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Taro the Works of Taro Okamoto Fine Art Collection Kawasaki City Museum

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Japanese creative person (1911–1996)

Tarō Okamoto
Tarō Okamoto.jpg
Born (1911-02-26)Feb 26, 1911

Takatsu hamlet, Kawasaki, Kanagawa, Japan
Died January 7, 1996(1996-01-07) (aged 84)
Nationality Japanese
Known for Painting, Murals, Sculpture, Fine art theory
Movement Advanced

Tarō Okamoto ( 岡本 太郎 , Okamoto Tarō , February 26, 1911 – January seven, 1996) was a Japanese artist, fine art theorist, and author. He is particularly well known for his avant-garde paintings and public sculptures and murals, and for his theorization of traditional Japanese civilisation and avant-garde artistic practices.

Biography [edit]

Early life (1911–1929) [edit]

Taro Okamoto was the son of cartoonist Okamoto Ippei and writer Okamoto Kanoko. He was built-in in Takatsu, in Kawasaki, Kanagawa Prefecture.

In 1927, at the age of sixteen, Okamoto began to take lessons in oil painting from the artist Wada Eisaku. In 1929, Okamoto entered the Tokyo School of Fine Arts (today Tokyo University of the Arts) in the oil painting department.[i]

Time in Europe (1929–1940) [edit]

In 1929, Okamoto and his family unit accompanied his father on a trip to Europe to cover the London Naval Treaty of 1930. While in Europe, Okamoto spent time in holland, Belgium, and Paris, where he rented a studio in Montparnasse and enrolled in a lycée in Choisy-le-Roi. After his parents returned to Japan in 1932, he stayed on in Paris until 1940.[ane]

Much of Okamoto's formative education occurred during his stay in Paris. In 1932, he began attention classes at the Sorbonne, and enrolled in the literature department where he studied philosophy and specialized in aesthetics. He attended lectures on Hegelian aesthetics by Victor Basch.[one] In 1938, Okamoto, along with many other Parisian artists at the time, began studying ethnography nether Marcel Mauss, and he would afterwards utilize this ethnographic lens to his analysis Japanese culture.[1] [2] [iii]

Okamoto too began to plant himself as a painter in Paris, working with the Parisian avant-garde artists. He was inspired past Pablo Picasso'due south Pitcher and Bowl of Fruit (1931) which he saw at the Paul Rosenberg Gallery, and in 1932 he began successfully submitting his own paintings for exhibition at the Salon des surindépendants, for which he received some positive reviews. From 1933-1936, he was a fellow member of the group Abstraction-Création, and showed works in their exhibitions.[four] He participated in the French intellectual discussion group Collège de Sociologie and joined the secret lodge founded by Georges Bataille, Acéphale. His painting Itamashiki ude ("Wounded Arm") was notably included in the International Surrealist Exhibition in Paris in 1938.[5]

Okamoto met and befriended many prominent avant-garde fine art figures in Paris, including André Breton, Kurt Seligmann, Max Ernst, Pablo Picasso, Human Ray, Robert Capa and Capa's partner, Gerda Taro, who adopted Okamoto'due south starting time proper noun as her last name.[6]

Wartime (1940–1945) [edit]

Okamoto returned to Japan in 1940 considering his female parent had died, and because of the outbreak of World War Two. He found some artistic success in Nippon upon his return, winning the Nika Prize at the 28th Nika Fine art Exhibition in 1942. The aforementioned year, he also had a solo exhibition of works he had completed in Europe, at the Mitsukoshi section store in Ginza.[vii]

In 1942, Okamoto was drafted into the regular army as an artist tasked with documenting the war, and left for service in China.[eight] He returned to Japan in 1946 after spending several months in a prisoner-of-war camp in Chang'an. During his absence, his family home and all of his works were destroyed in an air raid.[7]

Postwar activity (1946–1996) [edit]

1946–1950 [edit]

