...Ming Tiampo This article is a theoretical investigation of the Gutai's collective enterprise, examining the creative process of Gutai Art Exhibitions from 1955 to 1962 and looking in particular at the Outdoor Exhibitions and Gutai Art on Stage. I will argue that the group's leader, Yoshihara Jiro...

...-ten­ (nationwide juried exhibitions sponsored by artists’ asso- ciations) and regional salons (including prefectural salons, or kenten). Those collectives that sought venues of free experimentation included Gutai (Gutai Art Association) and Ky...

...dan, Jikken Kb/Experimental Workshop in Tokyo and Gutai (Gutai Bijutsu Kykai) in the Osaka-­Kbe region are studied by Miwako Tezuka and Ming Tiampo, respectively. These two collectives pioneered postwar vanguardism that emerged...

... Gutai (their actions and paintings) in the 1950s, Anti-Art (Han-geijutsu)in the 1960s, and Conceptualism occurring throughout the 1970s with their Euro-American counterparts is too obvious; so obvious, in fact, that it does not merit the level...

... is cocurator of Gutai: Splendid Playground, Solomon R. Guggenheim Museum, New York, 2013. Reiko Tomii is an independent art historian and curator who investigates post-­1945 Japanese art in global and local contexts. Her particular...

... think ’66. Yes, ’66. I was invited by Harvard Univer- sity, in Boston, for a seminar. Kerner: When Allan Kaprow came across Gutai he was amazed to discover that they were in a sense doing happenings before any Americans were. Did...

... the postwar era. 7 After the Gutai movement, the rise of postwar art in Japan was swift. By the 1960s, intermedia collectives had proliferated (Kaneda 2012 , 2015 ). 6 Toshiko Akiyoshi and Sadao Watanabe are two preeminent jazz musicians who in the immediate postwar era worked in Japan...