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"Art, Japanese 20th century Exhibitions."
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Koho Mori-Newton : no intention
Der japanische Kèunstler Koho Mori-Newton ist ein Meister im Umgang mit Seide, die er in einen spannenden Dialog mit Architektur setzt. Dadurch entstehen kultartige Rèaume, die faszinierend mit dem Licht spielen. Neben Seidenarbeiten zeigt der Band verschiedene grafische Werkgruppen der letzten 35 Jahre sowie den eigens fèur no intention kreierten Path of Silk.0Koho Mori-Newton (*1951) ist ein Meister der absichtlichen Absichtslosigkeit. Seine Werke scheinen einfach, doch die dahinter liegende èAsthetik ist komplex. Immer wieder erforscht er die Grundlagen der Kunst selbst, stellt das Konzept der Originalitèat des kèunstlerischen Schaffensprozesses infrage, lotet die Grenzen von Kunstwerken aus. Sein ¦uvre entfèuhrt in eine Welt jenseits des Plakativen. So bietet die labyrinthische Installation raumhoher Seidenbahnen Path of Silk, von Mori-Newton mit Tusche bearbeitet, ein fragiles Spiel von Raum und Licht, von Schwere und Leichtigkeit. Weitere Schwerpunkte seines Schaffens sind Wiederholung und Kopie, woraus seine grafischen Arbeiten einen ganz besonderen Reiz beziehen.
Book
Collecting the new
Collecting the Newis the first book on the questions and challenges that museums face in acquiring and preserving contemporary art. Because such art has not yet withstood the test of time, it defies the traditional understanding of the art museum as an institution that collects and displays works of long-established aesthetic and historical value. By acquiring such art, museums gamble on the future. In addition, new technologies and alternative conceptions of the artwork have created special problems of conservation, while social, political, and aesthetic changes have generated new categories of works to be collected.
Following Bruce Altshuler's introduction on the European and American history of museum collecting of art by living artists, the book comprises newly commissioned essays by twelve distinguished curators representing a wide range of museums. First considered are general issues including the acquisition process, and collecting by universal survey museums and museums that focus on modern and contemporary art. Following are groups of essays that address collecting in particular media, including prints and drawings, new (digital) media, and film and video; and national- and ethnic-specific collecting (contemporary art from Asia, Africa, and Latin America, and African-American art). The closing essay examines the conservation problems created by contemporary works--for example, what is to be done when deterioration is the artist's intent?
The contributors are Christophe Cherix, Vishakha N. Desai, Steve Dietz, Howard N. Fox, Chrissie Iles and Henriette Huldisch, Pamela McClusky, Gabriel Pérez-Barreiro, Lowery Stokes Sims, Robert Storr, Jeffrey Weiss, and Glenn Wharton.
eBook
Yayoi Kusama - all about my love
Avant-garde artist Yayoi Kusama's matchless creativity and originality have been captivating the world since she moved from Matsumoto, her hometown in Nagano, Japan, to the USA in 1958. In the last ten years alone, her retrospective exhibitions in four major European and American museums, including Tate Modern, London, and the Whitney Museum of American Art, New York, have seen record attendance. 00Kusama has continuously innovated and re-invented her style. Well-known for her repeating dot patterns, her art encompasses an astonishing variety of media, including painting, drawing, sculpture, film, performance and immersive installation. It ranges from works on paper featuring intense semi-abstract imagery, to soft sculpture known as 'Accumulations', to her 'Infinity Net' paintings, made up of carefully repeated arcs of paint built up into large patterns. This comprehensive publication, originally published to accompany a sell-out exhibition at Matsumoto City Museum of Art, offers a comprehensive overview of Kusama's entire career, including works from her youth, when she indulged in drawing in order to escape from her hallucinations; paintings made when she was based in New York, including 'Infinity Nets' and 'Polka Dots'; works from the1980s and 1990s, when she participated in the Venice Biennale; and last but not least, the ongoing large-scale series 'My Eternal Soul'. The plates are in chronological order and followed by detailed captions.00Exhibition: Matsumoto City Museum of Art, Matsumoto-shi, Japan (03.03.-22.07.2018).
