225:("Annual Eclipse"), and at exhibitions of the Pan-Real Art Association. He participated in the establishment of the Seinen Sakutōka Shudan (Young Pottery-makers' Collective) in 1946, a group that sought to establish new expressions in pottery appropriate to postwar society. The collective organized three group exhibitions before disbanding in 1948. Yagi was also involved in avant-garde art activities outside of pottery and ceramics – for example, he was a founding member of the
547:, a wood-ash-based glaze that is fairly translucent but congeals into brown beads and rivers across the surface of the object. In Kyoto pottery circles, this was considered a low-grade, coarse, and cheap type of glaze. Yagi's effort to use traditional ceramic materials in new ways may also be seen as part of a larger effort to re-examine the role and form of Japanese traditional arts in the early postwar period.
569:(folk art) ceramics and the craft movement, which was inextricably linked to the nationalist ideologies driving Japanese militarism of the 1930s and 1940s. By aligning ceramics with the arts in the postwar period, Yagi and others were able to push the boundaries of what constituted "pottery". This push was equally driven by exposures to new developments in European and American art during the
129:(Kyoto ceramic wares). Issō was an early reformer of pottery, asserting the potential of ceramics to be a form of art. Perhaps for this reason, Yagi was sent to take classes in sculpture. In 1937 he graduated from the sculpture program at Kyoto Shiritsu Bijutsu Kōgei Gakkō (Kyoto City School of Art and Craft, today
221:, Yagi left his teaching job and devoted himself again to ceramics. His works were exhibited at the second and third Nihon Bijutsu Tenrankai ("Nitten", the government-sponsored salon exhibition). He also exhibited works at the annual Kyoto Municipal Exhibition ("Kyōten"), winning an award for his work
467:
members were at the forefront of a major change in the
Japanese pottery world: the shift from ceramics as objects used in everyday life, to objects displayed at exhibitions and rarely handled. Although ceramics were originally excluded from the Nitten exhibition, by Yagi's lifetime they were included
313:
periods with abstract sculpture. His ability to create sculpture with clay as a synthesis of
Japanese and Western aesthetics encouraged Yagi's own aspirations to push ceramics in new directions. However, unlike Noguchi who was merely using clay as a medium, Yagi did not aspire to completely destroy
253:
language to declare its radical goals for ceramics, proclaiming: "We are united not to provide a 'warm bed of dreams', but to come to terms with our existence in broad daylight." As a group, they vowed to stop referencing older models of pottery, and to stop submitting their works to the NItten and
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that stands vertically on a number of small, pipe-like legs that recall the eponymous cockroach. Because of its vertical orientation, there was no clear function or use for the object. And although Yagi made use of the pottery wheel to create the primary ring of clay and the pipes, he
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372:
colleague Yamada founded Mon Kōbō (Corner
Workshop), an industrial design business where they designed functional ceramic objects intended for mass production. The designs were painted with clock gears dipped in black pigment painted over white slip, recalling Chinese
1095:
https://assets.moma.org/documents/moma_press-release_326476.pdf?_ga=2.252000331.355675806.1628115577-2007352764.1627004696&_gac=1.180544085.1628178016.CjwKCAjwmK6IBhBqEiwAocMc8sxm59R5io1Be4syvo3-N35lNrvNjgpxdwearwBbnBOFwsBwpgyQdRoC0nwQAvD_BwE
1218:
https://assets.moma.org/documents/moma_press-release_325774.pdf?_ga=2.15684468.355675806.1628115577-2007352764.1627004696&_gac=1.92483311.1628178016.CjwKCAjwmK6IBhBqEiwAocMc8sxm59R5io1Be4syvo3-N35lNrvNjgpxdwearwBbnBOFwsBwpgyQdRoC0nwQAvD_BwE
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was considered extremely radical at the time, because it questioned the very basis of ceramic objects. Yagi also introduced other experimental ceramic methods later in his career, such as burnishing his pottery objects black (so-called
413:
members, including Yagi, primarily experimented with ways in which to modernize the use of slip and pigments. Yagi remarked that he was ultimately trying to find a way to harmonize the aesthetics of modern painting with the
46:, instead of pottery. After graduating in 1937, he continued to train in the progressive circles, such as the National Ceramic Research Institute and the Japan Ceramic Sculpture Association. Following a short period of
558:
it was part of a larger trend in
Japanese pottery. Following the war, there was a major effort within the Japanese pottery world to push the practice from the realm of craft to the realm of art. Yagi's work with
50:
in 1939 and through the early postwar years, he was involved in a series of collectives that sought to transcend the traditional aesthetic values in not just ceramics but also in a range of visual media.