Subsequently the war, Okamoto established a studio in Kaminoge, Setagaya, Tokyo. He became a member of the artist association Nika-kai ("Second Section" Club) in 1947 and began regularly showing works at the Nika Art Exhibition. He also began giving lectures on European mod art, and started publishing his own commentaries on modern art.[7] In 1948, he and the art critic Kiyoteru Hanada established the grouping Yoru no Kai ("Night Society"), whose members attempted to conjecture artistic expression after the war. It dissolved in 1949. Hanada and Okamoto and so founded the Abangyarudo Kenkyūkai ("Advanced Research Group") which mentored younger artists and critics such equally Tatsuo Ikeda, Katsuhiro Yamaguchi, and Yūsuke Nakahara. Eventually these groups inspired younger artists to intermission off and form their own avant-garde groups.[9]

1950–1969 [edit]

A prominent proper name in the art establishment, Okamoto began to accept a series of solo exhibitions in the 1950s, at such prestigious venues at the art galleries of Mitsukoshi department store in Nihonbashi, Tokyo, and the Takashimaya department store in Osaka. His work was included in the Japanese presentation at the 2nd São Paulo Bienal in 1953 and the 27th Venice Biennale in 1954.[x] Okamoto remained agile equally a Nika member, while likewise exhibiting in the non-jured, non-award-granting Yomiuri Indépendant Exhibition.

From the 1950s through the end of his career, Okamoto received numerous public commissions to create murals and large sculptures in Nihon, including government buildings, office buildings, subway stations, museums, and other locations. Notable examples included ceramic murals for the old Tokyo Metropolitan Office Building in Marunouchi, designed by Kenzō Tange and completed in 1956, and five ceramic murals for Tange'south Yoyogi National Gymnasium for the 1964 Tokyo Olympics.[11] [12]

During the 1950s, Okamoto theorized several key artful ideas that helped found his role as a public intellectual in Japanese guild.[8] First, he crafted his theory of "polarism" (taikyokushugi), the announcement of which he read at the opening of the Yomiuri Indépendant Exhibition in 1950.[13] In 1952, Okamoto published an influential article on Jōmon flow ceramics. This article was the beginning of a long date with prehistoric Japan, and his statement that Japanese aesthetics should have inspiration from the aboriginal Jōmon period helped change the public perception of Japanese culture.[8] He connected to write on Japanese tradition and became ane of the major thinkers agile in the reevaluation of Japanese tradition afterwards Earth War 2.[xiv] He afterwards traveled around Nihon in order to research the essence of Japanese civilization, and published Nihon Sai-hakken－Geijutsu Fudoki ("Rediscovery of the Japan－Topography of Art") (1962) and Shinpi Japan ("Mysteries in Nihon") (1964), amply illustrated by photographs he took during his enquiry trips. These works were an extension his ethnographic interest and taking his own photography helped provide stiff prove to his observations.

Every bit part of his travels effectually Japan, in 1959 and 1966, Okamoto visited Okinawa. He was struck by what he saw every bit the remnants of a simpler and more than indigenous life there. In 1961, he published Wasurerareta Nihon: Okinawa bunka-ron ("Forgotten Japan: On Okinawa culture"), which included many photographs from his trip. The book received the Mainichi Publication Culture Award.[15] Many of Okamoto's photographs revisited Okinawa subject matter already photographed by other Japanese photographers, such as Ihei Kimura and Ken Dōmon.[16] His interest in Okinawa may be seen as function of a larger modernistic Japanese interest in viewing Okinawa as a lingering repository of tradition, in dissimilarity with the rapidly modernizing Japanese chief islands.[17]

In 1967, Okamoto visited Mexico, where he worked on a major mural commission and filmed a programme for Japanese television entitled "The New World: Okamoto Tarō explores Latin America."[18] Okamoto was deeply inspired by Mexican painting and saw it as an avenue to refocus the attention of Japan'south art world away from Western countries. He imagined a partnership between Japanese and Mexican fine art worlds to launch a new, non-Western modern fine art aesthetic, and saw affinities between Japanese Jōmon culture and pre-Columbian art in United mexican states. Allusions to Mexican fine art would appear in his subsequent artworks.[19]

1970–1996 [edit]

Okamoto connected to travel, write and produce public art works in the 1970s. He also began to produce prints, experimenting with silkscreen and copperplate printing.

