Download Art And Engagement In Early Postwar Japan full books in PDF, epub, and Kindle. Read online free Art And Engagement In Early Postwar Japan ebook anywhere anytime directly on your device. Fast Download speed and no annoying ads. We cannot guarantee that every ebooks is available!
| Author | : Justin Jesty |
| Publisher | : Cornell University Press |
| Total Pages | : 357 |
| Release | : 2018-09-15 |
| Genre | : Art |
| ISBN | : 1501715062 |
Highlighting the transformational nature of the early postwar, Jesty deftly contrasts it with the relative stasis, consolidation, and homogenization of the 1960s.
| Author | : JUSTIN. JESTY |
| Publisher | : |
| Total Pages | : 0 |
| Release | : 2023-11-07 |
| Genre | : Art |
| ISBN | : |
ENG: Justin Jesty's Art and Engagement in Early Postwar Japan reframes the history of art and its politics in Japan post-1945. This fascinating cultural history addresses our broad understanding of the immediate postwar era moving toward the Cold War and subsequent consolidations of political and cultural life. At the same time, Jesty delves into an examination of the relationship between art and politics that approaches art as a mode of intervention, but he moves beyond the idea that the artwork or artist unilaterally authors political significance to trace how creations and expressive acts may (or may not) actually engage the terms of shared meaning and value. Art and Engagement in Early Postwar Japan centers on a group of social realists on the radical left who hoped to wed their art with anti-capitalist and anti-war activism, a liberal art education movement whose focus on the child inspired innovation in documentary film, and a regional avant-garde group split between ambition and local loyalty. In each case, Jesty examines writings and artworks, together with the social movements they were a part of, to demonstrate how art--or more broadly, creative expression--became a medium for collectivity and social engagement. He reveals a shared if varied aspiration to create a culture founded in amateur-professional interaction, expanded access to the tools of public authorship, and dispersed and participatory cultural forms that intersected easily with progressive movements. Highlighting the transformational nature of the early postwar, Jesty deftly contrasts it with the relative stasis, consolidation, and homogenization of the 1960s. RUS: Книга Джастина Джести переосмысливает историю искусства в Японии после 1945 года. Автор углубляется в изучение отношений между искусством и политикой, но выходит за рамки идеи о том, что произведение искусства или художник являются только выразителями политических смыслов. В центре книги -- группа леворадикальных соцреалистов, надеявшихся соединить свое искусство с антикапиталистическим и антивоенным движением, движение либерального толка и региональная авангардистская группа, пытающаяся найти баланс между амбициями и преданностью локальной культуре.
| Author | : Miryam Sas |
| Publisher | : Harvard University Press |
| Total Pages | : 0 |
| Release | : 2011 |
| Genre | : Arts, Japanese |
| ISBN | : 9780674053403 |
Miryam Sas explores the theoretical and cultural implications of Japanese experimental arts in a range of media, casting light on important moments in the arts from the 1960s to the early 1980s. This book also locates Japanese experimental arts in an extensive, sustained dialogue with key issues of contemporary critical theory.
| Author | : Namiko Kunimoto |
| Publisher | : U of Minnesota Press |
| Total Pages | : 419 |
| Release | : 2017-02-21 |
| Genre | : Art |
| ISBN | : 1452953767 |
How would artistic practice contribute to political change in post–World War II Japan? How could artists negotiate the imbalanced global dynamics of the art world and also maintain a sense of aesthetic and political authenticity? While the contemporary art world has recently come to embrace some of Japan’s most daring postwar artists, the interplay of art and politics remains poorly understood in the Americas and Europe. The Stakes of Exposure fills this gap and explores art, visual culture, and politics in postwar Japan from the 1950s to the 1970s, paying special attention to how anxiety and confusion surrounding Japan’s new democracy manifested in representations of gender and nationhood in modern art. Through such pivotal postwar episodes as the Minamata Disaster, the Lucky Dragon Incident, the budding antinuclear movement, and the ANPO protests of the 1960s, The Stakes of Exposure examines a wide range of issues addressed by the period’s prominent artists, including Tanaka Atsuko and Shiraga Kazuo (key members of the Gutai Art Association), Katsura Yuki, and Nakamura Hiroshi. Through a close study of their paintings, illustrations, and assemblage and performance art, Namiko Kunimoto reveals that, despite dissimilar aesthetic approaches and divergent political interests, Japanese postwar artists were invested in the entangled issues of gender and nationhood that were redefining Japan and its role in the world. Offering many full-color illustrations of previously unpublished art and photographs, as well as period manga, The Stakes of Exposure shows how contention over Japan’s new democracy was expressed, disavowed, and reimagined through representations of the gendered body.
| Author | : Reiko Tomii |
| Publisher | : Getty Publications |
| Total Pages | : 164 |
| Release | : 2007 |
| Genre | : Art |
| ISBN | : 9780892368662 |
Introduction to two decades of artistic ferment in postwar Japan. As that devastated nation confronted the fraught legacy of World War II, a rapid succession of avant-garde groups began experimenting with new media and processes of making art, disrupting conventions to address the changes occurring around them. The works that remain from this era are largely ephemeral - exhibition flyers, programs for performances, musical scores, issues of short-lived journals, documentary photographs, pieces of mail art, and multiples made from the detritus of modern life - but the ideals of engagement and innovation that invigorated this creative surge are not.
