# data[].attributes.body
Cy Twombly

# data[].attributes.body
A pioneering artist and teacher, Hans Hofmann emigrated from Germany to the United States in 1930. He brought with him a deep knowledge of French art, gleaned from years spent in Paris before World War I, and this proved crucial in spreading European modernist styles and ideas in the United States. He taught Lee Krasner, Helen Frankenthaler, and Larry Rivers, and he formed a close relationship with Jackson Pollock. Hofmann's own style represented a fusion of various modes, and his later work made a powerful contribution to Abstract Expressionism.

# data[].attributes.attachment_link.title
The Painter Emil Nolde 1947 in his Studio in Seebüll

# data[].attributes.attachment_link.description
This newly scanned newsreel shows the expressionist painter Emil Nolde in his studio a few months before his eightieth birthday. It was filmed in August 1947. It was produced by the American military government in Germany and is one of the few film documents about the painter.

# data[].attributes.attachment_link.description
Emil Nolde was a Nazi - and so what, asks contemporary German artist Daniel Richter. "It's a moralistic debate. A debate, that mirrors the moralism and bigottery of a generation that seems to think, that the world is a moral playground."

# data[].attributes.attachment_link.description
Emil Nolde musica: Alfred Schnittke, The Ascent Suite art video di Sabrina Aureli Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing.

# data[].attributes.headline
Gutai: Abstract expressionism sub sect from Japan

# data[].attributes.subject
Gutai: Abstract expressionism sub sect from Japan

# data[].attributes.attachment_link.readable_text
Synopsis

This Japanese movement represented a radical and energetic approach to artmaking that encompassed performance, painting, installation, and theatrical events, taking advantage of the freedoms available in their newly democratic homeland. They sought and achieved an extraordinary level of international recognition, collaborated with and strongly influenced conceptual and performance artists that came after them, and are now considered to mark one of the most important moments in post-war Japanese culture.

Key Ideas

Individualism was a central concern for Gutai artists. During the Second World War, Japan's totalitarian regime had promoted the notion of a national body and stifled any hints of individual expression. Members of the group unashamedly rebelled against this attitude in their writings and artworks, encouraging the public, children, and other artists to "do what no one has done before!"

The word 'gutai' translates as 'concreteness', and it articulates one of the Gutai group's most distinctive traits - their desire to physically engage with an extraordinary range of materials. The name also anticipated their investigations into the reciprocal connection between matter (paint, chemicals, tar, mud, water) and physical action (breaking, exploding, tearing, dripping). They wanted to create a new kind of art that explored the relationship between the human spirit and material, works that luxuriated in "the scream of matter."

Gutai artists were exceptional international networkers who used the media to spread their ideas across the globe. They also collaborated with other artists' groups in Europe and America, including Allan Kaprow's Happenings, the Art Informel group, and the Dutch Nul collective. This drive was not only essential to the movement's long term success, but it also represented their rejection of Japanese isolation during World War II and their desire to be a part of a new, liberal-minded Japan.

Gutai firmly believed in concept over form, thoroughly rejecting representative art. They wanted to move away from the art object towards the invisible world of ideas, and to leave plenty of room for viewers to come up with potential meanings on their own. Two Gutai practices that articulated these ideas were the pared-down, interactive works of Atsuko Tanaka and Saburõ Murakami's pieces that aimed to separate art from content with a strong dose of wit.

Most Important Art

Read More ...

The Gutai Group Artworks in Focus:

The Gutai Group Overview Continues Below

Beginnings

Japan in the 1950s was in a process of renewal after being ravaged by the Second World War, and diplomatic relations with the West - especially America after its occupation of the country came to an end in 1952 - were rapidly becoming reestablished. This new internationalism had a strong impact on Japan's cultural scene, and it was against this backdrop of young democracy and a growing belief in individual freedom that Jirõ Yoshihara was inspired to found the Gutai Art Association in the affluent town of Ashiya, near Osaka in Japan, in 1954.

A generation older than most of the collective's other future members, Yoshihara was the son of a wealthy merchant, able to thoroughly finance many of Gutai's activities. He had been a reasonably successful painter and teacher for over twenty years before seeking artistic revolution. He led the group until his death in 1972.

