564:(敗戦記念晩餐会), in a Tokyo suburb with the help of art critic Yoshida Yoshie. The event consisted of the performers eating a sumptuous dinner eaten before an audience, whose members had unwittingly purchased a 200-yen ticket for the privilege of watching them. The night was subtitled "Art minus Art" (Geijutsu mainasu geijutsu). During the evening, several performances followed one another: Masunobu Yoshimura brushed his teeth for about 30 minutes until his mouth ran with blood,
498:. The event was representative of the male oppression reigning in the group, where women - already in the minority - were subjected to physical abuse and their work was not regarded as equal to that of other male members. These behaviors reflected the idea in vogue at the time in certain artistic circles that the subversion of societal norms required, among other things, the liberalization of violence, particularly sexist violence.
318:(a centrally-aligned black dot, the closest Japanese equivalent to a hyphen) between the words "Neo" and "Dada," as attested in their flyers, writings, and artworks. In any case, the term "Neo-Dada Organizers" (with hyphen and in the plural), has become a standard term for the group in English language scholarship, as well as in standard art historical reference works.
619:, these different forms of photographic and videographic captures are typical of the networks of artistic collaborations (intrinsically collaborative practices of the group and then collaboration with photographers), while being essential for the preservation and sharing of these anti-art practices, of which few physical traces remain.
612:, which was based in a remote region, Neo-Dada was able to exploit the power of the mass media concentrated in Tokyo. As curator Raiji Kuroda has pointed out, members of Neo-Dada seemed to know the value of getting themselves seen; with the mass audience in mind they performed in front of photographers and television camera crews.
541:, an outdoor destructive performance, was held at Yoshimura's "White House" atelier in Shinjuku. Yoshimura, Masuzawa, and Shinohara struck jagged holes into a metal sheet. Shinohara also performed his now-famous “boxing painting,” in which he punched a large piece of paper with boxing gloves that had been dipped in ink.
442:. Several group members group stripped naked and danced wildly. Yoshimura appeared with a massive erect penis and testicles made of cloth, paper, and string tied to his loins, white arrows painted on his chest, and a gaping red wound painted on his stomach that looked as if he had just disembowled himself in a
592:
In addition to the above named events and activities, the group also engaged in a number of spontaneous performative acts, including street demonstrations, stage performances, outdoor performances, and social gatherings. These events became the source of media spectacle, and were avidly documented by
454:
while dancing around and making strange noises. The performance concluded with the group gathering around a large plywood panel and taking turns ritualistically destroying it with acid, fire, and a hatchet. Shortly after this somber event concluded, the
Security Treaty was automatically passed in the
93:
The Neo-Dada
Organizers held three official exhibitions in 1960, as well as a number of bizarre "actions," "events," and "happenings" in which they sought to mock, deconstruct, and in many cases, physically destroy conventional forms of art. Many of the group's members and participants would go on to
627:
Although the Neo-Dada
Organizers never officially disbanded, they did not hold any major public events after the fall of 1960, after which time many of the group's leading members began to pursue their own individual artistic activities. In October 1960, five female dancers from the Nobutoshi Tsuda
302:
script with dots in between the words, would normally translate to "Neo-Dada
Organizers" in a standard English translation. However, the group's usage of this name was inconsistent, and increasingly came to be abbreviated simply "Neo-Dada" over time. In the announcement for their first exhibition,
210:
No matter how much we fantasize about procreation in the year 1960, a single atomic explosion will casually solve everything for us, so
Picasso’s fighting bulls no longer move us any more than the spray of blood from a run-over stray cat. As we enter the blood-soaked ring in this 20.6th century—a
368:
threw a brick at the police: legend has it that, as a result, the demonstration turned into a riot. The Neo-Dada
Organizers actively took part in the anti-Treaty protests on the streets of Tokyo, but deliberately sought to conflate political revolution with artistic revolution. For example, they
271:). The term "Neo-Dada" in this usage was as much a wink to the New York avant-garde as a reference to historical Dadaism. That said, relations between certain members of the Neo-Dada Organizers and their American counterparts could be tense, as exemplified most notably in a confrontation between
687:
Membership in the group was fluid and hard to pinpoint. However, art historian Raiji Kuroda defines the group's core members as follows: artists listed on two promotional fliers (announcements) made for the first and second group exhibitions, plus those who participated directly in the third
394:
The first "official" Neo-Dada
Organizers exhibition was held at the Ginza Gallery in Tokyo. The group displayed found objects and garbage while playing jazz tapes and "sexy whispers." Meanwhile, a half-naked man hacked at the "artworks" with an axe. The sounds of objects being destroyed were
81:
in various states of dress and undress. Using the human body as their medium of art, their violent performances reflected both their dissatisfaction with the restrictive environment of the
Japanese art world at the time, as well as contemporary social developments, most notably the massive
651:
Although short-lived, Neo-Dada's bizarre and spectacular performances received outsized media attention, and proved influential on a number of
Japanese artistic collectives active later in the 1960s and associated with the "anti-art" movement, including Zero Jigen, Group Ongaku, and
376:
In parallel with these activist activities, the group organized three official exhibitions and individual members of the collective participated in the major events of the early 1960s, especially the
Yomiuri Indépendant Exhibition cycle (1949-1963) and at the
628:
Dance Studio in Meguro visited the White House, and Yoshimura shocked everyone by suddenly proposing to and marrying one of them. Thereafter, according to Shinohara Ushio, the Neo-Dada Organizers group "was essentially dissolved."
