When Young Women Printmakers in Japan Joined Forces to Create a Strong Impression

Culture
جمعه 29 فروردین 1399 ساعت 12:36
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Smith sonian mag
In October 1956, nine artists calling themselves Joryū Hanga Kyōkai, or the Women’s Print Association, mounted their debut exhibition in Tokyo. Their bold, modernistic woodblocks, etchings and lithographs pushed the boundaries of Japan’s long—and male-dominated—printmaking tradition. Artists in the postwar years had been forming collectives to share scarce resources, especially gallery space, but it was unusual for young women to organize to further one another’s careers. “They didn’t have the engine of support behind them that a lot of the male artists did,” says Jeannie Kenmotsu, curator of an exhibit of Joryū Hanga Kyōkai works scheduled to open in May at the Portland Art Museum. As some members of the collective married and started families, they had less time for their art and drifted into obscurity. Nevertheless, says Kenmotsu, the still-fresh appeal of their work “speaks to a self-confidence that is really remarkable, in all of them.”
Haru matsu onna (Woman Waiting for Spring) , etching on paper, by Kobayashi Donge, 1960. (©Kobayashi Donge / Courtesy Portland Art Museum)
Jam Masjid , color woodblock print on paper, by Yoshida Chizuko, 1960. (© Yoshida Chizuko / Courtesy Portland Art Museum)
Mukashi B (Antiquity B) , monochrome woodblock print with gold foil and mica on paper, by Iwami Reika, 1965. (© Iwami Reika / Courtesy Portland Art Museum)
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