Natsuyuki Nakanishi

475:’s painting atelier and Nakanishi’s drawing atelier in February 1969, each composed of fifteen students. One exercise Nakanishi taught was a rotating portraits project where five groups of three students would draw each other’s portrait as well as their own. Each class also included a performative exercise such as the use of transparent globes to gain understanding of space through the modification of perceptual experience. Another perceptual modification tool used to aid drawing in an exercise was a mirror with a triangle cut out, creating two interacting perspectives to be transcribed to the picture plane of the drawing. In yet another exercise, the students were divided into pairs after which they faced each other and simultaneously places their index finger in the others’ mouth. They were then asked to make a drawing of the feeling. In a similar exercise, the students were asked to eat something and then drink milk as a way to determine where the face ended and the throat began. Such unorthodox teaching methods would continue in Nakanishi’s practice as an educator, such as the exercise of holding a small steel ball in the palm of one’s hand and focusing one’s attention on it while walking about. 417:

as the “frontality” of painting, with his first use of the word on record in 1981. This awareness of space in one’s relation to the painting can also be observed in his use of elongated paintbrushes that forced him to paint from an unusual distance. Thus, after the dismantling of painterly conventions during the sixties, Nakanishi turned to painting as a way to inquire into the relation between perception and metaphysics. In this regard, Nakanishi differentiated himself from “continental or constructivist art” which he felt demonstrated a “blind faith in earth, or ground.” His search for another means of orientation often relies on water, shown in his various “rituals” such as placing a glass of water near a canvas in progress, trying to cut a perfect circle from a sheet of paper while abroad a boat floating on a pond, and going to

275:(Sentaku basami wa kakuhan kodo o shucho suru), in which he attached hundreds of metal clothespins to a variety of household and other objects as well as his own body, and invited exhibition goers to attach additional clothespins themselves. As a part of this work, Nakanishi walked around in public with his entire head covered in hundreds of clothespins. The performance was accompanied with a series of paintings, also littered with clothespins attached to their surface. Some paintings also included holes burned through their surface, reminiscent of the burned holes in the newspapers performatively read as part of the 422:

to become, simultaneously, that of reestablishing the whole phenomenal environment of which his own body, or potential bodies, constitutes a part,” Hayashi writes. The relativity of curvature and flatness is further explored in his Arc paintings, the first of which was made in 1978. In these works, Nakanishi attached a bamboo arc at the point of its apex to the surface of the canvas by which “the verticality of the surface becomes something to be ‘re-presented’ through its differential relation to the real the arc.”

445:, Nakanishi installed the canvases so that they precariously stood vertically on easels. These painting-adorned easels were then arranged in an overlapping manner, creating a sense of perceptual depth and immersion by the aggregated picture planes. The effect is to situate the aesthetic experience within a specific spatial and temporal point that dissolves into the unstructured “current” of experience. In his essay, 384:, Nakanishi strove to make paintings between the corporeal and the painterly. This underscores the significance of the body in relation to the phenomenological interrogations Nakanishi’s conducted through his artistic practice. As art historian Michio Hayashi has observed of the connected but different approaches by the two artists, “In contrast to 452:“The painter ceases to walk along the river and becomes a person on a bridge. Not to cross the bridge, but to see the river’s frontal view. He has switched viewpoints from the horizontal flow, the linear flow of time, to face the current of time, a vertical temporality, time itself, that surges from the frontal view of the river.” 421:

to observe the Pacific Ocean as a panoramic horizon. A paradox contained in the latter of these rituals, the simultaneously curvature and flatness of the horizon, gives some insight into the basis of Nakanishi’s painting practice. “he painter’s attempt to establish the verticals plane of painting has

388:, who eagerly incorporated the effects of the gravitational pull on his body as an important element of his choreography, and, moreover, positively acknowledged the physical ground under his feet as their unquestionable support, Nakanishi expressed his suspicion about such phenomenological optimism.” 328:

at Minami Gallery, Tokyo. Tōno used the occasion of the exhibition to further his idea of Anti-Art, which he felt arose from “an ‘everyday’ that is cut off from war memory, one that feels like an unabashedly boring, never-ending Sunday.” Tōno describes Nakanishi’s works from the exhibition as “sickly

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edition that explicitly mention Nakanishi are number two occurring September 15th,1962, “Opening day of Jiritu-Gattuko. Nakanishi gave lecture on art illustrating it on stage with pipe smoke,” number six, “1 Mar. 1963 Yomiuri andi-pandan show at Ueno museum” where “10,000 clothespins made by Nakanisi

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According to Hayashi, Nakanishi’s later career paintings are marked by “the problem of restoring the vertical orientation of painting after the loss of its taken-for-granted traditional posture and the exposure of its irreducible materiality.” As Reiko Tomii notes, Nakanishi has also described this

