SELECTED bibliOgraPhy “Komentó: Gendai bijutsu no dōkō ten” [Comment: “Sakkazō no gakai: Chikaku wa kyobō nanoka” “Kiki ni tatsu gendai bijutsu: henkaku no fūka Trends in contemporary art exhibitions]. Kyoto [The collapse of the artist portrait: Is perception a aratana nihirizumu no tōrai ga” [The crisis of Compiled by Mika Yoshitake National Museum of Art, 1969. delusion?]. Yomiuri Newspaper, Dec. 21, 1969. contemporary art: The erosion of change, the coming of a new nihilism]. Yomiuri Newspaper, “Happening no nai Happening” [A Happening “Soku no sekai” [The world as it is]. In Ba So Ji OPEN July 17, 1971. without a Happening]. Interia, no. 122 (May 1969): (Place-Phase-Time), edited by Sekine Nobuo. Tokyo: pp. 44–45. privately printed, 1970. “Obŭje sasang ŭi chŏngch’ewa kŭ haengbang” [The identity and place of objet ideology]. Hongik Misul “Sekai to kōzō: Taishō no gakai (gendai bijutsu “Ningen no kaitai” [Dismantling the human being]. (1972). ronkō)” [World and structure: Collapse of the object SD, no. 63 (Jan. 1970): pp. 83–87. (Theory on contemporary art)]. Design hihyō, no. 9 “Hyōgen ni okeru riaritī no yōsei” [The call for the Publication information has been provided to the greatest extent available. (June 1969): pp. 121–33. “Deai o motomete” (Tokushū: Hatsugen suru reality of expression]. Bijutsu techō 24, no. 351 shinjin tachi: Higeijutsu no chihei kara) [In search of (Jan. 1972): pp. 70–74. “Sonzai to mu o koete: Sekine Nobuo-ron” [Beyond encounter (Special issue: Voices of new artists: From being and nothingness: On Sekine Nobuo]. Sansai, the realm of nonart)]. Bijutsu techō, no. 324 (Feb. “Gendai no zōkei: Gentei kō” [Contemporary arts: no. 245 (June 1969): pp. 51–53. 1970): pp. 14–23. Phase of limits]. Asahi Journal, Feb. 16, 1972. WRITINGS BY THE ARTIST Lee Ufan zen hanga 1970–1998/The Printworks Articles and Essays of Lee Ufan 1970–1998. With essays by “‘Tsukuru koto no fukanōsei’ ga shuppatsuten de wa “Mushiro ‘aimaisa’ ga jūyō” [Of importance, rather, “Ilgŭrŏjin sidaewa hyŏndae misul” [Contemporary art Books Asakura Yūichirō, Ejiri Kiyoshi, Nakahara Yūsuke, Michikawa Kiyohiro [Lee Ufan]. “Kodoku no mon” naika” [Is not the departure point “The impossibility is “ambiguity”]. Bijutsu techō, no. 333 (Oct. 1970): in distorted times]. Chosŏn Ilbo, no. 20 (Mar. 1972). Okouchi Kikuo, Ōno Masakatsu, and Tani Tetsuo. [The gate of solitude]. PATHOS, no. 1 (June 1959): of making”]. Interia, no. 123 (June 1969). pp. 106–07. Deai o motomete: Atarashii geijutsu no hajimari ni Documentation by Matsubara Tōru. Tokyo: Chūō pp. 23–28. “Gōrika yorimo henkaku no ishi o: Nakahara Yūsuke [In search of encounter: At the dawn of a new art]. Kōron Bijutsu Shuppansha, 1998. “Ilbon hyeondae misul ui donghyang” [The direction “Chokusetsu genshō no chihei ni” (Sekine Nobuo ‘Miru koto no shinwa’” (Shohyō) [The will for Tokyo: Tabata Shoten, 1971. Revised edition, Deai Michikawa Kiyohiro [Lee Ufan]. “Shijin e no of contemporary Japanese art]. Space 4, no. 7 ron-1) [From the horizon of a direct phenomenon change over rationalism: Nakahara Yūsuke’s Myth of o motomete: Gendai bijutsu no shigen [In search Yohaku no geijutsu [The art of yohaku]. Tokyo: michinori: Riruke ni okeru sonzai ishikiron (jō)” (July 1969): pp. 78–82. (On Sekine Nobuo part 1)]. SD, no. 74 (Dec. 1970). Seeing (book review)]. Bijutsu