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Art in the Encounter of Nations: Japanese and American Artists in the Early Postwar Years, by Bert Winther-Tamaki
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Art in the Encounter of Nations is the first book-length study of interactions between the Japanese and American art worlds in the early postwar years. It brings to light a rich exchange of opinions and debates regarding the relationship between the art of the two nations. The author begins with an examination of the Japanese margins of American Abstract Expressionism. Taking a contrapuntal approach, he investigates four abstract painters: two Japanese artists who moved to the United States (Okada Kenzo and Hasegawa Saburo) and two European Americans whose work is often associated with Japanese calligraphy (Mark Tobey and Franz Kline). He then looks at the work of two young scions of the calligraphy and pottery worlds of Japan -- Morita Shiryo and Yagi Kazuo -- and argues that their radical innovations in these ancient arts were, in part, provoked by their sense of a threat posed by Euro-American modernity. The final chapter is devoted to the career of Japanese American sculptor and designer Isamu Noguchi, whose feeling of affiliation was directed to both the U.S. and Japan in shifting ratios through a series of public and private places, each posing unique opportunities for exploring national distinctions.
- Sales Rank: #2780872 in Books
- Published on: 2001-03
- Original language: English
- Number of items: 1
- Dimensions: .53" h x 8.13" w x 9.24" l,
- Binding: Paperback
- 288 pages
Most helpful customer reviews
2 of 2 people found the following review helpful.
Reminded me why I Chose Art History
By A. Bowen-Murphy
I read this book as part of a course in college. The book does an excellent job of examining how art gets tied up with national politics, especially when governments are involved in an ideologically oriented war. The photos are all in black and white, but this is not really a problem as much of the art discussed is either in black and white itself or are granite statues which do not loose much when photographed in black and white.
This is an excellent book for those looking to understand how art is appropriated by nations or states for their own use. I highly recommend it to anyone interested in political art or who is convinced that art is not, by definition, political.
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