Japan: The New Art
(eVideo)

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Published
[San Francisco, California, USA] : Michael Blackwood Productions, 1976., Kanopy Streaming, 2016.
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1 online resource (streaming video file) (29 minutes): digital, .flv file, sound
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Format
eVideo
Language
English

Notes

General Note
In Process Record.
General Note
Title from title frames.
General Note
Film
Date/Time and Place of Event
Originally produced by Michael Blackwood Productions in 1976.
Description
"There is no longer Japanese art, only Japanese artists. In the 1950s one could find Japanese qualities in the work of our abstract painters, but with Pop Art young artists felt liberated from the past and in the reality of the actual world. I am interested in the new generation of artists.". Filmed with ten artists and selected five for "JAPAN The New Art".. One was the Gutai group. It was one of the most important art movements and artist groups in postwar Japan. The Gutai, which means ‘concreteness’, was founded by Jiro Yoshihara, in Ashiya City in 1954. Yoshihara promoted a bold and spirited anti-academicism by encouraging Gutai members to “create what has never existed before.” In his manifesto of Gutai art, he has written: “Gutai Art does not alter the material. Gutai Art gives life to the material. Gutai Art does not distort the material. In Gutai Art, the human spirit and the material shake hands but keep being in conflict with each other. The material never assimilates itself into the spirit. The spirit never subordinates the material. When the material exposes its characteristics remaining intact, it starts telling a story and even screaming out. To make the fullest use of the material is to make use of the spirit. To enhance the spirit is to lead the material to the high sphere of the spirit.”. Jiro Takamatsu, a conceptual artist, has also hugely influenced Japanese contemporary art after the 1960s. Takamatsu proclaimed himself “anti-artist”, and engaged in wide-range art forms including painting, sculpture, photography, film, installation and happening-performance. Takamatsu explored the conceptual gap between perception and existence.. In the late 60s a new art movement emerged, “Mono-ha” (‘object school’). Rejecting the ‘Anti-art’ attitudes of the Gutai and other avant-garde movements in Japan, Mono-ha artists tried to create a new Japanese art by shutting out all illusion from the means of artistic expression and returning to objects per se. Mono-ha artists chose stones, wood, sheets of paper and iron plates as their materials, and juxtaposed them to create new relationships between each object or between objects and the spaces surrounding them. The theories of “Mono-ha” were conceptualized and developed by Nobuo Sekine and Ufan Lee.. Katuhiko Narita, sculptor, who is sometimes categorized as a Mono-ha artist, was renowned for his work using Sumi, Japanese charcoal. In addition to the materiality, he was interested in Sumi itself, seeing it as ruins of prosperity. By eliminating the act of creation, he emphasized the materiality and physicality of the material.. In the film, Tono also introduces three young artists, Shingo Honda, Susumu Koshimizu, and Keiji Yabe, who belong to a newer generation of Japanese contemporary art at the time. Their main interest was in the transformative process of things or the existence of things per se, rather than artistic self-expression through materials. In the film they showed experimental work using stones and a sheet of paper on the riverside.. Although Japanese artists were much influenced by European and American art and philosophy, and these movements shared some similarities with foreign art movements such as Minimalist Art and Process Art in the United States, these artists were challenged to create a unique Japanese art without following the developments in European and American avant-garde art..
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Mode of access: World Wide Web.

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Citations

APA Citation, 7th Edition (style guide)

(1976). Japan: The New Art . Michael Blackwood Productions.

Chicago / Turabian - Author Date Citation, 17th Edition (style guide)

1976. Japan: The New Art. Michael Blackwood Productions.

Chicago / Turabian - Humanities (Notes and Bibliography) Citation, 17th Edition (style guide)

Japan: The New Art Michael Blackwood Productions, 1976.

MLA Citation, 9th Edition (style guide)

Japan: The New Art Michael Blackwood Productions, 1976.

Note! Citations contain only title, author, edition, publisher, and year published. Citations should be used as a guideline and should be double checked for accuracy. Citation formats are based on standards as of August 2021.

