CONTEMPORARY JAPANESE ART

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CONTEMPORARY JAPANESE ART
FIFTH JAPAN A R I F E S T 1 V A L E X. H I B I T I O N

THE SOLOMON R. GUGGENHEIM MUSEUM, NEW YORK

JAPAN ART FESTIVAL ASSOCIATION, TOKYO

PUBLISHED BY

THE SOLOMON R. GUGGENHEIM FOUNDATION

NEW YORK, 1970

LIBRARY OF CONGRESS CARD CATALOGUE

NUMBER: 75-145689

ALL RIGHTS RESERVED

PRINTED IN JAPAN
 :

Lenders Photographic Credits

All works are lent by the artists under the auspices All photographs are by courtesy of the Japan Art
of the Japan Art Festival Association, with the Festival Association, with the following exceptions:
following exceptions:
Kondo, Nagasawa:
Nagasawa the artist
Courtesy Galerie Francoise Lambert, Milan
Matsuzawa:
Narita: The Solomon R. Guggenheim Museum
Courtesy Tokyo Gallery
Narita, Takamatsu:
Takamatsu: Tokyo Gallery
Courtesy Tokyo Gallery

Yuhara:
Courtesy Galerie Ileana Sonnabend, Paris
Officers of the
Japan Art Festival Association

President Ken Harada Soshitsu Sen

Heigo Fujii Former Minister of Transport Iemoto (15th Generation Head Master)
Vice President, Nippon Steel Corporation Seizo Hinata Urasenke Chanoyu
Director, Japan External Trade Organization Hajime Suzuki
Vice Presidents Wataru Hiraizumi Member, House of Representatives
Kato
Seiji Member, House of Representatives Yasumoto Takagi
Member, House of Representatives Masao Hori Senior Vice President, Japan Air Lines Co., Ltd.
Yoshio Sakurauchi Member, House of Representatives Noboru Takeshita
Member, House of Representatives Atsuo Imaizumi Member, House of Representatives
Art Critic Sofu Teshigahara
Standing Adviser
Osamu Inaba President, Sogetsu-kai Ikebana School
Yasuhiro Nakasone Member, House of Representatives Hisaji Tokunaga
State Minister Michiaki Kawakita Senior Managing Director

Advisers
Director, National Museum of Modern Art, Nippon Steel Corporation
Kyoto Soichi Tominaga
Tetsuro Furugaki
Shigeo Kimura Director, Expo Museum of Fine Arts Osaka
Adviser, Ministry of Foreign Affairs
Executive Director, Japan National Tourist Seiji Tsutsumi
Kenzo Horiki
Organization President, Seibu Department Store, Ltd.
President, Japan National Tourist Organization
Jiro Kitagawa Sosuke Uno
Kichihei Hara
Manager, Special Project Department Member, House of Representatives
President, Japan External Trade Organization
The Mainichi Newspapers Chisaburoh Yamada
Shigeo Nagano
Tetsuo Kojima Director, National Museum of Western Art Tokyo
Chairman, Nippon Steel Corporation
Director, Nihonbashi Gallery ShuichiYanagida
Masamichi Yamagiwa
Fujio Koyama Member, House of Representatives
Former Governor, The Bank of Japan
Art Critic Kikuji Yonezawa
Executive Director Teijiro Kubo Former Managing Director, The KBS
Art Critic
Yoshikata Aso Auditors
Akira Kuroyanagi
Member, House of Representatives
Member, House of Councilors Isshu Fujikawa
Managing Director Tokuzoh Mizushima Chairman, Topy Industries, Ltd.

Yasuo Kamon Executive Director Tomiji Yamazaki

Art Critic Japan Fine Art Dealers Association President, Yamatane Securities Co., Ltd.

Toshio Ogawa
Directors
JAFA Office
Director, Japan Fine Art Dealers Association
Hideo Aoyagi Saburoh Oka Takeshi Kanazawa
Secretary General
Member, House of Councilors Member, House of Representatives
Shigetake Arishima Keizo Saji
Member, House of Representatives President, Suntory, Ltd.
Kenzaburo Hara
Former Minister of Labor
 Trustees The Solomon R.
Guggenheim Foundation

Judges Chairman of the Board

Ichiro Hariu Harry F. Guggenheim
Art Critic
Masayoshi Honma President

Vice Director, National Museum of Modern Art, Peter O. Lawson-Johnston

Tokyo
H. H. Arnason
Atsuo Imaizumi
Art Critic Eleanor, Countess Castle Stewart

Yoshiaki Inui Henry Allen Moc

Chief Curator, National Museum of Modern Art, Dill D. Moyers
Kyoto
A. Chaunccy Ncwlin
Yasuo Kamon
Mrs. Henry Obre
Art Critic
Daniel Catton Rich
Michiaki Kawakita
Director, National Museum of Modern Art, Albert E. Thiele
Kyoto Michael F. Wettach
Teijiro Kubo Carl Zigrosser
Art Critic
Tamon Miki
Chief Curator, National Museum of Modern Art,
Tok y o
Yusuke Nakahara
Art Critic
Yoshiaki Tohno
Art Critic
Soichi Tominaga
Director, Expo Museum of Fine Arts, Osaka
Chisaburoh Yamada
Director, National Museum of Western Art, Tokyo
Edward F. Fry
Associate Curator
The Solomon R. Guggenheim Museum, New York

Sponsoring Organizations

Japan External Trade Organization

Japan Keirin Association

National Diet Members' Art League

Greetings

It was in New York was held for the first time, organized by the
that the Japan. Art Festival
Japan Art Festival Association, which was established in 1965.
Inc.,

The 1st Japan Art Festival in New York was made possible by the leaders of Japan in the
field of politics, industries, as well as of the arts; who were very anxious to introduce Japanese

contemporary art to the world. New York was selected as the first site for the Japan Art
Festival. Being planned well in advance with abundant funds, it turned out to be a great

success. We are very happy to be back again here in New York where the Japan Art Festival
made its start five years ago.

