The Work of Tadaaki Kuwayama
Seiten
2014
Edition Axel Menges (Verlag)
978-3-936681-80-2 (ISBN)
Edition Axel Menges (Verlag)
978-3-936681-80-2 (ISBN)
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Rakuko Naito, arrived in New York in 1958. Leaving behind the traditions of Japanese "nihonga painting ", they became part of the cutting edge of the 60s American art scene. A contemporary of Minimalists such as Dan Flavin, Walter De Maria, and Donald Judd, Kuwayama soon developed his own distinctive style, typified by vivid fields of paint juxtaposed in horizontal and vertical compositions, as well as monochromatic canvases bisected by thin strips of chrome. Following two solo exhibitions at the renowned Green Gallery in 1961 and 1962, his work was shown until today in many important galleries and museums throughout the world, not only in the USA, but also in Germany, Switzerland, Israel, and - not to forget - in his home country, Japan.
Tadaaki Kuwayama and his wife, the artist RakukoNaito, arrived in New York in 1958. Leavingbehind the traditions of Japanese 'nihonga painting', they became part of the cutting edge ofthe '60s American art scene. A contemporary ofMinimalists such as Dan Flavin, Walter De Maria,and Donald Judd, Kuwayama soon developedhis own distinctive style, typified by vivid fields ofpaint juxtaposed in horizontal and vertical compositions,as well as monochromatic canvasesbisected by thin strips of chrome. Following twosolo exhibitions at the renowned Green Galleryin 1961 and 1962, his work was shown until todayin many important galleries and museumsthroughout the world, not only in the USA, but alsoin Germany, Switzerland, Israel, and - not toforget - in his home country, Japan.'In contrast to the painterly, dramatic style ofabstract expressionism, in Kuwayama's work wesee none of the emotional push of a Barnett Newman,none of the tonal atmospheres of an AdReinhardt. Kuwayama's paintings were daring intheir existence: completely stark. Each arrived atthrough simplicity, clarity, and finally the richnessof their color augmented only when using reflectivemetallic paints. As Kuwayama explained in a1964 statement: 'Ideas, thoughts, philosophy, reasons,meanings, even the humanity of the artist,do not enter into my work at all. There is only theart itself. That is all.' Today Kuwayama's art retainsthat spirit of purity. Steadfastly monochromatic,the formula for these works remains linkedto his earlier compositions: single geometric elementsthat are repeated to form a larger whole.His use of metallic paint on canvas in the earlypaintings of the '60s and '70s has given way toworks that use other materials such as aluminumand titanium. Still a colorist at heart, Kuwayamaachieved the unique color of these paintings byanodizing the metal, a chemical process thatdyes the surface of the metal so that it reflectscolor (something of the 19th-century theories ofthe French pointillists like Signac and Seuratlingers here with color conceived as a scientificprinciple). The intensity and luminosity of surfacecolors change as the light on the painting shiftsor as the viewer alters his or her own position infront of the painting.' Michael Klein on the exhibition'Tadaaki Kuwayama' in the Museum ofModern Art Hayama from 2012 to January 2013.Michio Hayashi, who has studied at the Universityof Tokyo and at Columbia University inNew York, is an art critic and professor in theFaculty of Liberal Arts at Sophia University in Tokyo,established in 1949 and widely known forits all-English program. His research interests includethe history of modern and contemporaryart and visual culture as well as aesthetic theoryand criticism.
Tadaaki Kuwayama and his wife, the artist RakukoNaito, arrived in New York in 1958. Leavingbehind the traditions of Japanese 'nihonga painting', they became part of the cutting edge ofthe '60s American art scene. A contemporary ofMinimalists such as Dan Flavin, Walter De Maria,and Donald Judd, Kuwayama soon developedhis own distinctive style, typified by vivid fields ofpaint juxtaposed in horizontal and vertical compositions,as well as monochromatic canvasesbisected by thin strips of chrome. Following twosolo exhibitions at the renowned Green Galleryin 1961 and 1962, his work was shown until todayin many important galleries and museumsthroughout the world, not only in the USA, but alsoin Germany, Switzerland, Israel, and - not toforget - in his home country, Japan.'In contrast to the painterly, dramatic style ofabstract expressionism, in Kuwayama's work wesee none of the emotional push of a Barnett Newman,none of the tonal atmospheres of an AdReinhardt. Kuwayama's paintings were daring intheir existence: completely stark. Each arrived atthrough simplicity, clarity, and finally the richnessof their color augmented only when using reflectivemetallic paints. As Kuwayama explained in a1964 statement: 'Ideas, thoughts, philosophy, reasons,meanings, even the humanity of the artist,do not enter into my work at all. There is only theart itself. That is all.' Today Kuwayama's art retainsthat spirit of purity. Steadfastly monochromatic,the formula for these works remains linkedto his earlier compositions: single geometric elementsthat are repeated to form a larger whole.His use of metallic paint on canvas in the earlypaintings of the '60s and '70s has given way toworks that use other materials such as aluminumand titanium. Still a colorist at heart, Kuwayamaachieved the unique color of these paintings byanodizing the metal, a chemical process thatdyes the surface of the metal so that it reflectscolor (something of the 19th-century theories ofthe French pointillists like Signac and Seuratlingers here with color conceived as a scientificprinciple). The intensity and luminosity of surfacecolors change as the light on the painting shiftsor as the viewer alters his or her own position infront of the painting.' Michael Klein on the exhibition'Tadaaki Kuwayama' in the Museum ofModern Art Hayama from 2012 to January 2013.Michio Hayashi, who has studied at the Universityof Tokyo and at Columbia University inNew York, is an art critic and professor in theFaculty of Liberal Arts at Sophia University in Tokyo,established in 1949 and widely known forits all-English program. His research interests includethe history of modern and contemporaryart and visual culture as well as aesthetic theoryand criticism.
| Erscheint lt. Verlag | 17.9.2014 |
|---|---|
| Verlagsort | Stuttgart |
| Sprache | englisch |
| Maße | 242 x 298 mm |
| Gewicht | 1080 g |
| Einbandart | gebunden |
| Themenwelt | Kunst / Musik / Theater ► Malerei / Plastik |
| Schlagworte | Architekten (Einzelne Personen) • Kuwayama, Tadaaki • Minimalismus (Architektur/Innenarchitektur) • Minimalisten, Green Gallery, Purismus, geometrische Elemente |
| ISBN-10 | 3-936681-80-5 / 3936681805 |
| ISBN-13 | 978-3-936681-80-2 / 9783936681802 |
| Zustand | Neuware |
| Informationen gemäß Produktsicherheitsverordnung (GPSR) | |
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