Tag Archives: post-war

Missing the Show and, Perhaps, the Point of Brunner

Threshold, 2011, Oil on canvas, 79 x 117

Frank Brunner and Michael De Kok; Bertand DeLaCroix; 535 West 25th Street, New York, NY 10001; June 9th, 2011 until July 14th, 2011

Threshold, 2011, Oil on canvas, 79 x 117

You may have missed the Frank Brunner and Michael De Kok exhibition (which ended July 14th) but you don’t have to miss the art. Specifically, I write of painting by Frank Brunner. Born in Norway, Brunner has shown globally … Continue reading »

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The World Is Super Flat: Ultimate Art (Part 3 of 3)–C’est fin! Yay!

Suiko, Eternity, Hiroshima (April 2007) Spray paint on wall.

The postwar (World War II) state of affairs of Japan dramatically paralleled the social postwar struggle during the Edo period; yet quite opposite of Edo-period concerns with national isolation, postwar Japan reflected upon globalization’s effect on Japanese identity. Due to the interrelations between nations, Japan’s feudal divisions between rural and urban areas weakened by closing the gap between incomes due to the American occupancy during the 1940s. Moreover, by the … Continue reading »

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The World Is Super Flat: Ultimate Art (Part 2 of 3)

Figure A: Ippitsussai Bunchô, Lovers Spied upon by a Little Boy, Yoshiwara, (c. 1770-80) Color woodcut

The ukiyo-e—translate to “pictures of the floating world” and are woodblock prints—exemplify an infamous Edo-period subversive art form due to their strong association to ukiyo, “floating world,” subject matter and premodern city life. Ippitsussai Bunchô’s (unsigned, due to the erotic subject matter, but attributed to Bunchô) colored woodcut entitled Lovers Spied upon by a Little Boy, circa 1770-80 portrays a highly-contrived, erotic scene delineating an intimate encounter between a girl … Continue reading »

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The World Is Super Flat: Ultimate Art (Part 1 of 3)

The formation of authentic identity has prevailed as a common goal in Japanese art since the Edo period; yet more specifically, the tension between an unfolding dichotomy of social axioms and dissident ideologies has rendered a subjacent art lineage, incongruent with politically-influenced commissions. Both periods’ subcultures offer a severe artistic approach countering enforced conformity, but each responds to a different political circumstance and technological advancement. In both periods, the usages … Continue reading »

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