techō (July 1972). of encounter: The beginnings of contemporary art], Misuzu shobō, 2000. Selections translated by Anne [The path to a poet: A theory of ontological Tokyo: Bijutsu Shuppansha, 2000. Gossot as Un art de la rencontre (Arles, France: consciousness according to Rilke (Part 1)]. PATHOS, “Konsepushon to taishō no inra” [Hidden conception “Chokusetsu genshō no chihei ni” (Sekine Nobuo “Hanga to kyōdoteki idē ni kansuru monorōgu” [A Actes sud, 2002) and by Kim Choonmie as Yeobaek no. 2 (Nov. 1959): pp. 18–24. and objectification]. SD, no. 57 (Aug. 1969): ron-2) [From the horizon of a direct phenomenon monologue on prints and group ideology]. Mizue Ri chō minga [Yi Dynasty folk paintings]. Tokyo: ui yesul (Seoul: Hyeondae Munhak, 2002). pp. 83–86. (On Sekine Nobuo part 2)]. SD, no. 75 (Jan. 1971). (Jan. 1973): pp. 76–79. Kodansha, 1975. “Riruke ni okeru ningen to kami” [God and man Nostalgies coréennes: peintures et paravents du according to Rilke]; “Henshū kōki” [Editor’s notes]. “Dekaruto to sēyō no shukumei” [Descartes and the “Shohyō: Ishiko Junzō cho, Hyōgen ni okeru kindai “Watashi no bijutsukan” (Tokushū Bijutsukan) [My Yijo minhwa [Yi Dynasty folk paintings]. Seoul: XVII au XIX siècle [Korean nostalgia: Paintings PATHOS, no. 3 (June 1960): pp. 20–26; 39. fate of the West]. SD, no. 58 (Sept. 1969): pp. 117–22. no jubaku” [Book review: Ishiko Junzō, The Curse museum (Feature: Museums)] Kindai kenchiku, Youlhwadang, 1977. and screens from the 17th to the 19th century]. of the Modern According to Expression]. Sansai, no. 27 (Feb. 1973). With Pierre Cambon. Paris: Musée Guimet, 2001. “Riruke ni okeru ningen konkyo no kenkyū” [A study “Hitaishō sekai e no jikaku” [Awareness of a no. 269 (Feb. 1971). Lee Ufan. Tokyo: Bijutsu Shuppansha, 1986. on the fundamentals of man according to Rilke]. nonobjectified world]. Miru, no. 28 (Sept. 1969). “Sekine Nobuo shi e no tegami” [Letter to Sekine Tachidomatte [Stand still a moment]. Tokyo: Shoshi PATHOS, no. 4 (Nov. 1960): pp. 10–20. “Henkaku no fūka: Geijutsu wa korede ii no ka” Nobuo]. Gendai chōkoku, no. 27 (June 1973). Lee Ufan zen hangashū 1970–1986/The Printworks Yamada, 2001. Revised edition, 2010. “Chōkoku kara hi chōkoku e” [From sculpture (Tokushū: Posuto ‘70 no hyōgenshikō) [The erosion of Lee Ufan 1970–1986. Tokyo: Shirota Gallery, “Watashi no keijijōgaku nikki” [My metaphysics to nonsculpture]. Interia, no. 127 (Oct. 1969): of change: Is art fine the way it is? (Special issue: “Lee Ufan Nōto 1961–1973” [Lee Ufan notes 1961– 1986. The Art of Margins. Translated by Chunmi Kim. diary]. PATHOS, no. 6 (Jan. 1962): pp. 11–14. pp. 73–74. Post ‘70s thought expression)]. Bijutsu techō 1973]. Bijutsu techō, no. 373 (Nov. 1973): pp. 243–54. Seoul: Hyundai Munhak, 2002. (Mar. 1971): pp. 67–75. Toki no furue [The trembling of time]. Tokyo: Ozawa “Shi nidai” [Two poetic verses]. PATHOS, no. 7 (Nov. “Shigusa no sekai” [The world of gesture]. SD, “Tōmei na shikaku o motomete” (Tokushū: Dōgen to Shoten, 1988. Revised edition, Tokyo: Misuzu Shobō, The Art of Encounter. Edited by Jean Fisher. 