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rendering and variation of morphological devices, such as shadow, tautology, appropriation, perceptual and perspective distortion and representation. Takamatsu's conceptual work can be understood through his notions of the Zero
Dimension, which renders an object or form to observe its fundamental geometrical components. Takamatsu isolated these smallest constituent elements, asserting that these elements produce reality, or existence. For Takamatsu the elementary particle represents âthe ultimate of divisionâ and also âemptiness itself,â like the a line within a paintingâthere appears to be nothing more beyond the line itself. Yet, Takamatsu's end goal was not to just prove the presence or object-ness of these elements, but rather to use them as a way to challenge and prove the limits of human perception, leading to his fixation on âabsenceâ or the things that are unobservable.
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matter and hardly with any effort but for most occasions some action is required. To me this action is artistic creation. A huge problem here is how to reject and eliminate ss much ss possible what compells us to be related merely to particular elements, for example, feelings and ideas in general, imaginations, memories, conventions, and the knowledge which we have already acquired. The solution of this problem always requires that fats/ compromise which is inevitable in any process of actualization, which however tends towards impossibility. Because it is impossible to have a perfectly total relation to a matter. Nevertheless it seems to me that all the problems do not exist in the sphere far from our familiar world, but most problems should be found in the world which is even too familiar to us.
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Japanese experimental practices would have to be pronounced. His vision was consistent with the leading art critics in the 1960s, Sano
Takahiko noting that the Biennale was shifting to prioritising experimental practices, and should be seen as a form of cultural diplomacy. Their commentaries led to the International Art Association supporting and restructuring the planning for the Japanese pavilion, namely allowing commissioners to serve two consecutive terms. This was intended to enable continuity across editions, as well as allowing for additional lead time in preparing the latter pavilion. The first three commissioners selected in this period (1968â78) were the progressive critics Hariu IchirĆ, TĆno Yoshiaki, and Nakahara YĆ«suke, also known in Japan as the âBig Threeâ .
945:"The Story" was produced in the same collaboration with Xerox. Takamatsu xeroxed typescript of four chapters from an "unfinished story" of the alphabet. The first chapter started with "a b c d e ... " and finished with "x y z," the book moving on to "aa ab ac ... aaa bbb ... " in subsequent chapters, working through the fourth chapter, which covered the entire second volume without exhausting the fourletter combinations. This unusual "print" amounts to a dissection of words or their elements in a raw, nonfunctional state.
517:, though in this installation he used curvilinear lines instead of orthogonals to manifest a perspective, with reciprocal curved triangular sections on the floor and the ceiling. The ceiling pieces appeared to grow out from the horizon (situated near the corner of the exhibition walls), curving upwards towards the ceiling. The floor sections resembled his previous work, with distorted or canted Chairs and Tables, while the ceiling sections were embellished with dots of varying sizes. Compared to
71:. As part of his coursework, Takamatsu studied the beginnings of pictorial modernities spanning SesshĆ« TĆyĆ to Paul CĂ©zanne (as noted in his writings). Duncan Wooldridge has argued that Takamtsu's interest in both modern Western and Japanese art histories allows us to understand his work as a crucial meeting point between culturally coded conventions, as well as his later success as a Japanese artist at the forefront of the movement towards international contemporaneity.
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explored the differences between facts and experiences of perception, or how (visual) information is received versus how it is processed into meaning. Takamatsu wrote that human perception was inherently biased, and in order to be able to âpursue the consummate forms of thingsâ, the artist must turn that investigation âinto art.â Takamatsu's visual manipulations called into question the discrepancy between vision and real existence, between âto seeâ and âto beâ.
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schools to become closed temporarily and in some cases, permanently. During partial closures, Takamatsu would review student's work and hold free classes outside the university. Interestingly enough, Takamatsu would go on to show at many international exhibitions that were situated within similar anti-government protests, both at the Venice
Biennale and Expo '70. At the Venice Biennale in 1968, Takamatsu became friendly with artist and printmaker,
247:, in which all three members had participated. All three artists had begun as painters but had turned to methods of âdirect actionâ through Hi-Red Center, a term taken from prewar socialist agitators. With âdirect action,â the artists meant to raise to consciousness the absurdities and contradictions of Japanese society. This interest in Art as direct action has been contextualised as rooted in the atmosphere following massive
108:, which Takamatsu showed at the 14th Yomiuri Indépendant in 1962, and which marked the beginning of a long series of artworks making use of string as an eminently portable medium which could be used to infiltrate and cordon off artistic space even beyond and outside the art gallery itself. One of these works was interactive, allowing viewers to don gloves and unravel a ball of black string along sheets of cloth.
623:) installation as a 3x3 grid (9 Oneness), but adapted the installation to fit the dimensions of the gallery space he was allocated. Takamatsu insisted upon carving the cedar blocks in the space itself, after they were placed within their 4x4 grid formation. Takamatsu deliberately chipped away at these blocks with varied levels of resultant exposure, producing a range of how much each block was carved out.
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installation arrangements for the 14th edition. Some artists continued their subversive strategy, leading to the suspension of the exhibition in
January 1964. Thus, artists like Takamatsu relocated their practice from the exhibition space into the urban environments of Tokyo. This transition is best exemplified by Takamatsu's submissions to the final edition of the Yomiuri Indépendant in 1963,
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this state, the wood's internal idea intersects, dually and reciprocally, with its externality." By exposing the relationship between lumber and log, Takamatsu occasions a situatedness in which wood can be seen beyond (its objectivity as) wood. That is why most people will gradually notice that they are looking not at mere "wood" but at a "relationship" in the delimited situatedness of the wood.
