Tsuyoshi Maekawa

Courtesy of Dominique Lévy Gallery | New York, London, and Geneva

New York, Dominique Lévy, Tsuyoshi Maekawa, 2014

Colour: The colours in the catalogue illustration is fairly accurate, although it fails to convey the rich texture and three-dimensional nature of the surface visible in the original. Condition: This work is in very good and original condition. There is evidence of wear to the corners, notably the upper two corner tips. All other surface irregularities are likely to be inherent to the artist's choice of medium and working process. No restoration is apparent when examined under ultraviolet light.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Tsuyoshi Maekawa joined the avant-garde artist’s group, Gutai, in 1962 after three years of mentorship with the collective’s leader and founder, Jiro Yoshihara. Maekawa began experimenting with burlap as a material support in 1954, before his involvement with Gutai, by stretching found rice bags or worn-out sacks over canvas. He would apply oil paint to this fabric, using its rough natural character to draw attention to the work’s materiality. The variegated surface texture results in a fascinatingly strange, metamorphic object. However, it was not until his first solo exhibition at the Gutai Pinacotheca in November 1963 that Maekawa showed works made using his signature pleating and manipulation of the coarse cloth material. These works are emblematic of Maekawa’s unique sensibility, and are considered to be central works in Gutai’s most productive period. Works from Maekawa’s Gutai period are in the permanent collections of institutions such as the Osaka National Museum of Art, the Japanese National Museum, the Museum of Contemporary Art in Tokyo and the Tate Modern in London.