Collectivism after Modernism - autonomous learning - Blogs

After the “Descent to the Everyday” 73
around the mid-1970s: signiWcantly, by then an original instigator, Sekine Nobuo,
changed his direction, establishing Environmental Art Studio in 1973 to work on
public sculpture.
20. Munroe, Japanese Art after 1945, 217; recent literature includes Kaze no mokei:
Kitadai Shozo to Jikken Kobo/Shozo Kitadai and Experimental Workshop, exhibition
catalog (Kawasaki: Taro Okamoto Museum of Art, 2003); and Miwako Tezuka, “Jikken
Kobo (Experimental Workshop): Avant-Garde Experiments in Japanese Art of
the 1950s” (PhD diss., Columbia University, New York, 2005).
21. Munroe, Japanese Art after 1945, 154–59.
22. Illustrated in ibid., 162.
23. Taki Teizo, “Nika 70-nenshi: Monogatari-hen” [70 years of Nika: A narrative],
in Nika 70-nenshi (Tokyo: Nika-kai, 1985), 27–28.
24. See Tomii, “Thought Provoked,” 209.
25. Takamatsu Jiro, “Akasegawa Genpei” (1995), reprinted in Fuzai eno toi [Questioning
the absence] (Tokyo: Suiseisha, 2003), 127.
26. For a detailed account, see Akasegawa Genpei, Tokyo mikisā keikaku: Hai reddo
sentā chokusetsu kodo no kiroku [Tokyo mixer plans: Documents of Hi Red Center’s
direct actions], pocketbook edition (Tokyo: Chikuma Bunko, 1994), 249–68.
27. William A. Marotti, “Politics and Culture in Postwar Japan: Akasegawa Genpei
and the Artistic Avant-Garde 1958–1970” (PhD diss., The University of Chicago,
2001), 148.
28. See Tomii, “Historicizing,” 614.
29. Midori Yoshimoto, “27. Works of Yoko Ono, 1962,” in YES Yoko Ono, ed. Alexandra
Munroe and Jon Hendricks, exhibition catalog (New York: Abrams and Japan
Society, 2000), 150–53.
30. Akasegawa, Tokyo mikisā keikaku, 35–46.
31. See Reiko Tomii, “Concerning the Institution of Art: Conceptualism in
Japan,” in Global Conceptualism: Points of Origin, 1950s–1980s, exhibition catalog
(New York: Queens Museum of Art, 1999), 20–21.
32. See “Anatagata ni totte shudan to wa nanika” [What is collectivism to you?]
in the brochure of the 1973 Kyoto Biennale; reprinted in Bijutsu techo, no. 372
(October 1973): 137.
33. Akasegawa Genpei, Obuje o motta musansha [An objet-carrying proletarian]
(Tokyo: Gendai Shichosha, 1970), 161, 185.
34. See Reiko Tomii, “State v. (Anti-)Art: Model 1,000-Yen Note Incident by
Akasegawa Genpei and Company,” Positions 10, no. 1 (Spring 2002): 141–72.
35. Reiko Tomii, “Rebel with a Cause,” M’Ars (magazine of the Museum of Modern
Art Ljubljana) 12, nos. 3–4 (2000): 10–11.
36. Reiko Tomii, “Akasegawa Genpei’s The Sakura Illustrated,” International Journal
of Comic Art 4, no. 2 (Fall 2002), 209–23.
37. Akasegawa Genpei, Cho-geijutsu tomason [Ultra-Art Tomason], pocketbook
edition (Tokyo: Chikuma Bunko, 1987). See Munroe, Japanese Art after 1945, 250–
51, for illustrations.
38. “Vava,” in Nihon no gendai bijutsu 30-nen [Three decades of contemporary
Japanese art], special supplementary issue, Bijutsu techo, no. 436 (July 1978), 263.
39. Akane Kazuo, “Zen’ei bijutsu no ichi saiten” [A festival of vanguard art] and
“Geppyo” [Monthly reviews], Bijutsu techo, no. 258 (October 1965), 81 and 131–
32. Hole is reproduced in Munroe, Japanese Art after 1945, 258.
40. Akane, “Geppyo” (no. 258), 132.