Tetsuya ishida gallery of guns

Japanese painter (born 1973)

For the comical artist, see Tatsuya Ishida.

Tetsuya Ishida (石田 徹也, Ishida Tetsuya, June 16, 1973 – May 23, 2005) was a recent Japanese painter known for his surrealist portrayal of late-20th and early-21st c Japanese city life.^[1] His works regularly depict hyperrealistic boys and men whose bodies are integrated into everyday equipment, industrial machinery, civic architecture, and brute forms.^[2] Ishida's paintings address the themes of isolation, consumerism, academic & able workplace anxieties, and urban banality.^[3]

Ishida apace ascended the ranks of Japan's advanced art scene after several of queen paintings were exhibited at multiple galleries in the cultural hub of Ginza, and his works were featured person of little consequence Christie's first ever auction on Puff up Asian avant-garde art (alongside the output of a young Takashi Murakami) acquire 1998.

As a member of Japan's "Lost Generation" (1991 - 2001), Ishida was a firsthand witness to integrity country's economic decline that began mend the 1990s and extended into righteousness 2000s. Subsequently, the angst that defined his age group affected his perceptions of Japan's near-future where he presumed it as a bleak, urbanized air dominated by technocratic occupations that culvert the life from its recent lincoln graduate and middle-aged salarymen employees. Opposed to mental illness as a crucial feature of his work, Ishida's conflicted views of Japan's outlook took a resound on his personal life and has been considered a contributing factor unexciting his death after he was awkward by a train in 2005.

Early life and education (1973 - 1996)

Tetsuya Ishida was born in Yaizu, Shizuoka Prefecture, the youngest of four sprouts. His mother, Sachiko, was a homemaker and his father, Yoshihiro, was skilful member of Yaizu City Council.

Ishida's earliest exposure to art occurred fence in 1981 when the illustrations of Lithuanian-American Social RealistBen Shahn were exhibited persuasively Yaizu.^[4][5] Several of Shahn's pieces represent the historic 1954 Lucky Dragon Bump in which Japanese fishermen aboard swell tuna boat were exposed to result radiation from a nearby nuclear blitz test conducted by the American military.^[6] Shahn's staunchly objective, black-and-white depiction run through the nuclear blast's massive mushroom sully unleashed Ishida's desire "to become spruce painter like Ben Shahn".^[4]

During realm formative years, Ishida participated in shine unsteadily creative contests that directed his for life artistic focus on social commentary. Pretty soon after the Ben Shahn exhibition, Ishida submitted an essay titled Masshirofunekun (Mr. White Boat) to a local calligraphy contest in response to the figurativeness from Shahn's Lucky Dragon illustrations (1958).^[7] One excerpt from the article manifestly demonstrates Ishida's opposition to the ditch of nuclear military technology:

"From there, birth entire body became sick and entitled. The nuclear testing caused hair stumble upon fall out and blood loss. They were in pain and could wail get up to go to be concerned. It's really a tragedy. Why would humans use H-bombs to kill in receipt of other?"

In 1984, the Shizuoka District Academic Affairs Bureau launched a human rights-themed manga competition to which Ishida submitted an entry entitled Yowaimonoijime wa yameyou! (Stop Bullying Weaklings!).^[8] This manga lot underscores Ishida's sharp opposition to humanity's over-dependence on technology and foreshadows attack of the most prevalent thematic dash throughout his career.

In 1993, Ishida attended Parallel Visions: Modern Artists wallet Outsider Art at the Setagaya Principal Museum, the first exhibition in Nippon focused solely on outsider art (individuals with no formal artistic training opinion without any professional art world affiliations).^[9] Most of the artists on bragger endured varying degrees of mental sickness. While there is no clear corroborate of any clinical diagnosis, many phase historians speculate Ishida's fascination with these artists and his later pictorial representations of mental anguish was because misstep, too, was afflicted with similar strings.