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Inextricable from this interrogation of space was, for Nakanishi, also the interrogation of time. This too was probed through an expansive approach to painting, most notably through installation strategies by which the paintings comprised a field that the viewer became immersed in. Such a strategy

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reflected on the piece with the question, “In the knowledge that this was not paint but simple, everyday objects, had we not discovered the minimum separation between painting and real life?” Another photo from the “Sixth Mixer Plan” iteration of the work shows Nakanishi, adorned with clothespins,

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Beginning in the latter half of the 1960s, Nakanishi began focusing on painting large-scale abstract paintings using subdued colors such as gray, white, purple, and yellow-green, which he continued to produce for the rest of his career. Nakanishi’s conception of painting from this point, however,

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in 1960. Both paintings use paint, enamel and sand. The latter of these paintings was part of his “Rhyme” series, all of which employed the similar techniques, materials and imagery and which earned Nakanishi an honorable mention at the Shell Art Exhibition at the Museum of Modern Art Kanazawa in

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has listed as its materials, “Bones, watch and clock parts, bead necklace, hair, eggshell, lens, and other manufactured objects embedded in polyester.” As photo documentation from the Yamanote Line Incident reveal, a Compact Object was fastened by a chain to train’s a hanging passenger handle.

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According to Nakanishi, the Bigakko’s purpose was not just to provide a radically new form of art education, it was also a structure that could support artists who were not supported by an existing art market. In April 1970 the workshop was introduced with a rotating faculty of Nakanishi,

62:. Later in his career, Nakanishi would become known for painting practice featuring subdued palettes and idiosyncratic marks. He is also recognized for his pedagogical work, including his involvement with the experimental Bigakko school as well as professorship as 94:, Nakanishi became interested in art’s ability to engage social issues when he came into contact with the “workers’ culture circle” movement. In 1960, Nakanishi was a frequent participant in the activities of the short-lived but influential "anti-art" collective 408:

was Nakanishi’s “Hopscotch at the Summit” works, a series of ten paintings that he worked on through from 1965 to 1971. These semi-abstract works seem to radiate out from a single point, employing almost psychedelic motifs suggesting flower or animal imagery.

224:’s use of the Yamanote Line “as a site for their event was to destroy the hierarchical status of art by bringing it into the ‘space of daily activities.’” Nakanishi’s Compact Objects were also displayed in “Room as Alibi”, a group exhibition organized by 308:

objects encased in tinfoil and clothespins. These egg shaped objects are roughly the same shape and size of his compact objects but are made of lacquer and enamel on plaster and are covered with the painted motif from his “Rhyme” paintings.

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create a sense of topography as well as biomorphic forms on the cellular level. The result is a visual analogy between a macro perspective such as one achieve by a satellite and a micro one such as one achieve by a microscope.

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casts… painted with the bloody splash of the everyday.” Elsewhere, also in 1964, Atsushi Miyakawa referred to Nakanishi’s work in the “Young Seven” exhibition as a “furious ambivalence toward identity and metamorphosis.”

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The second of these listed components refers to Nakanishi’s “Compact Object” (Konpakuto obuje) works. These objects are ostrich egg shaped resin sculptures, filled with a jumble of various items of everyday use. The

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Another photograph shows Nakanishi squatting on a train platform in white face paint, hunched over a Compact Object which he is licking as pedestrians watch in confusion. The event was featured in the magazine

368:(Hijikata Tatsumi and the Japanese: Revolt of the Flesh), 1968, where Nakanishi crafted copper plates that were hung above the stage. In his “A Tectonic Shift in Art: From the Expo to the Hippie Movement,” 299:

recounts, “It was a hideous picture that induced the viewer’s empathy, knowing how painful it would be to be bitten by the springs of numerous laundry clips.”

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A continuous black string with various everyday objects attached to it at intervals was laid out on street from moving street car along its circular route.

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characters of the three artists' surnames: "high" (the "Taka" in Takamatsu), "red" (the "Aka" in Akasegawa), and "center" (the "Naka" in Nakanishi).

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and in 2004 he became a professor at Kurashiki University of Science and Technology where he remained until 2007. He was Professor Emeritus as

404:, he notably returned to painting with sustained and intensive engagement with the medium. Contemporaneous with his collaborative efforts with 471:, whose founding was prompted by the decline of the leftist movements in Japan at the end of the 1960s. The first programs at the school were 155:

train heading counter-clockwise on its route, disrupting the normalcy of passenger's commutes with a series of bizarre performative actions.

