S H I M A M OTO
This catalogue was published on the occasion of the exhibition Shozo Shimamoto: Do Something Interesting, See Something Odd, on view at De Buck Gallery from November 3, 2016 through January 28, 2017. ESSAY Yoshio Katoh DESIGN Jennifer Wolf PRINTING Albe De Coker, Antwerp SPECIAL THANKS to Whitestone Gallery, Shozo Shimamoto Association, and shimamotoLAB Inc. PHOTOS COURTESY Shozo Shimamoto Association, shimamotoLAB Inc., Andrea Mardegan and Whitestone Gallery. GALLERY David De Buck: david@debuckgallery.com Rachel Vancelette: rachel@debuckgallery.com Kathryn Mc Sweeney: kathryn@debuckgallery.com Charlotte Panis: charlotte@debuckgallery.com De Buck Gallery 545 W 23rd Street New York, NY 10011 +1.212.255.5735 www.debuckgallery.com De Buck Gallery is at complete disposal to whomever might be related to the unidentified sources printed in this book. © 2016 De Buck Gallery ISBN 978-0-9851748-7-3
SHOZO SHIMAMOTO Do Something Interesting See Something Odd
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SHOZO SHIMAMOTO AND GUTAI Yoshio Katoh Curator and Art Critic
A Meeting of Minds I first learned of the Gutai Art Association as a student in 1975, despite the fact Gutai had already disbanded in 1972. I had the opportunity to view works by Gutai member Shozo Shimamoto (1928–2013) at Action et émotion, peintures des années 50: Informel, Gutaï, Cobra, a special exhibition staged by the National Museum of Art, Osaka, in the autumn of 1985. My impression at the time was one of a great simultaneous, fervent flowering of abstract and non-representational painting in France, Japan, and the Netherlands, and it was here that I became aware of Shimamoto. I first met Shozo Shimamoto almost 30 years ago, in the summer of 1986. Then working as a graphic designer, I was commissioned by Shimamoto to design the bulletin for an art group he led known as AU (Art Unidentified). From that summer until the following spring, I made my way every week or so to Shimamoto’s studio (an art space in Koshienguchi in the city of Nishinomiya, Hyogo, now shimamotoLAB Inc.). Drawn to Shimamoto’s easy, equitable sociability, his freewheeling, unconventional ideas, and dynamic energy, I took it upon myself to stage an exhibition in February 1987 tracing 40 years of his work from 1947 to 1987 at an Osaka gallery, the aim being to identify and highlight the source of his unique ideas, and present a well-rounded picture of his practice, via a retrospective format. It was a solo show to celebrate 40 years of his career as an artist. The figure of Shozo Shimamoto is indispensable to any discussion of the internationally renowned postwar Japanese avant-garde art group, Gutai. Shimamoto was born in the district of Yahataya, Minato-ku in Osaka in 1928 to parents working in the shipping industry. In 1947 he enrolled in a philosophy course at Kwansei Gakuin University. Despite a lack of any formal art instruction, he won a prize at the All-Kansai Art Exhibition for a picture painted around the time he started university. That year, Shimamoto also met Jiro Yoshihara (1905–72), who would expand his own personal art world, and spark its development in new 5
Shozo Shimamoto with Holes, 2011
ways. Yoshihara and Shimamoto were far apart enough in age to be father and son. Yoshihara possessed the financial clout, the leadership qualities, and an art world network, while Shimamoto’s ideas and quick wit engendered a very special kind of avant-garde. It would be no exaggeration to say that between them, they embodied the mission of Gutai. If they had never met, the Gutai art that gained an international profile would likely never have emerged. And what was that mission? According to Yoshihara’s writings, “The most important thing for us is to be a place of freedom where people surviving today’s world, where times are tough for today’s art, are most liberated, in a profound belief that creating in such a free place is precisely what will contribute to human progress.” Note the sprinkling of words central to the Gutai spirit. Yoshihara and Shimamoto From the early 20th century to the end of the Second World War, when it came to choosing a place to live, Osaka’s wealthy and cultured gravitated toward the landscape at the foot of Mt. Rokko in Hyogo Prefecture. As residential development of the land between Osaka, city of commerce, and Kobe, city of trade, progressed, the financiers of Kansai made their homes there. Over time, a cultured milieu emerged that became known as Hanshinkan Modernism. Emblematic of Hanshinkan Modernism was the city of Ashiya, and it was here that, after the war, Japan’s most influential avant-garde art group, the Gutai Art Association, was born. The name Gutai was meant to “present concrete (gutai) proof that our spirit is free.” Word has it that it was Shimamoto who gave the group its name. Yoshihara had been looking for a name from about 1950 onward, but even after two or three years had yet to decide on one, until in the end Shimamoto suggested, “Conversely, why not use the concrete ‘gutai’?” Yoshihara agreed, and the group had a name. 6
