Gutai

Kiyoji Otsuji, Murakami Saburo, Passing Through, 2nd Gutai Art exhibition  1956, printed 2012

This photograph is from the Japanese photographer Kiyoji Otsuji’s portfolio of forty-eight photographs known collectively as the Gutai Portfolio (Tate P82274–321). The portfolio comprises forty-eight black and white photographs, printed posthumously in 2012 with permission from the artist’s estate from negatives which were made between 1956 and 1957. This set is the seventh in an edition of seventeen; there also exist three artist’s proofs (other editions of the portfolio are in the collections of the Inhotim Institute in Brumadinho, Brazil and The Dallas Museum of Art). The series of images document emblematic works by members of the Japanese Gutai group, such as Tanaka Atsuko’s (born 1932) Electric Dress 1956 and Murakami Saburo’s (1925–1996) performance Passing Through 1956; such images are at times the only remaining manifestation of the often ephemeral work and actions of the Gutai artists and, as such, have been used to represent their work in publications and exhibitions about the group. The portfolio can be divided into twelve groups of images relating to performative actions that were conceived either as part of the production process for an artwork, or which constituted the work of art in itself. They relate to two landmark Gutai exhibitions: the 2nd Gutai Exhibition at Ohara Kaikan, Tokyo, circa 11–17 October 1956, and the Gutai Art on the Stage exhibition at the Sankei Kaikan halls in Osaka and Tokyo in 1957.

Shozo Shimamoto, Holes  1953

Shimamoto Shōzō created this work by using a hole punch on foil sweet wrappers. He then pasted the wrappers onto a sheet of plywood, covering them with black ink. Shimamoto was one of the original members and secretary of the Gutai Art Association. He encouraged the use of ‘utensils’ in the making of art, claiming that the paintbrush had been invented to ‘castrate’ paint.

Gallery label, December 2020

Yuko Nasaka, Untitled  1964

This work is comprised of eight plaster panels. Nasaka Yūko placed each one onto a mechanical turntable, inspired by the potter’s wheel. As it rotated, she carved patterns into the plaster using a palette knife. She then applied a layer of dark-blue silver lacquer to the surface. Nasaka was part of the second generation of Gutai artists who experimented with technology. Much of their work used industrial materials and techniques, referencing Japan’s rapid economic growth.

Gallery label, December 2020

Ryuji Tanaka, Sei (9)  1962–3

Tanaka Ryūji studied nihonga, a traditional form of Japanese painting, at the Kyoto Municipal School of Painting. Shiraga Kazuo, another Gutai artist, also studied with him. In nihonga, glue is mixed with the pigment to act as a fixing agent. This is then applied with a brush. In this work Tanaka challenged the traditional nihonga style and technique by adding pebbles to his mineral pigments and using a feather to apply the paint.

Gallery label, December 2020

Kiyoji Otsuji, Shiraga Kazuo, Ultramodern Sanbaso, Gutai Exhibition on the Stage  1957, printed 2012

This photograph is from the Japanese photographer Kiyoji Otsuji’s portfolio of forty-eight photographs known collectively as the Gutai Portfolio (Tate P82274–321). The portfolio comprises forty-eight black and white photographs, printed posthumously in 2012 with permission from the artist’s estate from negatives which were made between 1956 and 1957. This set is the seventh in an edition of seventeen; there also exist three artist’s proofs (other editions of the portfolio are in the collections of the Inhotim Institute in Brumadinho, Brazil and The Dallas Museum of Art). The series of images document emblematic works by members of the Japanese Gutai group, such as Tanaka Atsuko’s (born 1932) Electric Dress 1956 and Murakami Saburo’s (1925–1996) performance Passing Through 1956; such images are at times the only remaining manifestation of the often ephemeral work and actions of the Gutai artists and, as such, have been used to represent their work in publications and exhibitions about the group. The portfolio can be divided into twelve groups of images relating to performative actions that were conceived either as part of the production process for an artwork, or which constituted the work of art in itself. They relate to two landmark Gutai exhibitions: the 2nd Gutai Exhibition at Ohara Kaikan, Tokyo, circa 11–17 October 1956, and the Gutai Art on the Stage exhibition at the Sankei Kaikan halls in Osaka and Tokyo in 1957.