Book
Japan's Venice
This essay addresses three key moments in the history of Japan's representation at the Venice Biennale: the introduction of “Japanese art” in the early stages of the exposition's development, in the late nineteenth century; Japan's official participation in the postwar Biennale, starting in 1952 and through the end of the 1960s; and the Japanese pavilion's program during the Biennale's so-called experimental period in the decade following the student demonstrations of 1968. While seemingly distinct, these three episodes evince a structural continuity: the demand for and performance of cultural difference within the space of the exhibition. This essay argues that Japan's (self-)representation of cultural alterity was mediated by the idea of pluralism promoted by the exhibition. Such representation was functional to the Biennale's mandate as well as to Japan's shifting world-historical aspirations. In the postwar period, Japanese artists and critics—including some individuals directly involved in the planning of Japan's submissions—came to diagnose what they saw as the limitations of the Biennale-Pavilion system. In doing so, they intuited a fundamental problem with the discourse of world in art as articulated in this exposition. This was, namely, the “pseudo-objectivity” of the international: the discourse of heterogeneity found in the Venice Biennale concealed inequalities based on the power differentials of the hegemonic world-system.
Journal Article
Kitagawa Tamiji: Painting in the Pursuit of Pigmented Knowledge of Self and Other
[...]Kitagawa was apparently involved with the organiza- tion of an exhibition of Japanese ukiyo-e prints held in Mexico City in 1931 and the simplified flat shapes of bold color in his self-portrait, which is signed in Japa- nese script, reflects his interest in such ukiyo-e works as Sharaku's actor prints of the late eighteenth century.20 Thus, significantly, Kitagawa's assimilation to Mexican culture allowed him to begin exploring and re-identifying with the culture of his erstwhile homeland. \"27 Indeed, the tapirlike prehensile appear- ance of the nose of this bather may be added to the list of her notable oddities. [...]while painters con- ventionally treated the motif of nude female bathers in the outdoors as expressions of \"communion in nature,\" as has been claimed of the previously mentioned scene of bathing women by Fermín Revueltas (Fig. 4),28 these two women huddle nervously in a waterhole amid trees shorn of all but a few schematic decorative fronds of leafage. [...]while these expatriate Japanese painters both depicted white- robed children sharply delineated against a blank back- ground, Kitagawa gave his children a dark brown skin pigmentation and an intense sense of pathos that make Fujita's children seem pale and picturesque by contrast. [...]with the delicate finesse of Fujita's watercolor and ink-on-paper technique, Kita- gawa's picture is striking for a roughness of handling that evokes the kinds of pictures these children them- selves might have painted in Kitagawa's school. The Second Sino-Japanese War began in 1937 and rapidly led to the occupation of Beijing by Japanese military forces. [...]Umehara Ryüzaburö's series of canvases depicting the ancient halls of the Forbidden City in a decorative impressionist style, which were painted in Beijing between 1939 and 1944 while the artist enjoyed the protection of the Japanese military occupation, de- lighted Tokyo audiences as aesthetic emblems of Japanese power.51 From Japanese perspectives in the late 1930s, how- ever, Mexico had nothing of the cachet of an interna- tional center of progressive contemporary art like Paris, nor was it associated with the aims and fruits of Japanese imperialist expansion like China; Kitagawa's importation of images of Mexican girls was an anomaly.
Journal Article
“Filipinos are the Dandies of the Foreign Colonies”: Race, Labor Struggles, and the Transpacific Routes of Hollywood and Philippine Films, 1924–1948
In the 1930s and 1940s Filipino laborers, many of whom were en route to agricultural hubs on the Pacific Coast, packed into movie theaters owned by Japanese immigrants to view Hollywood and Philippine-produced films. These cultural encounters formed an urban public sphere that connected both sides of the Pacific. Filipino patrons remade their public identities and communities through their consumption of film and urban leisure in the western city. This article traces this localized history of spectatorship and exhibition in order to reconsider prevailing understandings of the history of the U.S. West and the rise of cinema and mass commercial culture in the early twentieth century.
Journal Article
Merchants of Asianness: Japanese Art Dealers in the United States in the Early Twentieth Century
This article explores the role of Japanese merchants within American art and collecting circles and analyzes the ways in which the construction of \"Asianness\" and, in particular, \"Japaneseness \"became intertwined with the classification of Asian art. In order to reconstitute the market for high art and to create their own positionalities as legitimate cultural intermediaries, Asian art dealers such as Bunkio Matsuki (1867— 1940) a n d Sadajiro Yamanaka (1866— 1936) used their connections to Japan as cultural capital. Ultimately, their experiences illuminate the complexities of the reconceptualization of ethnic— racial identities through the lens of aesthetic discourses.
Journal Article