『没後30年 木下佳通代』

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 『没後30年 木下佳通代』
  Book Design:大西正一


H262mm × W188mm
  Page:304 pages

  Published in May 2024

  2 cover colors (the contents are the same).

¥ 3,000+tax 


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About Book




神戸に生まれ、関西を拠点に活動した作家、木下 佳通代(きのした・かずよ  1939 ─ 1994)。

木下の作家としてのキャリアは、60 年代、前衛美術の集団「グループ〈位〉」の活動に携わったことから始まります。

海外での初個展と時を同じくして、木下は作品そのもののコンセプトを変えずに、写真以外の手段で作品制作が可能か試行します。80年代に入ってパステルを用いた作品によって素材と表現の相性を模索した後、再び絵画の制作に回帰し、「存在そのものを自分が画面の上に作ればいい」と考えるに至った木下は、図式的なコンセプトから脱却することに成功します。シリーズの最初の作品に《'82 - CA1》と名付けて以降、アップデートを続ける筆致とともに、画面上の「存在」はたびたびその表情を変えていきます。 こうして、一筆ごと一筆ごと、自らの感覚を鋭く問いながら作り出された絵画は高い緊張感を備えており、彼女の表現の集大成とも呼べるものです。
1990年にがんの告知を受けて以降も、治療法を求めて何度もロサンゼルスを訪れ、現地でも絶えず制作を続けます。94年に神戸で55年の生涯に幕を下ろすまで、再び絵画へ立ち返った1982年以降だけでも、 700点以上の絵画、ドローイングを制作しました。

本書は、活動時期をたどるように 3つの章で構成しています。公開の機会があまりなかったごく初期の作品から、国内外で高く評価された写真作品、そして1982年以降ライフワークとなった絵画作品によって、その活動の全貌を探ります。木下が一貫してテーマとした「存在とは何か」という問いは、現代においても尚、色褪せず強烈に響きます。


本書収録「木下佳通代 インタビュー」より抜粋

本書収録 寄稿:

『今、再び、「みる」ことについて ---- 木下佳通代の作品と活動』大下裕司(大阪中之島美術館学芸員)
「私論 ── 木下佳通代のこと」熊田司(美術史家)
「写真とコンセプチュアリズム」 建畠晢(埼玉県立近代美術館館長)
「思考の結晶 ── 木下佳通代の写真と絵画」光田ゆり(多摩美術大学大学院教授、同校アートアーカイヴセンター所長、プーアール舎主宰)


KAZUYO KINOSHITA, who studying painting at Kyoto University of the Arts, began exhibiting while still a student. During the 1960s, influenced by the avant-garde art collective Group "i"gathering of artists in Kobe, she began to explore more deeply her burgeoning interest in questions of existence. In the 1970s she produced numerous works that used photography to ponder the relationship between image and perception, and image and matter. Kinoshita's photo series, lucid expres- sions of her idea that "while there is absolute existence and relative existence, there can be only one existence," earned her high acclaim at home and abroad for their distinctly cerebral ap- proach. It was an approach also in keeping with currents in international art during this period, leading to a solo exhibition for Kinoshita in Heidelberg in 1981.

Coinciding with this first overseas solo outing, Kinoshita undertook a series of experiments to see if it were possible to make works using a method other than photography, without changing her actual concept. The early '80s saw her wielding pastels in works that explored com- patibility of material and expression, before returning once more to painting. Having reached the conclusion that the best approach would be to personally create existence itself on the picture plane, Kinoshita succeeded in breaking away from schematic concepts. After naming the first work inthisnewseries'82-CA1,Kinoshitaalteredthelookof "existence"onthepictureplanefrequently, with each new iteration of her ever-changing brushwork. On receiving a cancer diagnosis in 1990 she visited Los Angeles several times seeking treatments, continuing to work untiringly during her sojourns in the city. In 1994 Kinoshita passed away in Kobe, at the age of fifty-five, leaving a legacy of paintings and drawings numbering over 700 just since her return to painting in 1982.

This book is composed of three chapters tracing different periods of Kinoshita's career, exploring every facet of her practice via very early works rarely or never shown in public, the photographic works that made her name in Japan and further afield, and the paintings that became her life's work after 1982. The constant, underlying theme of Kinoshita's practice -- interrogating the nature of existence -- resonates as strongly in today's world as it did during her lifetime.

"This work was done by initially painting with a brush, then wiping with a cloth. The wiping means that the plane of the canvas and plane with the paint on it are of equal value. I did this because in my own mind, this is the same as it has always been, because I have a constant desire to make two-dimensional planes equal. Adopting that method, making the work itself an entity. All entities, like stars in the heavens, were created by the gods and may appear to be random, but exist in a specific relative order. But as far as we can tell, they exist naturally, and that existence is incred- ibly powerful. I want the painting to be an entity like that. "

Excerpts from "An interview with Kinoshita Kazuyo"


 "Kinoshita Kazuyo: A Remembrance Kumada TsukasaArt Historian)

"Photography and Conceptualism"  Tatehata AkiraDirector, the Museum of Modern Art, Saitama)

"Crystallizations of Artistic Thought: The Photographic Works and Paintings of Kinoshita Kazuyo"  Mitsuda YuriProfessor, Tama Art University Graduate School Director, Tama Art University Art Archives Center Director, peu/art cottage)



