The logic of spectacle c. 1970

Art History

Volumn 30, Issue 4, 2007, Pages 571-589

  Lockyer, Angus ^a  

^a UNIVERSITY OF LONDON   (United Kingdom)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 51249141748     PISSN: 01416790     EISSN: None     Source Type: Journal    
DOI: 10.1111/j.1467-8365.2007.00564.x     Document Type: Review

References (60)

1. Asahi Shinbun, 27 April 1970, 15.
2. See also Satō Hideo, 'Taiyō no tō o senkyo shite kara: banpaku o mioroshite kangaeta koto', Chūō Kōron, November, 1970, 188-96.
3. For the master plan, see Commemorative Association for the Japan World Exposition, Japan World Exposition, Osaka, 1970: Official Report, Suita, 1970, vol. 3, 158-73.
4. For the general history of Japan at the exhibition, on which the following is based, see Yoshida Mitsukuni, Bankoku Hakurankai: Gijutsu Bunmeishiteki ni, Tokyo, 1985;
5. Yoshimi Shun'ya, Hakurankai no Seijigaku: Manazashi no Kindai, Tokyo, 1992;
6. Yoshimi Shun'ya, Banpaku Gensō: Sengo Seiji no Jubaku, Tokyo, 2005.
7. In English, Ellen P. Conant, 'Refractions of the rising sun: Japan's participation in international exhibitions, 1862-1910', in Tomoko Sato and Toshio Watanabe, eds, Japan and Britain: An Aesthetic Dialogue 1850-1930, London, 1991,
8. Angus Lockyer, 'Japan at the Exhibition, 1867-1970', PhD diss., Stanford University, 2000.
9. For an introduction to the various aspects of postwar Japanese history, see Andrew Gordon, ed., Postwar Japan as History, Berkeley, 1993.
10. For a critical analysis of postwar expos in Japan, see Yoshimi, Banpaku Gensō.
11. See Kazuko Tsurumi, 'Some Comments on the Japanese Student Movement in the Sixties', Journal of Contemporary History, 5:1, 1970, 104.
12. Henry DeWitt Smith, 'The Origins of Student Radicalism', Journal of Contemporary History, 5:1, 1970, 87.
13. Tsurumi, 'Some Comments', 107-109.
14. For a more extensive contemporary analysis of the movement, exploring the multiple factions and mindsets, see Ichiro Sunada, 'The Thought and Behavior of Zengakuren: Trends in the Japanese Student Movement', Asian Survey, 9:6, 1969, 457-74,
15. Gavan McCormack, 'The Student Left in Japan', New Left Review, 65, 1971, 37-53.
16. For a different backdrop and snapshot of the state of things just prior to the opening of the Expo, see Lawrence W. Beer, 'Japan, 1969: "My Homeism" and Political Struggle', Asian Survey, 10:1, 1970, 43-55.
17. Tsurumi, 'Some Comments', 111.
18. McCormack, 'The Student Left', 45-7.
19. See also Patricia Steinhoff, 'Hijackers, Bombers, and Bank Robbers: Managerial Style in the Japanese Red Army', Journal of Asian Studies, 48:4, November 1989, 724-40.
20. 'Medama noritori geki, isshukan maku', Asahi Shinbun, 4, May 1970, 15.
21. Okamoto Tarō, Konnichi no geijutsu, 1954,
22. cited in Munroe, 'Morphology of Revenge', 154.
23. Okamoto, 'Dentō to wa nanika?', in Watashi no gendai bijutsu, Tokyo, 1963,
24. cited in Alexandra Munroe, 'Circle: Modernism and Tradition', in Munroe, Japanese art after 1945, 128, 133.
25. Isozaki Arata, 'As witness to postwar Japanese art', in Munroe, Japanese art after 1945, 28.
26. Alexandra Munroe, 'The laws of situation: Monoha and beyond the sculptural paradigm', in Munroe, Japanese art after 1945, 259.
27. Okamoto Tarō, 'Bankokuhaku ni kaketa mono' [What I've staked on the Expo], in Nihon Bankokuhaku: Kenchiku, Zōkei, 1971,
28. Kushima Tsutomu, a self-described 'Sunday researcher', has recently produced a celebration of the Expo, combining the author's memories and souvenirs from the time with a number of interviews. For one respondent, who would have been seven during the Expo, 'the inside [of the Tower] was empty'. Maboroshi Bankoku Hakurankai, Tokyo, 2005, 188-90.