Kiyoji Otsuji, Kanayama Akira, Giant Balloon, Gutai Exhibition on the Stage  1957, printed 2012

This photograph is from the Japanese photographer Kiyoji Otsuji’s portfolio of forty-eight photographs known collectively as the Gutai Portfolio (Tate P82274–321). The portfolio comprises forty-eight black and white photographs, printed posthumously in 2012 with permission from the artist’s estate from negatives which were made between 1956 and 1957. This set is the seventh in an edition of seventeen; there also exist three artist’s proofs (other editions of the portfolio are in the collections of the Inhotim Institute in Brumadinho, Brazil and The Dallas Museum of Art). The series of images document emblematic works by members of the Japanese Gutai group, such as Tanaka Atsuko’s (born 1932) Electric Dress 1956 and Murakami Saburo’s (1925–1996) performance Passing Through 1956; such images are at times the only remaining manifestation of the often ephemeral work and actions of the Gutai artists and, as such, have been used to represent their work in publications and exhibitions about the group. The portfolio can be divided into twelve groups of images relating to performative actions that were conceived either as part of the production process for an artwork, or which constituted the work of art in itself. They relate to two landmark Gutai exhibitions: the 2nd Gutai Exhibition at Ohara Kaikan, Tokyo, circa 11–17 October 1956, and the Gutai Art on the Stage exhibition at the Sankei Kaikan halls in Osaka and Tokyo in 1957.

Minoru Onoda, WORK62-W  1962

Onoda Minoru was part of the second generation of Gutai artists. He began making paintings using dots of various sizes and colours in 1961. Onoda described these as ‘propagation paintings’. For him, the systematic repetition of dots was a way to think mechanically. Through this technique, he hoped to counter the subjectivity of action-based painting. Onoda was also responding to the industrialisation of Japan during the post-war period. He found inspiration in the ‘vast meaninglessness’ of machine-made, identically duplicated objects.

Gallery label, December 2020

Kiyoji Otsuji, Shimamoto Shozo making a painting by hurling glass bottles of paint against a canvas, 2nd Gutai Art Exhibition  1956, printed 2012

This photograph is from the Japanese photographer Kiyoji Otsuji’s portfolio of forty-eight photographs known collectively as the Gutai Portfolio (Tate P82274–321). The portfolio comprises forty-eight black and white photographs, printed posthumously in 2012 with permission from the artist’s estate from negatives which were made between 1956 and 1957. This set is the seventh in an edition of seventeen; there also exist three artist’s proofs (other editions of the portfolio are in the collections of the Inhotim Institute in Brumadinho, Brazil and The Dallas Museum of Art). The series of images document emblematic works by members of the Japanese Gutai group, such as Tanaka Atsuko’s (born 1932) Electric Dress 1956 and Murakami Saburo’s (1925–1996) performance Passing Through 1956; such images are at times the only remaining manifestation of the often ephemeral work and actions of the Gutai artists and, as such, have been used to represent their work in publications and exhibitions about the group. The portfolio can be divided into twelve groups of images relating to performative actions that were conceived either as part of the production process for an artwork, or which constituted the work of art in itself. They relate to two landmark Gutai exhibitions: the 2nd Gutai Exhibition at Ohara Kaikan, Tokyo, circa 11–17 October 1956, and the Gutai Art on the Stage exhibition at the Sankei Kaikan halls in Osaka and Tokyo in 1957.

Kiyoji Otsuji, Shimamoto Shozo making a painting by hurling glass bottles of paint against a canvas, 2nd Gutai Art Exhibition  1956, printed 2012

This photograph is from the Japanese photographer Kiyoji Otsuji’s portfolio of forty-eight photographs known collectively as the Gutai Portfolio (Tate P82274–321). The portfolio comprises forty-eight black and white photographs, printed posthumously in 2012 with permission from the artist’s estate from negatives which were made between 1956 and 1957. This set is the seventh in an edition of seventeen; there also exist three artist’s proofs (other editions of the portfolio are in the collections of the Inhotim Institute in Brumadinho, Brazil and The Dallas Museum of Art). The series of images document emblematic works by members of the Japanese Gutai group, such as Tanaka Atsuko’s (born 1932) Electric Dress 1956 and Murakami Saburo’s (1925–1996) performance Passing Through 1956; such images are at times the only remaining manifestation of the often ephemeral work and actions of the Gutai artists and, as such, have been used to represent their work in publications and exhibitions about the group. The portfolio can be divided into twelve groups of images relating to performative actions that were conceived either as part of the production process for an artwork, or which constituted the work of art in itself. They relate to two landmark Gutai exhibitions: the 2nd Gutai Exhibition at Ohara Kaikan, Tokyo, circa 11–17 October 1956, and the Gutai Art on the Stage exhibition at the Sankei Kaikan halls in Osaka and Tokyo in 1957.

Kiyoji Otsuji, Shiraga Kazuo demonstrating his signature painting style, 2nd Gutai Exhibition  1956, printed 2012

These photographs were taken by Kiyogi Otsuji and document the work of the Gutai Art Association. Some show performative actions that were part of an artist’s production process. Others show performances that were works of art in themselves. They document two landmark exhibitions: the 2nd Gutai Exhibition at Ohara Kaikan, Tokyo, in 1956, and the Gutai Art on the Stage at Sankei Kaikan, Osaka, in May and Sankei Hall, Tokyo, in July 1957. Kiyoji was a photographer active in post-war Japan. His photographs are often all that remains of Gutai’s ephemeral artworks and actions, which often existed just for the span of an exhibition.