 005 謝辞

 006 ごあいさつ

 010 Essay 1 今、 再び、「みる」ことについて
         ── 木下佳通代の作品と活動 

 041 Chapter 1 1960-1971
 057 Chapter 2 1972-1981
 135 Chapter 3 1982-1994

 186 Essay 2 私論 ── 木下佳通代のこと
 191 Essay 3 写真とコンセプチュアリズム
 194 Essay 4 思考の結晶 ── 木下佳通代の写真と絵画

 204 Interview 1 木下佳通代 インタビュー(再録)(編・鴫原悠)
 217 Interview 2 植松奎二インタビュー(編・佐藤あゆか) 
 276 References 1 年譜(編・中村史子)
 288 References 3 参考文献(編・中村史子、奥野桃子、浦川慶子)
 292 References 4 出品リスト
 300 References 5 木下佳通代 資料 

 005 Acknowledgements

 007 Introduction

 024 Essay 1 On "seeing," revisited
          -- Works and practice of Kinoshita Kazuyo
          Oshita Yuji

 041 Chapter 1 1960-1971
 057 Chapter 2 1972-1981
 135 Chapter 3 1982-1994

 226 Essay 2 Kinoshita Kazuyo: A Remembrance
         Kumada Tsukasa
 232 Essay 3 Photography and Conceptualism
         Tatehata Akira
 236 Essay 4 Crystallizations of Artistic Thought:
         The Photographic Works 
         and Paintings of Kinoshita Kazuyo
         Mitsuda Yuri

 250 Interview 1 An interview with Kinoshita Kazuyo
 265 Interview 2 An interview with Uematsu Keiji 
 286 References 2 Profile

 292 References 4 List of Works
 300 References 5 Material of Kinoshita Kazuyo 

編集: 大下裕司、中村史子、奥野桃子、浦川慶子(大阪中之島美術館)
翻訳: クリストファー・スティヴンズ、パメラ・ミキ・アソシエイツ、ベンジャー桂
Edited by Oshita Yuji, Nakamura Fumiko, Okuno Momoko, Urakawa Keiko (Nakanoshima Museum of Art, Osaka) 
Sato Ayuka, Shigihara Haruka (The Museum of Modern Art, Saitama)  
Translated by Christopher Stephens, Pamela Miki Associates, Benger Kei
 Designed by Onishi Masakazu 

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「没後30年 木下佳通代







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Artist Information 

木下 佳通代(きのした かずよ)












2015年 「来たるべき新しい世界のために:1968 年 から1979 年における日本の写真と美術の実験」 展 (ヒューストン美術館ほか)に出品されたことで、 再び注目を浴び始める。



1939 Born on April 18 in Kobe, Hyogo Prefecture.

1958 Enrolled in the Western-style painting department at Kyoto City University of Arts. .

1962 Graduated from the same department. While working as a teacher, she began to energetically devote herself to her artistic practice.

1965 Joined in the activities of Group "i" (formed by Kawaguchi Tatsuo, Okuda Yoshimi, and others).Participated until 1968.

1977 Received the Hyogo Prefectural Museum of Modern Art Prize in the 13th Contemporary Art Exhibition of Japan, in which she showed Work '77-D (cat. no. 48).

1994 Died of breast cancer in Kobe.

Solo Exhibitions

1972 galerie 16, Kyoto (also 1973--1978, 1980, 1982, 1991)

1974 Muramatsu Gallery, Tokyo (also 1975, 1976, 1978, 1980, 1982, 1983)

1979 Tor Road Gallery, Kobe, Hyogo (also 1982, 1984 --1991) (Note: The 1979 exhibition was a two-person show with Agnes Martin; the other were solo shows.)

1981 Kazuyo Kinoshita 1976 --1980, Heidelberger Kunstverein, West Germany

1989 AD&A Gallery, Osaka (also 1991, 1992, 1994, 1996)

2005 Gallery Shimada, Kobe, Hyogo (also 2014, 2016)

2017 In Search of Substantiality -- Unifying the Absolute and the Relative,Yumiko Chiba Associates Viewing Room Shinjuku, Tokyo ANOTHER EXISTENCE, Gallery Yamaki Fine Art, Kobe, Hyogo.

Group Exhibitions

1963 Kyoto Independents Exhibition, Kyoto City Museum of Art (also 1971, 1973, 1975, 1977--1985)

1976 Contemporary Art Exhibition of Japan, Tokyo Metropolitan Art Museum, Kyoto City Museum of Art (also 1977, 1979)

1978 ART NOW '78, Hyogo Prefectural Museum of Modern Art (now the Hyogo Prefectural Museum of Art)

1982 Travaux sur papier, objets, photos, Centre d'action Culturelle, Paris, France

1983 Photography in Contemporary Art, The National Museum of Modern Art, Tokyo, The National Museum of Modern Art, Kyoto

1988 The 24th Artists Today Exhibition: Phases Multiplar Movement, Yokohama Civic Art Gallery, Kanagawa

1989 Das Foto als autonomes Bild: Experimentelle Gestaltung 1839--1989, Kunsthalle Bielefeld,West Germany & Bayerische Akademie der Schönen Künste, München, West Germany

2015 For a New World to Come: Experiments in Japanese Art and Photography, 1968--1979, Museum of Fine Arts, Houston, USA & Japan Society Gallery, New York, USA

2018 New Wave: Japanese Contemporary Art of the 1980s, The National Museum of Art, Osaka

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