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• Title:Radicalism in the wilderness : international contemporaneity and 1960s art in Japan / Reiko Tomii.
  
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• Author/Creator:Tomii, Reiko, author.
  
• Published/Created:Cambridge, Massachusetts ; London, England : The MIT Press, [2016]
  ©2016
  

• Holdings

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  • Location:MAA LIBRARY (IKB) stacksWhere is this?
    
  • Call Number: N7355.4 .T66 2016
    
  • Number of Items:1
    
  • Status:Available
    

   
• Library of Congress Subjects:Art, Japanese--20th century.
  Contemporary, The, in art.
  Conceptual art--Japan--20th century.
  Art, Japanese--History--20th century.
  
• Description:xviii, 293 pages : illustrations (some color) ; 24 cm
  
• Notes:Includes bibliographical references and index.
  
• ISBN:9780262034128 (hardcover ; alk. paper)
  0262034123 (hardcover ; alk. paper)
  
• Contents: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).