Okamoto'southward most notable achievement of the 1970s was his involvement with 1970 Nihon Globe Exposition in Osaka (Expo '70), for which he designed and produced the fundamental Theme Pavilion, which included a awe-inspiring sculpture entitled Tower of the Dominicus, an exhibition in and around the belfry, and two smaller towers.[20] The distinct appearance of Belfry of the Dominicus was influenced by Okamoto'due south groundwork in European Surrealism, involvement in Mexican art, and Jōmon ceramics. [21] The pavilion was visited by over ix million people during Expo '70, and is preserved today in the Expo Commemoration Park.[22]

Toward the end of his career, Okamoto began to receive many more solo exhibitions of his piece of work. In 1986, several of his early paintings were included in a major exhibition of Japanese advanced artists, Japon des Avant-Gardes 1910-1970 at the Centre Pompidou in Paris.[23] In 1991, his major works were donated to Kawasaki metropolis, and a museum in his laurels was opened in 1999, following his death in 1996.

Work [edit]

Artwork [edit]

Painting [edit]

Although very few of Okamoto's prewar paintings remain, during his early on career in Paris he was interested in brainchild and showed a number of works with the Abstraction-Création group. However, over time he grew dissatisfied with the limitations of pure abstraction, and began to include more representational imagery in his paintings. The completion of Itamashiki ude ("Wounded Arm"), which melded abstraction and representation, convinced Okamoto that he should leave the Abstraction-Création grouping and explore other modes of painting. Itamashiki ude, which seems to depict a young girl through the representation of an arm, shoulder, hair, and bright red bow, disturbingly includes no human head or body, and the arm itself defies expectation with abstract stripes of flesh and bubble gum pink tones. Although the work was celebrated past the Surrealists in Paris, Okamoto opted out of joining the group.[24]

Taro Okamoto, Tower of the Young Sunday, 1969. Installed in Nihon Monkey Park, Inuyama, Aichi Prefecture.

Okamoto's postwar paintings, similar his murals and public sculpture, continued to be informed by brainchild and Surrealism, only were also influenced by his theory of polarism, and past his discovery of prehistoric arts. The Law of the Jungle (1950), one of his near famous paintings, depicts a monstrous cherry-red fish-similar fauna with an enormous, zipper-shaped spine devouring a homo effigy.[25] Small-scale human and brute forms in vibrant chief colors surround the key creature, floating through the glowing green jungle setting. Many of the key features of this work – the mix of brainchild and surreal anthropomorphic forms, vibrant colors, and a flat picture aeroplane – continued in his paintings for the rest of his career.

Key murals and sculptures [edit]

During his trip to Mexico in 1967, Okamoto painted a 5.5 10 thirty-meter mural in oil on canvas, entitled Asu no shinwa ("Tomorrow's Myth"), for the Hotel de Mexico in Mexico metropolis by Manuel Suarez y Suarez that was being constructed for the 1968 Olympics.[26] The mural'due south subtitle is "Hiroshima and Nagasaki," and appropriately the painting illustrates a mural of nuclear destruction where a skeleton burns in blood-red and emits pointed white protrusions. Surrounding images insinuate to events of nuclear disaster, such equally the incident with Lucky Dragon #five.[27] The hotel was never completed and thus the mural was never installed or displayed. After being lost for thirty years in Mexico, on November 17, 2008, the landscape was unveiled in its new permanent location at Shibuya Station, Tokyo.[28]

