While a mental function is positioned the minimalism which is typical thinking of a modern design at a key among the functions of an artificial objects, a common aesthetic element is extracted. Conventionally, research of the design-method had the judgement in use by viewpoints, such as marketing, about the form. However, it is the subject of today to position the aesthetic functions of design clearly, and it is important in design education. Also in present-age fine arts, this research applies a focus to the Minimal Art which has a relation with a design most deeply, and considers a design and the mutual influence relation of art.

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本稿では思考と実践の絶え間ぬ繰り返しである私の彫刻制作を論拠に、肉体と世界と彫刻とがどのように関係し合っているかを論述した。肉体は主体と外界の境界であり、同時に両世界をつなぎ合う媒体でもある。こうした肉体と世界の両義的、相互依存的な関係を肉体と物質が直に触れ合う制作により探り、形象化する試みが「私の彫刻」である。まず、身体と世界の関係性を巡っての彫刻制作には、ポジショニング(位置取り)が重要である。ポジショニングとは主体と世界の接続の仕方のことであり、私という主体が身体ごと彫刻素材の中に入り制作するというポジションを取ることで、彫刻はメディウムとして機能し、身体-彫刻-世界の関係を結べると考える。世界の側から彫刻を見てはいけない。彫刻を外側からオブジェクトとして見るのではなく内側から関係性として見なければならない。つまり彫刻とは主体と世界の間に介在し素材に形をあたえる手段により両者を媒介するメディウムという事物なのである。こうした制作のポジション、彫刻のポジションに基づいて、制作した作品から具体例として五作品を揚げて制作研究の報告をした。その全てにおいて私がめざしたのは「身体を型取った、古着、ラテックス、ギプス、段ボールなどを積層して、見るものがその中に入り内と外、身体と空間、主体と世界を関係づける彫刻をつくること。」である。

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This paper aims to reconsider Theory of Restoration of Cesare Brandi (1963) for restoration of contemporary arts. In his Theory of Restoration, Brandi defines restoration as an intervention to a physical entity of art for the purpose of transmitting the unity of aesthetic value and historical value to the future. However, in case the artists are still alive and reject permanency of their works of art or complex, brand-new materials and anti-materials such as installation art intervenes, the act of restoration seems to have difficulty in esteem in a Brandi's theory. As a matter of fact, Theory of Restoration is known for resolving a problem of preservation and restoration of art from ancient to modern period. Its actuality in the field of contemporary art is now to be discussed. Does Brandi's theory show any possibility or limit for the intervention of contemporary arts?

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In this text, correspondence in the art library is considered while seeing the publication situation that can be put based on an epoch-making theory of Clive Phillpot of the major figure and the art library member who has the definition of the Artists book established first by various places in editorial Europe and America. The collection situation in the art library is considered while seeing a part of the publication situation that can be put, it proposes the use of the key word that connects the modern art of Japan to the museum, the document pavilion, and the library next, and, in conclusion, the use method is described. The artists' books is adopted Subject Headings of LC and it is used as data of the owning table at the library of various genres and if an original management word is used the library member the user and everyone will be able to draw out all artists' books instantaneously in the museum and the library field of Japan from among the collection of books now.

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