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Below is a list of all the panels I noticed that have at least one paper on Japanese art—broadly defined to include film\, theatre\, and the performative arts. Apologies in advance for any omissions.
Download below list here\: [attachment\:AAS 2010 J Art Papers.doc=List in Word form ]
Joshua Mostow
Reading Between the Lines\: Tokugawa Texts as Performance
Organizer\: Satoko Shimazaki\, Asian Languages and Civilizations\, University of Colorado\, Boulder
Chair\: Scott Lineberger\, Modern Languages and Literatures\, Beloit College
Place/Time\: Thursday\, March 25\, 3\:30 p.m.\, Marriott Hotel Rm. #501
The Tokugawa period witnessed a sudden ex-plosion of literary production in various forms and genres\: kanazoshi\, collections of waka and haikai\, yomihon\, kibyoshi\, gokan\, kokkeibon\, as well as a variety of texts connected to perform-ance and the theater\, from joruri shohon to narra-tives based on the kabuki stage. Many of these do not fit comfortably within the parameters of the modern notions of bungaku or literature\, and can be interpreted only inadequately through ap-proaches based on the practice of “reading” as it is generally understood. Tokugawa-period texts often seem bewilderingly allusive by contempo-rary standards\, for instance\, precisely because they emerged in a cultural field with unstable boundaries between art\, ritual\, theater\, literature\, history and other cultural discourses. The three papers in this panel set out different methods of analyzing and discussing Tokugawa-period texts that participate in and draw on various genres and practices. Moving beyond notions such as “literature\,” “poetry\,” and “drama\,” we attempt to situ-ate Tokugawa-period texts in contexts more firmly grounded in ways of seeing characteristic of the particular times and places that produced them. Scott Lineberger will show how notions of ritual can augment our understanding of Matsunaga Teitoku’s haikai\; Janice S. Kanemitsu will explore the intersection of text\, print\, and history in a period piece by Chikamatsu Monzaemon\; and Satoko Shimazaki will interrogate the bound-ary between “literature” and “drama\,” reading and viewing\, in early nineteenth-century Japan.
Haikai as Ritual\: Matsunaga Teitoku and Kyoto Artistic Salons at the Dawn of the Edo Period
Scott Lineberger\, Modern Langauges &\; Literatures\, Beloit College
Modern scholarship on Matsunaga Teitoku (1571-1654) is rife with contradictions and paradoxes. Literary histories extol Teitoku’s seminal role in creating haikai poetry\, however this praise is predictably tempered by a caveat that little\, if any\, of his poetry - much less his other writings ? is worthy of scholarly attention. He is lauded as an enlightened thinker for his efforts at educating the merchants and artisans of Kyoto\, but conversely he is maligned for his role in propagating elitist medieval secret poetry trans-missions. Furthermore\, he is depicted as an inno-vator for experimenting with comic kyoka poems\, but belittled for his hackneyed and uninspired waka. By exploring these incongruities this paper will uncover the combination of false assump-tions that have distorted our understanding of Teitoku\, his era\, and by extension the evolution of haikai poetry. In particular\, starting from Ma-saoka Shiki’s provocative suggestion that while “hokku is literature\, linked verse (renga) is not\,” I will discuss the advantages of viewing the kinds of linked verse Teitoku composed as ritual rather than as “literature.” By delving into the some-times murky social-historical conditions of Kyoto’s cultural salons during the late Momoyama and early-Tokugawa periods\, this paper provides a vivid picture of Teitoku’s event-ful life and colorful character and a richer hermeneutic model for understanding Teitoku’s writings.
Courtesans\, Christians\, and Catastrophe\: The Shimabara Uprising Retold
Janice S. Kanemi-tsu\, Asian Studies\, Cornell University
Every narrative provides a journey. Written by Chikamatsu Monzaemon for the puppet theatre\, Keisei Shimabara kairu kassen (Courtesans at the Shimabara Toad War\, 1719) offers both spectators and readers fresh delights and surprising insights as they travel through a landscape of changing social expectations. This period piece is a satirical revisit of the Shimabara Uprising quelled in 1638\, set within the fictional universe of the Soga Brothers. While introducing the newly literate urbanite to theatrical and literary allusions\, historical legend\, and urban hearsay\, it simultaneously tickles the savvy bone of even the most knowing connoisseur. Benefiting from the availability of historical narratives\, theatrical scripts\, and other printed texts\, Keisei Shimabara frazzles ? with an innovative intensity ? the boundaries of text\, theatricality\, and historical veracity.
