Genpei akasegawa (Plus de 1 200 résultats)

Etat : As New. Unread book in perfect condition.

Etat : New.

Paperback. Etat : new. Paperback. Gravestones hatch political critiques and tomatoes resist being eaten in the wildly surreal and funny stories of Genpei Akasagawa, a giant of the Japanese avant-gardeThere is a small but potent club of authorsMiranda July and Patti Smith are both memberswho were renowned artists long before they became writers. Genpei Akasagawa, writing under the pen name Katsuhiko Otsuji, was already a giant of the Japanese contemporary art world when he began writing these stories, which earned him Japans two most prestigious book awards.In these stories, ostensibly quiet tales of a single dad in 1970s Tokyo, a doorknob practices radical politics, a peeled tomato smarts in pain, raw oysters tick like time bombs and gravestones provide a critique of capitalism. After reading I Guess All We Have Is Freedom, you will never be able to look at a sliding door, a rubber band or a plastic gutter the same way again. In spite of their suburban settings, the stories here are more radical than the most cosmopolitan contemporary art. Or as the protagonist puts it: The whole art thing is a little played out at this point. Nowadays, its all about buying gutters. Going out to buy a gutter on a sunny day.Genpei Akasegawa (1937-2014) was a rare phenomenon, an artist who successfully transitioned from the avant-garde to the larger realm of popular culture. Akasegawa emerged on the Japanese art scene around 1960, starting in the radical Anti-Art movement and becoming a member of the seminal artist collectives Neo Dada and Hi Red Center. The epic piece Model 1,000-Yen Note Incident (1963-74), which involved a real-life police investigation and trial, cemented his place as an inspired conceptualist. Hyperart: Thomasson (Kaya Press, 2010), a collection of musings on art that the city itself makes, marks a crucial turning point in his metamorphosis from subculture to pop-culture status. Also an accomplished author writing under the penname Katsuhiko Otsuji, in 1981 he won Japan's most prestigious literary award, the Akutagawa Prize, for his story Dad's Gone, translated into English here for the first time in this volume. Selected Short Stories. Gravestones hatch political critiques and tomatoes resist being eaten in the wildly surreal and funny stories of Genpei Akasagawa, a giant of the Japanese avant-garde Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Etat : New. Brand new book, sourced directly from publisher. Dispatch time is 24-48 hours from our warehouse. Book will be sent in robust, secure packaging to ensure it reaches you securely.

Paperback. Etat : New. Gravestones hatch political critiques and tomatoes resist being eaten in the wildly surreal and funny stories of Genpei Akasagawa, a giant of the Japanese avant-gardeThere is a small but potent club of authors-Miranda July and Patti Smith are both members-who were renowned artists long before they became writers. Genpei Akasagawa, writing under the pen name Katsuhiko Otsuji, was already a giant of the Japanese contemporary art world when he began writing these stories, which earned him Japan's two most prestigious book awards.In these stories, ostensibly quiet tales of a single dad in 1970s Tokyo, a doorknob practices radical politics, a peeled tomato smarts in pain, raw oysters tick like time bombs and gravestones provide a critique of capitalism. After reading I Guess All We Have Is Freedom, you will never be able to look at a sliding door, a rubber band or a plastic gutter the same way again. In spite of their suburban settings, the stories here are more radical than the most cosmopolitan contemporary art. Or as the protagonist puts it: "The whole art thing is a little played out at this point. Nowadays, it's all about buying gutters. Going out to buy a gutter on a sunny day."Genpei Akasegawa (1937-2014) was a rare phenomenon, an artist who successfully transitioned from the avant-garde to the larger realm of popular culture. Akasegawa emerged on the Japanese art scene around 1960, starting in the radical Anti-Art movement and becoming a member of the seminal artist collectives Neo Dada and Hi Red Center. The epic piece Model 1,000-Yen Note Incident (1963-74), which involved a real-life police investigation and trial, cemented his place as an inspired conceptualist. Hyperart: Thomasson (Kaya Press, 2010), a collection of musings on art that the city itself makes, marks a crucial turning point in his metamorphosis from subculture to pop-culture status. Also an accomplished author writing under the penname Katsuhiko Otsuji, in 1981 he won Japan's most prestigious literary award, the Akutagawa Prize, for his story "Dad's Gone," translated into English here for the first time in this volume.…

Etat : new.

Etat : New. 2025. paperback. . . . . .

paperback. Etat : New. Special order direct from the distributor.

Etat : New.

Paperback. Etat : Brand New. 240 pages. French language. 6.50x5.50x6.50 inches. In Stock.

Paperback. Etat : Brand New. 240 pages. French language. 6.50x5.50x6.50 inches. In Stock.

Etat : New. 2025. paperback. . . . . . Books ship from the US and Ireland.

Etat : As New. Unread book in perfect condition.

Soft cover. Etat : As New. Etat de la jaquette : As New. Contains pictures of the works under discussion.

Paperback. Etat : Brand New. Paperback.Width: 15 cm. Height: 22cm. 135 pages. English text.

Paperback Bunko. Etat : Brand New. Japanese language. 5.75x4.17x0.71 inches. In Stock.

Paperback Bunko. Etat : Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Paperback Bunko. Etat : Brand New. Japanese language. 5.83x4.17x0.47 inches. In Stock.

Paperback. Etat : Brand New. 246 pages. Japanese language. 6.77x4.17x0.32 inches. In Stock.

Paperback Bunko. Etat : Brand New. Japanese language. 5.75x4.17x0.55 inches. In Stock.

Soft cover. Etat : Very Good. 1st Edition. Slight marks on front cover. Illustrated throughout in full colour. Pages clean and fresh.

