Between Nietzsche's "death of God" and the ascent of Buddhism in twentieth-century America and Europe, the idea of the "void" has permeated Western art and culture. The means by which artists and thinkers have dismantled conventions of reality and perception with acts of emptying, removing, destroying, or emphasizing nothingness, are numerous, as this massive survey testifies. This paperback edition of Voids serves as a catalogue to the Centre Pompidou's retrospective of empty exhibitions, curated by the dream team of Laurent Le Bon, John Armleder, Mathieu Copeland, Gustav Metzger, Mai-Thu Perret and Clive Phillpot, and featuring Yves Klein, Robert Barry, Art & Language, Stanley Brouwn, Laurie Parsons, Bethan Huws, Robert Irwin, Maria Eichhorn and Roman Ondak; but it also supplies a crucial anthology of texts, with contributions by artists and writers such as Stuart Comer, Brian O'Doherty, Ralph Rugoff, Jon Savage, Sarah Wilson, Peter Downsbrough, Lawrence Weiner, Sherrie Levine, Seth Price, Trisha Donnelly, Wade Guyton and Olivier Mosset, among others. Available in both paperback and hardcover editions.
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More About the Author
Reiko Tomii is an independent art historian and curator, who investigates post-1945 Japanese art in global and local contexts. Long based in New York, she received her master's degree from Osaka University and her doctorate from the University of Texas at Austin.
Her research topic encompasses "international contemporaneity," collectivism, and conceptualism in 1960s art, as demonstrated by her curatorial and authorial contribution to "Global Conceptualism" (Queens Museum of Art, 1999), "Century City" (Tate Modern, 2001), and "Art, Anti-Art, Non-Art" (Getty Research Institute, 2007). Her recent publications include "Kazuo Shiraga: Six Decades" (2009) and contributions to "Yanagi Yukinori: Inujima Note" (2010) and "Xu Bing" (Albion Editions, 2011).
As a co-founder of the listserv group PoNJA-GenKon (Post-1945 Japanese Art Discussion Group-Gendai Bijutsu Kondankai), she has co-organized conferences and panels with Yale University (2005), Getty Research Institute and UCLA (2007), Guggenheim Museum (2009), and University of Michigan at Ann Arbor (2010).
Her key journal articles include: "State v. (Anti-)Art: Model 1,000-Yen Note Incident by Akasegawa Genpei and Company," Positions 10.1 (Spring 2002); "Historicizing 'Contemporary Art': Some Discursive Practices in Gendai Bijutsu in Japan," Positions 12.3 (Winter 2004); and "1960s Japan: Art Outside the Box," guest-editor of special issue, Review of Japanese Culture and Society 17 (December 2005; Tokyo and Saitama: Jōsai University).
Her research topic encompasses "international contemporaneity," collectivism, and conceptualism in 1960s art, as demonstrated by her curatorial and authorial contribution to "Global Conceptualism" (Queens Museum of Art, 1999), "Century City" (Tate Modern, 2001), and "Art, Anti-Art, Non-Art" (Getty Research Institute, 2007). Her recent publications include "Kazuo Shiraga: Six Decades" (2009) and contributions to "Yanagi Yukinori: Inujima Note" (2010) and "Xu Bing" (Albion Editions, 2011).
As a co-founder of the listserv group PoNJA-GenKon (Post-1945 Japanese Art Discussion Group-Gendai Bijutsu Kondankai), she has co-organized conferences and panels with Yale University (2005), Getty Research Institute and UCLA (2007), Guggenheim Museum (2009), and University of Michigan at Ann Arbor (2010).
Her key journal articles include: "State v. (Anti-)Art: Model 1,000-Yen Note Incident by Akasegawa Genpei and Company," Positions 10.1 (Spring 2002); "Historicizing 'Contemporary Art': Some Discursive Practices in Gendai Bijutsu in Japan," Positions 12.3 (Winter 2004); and "1960s Japan: Art Outside the Box," guest-editor of special issue, Review of Japanese Culture and Society 17 (December 2005; Tokyo and Saitama: Jōsai University).
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