803:
103-191. Edited by Louise
Allison Cort and Bert Winther-Tamaki. Washington, D.C. : Arthur M. Sackler Gallery, Smithsonian Institution : Berkeley : University of California Press, 2003.
90:. However, his steadfast dedication to ceramics ultimately resulted in the nonfunctional ceramic vessel becoming an accepted type within Japanese pottery practice today. His legacy was felt through
157:'s studio, learning the art of ceramic sculpture. Numata created sculptures of animals in coarse red clay, which inspired Yagi to try creating similar works. Yagi also worked at Numata's studio.
608:. The final objects were smooth, even, and black and had few historical precedents. Most of these objects were hand-built and asymmetrical, occasionally recalling prehistoric ceramics from the
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By the late 1950s, Sōdeisha members had begun to work in distinctly individual styles, rather than working in similar materials and methods. For example, in 1957, Yagi began working with
38:
artist best known for spearheading the introduction of nonfunctional ceramic vessels to the
Japanese pottery world. With an innovative ceramicist as his father, Yagi was sent to
991:
eds. Louise
Allison Cort and Bert Winther-Tamaki (Washington, D.C.: Arthur M. Sackler Gallery, Smithsonian Institution: Berkeley: University of California Press, 2003), 157.
424:'s ceramics, particularly by the works' capacity to act both as a vessel and as a medium for representation. Yagi carved an image of a face onto a jar from this period (
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and these works were gradually losing any daily functionality. Sōdeisha's independent exhibitions further interrogated boundaries between art and pottery.
205:
in its exhibitions. Through this exhibition society Yagi became familiar with
European avant-garde artworks. However, after the society disbanded due to
141:
After graduating from university, Yagi became a trainee at the
Kokuritsu Tōjiki Jikenjō (National Ceramic Research Institute), which had been run by the
1189:, ed. Alexandra Munroe (Yokohama Bijutsukan, Solomon R. Guggenheim Museum, San Francisco Museum of Modern Art, New York: H.N. Abrams, 1994), 132.
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also remained active with up to forty members, and its exhibitions became important annual exhibitions for potters. In
Japanese pottery history,
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By rejecting the functionality of the ceramic vessel, Yagi's work effectively opened up a new genre in the Japanese pottery world: the so-called
58:, a group which rejected extant models of pottery and deliberately sought to blur the line between pottery and sculpture. Inspired in part by
478:") describes the most radical challenge to the separation of pottery from sculpture, in that the works are created with clay and fired in a
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420:("subdued, sober, understated") aesthetics of Japanese pottery. By the late 1940s, Yagi was already deeply influenced by images of
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at the invitation of its founder, the ceramic sculptor Ichiga Numata. Numata was trained at the French porcelain manufactory in
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305:, who visited Japan in 1950 and 1952 and produced a number of ceramic works inspired by prehistoric Japanese pottery from the
396:. Yagi designed the front of the medal, which was meant to evoke the snow and ice of Japan, and Tanaka designed the back.
95:
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has been canonized as one of the most important developments of the postwar period. Due in part to Yagi's breakthrough
448:. While his technique is traditional, his shapes present a fresh departure in Japanese art and are his own invention."
357:
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other salon exhibitions. Rather, they launched their own independent annual group exhibitions. Unlike juried salons,
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for military service, but was released the following year due to illness. Upon his return, he joined the avant-garde
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never strayed from kiln-fired clay, and often referenced prehistoric earthenware or Chinese glazing techniques. The
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1949). Although the image recalls Picasso, the use of dark pigment on white slip was reminiscent of earlier Chinese
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the ceramic tradition in Japan – rather, he intended to push that heritage to its limits with new types of pottery.