Five years after the first exhibition in New York, the Japan Art Festival has now become
an established international art exhibition, having presented the work of Japanese artists in

18 major cities of the world. After overcoming many difficulties in carrying out these ex-
hibitions, we are now gaining favorable responses to our project at all places where the
Festivals were held. The Association has had inquiries from many museums in many differ-
ent countries requesting the presentation of the Japan Art Festival at their museums.
The Association owes its of recent years not only to the deep under-
vigorous activities

standing and positive policy of the Japanese Government toward art, but also to the strong
financial support of business circles in Japan.
 The rapid economic growth Japan has achieved after World War E turned the eyes of
many people in the world to our economic life, but it is our hope that they will also come to
know more about our culture and arts, especially the contemporary art of Japan, through
this present opportunity.
The 5th Japan Art Festival has been organized in cooperation with The Solomon R. Gug-
genheim Museum, and it will open to meet the expectation of many people. I am sure that

people will realize the significance of this project that the Guggenheim Museum has arranged
in presenting Japanese contemporary art.

We feel very proud in holding our art exhibition at this world famous Museum which in
itself is an excellent work of art.
We would like to express our deep appreciation to Thomas M. Messer, the Director of
the Guggenheim Museum who, appreciating the significant role of our Association gave us
this precious opportunity of international communication and understanding through art;
and to Edward F. Fry, Associate Curator of the Museum, who visitedJapan and made
energetic efforts in selecting the art works. We also would like to thank all the people
concerned who assisted us in materializing this exhibition.

Heigo Fujii, President

Japan Art Festival Association
CONTEMPORARY JAPANESE ART is the title of a selective survey jointly presented by
the Japanese Art Festival Association (for whom this is the fifth in a series of sequential ex-
hibition events) and The Solomon R. Guggenheim Museum. The works were selected in
Japan by a jury of artcritics with Associate Curator Edward F. Fry representing the Gug-

genheim Museum.
Instead of aiming for comprehensiveness, the organizers of the show made an effort to
illustrate, through objects of their choice, prominent tendencies among artists currently
working in Japan. Creative vitality and an ability to reinterpret traditional modes in a
modern context arc the attributes noted by the jury and the qualities which this selection

reflects.

We arc most grateful to the following members of the Japan Art Festival Association:
Mr. Hcigo Fujii, President; Mr. Yoshikata Aso, Chief Director; Mr. Yasuo Kamon,
Executive Director; Mr. Takeshi Kanazawa, Secretary General; as well as to the dis-
tinguished members of the jury for the selection of this exhibition. In addition we wish
especially to thank the Tokyo Gallery, Mr. Tcruo Fujieda and Mr. Yusuke Nakahara,
for their cooperation and assistance. The contribution of Edward F. Fry and of thcMuscum's
staff assisting him with this project is also gratefully acknowledged.

Thomas M. Mcsscr, Director

The Solomon R. Guggenheim Museum
Foreword

The chief purpose of the 1st Japan Art Festival in New York held in the Springof 1966 was
to introduce to American citizens the current circumstances of art in Japan, which has shown
an internationalization as conspicuous as it is in other countries.
For the past century since Japan started its modernization, we have kept our eyes on the
most avant-garde layer of the ever fluid and advancing art world in America and Europe,
and we have adapted what we could to the Japanese tradition of art. After World War II
especially, Japanese artists of younger generations began to play an active role on the
international stage, and not a of Japan are now highly esteemed internationally.
few artists

The contemporary art of Japan has become one of the essential parts of the international art
world.
New buds of art —new new techniques of art — sprang from everywhere in
styles and
Europe and America. They were also new buds of art for Japan at the same time. The word
avant-garde has a deep root in present Japan. In such trends, many new artists have
emerged and their names and styles have gradually been recognized internationally at various
art exhibitions held in many countries.
At the first Festival in New York in 1966, we aimed at presenting comprehensively the
works of these prominent active artists of the first line. The Selection Committee of the
Association, composed of not less than fifteen art critics, entrusted most of these artists with
the preparation of work to be exhibited for the New York show.
The way of this selection, so to speak the selection done from the viewpoint of art history,

was revised at the 3rd Japan Art Festival in Mexico City. There, realizing that our role should
be to discover as many new artists as possible and to give them sufficient space, we commit-
ted half of the exhibition to well-known artists and collected the other half of the works by
public competition.
Fortunately, we had favorable responses to this exhibition in Mexico, and we could
ascertain the freshness and richness of the art world in Japan through the works selected by
competition. Taking a further step in this direction, at our 4th Japan Art Festival in Paris
last year, we selected all the works by a nation-wide open contest. In this contest many
new artists participated as well as the noted artists who have been submitting their works
to our exhibition since our first show in New York. Thus, we have put forward more
main aim that the Association introduce the most avant-garde phase of Japa-
positively the
nese contemporary art. We believe that these works alone can speak freely to people of the
world as a common language. What we have been most careful to do is to eliminate as
much as possible those works incorporating unnecessary decorativeness and sentiment that
supposedly show the characteristics of the Japanese or of the art tradition in Japan.
We obtained satisfactory results at the last exhibition in Paris organized in this way. But
to depend on selecting all the works through contest as we did at the Paris exhibition leaves
two points to be satisfied, i.e., the exhibition may lack the works of artists whom we want
to include, and it may also fail to reflect the will of the host institution.
For this 5th Japan Art Festival, New York, considering the above two points, we decided
to invite Edward F. Fry, Associate Curator of The Solomon R. Guggenheim Museum,
to join the Selection Committee of our Association for the selection of the works and, after
the selection of the contest was completed, to add some more artists if it was necessary, on
the condition that both of the parties agreed to the selection of the artists.

