DOCSLIB.ORG

19 8 9 from Postwar to Postmodern Art in Japan 1945–19

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
19 8 9 from Postwar to Postmodern Art in Japan 1945–19 Primary Documents 1945–1989 ART IN JAPAN FROM POSTWAR POSTMODERN TO Doryun Chong is Associate Curator in the Department FROM POSTWAR TO POSTMODERN: of Painting and Sculpture, The Museum of Modern Art. ART IN JAPAN 1945–1989 Michio Hayashi is Professor in the Faculty of Liberal Primary Documents Arts, Sophia University, Tokyo. A trove of primary source materials, From Postwar to Kenji Kajiya is Associate Professor in the Faculty of Arts, From Postwar to Postmodern reveals a bracingly innovative, mul- Postmodern, Art in Japan 1945–1989: Primary Documents Hiroshima City University. tifarious, and thoroughly international cultural sphere. A nuanced is an invaluable scholarly resource for readers who wish survey of primary texts betrays a roiling milieu in which form to explore the fascinating subject of avant-garde art in Fumihiko Sumitomo is an independent curator and and content, modernism and tradition, realism and abstraction, postwar Japan. In this comprehensive anthology, an array scholar. things (mono) and ideas (koto) were hotly debated amid a his- of key documents, artist manifestos, critical essays, and torically specific context of violence, guilt, and trauma. New roundtable discussions are translated into English for the ways of working—from the intermedia activities of Gutai and first time. The pieces cover a diverse assortment of artis- Cover: Tanaka Atsuko. Untitled (detail). 1964. the Experimental Workshop to collaborations in performance, tic mediums—including painting, photography, film, per- Synthetic polymer paint on canvas, 10' 11 1/4" × 7' 4 3/4" architecture, and other disciplines—informed art both within and formance, architecture, and design—and illuminate their (333.4 × 225.4 cm). The Museum of Modern Art, beyond Japan. This book greatly enriches a discourse that is various points of convergence in the Japanese context. New York. John G. Powers Fund. See pl. 12. still unfolding today. The collection is organized chronologically and —Michelle Kuo, Editor in Chief, Artforum thematically to highlight significant movements, works, and artistic phenomena, such as the pioneering artists’ Published by The Museum of Modern Art collectives Gutai and Hi Red Center, the influential pho- 11 W. 53 Street, New York, New York 10019 Among the most important changes to have occurred in the tography magazine Provoke, and the emergence of video Western understanding of postwar Japanese art is that the art art in the 1980s. Interspersed throughout the volume are Distributed by Duke University Press, Durham, N.C. is no longer viewed as an isolated entity but rather as part of a more than twenty newly commissioned texts by contem- larger international discourse. This volume will make a signifi- porary scholars. Including Bert Winther-Tamaki on art Printed in China cant contribution to the field and will be one of the most critical and the postwar occupation of Japan and Reiko Tomii on resources available in English for new scholarship. For future gen- the Yomiuri Independent Exhibition, these pieces supple- erations, it will immensely enhance the understanding of contem- ment and provide a historical framework for the trans- porary Japanese art as a phenomenon essential to art on FROM POSTWAR the global level. lated source materials. From Postwar to Postmodern, TO POSTMODERN Art in Japan 1945–1989: Primary Documents offers an —Paul Schimmel, former Chief Curator, The Museum of Contemporary unprecedented look at over four decades of Japanese Art, Los Angeles, and author of Out of Actions: Between art—both as it occurred and as it is seen from the per- Performance and the Object, 1949–1979 primaryART INdocuments JAPAN spective of the present day. Distributed by Duke University Press, Durham, N.C. 1945–1989 Chong 440 pages. 