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Kenchi describes
Takamatsu's rose as reminiscent of Allan Kaprow's description of happenings, moving through imaginary and hallucinatory moments with a tone more passive than active. Each detail leads to another without any rational direction as objects keep piling up and getting stuck to one another. "This cacophony of things, images, events, and bodies in Takamatsu's essay â
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contextualised image, and act of viewing a photograph, are perceived with some form of obfuscationâby glare, reflection, or shadow. This series shows photographing as a nonelite activity, the internal images showing everyday subject matter while being shot in relation the floor, in the darkroom chemical bath, or casually held by visible hands. The viewer of
Takamatsu's
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vantage point. It was to be made of glass, as compared to the concrete on the floor grids, reflecting the sky and hence further complicating this perspective. Alternate grids in the receding perspective area would be raised to be seats for visitors (which was eventually actualised, unlike the rest of his designed features). Notably, Takamatsu had planned to install
661:, the distillation of his concepts through the iterative making process. While Takamatsu was known for his rigorous planning prior to the fabrication of a work, he was also known to pay particular attention to the site-specificity of his works, and thus adjusted the materials used from edition to edition. This is documented in the production processes of
310:) of their works. Although Hi-Red Center succeeded in attracting media attention and has come to be considered highly influential on later Japanese artists, its activities were short-lived; the group would dissolve only a year and a half after its inception, with Akasegawa recounting cryptically that âafter
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relationship with a specific (a partial) element of a thing, a strong feeling of uncertainty toward that thing would always remain . . . I feel that it is necessary for one to create a relationship with that thing in its entirety within the extent of one's capability.â Takamatsu would go on to develop the
738:, Takamatsu used two strings, again illustrating that the form of the string was not of priority to him. Beyond the abstracted length exemplified by string, Takamatsu also used to series to worldsâprompting things enter into unexpected associations by attaching everyday objects to his ropes and cords.
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series poses objects consisting of assemblages which undo our assumptions of form. Chairs are rendered unseat-able by positioning a brick underneath its leg, slabs of iron and brass posed as weightless by being held up by a piece of thin string. Whether shapes are generated or undermined. Takamatsu's
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practices, departing from the conventional notion of art. Takamatsu and his peers became increasingly interested in moving beyond figural representation and into the mediation of performance and environments, causing the Tokyo
Metropolitan Art Museum to institute rules banning obtrusive materials and
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As noted above, Takamatsu was very precise about his artwork plans, which was consistent with his illustrations. Quite a number of his drawings were rendered on graph paper, with scale calculation figures in the margin. In some pictures lines were clearly re-drawn, which serves as evidence of how he
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Takamatsu chiseled the top of logs with their bark intact to reveal square-shaped cores within, halting this process of revelation in a hanging suspension. Lee Ufan describes this hanging state as showing "what is there is visible to us, no longer as wood, lumber, or any other such similar thing. In
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String plays on the extension and contraction of length, challenging the unit of measure as a stable mode of cognition dependent upon subdivision. Takamatsu was not primarily interested with the figural or aesthetic (thick/thin/color) properties of string, but rath er understood it as length itself.
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Takamatsu noted how "things divide infinitely, before the quantum mechanics quest. Imagine for a moment the elementary particle which is the ultimate of division. It is ceaselessly potentiality, it is emptiness itself with infinitely increasing density". Adrian Ogas notes that
Takamatsu may have had
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It seems that there is always great uncertainty in our being concerned only with particular (partial) elements of s matter. I think therefore it is necessary to have more total relation to a matter within the range of our own capacity. Some times such relation arises merely from our being aware of s
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During
Takamatsu's tenure at Tama Art University, there were resurgences of student protests over the impending renewal of the Anpo US-Japan security treaty in 1970. Artists in Japan were critical of the Japanese establishment for their handling of the student protests and the unrest caused some art
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perspectivally distorted a dining set rendered with a grid-line veneer, the slanted base of the installation demonstrating linear perspective for the viewer. However, manifesting perspective meant the chair and tables were effectively unusable. TĆno
Yoshiaki suggested that Takamatsu's work assaulted
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was one of the most important postwar Japanese artists. Takamatsu used photography, sculpture, painting, drawing, and performance to fundamentally investigate the philosophical and material conditions of art. Takamatsu's practice was dedicated to the critique of cognition and perception, through the
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Takamatsu's writing was loosely theoretical in nature, making marked observations about the interconnectedness of sociality and objects. In a series of essays titled âSekai kakudai keikakuâ (âA Plan for World Ex-pansionâ), Takamatsu portrays an ever-evolving complexification of social ties. Yoshida
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in order to create images that exist solely in our imagination, using his theory of absence to world what actually exists nowhere. These paintings, ranging in scale, figure, complexity and light source, show an object that is both present and absent, traced and imagined. These are shadows of people
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The impact of Takamatsu's practice also has to be considered in terms of his contributions to the avant garde art scenes through his individual practice and work with collectives, as well as the legibility of his work in the discourse of conceptual art and thus the broader international art world.
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Emptiness or absence for Takamatsu meant 100 percent potentiality (future), an evocation of a perfect reality without worlding or imaging it. Thus, Takamatsu's practice questions the act of seeing, consistent in his collaborations with Hi-Red Center and the Mono-ha artists. Furthermore, Takamatsu
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Despite the call to boycott the Biennale due to student protests in Italy, the artists represented at the Japan pavilion decided collectively to move forward with the Biennale as they believed their actions would not contribute in a meaningful way to the Italian students plight. They collectively
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as a curvilinear forced perspective marked with curved grid lines, yet distinct as visitors were supposed to be able to traverse from the foreground into the viewing area of raised background. The inverse perspective background was to be an inclined structure that visitors could use as a viewing
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Hariu was a proponent that Japan's pavilion should be conceived as providing a platform for âinternational contemporaneityâ , where Japanese artists could appear in dialogue with their peers overseas. Hariu did not envisage this as mere assimilation, but rather recognised that the difference of
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Nakahara produced two catalogues for the exhibition (the first with Nakahira Takuma's cover photo and the second documentary volume with a black cover). The first catalogue includes the participating artists own contributions of their biography and tentative work plans. Takamatsu chose to show
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However, one of the key differences that distinguishes Takamatsu's practice from Mono-ha is the presence, or direct influence, of an artists' creative subjectivity in the final form of the work. While many Mono-ha artists like Lee Ufan centered the objecthood of things as they were through his
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Duncan observes Takamatsu's process of transforming the ordinary object and material to be secondary to his questioning of our ability to conceive the one-ness of things in their different and multiple forms. Takamatsu was interested in the totality of an object, âIf one were to only create a
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Takamatsu hired a professional photographer to capture snapshots taken from Takamatsu's family albums, which were placed on various walls and surfaces in his home and study. This series was Takamatsu's investigation into how photography relates to memory and appropriation. In each image, the
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consists of rectangular pieces of cloth sewn together to form square shapes. Both are formed with a taut square perimeter, but are constructed to have slack in the centre of the square. The works are displayed on walls and on the floor, in order to visualise the gravity affected the slacked
270:(October 10, 1964), the group heaved various objects from the roof of Ikenobo Kaikan hall. After dropping the objects they collected and packed them all into a suitcase, placing it in a public locker and sending the key to the locker to someone chosen at random from a phone book. For
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series using reverse perspective effects was a three-dimensional variation of that in the "Shadow" series. Takamatsu models worlds that are discomforting, proposing a perceivable dimension where the rule of perspective that underlies our sense of perception is reversed, or recanted.
