![]() ![]() Another member of the group, Atsuko Tanaka, fashioned one of Gutai’s best-known works: Electric Dress (1956), a wearable amalgam of light bulbs and fluorescent tubes painted in primary colors that resembled an Atomic Age kimono. In Japan, the artists of the Gutai Art Association (founded in 1954) made physicality central to their art, as evinced by the movement’s name, a contraction of the Japanese words for “tool” and “body.” Two notable Gutai figures worked with canvases on the floor: Kazuo Shiraga, who swung from a rope to apply thick swirls of pigment with his feet and Shimamoto Shozo, who fired paintballs with a handmade cannon and threw pigment-filled bottles to create explosive splatter patterns. A group of fellow artists who were there to catch him with a tarp were elided out of the photo by combining two views-one with Klein, one without-into the iconic image we know today. Klein’s best-known work, Leap Into the Void (1960), was a photograph in which he appears to dive off the roof of a building with the empty pavement below. In France, Yves Klein’s “Anthropometries” (1960), a series of performance-cum-painting works, replaced Pollock’s paintbrush with nude female models who’d roll across a canvas in public while slathered in the artist’s patented International Klein Blue pigment. These images would come to influence artists associated with French Nouveau Réalisme and the Japanese Gutai group during the mid- to late 1950s. Image Credit: Courtesy Amagasaki Cultural Foundation.Īrguably, performance art after World War II began with performative approaches to painting-most conspicuously in Jackson Pollock’s “drip” compositions, which became nearly inseparable from photos of Pollock making them.
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