51 color and 63 black-and-white reproductions Hayashi Kajiya Sumitomo Primary Documents JAPAN_cover 15-Nov-2012 FROM POSTWAR TO POSTMODERN ART IN JAPAN 1945–1989 Primary Documents Edited by Doryun Chong Michio Hayashi Kenji Kajiya Fumihiko Sumitomo The Museum of Modern Art, New York This publication is made possible by The International Half title: Masuzawa Kinpei (left) and Yoshimura Council of The Museum of Modern Art in honor of Masunobu (right) advertising the third Neo Dada its members and friends Toshio Hara, Minoru Mori, exhibition in Ginza, Tokyo, September 1960. See Takeo Obayashi, Yoshio Taniguchi, and Seiji Tsutsumi. p. 160. Generous support is provided by Mr. and Mrs. Minoru Pp. 22–23: Domon Ken. Children in Kōtō, Tokyo, Mori, The Asian Cultural Council, Inc., E. Rhodes Kondō Isami and Kurama Tengu (Kōtō no kodomo, and Leona B. Carpenter Foundation, Obayashi Kondō Isami to Kurama Tengu ). 1953. Gelatin silver Corporation, Obayashi Foundation, The Cowles print, 11 x 14" (27.9 x 36.6 cm). Ken Domon Museum Charitable Trust, ISE Cultural Foundation, and The of Photography, Sakata. See p. 55. Saison Foundation. Pp. 94–95: Georges Mathieu painting Toyotomi Additional funding is provided by The International Hideyoshi in a public demonstration on the rooftop Council of The Museum of Modern Art members of Daimaru department store, Osaka, September 12, Wendy Stark Morrissey, Frances Reynolds, and 1957. See p. 103. Byron Meyer. Pp. 182–83: Hosoe Eikō. Sickle-Toothed Weasel, From Postwar to Postmodern, Art in Japan 1945–1989: No. 17 (Kamaitachi sakuhin 17 ). 1968. From a series Primary Documents is published by The Museum of photographs showing Hijikata Tatsumi during of Modern Art in cooperation with the Japan a return visit to his hometown in Akita Prefecture, Foundation. published as a book in 1969. See p. 199. Pp. 254–55: Hikosaka Naoyoshi. Floor Event (Furoa ibento). 1970. Performance at Hikosaka’s Produced by the Department of Publications, apartment, Tokyo. See p. 258. The Museum of Modern Art, New York Pp. 340–41: View of the exhibition MA: Espace-Temps Edited by Kyle Bentley du Japon, Musée des Arts Décoratifs, Paris, October Designed by Gina Rossi 1978–January 1979. See p. 347. Production by Matthew Pimm Color separations by Evergreen Colour Separation Pp. 408 –409: Yoko Ono. Audience Piece. May 24, (International) Co., Ltd., Hong Kong 1962. Performance at the Sōgetsu Art Center, Tokyo, Printed and bound by OGI/1010 Printing International for Sōgetsu Contemporary Series 15: Works of Yoko Ltd., Hong Kong Ono. See p. 137. This book is typeset in Gotham. The paper is 150gsm All of the photographs noted above are shown there LumiSilk matt art paper. as details but appear in complete form on the pages listed at the end of the captions. Published by The Museum of Modern Art, 11 West 53 Street, New York, New York 10019 Japanese authors of the primary documents in this book are generally noted in Japanese form, with © 2012 The Museum of Modern Art, New York family names followed by given names. Authors of newly commissioned essays appear with given Copyright credits for certain illustrations and texts names first, as do the book’s translators. Japanese are cited on pp. 438–39. All rights reserved names mentioned within the text of both primary documents and new essays are written in the Library of Congress Control Number: 2012952761 Japanese order, except for those of certain figures ISBN: 978-0-8223-5368-3 well known internationally by their given names first. Cover: Tanaka Atsuko. Untitled. 