Museum of Contemporary Art, Tokyo

Yayoi Kusama
Love Forever: Yayoi Kusama, 1958-1968 / In Full Bloom: Yayoi Kusama, Years in Japan

 

The original two-volume Japanese slipcase edition, published in conjunction with the exhibition “Love Forever: Yayoi Kusama, 1958-1968” which travelled between Japan and the US in 1999. This edition was available for the Museum of Contemporary Art Tokyo staging of the exhibition, and has been long out of print. Both volumes here are lavishly illustrated throughout with colour photographs of Yayoi Kusama’s history of work – the first book (“Love Forever: Yayoi Kusama, 1958-1968”) being a catalogue for the exhibition, featuring essays and documentation of the works in the exhibit spanning the years 1958-1968, including her New York happenings, whilst the second book (“In Full Bloom: Yayoi Kusama, Years in Japan”) illuminates many rarely seen works outside of Japan. Accompanied by texts, an interview and an exhibition history, this book is broken into the sections 1945-1959, 1970-1999 and is densely illustrated with colour documentation of her work created in Japan. Together chronicling Kusama’s life of creating work across painting, collage, soft sculpture, performance art, and environmental installations, of which most exhibit her thematic interest in psychedelic colours, repetition, and pattern, this comprehensive and collectable publication illustrates an extremely influential artist’s life of work. Based in conceptual art, Kusama’s work shows attributes of Feminism, Minimalism, Surrealism, Art Brut, Pop Art, Nouvelle Tendence (Op, Kinetic, etc.) and Abstract Expressionism, and is infused with autobiographical, psychological, and sexual content. Kusama is truly uncategorizable, and is celebrated as one of the most important living artists to come out of Japan, and an important voice of the avant-garde.

* Condition: Very good (light wear only) – All care is taken to provide accurate condition details of used books, photos available on request.

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Supports / Surfaces
dans les collections du Centre Georges Pompidou

Supports/Surfaces developed away from Paris, in the south of France, with the first major exhibition held in 1969 at the Musée d’Art Moderne de la Ville de Paris. In June 1969, during an exhibition at the Havre Museum entitled “La peinture en question”, Vincent Bioulès, Louis Cane, Marc Devade, Daniel Dezeuze, Noël Dolla, Jean-Pierre Pincemin, Patrick Saytour, André Valensi, Bernard Pagès and Claude Viallat write in the catalog: “The subject of the painting is the painting itself and paintings on display refer only to themselves. They make no appeal to an “elsewhere” (the personality of the artist, his biography, history of art, for example). Early exhibtions took place in towns like Coaraze, Montpellier, Nimes and Nice in the mid-1960s. After the student revolts of 1968, the movement ratcheted up its activities, exploding in such exhibitions as “Supports/Surfaces,” which took place at ARC in Paris in September 1970. These shows occurred at or around the same time as those of other French artist groups like GRAV and BMPT (Daniel Buren, Olivier Mosset, Michel Parmentier and Niele Toroni). Like them, Supports/Surfaces questioned the role of painting as both an art object and a social one.
As its name suggests, Supports/Surfaces was interested in articulating what its artists felt were all too readily ignored aspects of painting: basic concepts like ‘support’ and ‘surface,’ for example, and the presence of painting as a product of individual labor. At the same time, these artists were very much interested in painting and its own peculiar history. Daniel Dezeuze points out that he was looking for a means of “revolting against the art world and the world in general without having to make anti-art.” (Raphael Rubinstein, Polychrome Profusion: Selected Art Criticism: 1990 – 2002.) In fact, those involved with Supports/Surfaces, as Rubinstein also notes, were some of the few French artists of the period to engage directly with American Painting from Abstract Expressionism to Color Field, albeit doing so within the context of their Maoist discourse.

This scarce, Museum of Contemporary Art Tokyo catalogue gives a generous overview of the many works of the artists of Supports/Surfaces, through colour and black and white photographs across 200 pages. It also provides texts (in Japanese), interviews, historical photos of the group and their installations, work list, a chronology and a biography. This catalogue was produced to accompany a major travelling exhibition of Supports/Surfaces in Tokyo in 2000, which presented the vast collection of work from the Centre Georges Pompidou, Paris. The exhibition was also staged in Paris in 1998, for which a French edition of this book exists.

*Condition: Very Good/Fine – All care is taken to provide accurate condition details of used books, photos available on request.

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Issey Miyake
Making Things

 


Japanese catalogue published on the occasion of the exhibition, ISSEY MIYAKE “Making Things”, at Museum of Contemporary Art, Tokyo, April 29 – August 20, 2000.

Catalogue is broken into the sections/subjects: “Origami Pleats”, “Jumping”, Pleats Please Issey Miyke Guest Artist Series”, “Just Before”, “A-POC”, “Laboratory”, “Starbust”, all areas making up this major travelling exhibition on the creativity of ISSEY MIYAKE, one of Japan’s most celebrated fashion designers.

Includes texts by architect Renzo Piano and artist Tadanori Yokoo, alongside installation shots of the exhibition, studio photography, and drawings by Miyake.

* Condition: Very Good (tight and clean copy) – All care is taken to provide accurate condition details of used books, photos available on request.

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