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members continued to experiment with new expressions in pottery. Yagi drew significant inspiration from the work of
258:
exhibitions did not distinguish between fine art and pottery, blurring the boundary as reflected in their works.
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1307:
Winther-Tamaki, "Yagi Kazuo: The Admission of the Nonfunctional Object into the Japanese Pottery World", 136-137.
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Winther-Tamaki, "Yagi Kazuo: The Admission of the Nonfunctional Object into the Japanese Pottery World", 131-132.
792:
Winther-Tamaki, Bert. "Yagi Kazuo: The Admission of the Nonfunctional Object into the Japanese Pottery World".
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consciously rejected the traditional function of the pottery wheel to raise clay up into the form of a vessel.
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In 1950, Yagi received early international acclaim when several of his works were included in an exhibition at
226:
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Bert Winther-Tamaki, "Yagi Kazuo: The Admission of the Nonfunctional Object into the Japanese Pottery World."
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Winther-Tamaki, "Yagi Kazuo: The Admission of the Nonfunctional Object into the Japanese Pottery World", 123.
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Winther-Tamaki, "Yagi Kazuo: The Admission of the Nonfunctional Object into the Japanese Pottery World", 126.
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Winther-Tamaki, "Yagi Kazuo: The Admission of the Nonfunctional Object into the Japanese Pottery World", 127.
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Winther-Tamaki, "Yagi Kazuo: The Admission of the Nonfunctional Object into the Japanese Pottery World", 130.
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Winther-Tamaki, "Yagi Kazuo: The Admission of the Nonfunctional Object into the Japanese Pottery World", 132.
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Winther-Tamaki, "Yagi Kazuo: The Admission of the Nonfunctional Object into the Japanese Pottery World", 129.
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demonstrate Yagi's ongoing commitment to preserving key aspects Japanese pottery and pottery history. Yagi's
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members began to gradually reject more and more components of traditional pottery, such as the use of the
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It debuted at the 1954 Sodeisha exhibition, and was shown again at Yagi's first solo exhibition at the
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Working against traditional aesthetics, the group explored avant-garde European trends in painting by
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clay, fired at low temperatures that were heavily reduced toward the end of the firing process using
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241:, Hikaru Yamada, Yoshisuke Matsui, and Tetsuo Kano from the Seinen Sakutōka Shudan established the
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806:
Cort, Louise Allison. "Veiled References: the role of glaze in Japanese avant-garde ceramics." In
920:
Louise Allison Cort, "Veiled References: the role of glaze in Japanese avant-garde ceramics," in
377:. These designs are evidence of the artists' ongoing interest in ceramics as functional objects.
209:, Yagi temporarily stopped working in ceramics and became a teacher for the duration of the war.
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573:, which drew attention to the old-fashioned styles in pottery and the potential for innovation.
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Yuko Kikuchi, "Minor Transnational Inter-Subjectivity in the People's Art of Kitagawa Tamiji",
116:
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175:
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https://artscape.jp/artword/index.php/%E6%AD%B4%E7%A8%8B%E7%BE%8E%E8%A1%93%E5%8D%94%E4%BC%9A
287:
47:
870:"MAM Research 007: Sodeisha - The Dawn of Contemporary Japanese Ceramics | Mori Art Museum"
838:
Art in the Encounter of Nations: Japanese and American Artists in the Early Postwar Years,
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Yagi Kazuo, Kyoto National Museum of Modern Art, Tokyo National Museum of Modern Art, 1981
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Despite introducing such a radical work to the Japanese pottery world, certain aspects of
283:
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Cort, "Veiled References: the role of glaze in Japanese avant-garde ceramics," 172-173.
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helped him pass on his knowledge and innovative approach to ceramics to many protégés.
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436:. Yagi's works selected for the 1951 MoMA exhibition were described as "influenced by
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Cort, "Veiled References: the role of glaze in Japanese avant-garde ceramics," 170.
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continued to be active past Yagi's death in 1979, and eventually disbanded in 1998.
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Cort, "Veiled References: the role of glaze in Japanese avant-garde ceramics," 178.
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Cort, "Veiled References: the role of glaze in Japanese avant-garde ceramics," 169.
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Cort, "Veiled References: the role of glaze in Japanese avant-garde ceramics," 176.