Gutai founder Yoshihara was the scion of a family of Osaka oil merchants who had been doing business since the Edo period. Nursing artistic aspirations, he began studying oil painting in middle school, but after the war took over the family oil business, turning out abstract paintings on the side while serving as company president. Gutai was launched by Yoshihara in the city of Ashiya in 1954, and was continuously active through 1972. Yoshihara’s sudden death in 1972 brought eighteen years of activity to a halt, and the Gutai group disbanded. In the Gutai Art Manifesto of 1956, Yoshihara declared, “We believe that by merging human qualities and material properties, we can concretely comprehend abstract space.” Expressing the freedom of the spirit in concrete ways through abstract expression was the group’s purpose and one of its aims. The Hanshinkan youths that assembled under Yoshihara put into practice his admonitions “Don’t copy anyone!” and “Do what has never been done before!” expressing themselves through the likes of action painting and performances. The execution of Yoshihara’s teachings took all sorts of weird and wonderful forms: Kazuo Shiraga battling half-naked with mud and painting pictures with his feet; Sadamasa Motonaga painting using the tarashikomi drip technique; Saburo Murakami, who made his name with his paper-tearing performances; Shozo Shimamoto, who used a cannon to paint instant pictures and also produced paintings by hurling pigment-filled bottles, and Atsuko Tanaka, who appeared on stage in electric clothing. It was Shimamoto who succeeded in bringing key Gutai members Shiraga, Murakami, and Tanaka into the group. When Gutai was initially formed, the turnover of new members was high, due to Yoshihara’s explosive temper. So Shimamoto advised him not to get so angry or be so tough on newcomers. “Your strictness is making everyone quit,” he said, “so please try to ease up a little.” It was Shimamoto who convinced Shiraga, Murakami, Tanaka and others belonging to the 0-kai in Amagasaki, Hyogo of the exciting and free-spirited nature of Gutai, and brought them into the fold. He said he invited them to join with the words, “In any case, in Gutai the more new things you do, the more that will please Yoshihara-sensei.” Gutai art, highly original even in international terms, is linked to the flowering of performance art that followed, and within Gutai the view prevailed that artworks are not about results, but are an “accumulation of acts.” This unconventional approach struggled to find acceptance in Japan at that time, and was appreciated by very few in the art world. Shimamoto told me that Gutai never appeared in the cultural pages of the newspaper, but invariably the general news and comment section under headings such as, “And they call even this art?” The media seem to have viewed Gutai as a mere curiosity, and in terms of artistic expression rated the group low, or not at all. The Gutai Bulletin The year after the group’s formation saw publication of several consecutive issues of the bulletin Gutai. It was printed in a storage shed at the Shimamoto home, using an old borrowed printing press, members taking turns in between work to do the typesetting. Three hundred copies of the first edition were printed and bound. Shimamoto remembered it being 800, Yoshihara 300–500. It was also Shimamoto who instigated the launch of Gutai. At the time, having no cash to buy canvases he had been cooking up glue from flour and sticking seven or eight sheets of newspaper together as a base, and when the “canvas” tore by accident while he was painting, he took this as inspiration for a work by the name of Holes. Even today, many of the Holes series are masterpieces suffused with a vibrantly youthful quality. Some unexpectedly outstanding works were created, albeit by chance. 7
The sensibility that inspired Shimamoto to make his torn “canvas” a work of art rather than discarding it was quite something. It would be fair to say he had the makings of a genius by his early twenties. He showed Holes to Yoshihara, who praised it, but others were more critical, telling Shimamoto that his work was not in fact a painting, but “something that might come before a painting.” Yoshihara then suggested they put it in a magazine, a bulletin of some kind, and get it out into the world, so critics might come to understand it. “You organize it,” he said, unilaterally delegating the job to Shimamoto. The inaugural edition of Gutai was sent out to art museums, galleries, art critics, artists etc. in Japan and elsewhere (100 copies in Japan and 30 overseas). The Japanese response was nil. There was however some reaction from overseas, apparently: Jackson Pollock was later found to have in his possession the second and third issues of Gutai. Shimamoto Comes into His Own In July 1955 Shimamoto presented an interactive work taking “acts,” “the body” and “time” and turning them into art at Ashiya Park in Hyogo, in a show titled Manatsu no taiyo ni idomu modan aato jikkenten (An experimental modern art exhibition challenging the midsummer sun). His contribution was to develop a device made from a long wooden box, in which people walked on pieces of wood inside the box, forming hollows of various sorts. Those walking on the wood would experience an uncomfortable lack of stability. The title of the work was Please Walk on Here. As Shimamoto described it, Please Walk on Here was a work “for (the audience) to sense as they walked on boards that appear to be nothing out of the ordinary” “a long line of boards serving as springs, designed so that the boards bow under the weight of being walked on.” “Some boards will be springy, others less so, some will bow considerably, others will hardly move.” This interactive piece, which encouraged people to physically experience a work of art—artworks up to then were for viewing only not for touching—by walking on it, was revolutionary. In 1956 Shimamoto took a steel pipe 4m long and 30cm in diameter, and used acetylene gas to spray paint from it, instantly creating a giant painting on a piece of red plastic measuring about 10 meters squared. The exploding pigment scattered all over the surface of the plastic, in the process blowing away the very elements that make up a painting such as composition and coloring. Shimamoto also achieved instant works by hurling bottles of paint at fabric spread on the floor, scattering fragments of bottle and pigment. Yet another example of work in which chance was made necessity. In 1957 Shimamoto took part in Butai wo shiyo suru Gutai bijutsu (Gutai art using the stage) at the Sankei Kaikan in Osaka and Sankei Hall in Tokyo. Under the title Buttai no dakai (Smashing objects), he staged a performance that involved hitting the likes of tubes packed with ping-pong balls, and boxes of confetti. At the same time Shimamoto also presented a work on video and audio work using a tape recorder, marking him out as a pioneer of what we now call media art. 1962 saw the opening of the Gutai Pinacotheca in an old remodelled earthern storehouse in Nakanoshima, Osaka, owned by Jiro Yoshihara. Shimamoto was chosen to stage the first solo show at this venue, a testament to how much trust Yoshihara had in him. Yoshihara, the painter, must have rated the avant-garde techniques and ideas of the inventive Shimamoto highly. Involvement in Art and Society Starting in the 1970s, following the disbanding of Gutai, Shimamoto threw himself into mail art. He would post a work to another person, who in turn added to the work and sent it back, then send out copies to multiple individuals. Shimamoto pushed on with a networking project of 8000 exchanges annually in 60 countries, with the aim of building a network through mail art. When I first met him, he was more enthused by mail art than 8
Crane Performance, Naples, 2006
painting, and spoke to me excitedly about the concept of networking. This was before the internet, and he also explored using mail art to build wider networks as a way of campaigning for peace through art. Thinking back, in a way it is as if he foresaw the advent of today’s information-oriented society, with quite astounding prescience. In more recent years Shimamoto also conducted performances both in Japan and elsewhere that involved being suspended from a crane 30m up to hurl bottles down onto a sheet of fabric spread on the ground. This served both as performance and a kind of open studio. Shimamoto was the type to take ideas as they occurred to him, give them form, get a feel for the times, and change as he went. Thus the move from paintings with holes to cannon painting to hurling bottles, then mail art. Then crane painting, glass head art, and back to bottle-throwing paintings. He was an artist who engaged with the zeitgeist, and lived each and every moment in earnest pursuit of change. Meanwhile, the other side of Shimamoto the avant-garde artist was Shimamoto the art educator, who held posts such as professor emeritus at the Kyoto University of Education, and lecturer at the Takarazuka University of Art and Design (now Takarazuka University). Late in life he was also involved in disabled art, serving as president of the Association of Art, Culture and People with Disabilities, Japan (now Able Art Japan) and instrumental in showcasing the work of outsider artists. With dual identities as an avant-garde artist and educator, Shimamoto was rare among art practitioners in both engaging in cutting-edge artistic expression and contributing to wider society by turning his attention to the socially disadvantaged. Shimamoto’s artistic expression was suffused with the typical curiosity of the Osaka native: the desire to “do something interesting, see something odd.” Also at play was perhaps the notion of how important it is to make a splash. These are gifts of Shimamoto’s innate, overarching curiosity and endless well of ideas.
