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Stephen Kroninger
Tadanori Yokoo
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"Tadanori Yokoo" poster for the "Persona" exhibition, 1965



 This post is by no means meant to be definitive. These few images only begin to scratch the surface of Yokoo's long, prolific and inspired career.

 Christopher W. Mount, Director, The Museum of Modern Art, New York: "...We are bombarded on a daily basis with all types of data relayed to us not only from the print media but also the electronic media, television, computers and even electronic billboards.
 The graphic work of Tadanori Yokoo is unique in the clarity with which it chronicles the pace, complexity and chaos of this contemporary phenomenon. His extremely intricate, dreamlike designs are analogous to a late-modernist and surreal expression of the incursion of technologies on our visual consciousness . Yokoo's posters are beautiful portraits of the turbulent times we live in and his great talent lies in the ease and fluidity with which he makes consonance and finds harmony in what most others find as apparent disorder.
  To fully understand Yokoo's place in the history of the graphic arts and to comprehend his prominence amongst contemporary designers, one must first look briefly at the history of graphic design during the twentieth century.

 Early graphic designers were primarly illustrators, then in the mid-twenties avant-garde designers introduced the use of collage and added photographic elements to their works piecing them together with type. These early pioneers, like the later work of Yokoo, relied on a juxtaposition of elements to create dynamic compositions. This tradition of the graphic designer as assembler has continued, and Yokoo's place in this legacy is notable. He has elevated, during his thirty year career, the technique of collage and thus the practice of graphic design to new heights of complexity, stretching its imaginable limits to an almost conclusionary extreme of intricacy both stylistically and technically" (excerpted from the introduction to Tadanori Yokoo's Posters, Idea Magazine Special Issue 1994).
Poster for the dance performance "A La Maison de M. Civecawa" by the modern dance troupe Garumera Shokai, 1965
Poster for the book "The Wonders of Life on Earth," 1965
Poster for the serialized magazine essay "The Aesthetics of the End" by Yukio Mishima, 1966
Poster for "John Silver," theatrical performance by Jokyo Gekijo, 1967
Poster for 'Koshimaki-Osen" (Loincloth Hermit), performance by the underground theatrical troupe Joyko Gekijo, 1966
Poster for the Word and Image exhibition at The Museum of Modern Art, New York 1968
Poster for the "16th Exhibition of Japan Advertising Artist's Club" 1968
Poster for the "6th International Biennial Exhibition of Prints in Tokyo," 1968. 
"...This poster is also noteworthy as it represents the first time color markings were retained at the top as an integral part of the graphic design." (Best 100 Japanese Posters 1945-89, Toppan Printing Company Ltd. 1990).
Poster for the movie "The Trip", 1968
"New York," Hinode Arts and Crafts gallery poster, 1968
Poster for a demonstration by John Lennon and Yoko Ono, "War Is Over," 1969

Poster for IDEA magazine, 1969
Poster for the bunraku play "Chinsetsu Yumihan-Zuki, 1971


Poster for the book "The Complete Works of Tadanori Yokoo," 1971

"Greeting." publicity poster for Haizuka Printing Company, 1972
"This is a poster created to promote a corporate image for a printing company. Utilizing a medium which is inherently commercially oriented, Yokoo here depicts the "Thousand-year Kingdom," his longed for spiritual utopia...It incorporates a variey of "sacred codes" which symbolize the dieties of the world's major religions: Buddhism, Christianity, Hinduism and Islam. " (Best 100 Japanese Posters 1945-89, Toppan Printing Company Ltd. 1990).
Poster for the exhibition "Journey to the Thousand-year Kingdom," 1973
Poster for the book "100 Posters of Tadanori Yokoo," 1978
 "KISS KISS KISS" (1964)



"Tokuten Eizou Anthology No. 1" (1964)



 "Kachi Kachi Yama" (1965)




all images © copyright Tadanori Yokoo. text © copyright Christopher Mount 1994. text © copyright Toppan Printing Company Ltd. 1990.


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