Ushio Shinohara

Sources: Museum of Modern Art, MoMA Post: Shinohara Ushio's dialogue with American art, Art Platform Japan: P38, Art Platform Japan: Subway Entrance, Art Platform Japan: Oiran, Tochigi Digital Museum: Motorcycle Mama, and Tokyo Gallery: Untitled (1961).

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  Fluorescent paint

  Art Platform Japan records fluorescent paint in both Oiran and Doll Festival, documenting vivid industrial color in Shinohara’s sculptural paintings. He applies the bright coating to constructed surfaces, where it interacts with form and reflected light rather than remaining confined to a flat canvas.

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  Lacquer paint

  In Doll Festival, museum records identify oil and fluorescent paint among materials used with plastic board on plywood. These paints appear in a constructed object, distinct from the sumi-ink marks made with paint-covered gloves in Shinohara’s Boxing Paintings. The record names both coatings.

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  Oil paint

  Art Platform Japan identifies oil paint in Doll Festival, where it appears with fluorescent paint on plywood. Plastic board is also listed as a separate material, so the record documents a mixed-material construction rather than a conventional oil painting on stretched canvas.

Sources: Art Platform Japan: Oiran, Art Platform Japan: Doll Festival.; Tochigi Digital Museum: Motorcycle Mama

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  Canvas

  Shinohara’s Boxing Paintings use long canvases struck with paint-covered gloves; museum accounts document the support as central to the action. The canvas records the performance as well as its resulting marks, unlike the assembled board supports used in some of his sculptures.

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  Paper

  Shinohara’s paper works include the drawings and paper-based constructions documented by Japanese museum collections. The sheet offers a light, cuttable material for studies and objects, distinct from the canvas used in his Boxing Paintings and the rigid boards in his sculptural works.

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  Cardboard

  Shinohara used cardboard in works such as Motorcycle Mama, cataloged by the Tochigi Prefectural Museum of Fine Arts with cardboard and synthetic resin paint. The lightweight sheet is shaped into a constructed object, not used as a conventional flat painting ground.

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  Plywood

  Art Platform Japan records plywood in Shinohara’s constructed work Oiran, where painted elements and acrylic sheet are mounted on the rigid support. The plywood remains part of the object’s structure rather than serving as a hidden backing beneath a stretched canvas.

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  Wood

  Shinohara’s constructed works use plywood, documented as a support in museum records for Oiran. The rigid wood panel helps form the object itself, distinct from the stretched canvas in his action paintings and the cardboard used to build Motorcycle Mama. Each material belongs to a different kind of work.

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  Plastic

  Art Platform Japan and museum records document plastic or acrylic sheet in Shinohara’s constructed paintings, including Oiran and Doll Festival. The smooth synthetic panel is visible within the assembled object alongside paint and plywood, rather than functioning as a standard canvas substitute.

Sources: Museum of Modern Art, MoMA Post: Shinohara Ushio's dialogue with American art, Art Platform Japan: P38, Art Platform Japan: Subway Entrance, Art Platform Japan: Oiran.