Early Silkscreens 1965-1971 — installation view
- Date:
- 1965-1971
- Medium:
- Silkscreen on paper
- Image courtesy of
- Friedman Benda — The Aesthetics of End: Early Silkscreens 1965-1971
This installation view documents the exhibition Early Silkscreens 1965–1971, surveying the period in which Yokoo consolidated the visual vocabulary that distinguished his graphic output from both the Bauhaus-derived modernism of his Nippon Design Center colleagues and the West Coast psychedelic poster idiom. Works on view from this window typically include the posters made for Tatsumi Hijikata's butoh and Kara Jūrō's Jōkyō Gekijō, along with magazine covers and commercial commissions, all printed by commercial silkscreen rather than by traditional woodblock methods. Compositional hallmarks visible in the wall hang include flat areas of vermilion and emerald printed without [bokashi](/glossary/bokashi) gradation, photo-appropriated portraits screened through coarse halftones, late-Edo [nishiki-e](/glossary/nishiki-e) border ornament, rising-sun and Mount Fuji devices recycled from Meiji-era nationalist imagery, and dense hand-lettered katakana titling. The grouping reflects the body of work catalogued in Hanga Jungle (Kokushokankokai, 2018), Noi Sawaragi's 260-page retrospective volume of Yokoo's print production.
Early Silkscreens 1965-1971 — installation view was created by Tadanori Yokoo (横尾 忠則) in 1965-1971.
Early Silkscreens 1965-1971 — installation view uses Silkscreen, on silkscreen on paper.