| Author | : Miryam Sas |
| Publisher | : BRILL |
| Total Pages | : 310 |
| Release | : 2020-03-17 |
| Genre | : Art |
| ISBN | : 168417502X |
"In the years of rapid economic growth following the protest movements of the 1960s, artists and intellectuals in Japan searched for a means of direct impact on the whirlwind of historical and cultural transformations of their time. Yet while the artists often called for such “direct” encounter, their works complicate this ideal with practices of interruption, self-reflexive mimesis, and temporal discontinuity. In an era known for idealism and activism, some of the most cherished ideals—intimacy between subjects, authenticity, a sense of home—are limitlessly desired yet always just out of reach. In this book, Miryam Sas explores the theoretical and cultural implications of experimental arts in a range of media. Casting light on important moments in the arts from the 1960s to the early 1980s, this study focuses first on underground (post-shingeki) theater and then on related works of experimental film and video, buto dance and photography. Emphasizing the complex and sophisticated theoretical grounding of these artists through their works, practices, and writings, this book also locates Japanese experimental arts in an extensive, sustained dialogue with key issues of contemporary critical theory."
| Author | : Eugenia Bogdanova-Kummer |
| Publisher | : BRILL |
| Total Pages | : 193 |
| Release | : 2020-07-20 |
| Genre | : Art |
| ISBN | : 9004437061 |
Japanese calligraphy had its international heyday—collaborating with and yet challenging abstract painting—in the early postwar years. This book explores a Kyoto-based calligraphy group Bokujinkai, and its contribution to the Japanese, American, and European postwar avant-gardes.
| Author | : Charlotte Eubanks |
| Publisher | : University of Hawaii Press |
| Total Pages | : 342 |
| Release | : 2019-12-31 |
| Genre | : Art |
| ISBN | : 082488230X |
The Art of Persistence examines the relations between art and politics in transwar Japan, exploring these via a microhistory of the artist, memoirist, and activist Akamatsu Toshiko (also known as Maruki Toshi, 1912–2000). Scaling up from the details of Akamatsu’s lived experience, the book addresses major events in modern Japanese history, including colonization and empire, war, the nuclear bombings, and the transwar proletarian movement. More broadly, it outlines an ethical position known as persistence, which occupies the grey area between complicity and resistance: Like resilience, persistence signals a commitment to not disappearing—a fierce act of taking up space but often from a position of privilege, among the classes and people in power. Akamatsu grew up in a settler-colonial family in rural Hokkaido before attending arts college in Tokyo and becoming one of the first women to receive formal training as an oil painter in Japan. She later worked as a governess in the home of a Moscow diplomat and traveled to the Japanese Mandate in Micronesia before returning home to write and illustrate children’s books set in the Pacific. She married the surrealist poet and painter Maruki Iri (1901–1995), and together in 1948—and in defiance of Occupation censorship—they began creating and exhibiting the Nuclear Series, some of the most influential and powerful artwork depicting the aftermath of the Hiroshima bombing. For the next forty or more years, the couple toured the world to protest war and nuclear proliferation and were nominated for the Nobel Peace Prize in 1995. With abundant excerpts and drawings from Akamatsu’s journals and sketchbooks, The Art of Persistence offers a bridge between scholarship on imperial Japan and postwar memory cultures, arguing for the importance of each individual’s historical agency. While uncovering the longue durée of Japan’s visual cultures of war, it charts the development of the national(ist) “literature for little citizens” movement and Japan’s postwar reorientation toward global multiculturalism. Finally, the work proposes ways to enlist artwork generally, and the museum specifically, as a site of ethical engagement.
| Author | : Doryun Chong |
| Publisher | : The Museum of Modern Art |
| Total Pages | : 238 |
| Release | : 2012 |
| Genre | : Art |
| ISBN | : 0870708341 |
Catalog of an exhibition held at the Museum of Modern Art, New York, Nov. 18, 2012-Feb. 25, 2013.
| Author | : Asato Ikeda |
| Publisher | : University of Hawaii Press |
| Total Pages | : 165 |
| Release | : 2018-05-31 |
| Genre | : Art |
| ISBN | : 0824872126 |
This book examines a set of paintings produced in Japan during the 1930s and early 1940s that have received little scholarly attention. Asato Ikeda views the work of four prominent artists of the time—Yokoyama Taikan, Yasuda Yukihiko, Uemura Shōen, and Fujita Tsuguharu—through the lens of fascism, showing how their seemingly straightforward paintings of Mount Fuji, samurai, beautiful women, and the countryside supported the war by reinforcing a state ideology that justified violence in the name of the country’s cultural authenticity. She highlights the politics of “apolitical” art and challenges the postwar labeling of battle paintings—those depicting scenes of war and combat—as uniquely problematic. Yokoyama Taikan produced countless paintings of Mount Fuji as the embodiment of Japan’s “national body” and spirituality, in contrast to the modern West’s individualism and materialism. Yasuda Yukihiko located Japan in the Minamoto warriors of the medieval period, depicting them in the yamato-e style, which is defined as classically Japanese. Uemura Shōen sought to paint the quintessential Japanese woman, drawing on the Edo-period bijin-ga (beautiful women) genre while alluding to noh aesthetics and wartime gender expectations. For his subjects, Fujita Tsuguharu looked to the rural snow country, where, it was believed, authentic Japanese traditions could still be found. Although these artists employed different styles and favored different subjects, each maintained close ties with the state and presented what he considered to be the most representative and authentic portrayal of Japan. Throughout Ikeda takes into account the changing relationships between visual iconography/artistic style and its significance by carefully situating artworks within their specific historical and cultural moments. She reveals the global dimensions of wartime nationalist Japanese art and opens up the possibility of dialogue with scholarship on art produced in other countries around the same time, particularly Nazi Germany and Fascist Italy. The Politics of Painting will be welcomed by those interested in modern Japanese art and visual culture, and war art and fascism. Its analysis of painters and painting within larger currents in intellectual history will attract scholars of modern Japanese and East Asian studies.
