Ushio Shinohara

Alternative

Shinohara's parents instilled in him a love for painters such as Cézanne, Van Gogh and Gauguin. His father was a tanka poet who was taught by Wakayama Bokusui. Shinohara’s mother was a Japanese painter who went to school at Woman’s Art University (Joshi Bijutu Daigaku) in Tokyo.
In 1952 Shinohara entered the Tokyo Art University (later renamed to Tokyo University of the Arts), majoring in oil paint
In 1960 Shinohara created a group called "Neo Dadaism Organizers". This group of artists showed their works of art in an exhibition in the 1960s called the Yomiuri Independent Exhibition. This exhibition was sponsored by a newspaper and was open to the public and was not judged by anyone. This type of exhibition was a form of an anti-salon and was a stepping stone for Shinohara’s sculptures of found objects which acquired the label of “junk art.”
The Neo Dadaism Organizers, including fellow Yomiuri Independent Exhibition participants Akasegawa Genpei, Shusaku Arakawa, and Yoshimura Masanobu, eventually transitioned into the Neo Dada movement. The Neo-Dada movement can be considered a phase into Pop Art and was influenced by many of the avante-garde artists. The art that was crafted during the Neo Dada movement was made with everyday items. Another artist who was influenced by Neo-Dadaism was Andy Warhol.
During this time Shinohara created paintings called “boxing paintings” in which the artist dipped boxing gloves in sumi ink or paint and punched paper or canvas in order to splatter it with pigment.[3] He also became known for his "junk art" sculptures composed of found objects including discarded trash, motorcycle parts, mass media-related objects and other tokens of modern society, used both as sculptures in and of themselves and as components of Happenings organized by the Neo Dadaism Organizers. Around 1963 Shinohara went on to making pieces called Imitation art. Imitation art were works of art that were purposely made to imitate Western Neo Dada and Pop Art works and specifically included imitations of Jasper Johns’s Three Flags and Rauschenberg’s Coca Cola Plan.
Shinohara, similar to many action-painting oriented artists of the 1950s and 1960s, cared more for the gesture and vitality, and less for the beauty of the image. As Julia Cassim observed in her 1993 review of Shinohara's retrospective at Tsukashin Hall – Amagasaki, Japan, “His kaleidoscopic paintings of pneumatic, rubber-nippled nudes, bikers and Coney Island’s garish glories are painted in the acid reds, greens and pinks common to Asian street fairs from Tokyo to Bombay. They burst at the seams with detail. Seemingly slapdash and rapidly painted, they are, in fact, as carefully composed as any more formal work.
In 1982, the Japan Society in New York City hosted an exhibition of Shinohara's work, entitled "Tokyo Bazooka." It was curator Alexandra Munroe's first project at the museum after having studied Japanese art through the mid-19th century, and reportedly inspired her research into modern and contemporary Japanese artists practice, including the 1994 exhibition and catalogue "Japanese Art After 1945: Scream Against the Sky.Wikipedia

 

Alternative