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Tokyo Memories of Rauschenberg

These two texts, one by a well-known artist, the other by an eminent critic—both Tokyoites—, first appeared in Japanese in 1963 and 1968, respectively. Each provides a colorful account of interactions between artists from Tokyo and New York in the ’60s, and both present Japanese reflections on American art at that time. Here the texts accompany essays newly commissioned by post from Hiroko Ikegami and Abigail Sebaly.

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Screen shot 2014 08 27 at 3.04.27 pm

Shinohara Ushio 篠原有司男

Artist Shinohara Ushio (born 1932, Tokyo) was a founding and lead member of the group Neo Dada (active 1960) in Japan. Par of the Anti-Art generation in Japan, Shinohara... Read more »
Tono yoshiake4

Tono Yoshiaki

Critic Yoshiaki Tōno (1930–2005) was part of a young group of critics that debuted in the 1950s. They followed a shift in art criticism begun by established intellectuals such as... Read more »
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Tokyo Memories of Rauschenberg

These two texts, one by a well-known artist, the other by an eminent critic—both Tokyoites—, first appeared in Japanese in 1963 and 1968, respectively. Each provides a colorful account of interactions between artists from Tokyo and New York in the ’60s, and both present Japanese reflections on American art at that time. Here the texts accompany essays newly commissioned by post from Hiroko Ikegami and Abigail Sebaly.

Show More

These two texts, one by a well-known artist, the other by an eminent critic—both Tokyoites—, first appeared in Japanese in 1963 and 1968, respectively. Each provides a colorful account of interactions between artists from Tokyo and New York in the ’60s, and both present Japanese reflections on American art at that time. Here the texts accompany essays newly commissioned by post from Hiroko Ikegami and Abigail Sebaly.

Source contents

The Way to Avant-Garde (excerpt)

Translated by Marie Iida

Appearing in a Public Interview

Robert Rauschenberg, the greatest of all the greats, the most important young master of the postwar avant-garde art world, who earned America its first Grand Prize in a dramatic upset at the 1964 Venice Biennale, arrived in Japan as the art director [sic] of the Merce Cunningham Dance Company near the end of that same year. On this...

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Rauschenberg's Combine Statement

Translated by Marie Iida

Dear Tono,

I’ve enclosed my manuscript. I hope it reaches you in time. Right now, along with Merce [Cunningham], John [Cage], David [Tudor], and the dancers, I am riding on a Volkswagen bus. Everyone says hello. We are touring through the land of cowboys and Indians. I’m sure no one will be able to translate this manuscript. Please, do not revise or change it in any...

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前衛の道摘録

公開質問会に出場する

大物中の大物、一九六四年のベネチア・ビエンナーレでの劇的逆転ホーマーで大賞をさらい、アメリカに初めてグランプリをもたらした戦後前衛画壇最大の若き巨匠ロバート・ラウシェンバーグが、ダンスのマース・カニングハムの美術監督として来日したのは、その年の年末近くだった。そして、それを機会に「ラウシェンバーグへの公開質問会」が開催された。

東京赤坂の草月会館ホールに集まった五百人あまりの、飢え切った育ち盛りの日本画壇予備軍の前で、オレンジ割りのウィスキーをがぶ飲みしながら、女性を混じえた三人のアシスタントといっしょに、ラウシェンバーグはどこから引っぱり出したのか日本人のぼくらもあまりお目にかかったことのない、伝統的日本画のタブローである六曲一双の金屏風に、ドリルを使って汗だくで挑戦中だ。

昭和三十九年一月、「反芸術、是か非か」...

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