Our was held in June 1970. 1,,203 artists participated with 2,345 works. Among
contest
them our Committee including Mr. Fry selected 29 artists with 50 works. Most
Selection
of these artists selected arc known for their unique activities in Japan for the last few years,
and I think it is certain that they have something original and true.
What their tendencies, and their views of art are, or what they are aiming at, and where
their tendencies can be situated in the contemporary art of the world can be more clearly
understood when we actually see the exhibited art works than if I put them in words. If I
may comment on these works, they can be said to insistently confront the problem of man
and material, eliminating any retrogressiveness or any imitativeness.
After the scrupulous jury meetings on these works by Mr. Fry and the members of our
Selection Committee, we all agreed to select some more artists to participate in this exhibi-
tion, and the following four artists were selected, most of whom are well-known abroad.
They are Yutaka Matsuzawa, Katsuhiko Narita, Jiro Takamatsu and Hidctoshi
Nagasawa.
Above is the outline of the 5th Japan Art Festival, New York. I hope that the ex-
sincerely
hibits of this Festival will convey the fresh and strong pulse of contemporary art in Japan to
many citizens in America.
Iwould like to thank gratefully the eager and kind cooperation extended to us by the
staff" of The Solomon R. Guggenheim Museum.

Yasuo Katnon, Executive Director

Japan Art Festival Association, Inc.
Introduction

For the greater part of a century the most important centers of art have been the scats of
advanced and powerful industrial societies: Paris, Milan, London, New York, and now
Cologne-Diisseldorf and Tokyo. But Japan, with Tokyo as the focus of its artistic life, oc-
cupies a unique and privileged position in the situation of the world today, for it is the only
major industrialized society with direct access to a tradition independent of European cul-
ture.The effect of this historical fact on contemporary Japanese art is direct and continuous.
Yet at the same time Japanese artists have been intensely involved during the last decade with
Western, and above all American, art; and to understand the situation of Japanese art we
must study the interaction between these two cultural forces. Evaluation of the individual
works of art that emerge from this dialectical situation is particularly difficult, for while the
interaction of disparate cultural elements is relatively clear, there are at least two additional
factors to consider before one can venture a considered judgement. First, it is highly doubtful
that many Japanese, even under the present conditions of a highly organized, dynamic indus-
trialism, have a sense of time and of history that may in any way be compared to the acute
Hegelian historical self-consciousness of trans-Atlantic culture. Consequently the historicist
values of reaction and innovation so instinctively important to European and American
artists, art critics, and art historians play at best a surface role in Japanese art, and usually only
in relation to the assimilation of non-indigenous influences by one artist as opposed to a-
nothcr. It remains an open question to this observer whether the massive "Westernization"
of Japan since 1945, the international economic consequences of which are apparent, has as
yet a real counterpart in the cultural sphere to any but the most superficial degree. It may
be only a question of more time being required for such a Westernization to occur in culture
also ; for as has been stated on numerous most notably by A. J.Toynbee, it is im-
occasions,
possible for a civilization to adopt an alien technology without adopting as well the alien
culture which accompanies it. Nevertheless, the surface assimilation of Western culture,
accompanied by a deeper retention of indigenous traditions, is the dilemma in which Japa-
nese art today finds itself.

Secondly, an evaluation of contemporary Japanese art from a Western viewpoint is fur-

ther obscured by the circumstantial and unrelated parallels that exist today between the di-
rections being explored by Japanese and Western artists. For the latter, the elimination of
their Mediterranean, classical heritage has been the one unifying strand during the almost
100 years of modernism. This process of continuous subtraction from an original heritage
(a process largely indebted to Hegelian historicism) has reached a point where little if any of
this heritage now remains either available or useful to the Western artist.
 It is at such a moment that theworks and attitudes of certain Japanese artists have begun
to appear more accessible and inviting to Western sensibilities. But the apparent similarity
of intentions —
between a Western art which has discarded its own past, and an artistic
tradition which has always been independent of the West and has retained its own heritage,
despite recent Westernizing influences — obscures the vast differences separating the two.
This situation of apparent nearness yet underlying distance between two cultures is espe-
cially poignant in the case of earth and process art currently being produced in both Japan
and the West. Americans and Europeans engaged in such art do so usually as an extreme
romantic attempt to close the distance between art and life, and as a consequently radical
criticism of all previous art. However, a distance between art and life or art and nature hardly
exists in the same way in Japanese culture. Traditions which in the West would be called

crafts and decorative arts remain prominent in Japanese life to a degree that has long since
disappeared in other industrialized societies. Similarly, a distinction between art and nature,
whether considered abstractly or in the tangible instances of man's Faustian imposition of
his createdworks upon nature, is a polarity which is denied by many of the formulations
ofJapanese culture. Of these some of the most important are: the equality of and interpene-
tration between man and nature — man is not seen as an entity apart from nature the absence
;

of the hyperself-conscious ego in favor of a situation where individuals within a highly

structured and traditional society are linked by multifarious strands to each other, to the
past, and and the equivalence of existence with non-existence. This last and most
to nature;
important negation of the Faustian ego finds its most adequate expression in Buddhist
philosophy: "Buddha keeps away from both the affirmation of existence and the denial of
existence he preaches
; : It is both nonexistence and not nonexistence ; it neither gives birth to
life, not does it destroy life." (The Teachings of Buddha, Tokyo, 1970, 11th Edition; Ch. Two,
IV ("Actuality"), Section 3, p. 55.)
When we upon foundations that are
thus realize that the tenets of Japanese culture rest
totally separate from the individualist idealism and self-conscious historical dynamics of
Europe, the dilemma of cross-cultural artistic evaluations becomes much clearer. Perhaps
the most revealing event of recent years in Japan was the effects of EXPO '70 upon the
national cultural life. This brilliant exposition was modelled upon the preceding example at
Montreal in 1967 yet surpassed it in almost every domain, from original conception, ad-
ministration and financing, to the superb visual, architectonic, and communicative effect
upon its visitors. The organizers drew upon the most gifted artists throughout Japan, from
distinguished old masters to the most unpredictable young artists in their twenties. Some of
these younger artists were in fact entrusted with the visual presentations of entire pavillions,
often with brilliant results. Yet the consequence of EXPO '70 for Japanese art was a return
to contemporary versions of traditional cultural values; it was as though, having demon-
strated once more their ability to assimilate and even to surpass Western models, the cultural
polity turned inward, to its indigenous habits of mind, structure, and sensibility.

