PRINT February 2013


Though TSURUKO YAMAZAKI is one of the longest-standing members of the Gutai group, much of her oeuvre still remains obscure. In the following pages, Artforum presents a selection of Yamazaki’s singular works—some published here for the first time—displaying the artist’s resolute investigations into chemical and physical transformation, from her early washes of dye on tin to her Pop paintings of the 1960s and her viscous abstractions from the past several years. Scholar JOAN KEE introduces this special portfolio with a discussion of the historical context in which Yamazaki emerged, and of her legacy, lasting long after the dissolution of Gutai.

Tsuruko Yamazaki in front of Not a Triple Mirror, 1956/2007, 21st Century Museum of Contemporary Art, Kanazawa, Japan, 2009. Photo: Keizo Kobashi.

DESPITE THE MULTIPLICITY of their approaches, the artists of Gutai were bound by a mutual interest in engaging directly with an artwork’s constituent materials or, as their leader, Jirō Yoshihara, proclaimed in the group’s celebrated

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