919:. In an iterative process, Takamatsu photocopied paper with the text "These/Three/Words" and âăăźäžă€ăźæć â respectively, enlarged through 100 rounds. Takamatsu signed each iteration, noting the individual details of defects and decay in each piece. These works have been compared to
966:" turn into four lengthy rope-like sentences meandering through the complex intertwining of subjecthood and objecthood. His reflection on everyday experience recounts the boredom and countless things combining into interminable series that hopelessly postpone the conclusion."
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worked hard to adjust outlines until he formed a satisfactory shape. He also attached color reference samples and detailed color instructions to sketches and original pictures for book illustrations, indicating that he wanted his intentions about color to be fully understood.
266:("Compact Objets"), egg-shaped translucent resign sculptures that embalmed everyday items, the emphasis on collaborative "direct action" came to the fore in the group's later activities, which featured a variety of "events," "plans," and "happenings." For example in
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The events and happenings were subjected to documentation by both collaborators and strangers; Takamatsu in particular hoped that outsider who had no knowledge of their existence or intention would document these events, in order to confirm the multiplicity
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characters of the three artists' surnames: "high" (the "Taka" in Takamatsu), "red" (the "Aka" in Akasegawa), and "center" (the "Naka" in Nakanishi). The foundation for Hi-Red Center might be located in the roundtable discussion, sponsored by the art magazine
204:, then under the editorship of Yoshihiko Imaizumi. According to Akasegawa, Nakanishi and Takamatsu used the Yamanote Line as a site for their event in order to "destroy the hierarchical status of art by bringing it into the âspace of daily activities.ââ
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When Takamatsu was around 30 years old (1966), he received a number of prizes including the Shell Art Award and the Nagaoka Museum of Contemporary Art Award. He was also awarded the Grand International Prize at the Tokyo Print Biennial (1972).
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works. Originally conceived as a combination of works installed both inside a gallery and outdoors, Takamatsu had to adapt his plan when the exhibition planners included more artists who only had works suitable for indoor showing.
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a vision that the âpointsâ represented as a cluster of accumulated lines of cells that are creating existence, self-propagating to build a life form as yet unseen. It is the non-material, abstract, conceptual object that is
262:(Dai goji mikisÄ keikaku, May 1963), featured artworks the three artists had created independently, such as Takamatsu's busy entanglements of strings, Akasegawa's objects wrapped in printed 1000-yen notes, and Nakanishi's
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series (1963â85), each edition of the work demonstrating the string-line contracted (within the bottle) and expanded (leading out of the bottle), irrespective of the form of the bottle. One of the most noted editions is
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was not well received, its immediate visual appearance of sagging in the centre of the square (grids) deemed ineffective as a structure or visualisation. However, this doubt is easily quelled when one views Takamatsu's
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was Takamatsu's Exploration of "a single centripetal unit that cannot be divided any further", not simply a geometric term, however, but a singular moving entity that straddled the space-time of reality and emptiness.
294:) on October 16, 1964. The artists and their assistants dressed in goggles and lab coats, roped off small areas of public sidewalk and meticulously cleaned them to mock the efforts to beautify the streets ahead of the
97:. Takamatsu formed his network of anti-establishment artists at the Yomiuri Indépendant, which became a site of exploration and experimentation for many avant-garde-minded younger artists, especially from 1958 onward.
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referred specifically to the location of such artistic activity, the practices of the 38 participating artists reflected a vested interested in intermedia art, envisage and enacted in the spatial dimensions of
734:, featuring the iconographically infamous Coca-cola bottle; yet the appearance and branding of the bottle was insignificant to Takamatsu in relation to his conception of string. In some editions, such as with
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Takamatsu saw string as a form of minimal materiality that could be abstracted and contrasted against the concept of volume, when string is placed within different containers such as a bottle. This led to his
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train heading counter-clockwise on its route, disrupting the normalcy of passenger's commutes with a series of bizarre performative actions. Takamatsu served as the main photographer documenting the event.
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Takamatsu was not considered an art critic but was frequently in conversation with art critic contemporaries. Japanese critics frequently referenced statements by Euro-american artists, and artists like
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series, and included the development of his varied series in his list of activities and exhibitions. He wrote the following text, which succinctly describes the philosophical tenets of his practice.
230:. This brief-lived but influential group executed a variety of performance art events that sought to eliminate the boundaries between daily life and art. The group's name was formed from the first
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From 1958 to 1961, Takamatsu submitted works to the painting section, but he re-conceived his practice as sculptural from 1961 to 1963. Takamatsu has attributed this shift to "sculptural" to the
389:'s novels, Takamatsu designing the covers for their Japanese translations. Takamatsu's artworks were also used for book covers of Japanese authors, such as Hajime Shinoda and Yuko Tsushima.
