@article{oai:nagoya.repo.nii.ac.jp:00029174,
 author = {池田, 忍 and Ikeda, Shinobu},
 journal = {JunCture : 超域的日本文化研究},
 month = {Jan},
 note = {This paper focuses on the art of Tomiyama Taeko, from the 195Os until today. Tomiyama, a painter, was born in Kobe in 1921, and spent her childhood in the Japanese puppet-state of Manchuria. Her works address mainly social and political issues such as oppression and violence towards the weak under the global hegemony of capitalism. Starting in 1976, she started collaborating with the musician Takahashi Yûji in artworks using slides. In 1982, she participated in a film by Tsuchimoto Noriaki titled Pop Out, Balsam Seeds！Through her involvement in these various media, she was breaking free from the modern fine arts framework. Tomiyama began her artistic career when she met the coalmines and miners of Kyushu's Chikuhô region for the first time. As is well known, cultural production in the 1950s has been enshrined in cultural history, because of its reportage art and literature movements, that represented a unified avant-garde that promoted progressive political and artistic values. Nevertheless, Tomiyama, who shared the ideals of her contemporaries, has been persistently ignored in the history of art, while she herself has not always valued the importance of these earlier works. Since the 1960s, after becoming involved in the international struggles for democracy and the women's liberation movement, Tomiyama began to incorporate in her work the history of what she,  who had been born in the Japanese Empire, considered to be the most extreme expression of the violence of Japanese colonial exploitation: the twin histories of forced labor and comfort women. Tomiyama clearly continued the tradition of the 195Os reportage painting movement, in their confrontation, and occasionally, its interruption of reality within artistic expression. Tomiyama excavated the depths of history, using images from folk culture to dislocate time and space, actively deploying the methods of surrealism, which sought to construct deep images that cut through the divide between conscious and unconscious. These were all techniques that grew out from the 195Os, and which she would mature and thoroughly utilize in order to expand her own artistic vision. It is because of these elements that Tomiyama's work disrupts the canonized cultural and art historical view of 195Os avant-gardism. The aim of this paper is to examine the trajectory of one woman artist who was marginalized within the context of the 195Os avant-garde, tracing how she reached the project of deconstructing and reconstructing the “history” of the 20th century, by closely analyzing her works in relation to that of other artists and the critical discourse of the time.},
 pages = {84--97},
 title = {富山妙子と戦後「美術」と「日本」の境界 : ルポルタージュから「歴史」へ},
 volume = {1},
 year = {2010}
}