215:
This statement conveyed a sense of hopeless desperation that, at a time when attempts to create new forms of art were being suffocated by oppressive ideologies and hide-bound institutions, the only way to save art was to kill it.
369:
paraded through the streets with leaflets, lightbulbs, or other bizarre paraphernalia attached all over their bodies and replaced shouts of "Anpo hantai" ("down with the Security Treaty") with cries of "Anfo hantai" ("down with
69:, the Neo-Dada Organizers engaged in all manner of visual and performance artworks, but specialized in producing disturbing, impulsive spectacles, often involving physical destruction of objects, that the art critic
357:
158:
198:
would later term "creative destruction" whereby the group sought to create a space for new types of art to emerge by systematically seeking out and destroying all existing artistic norms and conventions.
1937:"After the "Descent to the Everyday": Japanese Collectivism from Hi Red Center to The Play, 1964–1973" in Collectivism after Modernism - The Art of Social Imagination after 1945
290:
By adding the English word "organizers" to their name, the group indicated their interest in appropriating (and possibly mocking) the left-wing jargon of the ongoing
411:(1951), in which Ishibashi laid a large sheet of paper in the street and let passing automobiles run it over before retrieving the dirtied paper 15 minutes later.
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303:
the group called the exhibition the "Neo-Dadaism Organizer Exhibition" without an "s" at the end, but "Organizers" with an "s" was used in other contexts.
762:
659:
In retrospect, the Tokyo art world was clearly on the verge of a fundamental shift. One figure from the Neo-Dada circle who chose to remain in Japan was
314:" is almost invariably hyphenated in English. However, hyphens do not ordinarily exist in Japanese script, and group members often employed the Japanese
757:
252:. The latter became known in Japan primarily through the art critic Yoshiaki Tōno, who published an article about them in the November, 1959, issue of
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At their first exhibition, held at the Ginza Gallery in Tokyo in April, 1960, the Neo-Dada Organizers released a list of their guiding principles:
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310:
has argued, in a 2005 "Translator's Note," that the group's name should be spelled "Neo Dada" without a hyphen, despite the fact that the term "
438:(安保記念エベント) for gathered reporters and television cameras, supposedly to "commemorate" the failure of the protests to stop the passage of the
813:
693:
138:
that dominated Japanese art circles in the 1950s, but also the recent tendency toward wholesale importation of foreign art trends, such as
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and other group shows. They arranged a rapid-fire series of exhibitions in 1960, at times accompanied by guerrilla actions on the street.
349:
At the "White House," they spent day and night discussing, writing leaflets, organizing performances-cum-parties, and working towards the
77:). Examples included filling galleries with piles of garbage, smashing furniture to the beat of jazz music, and prancing the streets of
1641:
Gossot, Anne (2017). "Refoulement de l'histoire et engagement des corps : naissance de l'art de l'action au début des années 1960
772:
2071:
1863:
Mitsuda, Yuri (2012). "Trauma and Deliverance: Portraits of Avant-Garde Artists in Japan, 1955-1970". In Chong, Doryun (ed.).
1944:
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had spread throughout the country and formed the background to the violent political upheaval of the time. In Tokyo, the
211:
century which has trampled on sincere works of art—the only way to avoid being butchered is to become butchers ourselves.
130:. The group positioned themselves in opposition to all established art forms and institutions, especially the strains of
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suicide ritual, and Arakawa appeared in a grotesque, monster-like costume and gulped directly from a bottle of strong
2018:
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in 1960. Composed of a small group of young, up-and-coming artists who met periodically at Yoshimura's "White House"
350:
150:
643:, despairing of the reception of their work in their own country, similarly went into exile in New York or Paris.
