現代美術史日本篇 中ザワヒデキ
Contemporary Art History: Japan Nakazawa Hideki
正誤表 (2008年1月25日版)
A LIST OF ERRATA (version of Jan 25, 2008)
pdf
01
02
03
04
05
06
07
08
09
10
11
12
13
14
15
16
第1章
Chapter 1
p.7 English text ll.1-5
[error]
as Nika Association and Dokuritsu Art Association, were reconstructed one after
another. Even the oppositional system between the government and nongovernment
organizations that existed in the art world before the war was revived. As a side note,
Bunten was renamed Japan Fine Arts Exhibition (Nitten), and their first exhibition was
held in the following year in 1946.
[correction]
was held in the following year in 1946.
第3章
Chapter 3
p.37 *3d2 English l.1
[error]
Chiba Shigeo' "Contemporary Art: History of Deviation."
[correction]
Chiba Shigeo's "Contemporary Art in Japan 1945-1985 -- Art as a Deviation."
p.39 *3e2 English ll.1-3
[error]
Candidate Akiyama who dared to put on a suit and necktie on the upper half wore a red loincloth below which supposedly stood out from other serious candidates.
[correction]
Candidate Akiyama dared to put on a suit and necktie. However, one of the other candidates wore a suit jacket on the upper half, and a red loincloth below.
第4章
Chapter 4
p.43 *4a2 English l.3
[error]
since art styles are not obvious in Japan
[correction]
since the reductionism is not always formalism in Japan where the painting is not self-evident
第5章
Chapter 5
p.57 English text ll.1-4
[error]
At this point, the Cold War was still continuing, but all around the world, there must
have been a shared sense of change which was about to happen as was seen later with
the collapse of the Berlin Wall. The Thatcher administration in the U.K. was inaugurated
in 1979,
[correction]
in 1979,
pp.63-64 English text l.14, p.63 - l.1, p.64
[error]
in the first half of Western art history*5d1.
in 1979,
[correction]
in the Western art history in the first half of the 20th century*5d1.
第6章
Chapter 6
p.66 English text ll.4-5
[error]
by adding paint to a photo of his own face which was superimposed onto van Gogh's face.
[correction]
by adding paint to his own face as van Gogh's face.
p.66 English text ll.7-9
[error]
After this exhibition, Morimura used the same technique in the famous pictures of Ingre and Manet, and played the role of Duchamp and Nizinskii in their self-portraits.
[correction]
Following after this exhibition, Morimura pretended to be the famous pictures of Ingre and Manet, portraits of Duchamp and Nizinskii, one after another.
p.66 English text l.10
[error]
the individual exhibition
[correction]
his one-man exhibition
p.66 English text ll.14-18
[error]
He himself was deeply influenced and ever charmed by the western sense of beauty. From such a background, we can see his critical mind to look at "himself" objectively as a Japanese installed with a western sense of beauty. Morimura started his art experience with self-portrait and reached a point where he proclaimed himself "a daughter of art history."
[correction]
As Morimura started his way of art with self-portrait proclaiming himself "a daughter of art history," we can see his strong critical mind to look at "himself" objectively as a Japanese installed with a western sense of beauty and urged to love the West.
p.66 English text ll.22-24
[error]
the heavy pressure of insensitivity and originality, rather it showed the direction for another post-modernism art which is Appropriation and, at the same time, "evasion of identity creation."
[correction]
the heavy pressure of jamais vu and originality, rather it showed the direction for another postmodernist art which is appropriation and, at the same time, deconstruction of identity.
p.66 note for the plate by ISHIHARA Tomoaki, English ll.1-4
[error]
"Smile with Radical Will," the first self portrait that Morimura made public, was exhibited in the Three Artist Exhibition.
[correction]
Group show "Smile with Radical Will" was the exhibiton of photography by three artists, in which Morimura exhibited his first work of self-portrait.
p.67 English text l.16
[error]
In the late 1990s,
[correction]
Around 1990,
p.67 English text l.18
[error]
Ichihara Hiroko started performing in Tokyo
[correction]
Ichihara Hiroko started her activities as a laguage artist in Tokyo
p.68 English text l.1
[error]
In the late 1980s, the art world in Tokyo
[correction]
In the late 1980s, the inside of (within) the art world in Tokyo
p.68 note for the plate by NAKAMURA Kazumi, English l.1
[error]
His style
[correction]
Nakamura Kazumi's style
p.69 English text l.2
[error]
world. Within the art world, Nakamura Kazumi
[correction]
world.