1962): pp. 10–11. no. 59 (Oct. 1969): pp. 72 –73. “Kenran taru sōshoku sekai” [A decorative world of zen no shisō) [In search of transparent vision (Special 2004. Translated by Stanley N. Anderson. London: Lisson ornamentation]. Yomiuri Newspaper, Mar. 1, 1971. issue: The thoughts of Dōgen and Zen)]. Gendai Gallery, 2004. Revised and expanded edition, 2008. Woo Janghung [Lee Ufan]. “Kaihōgo bungaku “Kannen no geijutsu wa kanō ka: Obuje shisō no shisō (Nov. 1973). Lee Ufan. With essays by Michel Nuridsany and Tani 20-nen ryakushi” [Twenty years of postliberation shōtai to yukue” [Is conceptual art possible? The “Chikaku sareru shizen to wa: Gendai nihon bijutsu Arata. Tokyo: Toshi Shuppan, 1993. Lee Ufan. With contributions by Henri-François literature]. In Tōitsu Chōsen nenkan 1965–66 character and direction of ideas on the object]. ten komishona Haryu Ichiro e” [What is nature “Y ssie ŭi p’yŏnji: han’guk chakkadŭlŭi Debailleux, Okyang-Chae Duporge, Lóránd Hegyi, [Annals of Korean unification 1965–66], edited by Bijutsu techō, no. 319 (Nov. 1969). perceived: To contemporary Japanese art exhibition ilbonjŏnsihoerŭl pogo” [A letter to Y: On seeing The Works of Lee Ufan. Milan: Fondazione Mudima, and Achille Bonito Oliva. Milan: Fondazione Mudima, Lee Youngkeun. Tokyo: Tōitsu Chōsen Shimbunsha, commissioner, Haryū Ichirō]. (Watashi no shizenkan, Korean artists’ exhibitions in Japan]. Hyŏndae Misul 1, 1994. 2007. 1965, pp. 537–57. “Takamatsu Jirō: Hyōshō sayō kara deai no sekai e.” watashi no sakuhin) [My sense of nature, my work]. no. 1 (1974): pp. 37. [Takamatsu Jirō: From the work of representation Geijutsu seikatsu (July 1971): p. 31. Selected Writings by Lee Ufan 1970–96. Edited “Jikadōchaku no bigaku” [An aesthetics of self- to the world of encounters]. Bijutsu techō, no. 320 “Hinatabokko” [Basking in the sun]. Geijutsu shinchō, by Jean Fisher. Translated by Martha McClintock. contradiction]. Satō garō geppō, no. 128 (Mar. 1967). (Dec. 1969). no. 289 (Jan. 1974). London: Lisson Gallery, 1996. SELECTED BIBLIOGRAPHY SELECTED BIBLIOGRAPHY “Tsurisao o motomete” [In search of a fishing rod]. “Sezannu arui wa kaiga no tanjō” [Cézanne, or “Furui Yoshikichi arui wa nanajū nendai no geijutsu” “Mr. Kim.” In The Works of Kim Kakuei. Tokyo: “Nakagami Kenji-san no koto” [On Nakagami Kenji]. “Risei, rinen, jōnen, ishiki (Rensai taidan 1)” Bijutsu techō, no. 384 (Aug. 1974). the birth of painting]. Bijutsu techō 29, no. 422 [Yoshikichi Furui and art in the 1970s]. Furui Sakuhinsha, 1986. Bungei (Winter 1992). [Rationality, concept, emotion, and consciousness (July 1977): pp. 114–31. Yoshikichi zen sakuhin [Complete works of Furui (Conversation series 1)], by Takamatsu Jirō. Bijutsu “’Zainichi chōsenjin bungaku’ ni okeru ‘zettai no Yoshikichi]. Tokyo: Kawade shobō shinsha, 1983. “Sekko dezain” [Plaster sketch]. Gendai shisō (Feb. “Wakabayashi Isamu no michi” [Wakabayashi Isamu’s techō, no. 364 (Feb. 1973): pp. 76–79. tankyū,’” [The “absolute study” in “Zainichi Korean “Ishi ni yoru kūki no kenchiku” [The Korean temple, 1986): pp. 22–23. path]. Gendai no Me, no. 483 (Feb. 1995). literature“]. Waseda bungaku (Sept.–Dec. 1974). Bulguksa Geungju: Creating space with stone]. SD, “Hachidai sanjin no ‘mokuren no zu’ ni omou” “Gengo, hyōgen, nichijōsei (Rensai taidan no. 162 (Mar. 1978): pp. 91–92. [Thoughts on Pata Shan-Jen’s Magnolias]. Gendai no “Gaka to futatsu no manazashi” [The painter’s two “Kigen matawa Monoha no koto” [Origins of Mono- 2)” [Language, expression, and everyday life “Shirake no chihei shinpojiumu ‘Geijutsu wa me, no.