1964. Synthetic Distributed by Duke University Press, Durham, N.C. polymer paint on canvas, 10' 11 1/4" × 7' 4 3/4" (333.4 × 225.4 cm). The Museum of Modern Art, New York. Printed in China John G. Powers Fund. See pl. 12. CONTENTS 10 FOREWORD •Glenn D. Lowry 12 ACKNOWLEDGMENTS •Jay A. Levenson and Gwen Farrelly 14 ABOUT THIS BOOK •Doryun Chong 17 JAPAN’S POSTWAR AND AFTER, 1945 – 1989: AN OVERVIEW •Harry Harootunian 1 1945 – 1957: POSTWAR RECONSTRUCTION — FROM OCCUPATION TO THE COLD WAR Edited by Michio Hayashi 24 INTRODUCTION •Michio Hayashi GROUND ZERO: A NEW BEGINNING 27 A PROPOSAL TO THE ARTISTS OF JAPAN ( 1946 ) •Matsumoto Shunsuke 30 IN FOCUS: REESTABLISHING THE ART WORLD DURING THE OCCUPATION, 1945 – 1952 •Bert Winther-Tamaki 32 WHAT MUST “ARTISTS AS A GROUP” DO? ( 1953 ) •Katsuragawa Hiroshi AVANT-GARDE — TECHNOLOGY — MASS CULTURE 34 AVANT-GARDE MANIFESTO: A VIEW OF ART ( 1949 ) •Okamoto Tarō 39 IN FOCUS: ARTISTS’ GROUPS AND COLLECTIVES IN POSTWAR JAPAN •Ken Yoshida 40 A MEDITATION ON APPLES ( 1950 ) •Hanada Kiyoteru IN SEARCH OF THE REAL 44 FOR A NEW REALISM: THE MEANING OF REPORTAGE ( 1952 ) •Abe Kōbō 49 IN FOCUS: THE REALISM DEBATE, 1946 – 1950 •Yuri Mitsuda 50 ON BEGGAR PHOTOGRAPHY: THE IMPORTANCE OF PHOTOGRAPHING STREET URCHINS AND LUMPEN ( 1953 ) •Tanaka Masao 53 THE PROBLEMS OF MODERN PHOTOGRAPHY ( 1953 ) •Ina Nobuo, Kimura Ihei, Watanabe Yoshio, Kamekura Yūsaku, Tanaka Masao, and Domon Ken 58 DEPICTING “THINGS,” NOT “IDEAS” ( 1954 ) •Saitō Yoshishige, Tsuruoka Masao, Komai Tetsurō, and Oyamada Jirō MODERNITY AND TRADITION 62 AN INTRODUCTION TO TRADITION ( 1955 ) •Okamoto Tarō 69 THE JAPANESE CHARACTER OF TANGE KENZŌ ( 1955 ) •Iwata Kazuo ( aka Kawazoe Noboru ) 74 CALLIGRAPHY EAST AND WEST ( 1957 ) •Takiguchi Shūzō DISFIGURED CORPSES OR THE CRITIQUE OF HUMANISM 78 LOCKED-ROOM PAINTING ( 1956 ) •Nakahara Yūsuke 83 IN FOCUS: THE BIRTH OF NEW ART CRITICISM •Michio Hayashi 84 IVAN THE FOOL ( 1955 ) •Kusama Yayoi THE EXPERIMENTAL WORKSHOP AND THE GUTAI ART ASSOCIATION 86 THE EXPERIMENTAL WORKSHOP: OUR CONTENTION ( 1953 ) •Kitadai Shōzō 89 GUTAI ART MANIFESTO ( 1956 ) •Yoshihara Jirō 92 THE IDEA OF EXECUTING THE PAINTBRUSH ( 1957 ) •Shimamoto Shōzō 2 1957 – 1964: FROM POSTWAR TO INTERNATIONAL REEMERGENCE
Load more

Recommended publications
  • Applied Anatomy in Music: Body Mapping for Trumpeters
    UNLV Theses, Dissertations, Professional Papers, and Capstones May 2016 Applied Anatomy in Music: Body Mapping for Trumpeters Micah Holt University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the Music Commons Repository Citation Holt, Micah, "Applied Anatomy in Music: Body Mapping for Trumpeters" (2016). UNLV Theses, Dissertations, Professional Papers, and Capstones. 2682. http://dx.doi.org/10.34917/9112082 This Dissertation is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Dissertation has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. APPLIED ANATOMY IN MUSIC: BODY MAPPING FOR TRUMPETERS By Micah N. Holt Bachelor of Arts--Music University of Northern Colorado 2010 Master of Music University of Louisville 2012 A doctoral project submitted in partial fulfillment of the requirements for the Doctor of Musical Arts School of Music College of Fine Arts The Graduate College University of Nevada, Las Vegas May 2016 Dissertation Approval The Graduate College The University of Nevada, Las Vegas April 24, 2016 This dissertation prepared by Micah N.