Gallery label, December 2020

Kiyoji Otsuji, Shiraga Kazuo demonstrating his signature painting style, 2nd Gutai Exhibition  1956, printed 2012

This photograph is from the Japanese photographer Kiyoji Otsuji’s portfolio of forty-eight photographs known collectively as the Gutai Portfolio (Tate P82274–321). The portfolio comprises forty-eight black and white photographs, printed posthumously in 2012 with permission from the artist’s estate from negatives which were made between 1956 and 1957. This set is the seventh in an edition of seventeen; there also exist three artist’s proofs (other editions of the portfolio are in the collections of the Inhotim Institute in Brumadinho, Brazil and The Dallas Museum of Art). The series of images document emblematic works by members of the Japanese Gutai group, such as Tanaka Atsuko’s (born 1932) Electric Dress 1956 and Murakami Saburo’s (1925–1996) performance Passing Through 1956; such images are at times the only remaining manifestation of the often ephemeral work and actions of the Gutai artists and, as such, have been used to represent their work in publications and exhibitions about the group. The portfolio can be divided into twelve groups of images relating to performative actions that were conceived either as part of the production process for an artwork, or which constituted the work of art in itself. They relate to two landmark Gutai exhibitions: the 2nd Gutai Exhibition at Ohara Kaikan, Tokyo, circa 11–17 October 1956, and the Gutai Art on the Stage exhibition at the Sankei Kaikan halls in Osaka and Tokyo in 1957.

Kiyoji Otsuji, Shiraga Kazuo demonstrating his signature painting style, 2nd Gutai Exhibition  1956, printed 2012

This photograph is from the Japanese photographer Kiyoji Otsuji’s portfolio of forty-eight photographs known collectively as the Gutai Portfolio (Tate P82274–321). The portfolio comprises forty-eight black and white photographs, printed posthumously in 2012 with permission from the artist’s estate from negatives which were made between 1956 and 1957. This set is the seventh in an edition of seventeen; there also exist three artist’s proofs (other editions of the portfolio are in the collections of the Inhotim Institute in Brumadinho, Brazil and The Dallas Museum of Art). The series of images document emblematic works by members of the Japanese Gutai group, such as Tanaka Atsuko’s (born 1932) Electric Dress 1956 and Murakami Saburo’s (1925–1996) performance Passing Through 1956; such images are at times the only remaining manifestation of the often ephemeral work and actions of the Gutai artists and, as such, have been used to represent their work in publications and exhibitions about the group. The portfolio can be divided into twelve groups of images relating to performative actions that were conceived either as part of the production process for an artwork, or which constituted the work of art in itself. They relate to two landmark Gutai exhibitions: the 2nd Gutai Exhibition at Ohara Kaikan, Tokyo, circa 11–17 October 1956, and the Gutai Art on the Stage exhibition at the Sankei Kaikan halls in Osaka and Tokyo in 1957.

Kiyoji Otsuji, Shimamoto Shozo making a painting by hurling glass bottles of paint against a canvas, 2nd Gutai Art Exhibition  1956, printed 2012

This photograph is from the Japanese photographer Kiyoji Otsuji’s portfolio of forty-eight photographs known collectively as the Gutai Portfolio (Tate P82274–321). The portfolio comprises forty-eight black and white photographs, printed posthumously in 2012 with permission from the artist’s estate from negatives which were made between 1956 and 1957. This set is the seventh in an edition of seventeen; there also exist three artist’s proofs (other editions of the portfolio are in the collections of the Inhotim Institute in Brumadinho, Brazil and The Dallas Museum of Art). The series of images document emblematic works by members of the Japanese Gutai group, such as Tanaka Atsuko’s (born 1932) Electric Dress 1956 and Murakami Saburo’s (1925–1996) performance Passing Through 1956; such images are at times the only remaining manifestation of the often ephemeral work and actions of the Gutai artists and, as such, have been used to represent their work in publications and exhibitions about the group. The portfolio can be divided into twelve groups of images relating to performative actions that were conceived either as part of the production process for an artwork, or which constituted the work of art in itself. They relate to two landmark Gutai exhibitions: the 2nd Gutai Exhibition at Ohara Kaikan, Tokyo, circa 11–17 October 1956, and the Gutai Art on the Stage exhibition at the Sankei Kaikan halls in Osaka and Tokyo in 1957.