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A no sakuhin, 1955, oil on canvas, 100 1/2 x 72 inches, 256 x 183 cm
Taki no sakuhin, 1952, oil on canvas, 100 3/4 x 71 1/4 inches, 256 x 181 cm
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Untitled, 1980, mixed media on cloth, 39 1/3 x 28 3/4 inches,100 x 73 cm
“The primary aim of art is not to decorate a room. What artists are trying to do is to pick up and display parts of the heart that people have left behind.” -Shozo Shimamoto from his book “Art Is about Surprising People”
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Untitled, 1993, acrylic on plastic mounted on panel, 35 7/8 x 32 1/4 inches, 91 x 82 cm
Bottle Crash, 1997, oil and broken glass on canvas,53 1/8 x 38 1/4 inches, 135 x 97 cm
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Untitled, 1993, acrylic and broken glass on canvas, 80 x 60 1/4 inches, 203 x 153 cm
Untitled, 2010, acrylic and broken glass on canvas, 78 x 50 inches, 198 x 127 cm
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Untitled, 2009, acrylic and broken glass on canvas, 40 1/8 x 80 inches, 102 x 203 cm
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Untitled, 2007, acrylic, broken glass, and metal on canvas, 65 1/2 x 63 1/8 inches, 167 x 160 cm
Untitled, 2010, acrylic and broken glass on canvas, 56 x 65 7/8 inches, 143 x 167 cm
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Untitled, 2009, acrylic and broken glass on canvas, 23 2/3 x 7 7/8 inches, 60 x 20 cm (each)
Untitled, 2009, acrylic and broken glass on canvas, 15 3/4 x 15 3/4 inches, 40 x 40 cm
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“I think the throwing of bottles as a method of painting is still a form of studying the unknown. I find the fact that the expression of an unpredictable painting materializes more stimulating than anything else. The greatest significance of this phenomenon might well be Zen.� -Shozo Shimamoto
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Untitled, 2011, acrylic on canvas, 82 x 59 inches, 209 x 150 cm
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Untitled, 2010, acrylic on newspaper, 19 1/2 x 28 1/8 inches, 50 x 72 cm
Untitled, 2010, acrylic on newspaper, 19 1/2 x 28 1/8 inches, 50 x 72 cm (verso)
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Untitled, 2009, acrylic on canvas, 69 1/4 x 38 1/2 inches, 176 x 98 cm
Untitled, 2010, acrylic and gbroken glass on canvas, 63 3/4 x 33 1/4 inches, 162 x 85 cm
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Untitled, 2010, acrylic and broken glass on canvas, 36 1/2 x 56 1/3 inches, 93 x 143 cm
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Untitled, 2009, acrylic and broken glass on canvas, 23 2/3 x 7 7/8 inches, 60 x 20 cm
“If even the art critic Michel Tapié said, ‘No artist has more spirit of gutai than Shimamoto’, there is no doubt he has something special.” - Jiro Yoshihara
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Untitled, 2010, acrylic on newspaper on panel, 27 2/3 x 19 1/3 inches, 70 x 49 cm
Untitled, 2010, acrylic on newspaper on panel, 27 2/3 x 18 1/8 inches, 70 x 46 cm
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Untitled, 2010, acrylic and broken glass on canvas, 55 x 51 2/3 inches, 140 x 131 cm
Untitled, 2009, acrylic and broken glass on canvas, 48 1/2 x 32 inches, 123 x 81 cm
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Untitled (Ping Pong), 2011, acrylic and ping pong balls on canvas, 51 1/3 x 63 3/4 inches, 131 x 162 cm
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Untitled, 2010, acrylic and broken glass on canvas, 33 1/2 x 66 1/8 inches, 85 x 168 cm
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SHOZO SHIMAMOTO 1928 1950 2013
Born in Osaka, Japan Graduated from the Kwansei Gakuin University Died in Osaka at the age of 85
SELECTED EXHIBITIONS 2016
2015 2014 2013 2012
2011
2010 2009 2008
2007
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Do Something Interesting, See Something Odd, De Buck Gallery, New York Karuizawa New Art Museum, Nagano Prefecture, Japan Gutai Group Show, Whitestone Gallery, Tokyo De Buck Gallery, New York Geometries On and Off the Grid: Art from 1950 to the Present, The Warehouse, Dallas, TX Gutai - Scream of Matter, WeGallery, Berlin Whitestone Gallery, Tokyo Studio Visconti, Milan Gutai: Splendid Playground, Solomon R. Guggenheim Museum, New York Destroy the Picture: Painting the Void, 1949 – 1952, Museum of Contemporary Art, Los Angeles Gutai, Hauser and Wirth, New York Gutai: The Spirit of an Era, National Art Center, Tokyo Shozo Shimamoto – Works 