Difference between revisions of "Japan"

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* "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.
 
* "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.
 
* 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 [[Tatsuo Toda]] and [[Masamu Yanase]]. [http://books.google.com/books?id=6ZjqDb-zwVQC&pg=PA208]
+
* ''[[MAVO#Magazine|Mavo]]'', eds. Tatsuo Okada and Tomoyoshi Murayama, 7 issues, July 1924-August 1925.  
  
 
; On art and the machine
 
; On art and the machine

Revision as of 09:48, 19 August 2014

Woodblock print (ukiyo-e)

Avant-garde

Groups

Miraiha Bijutsu Kyokai (Futurist Art Association, 1920-22); MAVO (1923-25); NNK (Okada, Takamizawa, Toda).

Artists and writers

Tomoyoshi Murayama (村山知義); Masamu Yanase; Kamenosuke Ogata; Shuzo Oura; Shinro Kadowaki; Shuichiro Kinoshita; Osamu Shibuya; Iwane Sumiya; Tatsuo Okada (岡田竜夫); Kimimaro Yabashi; Tatsuo Toda; Masao Kato; 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), dadaist; Hagiwara Kyōjirō, writer; Hayashi Fumiko, writer; Jun Tsuji (辻潤), dadaist, [3]; Yoshiyuki Eisuke (吉行 エイスケ), dadaist, [4].

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, eds. Tatsuo Okada and Tomoyoshi Murayama, 7 issues, July 1924-August 1925.
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
  • Hagiwara Kyōjirō, Shikei senkoku [Death Sentence], Tokyo: Chōryūsha, 1925, 161+6 pp. Illustrated by Mavo. Anthology of visual poetry. [5]
  • Ernst Toller, Tsubame no sho [The Swallow Book], trans. Tomoyoshi Murayama, Tokyo: Chōryūsha, 1925, 106 pp. Illustrated by Tatsuo Okada. [6]
  • Hideo Saito, Aozameta douteikyo [The Pale-Faced Virgin's Mad Thoughts], Tokyo: Chōryūsha, 1926, 120 pp. Illustrated by Tatsuo Okada. Anthology of visual poetry. [7] [8]

Resources

Literature

Anti-art, Non-art

Exhibitions

Resources

Literature

Onkyo

Philosophy of technology


Countries
avant-garde, modernism and after

Albania, Argentina, Armenia, Australia, Austria, Azerbaijan, Belarus, Belgium, Bosnia and Herzegovina, Brazil, Bulgaria, Central and Eastern Europe, Chile, China, Croatia, Cyprus, Czech Republic, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Hungary, Iceland, India, Indonesia, Iran, Ireland, Italy, Japan, Kazakhstan, Kosova, Latvia, Lebanon, Lithuania, Luxembourg, Macedonia, Malta, Mexico, Moldova, Montenegro, Netherlands, Norway, Pakistan, Peru, Poland, Portugal, Romania, Russia, Serbia, Spain, Slovenia, Slovakia, South Korea, Sweden, Switzerland, Turkey, Ukraine, United Kingdom, United States