329:, Yoshiaki Tōno, and Tamon Miki immediately protested these new restrictions, calling them "very troubling for freedom of expression," but to no avail. The artists themselves also protested, and police had to be called in to physically remove a group of artists dancing outside the museum in their underwear in protest. Artists also simply ignored the restrictions, and the 1963 edition of the exhibition (which proved to be the last) featured, among other forbidden objects, a bath bucket filled with water, knives, glass fragments, loud and raucous use of a
288:, a younger, unestablished artist at that time, initially submitted works to Nihon Indépendant, but felt increasingly unwelcome there amidst pressure to conform to socialist realist artistic orthodoxy. Although Akasegawa and other artists initially resisted submitting to the Yomiuri Indépendant because its corporate sponsorship by a major mainstream newspaper represented an affiliation with capitalism that was unpalatable to many artists, the narrow orthodoxy of the Nihon Indépendant made the Yomiuri Indépendant their only remaining choice. Artist
358:
objective of democratizing the art world had been achieved; by 1964, the
Japanese art world was a vastly different space than it had been in the 1950s, one fundamentally more welcoming to avant-garde art. Indeed, the artists had little trouble finding alternative venues to display the works they had prepared for the 1964 Yomiuri Indépendant, showing them in a host of new, small-scale museums, galleries, and exhibitions that had cropped up in recent years.
300:” until finally the objects escaped the picture frame entirely and “slipped free of the canvas to stand proudly on the floor.” By 1958, the traditional artists had abandoned the exhibition, leaving behind radical new forms of painting, bizarre assemblages of found objects, and strange installations. By 1959, the art critic Tamon Miki declared that the Yomiuri Indépendant gave him "the feeling of a performance space rather than of an exhibition site."
321:
banning a number of objects and artworks from its premises, including certain types of nude photographs deemed obscene, swords and other weapons, foodstuffs that might smell or rot, works producing loud noises, and artworks using water, sand, gravel or other materials that were damaging the museum floors and walls. Art critics including
348:
suddenly announced that it was terminating its sponsorship of the exhibition, and when no new sponsor stepped forward, the
Yomiuri Indépendant came to an end after 15 years of annual shows. In announcing the termination, the newspaper declared the exhibition's mission fully accomplished, stating, "We
366:
Although short-lived, the
Yomiuri Indépendant provided exposure and notoriety to a generation of younger artists who would later go on to achieve renown in both Japan and overseas. It also provided a space for these artists to network with each other, contributing to the formation of a number of art
353:
have concluded our sponsorship with last year's exhibition." The newspaper had clearly concluded that it had milked the exhibition for as much positive public relations value as it could, and that continuing the exhibition amid anger from museum officials and complaints from museum visitors in fact
255:
relented and changed the name to "Yomiuri Indépendant," at which time the problem of the two rival "Nihon Indépendant" exhibitions was finally resolved. Around this same time, artists began to affectionately nickname the show the "Yomiuri Anpan." "Anpan" was an abbreviation of "Andepandan," but also
320:
that consisted of a pile of actual garbage. During the 1962 event, museum curators summarily removed artist Ushio
Nakazawa's vinyl bag of red ink, over which visitors were supposed to walk and thereby "create art" by tracking red ink all over the museum. Later that year, the museum issued an edict
295:
For many of these younger artists, the two weeks of the
Yomiuri Indépendant constituted the premier event of the year, and they would spend much of the rest of the year preparing to showcase their creativity and hopefully one-up their peers in terms of daring and audacity. Akasegawa later recalled
357:
Many artists were stunned by the last-minute cancellation. Akasegawa noted ironically that by deliberately violating the museum's rules, "the unconscious destructive energy of the artworks had destroyed the space itself." Nevertheless, the
Yomiuri was not incorrect in noting that the original
276:
In the late 1950s, it was still extremely difficult for unestablished younger artists to have their artworks shown in public venues. Access to galleries and exhibitions was restricted by selection committees dominated by established art societies that often screened entries in accordance with
147:
has called the
Yomiuri Indépendant "the chief vehicle of postwar democracy for young visual artists in Japan who lacked connections with the clubby fine arts establishment" and "a bazaar of new ideas and materials." Among artists who exhibited artworks at the Yomiuri Indépendant included
272:
In the early years, the works shown at the exhibition tended to be rather conventional paintings submitted by older, well-established artists and artistic amateurs. However, in the second half of the 1950s, the exhibition gradually transformed into an artistic revolutionary space.
395:, as well as a group of art critics, art collectors, and gallery owners willing to accept, promote and patronize these artworks and artists. In these ways, the Yomiuri Indépendant played a crucial role in the emergence of postwar avant-garde art in Japan.
296:
how in the final years of the 1950s, a sort of competition emerged at the
Yomiuri Indépendant to see whose “painting” could extrude most from the surface of the canvas. First the artists used sand, then glass and nails, and then larger and larger “
281:, reflecting its close association with the Communist Party and prevailing art trends at the time, leaving Yomiuri Indépendant as one of the only choices for aspiring young artists outside of the socialist realist mainstream to show their work.
292:
later recalled, "We entered our works into the
Yomiuri Indépendant because that was the only place we could show them. There were hardly any museums or galleries in those days, and no patrons."