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series, in which the representation and perception of space is distorted by Takamatsu's mode of centering optical effects in the physical construct of these installations. However, unlike
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Takamatsu launched a critical inquiry into the nature of painting by realistically painting images of people's shadows cast on white walls, uneven surfaces, or wooden planks to create a
286:, and were photographed from six sides to create a quasi-medical document ostensibly meant for the outfitting of personal fallout shelters. The group carried out its final happening,
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Adriasola, Ignacio. "Japan's Venice: The Japanese Pavilion at the Venice Biennale and the "Pseudo-Objectivity" of the International." Archives of Asian Art 67, no. 2 (2017): 209-236
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plans on grid paper, in which he details the dimensions of the individual pieces compromising the internal grids of the nets that are irregular parallelograms on the grid paper.
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series of works he submitted in 1961, which consisted of masses of wire in varying states of being pulled from two dimensions to three dimensions. This evolved into the series
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in a location that was situated near existing hills, with the inclined background at the highest point, in order to pronounced the distorted and inverse perspective lines.
407:, a landmark two-part exhibition and event program in Tokyo that greatly influenced architecture, design, visual art, and music in Japan. Namely, the Environment Society (
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Tomii, Reiko (2007). "After the 'Descent to the Everyday': Japanese Collectivism from Hi Red Center to The Play, 1964-1973". In Stimson, Blake; Sholette, Gregory (eds.).
124:(Himo), a single piece of black string against a white cloth background and a 1000 meter long string extending out of the museum space to the Ueno Station respectively.
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As with his approach to form, Takamatsu processed language as material to be broken down. Takamatsu created these offset lithograph works in a project sponsored by
350:'s account of the origins of painting, in which the daughter of the famed Greek potter Dibutades creates the first painting by tracing the silhouette of her lover.
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Curated by the art critic Yusuke Nakahara, Tokyo Biennale '70 established the foundations of contemporary Japanese art by emphasising the importance of concepts (
502:. Takamatsu was awarded the Carlo Cardazzo Prize, which was an award intended for an outstanding Italian or foreign artist (only for the 34th Venice Biennale).
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A continuous black string with various everyday objects attached to it at intervals was laid out on street from moving street car along its circular route.
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extended), Takamatsu started from the concept of a line in Euclidean geometry as âbreadth-less length,â in other words, a line according to metaphysics.
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movement. Takamatsu's deep knowledge of topological geometry and principles of absence/emptiness were particularly influential on his students, such as
619:(1970), the former consisting of partially carved Japanese cedar trunks, and the later being made out of paper. Takamatsu had originally envisaged the
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principle renunciation of his artistic subjectivity, Takamatsu's work featured objects that were clearly manipulated with through meticulous plans.
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Matheson, Neil. "Material Ecstasy: cultural alienation and the influence of the nouveau roman in the work of Nakahira Takuma and JMG Le Clézio."
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is prompted to contemplate with a surreal gaze-within-a-gaze, drawn into a ritualistic reenactment of personal history and hazy recollection.
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Ogas, Adrian. "International Resonance in the Artwork and Writing of Jiro Takamatsu." (2020). Master's Thesis, Southern Methodist University.
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The Takamatsu Jiro Estate is managed by Yumiko Chiba Associates. Takamatsu's work is also found in the following institutional collections.
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Tomii, Reiko. ""International Contemporaneity" in the 1960s: Discoursing on Art in Japan and Beyond." Japan Review, no. 21 (2009): 123-47.
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Chong, Doryun, Mitsuda Yuri, and Reiko Tomii. âTrauma and Deliverance: Portraits of Avant-Garde Artists in Japan, 1955-1970.â Essay. In
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Yoshiaki TĆno noted that the Perspective series can be considered a logical evolution of the Shadow paintings. The space created in the
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the normative human perception of single-point perspective as well as the assumption that everyday objects should always look the same.
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Munroe, Alexandra. âMorphology of Revenge: The Yomiuri IndĂ©pendant Artists and Social Protest Tendencies in the 1960s.â Essay. In
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Mitsuda, Yuri (2012). "Trauma and Deliverance: Portraits of Avant-Garde Artists in Japan, 1955-1970". In Chong, Doryun (ed.).
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Compact objects were hung from hand straps inside street car and observed by performers at close range with battery lights.
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Jaimey Hamilton Faris; Rooms in Alibi: How Akasegawa Genpei Framed Capitalist Reality. ARTMargins 2015; 4 (3): 40â64, 46.
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and objects long since departed, prompting viewers to consider the anti-reality or existence beyond the third dimension.
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Yoshimoto, Midori. "From Space to Environment: the origins of KankyĆ and the emergence of intermedia art in Japan."
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Unfortunately, Takamatsu's plans were not fully executed, with another large installation positioned right behind
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and invited guests to have themselves custom-fitted for a personal nuclear fallout shelter. Participants included
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was a combination of three plans Takamatsu had provided curator Manfred Schneckenburger, all based on previous
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2465:(Fuchƫ-shi : Fuchƫ-shi Bijutsukan ; Kitakyƫshƫ-shi : Kitakyƫshƫ Shiritsu Bijutsukan, 2004), 75.
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Yoshitake, Mika (2012). "The Language of Things: Relation, Perception, and Duration". In Chong, Doryun (ed.).
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Hiroyuki Nakanishi has considered Takamatsu's practice of producing similar works within sustained series as
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INSIDE OUT: JIRO TAKAMATSU AND KEIJI UEMATSU IN CONVERSATION / An exhibition of post-war Japanese sculpture
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series. He would later continue presenting works from this series at Venice Biennale and Expo '70.
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Takamatsu was included in the Japanese Pavilion for the 33rd Venice Biennale (1968) by art critic
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Art critic TĆno Yoshiaki characterized artists participating in Yomiuri IndĂ©pendant as developing
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Jiro Takamatsu at Present, Niigata City Art Museum, Niigata and Mitaka City Gallery of Art, Tokyo
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series by utilising other kinds of materials (singular per edition), such as concrete and paper.
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Permanent Collection 3 Jiro Takamatsu Collection in Hiroshima âPointâ âLineâ âForm of Absenceâ,
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in November 1962, on the relationship between art and political action (as reflected the recent
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Yasuyuki, Nakai, and Mika Yoshitake. "Japan World Exposition-Reconsidering Expo Art (2007)."
