Page 21 - Studio International - July/August 1967
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to the artist for his contribution to art, or for  a fantastic construction in fluorescent plastic  distributed to the artists according to the
             the work in the exhibition. The chairman  with self-generating sound. However, on the  number of votes received. The considerable
             concluded that no such distinction could be  advice of the Japanese jury it was decided  measure of agreement between the jury mem-
            made and that the prize would have to go to  not to give the grand prix to Yoshida since,  bers was due to two factors. In the first place
             both the artist and a particular work in the  we were told, the particular work in the  every juror member was quite clearly anxious
            Biennale. The problem of deciding between  exhibition was much better than anything he  to take note of the point of view of the others;
            Vasarely and Stella was that of choosing  had done previously and could come into the  secondly, five of the seven jury members were
             between achievement and promise. Since it  category of what was earlier described as  young. The latter is no doubt responsible for
            was very much in the spirit of the situation to  a happy accident. Finally, Yoshida was given  the fact that out of twelve prizes, ten went to
            extend encouragement rather than to award  the Ohara Art Museum purchase award, and  artists in their late twenties and thirties. The
            medals, the grand prix for a foreign artist  the grand prix went to the grand maitre of  jury session finished at 4.45 pm. Half an hour
            went to Stella and Vasarely received the next  radical art in Japan—Yoshihara.     later at the press conference, the Mainichi
            highest award—that of the Foreign Minister.   The final voting, at the end of which there  Newspapers handed out printed notices giving
             Initially the foreign jurors wanted to give the  were twelve names, dictated which prizes  details of prize winners and awards.
            Japanese grand prix to a young and fairly  should go to which artists. The prizes were   There are two lessons to be learned from the
            unknown artist, Minoru Yoshida, who made   listed in order of importance and they were   Tokyo Biennale. The first is that artists should
                                                                                               not send, or allow anything to be sent, to
                                                                                               international exhibitions, unless it be their
                                                                                               best work. The second lesson is that there is
                                                                                               no substitute for efficient organization. It is
                                                                                               true that the members of the Mainichi
                                                                                               Newspapers who work on the special projects
                                                                                              section had not had a day off for five weeks,
                                                                                               but their sacrifice was responsible for the
                                                                                              success of the enterprise. 	q

                                                                                               Prizewinners of the 9th Tokyo Biennale
                                                                                               Frank Stella—International Grand Prix; Jiro Yoshihara—
                                                                                               Japanese Grand Prix; Vasarely—Foreign Minister's
                                                                                               Award; Peter Sedgley—Education Minister's Award;
                                                                                               Ferdinand Kriwet—Tokyo Metropolitan Governor's
                                                                                               Award; Pol Mara—Nagaoka Museum of Contemporary
                                                                                               Art (purchase award); Nelson Leirner—Mainichi News-
                                                                                               papers Award; Arakawa—National Museum of Modern
                                                                                               Art Award (purchase award); Takamatsu—Kamakura
                                                                                               Museum of Modern Art (purchase award); Kojima—
                                                                                               Bridgestone Museum Award (purchase award);
                                                                                               Yoshida—Ohara Art Museum Award (purchase
                                                                                               award); Miki—International Art Promotion Associa-
                                                                                               tion Award.

                                                                                               The Japanese prizewinners represent quite accura-
                                                                                              tely some dominant trends in Japanese art today.
                                                                                               Yoshida constructs vast environments from luminous
                                                                                               perspex which are accompanied by sounds provided
                                                                                               by the aluminium sheets at the back. His construct-
                                                                                              ions, whether large or small, are all called Just curve,
                                                                                              and the use of dayglo extends from perspex to the
                                                                                               paint with which he sometimes makes marks on the
                                                                                               plastic. Miki makes effigies of ears. Having done a
                                                                                              series of ears in aluminium relief and countless other
                                                                                               'ear objects', his contribution to the Tokyo Biennale
                                                                                               consisted of three glass boxes each containing one
                                                                                              8 ft ear painted in dayglo colours. Apart from Yoshi-
                                                                                               hara, whose work is known in Europe and who re-
                                                                                               presents theolder generation, Arakawa is probablythe
                                                                                               best known among the younger artists. His pale
                                                                                               diagrammatic paintings of interiors have been shown
                                                                                              in Europe and in the USA. Relief constructions by
                                                                                               Kojima, like those of Miki, also deal with a single
                                                                                              theme although without quite such a degree of
                                                                                              obsessiveness. Kojima places sections of white hips
                                                                                              in relief, against a painted background of a series of
                                                                                              square canvases. Also working with multiple canvases
                                                                                              is Takamatsu who paints shadows of people and
                                                                                              objects cast on walls and the environment.
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