History of Japanese Art after 1945

Kitazawa Noriaki is guest professor at Musashino Art University in Tokyo. Kuresawa Takemi is professor at Tokyo University of Technology. Mitsuda Yuri is professor at Tama Art University in Tokyo. Kajiya Kenji is professor at the University of Tokyo, and a committee member of Art Platform Japan.

'Anarchy of the Body' is cited in 'History of Japanese Art After 1945', particularly in the third section of the work where Kuresawa Takemi, professor at the Tokyo University of Technology, discusses the postmodern turn of contemporary Japanese art from 1990 to 2010: Kuresawa goes on to list a number of exhibitions and studies that give insight into the sometimes scattered influence of the 1960s on contemporary Japanese art in the 1990s and beyond. KuraDalaiJee’s work is considered here as a 'masterpiece' that deals, not only with the major figures of performance (such as Hi-Red Center), but also with artists and collectives of lesser fame. Alexandre Taalba, « Chokusetsu kōdō : l’action directe comme méthode artistique au Japon », Critique d’art, 60 | 2023, 80-90, https://journals.openedition.org/critiquedart/104361

• Erratum:p. 28, l. 18‒21→In 2018, the University of Tokyo Cooperative Association (Co-op) was found to have disposed of Kizuna [Bonds], a painting by Usami Kenji that had hung in the Central Cafeteria of the Hongo Campus for more than forty years, during repairs the previous year._____TRANSLATION CREDITS NOTES ON THE TRANSLATION INTRODUCTION TO THE ENGLISH EDITION KAJIYA KENJICHAPTER 1.THE FORMATION AND EVOLUTION OF JAPANESE CONTEMPORARY ART [GENDAI BIJUTSU]: 1945 TO THE EARLY 1970S MITSUDA YURI Introduction: The Formation and Evolution of Japanese Contemporary Art Section 1. The Inception of “Contemporary Art”: The 1955 System of Art (1945–54) Section 2. The Era of “Contemporary Art”: Anti-Art (1955–64) Section 3. The Evolution of “Contemporary Art”: Dismantlement and Reincarnation (1965–74) Notes CHAPTER 2.THE AGE OF THE FINE-ART MUSEUM: THE LATE 1970S TO THE 1990S KITAZAWA NORIAKI Introduction: Institutions and Alternatives Section 1. Fine Art’s “Conservative Revolution” and the New Wave: The Mid-1970s to the Early 1990s Section 2. The Rise of Neo-Pop: The “Modern Art” of the 1990s CHAPTER 3.THE END OF “ART”: THE 1990S TO THE 2010S KURESAWA TAKEMI Introduction: After the Postmodern—Art after the 1990s Section 1. Formation of New Spaces [Genba] and Institutions [Seido]—The 1990s Section 2. After “Art”: The 2000s to the 2010s Notes BIBLIOGRAPHY INDEXES