The first to join the Yoshihara's movement were young artists, either former students of Yoshihara's or others whom he met at one of the numerous cultural events that had taken place in the Ashiya area during the postwar years.

Local Influences

A number of small artistic groups and societies in the Ashiya region contributed to Gutai's success, supplying many of its members as well as its key ideas.

Founded in 1952 and consisting of about fifteen members - including future Gutai luminaries Tanaka Atsuko and Saburõ Murakami - The Zero-Kai (Zero Society) was the best-known of these. The deeply conceptual and radical group, focused on the idea that "every work of art begins from nothing", was extraordinarily experimental, counting sound, chance, and time among their materials. When they became part of Gutai in 1955, they encouraged the rest of the movement to redefine and expand their notion of what art could be.

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

The Gutai Group Overview Continues

The Ashiya City Exhibition also became a rich source of new Gutai members, notably Toshio Yoshida and Shuji Mukai. Co-founded by Yoshihara, the Exhibition was a juried salon show that had been extremely conservative before the war, but that had become a hive of artistic innovation in the Ashiya region since the end of the war.

Another group noted for its contribution to the movement's evolution was Genbi, a multi-disciplinary society also co-founded by Yoshihara with Kan Muramatsu, an art journalist. The group was primarily concerned with ways of bringing traditional Japanese art forms up to date and how to make the country's art scene more internationally relevant - themes that would repeatedly recur in Gutai. Thirteen future Gutai members were Genbi recruits.

International Influences

Gutai artists were strongly influenced by European and American artists of the day, particularly Jackson Pollock and the European Art Informel movement. Many early Gutai directly responded to Pollock's rejection of representation and the unadulterated energy of his drip paintings, including Kazuo Shiraga who made energetic foot paintings and Shozo Shimamoto, known for his explosions of paint onto canvas using a handmade cannon. Jirõ Yoshihara praised Pollock in his Gutai Manifesto of 1956, describing how his work "reveals the scream of matter itself, cries of the paint and enamel."

Gutai's founder also used his 1956 manifesto to herald his enthusiasm for the Art Informel movement: "Their art is free from conventional formalism, demanding something fresh and newborn." While Pollock never responded to Yoshihara's attempt to make contact with him shortly before his death in 1956, Michel Tapie - the French critic who coined the term Art Informel to describe European postwar painting that violently renounced traditional ideas of composition and order - received his attentions with much more interest, and their relationship became longstanding.

The First Gutai Art Exhibition

Sixteen artists took part in the group's first exhibition in Ohara Hall, Tokyo in October 1955. The show, which was unfavorably received in the Tokyo art world, included a number of artworks which have since become some of their best known works, including Kazuo Shiraga's Challenge To The Mud, Saburõ Murakami's Work (Six Holes), and Atsuko Tanaka's interactive sound piece Work (Bell). Their actions that used the body as a medium were especially groundbreaking, predating the comparable American Happenings and European Actionist movements by several years.

Concepts and Styles

Even in their most outlandish moments, Gutai artists always maintained a formal and theoretical connection to painting, unlike other performance art movements of the 1950s and 1960s such as Allan Kaprow's Happenings, which advocated abandoning painting completely. In a time before performance art, interactive art, or conceptual art as it is understood today, Gutai artists had to invent their own vocabulary to explain their works. They summed up their artistic aims in a single word - "e", which loosely translates as 'picture' or 'picturing', using it to refer to their entire range of activities that aimed for "the expulsion of the frame", from painting and installation to performance and sound pieces. This broad understanding stood in direct contrast to kaiga - the Japanese word traditionally used to refer to conventional painting - whose history Gutai wanted to acknowledge while also going beyond it.

E had many articulations. Kazuo Shiraga painted with his feet; Akira Kanayama painted with a remote control car; and Yasuo Sumi painted with an abacus. Even looser expressions of e included Shiraga's Ultramodern Sanbaso, which he performed in a red outfit with sweeping sleeves, creating an e of a long and meandering red line; and Atsuko Tanaka's Electric Dress, which produced an e of bright color and rapid, moving light.

