Gutai Exhibition at Hauser & Wirth Reveals Parallels with American Abstract Expressionism

From September 12 to October 27, 2012, Hauser & Wirth in New York presented an exhibition of twenty-seven works by the Gutai Art Association, a Japanese collective active since the early 1950s. Inspired by Hans Namuth's photographs of Jackson Pollock and his paintings, Gutai artists like Shozo Shimamoto, Tsuruko Yamazaki, Sadamasa Motonaga, and Shuji Mukai produced abstract pieces that intriguingly mirror American counterparts such as Adolf Gottlieb, Helen Frankenthaler, Robert Motherwell, and Alfred Jensen. Despite a 1958 New York show that failed to gain traction due to the dominance of Abstract Expressionism, this 2012 display highlights Gutai's independent development of painterly techniques akin to those in the U.S. The exhibition challenges historical narratives, suggesting that art historical developments may be universal, with artists worldwide capable of evolving novel styles once introduced. Works like Jiro Yoshibara's black circle on a white field and Norio Imai's White Ceremony-F/G/E further complicate comparisons, while Yasuo Sumi's piece recalls Morris Louis yet embodies a distinct sensibility. This presentation urges a global perspective on modernism, countering past views that centered solely on New York artists, as noted in critiques of commentators like Michael Fried. The show's location at 32 East 69th Street in New York City underscores its role in re-evaluating Gutai's legacy within international art history.