    [Show full text]
  • An Interview with Frieder Nake
    arts Editorial An Interview with Frieder Nake Glenn W. Smith Space Machines Corporation, 3443 Esplanade Ave., Suite 438, New Orleans, LA 70119, USA; [email protected] Received: 24 May 2019; Accepted: 26 May 2019; Published: 31 May 2019 Abstract: In this interview, mathematician and computer art pioneer Frieder Nake addresses the emergence of the algorithm as central to our understanding of art: just as the craft of computer programming has been irreplaceable for us in appreciating the marvels of the DNA genetic code, so too has computer-generated art—and with the algorithm as its operative principle—forever illuminated its practice by traditional artists. Keywords: algorithm; computer art; emergent phenomenon; Paul Klee; Frieder Nake; neural network; DNN; CNN; GAN 1. Introduction The idea that most art is to some extent algorithmic,1 whether produced by an actual computer or a human artist, may well represent the central theme of the Arts Special Issue “The Machine as Artist (for the 21st Century)” as it has evolved in the light of more than fifteen thoughtful contributions. This, in turn, brings forcibly to mind mathematician, computer scientist, and computer art pioneer Frieder Nake, one of a handful of pioneer artist-theorists who, for more than fifty years, have focused on algorithmic art per se, but who can also speak to the larger role of the algorithm within art. As a graduate student in mathematics at the University of Stuttgart in the mid-1960s (and from which he graduated with a PhD in Probability Theory in 1967), Nake was a core member, along with Siemens mathematician and philosophy graduate student Georg Nees, of the informal “Stuttgart School”, whose leader was philosophy professor Max Bense—one of the first academics to apply information processing principles to aesthetics.
    [Show full text]
  • 2302.Jerome Dretzka Papers
    Title: Dretzka, Jerome Papers Reference Code: Mss-2302 Inclusive Dates: 1909-1963 Quantity: 10 cu. ft. Location: NE, Sh. 048-051 OS LG “D” Abstract: Jerome C Dretzka (1881-1963) served on the Milwaukee County Parks Commission from 1920-1963. During that tenure, from 1926-1952, he served as the Executive Secretary of the Commission and expanded the area of Milwaukee parks considerably. He also served as an officer for the American Institute of Park Executives. He retired in 1952. He was born on December 5, 1881 in Pozen, Poland. His family moved to America when he was five years old and they settled on the south side of Milwaukee. In 1893, his family moved to Cudahy where he continued to reside until his death. He served as the city of Cudahy’s city clerk from 1912-1916. He left this position to manage the real estate holdings of Patrick Cudahy. This knowledge served him well during his time on the Commission and during his tenure the Commission went from owning 680 acres to over 7,000 acres of parks. He also served on the boards of the Milwaukee County Historical Society, New Zoo Conference Committee, Wisconsin Park and Recreation Society, as well as many others. Scope and Content: The bulk of the collection consists of material pertaining to Milwaukee County Park Commission and some of the material pertains to his participation in the American Institute of Park Executives (AIPE).In the form of correspondence, newspaper clippings, meeting minutes and official papers from the Commission. This collection also includes information about various projects that he was involved with including the zoo, Mitchell Conservatory, the Braves, and the Milwaukee County Stadium.
