Page 59 - Studio International - October 1972

Printmaking months of the year in Japan; the rest of the time corridors between rooms, only sliding doors.
Consequently, no space for an art work. The
he works mainly in New York. He has succeeded
in Japan in becoming internationally considered without graphic buying public is slowly increasing,
certainly, so there is some hope; but the space
losing his Japanese identity. Ikeda is trying to
change his style, using collage and introducing problem is chronic.
An exhibition of Japanese prints is at the Pop elements into his work, but many of his Apart from the practical difficulties besetting
ICA from 4-15 October. admirers are rather disappointed to see this graphic artists there is the universal question,
transfiguration. They admire the 'chic' Ikeda. `What to express ?' Some artists have tried
There are many young Japanese artists optical or geometrical expression; some persist
After the wave of conceptual art swept away, the working abroad, but naturally the majority rest with the Pop idiom, or a parody of it; some
wind dropped. A silent chaos. Like the finale of in polluted Japan. Their problems are many. continue with abstraction. The fashion at the
the famous comedy by Gogol, everyone is The big common problem is lack of space, more moment is pseudo-surrealistic,
silently groping and probing for an exit. Some specifically, lack of studios. There are a few pseudo-expressionistic, figurative. It is very
artists have already started their painful journey professional `stamparia' but not nearly enough much influenced by the Viennese 'fantastic
to the material world where artists are supposed to meet the demand and their quality is, realism'. The imagery is erotic, tragic and
to make something. unfortunately, not very high. Some of the artists fantastic, but only en apparence. These images
Graphic art is one of the most vigorous and teach at colleges simply to get space and convey no message; they are hollow; they vanish
interesting fields of art in Japan, barely touched print-making facilities. Another problem is that without trace at sunrise. Their 'fantasia' evoke
by conceptualism. After the Meiji Revolution the majority of galleries are not interested in nothing; they lack the power to reveal the
graphics were considered a minor art and, contemporary Japanese graphics. It is obviously absurdity of our existence; fantasy made to order.
although occidental print-making techniques even more difficult for young and little-known The most interesting trend in present
were introduced and practised, the artists who print-makers to find a gallery to take the risk of Japanese graphics is the search for the myth in
specialized in graphics were few. Only after the showing their work. There are hundreds of common daily life. This is by no means a novel
Second World War did graphic art come into galleries in Tokyo, but only a very few specialize idea, but when I consider the work of Noda,
some prominence. It was old fashioned in in graphic work. A third problem is the Japanese K. Yoshida, Ebihara, it seems to me that the
comparison with the new international public, which still prefers oil paintings in gilt rediscovery of the myth has slightly broadened
graphic art, but K. Saito and T. Kornai both frames. So, the rich Japanese has enough money the field of Japanese graphics. There are
received prizes at the first Sao Paulo Biennale to spend copiously at Christie's and Sotheby's, dangers : you can find your myth at every street
and S. Munakata and Kornai received prizes at but alas no money for interesting contemporary corner and any family event can become
the Lugano International Print Exhibition in Japanese graphics. A few are enlightened enough enigmatic if you want it to. Art as a puzzle to be
1951. In 1953 the International Print to buy graphics by Western figurative artists, solved is of little interest to me, probably to
Association was founded by Koshiro Onchi. like Magritte, Delvaux, Fuchs, but not enough anybody. But when these artists are successful,
Ever since then ambitious young Japanese to buy abstract graphics by unknown young; their works shock and have power.
artists have won a remarkable number of artists. Fourth problem: there is very little Japan has been the country of second-hand
international art prizes. The Tokyo space in Japanese houses. In traditional houses 'art-movements'. Almost every art movement,
International Print Biennale started in 1957. there always used to be a tokonoma (a sort of even of the slightest value, has influenced the
Many younger artists have since begun to make niche) to hang a scroll painting or a caligraphy Japanese art of the time, so today's art is a
prints or, at least, to take graphics seriously. with ikebana (a flower arrangement), but in the strange amalgam of mixed influences. Our
The Japan Print Association and the meanly-designed, beehive-like, modern problem now is to find something unique. q
International Print Association amalgamated in apartments there is absolutely no spare space, no AKIRA KURITA
1969 and became almost the only organization
of print-makers in Japan. Numerous artists
belong, and its annual exhibition is a very
important event. Despite its merits, however,
the majority of interesting and avant-garde
print-makers no longer belong to the
Association, and the fashionable graphic
artists do not need its protection and authority.
For instance, Yokoo, Nagai and Fukuda are
well-known commercial graphic artists. They
know what graphism is and respond very quickly
to new developments, sometimes too quickly.
The feedback from their commercial work to
their print-making allows them to try the most
audacious graphic experiments, and their
problem is that they may be too easily influenced
by fashion and new techniques.
Some Japanese print makers who mainly live
abroad sell fairly well. Masuo Ikeda is the most
remarkable example. Ikeda's style is
sophisticated and a bit self-consciously
anachronistic. He was at one time the darling of
the critics and his fame is well established. He
sells enormously and he spends only a few
Tetsuya Noda
'68 August 22 1968
Silkscreen on Japanese paper, 94 x 94 cm
151