Within the art world, Nakamura Kazumi
p.69 English text ll.4-7
[error]
When one starts to learn painting in the Japanese art scene, he must learn painting of the abstract expressionist style. This tendency has continued since Usami Keiji and his group's idea of "return to paintings" movement of the 1970s.
[correction]
When one starts to build up painting in Japan, s/he must begin painting from the formalism. Thus, painting in the style of abstract expressionism was made. This tendency has continued since the return to paintings in the latter half of 1970s by Usami Keiji and others.
p.69 English text ll.14-16
[error]
It was rather freshly impressive that Sugimoto Hiroshi and Miyajima Tatsuo, who belonged to the conceptual artist group and followed after Kawahara Atsushi, played an active role in the overseas art world.
[correction]
It was rather freshly impressive that Sugimoto Hiroshi and Miyajima Tatsuo and others, the type of conceptual art artists after Kawara On, played an active role in the overseas art world.
p.69 English text ll.19-20
[error]
"History of Deviation in Contemporary Art; 1945-1985,"
[correction]
"Contemporary Art in Japan 1945-1985 -- Art as a Deviation,"
p.69 English text ll.39-43
[error]
In November of the same year, I had my solo exhibition for the second time where I exhibited a series of acrylic paintings. Unfortunately, the exhibition ended up with unsatisfactory results. Illustrators labeled my works as fine art which meant outside, and on the contrary, the fine art side considered my works as illustrations which also meant outside.
[correction]
In November of the same year, I had my solo exhibition for the second time where I exhibited a series of thick acrylic paintings as art for art's sake. The result was that illustrators labeled my works as fine art which meant outside, and on the contrary, the fine art side considered my works as illustrations which also meant outside.
p.69 English text ll.45-46
[error]
Their style was conscientiously German pop style.
[correction]
Their style was German Pop as crime of conscience.
p.69 English text ll.48-49
[error]
in pop style at that time. In October 1989, I published a hand written art history book with handwritten characters and illustration,
[correction]
in pop style at that time.
In October 1989, I published a handwritten art history book with hand-written characters and hand-drawn plates,
p.69 English text l.56
[error]
my hand written illustrations*6b3.
[correction]
my hand-drawn plates*6b3.
p.69 English text ll.56-58
[error]
According to the argument I made in my book, I, as an made-to-order based artist without subjectivity, have moved on to find my new style after I published the book*6b4.
[correction]
According to the argument I made in my book, I have moved onto the next style of art, calling myself an illustrator who is a made-to-order based artist without subjectivity*6b4.
p.69 English text ll.59-62
[error]
In January 1990, I had a solo exhibition, "Huge Grave," to show all of my computer graphic works (CG) at HB Gallery in Aoyama, Tokyo, which specialized in illustrations. My objective was to create fusion between Heta-Uma and Techno by using up-and-coming computer technology. I emphasized the jaggedness on CDs in low resolution.
[correction]
In January 1990, I had a solo exhibition, "Dai Boketsu (Huge Grave)" at HB Gallery in Aoyama, Tokyo, which specialized in illustrations. All the exhibits were computer graphics (CG). My objective was to create fusion between Heta-Uma and Techno by using a personal computer that was still novel at that time. I emphasized the jaggedness on CGs in low resolution.
p.70 English text l.14
[error]
I foncied myself
[correction]
I fancied myself
p.70 *6b3 English l.2
[error]
a parody or a counterfeit
[correction]
an imitation or a parody
p.70 *6b3 English l.11
[error]
creates history.
[correction]
creates history in its "Preface."
p.70 *6b4 English l.3
[error]
anartist
[correction]
an artist
p.70 *6b4 English ll.3-5
[error]
Furthermore, like when the vulgarity that Tiger Tateishi conscientiously, became a real vulgarity, I became a real illustrator by calling myself an illustrator. From the view point of postmodernism, I was satisfied with myself for some years; however, I realized that anti-art was art itself and in 1997, I switched to becoming an "artist" by completely changing my work style.
