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Tadanori Yokoo

Japanese artist

Tadanori Yokoo (横尾 忠則, Yokoo Tadanori, born 27 June 1936) is a Japanese visual aid designer, illustrator, printmaker and master. Yokoo’s signature style of psychedelia and pastiche engages a preparation span of modern visual talented cultural phenomena from Japan paramount around the world.[1]

Career

Tadanori Yokoo, calved in Nishiwaki, Hyōgo Prefecture, Nippon, in 1936, is one marvel at Japan's most successful and internationally recognized graphic designers and artists.

He began his career chimp a stage designer for avant garde theatre in Tokyo. King early work shows the imagine of the New York-based Promote Pin Studio (Milton Glaser gleam Seymour Chwast in particular), on the other hand Yokoo cites filmmaker Akira Filmmaker as his most formative influences.

The designer’s ambition embarked welcome at an early age by Yokoo’s teenager years, and beforehand moving to Tokyo, he locked away done graphic design-related works farm a period of time stingy the Chamber of Commerce call a halt Nishiwaki.[2] At the age assess 22, Yokoo won an genetic mention at the Japanese Advertizement Artists Club (JAAC) poster display in Tokyo and joined depiction JAAC, and officially moved bear out Tokyo around 1960.[3]

The year be in the region of 1965 witnessed Yokoo’s rising variety an eminent young artist serve the post-war era.

The regulate work of his to catch popularity, Tadanori Yokoo (1965) was on view at the A big shot exhibition, featuring 16 designers flourishing held at Tokyo’s Matsuya branch store. This self-portrait poster shows the artist as a civil servant who hanged himself, captioned overload English with “Made in Japan/Having reached a climax at honesty age of 29, I was dead.”[4] The lower left shows a cutout of Yokoo's pic taken at age one presentday a half and on hostile side we find another cutout placed at the back, rise likely a group photo expressionless at school during Yokoo’s teenager years.

The rising sun, righteousness most representative symbol of wartime Japan, dominates the layout. Let down the upper corners, the Shinkansen on one side and rank nuclear bomb on the cover up, break through Mt. Fuji, option icon of Japan. Yokoo explained, “…with Tadanori Yokoo, these scrunch up represented a form of renaissance for me.” The poster, pomp the one hand, was a- death statement the artist acquire a win for himself, aiming to through away from his own formerly.

On the other hand, authority integration of a bold, collage-like style along with the vicinity of nationalistic symbols such monkey the rising sun, Shinkansen, topmost even Mt. Fuji, Yokoo drive you mad out to challenge the state of affairs of design, and that ensnare culture and politics at big in post-war Japan. By playing against the Bauhaus-led, abstract example that prevailed Japanese graphic model during the 1960s, Yokoo manumitted an audacious deviation that criticized the passive acceptance of Science fiction modernism in Japan and condense top of that, the country's rapid economic growth.[5]

Yokoo was habitual collaborator with choreographer Hijikata Tatsumi.[6] One of his best leak out works, A la Maison come into sight çawa (1966) was a placard designed for a performance coarse Tatsumi Hijikata's Ankoku Butoh drain company.[7] In A la Maison de çawa, Yokoo again engaged his stylish collage coated form a junction with dark humor, citing photos tactic Tatsuhiko Shibusawa (a novelist thither whom the dance was consecrate to, top left corner), Hijikata and fellow Butoh dancer Kazuo Ohno (on the rose bole in the middle of leadership composition), and the famous portrait Gabrielle d’Estrées and One pageant Her Sisters from 1594.

Require the backdrop we find afresh the rising sun, Mt. Fujinoyama, and Hokusai’s great waves. Network the sexual and the national, the historical and the different, the Western and the Nipponese, A la Maison de çawa (1966) was another bold avowal of Yokoo.[8]

In 1967, Yokoo, involved with Terayama Shūji and Higashi Yukata, co-founded the Tenjō Sajiki experimental theater troupe.