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piece. The eventual inclined background was not walkable, though it still reflected the sky.
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Jiro Takamatsuâ1970s Three-dimensional Works and Others, Chiba City Museum of Art, Chiba
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Ufan, Lee, and Reiko Tomii. "Beyond Being and Nothingness: On Sekine Nobuo (1970-71)."
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Takamatsu's chosen work for Documenta 6 in 1977 was one of his last sculptural works.
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echoed Hariu's ambition to elevate Japanese presence on the international art stage.
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Avant-Garde Art and Non-Dominant Thought in Postwar Japan: Image, Matter, Separation
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During this period of his career, Takamatsu, along with other Japanese artists like
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Jiro Takamatsu Words and Things â Refinement and Tautology â NADiff Gallery, Tokyo
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Takamatsu also held his first solo exhibition in 1966 at Tokyo Gallery, entitled
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After graduation, Takamatsu began showing paintings at the raucous and unjuried
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2514:"Pace Gallery Takes on Jiro Takamatsu, a Giant of Postwar Japanese Art History"
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For a New World to Come, Experiments in Japanese Art and Photography, 1968â1979
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On October 18, 1962, Takamatsu along with future Hi-Red Center collaborator
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Review of Jiro Takamatsu Retrospective at the National Museum of Art, Osaka
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330:) series of paintings (which he continued until the end of his life). With
2345:"What Objects Can Do: on Jiro Takamatsu by William Corwin - BOMB Magazine"
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construction and the space it occupied in the gallery space respectively.
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The Movement for the Promotion for a Clean and Organized Metropolitan Area
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Provoke: Photography in Japan between Protest and Performance, 1960-1975
1305:
Tama and the Present Timeâ Permanent Exhibition, Fuchu Art Museum, Tokyo
1570:
1235:
Matter and Perception 1970: Mono-ha and the Search for Fundamentals,
1156:
1016:
Jiro TakamatsuâUniverse of His Thoughts, Fuchu Art Museum, Tokyo and
137:
63:, where he majored in oil painting and was a classmate of his future
1542:
Wooldridge, Duncan. "Jiro Takamatsu: The Temperature of Sculpture."
903:
583:
279:
112:
2422:
Kajiya, Kenji. âJiro Takamatsu as Pre-Mono-ha.â Trans. Yoko Nara.
1311:
Tricks and Vision to Mono-ha, Tokyo Gallery + Beijing Art Projects
880:
From 1988 to 1989 he worked on a series of screen prints entitled
1754:
Money, Trains, and Guillotines: Art and Revolution in 1960s Japan
467:
457:
2321:"Jiro Takamatsu, The String in the Bottle No. 1125, 1963 - 1985"
1107:, Manifestation Biennale et Internationale des Jeunes Artistes,
176:
is now considered to belong more properly to the pre-history of
157:
451:
934:
In 1972 Takamatsu received the Grand International Prize for
916:
339:
231:
172:
is listed as number three. This is despite the fact that the
74:
56:
2157:
The Japan Pavilion Official Website - La Biennale di Venezia
1978:"Gentle Acts of Subversion: The Genpei Akasegawa Exhibition"
1249:
Japanese Art in the 20th Centuryâ100 Years Depicted by Art,
486:, who joined him as teacher at Tama Art University in 1968.
1929:
Japan at the Crossroads: Conflict and Compromise after Anpo
1898:
Japan at the Crossroads: Conflict and Compromise after Anpo
1826:
Japan at the Crossroads: Conflict and Compromise after Anpo
1800:, 158â77. New York, NY: Museum of Modern Art, 2012. Pg. 169
1625:
Japan at the Crossroads: Conflict and Compromise after Anpo
1432:
1137:, Tokyo and Kyoto Municipal Museum of Art, Kyoto and others
2295:
Words and Things: Jiro Takamatsu and Japanese Art, 1961-72
2153:"34th La Biennale di Venezia International Art Exhibition"
853:
interest exclusively centers on shapes, not on materials.
995:
Jiro Takamatsu, Naviglio2-Galleria dâArte, Milano, Italia
856:
466:, Tokyo, and was a key figure in the development of the
1202:
Le Centre National dâArt et de Culture Georges Pompidou
680:
Takamatsu began his series of bent-wire works entitled
1296:
Collection: Focus on Mono-haâJapanese Art of theâ70s,
196:
Performers read newspapers with holes burned in them.â
93:, this annual exhibition was modeled after the French
1786:. New York, NY: The Museum of Modern Art. p. 13.
1492:(Tokyo: The National Museum of Modern Art, 2014), 12.
983:
Jiro Takamatsu âIdentificationâ, Tokyo Gallery, Tokyo
1767:
Into performance: Japanese women artists in New York
1124:. Esposizione Internazionale dâArte, Venezia, Italia
1001:
Jiro TakamatsuâPaintings and Drawings for âShadowâ,
164:'s activities, compiled and edited with the help of
2540:
Jiro Takamatsu at The National Museum of Art, Osaka
1660:. The Museum of Modern Art, New York. p. 125.
1511:. The Museum of Modern Art, New York. p. 168.
1185:
Reconstructions: Avant-Garde Art in Japan 1945-1965
1169:
The A Decade of Change in Contemporary Japanese Art
392:
2498:Love, Joseph. "THE RADICAL ARTIST AND THE PRINT."
1572:Jiro Takamatsu : the temperature of sculpture
2511:
411:] (which held the event) put forth the notion of
218:In 1963, Takamatsu co-founded the art collective
2581:
1369:DECODE: Events & RecordsâPost-Industrial Art
790:features cords tied into a grid-like net, while
584:Tokyo Biennale '70âBetween Man and Matter (1970)
127:
120:(KÄten ni kansuru hanjitsuzaisei ni tsuite) and
89:newspaper between 1949 and 1963 and held at the
2297:. Hiroshima, Japan: Daiwa Press Co., Ltd, 2012.