A contemporary Japanese artist acts within his own stable cultural tradition, be he the pos-
sessor of the most exquisitely cosmopolitan experience. It is useless to enumerate in detail all
the qualities of this supporting tradition; therefore only those most pertinent to the visual
arts must suffice. There is hardly a Japanese artist raised and trained within his own culture
who is not a master of many diverse crafts, from the folding of paper and the most refined
subtleties of wood carpentry, to the virtuosity of brushwork that is inevitable in a civiliza-
tion whose written language is expressed calligraphically. In addition to a mastery of the
nature and use of materials, virtually all Japanese artists receive as if by birthright, or at least
by experience and training, not only the sensitivity to line, drawing, and graphic expression
derived from calligraphic traditions, but also an extraordinary mastery of subtle color and
space relations. The color combinations experienced in Japanese daily life exceed in variety
and effect even the most audacious extremes of the Italian mannerists and the tradition of ;

Japanese art education in itself has long stressed a mastery of chromatic relations and nuances
that is without a counterpart in Western art, including the Bauhaus.
Similarly, in composition and spatial organization the Japanese tradition furnishes artists

with a foundation that is both and also based on ideals of unity

stable, as in a craft tradition,

more open and from Renaissance classicism. Aside from a few

flexible than those derived

recurring motifs such as the centralized circle (sphere, sun, moon), composition can vary
freely from the uniform field to unbalanced symmetry. The influence of traditional Japanese
gardens with their subtleties of placement, the meditative randomness of rocks or paths,
and their emphasis on horizontality, continues to exert itself upon contemporary sculptors.
The use of imagery is, finally, an element in Japanese art which not only differs from
Western norms but also is directly related to the nature of the Japanese language. Japanese
is extremely complex and ambiguous; although it can, if necessary, be used for logical dis-

course as rigorous as that possible in other languages, the subtleties and multiplicities of
single calligraphic characters naturally lend themselves to a poetic allusiveness. In the same
way, Japanese artists often do not hesitate to use allusive and polyvalent imagery, or to create
situations which invite multiple interpretations, some of them unashamedly literary. The
narrow distinction between verbal and visual signs is often exploited directly, as in the recent
work of Takamatsu, one of whose sculptures (Oneness) presents the contrast between a plank
of lumber and the tree from which it is made but is also a reference to his own name, which
may be translated literally as "tall thin pine tree" and to the work of Barnett Newman.

We may summarize the forgoing in relation to particular media. In recent graphics, which
have always been among the strongest of Japanese art forms, a highly developed indigenous
traditionof technique and craft has been used to assimilate Western influences: Klee in the
caseof Aigasa; Pollock with Hascgawa; and triple vanishing perspective with Nishi. More
indigenous is Nakazawa's use of Genoves' imagery to evoke not political angst but the
crowded conditions of Japanese life. Western surrealist influence, particularly that of Mag-
ritte, is noticeably present in Matsumura and Kamiya, as well as in the paintings of Mori;
both printmakers, however, do not hesitate to unite art with nature to achieve the condition
of meditation and dream. Kitatsuji turns to photography for sophisticated effects of inver-
sion of both positive-negative and of imagery itself, in a layout derived from Warhol.
Imanaka, however, in her photographs of cabbage fields, combines overall field composi-
tion with the suppression of artistic ego before man's utilization of nature, and draws upon
native tradition in her use of a format originating in that of classical Japanese and Chinese
scroll paintings.

In painting, a fusion of Western styles with Japanese visual and craft traditions is yet more
evident. The large canvas of the New York school is everywhere apparent; and overall field

composition has also been readily accepted because of its own prior existence in Japanese
art. The extraordinary mastery of draughtsmanship and of linear expression that has been
maintained by a calligraphic tradition thus is easily accomodated to large scale painting in
the works of such painters as Kanno (whose compositions are also indebted to the imagery
of woven tatami mats), Kikuchi, Kuwabara, Nakazato, and Oka. The sheer mastery of
color relations and of placement that permeates Japanese life similarly finds its expression in
the large scale canvases of Kondo and Toda.
In many respects their cultural tradition has given Japanese painters almost too great a
facility; this heritage, and the lack of between the fine and
a stark occidental distinction
applied arts, result in paintings that often seem "decorative" to
Western eyes. Contemporary
sculpture, despite its own relation to previous cultural traditions, does not suffer from such

an apparent handicap and is at present the most interesting aspect of Japanese art. In some
instances the direct influence of recent American art is evident, as with Yuhara's elegant
interpretation of Donald Judd. On the whole, however, Japanese sculptors have in recent
years reconciled their own traditions with the issues posed by advanced Western art, without
sacrificing one to the other. This relatively greater artistic success in sculpture as compared
to painting, despite decorative tendencies which can emerge in a three-dimensional medium
as well as elsewhere, is based on three factors discussed previously: the availability of a bril-
liant craft tradition, with accompanying mastery of the nature of materials; the absence
its

of sharp distinctions between art and the surrounding world and its processes; and the
simultaneous emergence in Europe and America of aesthetic issues which address themselves
directly to questions best resolved by these last two factors.
Thus, for the moment at least, the very qualities which often seem to have worked against
Japanese art now are in at least one area very much in its favor. Terada's evocation of elapsed
time through the remnants of a process, and the demonstration by Suga, Honda, Watanabe
and Yamada of the characteristics, limits, and contrasts of and between materials, are all
directly attained through means consonant with existing traditions. The additional element
in both Suga and Honda of surprise, fantasy, and confrontation between rationally compre-
hensible situations and their irrational context are possibly examples of the enduring in-
fluence of surrealism upon Japanese artists, and of perhaps a special receptivity to it on the
part of the Japanese sensibility. A similar contrast between rational and irrational, or even
pre-rational, is the basis of Yamamoto's work, which demands the viewer's own experienc-
ing of the difference between dryness and wetness.
At a much more sophisticated level, Narita and Takamatsu draw upon traditional means
and materials to establish a new experience, and therefore as it were to create a new character
or ideogram. Narita turns to sumi (charcoaled timber used ordinarily for fuel) to express
what he describes as decadence and emptiness; the raw wood is burnt until its surface is

sealed and dried by fire. Takamatsu's cloth squares, with their seemingly random but in fact

subtly calculated folds are exercises not only of exquisite visual sensibility but also expressions
of linguistic paradox —in this case the simultaneity of flat and not-flat, as well as of accident-
and-design. In these works of Narita and Takamatsu, and to a lesser extent of their fellow
sculptors, the sense of artistic ego has been effaced, yet only through careful action and plan-
ning on the artist's part.

