Angura Posters Of The Japanese Avant Garde
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Angura
Author: David Goodman
language: en
Publisher: Princeton Architectural Press
Release Date: 1999-06
"Author David G. Goodman illuminates the theatrical movement for which these posters were created, provides a brief history of modern Japanese graphic design, and describes both the posters themselves and the artists who created them."--BOOK JACKET.
Transcending the Avant-garde
My thesis explores the social and political conditions under which the work of Yokoo Tadanori (born 1936) emerged as emblematic of the 1960s. In particular I focus on his silkscreen posters created as part of the theatrical productions of several angura or underground troupes. With a close reading of three of his iconic posters, I explore the ways Yokoo used text and image to simultaneously illuminate and frustrate one another. I unpack the textual and iconographic evidence that demonstrates Yokoo's intentional positioning of his work towards a global audience despite the limited venues in which this work was initially shown. I evaluate how Yokoo's employment of kitsch created a brash visual affront to viewers while also addressing topics that were deemed to be in bad taste such as the legacy of Japanese imperialism. I ground Yokoo's artistic practice within the multidisciplinary avant-garde art scene of 1960s Japan, connecting his work to other well-known Japanese collectives such as the Hi Red Center and the broader Fluxus movement. Finally, I connect Yokoo's use of text, language, and imagery to the tactics of the angura playwrights as well as larger views on nonlinear structures of time and the formation of culture. I assert that Yokoo's visual elements created a disruption in which viewers could consider the structures and systems of nationality through emblems and stereotypes, particularly within the voracious consumer society of the postwar era. In this way, Yokoo acted to galvanize a reconsideration of the everyday in order to produce broader social and political changes.
Experimental Arts in Postwar Japan
"In the years of rapid economic growth following the protest movements of the 1960s, artists and intellectuals in Japan searched for a means of direct impact on the whirlwind of historical and cultural transformations of their time. Yet while the artists often called for such “direct” encounter, their works complicate this ideal with practices of interruption, self-reflexive mimesis, and temporal discontinuity. In an era known for idealism and activism, some of the most cherished ideals—intimacy between subjects, authenticity, a sense of home—are limitlessly desired yet always just out of reach. In this book, Miryam Sas explores the theoretical and cultural implications of experimental arts in a range of media. Casting light on important moments in the arts from the 1960s to the early 1980s, this study focuses first on underground (post-shingeki) theater and then on related works of experimental film and video, buto dance and photography. Emphasizing the complex and sophisticated theoretical grounding of these artists through their works, practices, and writings, this book also locates Japanese experimental arts in an extensive, sustained dialogue with key issues of contemporary critical theory."