Kiyoji Otsuji, Shiraga Kazuo demonstrating his signature painting style, 2nd Gutai Exhibition  1956, printed 2012

This photograph is from the Japanese photographer Kiyoji Otsuji’s portfolio of forty-eight photographs known collectively as the Gutai Portfolio (Tate P82274–321). The portfolio comprises forty-eight black and white photographs, printed posthumously in 2012 with permission from the artist’s estate from negatives which were made between 1956 and 1957. This set is the seventh in an edition of seventeen; there also exist three artist’s proofs (other editions of the portfolio are in the collections of the Inhotim Institute in Brumadinho, Brazil and The Dallas Museum of Art). The series of images document emblematic works by members of the Japanese Gutai group, such as Tanaka Atsuko’s (born 1932) Electric Dress 1956 and Murakami Saburo’s (1925–1996) performance Passing Through 1956; such images are at times the only remaining manifestation of the often ephemeral work and actions of the Gutai artists and, as such, have been used to represent their work in publications and exhibitions about the group. The portfolio can be divided into twelve groups of images relating to performative actions that were conceived either as part of the production process for an artwork, or which constituted the work of art in itself. They relate to two landmark Gutai exhibitions: the 2nd Gutai Exhibition at Ohara Kaikan, Tokyo, circa 11–17 October 1956, and the Gutai Art on the Stage exhibition at the Sankei Kaikan halls in Osaka and Tokyo in 1957.

Kiyoji Otsuji, Shiraga Kazuo demonstrating his signature painting style, 2nd Gutai Exhibition  1956, printed 2012

This photograph is from the Japanese photographer Kiyoji Otsuji’s portfolio of forty-eight photographs known collectively as the Gutai Portfolio (Tate P82274–321). The portfolio comprises forty-eight black and white photographs, printed posthumously in 2012 with permission from the artist’s estate from negatives which were made between 1956 and 1957. This set is the seventh in an edition of seventeen; there also exist three artist’s proofs (other editions of the portfolio are in the collections of the Inhotim Institute in Brumadinho, Brazil and The Dallas Museum of Art). The series of images document emblematic works by members of the Japanese Gutai group, such as Tanaka Atsuko’s (born 1932) Electric Dress 1956 and Murakami Saburo’s (1925–1996) performance Passing Through 1956; such images are at times the only remaining manifestation of the often ephemeral work and actions of the Gutai artists and, as such, have been used to represent their work in publications and exhibitions about the group. The portfolio can be divided into twelve groups of images relating to performative actions that were conceived either as part of the production process for an artwork, or which constituted the work of art in itself. They relate to two landmark Gutai exhibitions: the 2nd Gutai Exhibition at Ohara Kaikan, Tokyo, circa 11–17 October 1956, and the Gutai Art on the Stage exhibition at the Sankei Kaikan halls in Osaka and Tokyo in 1957.

Kiyoji Otsuji, Shimamoto Shozo making a painting by hurling glass bottles of paint against a canvas, 2nd Gutai Art Exhibition  1956, printed 2012

This photograph is from the Japanese photographer Kiyoji Otsuji’s portfolio of forty-eight photographs known collectively as the Gutai Portfolio (Tate P82274–321). The portfolio comprises forty-eight black and white photographs, printed posthumously in 2012 with permission from the artist’s estate from negatives which were made between 1956 and 1957. This set is the seventh in an edition of seventeen; there also exist three artist’s proofs (other editions of the portfolio are in the collections of the Inhotim Institute in Brumadinho, Brazil and The Dallas Museum of Art). The series of images document emblematic works by members of the Japanese Gutai group, such as Tanaka Atsuko’s (born 1932) Electric Dress 1956 and Murakami Saburo’s (1925–1996) performance Passing Through 1956; such images are at times the only remaining manifestation of the often ephemeral work and actions of the Gutai artists and, as such, have been used to represent their work in publications and exhibitions about the group. The portfolio can be divided into twelve groups of images relating to performative actions that were conceived either as part of the production process for an artwork, or which constituted the work of art in itself. They relate to two landmark Gutai exhibitions: the 2nd Gutai Exhibition at Ohara Kaikan, Tokyo, circa 11–17 October 1956, and the Gutai Art on the Stage exhibition at the Sankei Kaikan halls in Osaka and Tokyo in 1957.

Kiyoji Otsuji, Shiraga Kazuo demonstrating his signature painting style, 2nd Gutai Exhibition  1956, printed 2012

This photograph is from the Japanese photographer Kiyoji Otsuji’s portfolio of forty-eight photographs known collectively as the Gutai Portfolio (Tate P82274–321). The portfolio comprises forty-eight black and white photographs, printed posthumously in 2012 with permission from the artist’s estate from negatives which were made between 1956 and 1957. This set is the seventh in an edition of seventeen; there also exist three artist’s proofs (other editions of the portfolio are in the collections of the Inhotim Institute in Brumadinho, Brazil and The Dallas Museum of Art). The series of images document emblematic works by members of the Japanese Gutai group, such as Tanaka Atsuko’s (born 1932) Electric Dress 1956 and Murakami Saburo’s (1925–1996) performance Passing Through 1956; such images are at times the only remaining manifestation of the often ephemeral work and actions of the Gutai artists and, as such, have been used to represent their work in publications and exhibitions about the group. The portfolio can be divided into twelve groups of images relating to performative actions that were conceived either as part of the production process for an artwork, or which constituted the work of art in itself. They relate to two landmark Gutai exhibitions: the 2nd Gutai Exhibition at Ohara Kaikan, Tokyo, circa 11–17 October 1956, and the Gutai Art on the Stage exhibition at the Sankei Kaikan halls in Osaka and Tokyo in 1957.