At a levelof paradoxical statement comparable to that of Takamatsu, Nagasawa also has

created physical equivalents of ideograms, as with his hanging plumb bobs whose cords are
parallel yet unparallel: an expression of the physical yet intangible facts of gravity and of the

spherical shape of the earth, at the center of which all gravitational vectors converge.
 Matsuzawa's "paintings" are for an outside observer the most radical position in contem-
porary Japanese art, and at the same time a pure, "conservative" expression of the Buddhist
heritage in Japanese culture. His explicit, almost total renunciation of aesthetic ego, his total
unification of art with and with the awareness of life as both tragedy and dream, may be
life

seen as a radical critique of all Western aesthetics; but he also represents, in his current
position among younger artists of quiet influence, leadership, and example, possibly a path
by which the creative vision of Japan may be most adequately presented to the world.
The situation of Japanese art thus faithfully reveals the choices presented by its current
national position: complete Westernization would demand a form of cultural suicide which
could not but eventually cause a breakdown in the society as a whole. A total return to

historical traditions would require the withdrawal of the nation and its culture from all that
it has gained from and can West. Mere updating of tradition and imitation of
offer to the
exterior models are doomed and could bring about a cultural schizophrenia. It is
to failure
rather by a creative fusion of its living traditions with the new problems and opportunities
confronting it and the rest of the world that Japanese art and society may continue to offer
ever wider perspectives for the future.

Edward F. Fry
PAINTING
Hiroko Atarashi 1917-

Born in Yamagata Prefecture. Graduated

from Yamagata University in 1960,
majored in Fine Arts. Member of New
Geometric Art Group since 1968.

1967
Group Exhibition, Muramatsu Gallery,
Tokyo

1968/69
Exhibition of New Geometric Art Group,
Tokyo Central Museum, and Kyoto
Municipal Art Gallery

1970 No. 008. 1970. Oil on canvas, 63 3/4 X 63 3/4" (162 x 162cm.)
Yoshishige Ikeda 1918-

Born in Saitama Prefecture. Has studied

painting at the Institute of Contemporary
Art, Tokyo, since 1965.

1949
Mainichi Newspapers Independent
Exhibition, Tokyo

1968
Trio Exhibition, Kunugi Gallery, Tokyo
1970
Neoforme Exhibition, Nihon Gallery,
Tokyo

Circle I. 1970. Oil, acrylic, ink on canvas, 53 1/8 X 53 1/8" (135 X 135cm.)
Circle II. 1970. Oil, acrylic, ink on canvas, 64 1/2 X 52" (163 X 132cm.)
Seiko Kanno 1933

Born in Miyagi Prefecture. Graduated

from Fukushima State University in 1956,
majored in Fine Arts. Member of Gutai
Art Society since 1968.

1967
19th Exhibition of Gutai Art Society,
Tokyo Central Museum
1969
One-man show, Imabashi Gallery, Osaka

1970
Gutai Art Society Exhibition, Midori
Pavilion, Expo '70, Osaka

From Alpha to Omega I. 1970. Liquitex on canvas, 67 1/4 X 67 1/4" (171 X 171cm.)
From Alpha to Omega III. 1970. Liquitex, lacquer on canvas, 67 1/4 X 67 1/4" (171 X 171cm.)
Takehisa Kikuchi 1943-

Born in Tailcn, Manchuria. Graduated

from Gakushuin University in 1966,
majored in History of Social Thought.

1960
One-man show at Yukigaya Metropolitan
Senior High School

1969
One-man show "For people who are fond
of naked electric lamps", Sakura Gallery,
Nagoya

1969
1st Nagoya Open-air Exhibition of
Sculpture, Shirakawa Park, Nagoya

White Plane I. 1970. Lacquer on canvas, 76 3/8 X 51 5/8" (194 X 131cm.)

White Plane II. 1970. Lacquer on canvas, 71 5/8 X 90" (182 x 228cm.)
TatSUO Kondo 1933- 1963 1967
Awarded prize at Emily Lowe Art Group Exhibition, Martha Jackson
Competition Gallery, New York
Born Tokyo. Graduated from Tokyo
in
1964 1969
University of Art, majored in Painting.
One-man show, Nihonbashi Gallery, Group Exhibition, Triangle Gallery,
Has lived in the United States since 1961.
New York San Francisco

Three Diagonal Stripes. 1970. Acrylic on canvas, 47 1/2 X 117 1/2" (181 X 298cm.)
Blue Diagonal Stripe. 1969. Acrylic on canvas, 59 3/4 X 88 1/2" (152 X 224cm.)
Moriyuki Kuwabara 1942

Born in Hiroshima Prefecture. Graduated

from Nihon University, Tokyo in 1967,

majored in Fine Arts.

