Born in 1922 in Mie Prefecture, Motonaga was a member of the legendary Gutai Art Association (1954–72), which became famous for groundbreaking performance works and innovations in painting, sculpture, and installation art. He emerged at a time when a post-atomic surrealist existentialism was at the forefront of artistic development in Japan. However, Motonaga chose a different path and turned his back on the destruction wrought by the war in order to create paintings, sculptures, and performances that were fresh, jubilant, and playful.
In 1954, he began employing a vocabulary of embryonic shapes, flying objects, and cartoon-like forms, modeled in heavy oil paint, that revealed his interest in children’s art, manga, and popular culture, and collapsed distinctions between high and low art. By 1957, Motonaga’s work had become more abstract and featured flowing lines and pools of brightly colored pigment poured and dripped onto the canvas. This “classic style,” which developed concurrently with Morris Louis’s Veil paintings, occupied Motonaga until the mid-1960s, when his anthropomorphic sensibility returned in paintings featuring extruded and knotted forms that were delicately modeled with airbrush.
Thereafter in the 1970s, the artist’s scratchy hand-drawn forms reappeared along with the use of canned spray paint, creating a style that was fresh and raw, akin to graffiti and animation. Motonaga occupied a unique position in the Japanese art world, creating a distinct visual continuity between the artists and imagery of the immediate postwar era and the concerns that emerged in the work of contemporary painters such as Takashi Murakami, Yoshitomo Nara, and beyond.
Motonaga’s work has been the subject of many retrospective exhibitions, most notably at Hyogo Prefectural Museum of Art, Kobe, 1998; Hiroshima City Museum of Contemporary Art, 2003; Nagano Prefectural Shinano Art Museum , 2005; and Mie Prefectural Museum of Art, 2009. The first Western retrospective of Motonaga’s art will take place at the Dallas Museum of Art in 2014.
ArtlystArt Basel’s fifth edition in Hong Kong has closed with encouraging sales recorded across all levels of the market. This demonstrates a continued demand for high-quality works by the world’s leading international collectors and institutions. Attendance at this year’s show, whose Lead Partner is UBS, rose to nearly 80,000 – due to the introduction of evening ticket sales and improved crowd control measures – and attracted leading members of the international art world. Many observers felt that this edition had built on the show’s strong history to attain new levels – Art Basel in Hong Kong now not only stands as the premier fair in Asia but also as one of the leading fairs worldwide. Read More
ARTSY EDITORIAL by Alexxa GotthardtFergus McCaffrey’s elegant booth mingles the practices of two American artists who came of age in the 1960s and happen to be great friends. The works of Marcia Hafif and Richard Nonas, however, differ greatly—and that’s precisely what makes this presentation so compelling. Hafif’s hyper-saturated canvases featuring curvaceous forms that resemble bodily contours (she calls these her “Pop-Minimal” paintings) draw you in. Nonas’s more subtle patinaed steel sculptures cover the floor. They resemble architectural forms or ritualized objects; given Nonas’s early years as an anthropologist, they just might be inspired by them, too. Read More