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This beautiful guide to Tokyo's most exciting art galleries is a must-read for art lovers planning trips to Tokyo or looking to understand the art scene in contemporary Japan. In-depth interviews with curators and essays by leading art critics bring these exciting art spaces to life for an English-speaking audience.
This beautifully designed book is a celebration of one of the world's most creative, dynamic and fascinating cities: Tokyo. It spans 400 years, with highlights including Kano school paintings; the iconic woodblock prints of Hiroshige; Tokyo Pop Art posters; the photography of Moriyama Daido and Ninagawa Mika; manga; film; and contemporary art by Murakami Takashi and Aida Makoto. Visually bold and richly detailed, this publication looks at a city which has undergone constant destruction and renewal and it tells the stories of the people who have made Tokyo so famous with their insatiable appetite for the new and innovative - from the samurai to avantgarde artists today. Co-edited by Japanese art specialists and curators Lena Fritsch and Clare Pollard from Oxford University, this accessible volume features 28 texts by international experts of Japanese culture, as well as original statements by influential artists.
This is a history of the Japanese art world from 1990 up to the tsunami of March 2011, and its struggle to find a voice amidst Japan's economic decline and China's economic ascent. It looks at how the pop-culture fantasies of Takashi Murakami, Yoshitomo Nara and the other artists of the Superflat movement came to dominate the art of Japan today. It also delves into what lies behind their imagery of a childish and decadent society unable to face reality.
Requiem for the Sun: The Art of Mono-ha is the most comprehensive study in English to date on the postwar Japanese movement Mono-ha (School of Things), and examines the group's practice in Tokyo between 1968-1972 at the height of the nation's political upheaval against the US-Japan Security Treaty, anti-Vietnam War protests and its oil crisis. The Mono-ha artists--who included Noburu Sekine, Lee Ufan, Kishio Suga and Koji Enokura--all distinguished themselves through an aesthetic detachment that, instead of "creating" things, strove instead to "rearrange" them into artworks that interacted with the spaces around them. While sharing certain traits with the Land Art and Minimalism movements that were taking place in the United States, and the Arte Povera movement in Italy, Mono-ha was ultimately a rejection of the Euro-American avant-garde and is now synonymous with the beginnings of contemporary art in Japan.
Documents the myriad ways that urban dwellers respond to the space crunch. Four hundred color photos take you inside the habitations of artists, students, young professionals, and families. -- Back cover.
Preserved buildings and historic districts, museums and reconstructions have become an important part of the landscape of cities around the world. Beginning in the 1970s, Tokyo participated in this trend. However, repeated destruction and rapid redevelopment left the city with little building stock of recognized historical value. Late twentieth-century Tokyo thus presents an illuminating case of the emergence of a new sense of history in the city’s physical environment, since it required both a shift in perceptions of value and a search for history in the margins and interstices of a rapidly modernizing cityscape. Scholarship to date has tended to view historicism in the postindustrial context as either a genuine response to loss, or as a cynical commodification of the past. The historical process of Tokyo’s historicization suggests other interpretations. Moving from the politics of the public square to the invention of neighborhood community, to oddities found and appropriated in the streets, to the consecration of everyday scenes and artifacts as heritage in museums, Tokyo Vernacular traces the rediscovery of the past—sometimes in unlikely forms—in a city with few traditional landmarks. Tokyo's rediscovered past was mobilized as part of a new politics of the everyday after the failure of mass politics in the 1960s. Rather than conceiving the city as national center and claiming public space as national citizens, the post-1960s generation came to value the local places and things that embodied the vernacular language of the city, and to seek what could be claimed as common property outside the spaces of corporate capitalism and the state.
Author : Charles L. Marohn, Jr. Publisher : John Wiley & Sons Page : 262 pages File Size : 28,17 MB Release : 2019-10-01 Category : Business & Economics ISBN : 1119564816
A new way forward for sustainable quality of life in cities of all sizes Strong Towns: A Bottom-Up Revolution to Build American Prosperity is a book of forward-thinking ideas that breaks with modern wisdom to present a new vision of urban development in the United States. Presenting the foundational ideas of the Strong Towns movement he co-founded, Charles Marohn explains why cities of all sizes continue to struggle to meet their basic needs, and reveals the new paradigm that can solve this longstanding problem. Inside, you’ll learn why inducing growth and development has been the conventional response to urban financial struggles—and why it just doesn’t work. New development and high-risk investing don’t generate enough wealth to support itself, and cities continue to struggle. Read this book to find out how cities large and small can focus on bottom-up investments to minimize risk and maximize their ability to strengthen the community financially and improve citizens’ quality of life. Develop in-depth knowledge of the underlying logic behind the “traditional” search for never-ending urban growth Learn practical solutions for ameliorating financial struggles through low-risk investment and a grassroots focus Gain insights and tools that can stop the vicious cycle of budget shortfalls and unexpected downturns Become a part of the Strong Towns revolution by shifting the focus away from top-down growth toward rebuilding American prosperity Strong Towns acknowledges that there is a problem with the American approach to growth and shows community leaders a new way forward. The Strong Towns response is a revolution in how we assemble the places we live.
One of the twentieth century's leading abstract expressionists, Sam Francis (1923-94) was one of the few visual artists who traversed the globe multiple times during the 1950s and 1960s, becoming one of the first postwar American painters to develop a truly international reputation. Francis's engagement with the world and his fascination and involvement with different cultures, in particular that of Japan, is explored in this compelling volume, published in conjunction with the exhibition Sam Francis and Japan: Emptiness Overflowing at the Los Angeles County Museum of Art. Richard Speer, a co-curator of the exhibition, offers astute insights into the visual, technical, and philosophical affinities between traditional Asian art and Francis's work as a modern abstract painter. He delves into the relationship of Francis's aesthetics to much older Japanese artistic traditions, in particular the concept of ma, a symbolically rich in-between zone that is paralleled in the lyrical deployment of negative space in Francis's paintings. In addition, Speer looks at Francis's friendships with many of the Gutai and Monoha artists and highlights their shared conceptual theories involving notions of time, space, and a limitless continuum. A contemplative and discerning overview of the artist in Japan, the book draws on archival research and individual interviews with Francis's Japanese colleagues, as well as family and friends. It suggests the transformative power of art as a cultural bridge while expanding our insight into the artist's visual language and his devotion to the image. Francis's own aphoristic essay "One Ocean One Cup," first published in Japan in 1977, revealing the artist's reactions to living and working in the transcendental Japanese environment, rounds out the book. Exhibition: The Los Angeles County Museum of Art, United-States (04.10.2020 - 24.01.2021).