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]
• Shūzō Ōura (大浦周造)
• Michinao Takamizawa
• Yamada Shinkichi (山田伸吉)
• NNK group: Tatsuo Okada, Michinao Takamizawa and Tatsuo Toda.

Publications

Mavo

• "Mavo Manifesto", in the pamphlet for the first Mavo exhibition at Denpōin Temple in Asakusa, 1923; repr. in Nihon no Dada 1920-1970, ed. Yoshio Shirakawa, Tokyo: Hakuba Shobō and Kazenobara, 1988, pp 35-36.
• Tomoyoshi Murayama, Ichimei ishikiteki kōsei shugi e no dōtei [現在の藝術と未來の藝術 一名、意識的構成主義への道程], 1924.
• 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]

On art and the machine

• Tomoyoshi Murayama, "Kikaiteki yōso no geijutsu he no dō'nyū" [The Introduction of Mechanical Elements into Art], Mizue 227 (January 1924).
• Shin keitai bi danmen [Profile of the New Form of Beauty], Special Issue of Atorie 6:5 (May 1929).
  • Sadanosuke Nakada, [A Theory of the New Form of Beauty].
  • Tomoyoshi Murayama, "Saikin no geijutsu ni okeru kikaibi" [The Beauty of the Machine in Contemporary Art].
• Takao Itagaki, Kikai to geijutsu to no kōryū [Interactions Between Art and the Machine], Tokyo: Iwanami Shoten, 1929.
• Kikai geijutsuron [機械藝術論; Theory of the Machine and Art], Tokyo: Tenninsha [天人社], 1930; repr. by Tokyo: Yumani Shobō, 1991. Articles by ten authors from different fields of art, each writing on the relationship between the machine and their particular genre.
• Toshimi Kimura (ed.), Kikai to geijutsu kakumei [The Machine and Artistic Revolution], Tokyo: Hakuyōsha, 1930; repr. in Kikai to geijutsu (Korekushon Modan Toshi Bunka 45) [Machine and Art (Modern Urban Culture Collection 45)], ed. Nobuhiko Baba, Tokyo: Yumani Shobō, 2009. Translations of articles by R.M. Fox, Edward J. O'Brien, and others, and two articles by Kimura. The book focuses on reviewing how the machine played crucial roles at the times when various new artistic styles emerged as well as on the relationship between the machine and capitalism or the proletariat.
• Harue Koga, "Kikai to bijutsu" [The Machine and Art], Wakakusa (June 1931).

Artists' 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, "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.
• Yoshio Shirakawa (ed.), 日本のダダ―1920‐1970, 2005, 168 pp. (in Japanese) [9]
• 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. [10]
• 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.
• Roy Starrs (ed.), Rethinking Japanese Modernism, Leiden and Boston: Global Oriental, 2012.
  • Chingshin Wu, "Transcending the Boundaries of the 'isms': Pursuing Modernity through the Machine in Japanese Avant-Garde Art", pp 339-361.
• Majella Munro, Communicating Vessels: The Surrealist Movement in Japan, 1925-70, The Enzo Press, 2012. Introduction.
• Further bibliography, [11]

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

• Atsuko Tanaka
• Shūji Terayama

Exhibitions

• http://www.getty.edu/art/exhibitions/postwar_japan/, [12], [13]

Resources

• A timeline of postwar Japanese art movements, [14]

Literature

• Miwako Tezuka, Jikken Kobo (experimental workshop): avant-garde experiments in Japanese art of the 1950s, Columbia University, 2005. Ph.D. Dissertation. [15] [16]
• 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. [17]
• 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. Review, Review.
• Steven C. Ridgely, Japanese Counterculture: The Antiestablishment Art of Terayama Shūji, University of Minnesota Press, 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. [18]
• Further bibliography

Onkyo

• http://dusan.satori.sk/i/jp.php
• Improvised Music from Japan

Philosophy of technology

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

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