1967
11th Shell Exhibition, Tokyo (3rd Prize)

1968
12th Shell Exhibition, Tokyo (1st Prize)

1968
One-man show, Sato Gallery, Tokyo

7
Multiplex Construction According to Proportional Factors. 1970. Acrylic on plywood, 55 1/8 X 55 1/8' (140 X 140cm.)
 A
Metamorphosis of a City Construction According to Proportional Factors. 1970. Acrylic on plywood, (140 X 140cm.) 55 1/8x55 1/8
Hideo Mori 1935- 1967 1969/70
Awarded prize at exhibition of Ichiyo One-man show, Kinokuniya Gallery
Tokyo
Born in Mic Prefecture. Graduated from Art Society, Tokyo Metropolitan Art
Tokyo University of Art in 1959, majored Gallery

in Painting. Member of Ichiyo Art Society

1968
since 1969.
Contemporary Art Exhibition of Japan,
Tokyo Metropolitan Art Gallery

Fake Blue Sky. 1970. Acrylic on canvas, 71 3/4 X 89 5/8" (182 x 227cm.)
Blue Sky Publicity. 1970. Acrylic on canvas, 71 3/4 X 89 5/8" (182 X 227cm.)
Hi tosh i Nakazato 1936-

Graduated from Tama Art College,

Tokyo, in 1960,and from Graduate
School of Fine Arts, University of
Pennsylvania, in 1966. Won prizes at:

1967/68/69
Annual Painting Show, Cheltenham
Township Art Center, Philadelphia

1968
American Drawing '68, Moore College
of Art, Philadelphia

1970
14th Shell Exhibition, Tokyo

Ma Su Chi. 1970. Ink on canvas, 68 7/8 X 89 5/8" (175 X 227cm.)

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C/n' 5i< Ma. 1970. Ink on canvas, 68 7/8 X 89 5/8" (175 X 227cm.) *Prize of the Minister of Education
 1968 1969
Kimiko Oka 1943-
Awarded prize at Civic Exhibition of Contemporary Art Exhibition of Japan,
Ashiya, Ashiya City, Hyogo Prefecture Tokyo Metropolitan Art Gallery
Born in Hyogo Prefecture. Graduated 1969
from Shoin Women's College, majored Exhibition of New Artists in Gutai Art
in English and American Literature. Society, Gutai Pinacothck, Osaka

Work I. 1970. Liquitex, acrylic on canvas, 63 3/4 X 51 1/4" (182 X 227cm.)

Work III. 1970. Liquitex, acrylic on canvas, 63 3/4 X 51 1/4" (182 X 227cm.)
Daizo Oomi 1943-

Born in Tokyo. Graduated from Bunka

Gakuin Academy, Tokyo in 1960,
majored in Fine Arts. Member of Modern
Art Society since 1966.

1961
Awarded prize at Modern Art Exhibition,
Tokyo Metropolitan Art Gallery

1962
One-man show "In the Case of
Monochrome Left Behind" Daiichi
Gallery, Tokyo

1960-70
Modern Art Exhibition, Tokyo

The I. 1970. Oil, lacquer on canvas, 76 3/4 X 76 3/4" (195 X 195cm.)

 //
The 2. 1970. Oil, lacquer on canvas, 76 3/4 X 76 3/4 (195 X 195cm.)
Yoko Toda 1944- sculpture at Accadcmia di Belle Arte di 1970
Brcra, Milan, and at Ecole des Beaux- One-man show, Kintetsu Department
Arts, Paris from 1967-1969. Store, Tokyo
Born in Mic Prefecture. Graduated from
Women's College of Art, Tokyo in 1967, 1969
majored in Commercial Design. Studied Salon Exhibition, Grand Palais, Paris

Work A. 1970. Lacquer on canvas, 72 1/2 X 90 1/4" (184 X 229cm.)

Work C. 1970. Lacquer on canvas, 72 1/2 X 90 1/4" (184 X 229cm.)
GRAPHICS AND PHOTOGRAPHS
Masayoshi Aigasa 1937-

Born Tokyo. Graduated from Tokyo

in
University of Art, majored in Painting.
Member of Japan Print Society since 1969.

j-^> (UQHHffil

1965
9th Shell Exhibition, Tokyo (prize)

1968
One-man show, "Symptoms of Disgust
for Civilization", Ginpohdo Gallery,
Tokyo

1969
Selected for 4th Japan Art Festival
Exhibition in France and Germany

''Theory of Evolution' From The Series, Symptoms oj Disgust With Civilization. 1970. Etching, 20 1/2 X 14 1/8" (52 X 36cm.)
H^owwk, Wo/mam, Woman, Woman. 1970. Etching, 14 1/8 X 19 3/4" (36 X 50cm.)
Tetsuo Araki 1937-

Born in Tokyo. Graduated from

Musashino Art College in 1962, majored
in Painting. Studied at Atelier
Fricdlacnder, Paris, 1965-1970

1968/70
International Biennale of Prints, Cracow,
Poland (awarded Cracow National
Museum Prize)

1969
8th Ljubljana International Biennale of
Prints, Paris

A White Room. 1970. Aquatint, 16 3/4 X 19 3/4" (40 X 50cm.)

August Fantasy. 1970. Aquatint, 16 3/4 X 19 3/4" (40 X 50cm.)
Makiio Hasegawa 1947-

Studicd printmaking at Suidohbata Art

Academy, Tokyo.

1970
Group Exhibition of Prints, Baikatci
Gallery, Tokyo

1970
One-man show, Yohscido Gallery, Tokyo

Jackson Pollock Frieze 53-55. 1970. Type on plywood, 26 X 85 7/8" (66 X 218cm.)
Jackson Pollock Cathedral 47. 1970. Type on plywood, 70 7/8 X 35" (180 X 89cm.)
Kumiko Imanaka 1930- 1965
One-man show, Tokyo Gallery

Born in Osaka. Graduated from 1967

Oogimachi Senior High School, Osaka, 9th Tokyo International Exhibition of
in 1957. Member of Gutai Art Society Art
since 1965.
1968
ICA Exhibition, London

/
Cabbage Field. 1970. Photograph on plywood, 35 1/2 X 141 3/4' (90 X 360cm.)
Strawberry Patches. 1970. Photograph on plywood, 35 1/2 X 141 3/4" (90 X 360cm.) *Prize of the Minister of Foreign Affairs
Shin Kamiya 1942-

Born in Tokyo. Graduated from

Metropolitan High School of Crafts,
Wooden Craft Course, in 1961.