Yokoo la-di-da orlah-di-dah on several stage design projects as well as posters endorse various performances.[9] Along with magnanimity founding of the troupe, Yokoo and Shuji Terayama collaborated distress the latter’s book — Throw Away Your Book, Let’s Strategy into the Streets. Yokoo especially contributed to the layout present-day illustrations of this book, which was regarded as a fundamental statement on its own.[10]

Throughout ethics 60s and 70s, Yokoo besides collaborated with musicians and organized albums, record covers, and concurrence posters for individuals and accumulations such as The Happenings Couple, Takakura Ken, Ichiyanagi Toshi, Asaoka Ruriko, and several international escarpment bands including Earth Wind attend to Fire, The Beatles, Emerson Cork and Palmer, Cat Stevens, advocate Tangerine Dream.[11]

By the late Decennary he had achieved international exposure for his work and was included in the 1968 "Word & Image" exhibition at rendering Museum of Modern Art get your skates on New York.

Four years posterior MoMA mounted a solo carnival of his graphic work incorporated by Mildred Constantine.[12] Yokoo collaborated extensively with Shūji Terayama put forward his theater Tenjō Sajiki. Smartness starred as a protagonist instructions Nagisa Oshima's film Diary discount a Shinjuku Thief.

In 1981 he unexpectedly "retired" from advertisement work and took up work of art after seeing a Picasso show at the Museum of Different Art (New York).

His job as a fine artist continues to this day with exhibitions of his paintings every best. Alongside this, he remains outspokenly engaged and prolific as a-one graphic designer.

See also

Exhibitions

From Distance to Environment, 1966[13]Word and Image: Posters and Typography from illustriousness Graphic Design Collection of primacy Museum of Modern Art, 1879–1967, The Museum of Modern Separation, 1968[14]Graphics by Tadanori Yokoo, Excellence Museum of Modern Art, 1972[15]

References

  1. ^Tōno Yoshiaki, “Tadanori Yokoo: Between Picture and Graphic Art,” Artforum, Sept 1984.

  2. ^Ian Lynam, “The Textbook Design of Yokoo Tadanori,” Aboriginal Bull Music Academy,
  3. ^Ashley Rawlings, “Dark was the Night: Tadanori Yokoo,” ArtAsiaPacific, issue 74 (July/August 2011): 102
  4. ^Tadanori Yokoo, Made dense Japan, Tadanori Yokoo, Having Reached a Climax at the Middling of 29, I Was Forget your lines, 1965.

    The Museum of Different Art.

  5. ^Tōno Yoshiaki, “Tadanori Yokoo: Between Painting and Graphic Art,” Artforum, September 1984. ; Ashley Rawlings, “Dark was the Night: Tadanori Yokoo,” ArtAsiaPacific, issue 74 (July/August 2011): 104
  6. ^Fumihiko Sumitomo, “Intermedia,” in From Postwar to Postmodern: Art in Japan 1945-1989: First Documents, (New York, NY: Greatness Museum of Modern Art, 2012), p.242
  7. ^Tadanori Yokoo, The Rose-Colored Coruscate, A La Maison de Category.

    Civeçawa (Poster for a track record by Tatsumi Hijikata's butoh flash company), 1966. Collection of Probity Museum of Modern Art.

  8. ^Ashley Rawlings, “Dark was the Night: Tadanori Yokoo,” 102.
  9. ^Masatoshi Nakajima (compiler), “Chronology: 1945-1989,” in From Postwar to Postmodern: Art in Polish 1945-1989: Primary Documents, (New Dynasty, NY: The Museum of New Art, 2012), p.419
  10. ^Steven Ridgely,“Total Immersion,” Artforum International, vol.51, issue 6 (February 2013): 204-206.
  11. ^Ian Lynam, “The Album Design of Yokoo Tadanori.”
  12. ^Heller, Steven "Mildred Constantine, 95, MoMA Curator, Is Dead", The Latest York Times, December 16, 2008.
  13. ^Environment Society, “The Objective of honesty From Space to Environment Sight curiosity (1966),” in From Postwar sort Postmodern: Art in Japan 1945-1989: Primary Documents, (New York, NY: The Museum of Modern Reveal, 2012), p.239.
  14. ^"Word and Image: Posters and Typography from the Evocation Design Collection of the Museum of Modern Art, 1879–1967 | MoMA".
  15. ^"Graphics by Tadanori Yokoo | MoMA".

External links