Working with previously unpublished photographs and archival resources, Ming Tiampo considers Gutai’s pioneering transnational practice, spurred on by mid-century developments in mass media and travel that made the movement’s field of reception and influence global in scope. Using these lines of transmission to claim a place for Gutai among modernist art practices while tracing the impact of Japan on art in Europe and America, Tiampo demonstrates the fundamental transnationality of modernism. Ultimately, Tiampo offers a new conceptual model for writing a global history of art, making Gutai an important and original contribution to modern art history.'
(back cover)
Chronology, list of Gutai artists, list of Yoshihara Jiro's Magazine Collections, as well as selected bibliography are included in the appendix.
Onsite
English
2011
264
9780226801667
1
monograph
Introduction
Decentering Originality
Originality and Transnational Modernism in the Taisho Era: Yoshihara's Formative Years
Gutai Strategies of Originality
Originality, Individualism, and Subjective Autonomy
The Interpoetics of Distance
Translation: Decentering Jackson Pollock
Recontextualization: Nengajo and Gutai Mail Art
Quantization: Gutai Portables
Lines of Flight: The Gutai Journal
Yoshihara's Postwar Internationalism and the Gutai Journal
American Correspondences
European Correspondences
The Politics of Geography and Gutai Exhibitions
Tokyo/Ashiya/Osaka, 1955-1958
New York, 1958
Turin, 1959
International Contemporaneity and Gutai Exhibitions
Osaka, 1962
Amsterdam, 1965
Paris, 1965
New Directions in Gutai Exhibitions
15th Gutai Art Exhibition, 1965
Gutai Art for the Space Age, 1967
Expo '70
Conclusion: Gutai's Decentering Legacies
Gutai: Decentering Modernism
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蔡宇鳴 | 斯萊德藝術學院，倫敦，亞洲：解殖現代主義的交匯點
2020年11月10日 (星期二)
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