Japan

Avant-garde

• MAVO
• Tomoyoshi Murayama (村山知義)
• Tatsuo Okada (岡田竜夫)
• Ogata Kamenosuke (尾形亀之助) [1]
• Yanase Masamu (柳瀬正夢) [2]
• Yamada Shinkichi (山田伸吉)

Publications

• Mavo, July 1924-August 1925, 7 issues. Published by Chōryūsha and edited by Tatsuo Okada and Tomoyoshi Murayama. Magazine inspired by Dada and by the irrationality in Zen. Changed name in October 1928 to Keisei gahō [Formative Pictorial] and became the private publication of Tatsuo Okada. Contributors included Toda Tatsuo and Yanase Masamu. [3]

Artist's books

• Kyōjirō Hagiwara, Shikei senkoku [Death Sentence], Tokyo: Chōryūsha, 1925, 161+6 pp. Illustrated by Mavo. Anthology of visual poetry. [4]
• Ernst Toller, Tsubame no sho [The Swallow Book], trans. Tomoyoshi Murayama, Tokyo: Chōryūsha, 1925, 106 pp. Illustrated by Tatsuo Okada. [5]
• Hideo Saito, Aozameta douteikyo [The Pale-Faced Virgin's Mad Thoughts], Tokyo: Chōryūsha, 1926, 120 pp. Illustrated by Tatsuo Okada. Anthology of visual poetry. [6] [7]

Resources

• Japanese Surrealism, blog.
• The New Modernism: Japanese Modernist & Avant-Garde Poetry, Translations, Explorations, blog
• http://www.douban.com/note/187789598/

Literature

• Gennifer Weisenfeld, [http://fds.duke.edu/db/attachment/1784 "Mavo’s Conscious Constructivism: Art, Individualism, and Daily Life in Interwar Japan", Art Journal 55:3 (Autumn 1996), pp 64-73.
• James Fraser, Steven Heller, Seymour Chwast, Japanese Modern: Graphic Design Between the Wars, Chronicle Books, 1996, 144 pp. Review.
• Toshiharu Omuka, "Futurism in Japan, 1909-1920", in International Futurism in Arts and Literature, ed. Günter Berghaus, Walter de Gruyter, 2000, pp 244-270.
• William O. Gardner, Avant-garde literature and the New City: Tokyo, 1923—1931 (Japan, Kyojiro Hagiwara, Hayashi Fumiko), Stanford University, 1999, 243 pp. Ph.D. Thesis. [8]
• Miryam Sas, Fault Lines: Cultural Memory and Japanese Surrealism, Stanford University Press, 2001.
• Gennifer Weisenfeld, Mavo: Japanese Artists and the Avant-Garde, 1905-1931, University of California Press, 2002, 368 pp.
• William O. Gardner, Advertising Tower: Japanese Modernism and Modernity in the 1920s, Harvard University Asia Center, 2006.
• Gennifer Weisenfeld, "Publicity and Propaganda in 1930s Japan: Modernism as Method", Design Issues 25:4 (Autumn 2009), pp 13-28.
• William J. Tyler (ed.), Modanizumu: Modernist Fiction from Japan, 1913-1938, University of Hawaii Press, 2008, 605 pp. [9]
• Gennifer Weisenfeld, "Japanese Typographic Design and the Art of Letterforms", in Bridges to Heaven: Essays on East Asian Art in Honor of Professor Wen C. Fong, Vol. 1, New Jersey: P.Y. and Kinmay W. Tang Center for East Asian Art, 2011, 827-848.
• Chingshin Wu, "Transcending the Boundaries of the 'isms': Pursuing Modernity through the Machine in Japanese Avant-Garde Art", in Rethinking Japanese Modernism, ed. Roy Starrs, Leiden and Boston: Global Oriental, 2012, pp 339-361.
• Majella Munro, Communicating Vessels: The Surrealist Movement in Japan, 1925-70, The Enzo Press, 2012. Introduction.
• Further bibliography

Anti-art, Non-art

• Jikken Kōbō, Tokyo, 1951-57.
• Gutai Art Association [Gutai Bijutsu Kyōkai], Osaka and Ashiya, 1954-72.

• Sōgetsu Art Center (SAC), 1958-71.
• Neo Dada, Tokyo, 1960-62.
• Ongaku group, Tokyo, 1960-62.
• Tokyo Fluxus, 1957-1970s
• Hi Red Center, Tokyo, 1963-64.
• 1000-Yen Note Incident Discussion Group, Tokyo, 1964-c70.

• Ankoku Butoh Group, Tokyo, c1959-early 1970s.
• Vivo, Tokyo, 1959-61.
• Underground theatres, Tokyo, c1966-c75.
• Provoke, Tokyo, 1968-70.

• Intermedia, Tokyo and Osaka, c1968-c70.
• Psychophysiology Research Institute, 1969-70.
• Bikyōtō, Tokyo, 1969-74.
• Japan World Exposition '70, Osaka

Exhibitions

• http://www.getty.edu/art/exhibitions/postwar_japan/, [10], [11]

Resources

• A timeline of postwar Japanese art movements, [12]

Literature

• Miwako Tezuka, Jikken Kobo (experimental workshop): avant-garde experiments in Japanese art of the 1950s, Columbia University, 2005. Ph.D. Dissertation. [13] [14]
• Charles Merewether, Rika Iezumi Hiro (eds.), Art, Anti-art, Non-art: Experimentations in the Public Sphere in Postwar Japan, 1950-1970, Getty Publications, 2007, 140 pp. [15]
• Reiko Tomii, "'International Contemporaneity' in the 1960s: Discoursing on Art in Japan and Beyond", Japan Review 21 (2009), pp 123-147.
• Miwako Tezuka, "Experimentation and Tradition: The Avant-Garde Play Pierrot Lunaire by Jikken Kōbō and Takechi Tetsuji", Art Journal 70:3 (Fall 2011), pp 64-85.
• Miryam Sas, Experimental Arts in Postwar Japan: Moments of Encounter, Engagement, and Imagined Return, Harvard University Asia Center, 2011.
• Midori Yoshimoto, "Expo ’70 and Japanese Art: Dissonant Voices An Introduction and Commentary", Review of Japanese Culture and Society (December 2011), pp 1-12.
• Jikken Kōbō―Experimental Workshop, The Yomiuri Shimbun, 2012, 352 pp. [16]

Onkyo

• http://dusan.satori.sk/i/jp.php

Philosophy of technology

• Takehiko Hashimoto, Historical Essays on Japanese Technology, Tokyo: The University of Tokyo Center for Philosophy, 2009.

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