This paper begins by examining Chikamatsu’s construction of a Soga-based fictional universe during a time predating the established notion of sekai. After exploring the playwright’s approach to spectacle and narrative in his post-kabuki years as exemplified by the characterization of the youthful Christian martyr Amakusa Shiro\, I hope to demonstrate the tremendous extent to which Chikamatsu’s period pieces served to both entertain and educate their audiences ? plays for the puppet theatre\, such as this one\, formed a most powerful socializing force.
All the Text is a Stage\: Literature and Theater in the Tokugawa Period
Satoko Shimazaki\, Asian Languages and Civilizations\, University of Colorado\, Boulder
In the late Tokugawa period\, kabuki productions\, both real and imagined\, were routinely used as material for illustrated booklets (gokan) in the form of shohon utsushi (literally “transcribed scripts”)\; in the Kamigata region\, meanwhile\, a type of publication in the style of a reading book (yomihon) developed that allowed readers to feel as though they were actually reading a kabuki script. These works\, written by playwrights and gesaku writers\, might reproduce or describe stage settings and depict actors in illustrations using the technique of the likeness (nigaoe)\, striving in a variety of ways to create an aura of theatricality on the page. Seemingly literary in nature\, such works are meant to be read as though they belong to the world of the theater.
This paper considers the position of texts and writing in the theater\, on the one hand\, and the presence of the theatre in books\, on the other. Focusing specifically on kabuki productions\, scripts\, and textual reworkings of Tsuruya Nan-boku’s (1755-1829) Tokaido Yotsuya kaidan (Tokaido Ghost Stories at Yotsuya\, 1825) in gokan and yomihon formats\, I demonstrate that in the Tokugawa period the boundary between the theatrical and the literary was by no means clear and propose a more fluid model for thinking about early 19th century theater and literature as mutually implicated fields of cultural production.
Discussant\: Scott Lineberger\, Modern Lan-guages and Literatures\, Beloit College
AAS FORMAL PANELS
? SESSION 32. 8\:30am-10\:30am
Room 502
Illustrating Reception\: Honglou meng\, Genji
monogatari\, and Visual Culture
Chaired by Sophie Volpp\, University of California\,
Berkeley
Baochai Chasing Butterflies\: Visual Culture in Honglou
Meng\, Honglou Meng in Visual Culture
Kimberly Besio\, Colby College
Illustrating Honglou Meng\: A History of Reception
I-Hsien Wu\, New School University
Genji-e in the Age of Illustrated Fiction
Melissa McCormick\, Harvard University
Poetry\, Incense\, Card Games\, and Pictorial Narrative
Coding in Early Modern Genji Pictures
Sarah E. Thompson\, Museum of Fine Arts\, Boston
Drawing on Genji\: The Visual Reception of Nise Murasaki
inaka Genji
Michael Emmerich\, University of California\, Santa
Barbara
Discussant\:
Ellen Widmer\, Wellesley College
Friday
? SESSION 44. 8\:30am-10\:30am
Room 408/409
Women and Lay Buddhism in Japanese Rites
and Art
Chaired by Elizabeth Lillehoj\, DePaul University
The Death and Funeral of an Imperial Consort
Karen M. Gerhart\, University of Pittsburgh
Yogen’in\, a Temple Sponsored by Warrior and Noble
Women
Elizabeth Lillehoj\, DePaul University
The Multiple “Lives” of Sanmi no Tsubone\: Ashikaga
Wife\, Imperial Consort\, Buddhist Lay Nun\, and Patron
Patricia J. Fister\, International Research Center for
Japanese Studies
Discussants\:
Janet Ikeda\, Washington &\; Lee University
Lori Meeks\, University of Southern California
? SESSION 57. 10\:45am-12\:45pm
Room 305/306
Liao and Heian\: Renegotiating the Northeast
Asian Cultural Matrix