Publications

Printed publications were a vital part of Gutai's output. They contributed to the group's wider efforts to create and maintain an international network of similar-minded artists, and were also designed to engage audiences within and outside the art world.

The Gutai Journal was set up in 1954, a year before the movement's first group exhibition. It was heavily inspired by the Surrealist magazine Minotaure and featured photographs of Gutai artworks and shows, articles by members of the group, and images of works by their international contemporaries. The journal was incredibly pioneering in its design and layout, and became a kind of exhibition space in its own right, with contributions that included concrete poetry, graphic cutouts, and limited edition multiples by Gutai members. It was also translated into English and French and distributed to influential artists and critics internationally.

Kirin was a children's art and poetry magazine that aimed to free art education from the tight constrictions that had been imposed on it by Japan's military regime. Many Gutai artists taught art to children alongside their practices, and wanted to use art education as a way to encourage children to think for themselves and give them the freedom to create as individuals through play in the same way artists in the group did. Members of Gutai wrote around sixty articles for Kirin between 1954 and 1962.

Interactivity

Gutai was one of the first modern movements to make works that actively involved the spectator, anticipating the more famous, technology-based interactive art from the 1960s onwards. The group's desire to involve the public - young and old - in the creation of their artworks, or to encourage interaction with them, had its root in their emphasis on individual expression, democracy, and freedom. Well-known examples include Atsuko Tanaka's Work (Bell) (1955), in which viewers were invited to press a switch, setting off a series of ringing sounds around the gallery in an experiment in 'living sound' that interrupted other visitors' quiet contemplation of the rest of the pieces in the exhibition; Gutai Card Box (1962), a vending machine that dispensed original, postcard-sized Gutai artworks to the public; and many of the large sculptures in the Outdoor Gutai Art Exhibition of 1956 that invited visitors to touch, enter, walk round, and thoroughly reflect on the pieces in the same way the artists had in their production.

Later Developments

The movement disbanded after Yoshihara's sudden death in 1972. Many Gutai artists, feeling that they were now part of the establishment they had originally been so eager to rebel against, founded new movements and made fresh works that ensured their continuing cultural relevance. Shozo Shimamoto, for example, created a new collective known as the Artists' Union, while a 1979 exhibition called Jirõ Yoshihara and Today's Aspects of Gutai showed almost entirely new painting, performance, and conceptual works by former members.

Gutai is now acknowledged as one of the most influential movements in art, and has had an enormous impact on contemporary practice both in Japan and around the world. Its impact on more famous, 20 th century performance art movements such as Happenings, Fluxus, and Viennese Actionism, as well as on the conceptual art of the 1970s, is now widely recognized. Kaprow in particular cited the group as a direct influence, sharing their desire to push beyond the action painting of Pollock into more experimental territory.

The group's political engagement, their liberal attitudes to art education, and above all their promotion of pure, unbridled creative freedom for all are issues that continue to be relevant as are their concept of e to liberate painting from its historical constraints, their groundbreaking performances, and their democratic ideas about how art should be made and shown. Relational art and the engaged performance practices of Tino Sehgal or Rirkrit Tiravanija, for example, all owe a clear debt to Gutai.

Reflecting this continued artistic importance, there has been a resurgence of interest in the movement at important international institutions in the last few years, with a survey show at the Guggenheim in New York in 2013, a retrospective room at the 2009 Venice Biennale, and several high profile publications by contemporary art historians.

# data[].attributes.attachment_link.title
The Gutai Group Movement, Artists and Major Works

# data[].attributes.attachment_link.description
This Japanese movement represented a radical and energetic approach to artmaking that encompassed performance, painting, installation, and theatrical events, taking advantage of the freedoms available in their newly democratic homeland. They sought and achieved an extraordinary level of international recognition, collaborated with and strongly influenced conceptual and performance artists that came after them, and are now considered to mark one of the most important moments in post-war Japanese culture.

# data[].attributes.attachment_link.title
Abstract Expressionism Movement Timeline | The Art Story

# data[].attributes.attachment_link.description
Timeline of important events in the development of Abstract Expressionism Movement.