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Cort, "Veiled References: the role of glaze in Japanese avant-garde ceramics," 184.
810:
169-188. Edited by Meghen Jones and Louise Allison Cort. New York: Routledge, 2020.
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482:, but have no function and are appreciated primarily for their visual form. Yagi's
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62:'s work in Japan in the early 1950s, which used ceramic materials to create modern
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70:("kiln-fired objet "), or pottery with no functional purpose. The introduction of
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341:. Sōdeisha members began to experiment with completely unglazed ceramic works.
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40th Sōdeisha Exhibition (30th Anniversary of Establishment of Sōdeisha), 1977
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39:
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Sōgetsu to sono jidai 1945-1970, Ashiya City Museum, Chiba City Museum, 1999
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43:
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ed. Meghen Jones and Louise Allison Cort (New York: Routledge, 2020), 177.
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3rd International Ceramic Exhibition, Prague, 1962 – winner of grand prix
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2nd International Ceramics exhibition, Ostend, 1959 – winner of grand prix
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Isamu Noguchi and Modern Japanese Ceramics: A Close Embrace of the Earth,
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Isamu Noguchi and Modern Japanese Ceramics: A Close Embrace of the Earth,
317:
In 1954, Yagi famously debuted his first work of non-functional pottery,
54:
It was not until 1948 that Yagi established his own ceramics collective,
836:
Winther-Tamaki, Bert. "The Calligraphy and Pottery Worlds of Japan." In
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Fourth Annual Kyoto Municipal Exhibition, 1948 – winner of Mayor's prize
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the category of Zen'ei Tōki ("Avant-garde ceramics"), which encompasses
933:「歴程美術協会」DNP Museum Information Japan artscape. Accessed 6 August 2021.
616:, they were extremely fragile and could not be functional at all. Like
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490:) of 1954 is largely regarded as the first and most famous example of
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exhibition society Rekitei Bijutsu Kyōkai (Progress Art Association)
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Kyoto Shiritsu Geijutsu Daigaku or Kyoto City University of the Arts
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Groundbreaking experiments and international recognition (1950s)
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Through his ceramic works, Yagi questioned the boundary between
348:("black pottery"). These works were included in the exhibition
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Hatsudōsuru Gendai no Kōgei 1945-1970, Kyoto City Museum, 1988
780:
Birds of Dawn: Pioneers of Japan's Sodeisha Ceramic Movement
94:, which continued even after his death, and his teaching at
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in Tokyo in December 1954. The title of the work refers to
799:
Cort, Louise Allison. "Japanese Encounters with Clay." In
633:
381:
130:
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Louise Allison Cort, "Japanese Encounters with Clay," in
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Alexandra Munroe, "Circle: Modernism and Tradition," in
186:. In addition to paintings, the society showed works of
147:
Nihon Tōchō Kyōkai (Japan Ceramic Sculpture Association)
656:("Japan Ceramic Art Exhibition"), established in 1971.
294:, then the Architecture & Design curator at MoMA.
160:
In 1939, he was conscripted into the army and sent to
1187:
Japanese art after 1945 : scream against the sky
1237:編集京都国立近代美術館『京都の工芸, 1945-2000』京都国立近代美術館、2001、p. 14-15
384:
in 1971. The same year, he and the graphic designer
115:
on July 4, 1918. He was the first son of the potter
911:編集京都国立近代美術館『京都の工芸 1910-1940』京都国立近代美術館、1998、 p. 227.
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66-109. Honolulu: University of Hawaii Press, 2001.
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Second Sōdeisha Exhibition, Kyoto City Museum, 1950
1141:編集京都国立近代美術館『京都の工芸, 1945-2000』京都国立近代美術館、2001、p. 267
1123:編集京都国立近代美術館『京都の工芸, 1945-2000』京都国立近代美術館、2001、p. 265
1105:編集京都国立近代美術館『京都の工芸, 1945-2000』京都国立近代美術館、2001、p. 267
721:Yagi Kazuo Ceramics Exhibition, Grand Palais, 1978
665:First Sōdeisha Exhibition, Osaka Takashimaya, 1948
123:neighborhood of Kyoto, the traditional center for
1009:編集京都国立近代美術館『京都の工芸, 1945-2000』京都国立近代美術館、2001、p. 14
957:編集京都国立近代美術館『京都の工芸, 1945-2000』京都国立近代美術館、2001、p. 12
737:Crafts in everyday life in the 1950s and 1960s,
66:forms, Yagi and other members debuted so-called
1114:Cort, "Japanese Encounters with Clay," 179-180.