Etat : NEW.

Kartoniert / Broschiert. Etat : New. KlappentextGravestones hatch political critiques and tomatoes resist being eaten in the wildly surreal and funny stories of Genpei Akasagawa, a giant of the Japanese avant-gardeThere is a small but potent club of authors‿Miranda July a.

4to. 96pp. Colour and b/w illustrations. Original wrappers, some wear, a very good copy. . First edition. Exhibition catalogue. From the collection of Australian scholar Noel Hutchison with signature.

tankobon_hardcover. Etat : Very Good. Etat de la jaquette : Very Good. Japanese language text. Pages/covers clean. Minor shelf wear may be present due to storage.

Paperback. Etat : new. Paperback. Gravestones hatch political critiques and tomatoes resist being eaten in the wildly surreal and funny stories of Genpei Akasagawa, a giant of the Japanese avant-gardeThere is a small but potent club of authorsMiranda July and Patti Smith are both memberswho were renowned artists long before they became writers. Genpei Akasagawa, writing under the pen name Katsuhiko Otsuji, was already a giant of the Japanese contemporary art world when he began writing these stories, which earned him Japans two most prestigious book awards.In these stories, ostensibly quiet tales of a single dad in 1970s Tokyo, a doorknob practices radical politics, a peeled tomato smarts in pain, raw oysters tick like time bombs and gravestones provide a critique of capitalism. After reading I Guess All We Have Is Freedom, you will never be able to look at a sliding door, a rubber band or a plastic gutter the same way again. In spite of their suburban settings, the stories here are more radical than the most cosmopolitan contemporary art. Or as the protagonist puts it: The whole art thing is a little played out at this point. Nowadays, its all about buying gutters. Going out to buy a gutter on a sunny day.Genpei Akasegawa (1937-2014) was a rare phenomenon, an artist who successfully transitioned from the avant-garde to the larger realm of popular culture. Akasegawa emerged on the Japanese art scene around 1960, starting in the radical Anti-Art movement and becoming a member of the seminal artist collectives Neo Dada and Hi Red Center. The epic piece Model 1,000-Yen Note Incident (1963-74), which involved a real-life police investigation and trial, cemented his place as an inspired conceptualist. Hyperart: Thomasson (Kaya Press, 2010), a collection of musings on art that the city itself makes, marks a crucial turning point in his metamorphosis from subculture to pop-culture status. Also an accomplished author writing under the penname Katsuhiko Otsuji, in 1981 he won Japan's most prestigious literary award, the Akutagawa Prize, for his story Dad's Gone, translated into English here for the first time in this volume. Selected Short Stories. Gravestones hatch political critiques and tomatoes resist being eaten in the wildly surreal and funny stories of Genpei Akasagawa, a giant of the Japanese avant-garde Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.…

Paperback. Etat : New. Gravestones hatch political critiques and tomatoes resist being eaten in the wildly surreal and funny stories of Genpei Akasagawa, a giant of the Japanese avant-gardeThere is a small but potent club of authors-Miranda July and Patti Smith are both members-who were renowned artists long before they became writers. Genpei Akasagawa, writing under the pen name Katsuhiko Otsuji, was already a giant of the Japanese contemporary art world when he began writing these stories, which earned him Japan's two most prestigious book awards.In these stories, ostensibly quiet tales of a single dad in 1970s Tokyo, a doorknob practices radical politics, a peeled tomato smarts in pain, raw oysters tick like time bombs and gravestones provide a critique of capitalism. After reading I Guess All We Have Is Freedom, you will never be able to look at a sliding door, a rubber band or a plastic gutter the same way again. In spite of their suburban settings, the stories here are more radical than the most cosmopolitan contemporary art. Or as the protagonist puts it: "The whole art thing is a little played out at this point. Nowadays, it's all about buying gutters. Going out to buy a gutter on a sunny day."Genpei Akasegawa (1937-2014) was a rare phenomenon, an artist who successfully transitioned from the avant-garde to the larger realm of popular culture. Akasegawa emerged on the Japanese art scene around 1960, starting in the radical Anti-Art movement and becoming a member of the seminal artist collectives Neo Dada and Hi Red Center. The epic piece Model 1,000-Yen Note Incident (1963-74), which involved a real-life police investigation and trial, cemented his place as an inspired conceptualist. Hyperart: Thomasson (Kaya Press, 2010), a collection of musings on art that the city itself makes, marks a crucial turning point in his metamorphosis from subculture to pop-culture status. Also an accomplished author writing under the penname Katsuhiko Otsuji, in 1981 he won Japan's most prestigious literary award, the Akutagawa Prize, for his story "Dad's Gone," translated into English here for the first time in this volume.…

Taschenbuch. Etat : Neu. I Guess All We Have Is Freedom | Selected Short Stories | Genpei Akasegawa | Taschenbuch | Kartoniert / Broschiert | Englisch | 2025 | Kaya Press | EAN 9781885030726 | Verantwortliche Person für die EU: Libri GmbH, Europaallee 1, 36244 Bad Hersfeld, gpsr[at]libri[dot]de | Anbieter: preigu.…

Tankobon Hardcover. Etat : Brand New. Japanese language. 8.19x5.91x0.55 inches. In Stock.

Etat : Very Good. 72 pp., HARDCOVER EDITION, library bookplate to front pastedown, else very good in very good dust jacket. - If you are reading this, this item is actually (physically) in our stock and ready for shipment once ordered. We are not bookjackers. Buyer is responsible for any additional duties, taxes, or fees required by recipient's country.…