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  1. Minoru [videorecording] : memory of exile

    San Francisco, CA : Distributed by National Asian American Telecommunications Association, 1992.

    By combining animation with archival material this film tells the story of Minoru Fukushima and his family being forced from their home, dispatched to internment camps in the interior of British Columbia, and finally deported to Japan during World War II.

  2. Minoru Takeyama

    Takeyama, Minoru, 1934-2020
    London : Academy Editions, 1995.

    Since the late 1960s Minoru Takeyama's work has contributed to, and continues to shape, the course of Japanese architecture through numerous award-winning projects and achievements. This text discusses the development and significance of his architecture in the contexts of both contemporary Japanese and international architectures. It contains an introduction and critical analysis of Takeyama's architecture by Professor Botand Bognar, an essay by Takeyama, and two articles by critics Charles Jencks and Kazukiyo Matsuba. In addition it features 20 of the architect's most important buildings and projects, including Tokyo Port Terminal, the Egyptian Embassy in Tokyo and the Pepsi Canning Plant.

  3. Minoru Onoda

    Onoda, Minoru, 1937-2008
    Zürich : Scheidegger & Spiess, [2019]

    Minoru Onoda was born in Japanese-occupied Manchuria to a Japanese family in 1937. Before the outbreak of World War II, they moved to Himeji in Japan, which remained the artist's residence until his passing in 2008. Following his artistic education at the Osaka Institute of Fine Arts and at Osaka School of Art in the 1960s, Onoda joined the Gutai, Japan's first post-war radical artistic movement. Gutai challenged what the movement considered a reactionary understanding to initiate new notions of art, and redefined the relationships among body, matter, time, and space. Enchanted by concepts of repetition, Onoda produced panels with amalgamations of gradually increasing dots with relief, creating organically growing shapes, progressing to infinite circles and ultimately moving to a monochrome style in painting. When Gutai disbanded in 1972, he opted for a conceptual style in which the proliferating dots disappeared. The Western world has received Minoru Onoda's art almost exclusively in the Gutai context, for example in the 2013 exhibition Gutai: Splendid Playground at New York's Guggenheim Museum. This overdue first-ever monograph on Minoru Onoda introduces him as an artist in his own right. Apart from investigating his relations with Gutai, it explores his creative process with a particular focus on his sketchbooks.

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