73:
deemed "savagely meaningless," and that inspired another art critic, Yoshiaki Tōno, to coin the term "anti-art" (
2037:
1999:
149:
But beyond opposing the dominant art forms of the time, the Neo-Dada Organizers reacted to the efforts by the
552:
On the 17th anniversary of Japan's surrender in World War II, some members from Neo-Dada reunited along with
259:
The use of the term "Neo-Dada" did not mean that the group claimed any direct link to the original Japanese
602:
696:
refused to officially join the group, but almost invariably participated in their events and activities.
679:
had a relatively open approach to membership, with other artists often joining their actions and events.
169:, the treaty led many Japanese to fear that Japan would become a target should a nuclear war break out.
1909:
Tomii, Reiko (December 2005a). ""Art Outside the Box" in 1960s Japan: An Introduction and Commentary".
439:
87:
463:
The second "official" Neo-Dada Exhibition took place at Yoshimura's atelier in Shinjuku. Group member
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stood on a chair and pressed a hot iron to his chest as part of a "ritual to execute the will of the
126:
Neo-Dada Organizers was formed at a time when Japan was rapidly modernizing after the destruction of
2061:
1744:
1806:
Marotti, William (2006). "Sounding the Everyday: The Music Group and Yasunao Tone's Early Work".
1774:
Akarui satsurikusha, sono shunkangei no jutsu , in Ryūdо̄ suru Bijutsu III: Neo-dada no shashin
526:
covered himself in fragile glass lightbulbs before proceeding to stroll through downtown Tokyo.
491:
434:, group members convened at Yoshinobu's "White House" atelier and staged a performance called
1701:
Radicals and Realists in the Japanese Nonverbal Arts: The Avant-garde Rejection of Modernism
494:, male members carried out sadistic acts against women associated with the group, including
364:
was surrounded by the crowd of demonstrators, and in the middle of the ranting and tumult,
8:
2066:
1960:
Art, Anti-Art, Non-Art: Experimentations in the Public Sphere in Postwar Japan, 1950–1970
1846:
Art, Anti-Art, Non-Art: Experimentations in the Public Sphere in Postwar Japan, 1950–1970
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675:, and together they continued agitating within the Tokyo art scene. Not unlike Neo-Dada,
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598:
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The third and final "official" Neo-Dada Exhibition was put on at the Hibiya Gallery near
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244:, to describe the style of the most recent collage and assemblage artists - primarily
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1867:. Translated by Tomii, Reiko. The Museum of Modern Art, New York. pp. 158–177.
1660:
Cinema of Actuality: Japanese Avant-Garde Filmmaking in the Season of Image Politics
518:, installed a temporary installation in Hibiya Park and then slashed it to ribbons.
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In June 1960, Akasegawa read out the group's "manifesto" (written by group member
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1681:. New York: American Federation of Arts in association with Universe Publishing.
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recorded, and then played loudly out into the street from the gallery's window.
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In 1962, Yoshimura sold his White House atelier and decamped to New York City.
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1958:
on Their Minds: Memorable Words on Anti-Art". In Merewether, Charles (ed.).
238:, and then, more dramatically, in January 1958, in the New York art monthly
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The Great Migrator: Robert Rauschenberg and the Global Rise of American Art
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Kagawa, Mayumi (1997). "Neo dada, aruiwa houkai no tampon perojekuto ".
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Neodada kara 21seikigata majo e — Kishimoto Sayako no hito to sakuhin
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in 1958. It would serve as their main base of operations until 1962.
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These principles signaled the group's devotion to what group member
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Upper House of the Japanese Diet, in accordance with Japanese law.
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across the country. Because it locked Japan into a quasi-permanent
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54:
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1827:
Money, Trains, and Guillotines: Art and Revolution in 1960s Japan
444:
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62:
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Neo-Dada sympathizers (non-members but sometimes participated)
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wrapped his naked body with the group's exhibition flyers and
389:
1992:"Neo Dada et Anti- Art," in Japon des avant-gardes , exh. cat
1323:
581:
78:
1766:. Yokohama, Japan: Josei to Āto purojekuto. pp. 49–50.
1740:
Japan at the Crossroads: Conflict and Compromise after Anpo
1215:
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and Group Ongaku gave a concert of experimental music, and
414:
268:
1977:
Tōno, Yoshiaki (November 1959). "狂気とスキャンダル-型破りの世界の新人たち ".
1783:"A Flash of Neo Dada: Cheerful Destroyers in Tokyo (1993)"
1615:
BODY/VIOLENCE/CITY: The Neo-Dada Art Actions in 1960 Tokyo
1345:
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2011:
Avant-Garde Art and Non-Dominant Thought in Postwar Japan
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On June 18, 1960, just three days after student activist
185:—Neo-Daddists are a group devoted to artistic revolution.
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187:—Neo-Daddists reject the abstract art movement entirely.
161:(known as "Anpo" in Japanese), which led to the massive
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Tomii, Reiko (December 2005b). "Translator's Note" ".