Kiyoji Otsuji, Shiraga Kazuo demonstrating his signature painting style, 2nd Gutai Exhibition  1956, printed 2012

This photograph is from the Japanese photographer Kiyoji Otsuji’s portfolio of forty-eight photographs known collectively as the Gutai Portfolio (Tate P82274–321). The portfolio comprises forty-eight black and white photographs, printed posthumously in 2012 with permission from the artist’s estate from negatives which were made between 1956 and 1957. This set is the seventh in an edition of seventeen; there also exist three artist’s proofs (other editions of the portfolio are in the collections of the Inhotim Institute in Brumadinho, Brazil and The Dallas Museum of Art). The series of images document emblematic works by members of the Japanese Gutai group, such as Tanaka Atsuko’s (born 1932) Electric Dress 1956 and Murakami Saburo’s (1925–1996) performance Passing Through 1956; such images are at times the only remaining manifestation of the often ephemeral work and actions of the Gutai artists and, as such, have been used to represent their work in publications and exhibitions about the group. The portfolio can be divided into twelve groups of images relating to performative actions that were conceived either as part of the production process for an artwork, or which constituted the work of art in itself. They relate to two landmark Gutai exhibitions: the 2nd Gutai Exhibition at Ohara Kaikan, Tokyo, circa 11–17 October 1956, and the Gutai Art on the Stage exhibition at the Sankei Kaikan halls in Osaka and Tokyo in 1957.

Kiyoji Otsuji, Shiraga Kazuo demonstrating his signature painting style, 2nd Gutai Exhibition  1956, printed 2012

This photograph is from the Japanese photographer Kiyoji Otsuji’s portfolio of forty-eight photographs known collectively as the Gutai Portfolio (Tate P82274–321). The portfolio comprises forty-eight black and white photographs, printed posthumously in 2012 with permission from the artist’s estate from negatives which were made between 1956 and 1957. This set is the seventh in an edition of seventeen; there also exist three artist’s proofs (other editions of the portfolio are in the collections of the Inhotim Institute in Brumadinho, Brazil and The Dallas Museum of Art). The series of images document emblematic works by members of the Japanese Gutai group, such as Tanaka Atsuko’s (born 1932) Electric Dress 1956 and Murakami Saburo’s (1925–1996) performance Passing Through 1956; such images are at times the only remaining manifestation of the often ephemeral work and actions of the Gutai artists and, as such, have been used to represent their work in publications and exhibitions about the group. The portfolio can be divided into twelve groups of images relating to performative actions that were conceived either as part of the production process for an artwork, or which constituted the work of art in itself. They relate to two landmark Gutai exhibitions: the 2nd Gutai Exhibition at Ohara Kaikan, Tokyo, circa 11–17 October 1956, and the Gutai Art on the Stage exhibition at the Sankei Kaikan halls in Osaka and Tokyo in 1957.

Kiyoji Otsuji, Shiraga Kazuo, Ultramodern Sanbaso, Gutai Exhibition on the Stage  1957, printed 2012

This photograph is from the Japanese photographer Kiyoji Otsuji’s portfolio of forty-eight photographs known collectively as the Gutai Portfolio (Tate P82274–321). The portfolio comprises forty-eight black and white photographs, printed posthumously in 2012 with permission from the artist’s estate from negatives which were made between 1956 and 1957. This set is the seventh in an edition of seventeen; there also exist three artist’s proofs (other editions of the portfolio are in the collections of the Inhotim Institute in Brumadinho, Brazil and The Dallas Museum of Art). The series of images document emblematic works by members of the Japanese Gutai group, such as Tanaka Atsuko’s (born 1932) Electric Dress 1956 and Murakami Saburo’s (1925–1996) performance Passing Through 1956; such images are at times the only remaining manifestation of the often ephemeral work and actions of the Gutai artists and, as such, have been used to represent their work in publications and exhibitions about the group. The portfolio can be divided into twelve groups of images relating to performative actions that were conceived either as part of the production process for an artwork, or which constituted the work of art in itself. They relate to two landmark Gutai exhibitions: the 2nd Gutai Exhibition at Ohara Kaikan, Tokyo, circa 11–17 October 1956, and the Gutai Art on the Stage exhibition at the Sankei Kaikan halls in Osaka and Tokyo in 1957.