[correction]
Furthermore, like when the vulgarity that Tiger Tateishi drew as crime of conscience became a real vulgarity, I became a real illustrator by calling myself an illustrator as crime of conscience. From the view point of postmodernism, I was satisfied with myself for some years; however, I realized that anti-art was art itself and in 1997, I switched to becoming a fine art artist by completely changing my work style again.
p.70 *6b5 English ll.4-5
[error]
I met with the editing staffs of the magazine for the first time discussing about my text book, "Text on Contemporary Art History," after the finale of "Huge Grave" Exhibition.
[correction]
I met with the editors of the magazine for the first time discussing about my book, "Text on Modern Art History" after the finale of "Huge Grave" Exhibition.
p.71 *6b5 English ll.1-7
[error]
At that time there was a firm image of computer graphics (CG) words as being a "smart
people's thing" which was too far advanced for ordinary people to understand. Ito Gabin created a word called "Silly CG
(Baka CG)" which drew some laughter, and he contributed a feature story, "Founding of the Federation of International Silly
CG" in the December 1990 issue of Bijutsu Techo, though I was not aware of Ito's story. I met with the editing staffs of the
magazine for the first time discussing about my text book, "Text on Contemporary Art History," after the finale of "Huge
Grave" Exhibition. As soon as they saw the photographs of my exhibition, they said, "They are Silly CG!" After this incident, I
was the one who aggressively advocated to spread the phrase and thereafter,
[correction]
spread the phrase and thereafter,
p.71 *6b6 English ll.1-2
[error]
A Simulacre of Picasso's painting that Mike Bidlo drew was titled "Not Picasso," however it was credited as "Picasso" in my book, "Text on Contemporary Art History."
[correction]
A Simulacre of Picasso's painting that Mike Bidlo drew was titled "Not Picasso," while the plate in my book, "Text on Modern Art History" was credited as "Picasso."
p.71 *6b7 English l.1
[error]
High-red Center
[correction]
Hi-red Center
p.71 *6b8 English l.3
[error]
"parody," "reproduction,"
[correction]
"parody," "counterfeit," "reproduction,"
p.71 *6b8 English ll.4-8
[error]
I would like to note the word "steal" on the obi and three principle words, "sampling," "cut-up" and "re-mix" in the beginning of the book in Sawaragi Noi's book, "Simulationism," published in June 1991. However, in his book Sawaragi argued that "Sampling" was not like Miyakawa Atsushi's quoting; it is not a collage like Takiguchi Shuzo's but it is "Cut-up"; and it is not a parody like the one Akasegawa Genpei used, but it is "Re-mix."
[correction]
I would like to note Sawaragi Noi's book, "Simulationism" published in June 1991, on the cover of which the word "Steal It!" was appeared and in the beginning of which "sampling," "cut-up" and "re-mix" were proclaimed as three principle words. However, in his book Sawaragi argued that "sampling" was not like Miyakawa Atsushi's quoting, that "cut-up" was not like Takiguchi Shuzo's collage, and that "re-mix" was not like Akasegawa Genpei's parody.
p.73 English text ll.5-10
[error]
I don't remember now what I said to him s ince I intentionally wrote that text to present my opposition to "Shonen Art." Since this meeting with Murakami, he started frequently faxing his hand written letters full of small characters to me during nights and in early mornings. In the letters he energetically talked about things about art, and these letters were also sent to his acquaintances including art critics and media circles.
[correction]
I don't remember now what I said to him in spite of that I had said something because I intentionally wrote "Text on Modern Art History" to present my opposition to "Shonen Art." Since then, his hand written newsletters full of small characters were frequently to be faxed during midnights and in early mornings. In the newsletters he energetically talked about things about art, and these newsletters were also sent to his acquaintances including art critics and media circles.
p.73 English text l.11
[error]
"Schoolchildren's Satchel Project,"
[correction]
"Schoolchildren's Satchel Project (Ransel Project),"
p.73 English text l.14
[error]
bega n in 1991,
[correction]
began in 1991,
p.73 English text l.24
[error]
and left in solidarity.
[correction]
and debuted in solidarity.
p.73 English text l.28
[error]
Hongik University Graduate School in Seoul,
[correction]
Hongik University in Seoul,
p.73 English text ll.29-31
[error]
As he came to realize that Japanese family names such as Nakamura and Murakami reminded Korean people of the most unpleasant memory of the Japanese occupation,
[correction]
As he came to realize that the names Nakamura and Murakami reminded Korean people of unpleasant memory of the Japanese occupation most among many Japanese family names,
p.73 English text ll.32-33
[error]
the Seoul Exhibition was held at Space Ozone in Seoul.