344:
Barely a month before the 1964 Yomiuri Indépendant was scheduled to open, amid rumors that the upcoming artworks would be even wilder and more bizarre than ever before, the
232:
newspaper hoped that by sponsoring the exhibition the paper would harvest positive public relations and distance itself from the paper's recent collaboration with
208:
newspaper in 1949 in an effort to "democratize the art world" and foster free thinking and free expression. The mastermind behind the exhibition was journalist
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personal connections and ideologically-driven standards. Among the two independent, unjuried exhibitions at that time, the Nihon Indépendant was dominated by
312:
began to balk at some of the more extreme artworks submitted to the
Yomiuri Indépendant. In 1958, the Exhibition saw its first rejected artwork, when the
216:
s Culture Section. Kaidō detested the prewar hierarchy in Japanese fine art, in which small cliques of artists and art critics known informally as the
209:
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114:, affectionately nicknamed "Yomiuri Anpan," was a famously permissive, unjuried, free-to-exhibit art exhibition held annually in
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and selectively advanced the careers of chosen protégés while blocking the paths of others. For its part, the management of the
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believe the time has come for artists to manage their own affairs. Confident that we've attained our objectives, we of the
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251:), which used the same name for its own exhibition. Finally in 1957, the
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Originally, the exhibition was called the Nihon Indépendant Exhibition (
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Money, Trains, and Guillotines: Art and Revolution in 1960s Japan
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Japan at the Crossroads: Conflict and Compromise after Anpo
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The Yomiuri Indépendant Exhibition was established by the
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and played an important role in the emergence of postwar
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494:(Interview) (in Japanese). Interviewed by Yuko Ikegami.
490:[Nobuaki Kojima Oral History October 04, 2014].
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243:), but this title was vigorously protested by the
256:a deliberate pun on sweet red bean buns, called "
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776:. Durham, North Carolina: Duke University Press.
787:Japanese Art After 1945: Scream Against the Sky
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789:. New York: Harry N. Abrams. pp. 149–163.
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767:. Oxford: Wiley Blackwell. pp. 111–145.
383:. It fostered the emergence of new forms of
748:. Cambridge, MA: Harvard University Press.
816:. New Brunswick: Rutgers University Press.
128:newspaper, the exhibition was held at the
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492:Oral History Archives of Japanese Art
488:"日本美術オーラル・ヒストリー・アーカイヴ/小島信明オーラル・ヒストリー"
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316:group tried to display a work called
234:Japan's authoritarian wartime regime
122:from 1949 to 1963. Sponsored by the
16:Japanese arts exhibition, 1949-1963
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224:such as the government-sponsored
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379:, Zero Dimension, Jikan-ha, and
308:Over time the management of the
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843:1964 disestablishments in Japan
797:Contemporary Art History: Japan
729:. University of Hawai'i Press.
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97:Yomiuri Indépendant Exhibition
22:Yomiuri Indépendant Exhibition
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486:Nobuaki Kojima (2015-11-01).
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310:Tokyo Metropolitan Art Museum
130:Tokyo Metropolitan Art Museum
51:Tokyo Metropolitan Art Museum
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781:Munroe, Alexandra (1994). "
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812:Yoshimoto, Midori (2005).
765:A Companion to Digital Art
772:Marotti, William (2013).
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833:Art exhibitions in Japan
34:Unjuried art exhibition
109:Yomiuri Andepandan Ten
783:Morphology of Revenge
245:Japan Communist Party
744:Kapur, Nick (2018).
337:, bean sprouts, and
241:Nihon Andepandan Ten
723:Havens, Thomas R.H.
708:, pp. 194–196.
623:, pp. 143–144.
611:, pp. 115–116.
457:, pp. 143–144.
369:Neo-Dada Organizers
268:Revolutionary space
190:Katsuhiro Yamaguchi
170:Natsuyuki Nakanishi
222:juried exhibitions
212:, a member of the
279:socialist realism
226:Nitten Exhibition
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318:Garbage Artwork
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304:Cancellation
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182:Mitsuko Tabe
174:Tarō Okamoto
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81:Organized by
694:Havens 2006
663:Munroe 1994
573:Havens 2006
455:Havens 2006
440:Havens 2006
210:Hideo Kaidō
134:avant-garde
73:Most recent
65:Inaugurated
47:Location(s)
827:Categories
803:August 28,
706:Kapur 2018
636:Kapur 2018
501:2021-10-02
474:Kapur 2018
399:References
331:steel drum
143:Historian
140:in Japan.
103:読売アンデパンダン展
25:読売アンデパンダン展
404:Citations
373:Kyūshū-ha
314:Kyūshū-ha
166:Kyūshū-ha
89:newspaper
39:Frequency
725:(2006).
385:anti-art
262:Japanese
214:Yomiuri'
389:pop art
253:Yomiuri
230:Yomiuri
168:group,
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391:, and
371:, the
362:Legacy
192:, and
164:, the
42:Annual
260:" in
258:anpan
218:Gadan
120:Japan
116:Tokyo
59:Japan
55:Tokyo
31:Genre
805:2021
750:ISBN
731:ISBN
339:tofu
335:udon
136:and
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76:1963
68:1949
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