978:編集京都国立近代美術館『京都の工芸, 1945-2000』京都国立近代美術館、2001、263
329:"). Following the debut of this work, Yagi and
249:ceramic arts group. Their manifesto drew from
16:Japanese potter and ceramic artist (1918–1979)
229:(Contemporary Art Discussion Group) in 1952.
8:
1216:MoMA Press Release. Accessed 5 August 2021.
816:編集京都国立近代美術館『京都の工芸, 1945-2000』京都国立近代美術館、2001.
604:. As a result, the surface became coated in
1298:Cort, "Japanese Encounters with Clay," 182.
1289:Cort, "Japanese Encounters with Clay," 171.
1093:MoMA Press Release. Accessed 6 August 2021.
1084:Cort, "Japanese Encounters with Clay," 171.
1075:Cort, "Japanese Encounters with Clay," 179.
1042:Cort, "Japanese Encounters with Clay," 161.
813:編集京都国立近代美術館『京都の工芸 1910-1940』京都国立近代美術館、1998.
832:https://www.mirviss.com/artists/yagi-kazuo
516:. The work is made up of a large ring of
245:("Crawling through Mud Association"), an
652:is an official category at the biennial
563:can be seen as part of a reaction again
350:The New Japanese Painting and Sculpture,
861:
709:The New Japanese Painting and Sculpture
319:Zamuza-shi no sanpō (Mr. Samsa's Walk).
1269:Review of Japanese Culture and Society
554:is one of the most famous examples of
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612:. Because these works were a form of
360:before traveling to other locations.
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891:
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671:Modern Japanese Ceramic Exhibition,
143:Ministry of Agriculture and Commerce
1020:"Japanese Household Objects | MoMA"
774:Tokyo Metropolitan Teien Art Museum
770:National Museum of Modern Art Kyoto
756:National Museum of Modern Art Kyoto
746:National Museum of Modern Art Kyoto
739:National Museum of Modern Art Tokyo
660:Selected solo and group exhibitions
409:In the late 1940s and early 1950s,
1271:, December 2014, Vol. 26, 272-273.
945:『没後二十五年 八木一夫展』日本経済新聞社、2004年、pp 7-8
14:
634:Kyoto City University of the Arts
382:Kyoto City University of the Arts
237:In 1948, Yagi and his colleagues
922:Ceramics and Modernity in Japan,
808:Ceramics and Modernity in Japan,
730:Sengo Nihon no Zen'ei Bijutsu,
1153:"札幌1972オリンピックメダル - デザイン、歴史、写真"
796:Vol. 12 No. 2 (1999): 123-141.
356:in New York and opened at the
1:
96:Kyoto City University of Arts
762:Yagi Kazuo – A Retrospective
688:Yagi Kazuo Solo Exhibition,
681:Japanese Household Objects,
632:Yagi's teaching position at
592:works were made of smoothly
496:Forumu Garō (Formes Gallery)
388:designed the medals for the
282:The works were purchased by
119:, whose workshop was in the
588:("black pottery") in 1957.
502:, the man who turns into a
380:Yagi became a professor at
358:San Francisco Museum of Art
280:Japanese Household Objects.
233:Founding of Sōdeisha (1948)
1388:
899:Vol. 12 No. 2 (1999): 128.
782:, Joan B Mirviss Ltd, 2011
754:Kyoto no kōgei 1945-2000,
744:Kyoto no kōgei 1910-1940,
145:since 1920. He joined the
30:1918–1979) was a Japanese
897:Journal of Design History
794:Journal of Design History
405:Early postwar experiments
213:Early postwar (1946–1950)
1024:The Museum of Modern Art
830:Accessed 5 August 2021.