[correction]
the exhibition in Seoul was held at Space Ozone in July 1992.
p.73 English text l.44
[error]
the SCAI, which was still in existence at that time.
[correction]
the SCAI, which was in Aoyama at that time.
p.73 English text l.53
[error]
"Anomaly" is a type of exhibition
[correction]
"Anomaly" was a type of exhibition
p.73 English text ll.55-56
[error]
clashed over the competition.
[correction]
clashed.
p.73 English text l.58
[error]
the Kansai group for some time*6c4,
[correction]
the Kansai group, especially Nakahara for some time*6c4,
p.74 English text ll.13-15
[error]
He had a hearty laugh when he was saying, "My name is the same as Murakami Saburo's," during his performance of reproducing the Murakami Saburo's Paper Breaking.
[correction]
His performance was to reproduce "Paper Breaking" by Murakami Saburo with Gutai, and he had a hearty laugh saying, "Because my name Murakami is the same as Murakami Saburo's."
p.74 English text ll.18-20
[error]
The whole idea of this exhibition was Murakami's who wished to collaborate with Ozawa Tsuyoshi, who was in the middle of his individual exhibition at Aoi Gallery in Osaka at that time.
[correction]
The idea of this performance was Murakami's who wished to collaborate with Ozawa Tsuyoshi, who was just holding his solo show at Aoi Gallery in Osaka at that time.
p.74 English text ll.22-23
[error]
"Small Village Center" in English. It was a parody of High-red Center. I, Nakazawa, immediately joined the group,
[correction]
"Small Village Center" in English (O-Small, Mura-Village, Naka-Center). It was a parody of Hi-red Center. I, "Naka"-zawa, immediately joined the group,
p.74 English text l.24
[error]
from the beginning*6c9. In the Osaka Mixer Plan,
[correction]
from the beginning*6c9.
In the Osaka Mixer Plan,
p.74 English text l.26
[error]
High-red Center
[correction]
Hi-red Center
p.74 English text l.28
[error]
However, the "Osaka Cleaning Plan"
[correction]
However, the former "Osaka Cleaning Plan"
p.74 English text l.29
[error]
a floppy disk
[correction]
floppy disks
p.74 English text l.31
[error]
four days after the performances started.
[correction]
four days after the performance.
p.74 English text l.33
[error]
and myself from Tokyo*6c9. During the exhibition period,
[correction]
and myself from Tokyo*6c9.
During the exhibition period,
p.74 English text l.35
[error]
Eve Kline
[correction]
Yves Kline
p.74 *6c2 English ll.1-2
[error]
Tachikawa Art School.
[correction]
Tachikawa Art School, a cramming school for art colleges.
p.74 *6c3 English l.2
[error]
where its business changes fast.
[correction]
where the sign spins fast.
p.74 *6c3 English ll.2-4
[error]
Nakamura's coherent theme is always to search for the gap between signifiant and signifie, which he presented in the exhibition, "Nakamura and Murakami."
[correction]
Nakamura's coherent theme is to show the gap between signifiant and signifie. Of course, the exhibition title "Nakamura and Murakami" itself also shows the gap.
p.74 *6c4 English ll.2-4
[error]
Nakahara's Pretty Girl Figure was acceptable as art, but not acceptable from the Otaku point of view. On the top of this, they also asserted that any art accepted as a kind of art is not true art.
[correction]
Nakahara's Pretty Girl Figure was not acceptable from the Otaku point of view, however accetable as art. Furthermore, they even denied such art contrarily to be acceptable as art.
p.74 *6c4 English ll.4-5
[error]
why Otaku is true art.
[correction]
why Otaku is art.
p.75 *6c5 English l.4
[error]
"Meaning in the Meaning of Meaninglessness."
[correction]
"Meaning of Meaninglessness of Meaning."
p.75 *6c7 English ll.3-4
[error]
Murakami thought that the meeting was to organize a long lasting gr oup even after the Nakamura and Murakami Exhibition ended,
[correction]
Murakami thought that the group would last even after the "Nakamura and Murakami" exhibition ended,
p.75 *6c7 English l.5
[error]
At the exhibition, "Osaka Mixer Plan,"
[correction]
At the performance "Osaka Mixer Plan,"
p.75 *6c7 English l.9
[error]
"Nike of Samotorake running at full speed is more beautiful than Picasso's bull fighter who was killed by a car"
[correction]
"Winged Victory of Samothrace running at full speed is more beautiful than Picasso's bullfight being hit and killed by a car"
p.75 *6c8 English ll.2-3
[error]
Nishihara, who co nsidered it a problem, suggested stamping a mark "Finish" on all of the handouts for the "Osaka Kanjosen Rounding Plan" and executed it in hurry.