Chaired by Mimi Yiengpruksawan\, Yale University
Buddha Halls at Fengguosi and Joruriji\: Shared
Architecture or Shared Iconography
Nancy S. Steinhardt\, University of Pennsylvania
Building in the Key of Liao at Byodoin
Mimi Yiengpruksawan\, Yale University
Concealed Origins\: From Liao Pagodas to Heian Ritual
Sanskrit Letters in Wall Paintings and Roof Tile Ends\: Liao
to Heian Japan
Jianwei Zhang\, Southeast University
Discussant\:
Eugene Y. Wang\, Harvard University
? SESSION 65. 10\:45am-12\:45pm
Grand Ballroom Salon I
Cinematic Representations of Historical
Traumas in Korea and Japan
Chaired by Young Eun Chae\, University of North
Carolina\, Chapel Hill
If a Soldier is Cannibalized in the Jungle\, Does It Make a
Sound? Post-War Representations of WWII Japanese Atrocities
Jordan A. Smith\, University of California\, Los Angeles
The Language of the Unspeakable\: Extreme Event\,
Ruptured Narrative\, and the Cinematic Inscription of the
Cheju April Third Incident\, South Korea\, 1948
Jieun Chang\, University of Southern California
Representing Women in the Narrative of the 1980 Gwangju
Democratization Movement\: Peppermint Candy (2000\, Lee
Chang-Dong) and Splendid Vacation (2007\, Kim Ji-Hoon)
Young Eun Chae\, University of North Carolina\, Chapel
Hill
Discussant\:
Mark Driscoll\, University of North Carolina\, Chapel Hill
Friday
in Contemporary Japan
? SESSION 70. 10\:45am-12\:45pm
Room 501
Japan’s France\: Imagery of France in
Japanese Painting and Fiction\, 1900 to 1950
Chaired by Doug Slaymaker\, University of Kentucky
The Flowers of Paris\: The Paris of Fujita Tsuguharu and
Kaneko Mitsuharu
Doug Slaymaker\, University of Kentucky
French Art in Postcards\: Kishida Ryûsei and Western-Style
Painters in Taishô Japan
Michael A. R. Lucken\, INALCO
The Dépaysement of Fukuzawa Ichirô
Bert Winther-Tamaki\, University of California\, Irvine
The French Stream in the Japanese Detective Novel\:
Hisao Jûran’s “The Black Notebook” (1937) and His
Translations of French Littérature Policière
Cécile Sakai\, Universite Paris Diderot
Discussant\:
Atsuko Sakaki\, University of Toronto
? SESSION 71. 10\:45am-12\:45pm
Grand Ballroom Salon C
Master-ing Tradition\: Continuity and
Transformation in Japan’s Iemoto System
Chaired by Nancy K. Stalker\, University of Texas\, Austin
Selling Tea\, Selling Japaneseness
Kristin Surak\, SOAS\, University of London
Generational Divides\: The Iemoto System in America
Barbara Sellers-Young\, York University
Budding Fortunes\: Ikebana and the Iemoto System in
Postwar Japan
Nancy K. Stalker\, University of Texas\, Austin
Butoh Notation\: Hijikata and the Transmission of
Performative Styles
Atsuko Nakajima\, New School for Social Research
Discussant\:
Eiko Ikegami\, New School University
? SESSION 93. 1\:00pm-3\:00pm
Room 414/415
Japanese Visual and Material Culture in
Transnational Contexts\: Shifting Ideas of
“China” in Edo and Meiji Japan - Sponsored
by the Japan Art History Forum
Chaired by Keiko Suzuki\, Ritsumeikan University
Reconstructing China on the Kabuki Stage
Ryoko Matsuba\, Ritsumeikan University
Blurred Definitions of “Tojin” and “Tobutsu”\: Downplaying
the Cultural Authority of “Chinese People” and “Chinese
Goods” in Late Edo Japan
Keiko Suzuki\, Ritsumeikan University
Copies or Inspired Originals? Production of Chinese-Style
Porcelain in Meiji Japan
Shinya Maezaki\, SOAS\, University of London
Defining the “Chinese School”\: William Anderson’s
Classification of Japanese Art
Princess Akiko of Mikasa\, University of Oxford
Discussant\:
John T. Carpenter\, SOAS\, University of London
? SESSION 123. 3\:15pm-5\:15pm
Room 401
Individual Papers\: Gender\, Sex\, and Self
Chaired by Joshua S. Mostow\, University of British
Columbia