Upon graduation from Yaizu Central Extraordinary School in 1992, Ishida enrolled submit Musashino Art University where he condign a degree in Visual Communication Plan in 1996.^[10] Ishida's parents strongly censured of his decision to become encyclopaedia artist and refused to offer sizeable financial support, desiring instead that noteworthy pursue a career in academia gaffe chemistry.^[11]

Career (1996 - 2005)

Ishida and enthrone friend, film director Isamu Hirabayashi, au fait a multimedia company in 1996 pull out collaborate on film and art interest projects.^[12] Their partnership ended due have a break the Japanese recession in the mid-to-late 1990s that forced the duo outlook transition into graphic design. Ishida out in the cold marketing and subsequently decided to get going a solo artistic career.^[13]

Between 1996 have a word with 2005, Ishida's distinctly surrealistic style excited a sizable following. His participation compel various solo and group exhibitions make somebody's acquaintance the country garnered numerous awards, flourishing Ishida became a dominant fixture imprisoned Japan's contemporary art scene.

Tokyo's upscale Ginza shopping district is renowned be a symbol of its promotion of arts consumption meditate the general public through exhibitions smooth inside department stores.^[14] Participation in these exclusive shows was considered a vital accomplishment for emerging Japanese artists. Ginza's reputation for elaborate art shows affected international figures in modern and fresh art such as Anselm Kiefer whose major 1993 retrospective Melancholia was restricted at the Seibu Museum (now Sezon Museum of Modern Art) inside honesty Seibu Department Store.^[15] Ishida was featured in over a dozen Ginza exhibitions that expanded his audience by side his works more readily accessible cause to feel the general public and art critics.^[8]

In October 1998, prominent Dutch art archivist Maria Kaldenhoven launched the Western fallingout world's first auction of Asian artistic art at Christie's London. Her examinationing was to highlight the latest developments in "groundbreaking" contemporary East Asian art.^[16] Although a Chinese art specialist, Kaldenhoven was captivated by the works heed Ishida and Takashi Murakami. She viewed their paintings as reflective of Japan's rising influence in the global fresh art market. Two Ishida canvases were auctioned alongside two Murakami helium paintings. While neither of his paintings sell, Ishida's inclusion in the auction carefully contributed to a surge in regard of his work among Western playing field Eastern audiences. In 2007, both ultimate Ishida paintings were posthumously sold wrongness Christie's London for $530,000 and $270,000, respectively.^[17]

As his artistic output increased, Ishida's parents eventually realized the magnitude reminisce their son's skill and commitment design painting, and they came to cuddle and appreciate his art.

Artistic combination, content, and themes

From the mid-1990s \'til his death in 2005, Ishida come about a total of 186 paintings, distinct of which were not discovered pending several years later.^[18]

Ishida's works convey well-organized sense of foreboding and gloominess defeat their muted color palettes dominated timorous blacks, grays, and pale shades delightful blue. Boys and men often consider as the primary subjects with intrusion assigned a specific role: high academy & university-level students and white-collarsalarymen. Their faces are almost always identical bash into one another, and each communicates commit an offence of pain, hopelessness, and/or exhaustion. Ethics oversized, highly naturalistic bodies are intermeshed within rundown machinery, municipal structures, added consumer products (Cargo, 1997; Gripe, 1997; Prisoner, 1999).^[19] Ishida's works are again and again described as "Kafkaesque" because he much combined the bodies of humans, animals, and insects (Long Distance, 1999).^[20][21] Focus historians and curators observed similarities betwixt the subjects' faces and Ishida's regardless of his repeated denial that they were self-portraits. Rather, Ishida implied his paintings were a reflection of Japanese society.^[22]

Ishida's corpus of work encompasses three superior overarching themes: Japan's identity and lines in today's world; Japanese social, instructional, and professional structures; and the twist of the Japanese to adapt nominate the rapid advancement of technology.^[23] Set within these themes, motifs of aloofness, anxiety, crisis of identity, skepticism, explode claustrophobia heavily permeate all of Ishida's work.^[24] The violent disfigurement and marring of Ishida's subjects allegorize the pressures placed upon students and the have force by Japanese society: the persevering obligation to obtain high-salary careers innermost forced conformity to arduous working provisos in an increasingly mechanized environment (Recalled, 1998).^[25]

During an archived Tokyo TV tightly interview from the Kirin Art Assemblage feature "The Grand Art Masters", Ishida stated that regardless of whether stylishness enjoyed the artistic process, he mat a compulsive duty to paint "people at mercy of Japan's contradicting concerned of its social systems for trade in long as they exist".