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Into Performance: Japanese Women Artists in New York
1994:. Paris: Centre Georges Pompidou. pp. 329–337.
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The Neo-Dada group members gathered at their leader
1882:Nakazawa, Hideki (2008). "Neo Dadaism Organizers".
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94:become noted artists in their own right, including
1613:Collins, Brady; Liu, Lyo Heng; Yang, Yang (2013).
971:
401:Fifteen Minutes in a Waseda Street in the Morning,
356:In 1960, the movement against the renewal of the
2048:
490:. In a performance filmed by television station
560:to stage a collaborative performance, entitled
502:Third Neo-Dada Exhibition (September 1–7, 1960)
153:government, led by conservative Prime Minister
27:
1612:
1332:
1230:
46:
21:
474:
53:, was a short-lived but influential Japanese
1962:. Getty Research Institute. pp. 35–58.
1939:. Minnesota: University of Minnesota Press.
459:Second Neo-Dada Exhibition (July 1–10, 1960)
1587:A Dictionary of Modern and Contemporary Art
390:First Neo-Dada Exhibition (April 4–9, 1960)
1843:
1585:Chilvers, Ian; Glaves-Smith, John (2009).
1556:
562:Dinner Commemorating Our Defeat in the War
546:Dinner Commemorating Our Defeat in the War
2027:
1899:
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426:was killed in a clash with police at the
1881:
1657:
1621:
1385:
1266:
1115:
189:—Neo-Daddists have a thirst for killing.
167:military alliance with the United States
2008:
1862:
1824:
1810:. Errant Bodies Press. pp. 13–33.
1805:
1717:
1676:
1568:
1544:
1469:
1245:
1079:
1025:
1001:
989:
597:, Takeo Ishimatsu, Masanori Kobayashi,
2077:Japanese artist groups and collectives
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1953:
1934:
1924:Review of Japanese Culture and Society
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1911:Review of Japanese Culture and Society
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1787:Review of Japanese Culture and Society
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330:'s atelier, called the "White House" (
1793:. Translated by Tomii, Reiko: 51–71.
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294:. The group's Japanese name, written
2032:. London: Rutgers University Press.
1989:
1976:
1617:. Urban Humanities Initiative, UCLA.
1209:
1170:
1013:
486:was performed at Zaimokuza Beach in
403:reminiscent of American Neo-Dadaist
281:Twenty Questions to Bob Rauschenberg
1776:. Fukuoka: Fukuoka City Art Museum.
1596:Tokyo, 1955-1970: A New Avant-Garde
183:—Neo-Daddists are not human beings.
159:United States Japan Security Treaty
13:
1865:Tokyo 1955-1970: A New Avant-Garde
1808:Yasunao Tone: Noise Media Language
1598:. New York: Museum of Modern Art.
682:
384:
121:
14:
2088:
1844:Merewether, Charles, ed. (2007).
1679:Neo-Dada: Redefining Art, 1958-62
1578:
1140:Chilvers & Glaves-Smith 2009
232:'s "Castelli Group" article for
228:" was first used in May 1957 in
1885:Contemporary Art History: Japan
1781:Kuroda, Raiji (December 2005).
1703:. University of Hawai'i Press.
181:—Neo-Daddists are not Japanese.
2072:Contemporary art organizations
1643:. Paris: Presses de l’Inalco.
1412:, pp. 59, 61, 63, 64, 67.
622:
351:Yomiuri Indépendant Exhibition
334:), which had been designed by
1:
1768:cited in Yoshimoto, 2005, 28.
832:
580:stripped naked and performed
321:
179:—Neo-Daddists are uncultured.
1904:. Tokyo: Bijutsu Shuppansha.
1848:. Getty Research Institute.
1333:Collins, Liu & Yang 2013
1231:Collins, Liu & Yang 2013
837:
7:
615:According to art historian
471:alight inside the atelier.
206:) to a group of reporters:
157:, to revise and extend the
28:
10:
2093:
2028:Yoshimoto, Midori (2005).
2013:. Oxfordshire: Routledge.
1622:Galliano, Luciana (2018).
1589:. Oxford University Press.
440:U.S.-Japan Security Treaty
358:U.S.-Japan Security Treaty
283:, which took place at the
88:U.S.-Japan Security Treaty
30:Neo-Dadaizumu-Oruganaizāzu
2009:Yoshida, Kenichi (2020).
1900:Shinohara, Ushio (1968).
1829:. Duke University Press.
1825:Marotti, William (2013).
1662:. Duke University Press.
1658:Furuhata, Yuriko (2013).