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Grouped Work ID
63ff307d-ece1-454f-6b1d-ead6647ba275-eng
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Grouping Information

Grouped Work ID63ff307d-ece1-454f-6b1d-ead6647ba275-eng
Full titlejapan the new art
Authormichael blackwood productions
Grouping Categorymovie
Last Update2023-09-27 09:56:57AM
Last Indexed2024-03-27 02:15:24AM

Book Cover Information

Image Sourcesideload
First LoadedNov 19, 2022
Last UsedMar 13, 2024

Marc Record

First DetectedAug 25, 2016 12:00:00 AM
Last File Modification TimeSep 27, 2023 09:58:13 AM

MARC Record

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520 |a "There is no longer Japanese art, only Japanese artists. In the 1950s one could find Japanese qualities in the work of our abstract painters, but with Pop Art young artists felt liberated from the past and in the reality of the actual world. I am interested in the new generation of artists.". Filmed with ten artists and selected five for "JAPAN The New Art".. One was the Gutai group. It was one of the most important art movements and artist groups in postwar Japan. The Gutai, which means ‘concreteness’, was founded by Jiro Yoshihara, in Ashiya City in 1954. Yoshihara promoted a bold and spirited anti-academicism by encouraging Gutai members to “create what has never existed before.” In his manifesto of Gutai art, he has written: “Gutai Art does not alter the material. Gutai Art gives life to the material. Gutai Art does not distort the material. In Gutai Art, the human spirit and the material shake hands but keep being in conflict with each other. The material never assimilates itself into the spirit. The spirit never subordinates the material. When the material exposes its characteristics remaining intact, it starts telling a story and even screaming out. To make the fullest use of the material is to make use of the spirit. To enhance the spirit is to lead the material to the high sphere of the spirit.”. Jiro Takamatsu, a conceptual artist, has also hugely influenced Japanese contemporary art after the 1960s. Takamatsu proclaimed himself “anti-artist”, and engaged in wide-range art forms including painting, sculpture, photography, film, installation and happening-performance. Takamatsu explored the conceptual gap between perception and existence.. In the late 60s a new art movement emerged, “Mono-ha” (‘object school’). Rejecting the ‘Anti-art’ attitudes of the Gutai and other avant-garde movements in Japan, Mono-ha artists tried to create a new Japanese art by shutting out all illusion from the means of artistic expression and returning to objects per se. Mono-ha artists chose stones, wood, sheets of paper and iron plates as their materials, and juxtaposed them to create new relationships between each object or between objects and the spaces surrounding them. The theories of “Mono-ha” were conceptualized and developed by Nobuo Sekine and Ufan Lee.. Katuhiko Narita, sculptor, who is sometimes categorized as a Mono-ha artist, was renowned for his work using Sumi, Japanese charcoal. In addition to the materiality, he was interested in Sumi itself, seeing it as ruins of prosperity. By eliminating the act of creation, he emphasized the materiality and physicality of the material.. In the film, Tono also introduces three young artists, Shingo Honda, Susumu Koshimizu, and Keiji Yabe, who belong to a newer generation of Japanese contemporary art at the time. Their main interest was in the transformative process of things or the existence of things per se, rather than artistic self-expression through materials. In the film they showed experimental work using stones and a sheet of paper on the riverside.. Although Japanese artists were much influenced by European and American art and philosophy, and these movements shared some similarities with foreign art movements such as Minimalist Art and Process Art in the United States, these artists were challenged to create a unique Japanese art without following the developments in European and American avant-garde art..
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650 0|a Art.
650 0|a Documentary-style films.
653 |a Asian Studies
655 4|a Asian Studies
655 7|a  Documentary films|2 lcgft
7102 |a Michael Blackwood Productions (Firm),|4 dst
7102 |a Kanopy (Firm),|4 dst
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85642|z Cover Image|u https://www.kanopy.com/node/184836/external-image