Kiyoji Otsuji, Motonaga Sadamasa, Smoke, Gutai Exhibition on the Stage  1957, printed 2012

This photograph is from the Japanese photographer Kiyoji Otsuji’s portfolio of forty-eight photographs known collectively as the Gutai Portfolio (Tate P82274–321). The portfolio comprises forty-eight black and white photographs, printed posthumously in 2012 with permission from the artist’s estate from negatives which were made between 1956 and 1957. This set is the seventh in an edition of seventeen; there also exist three artist’s proofs (other editions of the portfolio are in the collections of the Inhotim Institute in Brumadinho, Brazil and The Dallas Museum of Art). The series of images document emblematic works by members of the Japanese Gutai group, such as Tanaka Atsuko’s (born 1932) Electric Dress 1956 and Murakami Saburo’s (1925–1996) performance Passing Through 1956; such images are at times the only remaining manifestation of the often ephemeral work and actions of the Gutai artists and, as such, have been used to represent their work in publications and exhibitions about the group. The portfolio can be divided into twelve groups of images relating to performative actions that were conceived either as part of the production process for an artwork, or which constituted the work of art in itself. They relate to two landmark Gutai exhibitions: the 2nd Gutai Exhibition at Ohara Kaikan, Tokyo, circa 11–17 October 1956, and the Gutai Art on the Stage exhibition at the Sankei Kaikan halls in Osaka and Tokyo in 1957.

Kiyoji Otsuji, Kanayama Akira, Giant Balloon, Gutai Exhibition on the Stage  1957, printed 2012

This photograph is from the Japanese photographer Kiyoji Otsuji’s portfolio of forty-eight photographs known collectively as the Gutai Portfolio (Tate P82274–321). The portfolio comprises forty-eight black and white photographs, printed posthumously in 2012 with permission from the artist’s estate from negatives which were made between 1956 and 1957. This set is the seventh in an edition of seventeen; there also exist three artist’s proofs (other editions of the portfolio are in the collections of the Inhotim Institute in Brumadinho, Brazil and The Dallas Museum of Art). The series of images document emblematic works by members of the Japanese Gutai group, such as Tanaka Atsuko’s (born 1932) Electric Dress 1956 and Murakami Saburo’s (1925–1996) performance Passing Through 1956; such images are at times the only remaining manifestation of the often ephemeral work and actions of the Gutai artists and, as such, have been used to represent their work in publications and exhibitions about the group. The portfolio can be divided into twelve groups of images relating to performative actions that were conceived either as part of the production process for an artwork, or which constituted the work of art in itself. They relate to two landmark Gutai exhibitions: the 2nd Gutai Exhibition at Ohara Kaikan, Tokyo, circa 11–17 October 1956, and the Gutai Art on the Stage exhibition at the Sankei Kaikan halls in Osaka and Tokyo in 1957.

Kiyoji Otsuji, Shiraga Kazuo demonstrating his signature painting style, 2nd Gutai Exhibition  1956, printed 2012

This photograph is from the Japanese photographer Kiyoji Otsuji’s portfolio of forty-eight photographs known collectively as the Gutai Portfolio (Tate P82274–321). The portfolio comprises forty-eight black and white photographs, printed posthumously in 2012 with permission from the artist’s estate from negatives which were made between 1956 and 1957. This set is the seventh in an edition of seventeen; there also exist three artist’s proofs (other editions of the portfolio are in the collections of the Inhotim Institute in Brumadinho, Brazil and The Dallas Museum of Art). The series of images document emblematic works by members of the Japanese Gutai group, such as Tanaka Atsuko’s (born 1932) Electric Dress 1956 and Murakami Saburo’s (1925–1996) performance Passing Through 1956; such images are at times the only remaining manifestation of the often ephemeral work and actions of the Gutai artists and, as such, have been used to represent their work in publications and exhibitions about the group. The portfolio can be divided into twelve groups of images relating to performative actions that were conceived either as part of the production process for an artwork, or which constituted the work of art in itself. They relate to two landmark Gutai exhibitions: the 2nd Gutai Exhibition at Ohara Kaikan, Tokyo, circa 11–17 October 1956, and the Gutai Art on the Stage exhibition at the Sankei Kaikan halls in Osaka and Tokyo in 1957.