[correction]
Nishihara considered it a problem. A mark "Finish" was stamped in haste on all of the handouts for the "Osaka Kanjosen Rounding Plan" in the very morning of that day.
p.76 note for the plate by OZAWA Tsuyoshi, English l.5
[error]
performed by Ozawa is
[correction]
performed by Ozawa Tsuyoshi is
p.76 note for the plate by OZAWA Tsuyoshi, English ll.10-12
[error]
three dimensional statues and placed them in foreign countries,
[correction]
three dimensional clay figures and placed them there,
p.77 日本語本文 ll.1-3
[誤]
「fo(u)rtunes」で、すでに完成された傑作絵画群を一堂に展覧した会田には、すぐさま次の大
きな発表の機会が回ってきたわけではありませんでした。しかし自虐と根暗と幼女趣味的倒錯傾向
を常ににおわせながらも、
[正]
を常ににおわせながらも、
p.77 English text ll.6-7
[error]
his major early art works
[correction]
his major early paintings
p.77 English text l.10
[error]
"Nakamu ra and Murakami"
[correction]
"Nakamura and Murakami"
p.77 English text l.11
[error]
In this exhibition
[correction]
In this event
p.77 English text ll.12-14
[error]
I was the first artist who used the term, "reproductive art" used in the fliers I distributed. This was the moment that a theoretical paradox of the reproductive art was clearly revealed:
[correction]
The term "reproductive art" was first appeared in the handouts I distributed, where I revealed the theoretical paradox of the reproductive art:
p.77 English text ll.17-19
[error]
the process of making the old vanguard a classic and detoxifying it.
On February 27,
[correction]
the process of making the old avant-garde a classic and detoxifying it. On February 27,
p.77 English text l.23
[error]
performed backed by the Small Village Center
[correction]
performed by Small Village Center
p.77 English text ll.24-25
[error]
my splp exhibition
[correction]
my solo exhibition
p.77 English text ll.27-30
[error]
Nakamura planned and held a street exhibition, "The Ginburart," in the entire area of Ginza, Tokyo from April 4 till April 18, which put an end to some kinds of unprincipledness and bundled up the diffusing movement at one sweep and changed the flow into the other direction.
[correction]
Some kinds of such unprincipledness was put an end by the street exhibition "The Ginburart" planned by Nakamura Masato held in the entire area of Ginza, Tokyo from April 4 through April 18, which bundled up such unlimited diffusion at one sweep and changed the flow into the other direction.
p.77 English text ll.34-36
[error]
ginbura: strolling in Ginza and art.
The handout pamphlet
[correction]
ginbura: strolling in Ginza and art. The handout pamphlet
p.77 English text ll.39-43
[error]
Nakamura Nobuo concluded in his book, "Shonen Art," that there was no art world in this country. These Artists, who participated in this street performance in Ginza this time, recognized that the ringleader of all the problems in the art world was the galleries of Ginza, and so, they took an offensive action*6d1. Sunday was the first day
[correction]
The rough sketch was that "The Ginburart" was an offensive action against the rental galleries in Ginza, which Nakamura Masato and others regarded as the ringleader of all the problems in Japanese art scene, where Nakamura Nobuo once concluded in his book "Shonen Art" that there was no art world in Japan*6d1.
Sunday was the first day
p.77 English text ll.44-45
[error]
(eight member artists and 26 guest artists) performed here and there on the vehicle-free promenade in Ginza.
[correction]
(8 participants in the exhibition and 26 guest artists) performed here and there as the opening reception on the vehicle-free promenade in Ginza.
p.77 English text ll.46-47
[error]
The level of success of the performances varied among the performers.