# data[].attributes.headline
10 Female Abstract Expressionists You Should Know

# data[].attributes.subject
10 Female Abstract Expressionists You Should Know

# data[].attributes.body
http://flavorwire.com/487375/10-female-abstract-expressionists-you-should-know

# data[].attributes.headline
An artistic movement of the mid-20th century comprising diverse styles and techniques and emphasizing especially an artist's liberty to convey attitudes and emotions through nontraditional and usually nonrepresentational means.

# data[].attributes.subject
An artistic movement of the mid-20th century comprising diverse styles and techniques and emphasizing especially an artist's liberty to convey attitudes and emotions through nontraditional and usually nonrepresentational means.

# data[].attributes.headline
Blue, Yellow, Green on Red, Mark Rothko, 1954.

# data[].attributes.subject
Blue, Yellow, Green on Red, Mark Rothko, 1954.

# data[].attributes.body
Mark Rothko’s technique of painting departs from Pollock’s actions. Rothko’s style is called colorfield painting. His works consist of strong formal elements, such as color, shape, balance, depth, composition, and scale. They confirm the ideas of the formalist critic Clement Greenberg, who suggested in “Modernist Painting” (1960) that artists should respect the limitations of each media. Because a canvas is a two-dimensional surface, painting should avoid any illusion of three-dimensional representation.

# data[].attributes.body
http://charcoalstereo.com/2015/01/07/abstract-expressionism/

# data[].attributes.headline
The term ''Abstract Expressionism'' was first used in Germany in connection with Russian Artist Wassily Kandinsky in 1919. However, was named as an ''American Movement''

# data[].attributes.subject
The term ''Abstract Expressionism'' was first used in Germany in connection with Russian Artist Wassily Kandinsky in 1919. However, was named as an ''American Movement''

# data[].attributes.body
"Every good artist paints what he is." 'Jackson Pollock'

# data[].attributes.attachment_link.entities[].name
Barnett Newman Foundation/Artists Rights Society

# data[].attributes.attachment_link.title
AB EX NY: The Painting Techniques of Barnett Newman: Vir Heroicus Sublimis

# data[].attributes.attachment_link.description
The Painting Techniques of Barnett Newman: Vir Heroicus Sublimis Abstract Expressionist New York The Museum of Modern Art, October 3, 2010--April 11, 2011 MoMA.org/abexny Filmed by Plowshares Media Images courtesy of Barnett Newman Foundation/Artists Rights Society (ARS), New York; and The Museum of Modern Art, New York Music by Chris Parrello Chris Parrello, Ian Young, Kevin Thomas, Ziv Ravitz © 2010 The Museum of Modern Art

