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Shirakaba and Japanese Modernism

Shirakaba and Japanese Modernism: Art Magazines, Artistic Collectives, and the Early Avant-garde (Brill, 2019)

Author Erin Schoneveld discusses White Birch Society’s avant-garde strategies in early 20th-century Japan and its impact on later avant-garde collectives.

Listen to an interview with Erin Schoneveld on the New Books in East Asian Studies podcast.

key themes
  • Art market and commerce
  • Global modernism and global contemporary art
  • Transcultural and transnational approaches
further reading
  • Clark, John. Modern Asian Art. Honolulu: University of Hawai‘i Press, 1998.
  • Guth, Christine. “Takamura Kōun and Takamura Kōtarō: On Being a Sculptor.” In The Artist as Professional in Japan, edited by Melinda Takeuchi, 152–79. Stanford: Stanford University Press, 2004.
  • Inaga, Shigemi. “Between Revolutionary and Oriental Sage: Paul Cézanne in Japan.” Japan Review 28 (2015): 133–72.
  • Kaneko, Maki. Mirroring the Japanese Empire: The Male Figure in Yōga Painting, 1930–1950. Brill Japanese Visual Culture 14. Leiden and Boston: Brill, 2015.
  • Kikuchi, Yūko. Japanese Modernization and Mingei Theory: Cultural Nationalism and Oriental Orientalism. London and New York: RoutledgeCurzon, 2004.
  • Kitazawa Noriaki. Kishida Ryūsei to Taishō abangyarudo. Tokyo: Iwanami Shoten, 1993.
  • Lucken, Michael. Imitation and Creativity in Japanese Arts: From Kishida Ryūsei to Miyazaki Hayao. Translated by Francesca Simkin. New York: Columbia University Press, 2016.
  • Nagai Takanori. “Nihon no Sezanisumu: 1920 nendai Nihon no jinkaku shugi Sezannu zō no biteki konkyō to sono keisei ni kan suru shisō oyobi bijutsu seisaku no bunmyaku ni tsuite.” Bijutsu kenkyū, no. 375 (2002): 38–56.
  • Omuka, Toshiharu. Kanshū no seiritsu: bijutsuten, bijutsu zasshi, bijutsushi. Tokyo: Tōkyō Daigaku Shuppankai, 2008.
  • Satō, Dōshin. Modern Japanese Art and the Meiji State: The Politics of Beauty. Translated by Hiroshi Nara. Los Angeles: The Getty Research Institute, 2011.
  • Szostak, John D. Painting Circles: Tsuchida Bakusen and Nihonga Collectives in Early 20th-Century Japan. Brill Japanese Visual Culture 11. Leiden and Boston: Brill, 2013.
  • Tiampo, Ming. Gutai: Decentering Modernism. Chicago: University of Chicago Press, 2011.
  • Volk, Alicia. “Authority, Autonomy, and the Early Taishō ‘Avant Garde’.” positions: east asia cultures critique 21, no. 2 (Spring 2013): 451–73.
  • Volk, Alicia. In Pursuit of Universalism: Yorozu Tetsugorō and Japanese Modern Art. Berkeley: University of California Press and Washington, DC: Phillips Collection, 2010.
  • Volk, Alicia. “A Unified Rhythm: Past and Present in Japanese Modern Art.” In Japan & Paris: Impressionism, Post-Impressionism, and the Modern Era, edited by Christine Guth, Yamanashi Emiko, and Alicia Volk, 39–55. Honolulu: Honolulu Academy of Fine Arts, 2004.
  • Weisenfeld, Gennifer. Mavo: Japanese Artists and the Avant-garde, 1905–1931. Berkeley: University of California Press, 2002.
  • Winther-Tamaki, Bert. Maximum Embodiment: Yoga, the Western Painting of Japan, 1912–1955.Honolulu: University of Hawai‘i Press, 2012.
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