1959/68
"Kokuga-kai" Exhibitions, and Modern
Art Exhibitions, Tokyo

1970
Japan Print Society Exhibition, Tokyo

'Cloud" From The Series, Natural History Poems. 1970. Serigraph, 11 7/8 X 17 3/4" (30 X 45cm.)
 1 ^^^^H

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"T/je Towifc of a R. T. Tempovdria" From The Series, Natural History Poems. 1970. Serigraph,
17 3/4 X 17 3/4" (45 X 45cm.) *Prize of the Minister of International Trade and Industry
 . ' . — i

Risaburoh Kimura 1924-

Born in Kanagawa Prefecture. Graduated

from Hohsci University, majored in
Philosophy. Has lived in the United States
III n
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One-man show, Long Island University,

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A Letter to Mr. K. 1970. Serigraph, 27 1/4 X 21 5/8" (69 X 55cm.)

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Yoshihisa Kitatsuji 1948- 1969 1969

Kyoto Independent Exhibition, Kyoto Jigcn (Dimension) Exhibition, Kyoto

Municipal Art Gallery Municipal Art Gallery
Born in Osaka. Studying at Tama Art
College, Designing Course.
1969
9th Contemporary Art Exhibition of
Japan, Tokyo Metropolitan Art Gallery

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Work 2. 1970. Photograph on wood, 35 1/2 x 70 7/8" (90 x 180cm.)

Work 3. 1970. Photograph on wood, 35 1/2 x 70 7/8" (90 X 180cm.)
Sadaiku Matsumura 1936-

Born in Aomori Prefecture. Graduated

from Musashino Art College in 1960,
majored in Painting.

1969
One-man show, Muramatsu Gallery,
Tokyo
1969

Contemporary Artists Exhibition,

'69, Yokohama Municipal Gallery

1969

Group Exhibition, Nantenshi Gallery,

Tokyo

Landscape. 1970. Sengraph, 20 1/2 X 16 1/2" (52 X 42cm.)

Sign. 1970. Serigraph, 20 1/2x16 1/2" (52 x 42cm.)
Yoichi Nakazawa 1931-

Born in Ibaragi Prefecture. Graduated

from Ibaragi State University, majored
in Fine Arts, in 1955. Member of Jiyu
Art Society.

1962
One-man show, Ogikubo Gallery, Tokyo
1969
12th Shell Exhibition, Tokyo (1st prize)

J Do Not Know Where I Am Going I. 1970. Ink on Japanese paper panel, 63 1/3 X 51 1/4 " (162 X 130cm.)
I Do Not Know Where I Am Going II. 1970. Ink on Japanese paper panel, 63 3/4 X 51 1/4" (162 X 130cm.)
Tadashi Nishi 1933-

Born in Kyoto. Graduated from Kyoto

Municipal Art College, majored in Japanese
Painting.

1969
Trends in Contemporary Art Exhibition,
National Museum of Modern Art, Kyoto

1969
13th Shell Exhibition, Tokyo
1970
14th Shell Exhibition, Tokyo

1970
2nd International Biennalc of Prints, Paris
Runaway III. 1970. Stencil, 37 3/8 X 23 5/8" (95 x 60cm.)
Yoko Shimizu 1942-

Born in Tokyo. Graduated from

Musashino Art College, Tokyo, majored
a3Ks i^
in Painting. Studied at Oda Lithography
Institute, Tokyo.

1966
Contemporary Art Exhibition of Japan,
Tokyo Metropolitan Art Gallery.

1968
Japan Print Society Exhibition, Tokyo
Metropolitan Art Gallery

1969
One-man show (lithography), Shirota
Tokyo
Gallery,

Skin Map (A). 1970. Lithograph, 23 5/8x15 3/8" (52 x 39cm.)

Skin Map (B). 1970. Lithograph, 23 5/8 X 15 3/8" (52 X 39cm.)
SCULPTURE AND CONCEPT
 Shingo Honda 1940-

Born in Niigata Prefecture. Studied

Painting at Tama Art College, Tokyo.

<\v.
*•**
*^**** 1967
Group Exhibition, Runami Gallery,
Tokyo

1968
000 X Exhibition, Muramatsu Gallery,
Tokyo

1969/70
One-man show, Tamura Gallery, Tokyo

No. 45. 1970. Concrete, manila rope,

(60 x 200 X 65cm.) 23 5/8 x 78 3/4 X 25 5/8"
Yutaka Matsuzawa 1921-

Born in Nagano Prefecture. Graduated

from Wascda University in 1946, majored
in Architecture. Completed studies of
Philosophy of Religion and Contemporary
Art at graduate school, Columbia
University, in 1957.

1963
One-man show, Psi, Aoki Gallery, Tokyo

1969
9th Contemporary Art Exhibition of
% *> fl# M >~ *h it a & <n t *. % Iff, <?> % I j$ % v) ^ -f % 5 f-
Japan
0) fa v) ii % 9> T it b $> 4 fc w - -s «> 'C JHfc "fc JR. 'J Jfc I * *l
1970
Co-founder for Nirvana, Kyoto
Municipal Museum
1970
10th Tokyo International Exhibition of MY OWN DEATH

Art, Tokyo Metropolitan Art Gallery (Paintings existing only in time)

hand my future death over to you who are passing here by.
Now I At the

exact same time in a cavern in a central high land in Japan I extract your
two heart6 from under your breasts and let 'em fly into the milk white mist
that is characteristic around there.

My Own Death. 1970. Photograph, 39 3/8 X 39 3/8" (100 X 100cm.)

Hidetoshi Nagasawa 1940-

„.

Born in Manchuria. Graduated from

Tama Art College, Tokyo in 1963. Has
lived in Milan since 1967.

1970
One-man show, Galcric Francoise
Lambert, Milan

Unparallel Lines. 1970. Plumb bobs, string,

22 1/2 X 14 1/2 X 33 1/8" (57 X 37 X 84cm.)
Katsuhiko Narita 1944-

Born in Kumamoto Prefecture. Graduated

from Tama Art College, Tokyo, majored
in Painting.

