Editor: Kenji Kajiya
Publisher: University of Tokyo Press
Language: Japanese
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From modernist art criticism to the spread of interior design
Helen Frankenthaler, Maurice Lewis, Kenneth Noland, Jules Olitsky , Frank Stella, and other five representative painters of color field painting, which flourished in the United States in the mid-20th century, and carefully deciphered contemporary exhibition reviews, criticism, and discourse on art trends, and explored their relationship with 20th-century American culture. Reveal rich relationships.
Table of Contents
Introduction Toward a new start
Chapter 1 Relationship with modernist art criticism - From teaching to collaboration
1 Color field painters and modernism Art Critic
2 Clement Greenberg and Michael Fried
3 Changes in Greenberg's Art Criticism
Chapter 2 Interpretation through various art criticisms - Focusing on exhibition reviews of solo exhibitions
1 Helen Frankenthaler
2 Maurice Lewis
3 Kenneth Noland
4 Jules Olitsky
5 Frank Stella
Chapter 3 Along with the art of the 1960s- -Pop Art, Op Art, Minimal Art
1 Contemporary exhibitions and criticism
2 Common interest in non-composition
3 Minimalist interest in color field painting
Chapter 4 In American Culture: Product Design, Reproduction Media, and Interior Design
1 Connection with concrete images and objects
2 Comparison with experience in reproduction technology
3 Role as interior designConclusion Liberation of Painting
Chapter 1 Relationship with modernist art criticism - From teaching to collaboration
1 Color field painters and modernism Art Critic
2 Clement Greenberg and Michael Fried
3 Changes in Greenberg's Art Criticism
Chapter 2 Interpretation through various art criticisms - Focusing on exhibition reviews of solo exhibitions
1 Helen Frankenthaler
2 Maurice Lewis
3 Kenneth Noland
4 Jules Olitsky
5 Frank Stella
Chapter 3 Along with the art of the 1960s- -Pop Art, Op Art, Minimal Art
1 Contemporary exhibitions and criticism
2 Common interest in non-composition
3 Minimalist interest in color field painting
Chapter 4 In American Culture: Product Design, Reproduction Media, and Interior Design
1 Connection with concrete images and objects
2 Comparison with experience in reproduction technology
3 Role as interior designConclusion Liberation of Painting
Kenji Kajiya
Born in 1971. Professor, Graduate School of Arts and Sciences, University of Tokyo. Representational culture theory/modern art history. He graduated from the College of Liberal Arts, University of Tokyo. He completed a doctoral program at the New York University Graduate School of Fine Arts. PhD (Art History). His co-editors include Keiji Usami: The Revived Painter (University of Tokyo Press, 2021), and From Postwar to Postmodern, Art in Japan 1945–1989: Primary Documents (New York: Museum of Modern Art, 2012). Co-authored “Color Field: Swimming in a Sea of Colors” (DIC Kawamura Memorial Museum of Art, 2022), “Regional Art Aesthetics/Systems/Japan” (Horinouchi Publishing, 2016), “Mark Rothko” (Tankosha, 2009) , American Art in Asia: Artistic Praxis and Theoretical Divergence (London: Routledge, 2022). Co-translated by Yves-Alain Bois and Rosalind Krauss, Inform: Dictionary of the Intangible (Monday Publishing, 2011).