Splatter / 2012 / Kazumasa Tsuihiji / drawing on Textured paper

The style was widespread from the 1940s until the early 1960s, and is closely associated with abstract expressionism (some critics have used the terms “action painting” and “abstract expressionism” interchangeably).[1][2] A comparison is often drawn between the American action painting and the French tachisme.[2] The New York School of American Abstract Expressionism (1940s-50s) is also seen as closely linked to the movement.[3]

The term was coined by the American critic Harold Rosenberg in 1952,[4] in his essay “The American Action Painters”,[5] and signaled a major shift in the aesthetic perspective of New York School painters and critics. According to Rosenberg the canvas was “an arena in which to act”.[6] The actions and means for creating the painting were seen, in action painting, of a higher importance than the end result.[3] While Rosenberg created the term “action painting” in 1952, he began creating his action theory in the 1930s as a critic.[7] While abstract expressionists such as Jackson PollockFranz Kline and Willem de Kooning had long been outspoken in their view of a painting as an arena within which to come to terms with the act of creation, earlier critics sympathetic to their cause, like Clement Greenberg, focused on their works’ “objectness.” Clement Greenberg was also an influential critic in action painting, intrigued by the creative struggle, which he claimed was evidenced by the surface of the painting.[3] To Greenberg, it was the physicality of the paintings’ clotted and oil-caked surfaces that was the key to understanding them. “Some of the labels that became attached to Abstract Expressionism, like “informel” and “Action Painting,” definitely implied this; one was given to understand that what was involved was an utterly new kind of art that was no longer art in any accepted sense. This was, of course, absurd.” – Clement Greenberg, “Post Painterly Abstraction”.

Rosenberg’s critique shifted the emphasis from the object to the struggle itself, with the finished painting being only the physical manifestation, a kind of residue, of the actual work of art, which was in the act or process of the painting’s creation. The newer research tends to put the exile-surrealist Wolfgang Paalen in the position of the artist and theoretician who used the term “action” at first in this sense and fostered the theory of the subjective struggle with it. In his theory of the viewer-dependent possibility space, in which the artist “acts” like in an ecstatic ritual, Paalen considers ideas of quantum mechanics, as well as idiosyncratic interpretations of the totemic vision and the spatial structure of native-Indian painting from British Columbia. His long essay Totem Art (1943) had considerable influence on such artists as Martha GrahamBarnett NewmanIsamu NoguchiJackson Pollock and Mark Rothko; Paalen describes a highly artistic vision of totemic art as part of a ritual “action” with psychic links to genetic memory and matrilinear ancestor-worship.[8]

Over the next two decades, Rosenberg’s redefinition of art as an act rather than an object, as a process rather than a product, was influential, and laid the foundation for a number of major art movements, from Happenings and Fluxus to ConceptualPerformance artInstallation art and Earth Art.

4.4.2020

Exhaust Finisher of Porsche 964 / 2017 / Kazumasa Tsuihiji / Painted on Aged Object

Exhaust Finisher of Porsche 964 / 2017 / Kazumasa Tsuihiji / Painted on Aged Object…

13.9.2020

Actual Texture equal surface finish / 2018 / Scanned from Splatter paint on German Etching paper

Actual Texture equal surface finish / 2018 / Scanned from Splatter paint on German Etching paper…

11.9.2020

Just kidding by Digital Camouflage / 2012 / Kazumasa Tsuihiji / Digital picture + special effect 

Just kidding by Digital Camouflage / 2012 / Kazumasa Tsuihiji / Digital picture + special effect …

11.9.2020

SO902i Mobile Phone / 2012 / Kazumasa Tsuihiji / Sculptured Object

SO902i Mobile Phone / 2012 / Kazumasa Tsuihiji / Sculptured Object…

11.9.2020

CinemaScope / 2020 / Kazumasa Tsuihiji / Drawing tablet pen on digital paper

CinemaScope / 2020 / Kazumasa Tsuihiji / Drawing tablet pen on digital paper…

3.9.2020

 

psychotechnicはツイヒジカズマサの作品で構成されたウェブサイト。

対比地 一正  ツイヒジカズマサ  Kazumasa Tsuihiji

日本の美術家、コンテンポラリー・アーティスト、アートディレクター。群馬県太田市出身。
コンテンポラリーアートの分野に限り、アーティストネーム”Johnny Mnemonic”を使用、さらに表現方法のバリエーションに合わせてJMがイニシャルの作家名を多数使用する。
(Kazumasa Tsuihiji 対比地一正 ツイヒジカズマサ Johnny Mnemonic

CAREER

*1980 日本大学芸術学部在学中よりフリーランス・イラストレーターとしてのキャリアをスタートその後あらゆるメディアで視覚伝達の仕事に携わる
*1981 New York ・THE SOCIETY OF ILLUSTRATORS 23 INTERNATIONAL EXHIBITIONにおいてEXCELLENCE AWARD を受賞
*1983 SOLO EXHIBITION・電通ギャラリー
*1984 朝日広告賞・表現技術部門賞(イラストレーション)
*1985 朝日広告賞・不動産部門賞
*1986 SOLO EXHIBITION・(銀座アートギャラリー)
*1989 アートレップ・ファンデーション(New York City)に作家登録。海外での活動を開始
*1991 第8回ATP賞・グランプリ(フジテレビ・『カノッサの屈辱』美術担当)
*1994 SOLO EXHIBITION・SPACE YUI (ARTWORK BY KAZUMASA TSUIHIJI)
*1995 SOLO EXHIBITION・PINPOINT GALLERY (WINGS)
*1995 第12回ATP賞・グランプリ(フジテレビ・『料理の鉄人』美術担当)
*2000   SIEGRAPHオープニングムービーを制作
*2010  View of FIVE・Gallery art point
*2011  Abstraction・Gallery art point
*2011   Larotica 2011・Gallery art point
*2011   EXHIBITION EARTH By HEART・Gallery art point
*2012  EXHIBITION FIVE 3・Gallery art point
*2013  EXHIBITION FIVE 4・Gallery art point
*2014  EXHIBITION FIVE 5・Gallery art point
*2015  EXHIBITION FIVE 6・Gallery art point
*2016  EXHIBITION FIVE 7・Gallery art point
*2017  EXHIBITION FIVE 8・Gallery art point

ADITIONAL CAREER

*1984〜1995 日本大学芸術学部美術学科・非常勤講師
*1987〜1998 WALT DISNEY ENTERPRISE JAPAN・オーソライズドアーティスト(フィニッシング)
*1995〜2000 FICCE UOMO・オーソライズドデザイナー(グラフィック)
*2000〜2003 S2EDITION (New York City) 及び KS fine art (New York City)のプロデュースにより、全米アートショウに出品
*2006〜Johnny Mnemonicとしてコンテンポラリーアートの作品制作を開始する

URL

http://www.psychotechnic.net