646:
593:photographers, including
514:, sporting his trademark
467:set his aptly-named work
57:art collective formed by
47:
36:, sometimes shortened to
22:
1745:Harvard University Press
1718:Ikegami, Hiroko (2010).
663:. He joined forces with
436:Anpo Commemoration Event
416:Anpo Commemoration Event
399:also performed his work
151:Liberal Democratic Party
1990:Tōno, Yoshiaki (1986).
1954:Tomii, Reiko (2007b). "
1677:Hapgood, Susan (1994).
430:as part of the ongoing
279:during the performance
219:
1935:Tomii, Reiko (2007a).
1772:Kuroda, Raiji (1993).
1594:Chong, Doryun (2012).
287:on November 28, 1964.
263:of the 1920s (such as
213:
192:
17:Neo-Dadaism Organizers
708:, founder (1932–2011)
605:and Jacqueline Paul.
409:Automobile Tire Print
296:Neo・dada・oruganaizāzu
208:
176:We are Neo-Dadaists.
174:
1737:Kapur, Nick (2018).
1697:Havens, Thomas R. H.
533:(September 30, 1960)
1626:. Lexington Books.
1185:, pp. 194–195.
1130:, pp. 177–178.
1028:, pp. 184–185.
1016:, pp. 104–112.
968:, pp. 194–198.
935:, pp. 181–182.
923:, pp. 196–197.
886:, pp. 195–197.
820:Natsuyuki Nakanishi
700:Neo-Dada Organizers
669:Natsuyuki Nakanishi
588:Photo documentation
405:Robert Rauschenberg
277:Robert Rauschenberg
250:Robert Rauschenberg
112:Natsuyuki Nakanishi
38:Neo-Dada Organizers
729:Betsujin Ishibashi
706:Masunobu Yoshimura
639:, and a bit later
520:Masunobu Yoshimura
397:Betsujin Ishibashi
379:Sogetsu Art Center
328:Masunobu Yoshimura
285:Sōgetsu Art Center
265:Tomoyoshi Murayama
84:1960 Anpo protests
59:Masunobu Yoshimura
1946:978-0-8166-4462-9
1874:978-0-87070-834-3
1817:978-0-9655570-8-5
1743:. Cambridge, MA:
1308:, pp. 27–28.
548:(August 15, 1962)
136:socialist realism
23:ネオ・ダダイズム・オルガナイザーズ
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2043:
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1979:Geijutsu Shinchō
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1352:, p. 60n48.
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1297:
1296:, p. 69n16.
1291:
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1143:
1137:
1131:
1125:
1119:
1113:
1107:
1101:
1095:
1089:
1083:
1077:
1071:
1065:
1059:
1053:
1044:
1038:
1029:
1023:
1017:
1011:
1005:
999:
993:
987:
981:
975:
969:
963:
957:
951:
936:
930:
924:
918:
912:
906:
887:
881:
875:
869:
796:Toshi Ichiyanagi
790:Tatsumi Hijikata
768:Sōroku Toyoshima
741:Sayako Kishimoto
712:Genpei Akasegawa
661:Genpei Akasegawa
584:, among others.
578:Tatsumi Hijikata
558:Tatsumi Hijikata
539:Bizarre Assembly
531:Bizarre Assembly
516:mohawk hairstyle
496:Sayako Kishimoto
254:Geijutsu shinchō
230:Robert Rosenblum
196:Genpei Akasegawa
104:Sayako Kishimoto
96:Genpei Akasegawa
52:
50:
49:
35:
33:
25:
24:
2092:
2091:
2087:
2086:
2085:
2083:
2082:
2081:
2062:Avant-garde art
2047:
2046:
2040:
2021:
2002:
1970:
1947:
1902:Zen'ei no michi
1890:
1888:
1875:
1856:
1837:
1818:
1755:
1730:
1711:
1689:
1670:
1651:
1634:
1606:
1581:
1576:
1575:
1567:
1563:
1557:Merewether 2007
1555:
1551:
1543:
1539:
1531:
1527:
1519:
1512:
1504:
1500:
1492:
1488:
1480:
1476:
1468:
1464:
1456:
1452:
1444:
1440:
1432:
1428:
1420:
1416:
1408:
1404:
1400:, pp. 4–5.
1396:
1392:
1384:
1380:
1372:
1368:
1360:
1356:
1348:
1339:
1335:, pp. 3–4.
