·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.

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/

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.

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.

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

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

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.

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.

·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.

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.

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.