1950-2011, Palazzo Magnani, Reggio Emilia, Italy Axel Vervoordt Gallery, Antwerp Explosion: Painting in Action, Modern Museet, Stockholm An Experimental Conference on Art and Science to Challenge the Mid-Summer Sun, Moderna Museet, Stockholm Fondazione Morra, Naples Painting with Time and Space, Museo Cantonale d’Arte Lugano, Switzerland Cose mai viste II, Palazzo Barberini, Roma. Road to Contemporary Art, Rome Target Practice: Painting Under Attack 1949-78, Seattle Museum, Seattle Shozo Shimamoto/Yasuo Sumi – Colours of Peace, Museo Magi ‘900, Pieve Di Cento, Italy Shozo Shimamoto. Samurai, acrobata dello sguardo, Museo d’Arte Contemporanea, Vila Croce, Genoa Art, Anti-Art, Non-Art: Experimentations in the Public Sphere in Postwar Japan, The Getty Research Institute, Los Angeles Shozo Shimamoto: Action Colours 1950-2006, Galleria Pier Giuseppe Carini, San Giovanni Valdarno, Italy Artempo, Palazzo Fortuny, Venice Felissimo White Project Performance, Hyogo Prefectural Diplomatic Establishment, Hyogo, Japan; Kobe Fashion Museum, Kobe, Japan
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2005 2004 2003 2002 2001 1999
1998 1997 1994 1993 1991 1990 1987 1986 1985 1983 1982 1981
1979 1976 1972 1969 1966 1965 1962 1961
Zero. Avant-garde Internationale des années 1950-60, Museum Kunst Palast, Dusseldorf Works 50s-90s, Fondazione Morra, Naples Trevi Flash Art Museum, Trevi, Italy Un cuscino per sognare, Palazzo Casotti, Reggio Emilia, Italy Nyotaku, Galleria Internazionale d’Arte Moderna Ca’ Pesaro, Venice Brain Academy Apartment International Project, 50a Biennale di Venezia, Venice Who’s Norma Jeane?, Primerose Gallery, London Japan Year, London Le Trubù dell’Arte, Galleria Nazionale d’Arte Moderna di Roma, Rome Shozo Shimamoto Italian Festival, Verona & Milan Gutai, Galerie Nationale du Jeu de Paume, Paris 48th Biennale di Venezia, Venice Out of Actions: Between performance and the Objects, 1949-1979, Museum of Contemporary Art, Los Angeles Shozo Shimamoto, Gutai-Works, Hundertmark Gallery, Cologne Japanese Art after 1945: Scream Against the Sky, Solomon R. Guggenheim Museum, New York 45th Biennale di Venezia, Venice Gutai Japanische Avantguarde 1945-1965, Institut Mathildenhöhe, Darmstadt, Germany Giappone all’avanguardia. Il Gruppo Gutai negli anni Cinquanta, Galleria Nazionale di Arte Moderna di Roma, Rome Dallas Museum of Art, Dallas, TX Japon des avant gardes, Centre Pompidou, Paris Reconstructions: Avant-Garde Art in Japan 1945-1965, Modern Art Museum, Oxford, UK Grupo Gutai: Pintura y Acción, Museo Español de Arte Contemporaneo, Madrid 6 Gutai Artists/ Artists’ Union, Municipal Art Gallery, Itami, Japan Towards Future Museum – Live Art Theatre, Kobe Modern Art Museum, Kobe, Japan Osaka Contemporary Art Centre, Osaka Trends of contemporary Japanese art 1, the 1950s: Gloom and Shafts of Light, Modern Art Museum, Tokyo After Yoshihara and Gutai, Kobe Modern Art Museum, Kobe, Japan World Symposium Invitation Show, Alberta, Canada Today notion of space, Yokohama Municipal Art Gallery, Yokohama, Japan 18 years of Gutai Art, Prefecture Art Gallery, Osaka Galeria Sobrad, São Paulo IX Exposition d’art japonais contemporain, Tokyo Museum, Tokyo II Salon International des galleries pilotes al Musée cantonal des Beaux Arts, Lousanne, Switzerland Nul Negentienhonderd vijf en Zegtig, Stedelijk Museum, Amsterdam Gutai Pinacotheca Opening Memorial Exhibition, Osaka Continuité et avant-garde au Japon, Turin International Center of Aesthetic Research, Turin
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1960 1959 1958 1957 1954 1948
The International Sky Festival, Takashimaya Great Store, Osaka Arte Nuova, Palazzo Granieri, Turin 2nd Gutai Stage Exhibition, Asahi Hall, Osaka 1st Gutai Stage Exhibition, Sankei Centre, Osaka 2nd Genbi Exhibition, Matsuzakaya Department Store, Osaka-Kyoto Municipal Museum of Art - Asahi Hall, Kobe Seven Avant-garde Artists, Kintetsu Department Store, Osaka
AWARDS 1953 1996 2008
Asahi Prize, All-Kansai Art Exhibition Association Prize, Modern Art Association Exhibition Nominated for Nobel Peace Prize Man of Peace Prize, Museo Magi ‘900, Pieve di Cento, Italy
COLLECTIONS Tate Modern, London The National Museum of Modern Art of Rome, Italy Art Center of Milan, Italy Mail Art Museum, Switzerland Ca’ Pesaro International Gallery of Modern Art, Venice Paris Gallery, France Tokyo Contemporary Art Museum, Japan Osaka Contemporary Art Museum, Japan Rachofsky House, Dallas
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A no sakuhin, 1955 oil on canvas 100 1/2 x 72 inches 256 x 183 cm p. 12
Courtesy of shimamotoLAB Inc.