    [Show full text]
  • Address by NASA Administrator Sean O'keefe
    Remarks by the Honorable Sean O’Keefe NASA Administrator Apollo 11 Anniversary Event Smithsonian National Air and Space Museum July 20, 2004 Good evening ladies and gentlemen. It is a great privilege to be in this shrine to aviation and spaceflight achievement in the presence of America's first great generation of space explorers, those who made their epic voyages possible, and of our current astronauts and the NASA team members who will enable humanity's next momentous steps in space as Dr. Marburger (Presidential Science Advisory Dr. Jack Marburger) just so eloquently discussed. There are so many great friends here from Congress who been very, very important in our quest to make this next great step feasible. Senator Bill Nelson, Congressmen Ralph Hall, Nick Lampson, Sheila Jackson Lee, Mike McIntyre, Mike Pence, Vic Snyder, Dave Weldon, Bob Aderholt, Chairman of 1 the Science Committee Sherry Boehlert, Sam Johnson, Tom Feeney, Space and Aeronautics Subcommittee Chairman Dana Rohrabacher and Juliane Sullivan who is here representing Majority Leader Tom DeLay. We are delighted for their participation, their help, their enthusiasm for I think the importance of this evening's event, as well as for our continued quest forward. I doubt there are any historical parallels to our good fortune here. Certainly, no records exist of people living in Lisbon 500 years ago attending a candlelit tribute to Amerigo Vespucci, Vasco da Gama and Ferdinand Magellan, who was about to set forth on his voyage to circle the globe. Yet here we are, in the midst of another great age of exploration, thrilled to have under one roof so many heroes who've sailed over the far horizon to the shores of space and back, including to a dusty Sea named Tranquility.
    [Show full text]
  • The Inflation of Abstraction | the New Yorker
    6/10/2019 The Inflation of Abstraction | The New Yorker The Art World The Inflation of Abstraction The Met’s show of Abstract Expressionism wants to remake the canon. By Peter Schjeldahl December 31, 2018 https://www.newyorker.com/magazine/2019/01/07/the-inflation-of-abstraction 1/8 6/10/2019 The Inflation of Abstraction | The New Yorker Mark Rothko’s “No. 3,” from 1953, his peak year of miracles. © 1998 Kate Rothko Prizel & Christopher Rothko / Courtesy ARS he rst room of “Epic Abstraction: Pollock to Herrera,” a wishfully canon- T expanding show of painting and sculpture from the past eight decades, at the Metropolitan Museum, affects like a mighty organ chord. It contains the museum’s two best paintings by Jackson Pollock: “Pasiphaë” (1943), a quaking compaction of https://www.newyorker.com/magazine/2019/01/07/the-inflation-of-abstraction 2/8 6/10/2019 The Inflation of Abstraction | The New Yorker mythological elements named for the accursed mother of the Minotaur, and “Autumn Rhythm (Number 30)” (1950), a singing orchestration of drips in black, white, brown, and teal enamel—bluntly material and, inextricably, sublime. There are six Pollock drawings, too, and “Number 7” (1952), one of his late, return-to- guration paintings in mostly black on white, of an indistinct but hieratic head. The adjective “epic” does little enough to honor Pollock’s mid-century glory, which anchors the standard art-historical saga of Abstract Expressionism—“The Triumph of American Painting,” per the title of a 1976 book on the subject by Irving Sandler —as a revolution that stole the former thunder of Paris and set a stratospheric benchmark for subsequent artists.
    [Show full text]
  • Toward a Theological Response to Prostitution: Listening to the Voices of Women Affected by Prostitution and of Selected Church Leaders in Addis Ababa, Ethiopia
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Middlesex University Research Repository Toward a Theological Response to Prostitution: Listening to the Voices of Women Affected by Prostitution and of Selected Church Leaders in Addis Ababa, Ethiopia Jennifer Andrea Singh OCMS, Ph.D. August 2018 ABSTRACT This feminist, qualitative research project explores how the voices of women affected by prostitution in Addis Ababa, Ethiopia, and of selected evangelical church leaders in that city, could contribute to a life- affirming theological response to prostitution. The thesis engages sociological and theological sources to interpret the data gathered; contextual Bible study sessions provided access to the women’s voices, and semi-structured interviews revealed church leaders’ perspectives. During conversations with the women, six core themes emerged, reflecting their contextual understanding of the social and theological ramifications of prostitution: their entrance into prostitution; God; sin; humanity (Christian anthropology); justice; and the church. The women articulated that: 1) prostitution was a means of survival; 2) God is a protective figure in their lives; 3) sin is equated with prostitution and uncleanliness; 4) humanity is rejecting; 5) injustice is a normalised experience; and 6) they are unwelcome in the church due to their status as ‘sinners,’ and have few expectations that the Christian church or its leaders would help them exit prostitution. These themes reportedly resonated with interviewed church leaders, who expressed empathy for the women. Bringing both sets of voices together in a discussion of the Story of the Prodigal Son (Luke 15:11-32), however, revealed several theological deficiencies held by the evangelical church that currently impede the formation of a life-affirming theological response to prostitution.