Kiyoji Otsuji, Motonaga Sadamasa, Smoke, Gutai Exhibition on the Stage  1957, printed 2012

This photograph is from the Japanese photographer Kiyoji Otsuji’s portfolio of forty-eight photographs known collectively as the Gutai Portfolio (Tate P82274–321). The portfolio comprises forty-eight black and white photographs, printed posthumously in 2012 with permission from the artist’s estate from negatives which were made between 1956 and 1957. This set is the seventh in an edition of seventeen; there also exist three artist’s proofs (other editions of the portfolio are in the collections of the Inhotim Institute in Brumadinho, Brazil and The Dallas Museum of Art). The series of images document emblematic works by members of the Japanese Gutai group, such as Tanaka Atsuko’s (born 1932) Electric Dress 1956 and Murakami Saburo’s (1925–1996) performance Passing Through 1956; such images are at times the only remaining manifestation of the often ephemeral work and actions of the Gutai artists and, as such, have been used to represent their work in publications and exhibitions about the group. The portfolio can be divided into twelve groups of images relating to performative actions that were conceived either as part of the production process for an artwork, or which constituted the work of art in itself. They relate to two landmark Gutai exhibitions: the 2nd Gutai Exhibition at Ohara Kaikan, Tokyo, circa 11–17 October 1956, and the Gutai Art on the Stage exhibition at the Sankei Kaikan halls in Osaka and Tokyo in 1957.

Kiyoji Otsuji, Shiraga Kazuo, Ultramodern Sanbaso, Gutai Exhibition on the Stage  1957, printed 2012

This photograph is from the Japanese photographer Kiyoji Otsuji’s portfolio of forty-eight photographs known collectively as the Gutai Portfolio (Tate P82274–321). The portfolio comprises forty-eight black and white photographs, printed posthumously in 2012 with permission from the artist’s estate from negatives which were made between 1956 and 1957. This set is the seventh in an edition of seventeen; there also exist three artist’s proofs (other editions of the portfolio are in the collections of the Inhotim Institute in Brumadinho, Brazil and The Dallas Museum of Art). The series of images document emblematic works by members of the Japanese Gutai group, such as Tanaka Atsuko’s (born 1932) Electric Dress 1956 and Murakami Saburo’s (1925–1996) performance Passing Through 1956; such images are at times the only remaining manifestation of the often ephemeral work and actions of the Gutai artists and, as such, have been used to represent their work in publications and exhibitions about the group. The portfolio can be divided into twelve groups of images relating to performative actions that were conceived either as part of the production process for an artwork, or which constituted the work of art in itself. They relate to two landmark Gutai exhibitions: the 2nd Gutai Exhibition at Ohara Kaikan, Tokyo, circa 11–17 October 1956, and the Gutai Art on the Stage exhibition at the Sankei Kaikan halls in Osaka and Tokyo in 1957.

Kiyoji Otsuji, Kanayama Akira, Giant Balloon, Gutai Exhibition on the Stage  1957, printed 2012

This photograph is from the Japanese photographer Kiyoji Otsuji’s portfolio of forty-eight photographs known collectively as the Gutai Portfolio (Tate P82274–321). The portfolio comprises forty-eight black and white photographs, printed posthumously in 2012 with permission from the artist’s estate from negatives which were made between 1956 and 1957. This set is the seventh in an edition of seventeen; there also exist three artist’s proofs (other editions of the portfolio are in the collections of the Inhotim Institute in Brumadinho, Brazil and The Dallas Museum of Art). The series of images document emblematic works by members of the Japanese Gutai group, such as Tanaka Atsuko’s (born 1932) Electric Dress 1956 and Murakami Saburo’s (1925–1996) performance Passing Through 1956; such images are at times the only remaining manifestation of the often ephemeral work and actions of the Gutai artists and, as such, have been used to represent their work in publications and exhibitions about the group. The portfolio can be divided into twelve groups of images relating to performative actions that were conceived either as part of the production process for an artwork, or which constituted the work of art in itself. They relate to two landmark Gutai exhibitions: the 2nd Gutai Exhibition at Ohara Kaikan, Tokyo, circa 11–17 October 1956, and the Gutai Art on the Stage exhibition at the Sankei Kaikan halls in Osaka and Tokyo in 1957.

Kiyoji Otsuji, Kanayama Akira, Giant Balloon, Gutai Exhibition on the Stage  1957, printed 2012

This photograph is from the Japanese photographer Kiyoji Otsuji’s portfolio of forty-eight photographs known collectively as the Gutai Portfolio (Tate P82274–321). The portfolio comprises forty-eight black and white photographs, printed posthumously in 2012 with permission from the artist’s estate from negatives which were made between 1956 and 1957. This set is the seventh in an edition of seventeen; there also exist three artist’s proofs (other editions of the portfolio are in the collections of the Inhotim Institute in Brumadinho, Brazil and The Dallas Museum of Art). The series of images document emblematic works by members of the Japanese Gutai group, such as Tanaka Atsuko’s (born 1932) Electric Dress 1956 and Murakami Saburo’s (1925–1996) performance Passing Through 1956; such images are at times the only remaining manifestation of the often ephemeral work and actions of the Gutai artists and, as such, have been used to represent their work in publications and exhibitions about the group. The portfolio can be divided into twelve groups of images relating to performative actions that were conceived either as part of the production process for an artwork, or which constituted the work of art in itself. They relate to two landmark Gutai exhibitions: the 2nd Gutai Exhibition at Ohara Kaikan, Tokyo, circa 11–17 October 1956, and the Gutai Art on the Stage exhibition at the Sankei Kaikan halls in Osaka and Tokyo in 1957.