Okamoto'southward Tower of the Sun became the symbol of Expo 'lxx in Osaka. Standing at 70 meters tall, the humanoid form was created in physical and sprayed stucco, with two horn-shaped arms, two round faces, and one golden metal confront fastened at its highest indicate. As a whole, it represents the past (lower function), nowadays (middle part), and futurity (the face) of the homo race. Visitors entered through the base of the sculpture and and then ascended through information technology in escalators next to the and so-chosen "Tree of Life," a sculptural tree displaying the evolution of creatures from archaic organisms toward more complex life forms. Visitors then exited through the arms of the sculpture.[29] Constructed not long after Okamoto'southward visit to Mexico, the projection was also inspired past pre-Columbian imagery. At the same time, the form of the tower resembled Jōmon figurines (dogū) and alluded to Cubist portraiture of Picasso.[xx] Different the apocalyptic Asu no shinwa ("Tomorrow's Myth"), the Tower ultimately had a more than positive message: the eclectic inspirations for its imagery suggested the possibility of a more global mod art, and Okamoto imagined the belfry and its surrounding plaza to facilitate a great gathering – rather than a great destruction – of people.[22]

Both Asu no shinwa and Tower of the Sunday display imagery that runs throughout much of Okamoto's public artworks. Works in a similar style include Wakai tōkeidai ("Young Clock Tower") (1966) in Ginza, Tokyo, Wakai taiyō no tō (Belfry of the Young Sunday) (1969) in Inuyama, Aichi prefecture, and Kodomo no ki ("Tree of Children") (1985) in Aoyama, Tokyo.

Fine art theory and writings [edit]

Polarism [edit]

Okamoto's idea of taikyokushugi (polarism) was born out of his attendance at lectures on Hegel while in Paris. He questioned dialectics and refused the notion of synthesis, believing rather that thesis and antithesis (polar opposites) could actually remain autonomously, resulting in permanent fragmentation rather than unity or resolution.[30] This theory, proposed soon after World War II, was in many ways an aesthetics that directly opposed the visual totality and harmony of Japanese wartime painting.[31] In terms of its awarding to art, Okamoto saw abstract painting as synthesis – information technology united color, motion, and the various senses into ane work. The Law of the Jungle (1950), yet, is permanently fragmented: individual elements are clearly described in line and color, but resist any identification, and float in the painted space without any connexion to ane another. In that location is also a strong tension between flatness and depth, clarity and obscurity, foreground and background, representational and abstract. Dawn (1948) and Heavy Industry (1949) are also thought to exist examples of polarism.[32]

Tradition and contemporary art [edit]

Okamoto's Jōmon theory has get i of the most influential theoretical contributions to 20th century Japanese aesthetics and cultural history.[33] The theory was first introduced in his seminal essay "Jōmon doki ron: Shijigen to no taiwa" ("On Jomon ceramics: Dialogue with the quaternary dimension"), published in Mizue magazine in 1952. Inspired past a trip to Tokyo National Museum, where he viewed earthenware ceramic vessels and dogū from the prehistoric Jōmon menses, the article argued for a complete rethinking of Japanese aesthetics.[34] Okamoto believed that Japanese aesthetics until that signal had been founded on the aesthetics of prehistoric Yayoi period ceramics, which were elementary, subdued, restrained, and refined. This foundation gave rise to the what many considered traditional Japanese aesthetic concepts, such as wabi-sabi. [35] [36] Past dissimilarity, the energetic, rough, and mysterious patterns and designs of Jōmon ceramics offered a dynamic, authentic expression that was missing from contemporary Japan. He argued that Japanese artists should pursue the same dynamic ability and mystery to fuel their own work, drawing inspiration from this more "primitive" civilisation of their ancestors.[37] Okamoto's understanding of Japanese aesthetics drew heavily from his ethnographic studies and encounters with Surrealism in Paris, only instead of exoticizing ethnographic objects, he used Jōmon objects specifically to construct a native theoretical basis for Japanese avant-garde artistic practices.[34]

Despite Okamoto'due south interest in prehistoric art, he did not abet for whatsoever straight preservation of the past in gimmicky art. His best-selling book Konnichi no geijutsu (The Art of Today), published in 1954, encouraged immature artists to destroy violently any past art systems and rebuild a Japanese fine art world equal to the Western art globe.[25] This could be seen as a way of advocating a class of Jōmon-style energy and expression.