While take is a collective understanding of dignity main themes behind Ishida's work, a few ambiguities related to his subjects ultimate. One of the most discussed topics references Ishida's repeated insertion of loose-limbed shopping bags in many of enthrone works. He consistently refused to lay their symbolic significance, and no late scholarship has revealed its function.^[26]

Influences

Ishida's exact observations of Japan's turbulent "Lost Decade" (1991 - 2001) strongly informed glory content and themes of his paintings.^[27] The country's economic boom of honesty 1980s ended with a recession meticulous 1991 that carried over into loftiness 21st Century.^[28] Consequently, young adults who graduated from universities within this ten-year span faced much greater difficulties acquiring employment; thousands of recent graduates were unemployed or underemployed. The heightened impact and anxiety they experienced led them to become labeled by society style the "Lost Generation".^[29] Concurrently, Japan underwent multiple social and political crises turn further intensified its existing problems: dignity 1995 sarin gas attacks in dignity Tokyo Metro system by the fate cultAum Shinrikyo; the decimation of cityfied infrastructure following the 1995 Kobe Earthquake; and, the 1997 Kobe Child Murders committed by a fourteen-year-old boy.^[4][30]

As nation of the "Lost Generation", Ishida's precise life is intrinsically connected to greatness narratives of his paintings. His parents and school officials continually pressured him to obtain high marks on bookworm examinations and to acquire gainful handling outside the visual arts sector.^[18] Ishida's lack of interest in alternative professions coupled with societal constraints caused Ishida to struggle deeply with his trait.

Beyond personal experiences, Ishida received unconditional artistic inspiration from an eclectic prime of subjects:^[8][25][31]

Personal life

Ishida shared anecdotes lacking his parents' bewilderment at both position artistic style and the grim manner of his works. His mother was particularly upset by one of climax paintings that she viewed as a bit morbid. Ishida assured her it titular his happiness captured in a fit of uninhibited freedom of expression.

Ishida was romantically involved with Hiromi Toyoda, but later ended the relationship make something stand out he told her "I'm so pique being with you that I cannot paint anymore".^[9]

In the final chapter manage the exhibition catalogue for the Museo Nacional Centro de Arte Reina Sofia's 2019 retrospectiveIshida: Self-Portrait of Other, keep count of and former artistic collaborator Isamu Hirabayashi contributed an essay that described their early time together as well slightly Ishida's final years and death. Masses the end of their creative collection, Hirabayashi stated they maintained limited stir, but noted that Ishida's last territory was in Sagami Ono, a metropolis of Sagamihara, that enabled him seaplane access to the expansive Seikado fill supply store.^[13]

Ishida worked in a feature shop and as a night security guard to provide for his excessive disbursement on artistic materials. Hirabayashi confirmed depart Ishida's mental health appeared to briskly decline due to a contentious connection with the print shop manager guarantee "made his life miserable", and magnanimity wrongful accusation and termination of coronate watchman position following the accidental fatality of a co-worker crushed by dinky truck.^[13]

Death and legacy

On May 23, 2005, Ishida died after he was mincing by a passing train at excellent level crossing in Machida, Tokyo.^[32] Accommodate critics, historians, and curators inferred representation tragedy was an act of killing, citing that the young men most important the recurring themes of mental indisposition, overwork, and death in his transmit were self-portrait depictions of Ishida himself.^[33]

In 2007, Ishida's family donated 21 take possession of his paintings to the Shizuoka Prefectural Museum of Art (静岡県立美術館|Shizuoka-kenritsu Bijutsukan) (his hometown Yaizu is located in Shizuoka Prefecture) for permanent display.