Taki no sakuhin, 1952 oil on canvas 100 3/4 x 71 1/4 inches 56 x 181 cm p.13
Courtesy of shimamotoLAB Inc.
Untitled, 1980 mixed media on cloth 39 1/3 x 28 3/4 inches 100 x 73 cm p. 14
Untitled, 1993 acrylic on plastic mounted on panel 35 7/8 x 32 1/4 inches 91 x 82 cm p. 16
Bottle Crash, 1997 oil and broken glass on canvas 53 1/8 x 38 1/4 inches 135 x 97 cm p. 17
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Untitled, 1993 acrylic and broken glass on canvas 80 x 60 1/4 inches 203 x 153 cm p. 18
Untitled, 2010 acrylic and broken glass on canvas 78 x 50 inches 198 x 127 cm p. 19
Untitled, 2009 acrylic and broken glass on canvas 40 1/8 x 80 inches 102 x 203 cm p. 20
Untitled, 2007 acrylic, broken glass, and metal on canvas 65 1/2 x 63 1/8 inches, 167 x 160 cm p. 22
Untitled, 2010 acrylic and broken glass on canvas 56 x 65 7/8 inches 143 x 167 cm p. 23
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Untitled, 2009 acrylic and broken glass on canvas 23 2/3 x 7 7/8 inches 60 x 20 cm p. 24
Untitled, 2009 acrylic and broken glass on canvas 23 2/3 x 7 7/8 inches 60 x 20 cm p. 24
Untitled, 2009 acrylic and broken glass on canvas 15 3/4 x 15 3/4 inches 40 x 40 cm p. 25
Untitled, 2011 acrylic on canvas 82 x 59 inches 209 x 150 cm p. 27
Untitled, 2010 acrylic on newspaper 19 1/2 x 28 1/8 inches 50 x 72 cm p. 28
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Untitled, 2009 acrylic on canvas 69 1/4 x 38 1/2 inches 176 x 98 cm p. 30
Untitled, 2010 acrylic and gbroken glass on canvas 63 3/4 x 33 1/4 inches 162 x 85 cm p. 31
Untitled, 2010 acrylic and broken glass on canvas 36 1/2 x 56 1/3 inches 93 x 143 cm p. 32
Untitled, 2009 acrylic and broken glass on canvas 23 2/3 x 7 7/8 inches 60 x 20 cm p. 34
Untitled, 2010 acrylic on newspaper on panel 27 2/3 x 19 1/3 inches 70 x 49 cm p. 36
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Untitled, 2010 acrylic on newspaper on panel 27 2/3 x 18 1/8 inches 70 x 46 cm p. 37
Untitled, 2010 acrylic and broken glass on canvas 55 x 51 2/3 inches 140 x 131 cm p. 38
Untitled, 2009 acrylic and broken glass on canvas 48 1/2 x 32 inches 123 x 81 cm p. 39
Untitled (Ping Pong), 2011 acrylic and ping pong balls on canvas 51 1/3 x 63 3/4 inches 131 x 162 cm p. 40
Untitled, 2010 acrylic and broken glass on canvas 33 1/2 x 66 1/8 inches 85 x 168 cm p. 42
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“To produce art is to do something beyond your capabilities.” - Shozo Shimamoto
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