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ニューヨークの猪熊弦一郎 : 1955年から1960年代半ばの造形の模索を中心に
https://doi.org/10.15027/0002040211
https://doi.org/10.15027/00020402114308dc72-fd1c-4a21-bdce-a726b76897fa
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
OubeiBunkaKenkyu_31_23.pdf (1 MB)
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| Item type | デフォルト(1) | |||||||||
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| 公開日 | 2025-03-26 | |||||||||
| タイトル | ||||||||||
| タイトル | ニューヨークの猪熊弦一郎 : 1955年から1960年代半ばの造形の模索を中心に | |||||||||
| 言語 | ja | |||||||||
| タイトル | ||||||||||
| タイトル | Genichiro Inokuma in New York: Experiments in Abstraction from 1955 to the mid-1960s | |||||||||
| 言語 | en | |||||||||
| 作成者 |
内山, 尚子
× 内山, 尚子
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| アクセス権 | ||||||||||
| アクセス権 | open access | |||||||||
| アクセス権URI | http://purl.org/coar/access_right/c_abf2 | |||||||||
| 権利情報 | ||||||||||
| 言語 | ja | |||||||||
| 内容記述 | ||||||||||
| 内容記述タイプ | Abstract | |||||||||
| 内容記述 | In late 1955, the Japanese painter and designer Genichiro Inokuma (1902–1993), who had already established his career in Japan as a Western-style modernist painter, left Tokyo and set up a studio in New York. Inokuma spent the following two decades in the New York art world, where Abstract Expressionism and consequent movements such as Neo-Dada and Pop Art prevailed. The famous Willard Gallery in New York represented his work from 1956. Inokuma’s personal relationships – inseparable from the US–Japan relations during the Cold War – led him to this fortune. Additionally, the growing interest in Asian culture was behind his works’ positive reception in the late 1950s. Notably, East Asian calligraphy captivated the New York art world in its search for advancing abstraction in art. Instead of settling for the status quo, however, Inokuma threw himself into the booming New York art world and actively pursued further new styles of painting. The repetitive patterns that signified Inokuma’s painting from the mid-1960s onwards suggest that his interactions with contemporary American artists influenced him to experiment with familiar materials such as the packaging of daily products. Subsequently, he revisited ‘abstraction’ beyond the 1950s calligraphy. By socio-culturally contextualising Inokuma’s works and practices from 1955 to the mid-1960s, this paper aims to consider Inokuma’s place within the diverse developments of post-war American art. | |||||||||
| 言語 | en | |||||||||
| 内容記述 | ||||||||||
| 内容記述タイプ | Other | |||||||||
| 内容記述 | 本稿準備段階で松下幸之助記念志財団より研究助成をいただきました（研究題目：「アメリカ在住初期の猪熊弦一郎のモダニズム：芸術の社会性と抽象的造形をめぐって」）。 | |||||||||
| 言語 | ja | |||||||||
| 出版者 | ||||||||||
| 出版者 | 広島大学大学院人間社会科学研究科欧米文化研究会 | |||||||||
| 言語 | ja | |||||||||
| 出版者 | ||||||||||
| 出版者 | The Association for the Research of European and American Cultures Graduate School of Humanities and Social Sciences Hiroshima University | |||||||||
| 言語 | en | |||||||||
| 言語 | ||||||||||
| 言語 | jpn | |||||||||
| 資源タイプ | ||||||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||||||
| 資源タイプ | departmental bulletin paper | |||||||||
| 出版タイプ | ||||||||||
| 出版タイプ | VoR | |||||||||
| 出版タイプResource | http://purl.org/coar/version/c_970fb48d4fbd8a85 | |||||||||
| ID登録 | ||||||||||
| ID登録 | 10.15027/0002040211 | |||||||||
| ID登録タイプ | JaLC | |||||||||
| 助成情報 | ||||||||||
| 助成機関識別子タイプ | Crossref Funder | |||||||||
| 助成機関識別子タイプURI | https://doi.org/10.13039/501100001691 | |||||||||
| 助成機関名 | 日本学術振興会 | |||||||||
| 言語 | ja | |||||||||
| 助成機関名 | Japan Society for the Promotion of Science | |||||||||
| 言語 | en | |||||||||
| 研究課題番号URI | https://kaken.nii.ac.jp/ja/grant/KAKENHI-PROJECT-23K12055/ | |||||||||
| 研究課題番号 | 23K12055 | |||||||||
| 研究課題名 | 抽象表現主義世代のエスニック・マイノリティ：異文化との出会いと「他者」への眼差し | |||||||||
| 言語 | ja | |||||||||
| 収録物識別子 | ||||||||||
| 収録物識別子タイプ | NCID | |||||||||
| 収録物識別子 | AN10583886 | |||||||||
| 書誌情報 |
ja : 欧米文化研究 en : Studies in European and American Cultures 巻 31, p. 23-40, ページ数 18, 発行日 2024-12-17 |
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| 見出し | ||||||||||
| 大見出し | 論文 | |||||||||
| 言語 | ja | |||||||||
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| 大見出し | Articles | |||||||||
| 言語 | en | |||||||||
