Parallel views : Italian and Japanese art from the 1950s, 60s, and 70s
Author(s)
Bibliographic Information
Parallel views : Italian and Japanese art from the 1950s, 60s, and 70s
Damiani , Warehouse, c2014
Available at 3 libraries
  Aomori
  Iwate
  Miyagi
  Akita
  Yamagata
  Fukushima
  Ibaraki
  Tochigi
  Gunma
  Saitama
  Chiba
  Tokyo
  Kanagawa
  Niigata
  Toyama
  Ishikawa
  Fukui
  Yamanashi
  Nagano
  Gifu
  Shizuoka
  Aichi
  Mie
  Shiga
  Kyoto
  Osaka
  Hyogo
  Nara
  Wakayama
  Tottori
  Shimane
  Okayama
  Hiroshima
  Yamaguchi
  Tokushima
  Kagawa
  Ehime
  Kochi
  Fukuoka
  Saga
  Nagasaki
  Kumamoto
  Oita
  Miyazaki
  Kagoshima
  Okinawa
  Korea
  China
  Thailand
  United Kingdom
  Germany
  Switzerland
  France
  Belgium
  Netherlands
  Sweden
  Norway
  United States of America
Note
List of plates: p. 396-403
Selected bibliography: p. 404-405
Description and Table of Contents
Description
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.
by "Nielsen BookData"