Tarō Okamoto Memorial Museum in Aoyama, Tokyo

Collections and legacy [edit]

Much of Okamoto's work is held by the Tarō Okamoto Museum of Art in Kawasaki and the Tarō Okamoto Memorial Museum, which is housed in the creative person'southward old studio and home built by the architect Junzō Sakakura in 1954 in Aoyama, Tokyo. Both museums organize special exhibitions addressing key themes in Okamoto's oeuvre, such as Jōmon artifacts, Okinawa, and public artworks. Okamoto's works are besides held by the Solomon R. Guggenheim Museum, the National Museum of Modern Art, Tokyo, the National Museum of Modernistic Art, Kyoto, and the Museum of Modern Art, Toyama.

The Tarō Okamoto Award for Contemporary Art (TARO Accolade) was established in 1997 and is run past the Tarō Okamoto Museum of Art in Kawasaki. The accolade is given annually to immature gimmicky artists who are creating art of the adjacent generation, and who brandish the creativity and individuality he advocated for in The Art of Today (1954).[38]

Sources [edit]

  • Jonathan Reynolds, "Uncanny, Hypermodern Japaneseness: Okamoto Tarō and the Search for Prehistoric Modernism," in Allegories of time and space: Japanese identity in photography and architecture (Honolulu: University of Hawai'i, 2017), 54-85.
  • K. Yoshida, Avant-garde art and non-dominant idea in postwar Japan: image, matter, separation (New York: Routledge, Taylor & Francis Group, 2021).
  • Bert Winther-Tamaki, "To Put on a Big Face: The Globalist Opinion of Okamoto Tarō's Tower of the sun for the Japan World Exposition," Review of Japanese Civilization and Club Vol. 23 (2011): 81-101.
  • 川崎市岡本太郎美術館, ed. 岡本太郎の絵画 : 開館10周年記念展 = The Paintings of Tarō Okamoto. Kawasaki-shi: Kawasaki-shi Okamoto Tarō Bijutsukan, 2009.
  • Okamoto Tarō & Jonathan M. Reynolds (Translator), "On Jōmon Ceramics," Art in Translation 1:i (2009), 49-60, DOI: 10.2752/175613109787307645

Further reading [edit]

  • Taro Okamoto Museum of Fine art, Kawasaki (in English)
  • Taro Okamoto Memorial Museum (in Japanese)
  • Gendaigeijutsu Atelier (in Japanese)
  • Institute of Esthetic Research (in Japanese)
  • Taro Okamoto's grave (in English language)
  • 明日の神話保全継承機構 (in Japanese)

References [edit]

