majority of the Japanese art world, Japan was known for its traditional art style. The traditional art style culture of Japan was shattered by the support from the Gutai Group which led to today’s Japanese modern contemporary arts.
Before the 1860s Japan was hesitant to interact with Western Society. As per a few, the meaning of Japanese human advancement begins unexpectedly with the Meiji reclamation of 1868 (Munroe 20). This day and age is the point at which a dynamic gathering of, administering inside the system, over the finish of the Imperial government broke Japan out of around 250 years of willful segregation (Munroe 20). These statesmen embraced a thorough program of modernization after Western models (Munroe 20). While they remove themselves from total western isolation, Japan did not begin to accept western culture until much later. Most artists before the 1940s that used western culture in their works were met with negativity from Japan. Toward the beginning of the chain between World War I and World War II, Japan was in a condition of wartime confinement. Nonetheless, after the finish of World War II in 1945, numerous specialists started dealing with works of art got from the worldwide scene, moving far from neighborhood imaginative improvements into the standard universe of as (Lumen). The emotions felt after the loss of WWII and the effects of the bombing through traditional art. This sudden cultural shift, brought about by the World War, allowed for experimental movements like the Gutai Group to gain influence.
The first appearance of the Gutai Group was in the summer of 1955 with an experimental event of different art styles with the intent to create original works under the Japanese art umbrella. The “Experimental Outdoor Exhibition of Modern Art to Challenge the Mid-Summer Sun” was the first exhibition of the Gutai Art Association. “In June of 1956, the Gutai Group staged an art show in Ashiya Pine Forest (Hyōgo Prefecture), effectively kicking off Japan’s contemporary art era” (JAPAN HOUSE). The Gutai Art Association was founded in December of 1954 by Yoshihara Jiro. Jiro was born to a prosperous merchant family with the family’s expectations for him to run the family business. Jiro had other things in mind as he had planned to pursue art from an early age. During his early 20s, he had two well-known painters, Kamiyama Jiro and Fujita Tsuguharu, as guides through his art journey. The motto “Do not imitate others” said by Fujita stuck out to Yoshihara and was later used as a core motto for the Gutai Group. The motto even shapes Yoshihara’s view of art which is apparent in Yoshihara’s push for original artwork and for Japanese artists to do something that has never been done before. Yoshihara goes as far to call traditional art forms “hoaxes” and “monsters” and goes as far to say “Lock up these corpses in the graveyard”(New York). Yoshihara’s attack on the validity of the traditional Japanese art along with his rising influence greatly decreases the demand for traditional art. These statements even appeared in the Gutai Group Manifesto, which Yoshihara wrote. The Gutai Group, illustrated below, was one of the most influential groups involved in the acceptance of the west and the development of Japanese contemporary art. The contemporary art of today is the living testament to the Gutai Group’s work before their disbandment, after the death of Yoshihara in 1972.
Gutai group in Osaka, 1959. Photo by Christo Coetzee, courtesy of Wikipedia Saburo Murakami. Image used for illustrative purposes only.
Today the exchange of culture between Japan and the West comes mostly from the Japan Foundation. “The Japan Foundation is Japan’s only institution dedicated to carrying out comprehensive international cultural exchange programs throughout the world” (Japan Foundation). Since 1972, the Japan Foundation has been working with other countries for traveling exhibitions, cultural education, strengthening artist relationships, funding the creation of books, and supporting research on Japanese artistic culture. Some of the Japan Foundation’s traveling exhibitions included Gutai Group artwork.
Today, New York is one of core locations for Japanese and Western arts to come together. Famous contemporary artists such Yayoi Kusama was often in New York for exhibitions, schooling, and interviews. One piece by Kusama, illustrated below, called, With All My Love for the Tulips, I Pray Forever. It was presented in New York’s David Zwirner Gallery on 19th Street. The piece shows Kusama’s obsession with dots. Kusama’s art shows a genuine look into contemporary art not only for Japan, but also the world as a whole.
Yayoi Kusama ,With All My Love for the Tulips, I Pray Forever, 2011. David Zwirner Gallery on 19th Street
Other artists like Takesada Matsutani, a former Gutai Group member known for his a mixture of painting and adding textures with bubbles, drippings, and bumps. While some like Takashi Murakami focus on popping colors and comic styles. The artists can use their artistic freedom to compliment their talents however they want. The expression of the freedom of the creative mind shows a genuine representation of contemporary art.
The traditional art style of Japan was broken with support from the Gutai Group which led to today’s Japanese modern contemporary arts. The contemporary art styles of Japan include “Japanese Spirit and Western knowledge” and “Japanese Spirit and Japanese knowledge”. The shift from traditional to contemporary art styles took specific turns and events to start gaining momentum. The Gutai Group is one of the core elements in Japanese art history and the nation’s contemporary art as a whole. Japanese contemporary art has come a long way and it has made its mark on the world. Japanese contemporary art is a major part of contemporary art worldwide and it may bring a revival of art to come in later years.
Works Cited
Gutai: Splendid Playground – The Solomon R. Guggenheim Museum, web.guggenheim.org/exhibitions/gutai/.
“About the Japan Foundation.” The Japan Foundation – About the Japan Foundation, www.jpf.go.jp/e/about/outline/about_01.html.
Boundless. “Boundless Art History.” Lumen, courses.lumenlearning.com/boundless-arthistory/chapter/the-modern-period/.
“In New York, the Guggenheim Goes Gutai.” The Japan Times, www.japantimes.co.jp/culture/2013/02/28/arts/in-new-york-the-guggenheim-goes-gutai/#.W9tNpGhKhD8.
“Introduction to Japanese Contemporary Art.” JAPAN HOUSE(Los Angeles), www.japanhouse.jp/losangeles/articles/intro-to-japanese-contemporary-art.html.
Munroe, Alexandra. Japanese Art after 1945: Scream against the Sky. H.N. Abrams, 1994.