JAPANESE CATALOGUE 1974
- Regular price
- $217.00 USD
- Regular price
-
- Sale price
- $217.00 USD
A significant and historically resonant exhibition catalogue, this publication documents Andy Warhol’s first major solo exhibition in Japan—marking a pivotal moment in the global reception of his work.
Published in 1974 in Tokyo by Asahi Shimbun, the catalogue presents high-quality reproductions of some of Warhol’s most iconic works, including his Campbell’s Soup Cans, Marilyn Monroe portraits, and Brillo Boxes. These images foreground his enduring engagement with mass production, celebrity culture, and consumer imagery—central themes that defined Pop Art’s critical dialogue with modern society.
Beyond visual documentation, the publication includes curatorial essays and exhibition texts that offer insight into Warhol’s methods and conceptual framework. As a Japanese-language edition, it provides a distinct perspective on his international influence, reflecting how his work was interpreted and contextualized within Japan during the 1970s.
Large in format and concise in scope, the catalogue functions both as an archival record and as a cultural artifact—capturing a key moment in the cross-cultural circulation of contemporary art. Its first-edition status further enhances its appeal for collectors and researchers interested in Warhol’s global impact.
A rare and desirable piece that bridges American Pop Art and its reception in Asia.
Publisher: Asahi Shimbun, Tokyo
Year: 1974 (First Edition)
Language: Japanese
Format: Softcover
Dimensions: 31 × 30 cm
Pages: 58 pages
Condition: Brand new
Intermission exists in the space between documentation and devotion an ongoing archive of cultural fragments that refuse to vanish. Each title within our portfolio is selected not for trend, but for tension: between what was meant to disappear and what insists on remaining.
We work with objects that speak quietly but persistently publications, recordings, and editions that define the undercurrents of art, sound, and design. Together they form a living record of marginal brilliance, a collection that privileges significance over scale.
Intermission exists in the space between documentation and devotion an ongoing archive of cultural fragments that refuse to vanish. Each title within our portfolio is selected not for trend, but for tension: between what was meant to disappear and what insists on remaining.
We work with objects that speak quietly but persistently publications, recordings, and editions that define the undercurrents of art, sound, and design. Together they form a living record of marginal brilliance, a collection that privileges significance over scale.
Every Intermission title is handled as an artifact. We believe that preservation is an act of reverence one that begins the moment you open a cover or unspool a tape.
To experience a piece, do so slowly. Allow the air to touch the paper, let light fall softly over each page. Avoid excess pressure; handle edges rather than surfaces. Each mark, fold, or patina is part of its passage through time evidence of care rather than decay.
We encourage collectors to engage not only with the content, but with the gesture of preservation itself: a quiet commitment to memory.
Every Intermission title is handled as an artifact. We believe that preservation is an act of reverence one that begins the moment you open a cover or unspool a tape.
To experience a piece, do so slowly. Allow the air to touch the paper, let light fall softly over each page. Avoid excess pressure; handle edges rather than surfaces. Each mark, fold, or patina is part of its passage through time evidence of care rather than decay.
We encourage collectors to engage not only with the content, but with the gesture of preservation itself: a quiet commitment to memory.
If you still have any questions, feel free to contact us.
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