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Minoru Onoda was born in Japanese-occupied Manchuria to a Japanese family in 1937. Before the outbreak of World War II, they moved to Himeji in Japan, which remained the artist's residence until his passing in 2008. Following his artistic education at the Osaka Institute of Fine Arts and at Osaka School of Art in the 1960s, Onoda joined the Gutai, Japan's first post-war radical artistic movement. Gutai challenged what the movement considered a reactionary understanding to initiate new notions of art, and redefined the relationships among body, matter, time, and space. Enchanted by concepts of repetition, Onoda produced panels with amalgamations of gradually increasing dots with relief, creating organically growing shapes, progressing to infinite circles and ultimately moving to a monochrome style in painting. When Gutai disbanded in 1972, he opted for a conceptual style in which the proliferating dots disappeared.The Western world has received Minoru Onoda's art almost exclusively in the Gutai context, for example in the 2013 exhibition Gutai: Splendid Playground at New York's Guggenheim Museum. This overdue first-ever monograph on Minoru Onoda introduces him as an artist in his own right. Apart from investigating his relations with Gutai, it explores his creative process with a particular focus on his sketchbooks.
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Minoru Onoda was born in Japanese-occupied Manchuria to a Japanese family in 1937. Before the outbreak of World War II, they moved to Himeji in Japan, which remained the artist's residence until his passing in 2008. Following his artistic education at the Osaka Institute of Fine Arts and at Osaka School of Art in the 1960s, Onoda joined the Gutai, Japan's first post-war radical artistic movement. Gutai challenged what the movement considered a reactionary understanding to initiate new notions of art, and redefined the relationships among body, matter, time, and space. Enchanted by concepts of repetition, Onoda produced panels with amalgamations of gradually increasing dots with relief, creating organically growing shapes, progressing to infinite circles and ultimately moving to a monochrome style in painting. When Gutai disbanded in 1972, he opted for a conceptual style in which the proliferating dots disappeared.The Western world has received Minoru Onoda's art almost exclusively in the Gutai context, for example in the 2013 exhibition Gutai: Splendid Playground at New York's Guggenheim Museum. This overdue first-ever monograph on Minoru Onoda introduces him as an artist in his own right. Apart from investigating his relations with Gutai, it explores his creative process with a particular focus on his sketchbooks.Text in Japanese.
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A largely unpublished collection of Japanese Art Brut. A new selection of twenty-five Japanese Art Brut new artists.Following the publication of Art Brut du Japon, co-published in 2008 by the Collection de l'Art Brut and editions Infolio, this catalogue presents pieces by twenty-five new Japanese artists from different regions of Japan, whose works drawings, paintings, photographs, sculptures, and textiles - are largely unpublished. The authors explore the assimilation of Japanese Art Brut into the larger culture from 2008 to the present. As they point out, whereas the notion of mental handicap resides in aesthetic and sociological criteria (these artists are self-taught, and often socially marginalized misfits, draft dodgers, prisoners, psychiatric patients, the elderly, etc. who create outside of the official art system), the condition whether mental or physical is not a criterion in itself. Accompanying an exhibition at Collection de l'Art Brut, Lausanne from November 30, 2018 to April 28, 2019, this catalogue of new Japanese works expands our understanding of Art Brut in a contemporary albeit different cultural setting.Text in English and French.