# data[].attributes.headline
Chronological Listing of Abstract Expressionists

# data[].attributes.subject
Chronological Listing of Abstract Expressionists

# data[].attributes.body
Hans Hofmann  | 1880-1966  | German/American Painter |  |
Mark Tobey  | 1890-1976  | American Painter |  |
Alma Thomas  | 1891-1978  | African-American Painter |  |
Louise Nevelson  | 1899-1988  | Russian/American Sculptor |  |
Jack Tworkov  | 1900-1982  | Polish/American Painter |  |
Adja Yunkers  | 1900-1983  | Latvian/American Painter |  |
Mary Callery  | 1903-1977  | American Sculptor |  |
Adolph Gottlieb  | 1903-1974  | American Painter |  |
Alfred Jensen  | 1903-1981  | Guatemalan/American Painter |  |
Seymour Lipton  | 1903-1986  | American Sculptor |  |
Mark Rothko  | 1903-1970  | Latvian/American Painter |  |
Aaron Siskind  | 1903-1991  | American Photographer |  |
Esteban Vicente  | 1903-2001  | Spanish/American Painter |  |
Willem de Kooning  | 1904-1997  | Dutch/American Painter |  |
Jose de Rivera  | 1904-1985  | American Sculptor |  |
Arshile Gorky  | 1904-1948  | Armenian/American Painter |  |
Balcomb Greene  | 1904-1990  | American Painter |  |
Gertrude Greene  | 1904-1956  | American Painter |  |
Isamu Noguchi  | 1904-1988  | Japanese/American Sculptor |  |
Clyfford Still  | 1904-1980  | American Painter |  |
John Ferren  | 1905-1970  | American Painter |  |
Barnett Newman  | 1905-1970  | American Painter |  |
James Brooks  | 1906-1992  | American Painter |  |
Herbert Ferber  | 1906-1991  | American Sculptor |  |
David Smith  | 1906-1965  | American Sculptor |  |
Albert Kotin  | 1907-1980  | Russian/American Painter |  |
Perle Fine  | 1908-1988  | American Painter |  |
Lee Krasner  | 1908-1984  | American Painter |  |
George McNeil  | 1908-1995  | American Painter |  |
Jack Bush  | 1909-1977  | Canadian Painter |  |
Enrico Donati  | 1909-2008  | American Painter |  |
Norman Lewis  | 1909-1979  | African-American Painter |  |
Morris Graves  | 1910-2001  | American Painter/Sculptor |  |
Franz Kline  | 1910-1962  | American Painter |  |
Louise Bourgeois  | 1911-2010  | French/American Sculptor |  |
William Baziotes  | 1912-1963  | American Painter |  |
Morris Louis  | 1912-1962  | American Painter |  |
Roberto Matta  | 1912-2002  | Chilean/French Painter |  |
Jackson Pollock  | 1912-1956  | American Painter |  |
Lawrence Calcagno  | 1913-1993  | American Painter |  |
Philip Guston  | 1913-1980  | Canadian/American Painter |  |
Ibram Lassaw  | 1913-2003  | American Sculptor |  |
Conrad Marca-Relli  | 1913-2000  | American Painter |  |
Ad Reinhardt  | 1913-1967  | American Painter |  |
William Scott  | 1913-1989  | British Painter |  |
Alberto Burri  | 1915-1995  | Italian Painter |  |
Edward Dugmore  | 1915-1996  | American Painter |  |
Robert Motherwell  | 1915-1991  | American Painter |  |
Elmer Bischoff  | 1916-1991  | American Painter |  |
Alfonso Ossorio  | 1916-1990  | Filipino/American Painter |  |
Richard Pousette-Dart  | 1916-1992  | American Painter |  |
Nicolas Carone  | 1917-2010  | American Painter/Sculptor |  |
Stephen Greene  | 1917-1999  | American Painter |  |
David Hare  | 1917-1992  | American Sculptor |  |
Milton Resnick  | 1917-2004  | Russian/American Painter |  |
Elaine Fried de Kooning  | 1918-1989  | American Painter |  |
Cleve Gray  | 1918-2004  | American Painter |  |
Edward Corbett  | 1919-1971  | American Painter |  |
Lester Johnson  | 1919-2010  | American Painter |  |
George Morrison  | 1919-2000  | Native American Painter/Sculptor |  |
Gene Davis  | 1920-1985  | American Painter |  |
Karel Appel  | 1921-2006  | Dutch Painter |  |
Norman Bluhm  | 1921-1999  | American Painter |  |
Nell Blaine  | 1922-1996  | American Painter |  |
Robert de Niro Sr.  | 1922-1993  | American Painter |  |
Grace Hartigan  | 1922-2008  | American Painter |  |
Jules Olitski  | 1922-2007  | Ukrainian/American Painter |  |
Theodoros Stamos  | 1922-1997  | American Painter |  |
Sam Francis  | 1923-1994  | American Painter |  |
Paul Jenkins  | 1923-2012  | American Painter |  |
Jean Paul Riopelle  | 1923-2002  | Canadian Painter |  |
Richard Stankiewicz  | 1923-1983  | American Assemblage Artist |  |
Antoni Tapies  | 1923-2012  | Spanish Painter |  |
Kenneth Noland  | 1924-2010  | American Painter |  |
Joan Mitchell  | 1926-1992  | American Painter |  |
Helen Frankenthaler  | 1928-2011  | American Painter |  |
Al Held  | 1928-2005  | American Painter |  |
Rita Letendre  | Born 1928  | Native Canadian Painter |  |
Cy Twombly  | 1928-2011  | American Painter |  |
Jasper Johns  | Born 1930  | American Painter/Sculptor |  |
Raphael Collazo  | 1943-1990  | American Painter |  |
Joseph Marioni  | Born 1943  | American Painter |  |

# data[].attributes.headline
They were influenced by the era's leftist politics, and came to value an art grounded in personal experience. Few would maintain their earlier radical political views, but many continued to adopt the posture of outspoken avant-gardists protesting from the margins.