29. For the official statistics on visitor behaviour, including queuing, see Official Report, vol. 2, 371-2.
30. For the Association's own account, see Official Report, vol. 1, 43-57 and passim.
31. For example, Komatsu Sakyō, 'Nippon, 70 nendai zengo. Dokyumento: orinpikku kara bankokuhaku e', Bungei Shunjū, 49:2, 220-70.
32. One of the contemporary criticisms and retrospective puzzles of the Expo was the extent to which leading intellectuals, artists and architects, who had been associated with progressive causes during the 1950s and 1960s, were willing to participate in what some identified as a state apparatus. See Yoshimi, Hakurankai no Seijigaku, 222-6.
33. The Crystal Palace for London 1851 and the massive oval exhibition hall for Paris 1867 are examples of the former, Chicago 1893 and St Louis 1904 of the latter. See Paul Greenhalgh, Ephemeral Vistas: The Expositions Universelles, Great Exhibitions and World's Fairs, 1851-1939, Manchester, 1988,
34. Robert Rydell, All the World's a Fair: Visions of Empire at American International Expositions, 1876-1916, Chicago, 1984, for general accounts.
35. See Greenhalgh, Ephemeral Vistas,
36. Robert Rydell, World of Fairs: The Century-of-Progress Expositions, Chicago, 1993.
37. Inoue Shōichi, 'Pari bankoku hakurankai Nihonkan, 1937: Japonizumu, modanizumu, posutomodanizumu', in Yoshida Mitsukuni, ed., Bankoku Hakurankai no Kenkyû, Kyoto, 1986, 133-56.
38. Kenchiku Bunka, 28:4, April 1970;
39. Shin Kenchiku, 45 (5), May 1970.
40. For a brief introduction to Metabolism, see David B. Stewart, The Making of a Modern Japanese Architecture, Tokyo, 1987, 177-85.
41. See also Kurokawa Kishō, Metabolism in Architecture, Boulder, 1977.
42. Stewart, The Making, 219-22.
43. Kurokawa was also responsible for the Toshiba IHI Pavilion, composed of four 'structurally independent parts' but constructed for the most part from a single structural element; and a capsule house suspended from the roof of the Theme Pavilion. Kisho Kurokawa, 'Works and Projects: 1970s', http://www.kisho.co.jp/page.php/211 (accessed 14 April 2007). Kikutake had built the Expo Tower, standing at the southernmost edge of the site and facing the Tower of the Sun, confronting the latter's human form with a steel lattice, from which geodesic spheres were suspended, to provide observation platforms and a wireless relay station.
44. Sawaragi, 'Nihon toiu "warui basho"'
45. cited in Sawaragi, Kuroi Taiyō, 199.
46. For one example, see the sixteen-volume series, Usui Yoshimi, ed., Gendai no Kyōyō, Tokyo, 1966-8.
47. Also Zhongjie Lin, 'City as process: Tange Kenzo and the Japanese urban utopias, 1959-1970', PhD diss., University of Pennsylvania, 2006.
48. Both published their own accounts of the process: Nishiyama Uzō, 'Bankokuhaku kaijō keikaku: chōsa kara kikaku e', Kenchiku Zasshi, 85 (1021), March 1970, 193-9.
49. Tange Kenzo, 'Bankokuhaku no keikaku to mirai toshi', Kenchiku Bunka, 282:4, April 1970, 71-6.
50. Nishiyama, 'Bankokuhaku kaijō keikaku', 194-8.
51. Kenzo Tange, 'My Experiences,' SD, 184, January 1980, 187.
52. See also Mainichi Shinbunsha, Here Comes EXPO '70, Tokyo, 1968, 17.
53. Tange, 'Bankokuhaku no keikaku', 71.
54. Tange, 'Bankokuhaku no keikaku', 71-2.
55. 'Master plan for EXPO '70 and master design of trunk facilities', SD, 184, 60.
56. Tange, 'Bankokuhaku no keikaku', 72.
57. Tange, 'Bankokuhaku no keikaku', 75.
58. See Marilyn Ivy, 'Itineraries of Knowledge: Transfiguring Japan', in Discourses of the Vanishing: Modernity, Phantasm, Japan, Chicago, 1995.
59. Donna de Salvo, ed., Open Systems: Rethinking Art c. 1970, London, 2005.
60. Victoria & Albert Museum, 'Kylie - The Exhibition', http://www.vam.ac.uk/collections/fashion/kylie/index.html (accessed 1 April 2007).