1331:
1324:
1316:
1312:
1304:
1300:
1292:
1285:
1277:
1273:
1265:
1252:
1244:
1237:
1229:
1216:
1208:
1204:
1196:
1189:
1181:
1177:
1169:
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1157:
1146:
1138:
1134:
1126:
1122:
1114:
1110:
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1086:
1078:
1074:
1066:
1062:
1054:
1047:
1039:
1032:
1024:
1020:
1012:
1008:
1000:
996:
988:
984:
976:
972:
964:
960:
952:
939:
931:
927:
919:
915:
907:
890:
882:
878:
870:
845:
840:
835:
786:
778:Tatsumi Yoshino
763:Shintarō Tanaka
752:Ushio Shinohara
747:Kinpei Masuzawa
718:Shūsaku Arakawa
702:
685:
683:Notable members
665:Jirо̄ Takamatsu
649:
641:Ushio Shinohara
633:Shūsaku Arakawa
625:
590:
570:Marquis de Sade
550:
535:
524:Kinpei Masuzawa
512:Ushio Shinohara
504:
480:
478:(July 20, 1960)
465:Tatsumi Yoshino
461:
420:
418:(June 18, 1960)
392:
387:
385:Selected events
366:Shūsaku Arakawa
340:Junzō Yoshimura
324:
273:Ushio Shinohara
222:
204:Ushio Shinohara
190:
188:
186:
184:
182:
180:
124:
122:Artistic stance
116:Ushio Shinohara
100:Shūsaku Arakawa
44:
19:
12:
11:
5:
2090:
2080:
2079:
2074:
2069:
2064:
2059:
2045:
2044:
2038:
2025:
2019:
2006:
2000:
1987:
1985:(11): 104–112.
1974:
1969:978-0892368662
1968:
1951:
1945:
1932:
1919:
1906:
1897:
1879:
1873:
1860:
1855:978-0892368662
1854:
1841:
1836:978-0822349808
1835:
1822:
1816:
1803:
1778:
1769:
1759:
1754:978-0674984424
1753:
1734:
1728:
1715:
1710:978-0824830113
1709:
1693:
1687:
1674:
1669:978-0822355045
1668:
1655:
1649:
1638:
1633:978-1498578257
1632:
1619:
1610:
1605:978-0870708343
1604:
1591:
1580:
1577:
1574:
1573:
1561:
1559:, p. 121.
1549:
1537:
1525:
1510:
1498:
1486:
1474:
1472:, p. 167.
1462:
1458:Shinohara 1968
1450:
1438:
1434:Yoshimoto 2005
1426:
1414:
1402:
1390:
1378:
1366:
1354:
1337:
1322:
1320:, p. 264.
1310:
1306:Yoshimoto 2005
1298:
1283:
1271:
1250:
1248:, p. 126.
1235:
1214:
1212:, p. 329.
1202:
1200:, p. 178.
1187:
1175:
1173:, p. 331.
1163:
1144:
1142:, p. 503.
1132:
1120:
1108:
1106:, p. 138.
1096:
1092:Yoshimoto 2005
1084:
1072:
1060:
1045:
1030:
1018:
1006:
1004:, p. 162.
994:
992:, p. 112.
982:
970:
958:
956:, p. 196.
937:
925:
913:
911:, p. 197.
888:
876:
874:, p. 195.
842:
841:
839:
836:
834:
831:
830:
829:
823:
817:
811:
805:
799:
793:
785:
782:
781:
780:
775:
770:
765:
760:
758:Santarō Tanabe
755:
749:
744:
738:
732:
726:
724:Hiroko Hiraoka
721:
715:
709:
701:
698:
684:
681:
648:
645:
624:
621:
599:Shōmei Tōmatsu
595:Kenji Ishiguro
589:
586:
549:
543:
534:
528:
503:
500:
479:
473:
460:
457:
419:
413:
391:
388:
386:
383:
323:
320:
306:Art historian
221:
218:
155:Nobusuke Kishi
123:
120:
9:
6:
4:
3:
2:
2089:
2078:
2075:
2073:
2070:
2068:
2065:
2063:
2060:
2058:
2055:
2054:
2052:
2041:
2035:
2031:
2026:
2022:
2020:9780367427870
2016:
2012:
2007:
2003:
1997:
1993:
1988:
1984:
1980:
1975:
1971:
1965:
1961:
1957:
1952:
1948:
1942:
1938:
1933:
1929:
1925:
1920:
1916:
1912:
1907:
1903:
1898:
1887:
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1742:
1741:
1735:
1731:
1729:9780262014250
1725:
1722:. MIT Press.
1721:
1716:
1712:
1706:
1702:
1698:
1694:
1690:
1688:0-87663-629-6
1684:
1680:
1675:
1671:
1665:
1661:
1656:
1652:
1650:9782858312467
1646:
1642:
1639:
1635:
1629:
1625:
1620:
1616:
1611:
1607:
1601:
1597:
1592:
1588:
1583:
1582:
1579:Sources cited
1571:, p. 29.
1570:
1565:
1558:
1553:
1547:, p. xv.
1546:
1541:
1535:, p. 59.