  1. ^ a b c d 川崎市岡本太郎美術館, ed. (2009). 岡本太郎の絵画 : 開館10周年記念展 = The Paintings of Taro Okamoto. Kawasaki-shi: Kawasaki-shi Okamoto Tarō Bijutsukan. p. 217.
  2. ^ Isozaki, Arata (1994). "As Witness to Postwar Japanese Fine art". In Munroe, Alexandra (ed.). Japanese art after 1945 : scream against the heaven. 横浜美術館., Yokohama Bijutsukan, Solomon R. Guggenheim Museum, San Francisco Museum of Modern Fine art, 横浜美術館. New York: H.N. Abrams. p. 28. ISBN0-8109-3512-0. OCLC 29877932.
  3. ^ Reynolds, Jonathan One thousand. (2015). "Uncanny, Hypermodern Japaneseness: Okamoto Tarō and the Search for Prehistoric Modernism". Allegories of time and space : Japanese identity in photography and architecture. Honolulu. p. 56. ISBN978-0-8248-3924-6. OCLC 881146141.
  4. ^ Keinosuke Murata, "The Painter Taro," in 岡本太郎の絵画 : 開館10周年記念展 = The Paintings of Taro Okamoto, 154.
  5. ^ Okubo, Kyoko (2020). "The Reception of Primitivisme in Japan: the Soapbox of Taro Okamoto". The Periodical of Asian Arts & Aesthetics. 6: 3. doi:ten.6280/JAAA.202005_(vi).0001.
  6. ^ "Okamoto Taro: Nuclear Proliferation, Tradition, and "The Myth of Tomorrow". (D. Wood & A. Takahashi - Kyoto Journal #77.)
  7. ^ a b c 岡本太郎の絵画 : 開館10周年記念展 = The Paintings of Taro Okamoto, 218.
  8. ^ a b c Tarô, Okamoto; Reynolds, Jonathan Thousand. (2009). "On Jômon Ceramics". Art in Translation. 1 (1): 50. doi:10.2752/175613109787307645. ISSN 1756-1310. S2CID 192016222.
  9. ^ Yoshida, Ken (2012). "Artists' Groups and Collectives in Postwar Nihon". From postwar to postmodern : art in Japan 1945-1989 : master documents. Kenji Kajiya, Fumihiko Sumitomo, Michio Hayashi, Doryun Chong. New York: The Museum of Modern Fine art. pp. 39–40. ISBN978-0-8223-5368-3. OCLC 798058346.
  10. ^ 岡本太郎の絵画 : 開館10周年記念展 = The Paintings of Taro Okamoto, 220.
  11. ^ Nakajima, Masatoshi (2012). "Tokyo 1955-1970: A New Avant-garde Chronology". In Chong, Doryun (ed.). Tokyo, 1955-1970 : a new avant-garde. Michio Hayashi, Mika Yoshitake, Miryam Sas, Yuri Mitsuda, Masatoshi Nakajima, Nancy Lim. New York: Museum of Modern Art. p. 183. ISBN978-0-87070-834-3. OCLC 794365569.
  12. ^ 岡本太郎の絵画 : 開館10周年記念展 = The Paintings of Taro Okamoto, 221, 224.
  13. ^ 岡本太郎の絵画 : 開館10周年記念展 = The Paintings of Taro Okamoto, 219.
  14. ^ Munroe, Alexandra (1994). "Circle: Modernism and Tradition". In Munroe, Alexandra (ed.). Japanese art after 1945 : scream confronting the sky. 横浜美術館., Yokohama Bijutsukan, Solomon R. Guggenheim Museum, San Francisco Museum of Modern Art, 横浜美術館. New York: H.N. Abrams. p. 128. ISBN0-8109-3512-0. OCLC 29877932.
  15. ^ Nakajima, Masatoshi (2012). "Tokyo 1955-1970: A New Advanced Chronology". In Chong, Doryun (ed.). Tokyo, 1955-1970 : a new avant-garde. Michio Hayashi, Mika Yoshitake, Miryam Sas, Yuri Mitsuda, Masatoshi Nakajima, Nancy Lim. New York: Museum of Modern Art. p. 186. ISBN978-0-87070-834-3. OCLC 794365569.
  16. ^ Reynolds, Jonathan M. (2015). "Paradise Lost: Paradise Regained: Tōmatsu Shōmei's Photographic Engagement with Okinawa". Allegories of time and space : Japanese identity in photography and architecture. Honolulu. pp. 141–142. ISBN978-0-8248-3924-six. OCLC 881146141.
  17. ^ Reynolds, Jonathan M. (2015). "Paradise Lost: Paradise Regained: Tōmatsu Shōmei's Photographic Appointment with Okinawa". Allegories of time and space : Japanese identity in photography and compages. Honolulu. p. 143. ISBN978-0-8248-3924-6. OCLC 881146141.