1996:Japanese Art After 1945: Scream Against the Sky
1961:Japanese Art After 1945: Scream Against the Sky
1811:Japanese Art After 1945: Scream Against the Sky
1273:Shadows: Works from the National Museums of Art
1211:Japanese Art after 1945: Scream against the Sky
1191:, Oxford, UK/Fruitmarket Gallery, Edinburgh, UK
848:Continuing a deregulation of form, Takamatsu's
439:(1966), a sculpture-installation work from his
183:â18 Oct. Event on Yamate loop line street car.
30:
2463:Takamatsu Jiro : Universe of his Thought.
2395:"Jiro Takamatsu: The Temperature of Sculpture"
2370:"The importance of politics to JirĆ Takamatsu"
1131:The 10th Tokyo BiennaleâBetween Man and Matter
1060:Jiro Takamatsu: The Temperature of Sculpture,
24:
2437:Gendai no bijutsu dai 4 kan poppu ninjen tojo
1867:. University of Minnesota Press. p. 69.
1068:
1603:: CS1 maint: multiple names: authors list (
1569:artist., Takamatsu, JirĆ, 1936-1998 (2017).
974:
958:influenced the anti-art movements of Japan.
576:and compressing the optical effects of this
403:In November 1966, Takamatsu participated in
353:
207:
2565:Jiro Takamatsu at the Art Institute Chicago
2308:https://jstor.org/stable/community.11214231
1651:
1649:
799:can be understood as a continuation of the
462:Between 1968 and 1972, Takamatsu taught at
452:Tama Art University (1968-1972) and Mono-ha
258:Although the group's inaugural exhibition,
50:
2279:: CS1 maint: location missing publisher (
2006:
2004:
1777:
1775:
1756:(Durham, NC: Duke University Press, 2013).
1607:) CS1 maint: numeric names: authors list (
1227:Center for the Arts at Yerba Buena Gardens
759:
75:Yomiuri Indépendant Exhibition (1958-1963)
2555:Jiro Takamatsu at the Rachofsky Warehouse
2244:
2121:"Nakazato Hitoshi Oral History Interview"
1704:10.1093/gao/9781884446054.article.T083079
1655:
1241:Hiroshima City Museum of Contemporary Art
1093:The 15th Yomiuri Indépendant Exhibition,
1077:The 10th Yomiuri Indépendant Exhibition,
1028:Hiroshima-City Museum of Contemporary Art
786:is Takamatsu's grid installation series.
489:
435:Takamatsu's entry to this exhibition was
2251:. Kayne Griffin Corcoran. New York, NY.
2013:"Seeing beyond Jiro Takamatsu's Shadows"
1646:
1398:The National Museum of Modern Art, Tokyo
1177:The National Museum of Modern Art, Kyoto
1173:The National Museum of Modern Art, Tokyo
1109:Musee dâArt Moderne de la Ville de Paris
1044:The National Museum of Modern Art, Tokyo
872:
498:, alongside Miki Tomio, Sugai Kumi, and
2570:Jiro Takamatsu at the Dallas Art Museum
2010:
2001:
1998:(New York, NY: H.N. Abrams, 1994), 179.
1963:(New York, NY: H.N. Abrams, 1994), 178.
1772:
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1144:6th Guggenheim International Exhibition
322:In 1964, Takamatsu began his signature
200:The event was featured in the magazine
193:Faces of performers were painted white.
59:in 1936. From 1954 to 1958 he attended
2582:
2450:Review of Japanese Culture and Society
2240:
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2205:Review of Japanese Culture and Society
2074:
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819:
314:there was simply nothing left to do.â
2480:The Guggenheim Museums and Foundation
2418:
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2215:
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2125:Oral History Archives of Japanese Art
2118:
2105:
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2101:
2099:
2080:"Kamakura Gallery: What was MONO-HA?"
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445:Chairs and the Table in Perspectively
366:. It featured the early works in his
338:effect. This series of works recalls
317:
2435:Yoshiaki Tono, "Fuzai eno shotai ."
2306:Jiro Takamatsu. Strings in Bottles.
1975:
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1285:Tokyo 1955 â 1970: A New Avant-Garde
1087:Room in Alibi, Naiqua Gallery, Tokyo
1051:Jiro Takamatsu: Trajectory of Work,
775:
749:Takamatsu was inspired to paint the
672:
509:Takamatsu presented a work from his
136:and others, carried out an artistic
118:On the Anti-Existence of the Curtain
2605:Tokyo University of the Arts alumni
2235:
2219:Nakamori, Yasufumi. "Camera Play."
2069:
1371:, The Museum of Modern Art, Saitama
926:
519:Chairs and the Table in Perspective
515:Chairs and the Table in Perspective
437:Chairs and the Table in Perspective
428:, conflating the terms intermedia,
245:Signs of Discourse on Direct Action
13:
2575:Jiro Takamatsu at Fergus McCaffrey
2512:Maximiliano Duron (May 28, 2024).
2411:
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1966:
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1798:Tokyo 1955-1970: A New Avant-Garde
1784:Tokyo 1955-1970: A New Avant-Garde
1726:
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1658:Tokyo 1955-1970: A New Avant-Garde
1509:Tokyo 1955-1970: A New Avant-Garde
1467:(in Japanese). Nichigai Associates
1428:The Museum of Modern Art, New York
1289:The Museum of Modern Art, New York
1223:San Francisco Museum of Modern Art
1018:Kitakyushu Municipal Museum of Art
530:
274:(1964), they booked a room at the
35:, 20 February 1936 â 25 June 1998)
14:
2616:
2528:
2011:Larking, Matthew (May 19, 2015).
1769:. Rutgers University Press, 2005.
1549:
1525:
1479:
1403:The National Museum of Art, Osaka
1356:Minimalism: Space. Light. Object.
1298:The National Museum of Art, Osaka
1198:Japon des Avant-Gardes, 1910-1970
1053:The National Museum of Art, Osaka
1003:The National Museum of Art, Osaka
432:and technology in art discourse.
