Alexandra MunroeCritiques
Auteur de Y E S Yoko Ono
20+ oeuvres 327 utilisateurs 6 critiques
Critiques
Art and China after 1989: Theater of the World par Alexandra Munroe
Signalé
Centre_A | Sep 18, 2021 | This is the first book ever published in English on the development, identity, and expression of Japanses avant-garde art after 1945, as seen within the dramatic social and political context of postwar and contemporary culture in Japan. The Japanese avant-garde art presented here is characterized by a ruling passion for spiritual freedom and individual self-expression, informed by the international trends of modernist art, yet insistent on its own original, cultural identity. The nature and content of that identity is a central theme running throughout this book. Profusely illustrated with historic documentary photographs and works of art, this book traces the spectacular growth and evolution of such internationally-renowned groups as the Experimental Workshop, Gutai, Hi Red Center, and Mono-ha, through the work of over 100 artists in painting, sculpture, photography, performance, video, film, and installation art.
(Abstract from the dustjacket)
(Abstract from the dustjacket)
Signalé
Centre_A | 2 autres critiques | Nov 27, 2020 | The catalog of a current U.S. exhibition of postwar, avant-garde Japanese art (at the Guggenheim in New York and the San Francisco Museum of Art), this volume is a significant publication about a tradition that has received scant attention in this country until now.
Beginning with the Gutai movement, the exhibition chronicles art in every medium from paintings and prints to video, performance art, and installations. Substantive essays by curator Alexandra Munroe, video artist Nam June Paik, and others provide historical background and address the critical question of the relationship of this art to both traditional Japanese and contemporary Western aesthetics. An important acquisition for academic and large public libraries with contemporary art collections.
Exhibition dates:
Yokohama: February 5 - March 30, 1994
Guggenheim Museum SOHO, New York: September 14 - January 8, 1995
San Francisco Museum of Modern Art / Center for the Arts at Yerba Buena Gardens: May 31 - August 27, 1995
Beginning with the Gutai movement, the exhibition chronicles art in every medium from paintings and prints to video, performance art, and installations. Substantive essays by curator Alexandra Munroe, video artist Nam June Paik, and others provide historical background and address the critical question of the relationship of this art to both traditional Japanese and contemporary Western aesthetics. An important acquisition for academic and large public libraries with contemporary art collections.
Exhibition dates:
Yokohama: February 5 - March 30, 1994
Guggenheim Museum SOHO, New York: September 14 - January 8, 1995
San Francisco Museum of Modern Art / Center for the Arts at Yerba Buena Gardens: May 31 - August 27, 1995
Signalé
Centre_A | 2 autres critiques | Nov 27, 2020 | This book, 'YES Yoko Ono' accompanies an exhibition at the Japan Society Gallery in New York (October 18, 2000, through January 14, 2001) that travelled to numerous venues in North America and Asia, beginning with the Walker Art Center in Minneapolis. --Cathy Curtis.
YES Yoko Ono is a rigorous analysis--by experts in modern Japanese and contemporary Western art, performance, video, and music--of the innovative approaches that made Ono a seminal avant-garde figure in the Fluxus movement of the 1960s and continued to influence her work during the next three decades.
Ono was born in 1933 in Japan to a wealthy and pedigreed family. In her early work, the pan-artistic classical Japanese approach to culture mingles with her Zen-like search for moments of concentrated sensory experience and the anti-heroic stance of the young American artists she would meet in New York upon her arrival (with her first husband, a composer) in 1956. Also significant was her sense of herself as an outsider. She spent her early childhood in the U.S. with her family, only to be snubbed by Japanese schoolmates on her return.
In Secret Piece, from 1953, Ono wrote a musical score consisting of nothing but two half-notes in the bass line and a scribbled notation: "With the accompaniment of birds singing at dawn." It became one of the brilliantly inventive instructions for making art pieces in her 1964 book, Grapefruit, an early conceptual work. Since those heady days, she has continued to explore the possibilities, stumbling sometimes (the inert bronze sculptures of the '80s) but never abandoning her fascination with elemental feeling and observation.
YES Yoko Ono is a rigorous analysis--by experts in modern Japanese and contemporary Western art, performance, video, and music--of the innovative approaches that made Ono a seminal avant-garde figure in the Fluxus movement of the 1960s and continued to influence her work during the next three decades.
Ono was born in 1933 in Japan to a wealthy and pedigreed family. In her early work, the pan-artistic classical Japanese approach to culture mingles with her Zen-like search for moments of concentrated sensory experience and the anti-heroic stance of the young American artists she would meet in New York upon her arrival (with her first husband, a composer) in 1956. Also significant was her sense of herself as an outsider. She spent her early childhood in the U.S. with her family, only to be snubbed by Japanese schoolmates on her return.
In Secret Piece, from 1953, Ono wrote a musical score consisting of nothing but two half-notes in the bass line and a scribbled notation: "With the accompaniment of birds singing at dawn." It became one of the brilliantly inventive instructions for making art pieces in her 1964 book, Grapefruit, an early conceptual work. Since those heady days, she has continued to explore the possibilities, stumbling sometimes (the inert bronze sculptures of the '80s) but never abandoning her fascination with elemental feeling and observation.
Signalé
Centre_A | Nov 27, 2020 | Yokohama Museum of Art, 5 febbraio -30 marzo 1994; Guggenheim Museum SoHo, New York, 14 settembre 1994 - 8 gennaio 1995; San Francisco Museum of Modern Art, 31 maggio - 27 agosto 1995
Signalé
vecchiopoggi | 2 autres critiques | Nov 30, 2016 | (2) Copies in TBC Office
Signalé
blum-gallery | Nov 3, 2016 | Liens
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