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This article overviews Mono-ha and various visual resources across the movement.

Evaluation: Green / Basic informations and key works of Mono-ha.

Citation: Cardi Gallery. (2021). Mono Ha: The School of Things - Cardi Gallery. [online] Available at: https://cardigallery.com/magazine/mono-ha-the-school-fo-things/

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Mono Ha: The School of Things - Cardi Gallery

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Mono Ha: The School of Things Phase Mother Earth, 1968. Production shot. Susumu Koshimizu (left), Katsurō Yoshida (center), Nobuo Sekine (far right). “Faced with this solid block of raw earth, the power of this object of reality rendered everybody speechless, and we stood there, rooted to the spot… I could feel the passing of time’s […]

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This article is from 1986 catalogue of the Mono-ha exhibition at Kamakura Gallery.

It mentions two groups that led the movement and their key artists.

It compares the movement with Western movements like Arte Povera and Readymade, and it reveals the differences between them.

Readymade and Arte Povera are work of a creation, chaing property of goods into an artwork or creating artwork with mininal forms or materials, but Mono-ha is negate creation by placing objects with their own properties, or not-manipulated state in a exhibition venue.

And it describes the way Mono-ha artworks have been made and how they exist as objects itself.

Evaluation: Green / Overview of the movement and explanation on philosophical stance of the movement.

Citation: www.kamakura.gallery. (1986). Kamakura Gallery: What was MONO-HA? [online] Available at: https://www.kamakura.gallery/mono-ha/minemura-en.html.

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This article is an overview of Mono-ha. It mentions key artists and the formation of the movement, their philosophical approach, historical context, and practical works.

Evaluation: Green / Overview of the movement.

Citation:
Bradberry, A. (2022). MONO-HA: Material State Of Mind. [online] Collecteurs.com. Available at: https://www.collecteurs.com/article/mono-ha-material-state-of-mind.

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This video highlighs Lee Ufan, who lead established theoratical basis of the mono-ha movement and his solo exhibition in Guggenheim New York. By exploring his paintings and installations with interview with him, this video shows how his works and philosophy been made.

Evaluation: Green / Showcasing Lee Ufan's works, providing deeper understanding on his works.

Citation: Blackwood, M. et al. (2019) Lee Ufan: Marking Infinity.

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This article provides a detailed overview of Mono-ha. It discusses how the movement was formed and its philosophy. It also mentions how this short-lasting movement affected the future art world and how it was evaluated. The article says the movement was "critical to the transnational discourse surrounding minimalist and post-minimalist contexts".

Evaluation: Green / It provides historiography of the movement.

Citation: Yoshitake, M. (2013) What Is Mono-ha? Review of Japanese culture and society. [Online] 25 (1), 202–213.

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This article explain about Mono-ha by suggesting 6 contradictions of the movement.

Contradiction 1: Mono-ha was at once not a group and a group.

Contradiction 2: Mono-ha was at once discursive and inscrutable

Contradiction 3: Mono-ha was at once performative and object-centered.

Contradiction 4: Mono-ha was at once object-based and object-negligent.

Contradiction 5: Mono-ha was at once world-conscious and world-oblivious.

Contradiction 6: Mono-ha was at once convention-defying and institution-dependent.

Evaluation: Green / Deeper understanding into the movement.

Citation: Tomii, R. (2013). Six Contradictions of Mono-ha. Review of Japanese Culture and Society, 25, 214–222.

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This interview between Sook-Kyung Lee and Lee Ufan reveals insights into his artistic process and philosophy.

·Artist process

Painting techniques on drawing dot on canvas. He emphasizes that the tension and vibration created in the space around the brushstroke are more crucial than the dot itself.

·Philosophy

He talks about his cultural identity as a person who lived in different cultural regions.

Duality between made and unmade objects.

Mono-ha movement: "how does bringing in the unmade open up a new dimension of expression and change both the made and the unmade? That movement became Mono-ha"

Evaluation: Green / It helps to understand how Lee Ufan established his philosophy, which founded the Mono-ha.

Citation: Ufan, L. and Sookyung, L. (2014). Man and nature united: In the studio: Lee Ufan – Tate Etc. [online] Tate. Available at: https://www.tate.org.uk/tate-etc/issue-31-summer-2014/man-and-nature-united.

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The artist Lee Ufan grew up and studied in Korea before moving to Japan, where he has been based for more than 50 years, while spending much of this time in Europe. Tate’s curator of Asia Pacific research Sook-Kyung Lee talked to him in his Paris studio

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This article discusses about the overview of Mono-ha movement.

·Artists who lead the movement

Nobuo Sekine, Lee Ufan, Susumu Koshimizu, Kishio Suga, Noriyuki Haraguchi, and more.

·How the term 'Mono-ha' made

"The name mono-ha was coined slightly derogatorily by a journalist in response to the lack of polish and perceived lack of skill displayed in the making of the work."

·Core philosophy

"Revealing the world as it is by engaging with materials and exploring their properties."

Evaluation: Green / Overview of the movement with important informations.

Citation: Tate. “Mono-Ha – Art Term | Tate.” Tate, 2017, www.tate.org.uk/art/art-terms/m/mono-ha.

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Lee Ufan at work in his Paris studio, February 2014
Photograph © Simon Grant

The movement, led by the artists Lee Ufan and Nobuo Sekine, was one of a number of groups engaged in 'not making'. Founding member Lee observed that an artist's ability to make things had been nullified by technology. As a result he rejected traditional ideas of representation in favour of revealing the world as it is by engaging with materials and exploring their properties. In 1968 Sekine displayed a 2.7 metre-high tower of dirt next to an identically shaped hole in the ground as an illustration of this concept.

Other artists related to the mono-ha movement include Susumu Koshimizu, Kishio Suga and Noriyuki Haraguchi.

The name mono-ha was coined slightly derogatorily by a journalist in response to the lack of polish and perceived lack of skill displayed in the making of the work. As the movement gained international recognition, and through its association with arte povera, mono-ha came to be widely respected as a movement that was critically engaged.

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The movement, led by the artists Lee Ufan and Nobuo Sekine, was one of a number of groups engaged in 'not making'. Founding member Lee observed that an artist's ability to make things had been nullified by technology.

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This article is about Lee Ufan's life and how he saw the world in his vision. This article includes brief biography of his life, how he established Mono-ha theory, his journey looking for his identity.

Evaluation: Green / Information about artist Lee Ufan and helps to understand how his philosophy developed

Citation: Park, S. (2024) ‘Lee Ufan’s ambivalent otherness and art historiography’, International Journal of Asian Studies, 21(1), pp. 63–76. doi:10.1017/S1479591423000426.

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Sekine Nobuo ron, or Beyond Being and Nothingness: On Sekine Nobuo (1970–71) by Lee Ufan is an article that founded the basis of Mono-ha. In this article, he discusses on the artwork named 'phase-earth' by Sekine Nobuo and suggests the concept of presenting no-made objects with their own properties.

Evaluation: Green / Key article that shows how the movement first suggested.

Citation: Ufan, L. & Tomii, R. (2013) Beyond Being and Nothingness: On Sekine Nobuo (1970-71). Review of Japanese culture and society. [Online] 25 (1), 238–261.