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Uniform titel Chō geijutsu Tomason. English
Utgivning, distribution etc. 2009
New York : Kaya Press : Distributed by D.A.P./Distributed Art Publishers, 2009.
Utgivningsår
DDC klassifikationskod (Dewey Decimal Classification)
SAB klassifikationskod
Fysisk beskrivning 401 pages illustrations 17 cm
Anmärkning: Bibliografi etc. Includes bibliographical references.
Anmärkning: Innehållsbeskrivning, sammanfattning "In 1970s Tokoyo, artist Genpei Akasegawa and his friends began noticing architectural objects around the city which, though carefully maintained, served no apparent purpose, aesthetic or otherwise. The called these objects "Thomassons" after an America slugger who was recruited by a Japanese baseball team but whose bat rarely connected with the ball." "Through a series of magazine articles, Akasegawa exhorted the Japanese public to seek out, photograph, and send in reports about the Thomassons they found. The result was a popular, participatory art exploration that went on to become a cult hit in Japan." --Book Jacket.
Term
Geografiskt namn
ISBN
Antal i kö:
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*037 $bDistributed Art Pub Inc, C/O Perseus Distribution 193 Edwards Dr, Jackson, TN, USA, 38301$nSAN 631-760X
*040 $aKo$beng$cYUS
*0411 $aeng$hjpn
*043 $aa-ja---
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*1001 $6880-01$aAkasegawa, Genpei.
*24010$aChō geijutsu Tomason.$lEnglish
*24510$aHyperart :$bThomasson /$cby Genpei Akasegawa ; translated from the Japanese by Matthew Fargo ; with essays by Matthew Fargo, Reiko Tomii, Jordan Sand.
*264 1$c2009
*264 1$aNew York :$bKaya Press :$bDistributed by D.A.P./Distributed Art Publishers,$c2009.
*300 $a401 pages$billustrations$c17 cm
*336 $atext$btxt$2rdacontent
*337 $aunmediated$bn$2rdamedia
*338 $avolume$bnc$2rdacarrier
*340 $b17 cm
*504 $aIncludes bibliographical references.
*520 $a"In 1970s Tokoyo, artist Genpei Akasegawa and his friends began noticing architectural objects around the city which, though carefully maintained, served no apparent purpose, aesthetic or otherwise. The called these objects "Thomassons" after an America slugger who was recruited by a Japanese baseball team but whose bat rarely connected with the ball." "Through a series of magazine articles, Akasegawa exhorted the Japanese public to seek out, photograph, and send in reports about the Thomassons they found. The result was a popular, participatory art exploration that went on to become a cult hit in Japan." --Book Jacket.
*599 $aImported from: zcat.oclc.org:210/OLUCWorldCat (Do not remove)
*650 7$aArkitektur i konsten$2sao$0https://id.kb.se/term/sao/Arkitektur%20i%20konsten
*650 0$aCuriosities and wonders$zJapan.
*650 7$aCuriosities and wonders.$2fast
*650 0$aArchitecture in art
*651 7$aJapan.$2fast
*7001 $aFargo, Matt.
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*8801 $6100-01$a赤瀬川源平.
*88010$6240-00$a超芸術トマソン.$lEnglish
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In the 1970s, estranged from the institutions and practices of high art, avant-garde artist and award-winning novelist Genpei Akasegawa launched an open-ended, participatory project to search the streets of Japan for strange objects which he and his collaborators labeled "hyperart," codifying them with an elaborate system of humorous nomenclature. Along with "modernologists" such as the Japanese urban anthropologist Kon Wajiro and his European contemporary, Walter Benjamin, Akasegawa is part of a lineage of modern wanderers of the cityscape. His work, which has captured the imagination of Japan, reads like a comic forerunner of the somber mixed-media writings of W.G. Sebald, and will appeal to all fans of modern literature, art, artistic/social movements and writing that combines visual images and text in the exploration of urban life. Matthew Fargo's first U.S. translation of Akasegawa's hilarious, brilliantly conceived exercise in collective observation is accompanied by essays from noted scholars Jordan Sand and Reiko Tomii.