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In Pursuit of the Fourth Dimension: ...

Brenneman, Mina T.

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In Pursuit of the Fourth Dimension: Hayashi Yasuo's Presence in Art History and the Art Market.

Record Type:	Electronic resources : Monograph/item
Title/Author:	In Pursuit of the Fourth Dimension: Hayashi Yasuo's Presence in Art History and the Art Market./
Author:	Brenneman, Mina T.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2019,
Description:	176 p.
Notes:	Source: Masters Abstracts International, Volume: 81-08.
Contained By:	Masters Abstracts International81-08.
Subject:	Art history. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=27671443
ISBN:	9781392560785

In Pursuit of the Fourth Dimension: Hayashi Yasuo's Presence in Art History and the Art Market.
Brenneman, Mina T.

In Pursuit of the Fourth Dimension: Hayashi Yasuo's Presence in Art History and the Art Market. - Ann Arbor : ProQuest Dissertations & Theses, 2019 - 176 p.

Source: Masters Abstracts International, Volume: 81-08.

Thesis (M.A.)--Fashion Institute of Technology, State University of New York, 2019.

This item must not be sold to any third party vendors.

By studying the various forces that drive the art-historical narrative about and the market for contemporary Japanese ceramics, this thesis aims to recalibrate the status of the Japanese artist Hayashi Yasuo (林康夫,b. 1928, Kyoto) in the canon of postwar avant-garde ceramics and to examine his market in Japan and abroad.Chapter 1 explores the canonized history of postwar Japanese ceramics from both an art-historical and an art-market perspective, and in view of the Japanese art market as a whole. It attempts to understand Hayashi's current status by identifying key players-scholars, curators, dealers, and collectors-and their contributions, both academic and market-related.Chapter 2 traces the first half of Hayashi's career up to the late 1970s, including his participation in Shikokai (1947-1956) and Sodeisha (1962-1977), focusing on Hayashi's conceptual and aesthetic dialogue with Pablo Picasso's Analytical Cubism, Ossip Zadkine's postwar Cubist sculpture, and the Kofun-period chokkomon motif. The discussion then shifts to Hayashi's mature abstraction (starting in the early 1980s) and places Hayashi in a lineage of geometric abstraction that begins with Kazimir Malevich and Piet Mondrian, and also includes more recent Japanese artists like Saito Yoshishige, Takamatsu Jiro, and architect Shinohara Kazuo.Chapter 3 examines Hayashi's past and current position in the art market both domestically and internationally. It takes into account the broader factors that have shaped the Japanese art market over the last several decades as well as the current status of ceramics vis-a-vis the "fine arts." This chapter also analyzes Ron Nagle's market in order to glean a potential model to employ in developing Hayashi's market in the future. The discussion concludes with ideas for museum and gallery shows and other ways to generate broader awareness and exposure for Hayashi's oeuvre.

ISBN: 9781392560785Subjects--Topical Terms:

2122701
Art history.
Subjects--Index Terms:

Abstraction

In Pursuit of the Fourth Dimension: Hayashi Yasuo's Presence in Art History and the Art Market.
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500 $a Source: Masters Abstracts International, Volume: 81-08.
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520 $a By studying the various forces that drive the art-historical narrative about and the market for contemporary Japanese ceramics, this thesis aims to recalibrate the status of the Japanese artist Hayashi Yasuo (林康夫,b. 1928, Kyoto) in the canon of postwar avant-garde ceramics and to examine his market in Japan and abroad.Chapter 1 explores the canonized history of postwar Japanese ceramics from both an art-historical and an art-market perspective, and in view of the Japanese art market as a whole. It attempts to understand Hayashi's current status by identifying key players-scholars, curators, dealers, and collectors-and their contributions, both academic and market-related.Chapter 2 traces the first half of Hayashi's career up to the late 1970s, including his participation in Shikokai (1947-1956) and Sodeisha (1962-1977), focusing on Hayashi's conceptual and aesthetic dialogue with Pablo Picasso's Analytical Cubism, Ossip Zadkine's postwar Cubist sculpture, and the Kofun-period chokkomon motif. The discussion then shifts to Hayashi's mature abstraction (starting in the early 1980s) and places Hayashi in a lineage of geometric abstraction that begins with Kazimir Malevich and Piet Mondrian, and also includes more recent Japanese artists like Saito Yoshishige, Takamatsu Jiro, and architect Shinohara Kazuo.Chapter 3 examines Hayashi's past and current position in the art market both domestically and internationally. It takes into account the broader factors that have shaped the Japanese art market over the last several decades as well as the current status of ceramics vis-a-vis the "fine arts." This chapter also analyzes Ron Nagle's market in order to glean a potential model to employ in developing Hayashi's market in the future. The discussion concludes with ideas for museum and gallery shows and other ways to generate broader awareness and exposure for Hayashi's oeuvre.
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