1071:, edited by Doryun Chong, Michio Hayashi, Kenji Kajiya, and Fumihiko Sumityomo, 241–47. New York, NY: Museum of Modern Art, 2013. Pg. 242 1043:, edited by Doryun Chong, Michio Hayashi, Kenji Kajiya, and Fumihiko Sumityomo, 127–32. New York, NY: Museum of Modern Art, 2013. Pg. 131 1030:, edited by Doryun Chong, Michio Hayashi, Kenji Kajiya, and Fumihiko Sumityomo, 118–20. New York, NY: Museum of Modern Art, 2013. Pg. 120 1017:, edited by Doryun Chong, Michio Hayashi, Kenji Kajiya, and Fumihiko Sumityomo, 118–20. New York, NY: Museum of Modern Art, 2013. Pg. 119 1004:, edited by Doryun Chong, Michio Hayashi, Kenji Kajiya, and Fumihiko Sumityomo, 118–20. New York, NY: Museum of Modern Art, 2013. Pg. 118 762:

Chong, Doryun, Mitsuda Yuri, and Reiko Tomii. “Trauma and Deliverance: Portraits of Avant-Garde Artists in Japan, 1955-1970.” Essay. In

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Chong, Doryun, Mitsuda Yuri, and Reiko Tomii. “Trauma and Deliverance: Portraits of Avant-Garde Artists in Japan, 1955-1970.” Essay. In

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Akasegawa, quoted and trans. in John Clark, “The 1960s: The Art Which Destroyed Itself: An Intimate Account” in Reconstructions, p. 86.

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Munroe, Alexandra. “Morphology of Revenge: The Yomiuri Indépendant Artists and Social Protest Tendencies in the 1960s.” Essay. In

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Munroe, Alexandra. “Morphology of Revenge: The Yomiuri Indépendant Artists and Social Protest Tendencies in the 1960s.” Essay. In

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Compact objects were hung from hand straps inside street car and observed by performers at close range with battery lights.

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would become more expansive than his early practice, incorporating elements of performance, sculpture and installation.

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approached Nakanishi to make theatrical props and related art for his choreography. This included Nakanishi’s work on

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In recent years, Nakanishi's works have been featured in several exhibitions in several museums worldwide, including

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from March 2 to 15, 1963. This was the only year that Nakanishi participated in the Yomiuri Indépendant exhibition.

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Erber, Pedro (2017). "The Emergence of the Contemporary: Japanese Postwar Art in Twenty-First-Century Brazil".

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performance with “an assemblage of people wearing Nakanishi’s white shirts and white pants.” Influenced by

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From January 30 to February 15, 1964, Nakanishi was featured in the exhibition “Young Seven” curated by

90:, who would become an important collaborator, was a classmate of Nakanishi’s during this time. While at 565: 952:

Paik, Nam June. “To Catch Up or Not to Catch Up with the West: Hijikata and Hi Red Center.” Essay. In

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Talk | Shimada Yoshiko | Gendaishicho-sha Bigakko: Alternative Art Education in Post-1968 Japan

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Tone, Yasunao. “A Tectonic Shift in Art: From the Expo to the Hippie Movement.” Essay. In

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Art, Anti-Art, Non-Art: Experimentations in the Public Sphere in Postwar Japan, 1950–1970

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Art, Anti-Art, Non-Art: Experimentations in the Public Sphere in Postwar Japan, 1950–1970

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Art, Anti-Art, Non-Art: Experimentations in the Public Sphere in Postwar Japan, 1950–1970

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His experiments in painting were reflected upon in an anthology published in 1989 titled

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Nakanishi was one of the founders of the experimental and radical art education program

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After Nakanishi’s radical questioning of art’s conventions through his proximity to the

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television show on November 3rd, 1963 which included a “Foaming fountain by Nakanishi.”

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Tomii, Reiko. “Infinity Nets: Aspects of Contemporary Japanese Painting.” Essay. In

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Tomii, Reiko. “Infinity Nets: Aspects of Contemporary Japanese Painting.” Essay. In

50:, to abstract painting. Nakanishi co-founded the groundbreaking artistic collective 1362:"Hirshhorn Acquires Works by Diverse Slate of International Artists for Collection" 803: 488: 484: 405: 385: 377: 363: 358: 350: 338: 300: 254: 217: 103: 59: 711: 633: 225: 47: 250: 221: 167: 136: 87: 55: 1274: 1163:, edited by Alexandra Munroe, 307–19. New York, NY: H.N. Abrams, 1994. Pg. 316 1150:, edited by Alexandra Munroe, 307–19. New York, NY: H.N. Abrams, 1994. Pg. 319 978:, edited by Alexandra Munroe, 149–63. New York, NY: H.N. Abrams, 1994. Pg. 163 871:, edited by Alexandra Munroe, 149–63. New York, NY: H.N. Abrams, 1994. Pg. 159 829: 1385: 532: 401: 296: 292: 258: 242: 179: 163: 152: 132: 99: 51: 956:, edited by Alexandra Munroe, 77–81. New York, NY: H.N. Abrams, 1994. Pg. 80 418: 495:. In April 1996 he became a professor in the Department of Painting at the 369: 268:

A notable example of Nakanishi’s work at this time is Nakanishi’s artwork/

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Nakanishi began his artistic career as a painter, creating works such as

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