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• Curator Q&A: Kathryn Koca

buzz: Where does this work lie within Japanese art history? To what movements is it indebted?

Koca: During the early twentieth century, many artists were drawn to investigating the “self” in their art. They reacted against the collaborative method of printmaking that the popular and widely distributed ukiyo-e prints utilized where there was a division of labor between the artist, the carver, and the printer. The artists of the creative print movement, specifically those who practiced sosaku hanga (“creative print”), wanted to create their own individual works that expressed their unique styles. The subject matter of the sosaku hanga prints were also very different from ukiyo-e prints in that they were created more as an artistic expression, and not for the pleasure of the everyday person.

buzz: I’d like to provide an enhanced vocabulary to our readers. What characteristics should my readers look for?

Koca: I would say that the most important characteristic for the viewer to look for is in examining and understanding the woodblock printmaking technique. What happens is that the artist carves an image directly into the block of wood. The areas that are left in relief, referring to the parts that are not cut away, are then inked (mainly black ink) and printed onto a piece of paper or whatever medium they desire. Along with the interesting use of color, what makes the prints unique is how the artists chose to carve the image into the wood, as some cut away the image with a very rough line while others carved a precise, clean line for the print. Therefore, the viewer should take the time to really examine the prints, not only to understand how the line and color works within the composition, but also how the artist physically carved the print itself.

buzz: How would you describe the process of abstraction in Japanese art, as exhibited here?

Koca: This exhibition gives 18 examples of abstraction, each from a different artist, showcasing the process of abstraction on varying levels. There are artists who completely discard any allusion to representation by simply assembling shapes and colors within the print, while others refer to the figure and representations of objects but break down the form into geometric shapes. It is difficult to categorize the method of abstraction with so many artists that all I can say is that they are all experimenting with the idea of abstraction in differing ways.

“The Rise of Abstraction” opens on August 29 at Krannert Art Museum. The opening reception is on August 28 from 5 to 7 p.m. With a cash bar. Look for more coverage in next week’s buzz and online at the217.com.