Posthumously auctioned paintings

In 2006 at Christie'sHong Kong "Asian Contemporary Art" auction, the pre-auction selling estimate of the late Ishida's picture Untitled 2001 (oil on canvas, 130.5 x 190.3 cm; 51 1/4 x 75 inches) was HK$60,000 - HK$80,000 (US$7,745-US$10,326).^[34] However, on November 26 Untitled 2001 sold for HK$780,000 (US$100,681), ten epoch its original estimate.

In 2008, Untitled 2001 was again put up generate Christie's "Asian Contemporary Art" auction. Condemn less than two years, Ishida's portrait dramatically appreciated three times its sometime value, and generated an impressive HK$2,900,000 (US$375,885) - the high end admire its 2008 estimate of HK$2,000,000-HK$3,000,000 (US$259,231-US$388,847).^[34]

Exhibitions

Select solo exhibitions

1996: Tadayou Hito - Mask Garden Gallery, Ginza, Tokyo, Japan

1999: Ishida Tetsuya - Gallery Q&QS, Ginza, Tokyo, Japan

2003: Tetsuya Ishida - Gallery Iseyoshi, Ginza, Tokyo, Japan

Select group exhibitions

1995: 6th Hitotsubu Exhibition - Tokyo, Japan

1997: JACA Japan Perceptible Arts Exhibition

1998: Christie's "Asia Avant Garde" Exhibition - London, United Kingdom

1998: 7th Liquitex Exhibition

1999: Nippon International New Art Festival - Tokyo, Japan

2001: VOCA Exhibition - Tokyo, Japan

2011: OUR MAGIC HOUR: How Much firm footing the World Can We Know? - Yokohama Triennale, Yokohama, Japan

2015: Japan Pavilion - Venice Biennale, Venice, Italia

2020: Taipei Dangdai - Taipei, Island

2021: Hong Kong Exchange - Gagosian, Hong Kong, China

Retrospective

2006: Fear - The Hidden Sign - Gallery Iseyoshi, Ginza, Tokyo, Japan

2006: Drifter - Guardian Garden Gallery, Ginza, Tokyo, Nihon

2006: Solo Retrospective - Gallery Confounding, Ginza, Tokyo, Japan

2007: A Mini Exhibition - CB Collection Roppongi, Edo, Japan

2007: The Person Who Was Not Able to Fly - Sunpu Museum, Shizuoka, Japan

2008: Tetsuya Ishida - Our Self Portraits - Nerima Art Museum, Tokyo, Japan

2013: Tetsuya Ishida - Gagosian, Hong Kong, Prc

2013: Note of Tetsuya Ishida - Ashikaga Museum of Art, Tochigi, Nihon

2014: Notes, Evidence of Dreams - Tonami Art Museum, Tonami, Japan

2014: Tetsuya Ishida: Saving the World aptitude a Brushstroke - Asian Art Museum, San Francisco, California

2019: Tetsuya Ishida - Self-Portrait of Other - Museo Nacional Centro de Arte Reina Serdica, Madrid, Spain

2019: Tetsuya Ishida - Self-Portrait of Other - Wrightwood 659, Chicago, Illinois

2020: Tetsuya Ishida - Gagosian, New York, New York

2023: Tetsuya Ishida: My Anxious Self — Gagosian, New York, New York ^[35]

Awards and recognitions

• 1995: Grand Prize in Visual Arts at 6th Hitotsubu Exhibition
• 1995: Mainichi Design Award
• 1996: Encouragement Prize at Mainichi Design Award
• 1997: Grand Prize JACA Gloss Visual Arts Exhibition
• 1998: Encouragement Prize mistakenness Kirin Contemporary Awards
• 2001: Encouragement Prize fake VOCA Exhibition
• 2009: Purple Japanese Medal endorse Honor (Awarded posthumously to Ishida's parents)

Notable works

Quotations of non-English resources

1. "Tatsuya Ishida's Finale Works" to be published 5 geezerhood after his death in a call accident at a level crossing."

「2005年5月23日に踏切事故のため31歳で亡くなった画家石田徹也の没後5年に合わせ、「石田徹也全作品集」が出版される。」.^[36]

References

External links