[correction]
There were many kinds of performances.
p.77 note for the plate by AIDA Makoto, English text ll.1-19
[error]
The object is a large work more than 4m in width. Aida Makoto's "Weak Body Performance'"was performed by Aida who put himself under the futon which was placed in front of the object. According to his explanation made after his performance, he was so excited when he got this idea of performing and made a drawing on a small piece of paper. Then, he imagined how wonderful it would be to enlarge this small drawing, but it was terribly painful work when he actually started sketching on the paper, therefore he could not get sexually excited at all. He was not able to achieve his initial objective in his performance as he had expected to.
[correction]
This painting is a large work more than 4m in width. Aida Makoto's "Weak Body Performance" was performed by himself, putting himself under the futon which was placed in front of this painting. According to his explanation made after his performance, he was excited when he got the idea of this erotic painting and made a sketch on a small piece of paper, imagining how wonderfully it would work as a help for his masturbation if he finished enlarging this piece into huge scale. However, the actual enlarging work was so painful that he could not get sexually excited at all. Also in his performance, he was not able to achieve his initial objectiv as he had expected to.
p.78 English text ll.6-10
[error]
after the Ginburart was over. Nasubi Gallery was art work performed at the Ginburart.
It was produced with the intention to make a parody of the rental gallery in Ginza, "Nabis Gallery". The work was the inside of a milk box painted white which he called the gallery.
[correction]
after the Ginburart was over.
Nasubi Gallery was Ozawa's art work exhibited as an exhibit in the Ginburart. It was produced with the intention to make a parody of "Nabis Gallery," a long-established rental gallery in Ginza (Nasubi means eggplant). The work which he called a gallery was a milk box whose inside was painted white.
p.78 English text ll.13-14
[error]
Small Village Center. So, the Nasubi Gallery for Ozawa himaself
[correction]
Small Village Center on the opening day of the exhibition. So, the Nasubi Gallery for Ozawa himself
p.78 English text l.16
[error]
prompte
[correction]
promote
p.78 English text l.18
[error]
because that day was Sunday
[correction]
because the opening day of the exhibition was Sunday
p.78 English text l.20
[error]
"DPE" later,
[correction]
"DPE" even after the opening day,
p.78 English text l.21
[error]
prompote
[correction]
promote
p.78 English text ll.25-26
[error]
Nakamura, and needless to say, even to Murakami.
[correction]
Nakamura, and even to Murakami.
p.78 English text l.29
[error]
the owner of the actual Nabis Gallery
[correction]
the owner of Nabis Gallery
p.78 English text ll.35-37
[error]
He seemed to have tendencies of masochism, gloominess and sexual perversion toward young girls. On the other hand, Aida had powerful painting techniques and a memory like a Japanese art history text
[correction]
Always posing as having tendencies of masochism, gloominess and sexual perversion toward young girls, Aida had powerful painting techniques and memory of Japanese art history
p.78 *6d1 English ll.1-3
[error]
In April 1994, the second street performance planned by Nakamura and held in Shinjuku was named "Shinjuku Shonen Art." Eighty five artists participated in this street exhibition. Despite no advanced notice to police, we could not avoid making some pre-set arrangement with them.
[correction]
In April 1994, the second street exhibition planned by Nakamura and held in Shinjuku, Tokyo was named "Shinjuku Shonen Art," in which 85 artists or artist units participated. Despite no advanced notice to police or others, some kind of preestablished harmony appeared in a bad sense.
第7章
Chapter 7
p.79 English caption
[error]
"In the DeepestPuddle"
[correction]
"In the Deepest Puddle"
p.80 English text l.2
[error]
ea rthquake inHanshin-Awaji
[correction]
earthquake in Hanshin-Awaji
p.80 English text l.3
[error]
thesubway (sarin) incident in Tokyo
[correction]
the sarin attack on Tokyo's subways
p.80 English text l.4
[error]
Thelatter
[correction]
The latter
p.80nthought-of
[correction]
considerably
p.81 English text ll.49-51
[error]
a group called Girly Photo emerged. Members included HIROMIX, Ninagawa Mika, Nagashima Yurie, as well as others.
[correction]
pictures called Girly Photo emerged. The photographers were HIROMIX, Ninagawa Mika, Nagashima Yurie, as well as others.
p.82 English text ll.1-2
[error]
In 1996 I invented world first application software "Digital Nend (Clay)"
[correction]
In 1996 I invented world first 3D modeling, not carving application software called "Digital Nendo (Clay)"
p.82 *7a1 English l.4
[error]
NARA's words
[correction]
Nara's words
p.82 *7a3 English ll.3-4
[error]
The dogmatism of anti-art that had always existed at the bottom of tokyo pop art indicates such situation as "I draw as I detest it," "I draw as harassment," "I draw to treat myself cruelly," etc.