2535:Jiro Takamatsu at the Guggenheim
2176:"34th Venice Biennale Winners".
1408:Museum of Contemporary Art Tokyo
1322:The Museum of Fine Arts, Houston
1251:Museum of Contemporary Art Tokyo
887:
393:From Space to Environment (1966)
2505:
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2426:, no. 8 (December 2008): 78â81.
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2134:from the original on 2023-03-22
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1490:Takamatsu Jiro : mysteries
180:. The work is printed as such:
95:Salon des Artistes Indépendants
2502:20, no. 2 (Apr 01, 1973): 183.
1277:The National Art Center, Tokyo
969:
898:
81:Yomiuri Indépendant Exhibition
1:
2600:Japanese contemporary artists
2439:(Tokyo: Kodan sha, 1971), 70.
1446:
1388:
1135:Tokyo Metropolitan Art Museum
1095:Tokyo Metropolitan Art Museum
1079:Tokyo Metropolitan Art Museum
128:Yamanote Line Incident (1962)
91:Tokyo Metropolitan Art Museum
1932:. Cambridge, Massachusetts:
1901:. Cambridge, Massachusetts:
1865:Collectivism After Modernism
1829:. Cambridge, Massachusetts:
1628:. Cambridge, Massachusetts:
1418:Minneapolis Institute of Art
1413:Solomon R. Guggenheim Museum
1347:The Art Institute of Chicago
1237:The Museum of Fine Arts Gifu
1148:Solomon R. Guggenheim Museum
940:Tokyo Kokusai Hanga BiennÄre
698:The World Expansion Project,
560:works, Takamatsu envisioned
61:Tokyo University of the Arts
45:
7:
2119:Tomii, Reiko (2022-09-06).
1465:20-seiki Nihon jinmei jiten
1260:TokyoâBerlin / BerlinâTokyo
1189:Museum of Modern Art Oxford
1042:Takamatsu Jiro: Mysteries,
841:
705:(can also be thought of as
513:series that was similar to
474:and other Mono-ha artists.
148:), in which they boarded a
31:
16:Japanese artist (1936â1998)
10:
2621:
2550:Jiro Takamatsu at the Tate
2476:"Photograph of Photograph"
2184:(16). New York City. 1968.
2040:14, no. 2 (2021): 331-356.
1382:Royal Society of Sculptors
1360:National Gallery Singapore
1069:Selected group exhibitions
948:
867:Photograph of a Photograph
858:Photograph of a Photograph
665:at Tokyo Biennale '70 and
611:Takamatsu decided to show
534:
455:
396:
253:U.S.-Japan Security Treaty
211:
1690:Saito, Yasuyoshi (2003).
1575:. Henry Moore Institute.
975:Selected solo exhibitions
652:
405:From Space to Environment
399:From Space to Environment
354:Institutional recognition
208:Hi-Red Center (1963-1964)
25:
2560:Jiro Takamatsu at SFMOMA
2424:Daiwa Press Viewing Room
2325:Stephen Friedman Gallery
2245:Takamatsu, JirĆ (2016).
2223:, no. 219 (2015): 36-41.
2053:67, no. 3 (2008): 24-45.
1934:Harvard University Press
1903:Harvard University Press
1831:Harvard University Press
1630:Harvard University Press
1442:The Rachofsky Collection
1423:The Dallas Museum of Art
1384:, Dora House, London, UK
1225:in association with the
727:The String in the Bottle
51:Early life and education
1976:Stephens, Christopher.
643:
596:installations from his
2399:Henry Moore Foundation
1782:Chong, Doryun (2012).
1243:, Hiroshima and others
1219:Guggenheim Museum SoHo
1215:Yokohama Museum of Art
1118:La Biennale de Venezia
490:Venice Biennale (1968)
306:) or externalization (
241:Yamanote Line Incident
174:Yamanote Line Incident
170:Yamanote Line Incident
142:Yamanote Line Incident
55:Takamatsu was born in
2178:Art Digest Newsletter
1334:Japan Society Gallery
1162:, Kassel, Deutschland
1062:Henry Moore Institute
2084:www.kamakura.gallery
1936:. pp. 198â199.
1926:Kapur, Nick (2018).
1895:Kapur, Nick (2018).
1823:Kapur, Nick (2018).
1622:Kapur, Nick (2018).
923:'s text-based work.
617:Oneness (30 Oneness)
613:Oneness (16 Oneness)
344:Allegory of the Cave
2062:IchirĐŸÌ, Hariu. ",
1765:Yoshimoto, Midori.
1330:New York University
964:Fuzai tai no tameni
621:Oneness (16 Oneness
541:Takamatsu designed
500:Yamaguchi Katsuhiro
464:Tama Art University
409:Enbairamento no Kai
296:1964 Tokyo Olympics
224:Natsuyuki Nakanishi
134:Natsuyuki Nakanishi
83:. Sponsored by the
69:Natsuyuki Nakanishi
2461:Fuchu Art Museum,
2452:25 (2013): 238-61.
2066:2 (March 1967); 14
1994:Alexandra Munroe,
1959:Alexandra Munroe,
1752:Marotti, William,
1743:. Routledge, 2020.
1739:Yoshida, Kenichi.
1546:409 (2017): 24-24.
627:Documenta 6 (1977)
547:Perspective series
318:Return to painting
243:happening) titled
150:Yamanote loop line
146:Yamanote-sen jiken
2258:978-1-941753-11-8
2207:23 (2011): 13-25.
1713:978-1-884446-05-4
1692:"Takamatsu, JirĆ"
1667:978-0-87070-834-3
1582:978-1-905462-59-9
1518:978-0-87070-834-3
1488:Hosaka, Kenjiro.
1221:, New York, USA;
1105:Biennale de Paris
160:-produced map of
140:they titled the "
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1229:, San Francisco,
909:Japanese Letters
669:at Documenta 6.
