Larry Sultanpictures from home

Philip Treacy HC FW 01

Toshiaki Minemura wrote in the 1986 catalogue of MONO-HA exhibition at Kamakura Gallery
The name MONO-HA didn’t come into existence at the start of the movement at the free will of those artists. Rather, it was at the beginning of the seventies that the word with some connotations of contemptuous indifference came to be used among people– this author confesses to being one– who took to examining the MONO-HA phenomenon, especially that of the Lee+Tamabi Group with critical eye. It was for this reason that until quite recently the name sounded quite unpleasant to the ears of the majority of that group, not to mention those of Enokura, Takayama, Haraguchi and others blonging to the Geidai and Nichidai groups who maintain to this day that the term is rather questionable as it was coined to refer to the artworks of the Lee+Tamabi Connection rather than their own.

Kees van Dongen
La Quiétude
1918, oil on canvas

fina miralles, emmascarats, 1976

Robert Morris
Page 1