713:The Museum of Modern Art
683:The Museum of Modern Art
364:Later career (1960–1979)
354:The Museum of Modern Art
272:The Museum of Modern Art
227:Gendai Bijutsu Kondankai
137:Early career (1937–1946)
426:Jar with Inlaid Figure,
352:which was organized by
732:Yokohama Museum of Art
584:Yagi began working in
368:In 1962, Yagi and his
107:Early life (1918–1937)
843:八木 一夫『懐中の風景』講談社、1976
828:Joan P. Mirviss Ltd.
766:Freer Gallery of Art
628:Legacy and influence
618:Zamuza-shi no sanpō,
390:1972 Winter Olympics
874:www.mori.art.museum
846:八木 一夫『刻々の炎』駿々堂、1981
701:Tōji no shinsedai,
642:Zamuza-shi no sanpō
552:Zamuza-shi no sanpō
526:Zamuza-shi no sanpō
484:Zamuza-shi no sanpō
153:and spent time in
1322:www.mainichi.co.jp
1151:IOC (2020-12-17).
290:at the request of
852:『八木一夫作品集』講談社、1980
849:『八木一夫作品集』求龍堂、1969
580:("black pottery")
509:The Metamorphosis
182:artists, and the
176:Wassily Kandinsky
111:Yagi was born in
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821:Further reading
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673:Musée Cernuschi
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654:Nihon Tōgei Ten
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60:Isamu Noguchi
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29:
25:
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1326:. Retrieved
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1161:. Retrieved
1157:Olympics.com
1156:
1146:
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1027:. Retrieved
1023:
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877:. Retrieved
873:
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837:
827:
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703:Gotoh Museum
653:
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610:Kofun period
602:pine needles
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219:World War II
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207:World War II
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27:
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18:
1372:1979 deaths
1367:1918 births
715:, 1966-1967
650:obuje-yaki,
646:obuje-yaki,
614:earthenware
556:obuje-yaki,
514:Franz Kafka
492:obuje-yaki.
432:and Korean
386:Ikkō Tanaka
375:Cizhou ware
247:avant-garde
223:Kinkanshoku
192:photography
28:Yagi Kazuo,
1351:Categories
1328:2021-08-06
1163:2021-08-06
1029:2021-08-06
879:2021-08-06
857:References
622:obuje-yaki
561:obuje-yaki
538:Zamuza-shi
530:obuje-yaki
472:Obuje-yaki
453:Obuje-yaki
323:obuje-yaki
251:Surrealist
203:embroidery
180:Surrealist
72:obuje-yaki
68:obuje-yaki
40:art school
20:Kazuo Yagi
620:they are
594:burnished
550:Although
504:cockroach
463:Yagi and
297:Yagi and
117:Issō Yagi
102:Biography
88:sculpture
44:sculpture
42:to study
638:Sōdeisha
545:jōkon-yū
541:no sanpō
465:Sōdeisha
411:Sōdeisha
370:Sōdeisha
331:Sōdeisha
299:Sōdeisha
276:New York
260:Sōdeisha
256:Sōdeisha
243:Sōdeisha
188:ceramics
121:Gojōzaka
92:Sōdeisha
64:abstract
56:Sōdeisha
1318:"日本陶芸展"
787:Sources
446:Picasso
394:Sapporo
197:ikebana
184:Bauhaus
167:nihonga
126:kyōyaki
84:pottery
36:ceramic
776:, 2004
758:, 2001
748:, 1998
741:, 1995
734:, 1994
705:, 1964
692:, 1954
685:, 1951
675:, 1950
606:carbon
590:Kokutō
586:kokutō
578:Kokutō
566:mingei
417:shibui
346:kokutō
151:Sèvres
77:kokutō
32:potter
598:smoke
534:glaze
476:objet
457:objet
400:Works
339:glaze
327:objet
311:Kofun
307:Yayoi
162:China
113:Kyoto
24:八木 一夫
518:clay
480:kiln
444:and
442:Miro
438:Klee
309:and
286:and
201:and
86:and
34:and
543:is
536:on
512:by
506:in
392:in
274:in
133:).
98:.
79:).
1353::
1320:.
1260:^
1155:.
1068:^
1056:^
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962:^
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904:^
888:^
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278:,
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26:,
1331:.
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486:(
199:,
172:.
22:(
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