Japan

Woodblock print (ukiyo-e)

• Yoshitoshi
• http://ukiyo-e.org

Avant-garde

Groups

Fyūzankai (Fusain Society, 1912), post-impressionists; Nika-kai (Nika Society, Second Section Association), fauvists; Miraiha bijutsu kyōkai (未来派美術協会, Futurist Art Association, 1920-22; Asano, Fumon, Kinoshita), futurists, [1]; Akushon (Action, 1923; Nakagawa, Yabe, Kanbara, Koga, Nakahara), futurists; アクション (1922); MAVO (1923-25); Sanka zōkei bijutsu kyōkai (Three Division Plastic Arts Society, 1924; Kinoshita); NNK (Okada, Takamizawa, Toda); [[Senkyūhyaku sanjū-nen kyōkai (1930; Koga, Noguchi, Kawaguchi, Fukuzawa; 1930); Dokuritsu bijutsu kyōkai (Independent Art Society, 1931-39; Satomi, Kojima); Shin seisaku kyōkai (New Art Work Society; Nakanishi, Inokuma); Shinzōkei (1935-37); Jiyū bijutsu (1937-43).

Artists and writers

Ryūsei Kishida (岸田 劉生), [2]; Jirō Yoshihara (吉原 治良), [3]; Tai Kanbara; 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; Hideichirō Kinoshita; Ogata Kamenosuke (尾形亀之助), [4]; Yanase Masamu (柳瀬正夢) [5]; Shūzō Ōura (大浦周造); Michinao Takamizawa; Yamada Shinkichi (山田伸吉), dadaist; Hagiwara Kyōjirō (萩原恭次郎), writer [6]; Hayashi Fumiko, writer; Jun Tsuji (辻潤), dadaist, [7]; Yoshiyuki Eisuke (吉行 エイスケ), dadaist, [8]; Noboru Kitawaki.

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. [9]
• Ernst Toller, Tsubame no sho [The Swallow Book], trans. Tomoyoshi Murayama, Tokyo: Chōryūsha, 1925, 106 pp. Illustrated by Tatsuo Okada. [10]
• Hideo Saito, Aozameta douteikyo [The Pale-Faced Virgin's Mad Thoughts], Tokyo: Chōryūsha, 1926, 120 pp. Illustrated by Tatsuo Okada. Anthology of visual poetry. [11] [12]

Other

• Tai Kanbara, Miraiha kenkyu [Futurism Studies], 1925. Comprehensive work on Italian Futurism. [13]
• Jun Tsuji, Furō mango [浮浪漫語], 1922.
• Jun Tsuji, Desu pera [ですぺら], 1924.
• Jun Tsuji, Zetsubō no sho [絶望の書; Book of Despair], 1930, 458 pp.
• Hagiwara Kyōjirō, Danpen: Hagiwara Kyōjirō shishū [断片: 萩原恭次郎詩集], 1931, 71 pp.

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, "Tada Dada (Devotedly Dada) For the Stage: the Japanese Movement 1920-1925", in The Eastern Dada Orbit: Russia, Georgia, Ukraine, Central Europe and Japan, ed. Stephen Foster, G.K. Hall, 1998, pp 223-310.
• 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. [14]
• Avant-garde in Japan: Art into Life 1900-1940, Kyoto: National Museum of Modern Art, 1999. Catalogue. [15]
• Toshiharu Omuka, "Futurism in Japan, 1909-1920", in International Futurism in Arts and Literature, ed. Günter Berghaus, Walter de Gruyter, 2000, pp 244-270.
• 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.
• Toshiko Ellis, "The Topography of Dalian and the Cartography of Fantastic Asia in Anzai Fuyue's Poetry", Comparative Literature Studies, 41:4 (2004), pp 482-500. [16] [17]
• Yoshio Shirakawa (ed.), 日本のダダ―1920‐1970, 2005, 168 pp. (in Japanese) [18]
• 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. [19]
• Majella Munro, "Dada, MAVO and the Japanese Avant-Garde: A Prologue to the Introduction of Surrealism to Japan", re.bus 4 (Autumn/Winter 2009).
• Yang Wang, "Russia Constructed: the Practice of Avant-gardism in Taisho-era Japan, 1912-1926", 2009.
• 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.
• Thomas Hackner, "Worlds Apart? The Japan-Europe Historical Avant-Garde Relationship", in Decentring the Avant-Garde, eds. Per Bäckström and Benedikt Hjartarson, Rodopi, 2014. [20]
• "Japan: Avant-garde", undated.
• Dada in Japan (Japanese Wikipedia)
• Further bibliography, [21]
• More

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/, [22], [23]

Resources

• A timeline of postwar Japanese art movements, [24]

Literature

• Miwako Tezuka, Jikken Kobo (experimental workshop): avant-garde experiments in Japanese art of the 1950s, Columbia University, 2005. Ph.D. Dissertation. [25] [26]
• 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. [27]
• 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. [28]
• Diana C. Stoll (ed.), Tokyo 1955-1970: A New Avant-Garde, New York: Museum of Modern Art, 2012, 228 pp. Catalogue. [29]
• 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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