Notice bibliographique

Notice

Type(s) de contenu et mode(s) de consultation : Texte noté : sans médiation

Auteur(s) : Tomii, Reiko. Auteur du texte Voir les notices liées en tant qu'auteur

Titre(s) : Radicalism in the wilderness [Texte imprimé] : international contemporaneity and 1960s art in Japan / Reiko Tomii

Publication : Cambridge, Mass. : The MIT Press, cop. 2016

Description matérielle : xviii, 293 pages : illustrations (some color) ; 24 cm

Comprend : Machine generated contents note: ; Three in the wilderness -- ; 1964, Shimo Suwa: Matsuzawa Yutaka -- ; 1968, Shionomisaki: The Play -- ; 1970, Niigata: GUN -- ; Where was the Wilderness? -- ; Linking Local and Global --1 ; Introduction to "International Contemporaneity" and "Contemporary Art" -- ; Proposal for Methodology: "International Contemporaneity" and Beyond -- ; Brief Note on "International Contemporaneity" -- ; "Contemporaneity" as a Geohistorical Concept -- ; Comparing "Similar yet Dissimilar": "Connections" and "Resonances" -- ; Exploding the Narrative: Contemporaneity and "Narrative Tangents" -- ; Overview of History: The Rise of "Contemporary Art" -- ; Expanded 1960s of Japanese Art -- ; Mainstreaming of the Avant-Garde: Another Post-Yomiuri Story -- ; Discursive Origins of International Contemporaneity in 1960s Japan --2 ; Matsuzawa Yutaka's Wilderness of Nil -- ; Making of Mr. Psi: Toward Conceptualism -- ; Transdisciplinary Mind: From Shimo Suwa to New York and Back -- ; Theory and Practice of Psi: Before "Revelation" -- ; Nascent Conceptualism: Apparatus, Operation Manual, Container -- ; Matsuzawa's Radical Reconstruction of Art -- ; Legend (De)constructed: The Beginning of "Art of Kannen" -- ; Vanishing Acts as "Anti-Civilization" -- ; White Circle: An Exercise in Non-Sensory Painting --3 ; Play's Collective Voyages into the Wilderness -- ; Prehistories in the Post-Yomiuri Years -- ; Independent Art Festival in Gifu -- ; Ikemizu Keiichi Was Homo Sapiens -- ; Early Years: A Gathering of Happeners -- ; Into the Wilderness -- ; Launching Voyage -- ; Play's Collectivism -- ; Destinations in Nature Near and Far --4 ; Gun's Aspirations from the Wilderness -- ; Tokyo as A Distant Center: Gun's Early Years -- ; Wilderness Potential: Closing the Distance and Engaging the Social -- ; Stones of the Shinano River: Horikawa Michio's Mail Art -- ; Snow in Niigata: GUN's Land Art -- ; Anti-Military Soldier in Sado: GUN's Political Turns --5 ; Connection Studies -- ; Following Narrative Tangents -- ; Tokyo Biennale 1970 as a Contact Point -- ; Matsuzwa Yutaka's Communal Internationalism -- ; Language Matters -- ; Play's Happenings Discourse -- ; Gainen (Concept) versus Kannen (Idea) --6 ; Resonance Studies -- ; Matsuzawa Yutaka's Conceptualism Compared -- ; In a Spectrum of Immateriality -- ; Japanese Pioneers: Matsuzawa Yutaka, Yoko Ono, and On Kawara -- ; Land Art: Digging into the Local -- ; "Culture of Showing" and Photography -- ; Together in Nature Nearby -- ; EPILOGUE -- ; Three in the World -- ; 2008, Norwich: Horikawa Michio -- ; 2009, New York: Matsuzawa Yutaka -- ; 2012, Paris: The Play -- ; Regrouping in an Open Field -- ; APPENDIX: SELECT TRANSLATION OF MATSUZAWA YUTAKA'S WORKS -- ; On Another Work in Another Container, or on Cutting (1963) -- ; Brief Report on the Discovery of the Beginning of Non-Sensory Painting (1964) -- ; Psi Corpse (1964) -- ; Void: Collective Participation of "Anti-Civilization" School (1965).

Note(s) : Includes bibliographical references (pages 265-276) and index

Sujet(s) : Naturalité (environnement) Voir les notices liées en tant que sujet
Radicalisme -- Japon Voir les notices liées en tant que sujet
Art japonais -- 20e siècle Voir les notices liées en tant que sujet
Art japonais -- 2000-.... Voir les notices liées en tant que sujet