1969
9th Contemporary Art Exhibition of
Japan, Tokyo Metropolitan Art Gallery

1969
Trends in Contemporary Art Exhibition,
National Museum of Modern Art, Kyoto

1969
6th Bicnal dc Paris

1970
10th Tokyo International Exhibition of
Art, Tokyo Metropolitan Art Gallery

Sumi. No. 7. 1970. Charcoal, 22 1/2 X 14 1/2 X 33 1/8" (57 X 37 X 84cm.

Kishio Suga 1944-

Born in Iwate Prefecture. Graduated

from Tama Art College, Tokyo in 1968,
majored in Painting.

1967
Universiade Exhibition, Tokyo

1967
11th Shell Exhibition, Tokyo (1st prize)

1970
Trends in Contemporary Art Exhibition,
National Museum of Modern Art, Kyoto
Limit Situation (1). 1970. Lauan planks, concrete pile, stones, 78 3/4 X 39 3/8 X 16 1/2" (200 X 100 X 42cm.) *Jafa Grand Prize
Loose of Cloth. 1970. Cotton, 94 1/2 X 94 1/2 x 19 3/4" (240 X 240 X 50cm.)
Jiro Takamatsu 1936-

Born Tokyo. Graduated from Tokyo

in
University of Art in 1958, majored in
Painting.

1967
One-man show, Galleria d'Arte del
Naviglio, Milan

1967
5th Bienal de Paris (Theodoron Foundation
Prize)

1968
34th Venice Biennale (Prix Canlo
Cardazzo)

1970
10th Tokyo International Exhibition of
Art, Tokyo Metropolitan Art Gallery

Oneness. 1970. Japanese cedar, 23 5/8 X 23 5/8 X 78 3/4 " (60 X 60 X 200cm.)
Takeshiro Terada 1933-

Born in Oita Prefecture. Studied at

Tsuyama Senior High School.

1964
Contemporary Art Exhibition of Japan,
Tokyo Metropolitan Art Gallery

1967/70
Trends in Contemporary Art Exhibition,
National Museum of Modern Art, Kyoto

1970
Open-air Festival of Contemporary Art,
Children's Land, Yokohama
Displacement (I). 1969. Wood, 78 3/4 X 39 3/8 X 39 3/8" (200 X 100 X 100cm.)
*Prize of the President National Diet Members' Art League
Hideo Watanabe 1949

Born in Tokyo. Studied Painting at

Tama Art College, Tokyo.

Information II. 1970. Wood, putty, 78 3/4 X 7 1/8 X 4 3/8" (200 X 18 X 1 1cm.)
Information III. 1970. Wood, putty, 78 3/4 X 7 1/8 X 4 3/8" (200 X 18 X 1 1cm.)
Kenretsu Yamada 1947-

Born in Hyogo Prefecture. Graduated

from Nihon University in 1970,
majored in Architecture.

1970
Comprehensive Exhibition of Art,
Fukushima

R^i^ sae**
wmm stm/mm *. J ,

Wax. Iron. 1970. 78 3/4 X7 7/8 X3 1/2" (200 X 20 X 9cm.) * Prize of the President of Jafa
Eishi Yamamoto 1946- 1969
Hakonc International Open-air Exhibition
of Sculpture, Hakonc Open-air Museum
Studying sculpture at Art Faculty of
1970
Nihon University.
One-man show, Tamura Gallery, Tokyo
1970
'Apple in Space' Exhibition, American
Culture Center, Tokyo

Container 4 (Dry and Wet). 1970. Acrylic, urethaiie foam,78 3/4 X 39 3/8 X7 7/8" (200 X 100 X 20cm.)
 Kazuo Yuhara 1930-

Born Tokyo. Graduated from Tokyo

in
University of Art in 1955, majored in
Sculpture. Has lived in Paris since 1963.

1967
Guggenheim International Exhibition,
The Solomon R. Guggenheim Museum,
New York
1967
International Art Exhibition of Japan,
Tokyo

1968
Contemporary Japanese Sculpture
Exhibition,Tokyo (Awarded prize by
The Mainichi Newspapers)

No. 24. 1969. Stainless steel,

39 3/8 X 39 3/8 x 39 7/8" (100 X 100 X 101cm,
 Staff THE SOLOMON R. GUGGENHEIM MUSEUM

Director, THOMAS M. MESSER

Administrative Assistant, LINDA KONHEIM

Museum Auditor, AGNES R. CONNOLLY
Secretary to the Director, SUSAN L. HALPER

Curator, LOUISE AVERILL SVENDSEN Business Administrator, GLENN H. EASTON, JR.

Associate Curators, EDWARD F. FRY Building Superintendent, PETER G. LOGGIN

DIANE WALDMAN Head Guard, CHARLES F. BANACH

Assistant Curator, MARGIT ROWELL Purchasing Agent, ELIZABETH M. FUNGHINI

Librarian, MARY JOAN HALL Business Coordinator, VIOLA H. GLEASON

Curatorial Coordinator, LINDA SHEARER

Technical Administrator, ORRIN RILEY Public Affairs Officer, ROBIN GREEN

Preparator, SAUL FUERSTEIN Publicity, ANNE GRAUSAM

Registrar, ROGER ANTHONY Membership Secretary, MIRIAM EMDEN

Photographers, ROBERT E. MATES Public Affairs Coordinator, YOLANDA BAKO

PAUL KATZ

Assistant Conservator, LUCY BELLOLI

Technical Coordinator, DANA CRANMER

EXHIBITION 70/6 5,000 copies of this cata-

logue designed by Malcolm Grcar have been

printed by Bijutsu-Shuppan Design Center, Tokyo,

in November 1970 for the Trustees ot The Solomon

R. Guggenheim Foundation on the occasion of the

exhibition "Contemporary Japanese Art, Fifth Japan

Art Festival Exhibition"