Parallel views : Italian and Japanese art from the 1950s, 60s, and 70s
著者
書誌事項
Parallel views : Italian and Japanese art from the 1950s, 60s, and 70s
Damiani , Warehouse, c2014
大学図書館所蔵 全3件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
List of plates: p. 396-403
Selected bibliography: p. 404-405
内容説明・目次
内容説明
In the decades following World War II, both Japan and Italy were rebuilding after the ravages of war, constructing democratic political systems after a period of fascism and transforming into economic powerhouses, all of which profoundly influenced their respective cultures. Artists in both nations were working in these similar conditions, examining their formidable artistic traditions and seeking a new path forward in the wake of modernism--ways of making art objects that had never been made before. Parallel Views presents a breadth of postwar masters of Italian and Japanese art. The 153 artworks reproduced here include works by the Italian proto-Arte Povera and Arte Povera artists Alighiero Boetti, Alberto Burri, Lucio Fontana, Piero Manzoni, Mario Merz, Marisa Merz, Giulio Paolini, Giuseppe Penone, Michelangelo Pistoletto, and Mimmo Rotella. Central figures in the Gutai movement--Matsutani Takesada, Saburo Murakami, Shimamoto Shozo, Shiraga Kazuo--are represented, as are important Mono-ha artists, including Lee Ufan, Sekine Nobuo, Suga Kishio, and Takematsu Jiro, among others.
At this time the art world was becoming increasingly fragmented and global, and teasing out the historical connections is complex. This volume gives readers a unique opportunity to view works that have rarely been shown or considered together but in fact share common themes and concerns. As essayist Joshua Mack states, "Modernism was not a process extending a dominant model from Paris or New York to outlying countries, like Japan or Italy, but rather a process of exchange between interlinked nodes. Its dynamic is a process of creative interpretation in which concepts originating in one context were understood differently in another." A panel discussion among three leading scholars of this period in Italian and Japanese art further examines the connections and simultaneities between the art and artists of this period. Parallel Views invites readers to explore a body of artworks that have been overlooked until recently but warrant renewed attention.
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