Tetsumi Kudo, ‘Olympic Winners Platform (Pollution Olympics - Pollution Game - L'art pressentiment)’, 1970-1972, Walker Art Center
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Tetsumi Kudo

Olympic Winners Platform (Pollution Olympics - Pollution Game - L'art pressentiment), 1970-1972

Painted wood, pegboard, cotton, plastic, polyester, painted cage, artificial flowers, toy
Location
Minneapolis
About the work
Provenance
Medium
Image rights
© Artists Rights Society (ARS), New York / ADAGP, Paris
Tetsumi Kudo
Japanese, 1935–1990
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In his wide-ranging practice, Japanese artist Tetsumi Kudo promoted environmental awareness through found object assemblages, reminiscent of gardens, and cubes that seemed to contain vast inner worlds in states of metamorphosis. A staunch antimodernist, he freely sampled abject imagery, like feces, eyeballs, breasts, and penises, presented in combination with household objects, transistors, and early electronics, to criticize the rampant consumerism of the postwar recovery. Kudo, who was an early proponent of performance-based painting, was an important figure of Tokyo’s “Anti-Art” movement before relocating to Paris in 1962, where he gained recognition for the Happenings he staged and began making art in the vein of Nouveau Réalisme. His lasting legacy can be traced in such artists as Paul McCarthy and Takashi Murakami, who once called him “the father of us all.”

Tetsumi Kudo, ‘Olympic Winners Platform (Pollution Olympics - Pollution Game - L'art pressentiment)’, 1970-1972, Walker Art Center
Save
Save
Share
Share
About the work
Provenance
Medium
Image rights
© Artists Rights Society (ARS), New York / ADAGP, Paris
Tetsumi Kudo
Japanese, 1935–1990
Follow

In his wide-ranging practice, Japanese artist Tetsumi Kudo promoted environmental awareness through found object assemblages, reminiscent of gardens, and cubes that seemed to contain vast inner worlds in states of metamorphosis. A staunch antimodernist, he freely sampled abject imagery, like feces, eyeballs, breasts, and penises, presented in combination with household objects, transistors, and early electronics, to criticize the rampant consumerism of the postwar recovery. Kudo, who was an early proponent of performance-based painting, was an important figure of Tokyo’s “Anti-Art” movement before relocating to Paris in 1962, where he gained recognition for the Happenings he staged and began making art in the vein of Nouveau Réalisme. His lasting legacy can be traced in such artists as Paul McCarthy and Takashi Murakami, who once called him “the father of us all.”

Tetsumi Kudo

Olympic Winners Platform (Pollution Olympics - Pollution Game - L'art pressentiment), 1970-1972

Painted wood, pegboard, cotton, plastic, polyester, painted cage, artificial flowers, toy
Location
Minneapolis
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