Money, Trains, and Guillotines: Art and Revolution in 1960s Japan
During the 1960s a group of young artists in Japan challenged official forms of politics and daily life through interventionist art practices. William Marotti situates this phenomenon in the historical and political contexts of Japan after the Second World War and the international activism of the 1...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Durham
Duke University Press
[2013]
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| Schriftenreihe: | Asia-Pacific: Culture, Politics, and Society
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| Schlagworte: | |
| Online-Zugang: | DE-1043 DE-1046 DE-859 DE-860 DE-473 DE-739 DE-858 URL des Erstveröffentlichers |
| Zusammenfassung: | During the 1960s a group of young artists in Japan challenged official forms of politics and daily life through interventionist art practices. William Marotti situates this phenomenon in the historical and political contexts of Japan after the Second World War and the international activism of the 1960s. The Japanese government renewed its Cold War partnership with the United States in 1960, defeating protests against a new security treaty through parliamentary action and the use of riot police. Afterward, the government promoted a depoliticized everyday world of high growth and consumption, creating a sanitized national image to present in the Tokyo Olympics of 1964. Artists were first to challenge this new political mythology. Marotti examines their political art, and the state's aggressive response to it. He reveals the challenge mounted in projects such as Akasegawa Genpei's 1,000-yen prints, a group performance on the busy Yamanote train line, and a plan for a giant guillotine in the Imperial Plaza. Focusing on the annual Yomiuri Indépendant exhibition, he demonstrates how artists came together in a playful but powerful critical art, triggering judicial and police response. Money, Trains, and Guillotines expands our understanding of the role of art in the international 1960s, and of the dynamics of art and policing in Japan |
| Beschreibung: | Description based on online resource; title from PDF title page (publisher's Web site, viewed 28. Okt 2020) |
| Beschreibung: | 1 online resource (440 pages) 125 illustrations, incl. 19 in color |
| ISBN: | 9780822393993 |
| DOI: | 10.1515/9780822393993 |
Internformat
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| 520 | |a During the 1960s a group of young artists in Japan challenged official forms of politics and daily life through interventionist art practices. William Marotti situates this phenomenon in the historical and political contexts of Japan after the Second World War and the international activism of the 1960s. The Japanese government renewed its Cold War partnership with the United States in 1960, defeating protests against a new security treaty through parliamentary action and the use of riot police. Afterward, the government promoted a depoliticized everyday world of high growth and consumption, creating a sanitized national image to present in the Tokyo Olympics of 1964. Artists were first to challenge this new political mythology. Marotti examines their political art, and the state's aggressive response to it. He reveals the challenge mounted in projects such as Akasegawa Genpei's 1,000-yen prints, a group performance on the busy Yamanote train line, and a plan for a giant guillotine in the Imperial Plaza. Focusing on the annual Yomiuri Indépendant exhibition, he demonstrates how artists came together in a playful but powerful critical art, triggering judicial and police response. Money, Trains, and Guillotines expands our understanding of the role of art in the international 1960s, and of the dynamics of art and policing in Japan | ||
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Datensatz im Suchindex
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| dewey-full | 709.52/09046 |
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| discipline | Kunstgeschichte |
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| doi_str_mv | 10.1515/9780822393993 |
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| illustrated | Illustrated |
| index_date | 2024-07-03T16:07:31Z |
| indexdate | 2025-02-19T17:29:41Z |
| institution | BVB |
| isbn | 9780822393993 |
| language | English |
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| series2 | Asia-Pacific: Culture, Politics, and Society |
| spelling | Marotti, William Verfasser aut Money, Trains, and Guillotines Art and Revolution in 1960s Japan William Marotti Durham Duke University Press [2013] © 2013 1 online resource (440 pages) 125 illustrations, incl. 19 in color txt rdacontent c rdamedia cr rdacarrier Asia-Pacific: Culture, Politics, and Society Description based on online resource; title from PDF title page (publisher's Web site, viewed 28. Okt 2020) During the 1960s a group of young artists in Japan challenged official forms of politics and daily life through interventionist art practices. William Marotti situates this phenomenon in the historical and political contexts of Japan after the Second World War and the international activism of the 1960s. The Japanese government renewed its Cold War partnership with the United States in 1960, defeating protests against a new security treaty through parliamentary action and the use of riot police. Afterward, the government promoted a depoliticized everyday world of high growth and consumption, creating a sanitized national image to present in the Tokyo Olympics of 1964. Artists were first to challenge this new political mythology. Marotti examines their political art, and the state's aggressive response to it. He reveals the challenge mounted in projects such as Akasegawa Genpei's 1,000-yen prints, a group performance on the busy Yamanote train line, and a plan for a giant guillotine in the Imperial Plaza. Focusing on the annual Yomiuri Indépendant exhibition, he demonstrates how artists came together in a playful but powerful critical art, triggering judicial and police response. Money, Trains, and Guillotines expands our understanding of the role of art in the international 1960s, and of the dynamics of art and policing in Japan In English ART / History / Contemporary (1945-) bisacsh Arts and society Japan History 20th century Arts Political aspects Japan History 20th century Arts, Japanese 20th century Avant-garde (Aesthetics) Japan History 20th century Politics and culture Japan https://doi.org/10.1515/9780822393993 Verlag URL des Erstveröffentlichers Volltext |
| spellingShingle | Marotti, William Money, Trains, and Guillotines Art and Revolution in 1960s Japan ART / History / Contemporary (1945-) bisacsh Arts and society Japan History 20th century Arts Political aspects Japan History 20th century Arts, Japanese 20th century Avant-garde (Aesthetics) Japan History 20th century Politics and culture Japan |
| title | Money, Trains, and Guillotines Art and Revolution in 1960s Japan |
| title_auth | Money, Trains, and Guillotines Art and Revolution in 1960s Japan |
| title_exact_search | Money, Trains, and Guillotines Art and Revolution in 1960s Japan |
| title_exact_search_txtP | Money, Trains, and Guillotines Art and Revolution in 1960s Japan |
| title_full | Money, Trains, and Guillotines Art and Revolution in 1960s Japan William Marotti |
| title_fullStr | Money, Trains, and Guillotines Art and Revolution in 1960s Japan William Marotti |
| title_full_unstemmed | Money, Trains, and Guillotines Art and Revolution in 1960s Japan William Marotti |
| title_short | Money, Trains, and Guillotines |
| title_sort | money trains and guillotines art and revolution in 1960s japan |
| title_sub | Art and Revolution in 1960s Japan |
| topic | ART / History / Contemporary (1945-) bisacsh Arts and society Japan History 20th century Arts Political aspects Japan History 20th century Arts, Japanese 20th century Avant-garde (Aesthetics) Japan History 20th century Politics and culture Japan |
| topic_facet | ART / History / Contemporary (1945-) Arts and society Japan History 20th century Arts Political aspects Japan History 20th century Arts, Japanese 20th century Avant-garde (Aesthetics) Japan History 20th century Politics and culture Japan |
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