    [Show full text]
  • Destruction Requirements for State Records, Canceled Checks & Electronic Images
    EXHIBIT H Page 1 of 2 DIVISION OF MEDICAL ASSISTANCE AND HEALTH SERVICES (DMAHS) MEDICAL ASSISTANCE DISBURSEMENT SERVICES RFP 2012 Destruction Requirements for State Records, Canceled Checks & Electronic Images The NJ Department of State’s Division of Archives and Record Management (NJDARM) is responsible for insuring that all public records are managed, preserved and destroyed in accordance with public law. Destruction of Canceled Checks The bank must destroy all public documents in accordance with state regulations and the retention schedule promulgated by NJDARM in consultation with the appropriate State agency and approved by the State Records Committee (SRC). The records retention schedule for the purposes of this bid is S820300-002-0048-0000: Canceled Checks. Image methodology and system quality control at the bank’s operations are the determinant factor when the SRC establishes the retention period, for the paper checks post imaging, and shall be determined after the awarding of this contact during the imaging certification process, which may include site inspections of both the imaging and destruction facility. The bank should be prepared for the possibility of storing checks for a period of three (3) to nine (9) months. Physical Destruction of Checks, Logs, and Reports Physical destruction of state records must comply with the existing (applicable) state standards as described in State Contract T-0387: Records Removal and Destruction Services. These standards will apply to any sub-contracted vendors the bank may utilize for destruction services. Specifically relating to the destruction of canceled checks; 1. The bank or sub-contractor shall only destroy public records that have been authorized for destruction by the NJDARM through a completed and processed “Request and Authorization for Records Disposal” form.
    [Show full text]
  • Isum 許諾楽曲一覧 更新日：2019/1/23
    ページ：1/37 ISUM 許諾楽曲一覧 更新日：2019/1/23 ISUM番号 著作権者 楽曲名 アーティスト名 ISUM番号 著作権者 楽曲名 アーティスト名 ISUM番号 著作権者 楽曲名 アーティスト名 ISUM-1880-0537 JASRAC あの紙ヒコーキ くもり空わって ISUM-8212-1029 JASRAC SUNSHINE ISUM-9896-0141 JASRAC IT'S GONNA BE ALRIGHT ISUM-3412-4114 JASRAC あの青をこえて ISUM-5696-2991 JASRAC Thank you ISUM-9456-6173 JASRAC LIFE ISUM-4940-5285 JASRAC すべてへ ISUM-8028-4608 JASRAC Tomorrow ISUM-6164-2103 JASRAC Little Hero ISUM-5596-2990 JASRAC たいせつなひと ISUM-3400-5002 NexTone V.O.L ISUM-8964-6568 JASRAC Music Is My Life ISUM-6812-2103 JASRAC まばたき ISUM-0056-6569 JASRAC Wake up! ISUM-3920-1425 JASRAC MY FRIEND 19 ISUM-8636-1423 JASRAC 果てのない道 ISUM-5968-0141 NexTone WAY OF GLORY ISUM-4568-5680 JASRAC ONE ISUM-8740-6174 JASRAC 階段 ISUM-6384-4115 NexTone WISHES ISUM-5012-2991 JASRAC One Love ISUM-8528-1423 JASRAC 水・陸・そら、無限大 ISUM-1124-1029 JASRAC Yell ISUM-7840-5002 JASRAC So Special -Version AI- ISUM-3060-2596 JASRAC 足跡 ISUM-4160-4608 JASRAC アシタノヒカリ ISUM-0692-2103 JASRAC sogood ISUM-7428-2595 JASRAC 背景ロマン ISUM-5944-4115 NexTone ココア by MisaChia ISUM-1020-1708 JASRAC Story ISUM-0204-5287 JASRAC I LOVE YOU ISUM-7456-6568 NexTone さよならの前に ISUM-2432-5002 JASRAC Story(English Version) 369 AAA ISUM-0224-5287 JASRAC バラード ISUM-3344-2596 NexTone ハレルヤ ISUM-9864-0141 JASRAC VOICE ISUM-9232-0141 JASRAC My Fair Lady ft. May J. "E"qual ISUM-7328-6173 NexTone ハレルヤ -Bonus Tracks- ISUM-1256-5286 JASRAC WA Interlude feat.鼓童,Jinmenusagi AI ISUM-5580-2991 JASRAC サンダーロード ↑THE HIGH-LOWS↓ ISUM-7296-2102 JASRAC ぼくの憂鬱と不機嫌な彼女 ISUM-9404-0536 JASRAC Wonderful World feat.姫神 ISUM-1180-4608 JASRAC Nostalgia