  18. ^ Winther-Tamaki, Bert (2011). "To Put On A Big Face: The Globalist Stance of Okamoto Tarō'due south Tower of the Sun for the Japan World Exposition". Review of Japanese Culture and Society. 23: 81–v. ISSN 0913-4700. JSTOR 42801089.
  19. ^ Winther-Tamaki, "To Put on a Big Face: The Globalist Stance of Okamoto Tarō's Tower of the dominicus for the Japan Globe Exposition," 85-86.
  20. ^ a b Winther-Tamaki, "To Put on a Big Face up: The Globalist Stance of Okamoto Tarō's Tower of the sun for the Nippon World Exposition," 82.
  21. ^ Winther-Tamaki, "To Put on a Big Face up: The Globalist Opinion of Okamoto Tarō'south Belfry of the sunday for the Japan Earth Exposition."
  22. ^ a b Winther-Tamaki, "To Put on a Big Face: The Globalist Stance of Okamoto Tarō'due south Belfry of the sun for the Nippon World Exposition," 97.
  23. ^ 岡本太郎の絵画 : 開館10周年記念展 = The Paintings of Tarō Okamoto, 229.
  24. ^ Takeshi Sakai, "Towards a Primordial Life – Taro Okamoto in the 1930s," in 岡本太郎の絵画 : 開館10周年記念展 = The Paintings of Taro Okamoto, 156.
  25. ^ a b Munroe, Alexandra (1994). "Morphology of Revenge: The Yomiuri Indépendant Artists and Social Protest Tendencies in the 1960s". Japanese art after 1945 : scream against the heaven. 横浜美術館., Yokohama Bijutsukan, Solomon R. Guggenheim Museum, San Francisco Museum of Modern Fine art, 横浜美術館. New York: H.N. Abrams. pp. 155–156. ISBN0-8109-3512-0. OCLC 29877932.
  26. ^ "Instalan en Tokio mural de Okamoto perdido 30 anos en United mexican states". (Consultado el 10 de Agosto de 2010.)
  27. ^ Winther-Tamaki, "To Put on a Big Face: The Globalist Opinion of Okamoto Tarō's Belfry of the sunday for the Japan World Exposition," 95.
  28. ^ "Once lost Okamoto masterpiece to exist displayed at Shibuya station". TokyoReporter. 2008-10-xx. Retrieved 2021-06-04 .
  29. ^ Winther-Tamaki, "To Put on a Large Face up: The Globalist Stance of Okamoto Tarō'south Tower of the sun for the Nippon World Exposition," 81.
  30. ^ Yoshida, Yard. (2021). Avant-garde art and nondominant idea in postwar Japan : image, affair, separation. Abingdon, Oxon. p. 24. ISBN978-1-000-21728-5. OCLC 1224193801.
  31. ^ Yoshida, M. (2021). Advanced art and nondominant idea in postwar Japan : image, matter, separation. Abingdon, Oxon. pp. 28–34. ISBN978-i-000-21728-5. OCLC 1224193801.
  32. ^ "The Guggenheim Museums and Foundation". The Guggenheim Museums and Foundation . Retrieved 2021-06-04 .
  33. ^ Winther-Tamaki, "To Put on a Big Face: The Globalist Stance of Okamoto Tarō's Belfry of the sun for the Japan World Exposition," 86.
  34. ^ a b Reynolds, "Uncanny, Hypermodern Japaneseness: Okamoto Tarō and the Search for Prehistoric Modernism," in Allegories of time and space, 55.
  35. ^ Reynolds, "Uncanny, Hypermodern Japaneseness: Okamoto Tarō and the Search for Prehistoric Modernism," in Allegories of fourth dimension and space, 64-65.
  36. ^ Watanabe, Shinya (2011-04-xv). "In that location are oppositions that concenter". The Japan Times . Retrieved 2021-06-04 .
  37. ^ Reynolds, "Uncanny, Hypermodern Japaneseness: Okamoto Tarō and the Search for Prehistoric Modernism," in Allegories of time and infinite, 68.
  38. ^ "第24回TARO賞は大西茅布に決定。高校3年生、史上最年少受賞". 美術手帖 (in Japanese). Retrieved 2021-06-04 .

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