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Tetsumi Kudo
Edited and with text by Doryun Chong. Text by Mike Kelley, Hiroko Kudo.
Tetsumi Kudo: Cultivation
The eerily prescient work of a near-forgotten Japanese artist, whose 1960s and '70s sculptures anticipate contemporary ecological anxieties Contemplating Japanese artist Tetsumi Kudo's (1935-90) work in the 21st century provokes a sense of the uncanny on multiple levels: grotesquely beautiful on their own, his abject sculptures seem to foretell today's environmental concerns with their depictions of ecological decay. Born in Osaka, Kudo's life was greatly impacted by the aftermath of the atomic bomb in 1945; this trauma compounded by the Vietnam War's ever-present atmosphere of destruction led to a consistent focus on dystopia and decomposition in his work. Kudo's fluorescent birdcages and b...
TETSUMI KUDO.
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Tetsumi Kudo
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Tokyo, 1955-1970
Catalog of an exhibition held at the Museum of Modern Art, New York, Nov. 18, 2012-Feb. 25, 2013.
Tetsumi Kudo
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Tetsumi Kudo: Retrospective
From ecological apocalypticism to new materialist posthumanism: the prescient sculpture of an influential Japanese Neo-Dadaist Over a period of three decades, from the mid-1950s to the late 1980s, the Japanese artist Tetsumi Kudo (1935-90) created a consistent body of work that significantly foreshadowed what is now known as posthumanism and new materialism. His colored neon contaminations, limp penises, tattered flaps of skin and lone body parts wrapped in cocoons bring humanist self-assurance crashing to the ground. What appears as poison or chemical devastation is in fact an appeal to understand metamorphosis as a perpetual state of being. This sensibility is particularly evident in post-nuclear Japanese culture, where the destruction of the bombs permeates every facet of life and makes apparent the fragility of our organic bodies. This catalog brings together contributions by artists and theorists and documents Kudo's oeuvre in plates and archival images, as well as exhibition views from his retrospective at the Fridericianum in 2016.
Tetsumi Kudo
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Money, Trains, and Guillotines
During the 1960s a group of young artists in Japan challenged official forms of politics and daily life through interventionist art practices. William Marotti situates this phenomenon in the historical and political contexts of Japan after the Second World War and the international activism of the 1960s. The Japanese government renewed its Cold War partnership with the United States in 1960, defeating protests against a new security treaty through parliamentary action and the use of riot police. Afterward, the government promoted a depoliticized everyday world of high growth and consumption, creating a sanitized national image to present in the Tokyo Olympics of 1964. Artists were first to c...
Art of the 20th Century
The original edition of this ambitious reference was published in hardcover in 1998, in two oversize volumes (10x13"). This edition combines the two volumes into one; it's paperbound ("flexi-cover"--the paper has a plastic coating), smaller (8x10", and affordable for art book buyers with shallower pockets--none of whom should pass it by. The scope is encyclopedic: half the work (originally the first volume) is devoted to painting; the other half to sculpture, new media, and photography. Chapters are arranged thematically, and each page displays several examples (in color) of work under discussion. The final section, a lexicon of artists, includes a small bandw photo of each artist, as well as biographical information and details of work, writings, and exhibitions. Ruhrberg and the three other authors are veteran art historians, curators, and writers, as is editor Walther. c. Book News Inc.