Kiyoji Otsuji, Kanayama Akira, Giant Balloon, Gutai Exhibition on the Stage  1957, printed 2012

This photograph is from the Japanese photographer Kiyoji Otsuji’s portfolio of forty-eight photographs known collectively as the Gutai Portfolio (Tate P82274–321). The portfolio comprises forty-eight black and white photographs, printed posthumously in 2012 with permission from the artist’s estate from negatives which were made between 1956 and 1957. This set is the seventh in an edition of seventeen; there also exist three artist’s proofs (other editions of the portfolio are in the collections of the Inhotim Institute in Brumadinho, Brazil and The Dallas Museum of Art). The series of images document emblematic works by members of the Japanese Gutai group, such as Tanaka Atsuko’s (born 1932) Electric Dress 1956 and Murakami Saburo’s (1925–1996) performance Passing Through 1956; such images are at times the only remaining manifestation of the often ephemeral work and actions of the Gutai artists and, as such, have been used to represent their work in publications and exhibitions about the group. The portfolio can be divided into twelve groups of images relating to performative actions that were conceived either as part of the production process for an artwork, or which constituted the work of art in itself. They relate to two landmark Gutai exhibitions: the 2nd Gutai Exhibition at Ohara Kaikan, Tokyo, circa 11–17 October 1956, and the Gutai Art on the Stage exhibition at the Sankei Kaikan halls in Osaka and Tokyo in 1957.

Kiyoji Otsuji, Shiraga Kazuo, Ultramodern Sanbaso, Gutai Exhibition on the Stage  1957, printed 2012

This photograph is from the Japanese photographer Kiyoji Otsuji’s portfolio of forty-eight photographs known collectively as the Gutai Portfolio (Tate P82274–321). The portfolio comprises forty-eight black and white photographs, printed posthumously in 2012 with permission from the artist’s estate from negatives which were made between 1956 and 1957. This set is the seventh in an edition of seventeen; there also exist three artist’s proofs (other editions of the portfolio are in the collections of the Inhotim Institute in Brumadinho, Brazil and The Dallas Museum of Art). The series of images document emblematic works by members of the Japanese Gutai group, such as Tanaka Atsuko’s (born 1932) Electric Dress 1956 and Murakami Saburo’s (1925–1996) performance Passing Through 1956; such images are at times the only remaining manifestation of the often ephemeral work and actions of the Gutai artists and, as such, have been used to represent their work in publications and exhibitions about the group. The portfolio can be divided into twelve groups of images relating to performative actions that were conceived either as part of the production process for an artwork, or which constituted the work of art in itself. They relate to two landmark Gutai exhibitions: the 2nd Gutai Exhibition at Ohara Kaikan, Tokyo, circa 11–17 October 1956, and the Gutai Art on the Stage exhibition at the Sankei Kaikan halls in Osaka and Tokyo in 1957.

Kiyoji Otsuji, Shiraga Kazuo, Ultramodern Sanbaso, Gutai Exhibition on the Stage  1957, printed 2012

This photograph is from the Japanese photographer Kiyoji Otsuji’s portfolio of forty-eight photographs known collectively as the Gutai Portfolio (Tate P82274–321). The portfolio comprises forty-eight black and white photographs, printed posthumously in 2012 with permission from the artist’s estate from negatives which were made between 1956 and 1957. This set is the seventh in an edition of seventeen; there also exist three artist’s proofs (other editions of the portfolio are in the collections of the Inhotim Institute in Brumadinho, Brazil and The Dallas Museum of Art). The series of images document emblematic works by members of the Japanese Gutai group, such as Tanaka Atsuko’s (born 1932) Electric Dress 1956 and Murakami Saburo’s (1925–1996) performance Passing Through 1956; such images are at times the only remaining manifestation of the often ephemeral work and actions of the Gutai artists and, as such, have been used to represent their work in publications and exhibitions about the group. The portfolio can be divided into twelve groups of images relating to performative actions that were conceived either as part of the production process for an artwork, or which constituted the work of art in itself. They relate to two landmark Gutai exhibitions: the 2nd Gutai Exhibition at Ohara Kaikan, Tokyo, circa 11–17 October 1956, and the Gutai Art on the Stage exhibition at the Sankei Kaikan halls in Osaka and Tokyo in 1957.