Made in Japan: The Postwar Creative Print Movement

by Alicia Volk

Made in Japan examines the artistic dialogue between East and West as it played out between 1945 and 1970. During this post-World War II period, Japanese printmakers effectively acted as ambassadors,... This description may be from another edition of this product.

• Format: Paperback
• Language: English
• ISBN: 029598502X
• ISBN13: 9780295985022
• Release Date: January 2005
• Publisher: University of Washington Press
• Length: 124 Pages
• Weight: 1.01 lbs.
• Dimensions: 0.3" x 8.5" x 10.0"

Customer Reviews

Sosaku Hanga an Introduction

A review of the history of prints after World War II. Excellent essays and plenty of references. We warned, it is not a book for beginners.

A Chip Off the Old Block

With its slightly tongue-in-cheek title, "Made in Japan" is a nice, beautifully printed art book focusing on the heyday of the creative art print (sosaku hanga) from the immediate postwar years until the late 1960's. Originally intended as an exhibit catalog for a 2005 exhibition by the same name at the Milwaukee Art Museum, it stands on its own just fine as well (except for a little blurb frustratingly listing the exhibited pieces not shown herein). It also works well as a bit of art history, including as it does two interesting articles by Alicia Volk and Helen Nagata. The latter takes a careful look at the complex, ambiguous relationship between creative print artists and Ukiyo-e, a premodern tradition of mass production from which they stridently distinguished themselves even as it subtly influenced and informed some of their work. The former focuses on the role of this art form in Japanese-American relations in fascinating detail, discussing among other things the initial enthusiasm for prints on the part of American Occupation officials in the late 1940's, the efforts of people like James Michener and Oliver Statler to draw attention to these prints as a form of fine art both in America and Japan itself, and Japanese artists' intentions and motivations for using their works as a medium of cultural diplomacy between the two recently belligerent nations within the context of the Cold War. Volk does a wonderful job too of attending to the historical context and to the sociopolitical realities involved without being reductive or cynical. And that's just the beginning. What about the actual art itself? The majority of the book is indeed dedicated to presenting a selection of 78 prints (actually more, for in a few cases there's a set of several prints under an overarching series title) by 59 artists, all in full color. Most artists are represented by one or two works as is appropriate to such an overview, though a few major figures in the field get more of a spotlight, especially the ever favorite Munakata Shiko. The prints are also organized in roughly chronological order and according to themes (nature, process and materials, abstraction, things Japanese, and pop and conceptualism), which aids one in appreciating and distinguishing the different artists and their styles as well as the gradual development of this art form during the decades in question. If the book has one imperfection, it's that some of the illustrations are a bit small. The format of the book makes this a necessary evil perhaps, though the decision-making process behind which prints get a single full page and which get crowded together with two or three others seems a tad arbitrary. So be it, though. One minor nitpick aside, this thin little volume is an immensely interesting and visually stunning look at one surprisingly significant aspect of modern art in Japan. P.S. For a fine book on this subject published during the actual time period when Japanese creative prints were

new art movement in post-War Japanese society

In the rebuilding of Japanese society in the years after its defeat in World War, there was a "creative print movement [that] brought modern European artistic attitudes such as self-expression and formalist innovation to the Japanese woodblock print, a medium that had been rooted in the mass-production of popular images for several hundred years." The latest stages of this movement are becoming more widely known in the United States with the popularity of the Japanese manga and anime. The predecessors of this recent Japanese art are seen in the colors, designs, collages, subjects, and treatments of the post-war prints in this volume. One or two prints of 59 artists are shown in the main section of about 70 pages. These range from dark, tangled visions from having witnessed the devastation from the atom bombs to abstract designs to brightly-colored, comically erotic figures. Biographical sketches of the 59 artists follow the main section.