    [Show full text]
  • Performance Kazuo Shiraga
    PERFORMANCE kazuo shiraga Mud, Sweat, and Oil Paint KAZUO SHIRAGA’S ALTERNATE MODERNIsm. TAMSEN GREENEwords What does rolling around in the mud have to do with painting? Everything, according to the late Japanese artist Kazuo Shiraga, who was a prominent member of the legendary Gutai Art Association. Although the bulk of his output was on canvas, in Challenging Mud, 1955, Shiraga wrestled with a formless mixture of wall plaster and cement that bruised his body. To him, this and such other perfor- mance pieces as Sanbaso-Super Modern, 1957— in which he swayed on stage clad in a red costume with a pointed hat and elongated arms that made sweeping motions against the dark background—were alternate methods of painting. “There exists my action, regardless of whether or not it is secured,” Shiraga wrote in his 1955 essay “Action Only.” Defining painting as a gesture rather than a medium was revolutionary in the 1950s. Chizensei Kirenji, 1961. OIL ON CANVAS, 51¼ X 63¾ IN. Despite his innovative thinking, Shiraga has not been well known in the United States. This is perhaps because when his work debuted in New York, in a 1958 Gutai group show at Martha Jackson Gallery, it was panned as multiply derivative. “As records, they are interesting enough, but as paintings they are ineffectual,” the critic Dore Ashton wrote in the New York Times. “They resemble paintings in Paris, Amsterdam, London, and Mexico City that resemble paintings that resemble paintings by FROM TOP: THREE IMAGES, AMAGASAKI CULTURAL CENTER; VERVOORDT FOUNDATION COLLECTION. OPPOSITE: BOTH IMAGES, AMAGASAKI CULTURAL CENTER 32 MODERN PAINTERS APRIL 2010 ARTINFO.COM Performance stills from Challenging Mud, third execution.
    [Show full text]
  • SATURDAY, SEPTEMBER 14: NIGHT of DESTRUCTION September 11
    INSIDE THIS EDITION SEPTEMBER 14 – NIGHT OF DESTRUCTION SEPTEMBER 27 – SUPER SHOE WEEKEND STARTS OCTOBER 26 – AWARDS BANQUET PHOTO MEDLEY – RACING FAMILIES September 11, 2019 SATURDAY SEPTEMBER 14 THE LEGENDARY NIGHT OF DESTRUCTION w SATURDAY, SEPTEMBER 14: NIGHT OF DESTRUCTION This Saturday. The Legendary Night of Destruction. We’ve got PROGRAM INFORMATION fan favorites: Monster Trucks . Bus Races . Trailer Races . Spectator Drags . Mini FWD Enduro . Demolition Derby. We Free Bus Rides 5:00 – 7:00 haven’t seen a Jet Car do its thing in years, but you’ll see (and Adults $20 hear) one this year. And then there is the new: Double-decker Youth 6-12 $10 Stacker Cars (first time in Michigan) . Scarecrow World Record Kids 5 & Under FREE Limo Jump plus another new Scarecrow stunt (they are never Program Starts 7:30 PM dull!) Then we close out the night with FIREWORKS!! Family fun awaits. We will see you at the 2019 Night of Destruction. w Clockwise: Monster trucks from a past Night of Destruction; cars with trailers go for the win while going around piles of debris (“ground clutter” as announcer, Jason Seltzer says); Scarecrow flies through several campers at last year’s Night of Destruction; fans watch the action; the Demolition Derby from the Red, White & Boom; the free bus rides are a big hit and the drivers sometimes get a bit competitive with one another; the Zoo Stacker cars will make their first Michigan appearance at this year’s night of Destruction. FRIDAY, SEPTEMBER 27 – SUPER SHOE WEEKEND STARTS There were 388 campsites available to reserve in advance for Super Shoe weekend (no need to run in the Footrace!) By publication time for this edition of Track Talk (Tuesday, September 10), there were only 11 of the 388 remaining.