1534:
1529:
1523:, p. 57.
1522:
1517:
1515:
1508:, p. 69.
1507:
1502:
1496:, p. 58.
1495:
1490:
1484:, p. 55.
1483:
1478:
1471:
1466:
1459:
1454:
1447:
1442:
1436:, p. 27.
1435:
1430:
1424:, p. 11.
1423:
1418:
1411:
1406:
1399:
1394:
1388:, p. 46.
1387:
1386:Galliano 2018
1382:
1375:
1370:
1364:, p. 56.
1363:
1358:
1351:
1346:
1344:
1342:
1334:
1329:
1327:
1319:
1314:
1307:
1302:
1295:
1290:
1288:
1280:
1275:
1268:
1267:Nakazawa 2008
1263:
1261:
1259:
1257:
1255:
1247:
1242:
1240:
1232:
1227:
1225:
1223:
1221:
1219:
1211:
1206:
1199:
1194:
1192:
1184:
1179:
1172:
1167:
1161:, p. 62.
1160:
1155:
1153:
1151:
1149:
1141:
1136:
1129:
1124:
1118:, p. 51.
1117:
1116:Furuhata 2013
1112:
1105:
1100:
1094:, p. 26.
1093:
1088:
1082:, p. 41.
1081:
1076:
1070:, p. 62.
1069:
1064:
1058:, p. 53.
1057:
1052:
1050:
1043:, p. 63.
1042:
1037:
1035:
1027:
1022:
1015:
1010:
1003:
998:
991:
986:
980:, p. 22.
979:
974:
967:
962:
955:
950:
948:
946:
944:
942:
934:
929:
922:
917:
910:
905:
903:
901:
899:
897:
895:
893:
885:
880:
873:
868:
866:
864:
862:
860:
858:
856:
854:
852:
850:
848:
843:
827:
824:
821:
818:
815:
812:
809:
806:
803:
802:Arata Isozaki
800:
797:
794:
791:
788:
787:
779:
776:
774:
771:
769:
766:
764:
761:
759:
756:
753:
750:
748:
745:
742:
739:
736:
733:
730:
727:
725:
722:
719:
716:
713:
710:
707:
704:
703:
697:
695:
691:
680:
678:
677:Hi-Red Center
674:
673:Hi-Red Center
670:
666:
662:
657:
655:
654:Hi-Red Center
644:
642:
638:
634:
629:
620:
618:
613:
611:
606:
604:
603:William Klein
600:
596:
585:
583:
579:
575:
571:
567:
563:
559:
555:
547:
542:
540:
532:
527:
525:
521:
517:
513:
509:
499:
497:
493:
489:
485:
477:
472:
470:
466:
456:
453:
452:
447:
446:
441:
437:
433:
432:Anpo protests
429:
428:National Diet
425:
424:Michiko Kanba
417:
412:
410:
406:
402:
398:
382:
381:(1958-1971).
380:
374:
372:
367:
363:
359:
354:
352:
347:
345:
341:
338:and built by
337:
336:Arata Isozaki
333:
332:Howaito Hausu
329:
319:
317:
313:
309:
304:
301:
297:
293:
292:Anpo protests
288:
286:
282:
278:
274:
270:
267:or the group
266:
262:
257:
255:
251:
247:
243:
242:
237:
236:
235:Arts Magazine
231:
227:
217:
212:
207:
205:
200:
197:
191:
177:
173:
170:
168:
164:
163:Anpo protests
160:
156:
152:
148:
146:
141:
137:
133:
129:
119:
117:
113:
109:
105:
101:
97:
91:
89:
85:
80:
76:
72:
68:
64:
60:
56:
43:
39:
32:
31:
18:
2029:
2010:
1991:
1982:
1978:
1959:
1955:
1936:
1927:
1923:
1914:
1910:
1901:
1889:. Retrieved
1884:
1864:
1845:
1826:
1807:
1790:
1786:
1773:
1763:
1739:
1719:
1700:
1678:
1659:
1624:Japan Fluxus
1623:
1614:
1595:
1586:
1569:Marotti 2006
1564:
1552:
1545:Marotti 2013
1540:
1528:
1501:
1489:
1477:
1470:Mitsuda 2012
1465:
1453:
1448:, p. 7.
1441:
1429:
1417:
1405:
1393:
1381:
1376:, p. 2.
1369:
1357:
1313:
1301:
1274:
1246:Yoshida 2020
1233:, p. 4.
1205:
1178:
1166:
1135:
1123:
1111:
1099:
1087:
1080:Hapgood 1994
1075:
1063:
1026:Ikegami 2010
1021:
1009:
1002:Ikegami 2010
997:
990:Hapgood 1994
985:
973:
961:
928:
916:
879:
826:Yasunao Tone
808:Tetsumi Kudō
735:Shō Kazakura
690:Tetsumi Kudō
688:exhibition.