[correction]
The dogma of anti-art that had always existed at the bottom of Tokyo Pop indicates such situation as "I draw as I detest it," "I draw as harassment," "I draw as a masochist pose," etc.
p.82 *7a4 English ll.2-3
[error]
he strove for such a hard strategy of conquering the world as "going out in the world carrying Japan on his back."
[correction]
he strove for such a hard world strategy as "going out in the world carrying Japan on his back."
p.82 *7a5 English l.1
[error]
thus having any norm
[correction]
thus having no norm
p.82 *7a6 日本語 l.1
[誤]
柿の木プロジェクト
[正]
「時の蘇生」柿の木プロジェクト
p.82 *7a6 English ll.1-2
[error]
"Persimmon Tree Project" --- A program for supporting an activity as art to deliver saplings of junior persimmon trees of an atomic air raid in 1945.
[correction]
REVIVE TIME Kaki Tree Project (kaki means persimmon) --- A program for supporting an activity as art to deliver saplings of the daughters of an atomic bombed persimmon tree in Nagasaki in 1945.
p.82 *7a7 English l.1
[error]
For example, overseas success of Morimura Yasumasa
[correction]
For example, some say that overseas success of Morimura Yasumasa
p.82 *7a7 English l.3
[error]
When Aida Makoto published a series of "Battle Picture Returns,"
[correction]
When Aida Makoto first exhibited a series of "War Paintings Returns,"
p.83 日本語タイトル
[誤]
ひそやか系、スタジオ食堂、昭和40年
[正]
ひそやか系、スタジオ食堂、昭和40年会
p.84 English text ll.4-8
[error]
Hachiya Kazuhiko (former Experimental Television Company), who is one year younger than the members of The Group 1965 and one year older than Studio Shokudo, put his pivoting foot on media-related ones like a project of "Mega Diary" and the development of email software "Postpet," and after that he privately pursued a project of making aviation equipment.
[correction]
Hachiya Kazuhiko (former Experimental Television Company), who is one year younger than the members of The Group 1965 and older than the members of Studio Shokudo, put his pivoting foot on media-related ones like a project of "Mega Diary" and the development of email software "Postpet," and after that he pursued a project of making aviation equipment privately.
p.86 English text l.8
[error]
There are two significant aims:
[correction]
There were two significant aims:
p.86 English text ll.11-13
[error]
Methodicism is to impose reducing to "method" itself*7c3. It is modernism in the capacity of reductionism after postmodernism.
[correction]
Methodicism was to impose reducing to "method" itself*7c3. It was modernism in the capacity of reductionism after postmodernism.
p.86 *7c1 English l.5
[error]
"The Rise and Fall of Japanese art after World War II"
[correction]
"The Rise and Fall of Japanese Art After World War II"
p.86 *7c1 English l.6
[error]
"Contemporary Art: History of Deviation"
[correction]
"Contemporary Art in Japan 1945-1985 -- Art as a Deviation"
p.86 *7c2 English l.1
[error]
January and February issues
[correction]
January + February issue
p.86 *7c2 English ll.4-5
[error]
Nevertheless, the manifesto was published in the printed media for the first time as an antithesis to Superflat.
[correction]
Instead, my manifesto was appeared as an antithesis to Superflat (in the printed media for the first time).
p.86 *7c3 English ll.3-4
[error]
arranging letters or signs using a set method for paintings,
[correction]
arranging pixels using a set method for paintings,
p.88 English text ll.2-3
[error]
and Neo-Conceptual artworks including a work of Toyoshima Yasuko, and a work of Matsui Shigeru
[correction]
and Neo-Conceptual artworks including works of Toyoshima Yasuko, and works of Matsui Shigeru
p.88 English text ll.11-12
[error]
Eventually Koyama Tomio and other artists from young generation found a way out in art exhibitions abroad,
[correction]
Eventually Koyama Tomio and other commercial galleries from young generation found a way out in art fairs abroad,
p.88 English text l.17
[error]
Writing of this book was started in 2004
[correction]
Writing of this book was started in 2003
戻る Back | 中ザワヒデキ網上楼閣 NAKAZAWA HIDEKI's homepage