Open Daily: 10am - 10pm | Alley door pickup 10am - 7pm 3038 Hennepin Ave Minneapolis, MN
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  • Open Daily: 10am - 10pm
    Alley-side Pickup: 10am - 7pm

    3038 Hennepin Ave Minneapolis, MN
    612-822-4611

Open Daily: 10am - 10pm | Alley-side Pickup: 10am - 7pm
3038 Hennepin Ave Minneapolis, MN
612-822-4611
Shirakaba and Japanese Modernism: Art Magazines, Artistic Collectives, and the Early Avant-Garde

Shirakaba and Japanese Modernism: Art Magazines, Artistic Collectives, and the Early Avant-Garde

Schoneveld, Erin

Hardcover

Series: Japanese Visual Culture, Book 18

Asian Art

Currently unavailable to order

ISBN10: 900439060X
ISBN13: 9789004390607
Publisher: Brill Academic Pub
Published: Dec 20 2018
Pages: 276
Weight: 2.70
Height: 0.80 Width: 7.80 Depth: 10.00
Language: English
Shirakaba and Japanese Modernism examines the most significant Japanese art and literary magazine of the early twentieth century, Shirakaba (White Birch, 1910-1923). In this volume Erin Schoneveld explores the fluid relationship that existed between different types of modern visual media, exhibition formats, and artistic practices embraced by the Shirakaba-ha (White Birch Society). Schoneveld provides a new comparative framework for understanding how the avant-garde pursuit of individuality during Japan's Taishō period stood in opposition to state-sponsored modernism and how this played out in the emerging media of art magazines. This book analyzes key moments in modern Japanese art and intellectual history by focusing on the artists most closely affiliated with Shirakaba, including Takamura Kōtarō, Umehara Ryūzaburō, and Kishida Ryūsei, who selectively engaged with and transformed modernist idioms of individualism and self-expression to create a new artistic style that gave visual form to their own subjective reality. Drawing upon archival research that includes numerous articles, images, and exhibitions reviews from Shirakaba, as well as a complete translation of Yanagi Sōetsu's seminal essay, The Revolutionary Artist (Kakumei no gaka), Schoneveld demonstrates that, contrary to the received narrative that posits Japanese modernism as merely derivative, the debate around modernism among Japan's early avant-garde was lively, contested, and self-reflexive.

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