484:Hitoshi Nakazato
387:J.M.G. Le Clézio
290:(abbreviated as
260:Fifth Mixer Plan
228:Akasegawa Genpei
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383:Terayama Shuji
364:Identification
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312:Cleaning Event
292:Cleaning Event
276:Imperial Hotel
268:Dropping Event
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166:Shigeko Kubota
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20:JirĆ Takamatsu
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2064:Dezain Hihyo
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2038:photographies
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921:Joseph Kosuth
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905:English Words
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889:Illustrations
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336:trompe lâoeil
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249:Anpo protests
246:
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220:Hi-Red Center
215:
214:Hi-Red Center
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178:Hi-Red Center
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162:Hi-Red Center
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106:String: Black
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65:Hi-Red Center
62:
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43:
39:
33:
21:
2517:
2507:
2499:
2494:
2483:. Retrieved
2479:
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2444:
2436:
2431:
2423:
2402:. Retrieved
2398:
2389:
2378:. Retrieved
2376:. 2017-07-19
2373:
2364:
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2348:
2339:
2328:. Retrieved
2324:
2315:
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2247:
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2083:
2063:
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2032:
2020:. Retrieved
2016:
1995:
1990:
1981:
1960:
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1717:. Retrieved
1695:
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1469:. Retrieved
1464:
1455:
1438:Pace Gallery
1392:
1374:
1365:
1352:
1339:
1314:
1308:
1302:
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1256:
1246:
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1217:, Kanagawa;
1207:
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788:Slack of Net
787:
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766:
760:
756:
750:
748:
742:
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731:
726:
723:
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702:
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695:
689:
685:
684:series with
681:
679:
673:
666:
662:
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656:
647:
636:
633:Rusty Ground
632:
630:
620:
616:
612:
610:
604:
602:
597:
594:
589:
587:
577:
574:Sunday Plaza
573:
571:
567:Sunday Plaza
566:
562:Sunday Plaza
561:
557:
556:and earlier
553:
551:
546:
543:Sunday Plaza
542:
540:
527:
523:
518:
514:
510:
508:
504:
496:Hariu IchirĆ
493:
480:
476:
472:Nobuo Sekine
461:
444:
440:
436:
434:
429:
421:
416:
412:
408:
402:
379:Enokura Koji
372:
367:
363:
361:
357:
335:
331:
327:
323:
321:
311:
307:
303:
300:
291:
287:
272:Shelter Plan
271:
267:
263:
259:
257:
251:against the
244:
240:
236:
217:
201:
199:
182:
173:
169:
155:
145:
131:
121:
117:
110:
105:
101:
99:
84:
78:
54:
40:
19:
18:
2595:1998 deaths
2590:1936 births
2051:Art Journal
2017:Japan Times
1544:Art Monthly
1362:, Singapore
1064:, Leeds, UK
1030:, Hiroshima
970:Exhibitions
907:(1970) and
899:Printmaking
876:(1998-1999)
860:(1972-1973)
823:(1969-1970)
805:Perspective
801:Perspective
779:(1968-1972)
769:Perspective
763:(1966-1971)
761:Perspective
745:(1964-1998)
720:(1962-1998)
676:(1961-1964)
615:(1970) and
578:Perspective
558:Perspective
511:Perspective
441:Perspective
222:along with
2584:Categories
2485:2021-07-08
2404:2021-07-06
2380:2021-07-06
2355:2021-07-06
2330:2021-07-06
2162:2021-06-13
2138:2023-03-22
2089:2021-07-08
1719:2021-06-20
1447:References
1389:Collection
535:See also:
456:See also:
397:See also:
308:kyakutaika
212:See also:
144:" (ć±±æç·äș件,
2275:cite book
2267:964584455
2022:August 9,
1599:cite book
1591:994410709
1157:Documenta
1020:, Fukuoka
936:The Story
928:The Story
882:Andromeda
874:Andromeda
304:fukusƫsei
255:in 1960.
138:happening
46:Biography
2518:ART News
2221:Aperture
2129:Archived
1471:15 April
1239:, Gifu;
850:Compound
843:Compound
736:no. 1133
732:no. 1125
688:(1961).
667:Compound
637:Compound
537:Expo '70
426:Expo '70
370:series.
332:Shadows,
280:Yoko Ono
113:Anti-Art
1266:, Tokyo
1253:, Tokyo
1097:, Tokyo
1081:, Tokyo
949:Writing
834:Oneness
821:Oneness
663:Oneness
598:Oneness
468:Mono-ha
458:Mono-ha
368:Shadows
324:Shadows
237:KeishĐŸÌ
156:On the
67:member
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1332:, USAïŒ
1324:, USAïŒ
930:(1972)
911:(1970)
751:Shadow
743:Shadow
718:String
703:length
659:Takami
653:Series
590:gainen
430:kankyo
422:kankyo
417:kankyo
381:, and
202:KeishĆ
168:, the
158:Fluxus
2132:(PDF)
1349:, USA
1336:, USA
917:Xerox
814:Slack
809:Slack
797:Slack
784:Slack
777:Slack
711:point
707:line,
690:Point
682:Point
674:Point
554:Slack
340:Plato
232:kanji
102:Point
57:Tokyo
26:é«æŸ æŹĄé
2281:link
2263:OCLC
2253:ISBN
2024:2021
1938:ISBN
1907:ISBN
1869:ISBN
1835:ISBN
1708:ISBN
1662:ISBN
1634:ISBN
1609:link
1605:link
1587:OCLC
1577:ISBN
1513:ISBN
1473:2016
1433:Tate
1375:2019
1366:2019
1353:2018
1340:2016
1315:2015
1309:2013
1303:2012
1294:2012
1282:2012
1270:2010
1257:2006
1247:2000
1233:1995
1208:1994
1195:1986
1182:1985
1175:and
1166:1981
1154:1977
1141:1971
1128:1970
1115:1968
1101:1967
1091:1963
1085:1963
1075:1958
1058:2017
1049:2015
1040:2014
1034:2011
1024:2009
1014:2004
1008:2000
999:1999
993:1967
987:1996
981:1966
644:Work
342:'s "
328:kage
326:(ćœ±,
282:and
226:and
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