# data[].attributes.subject
They were influenced by the era's leftist politics, and came to value an art grounded in personal experience. Few would maintain their earlier radical political views, but many continued to adopt the posture of outspoken avant-gardists protesting from the margins.

# data[].attributes.body
https://prezi.com/uacoklr3uyyn/copy-of-expressionism-and-graphic-design/

# data[].attributes.body
Rothko

# data[].attributes.attachment_link.readable_text
Introduction

The abstract expressionists were mostly based in New York City, and also became known as the New York school. The name evokes their aim to make art that while abstract was also expressive or emotional in its effect. They were inspired by the surrealist idea that art should come from the unconscious mind, and by the automatism of artist Joan Miró.

TYPES OF ABSTRACT EXPRESSIONISM

Within abstract expressionism were two broad groupings: the so-called action painters, who attacked their canvases with expressive brush strokes; and the colour field painters who filled their canvases with large areas of a single colour.

The action painters were led by Jackson Pollock and Willem de Kooning, who worked in a spontaneous improvisatory manner often using large brushes to make sweeping gestural marks. Pollock famously placed his canvas on the ground and danced around it pouring paint from the can or trailing it from the brush or a stick. In this way the action painters directly placed their inner impulses onto the canvas.

The second grouping included This approach to painting developed from around 1960 into what became known as Mark Rothko, Barnett Newman and Clyfford Still. They were deeply interested in religion and myth and created simple compositions with large areas of colour intended to produce a contemplative or meditational response in the viewer. In an essay written in 1948 Barnett Newmann said: 'Instead of making cathedrals out of Christ, man, or ''life'', we are making it out of ourselves, out of our own feelings'. colour field painting, characterised by artists using large areas of more or less a single flat colour.

# data[].attributes.attachment_link.title
Abstract expressionism - Art Term | Tate

# data[].attributes.attachment_link.description
The abstract expressionists were mostly based in New York City, and also became known as the New York school. The name evokes their aim to make art that while abstract was also expressive or emotional in its effect. They were inspired by the surrealist idea that art should come from the unconscious mind, and by the automatism of artist Joan Miró.

# data[].attributes.body
http://www.theartstory.org/movement-abstract-expressionism.htm

# data[].attributes.headline
Abstract expressionism put New York city at centre of western art world

# data[].attributes.subject
Abstract expressionism put New York city at centre of western art world

# data[].attributes.body
Arshile Gorky 1904-1948

Jackson Pollock 1912-1956

Willem De Kooning 1904-1997
Robert Motherwell 1915-1991

Franz Kline 1910-1962

Mark Rothko 1903-1970

Hans Hifman 1880-1996

Barnett Newman 1905-1970

Clyfford Still 1904-1980

# data[].attributes.attachment_link.title
AB EX NY: MoMA and Abstract Expressionism

# data[].attributes.attachment_link.description
From the Curator: MoMA and Abstract Expressionism Abstract Expressionist New York The Museum of Modern Art, October 3, 2010--April 11, 2011 MoMA.org/abexny Filmed by Plowshares Media Images courtesy of Kate Rothko Prizel & Christopher Rothko; The Willem de Kooning Foundation; Pollock-Krasner Foundation; Estate of Arshile Gorky; Adolph and Esther Gottlieb Foundation/Licensed by VAGA, New York; Grace Hartigan; Artists Rights Society (ARS), New York; James Burke; Time & Life Pictures; Getty Images; and The Museum of Modern Art and The Museum of Modern Art Archives, New York © 2010 The Museum of Modern Art

# data[].attributes.body
polok film

# data[].attributes.body
http://www.tate.org.uk/learn/online-resources/glossary/a/abstract-expressionism