Requiem for the Sun: The Art of Mono-ha is the most comprehensive study in English to date on the postwar Japanese movement Mono-ha (School of Things), and examines the group’s practice in Tokyo between 1968–1972 at the height of the nation’s political upheaval against the US–Japan Security Treaty, anti-Vietnam War protests and its oil crisis. The Mono-ha artists--who included Noburu Sekine, Lee Ufan, Kishio Suga and Koji Enokura--all distinguished themselves through an aesthetic detachment that, instead of “creating” things, strove instead to “rearrange” them into artworks that interacted with the spaces around them. While sharing certain traits with the Land Art and Minimalism movements that were taking place in the United States, and the Arte Povera movement in Italy, Mono-ha was ultimately a rejection of the Euro-American avant-garde and is now synonymous with the beginnings of contemporary art in Japan.
FORMAT: Hbk, 8.25 x 10.25 in. / 200 pgs / illustrated throughout. LIST PRICE: U.S. $60.00 LIST PRICE: CANADA $84 GBP £53.00 ISBN: 9780966350326 PUBLISHER: Blum & Poe AVAILABLE: 8/31/2012 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Out of stock indefinitely AVAILABILITY: Not available TERRITORY: WORLD
Published by Blum & Poe. Text by Mika Yoshitake, James Jack, Oshrat Dotan.
Requiem for the Sun: The Art of Mono-ha is the most comprehensive study in English to date on the postwar Japanese movement Mono-ha (School of Things), and examines the group’s practice in Tokyo between 1968–1972 at the height of the nation’s political upheaval against the US–Japan Security Treaty, anti-Vietnam War protests and its oil crisis. The Mono-ha artists--who included Noburu Sekine, Lee Ufan, Kishio Suga and Koji Enokura--all distinguished themselves through an aesthetic detachment that, instead of “creating” things, strove instead to “rearrange” them into artworks that interacted with the spaces around them. While sharing certain traits with the Land Art and Minimalism movements that were taking place in the United States, and the Arte Povera movement in Italy, Mono-ha was ultimately a rejection of the Euro-American avant-garde and is now synonymous with the beginnings of contemporary art in Japan.