    [Show full text]
  • Puka-Puka Parade
    100TH INFANTRY BATTALION VETERANS CLUB Puka-Puka Parade MAY 2014 !! ! ! ! ! ! NO. 04/2014 President’s Message and an evening kick-off fundraiser for the Nisei Veterans by Lloyd Kitaoka Legacy Center (NVLC). The month of May means Mother’s Day and I would like The NVLC is a separate 501(c)(3) entity incorporated in to wish all mothers a Happy Mother’s Day! Since I lost 2012; it is supported by six Nisei American veterans- th my mom this past December, it will be a sad time because related organizations, including the 100 Infantry nd this will be the first Mother’s Day without her. It got me Battalion Veterans, the 442 RCT Veterans, the Military th th thinking about the unsung heroes of our 100th, the wives Intelligence Service, the 1399 Engineers, the 100 nd and widows. Our vets receive all the glory and honor and Infantry Legacy Organization, and the 442 RCT rightly so, but I’d like to use this column to honor their Foundation who have representation on the NVLC Board. “better halves.” Some of them are not mothers but I’d like Its mission is “to preserve, perpetuate and share the to recognize them too. They work in the background but legacy of the AJAs who served in World War II, and to truly are the backbone of our organization. The sacrifices recognize the socio-economic changes brought about in they go through to support their husbands and children are Hawaii because of their extraordinary wartime service.” simply amazing. They do this all with very little credit.
    [Show full text]
  • Conceptual Art: a Critical Anthology
    Conceptual Art: A Critical Anthology Alexander Alberro Blake Stimson, Editors The MIT Press conceptual art conceptual art: a critical anthology edited by alexander alberro and blake stimson the MIT press • cambridge, massachusetts • london, england ᭧1999 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval)without permission in writing from the publisher. This book was set in Adobe Garamond and Trade Gothic by Graphic Composition, Inc. and was printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Conceptual art : a critical anthology / edited by Alexander Alberro and Blake Stimson. p. cm. Includes bibliographical references and index. ISBN 0-262-01173-5 (hc : alk. paper) 1. Conceptual art. I. Alberro, Alexander. II. Stimson, Blake. N6494.C63C597 1999 700—dc21 98-52388 CIP contents ILLUSTRATIONS xii PREFACE xiv Alexander Alberro, Reconsidering Conceptual Art, 1966–1977 xvi Blake Stimson, The Promise of Conceptual Art xxxviii I 1966–1967 Eduardo Costa, Rau´ l Escari, Roberto Jacoby, A Media Art (Manifesto) 2 Christine Kozlov, Compositions for Audio Structures 6 He´lio Oiticica, Position and Program 8 Sol LeWitt, Paragraphs on Conceptual Art 12 Sigmund Bode, Excerpt from Placement as Language (1928) 18 Mel Bochner, The Serial Attitude 22 Daniel Buren, Olivier Mosset, Michel Parmentier, Niele Toroni, Statement 28 Michel Claura, Buren, Mosset, Toroni or Anybody 30 Michael Baldwin, Remarks on Air-Conditioning: An Extravaganza of Blandness 32 Adrian Piper, A Defense of the “Conceptual” Process in Art 36 He´lio Oiticica, General Scheme of the New Objectivity 40 II 1968 Lucy R.
    [Show full text]