686:
658:
650:
637:Tetsumi Kudō
630:
626:
614:
608:Compared to
607:
591:
574:Yasunao Tone
566:Shō Kazakura
561:
554:Group Ongaku
551:
545:
538:
536:
530:
505:
483:
481:
475:
468:
462:
449:
443:
435:
421:
415:
408:
400:
393:
375:
371:Art Informel
355:
348:
331:
325:
305:
295:
289:
280:
258:
253:
246:Jasper Johns
239:
233:
223:
214:
209:
201:
193:
178:
175:
171:
145:Art Informel
143:
140:abstract art
128:World War II
125:
108:Tetsumi Kudō
92:
86:against the
75:han-geijutsu
74:
71:Ichirō Hariu
41:
37:
29:
16:
15:
1533:Kuroda 2005
1521:Kuroda 2005
1506:Kuroda 2005
1494:Kuroda 2005
1482:Kuroda 2005
1446:Tomii 2005a
1422:Kuroda 1993
1410:Kuroda 2005
1398:Gossot 2017
1374:Gossot 2017
1362:Tomii 2007a
1350:Tomii 2007b
1318:Kagawa 1997
1294:Kuroda 2005
1279:Tomii 2007b
1104:Havens 2006
1068:Kuroda 2005
1056:Tomii 2005b
828:(born 1935)
822:(1935-2016)
816:(1937-1978)
810:(1935-1990)
804:(born 1931)
798:(1933-2022)
792:(1928-1986)
754:(born 1932)
743:(1939-1988)
737:(1936-2007)
731:(born 1938)
720:(1936-2010)
714:(1937-2014)
623:Dissolution
617:Reiko Tomii
508:Hibiya Park
308:Reiko Tomii
55:Neo-Dadaist
2067:Modern art
2051:Categories
2039:0813535212
2001:2858503451
1891:August 27,
1198:Kapur 2018
1183:Kapur 2018
1159:Chong 2012
1128:Kapur 2018
1041:Chong 2012
978:Kapur 2018
966:Kapur 2018
954:Kapur 2018
933:Kapur 2018
921:Kapur 2018
909:Kapur 2018
884:Kapur 2018
872:Kapur 2018
833:References
814:Tomio Miki
694:Tomio Miki
484:Beach Show
476:Beach Show
322:Activities
316:interpunct
224:The term "
40:or simply
1210:Tōno 1986
1171:Tōno 1986
1014:Tōno 1959
838:Citations
610:Kyūshū-ha
2057:Neo-Dada
1956:Geijutsu
1799:42801111
1699:(2006).
773:Jun Ueda
671:to form
488:Kamakura
344:Shinjuku
312:Neo-Dada
300:katakana
261:Dadaists
226:Neo-Dada
132:humanism
67:Shinjuku
42:Neo-Dada
1917:: 1–11.
445:seppuku
241:ARTnews
63:atelier
2036:
2017:
1998:
1966:
1943:
1871:
1852:
1833:
1814:
1797:
1751:
1726:
1707:
1685:
1666:
1647:
1630:
1602:
647:Legacy
469:Danger
451:shōchū
114:, and
1930:: 53.
1795:JSTOR
582:Butoh
79:Tokyo
48:ネオ・ダダ
2034:ISBN
2015:ISBN
1996:ISBN
1964:ISBN
1941:ISBN
1893:2021
1869:ISBN
1850:ISBN
1831:ISBN
1812:ISBN
1749:ISBN
1724:ISBN
1705:ISBN
1683:ISBN
1664:ISBN
1645:ISBN
1628:ISBN
1600:ISBN
692:and
667:and
556:and
537:The
482:The
373:").
362:Diet
275:and
269:MAVO
248:and
220:Name
142:and
134:and
572:,"
492:TBS
407:’s
342:in
298:in
65:in
2053::
1983:10
1981:.
1928:17
1926:.
1915:17
1913:.
1791:17
1789:.
1785:.
1747:.
1513:^
1340:^
1325:^
1286:^
1253:^
1238:^
1217:^
1190:^
1147:^
1048:^
1033:^
940:^
891:^
846:^
656:.
635:,
601:,
510:.
256:.
118:.
110:,
106:,
102:,
98:,
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26:,
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2023:.
2004:.
1972:.
1949:.
1895:.
1877:.
1858:.
1839:.
1820:.
1801:.
1757:.
1732:.
1713:.
1691:.
1672:.
1653:.
1636:.
1608:.
1460:.
1269:.
147:.
51:)
45:(
34:)
20:(
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