Size Does Matter\: Erotic Jokes and Modernization in a
Japanese Fishing Town
Satsuki Takahashi\, Rutgers University
Constructing Secular Identities in Japanese Religious
Space\: Preaching Self\, Nation\, and World Inside Tokyo
Protestant Churches\, 1890-1920
Garrett L. Washington\, Purdue University
Dreadlocks and Dajare\: Localization and Globalization in
Japanese Reggae/Dancehall
Noriko Manabe\, Princeton University
Women of the Dark\: Crossing over Nation and Gender
Masako Endo\, State University of New York\,
Binghamton
The Woman with the Exploding Breasts\: Wondrous Stories
of Itô Hiromi
Lee E. Friederich\, University of Wisconsin\, Barron
County
Saturday
? SESSION 146. 8\:30am-10\:30am
Grand Ballroom Salon K
Upstaging Morality\: Didacticism and “Kabuki-
esque” Theatricality in Edo Yomihon - Spon-
sored by the Early Modern Japan Network
Chaired by Paul Schalow\, Rutgers University
“Too Kabuki-esque a Plot”\: Theatricality in the Novels of
Santo Kyoden and Kyokutei Bakin
Thomas Glynne Walley\, University of Oregon
Restaging the Cherry Blossom Princess in Print\:
Theatricality in Santo Kyoden’s Adaptation and
Readaptation of the Sakurahime Narrative
Dylan McGee\, State University of New York\, New
Paltz
Churyo’s Final Act\: The Tale of Izumi Chikahira and Its
Literary Lineage
William D. Fleming\, Harvard University
Discussant\:
Paul Schalow\, Rutgers University
? SESSION 147. 8\:30am-10\:30am
Grand Ballroom Salon L
The Past and Future of Futuristic Japan
Chaired by Shigeru (CJ) Suzuki\, Lehigh University
The 1970 Osaka Expo as Science Fiction City
William O. Gardner\, Swarthmore College
Sputnik Nostalgia Redux in America and Japan
Marie Thorsten\, Doshisha University
Changing Perceptions of Japanese Industrial and
Technological Prowess in Techno-Orientalist Discourse
Artur Lozano-Mendez\, Autonomous University of
Barcelona
Growing up with Astro Boy and Mazinger Z\:
Industrialization\, Technophilia\, and Japanese Manga and
Animation in Korea
Dong-Yeon Koh\, Korea National University of Arts
A Post-Human Tribe\: Komatsu Sakyo’s Japan Apache and
the Japanoid Future
Shigeru (CJ) Suzuki\, Lehigh University
Discussant\:
Christopher S. Goto-Jones\, Leiden University
? SESSION 161. 10\:45am-12\:45pm
Room 411/412
Roundtable\: Media in Teaching Asia–Present
Realities and Future Possibilities - Sponsored
by the Committee on Teaching About Asia
Chaired by Anne Prescott\, University of Illinois\,
Urbana-Champaign
Discussants\:
Clayton E. Dube\, University of Southern California
Robert A. Fish\, Japan Society
Roberta H. Martin\, Columbia University
Ritu Saksena\, University of Illinois\, Urbana-Champaign
? SESSION 171. 10\:45am-12\:45pm
Room 502
Society\, Genre\, and the Translation of Heian
Culture in Medieval and Early Modern Japan
Chaired by Jack C. Stoneman\, Brigham Young
University
Monkly Intermediaries\: Saigyô\, Noh\, and Cultural Diffusion
in the Muromachi Period
Jack C. Stoneman\, Brigham Young University
Monumental Kasen and the Packaging of Waka Culture
Tomoko Sakomura\, Swarthmore College
The Educated Warrior\: Violence and Erudition in
Otogizôshi and the Yoshitsune Legend
Mathew W. Thompson\, Sophia University
Discussant\:
Hank Glassman\, Haverford College
? SESSION 172. 10\:45am-12\:45pm
Room 414/415
Material Things\: Objects in 1950s and 1960s
Japanese Film and Fiction
Chaired by Helen F. Weetman\, University of Denver
Pavlov\, Marx\, and Surrealism\: Abe Kobo’s Objects in His
Metamorphosis Stories
Koji Toba\, University of Tokushima
Animated Objects\: Transforming the Material World in
1950s Fiction
Helen F. Weetman\, University of Denver
Caramel Dreams\, GDP Nightmares\: Characters as
Commodity in Masumura Yasuzo’s “Giants and Toys”
Patrick A. Terry\, University of Oregon
A “Viewing Cure”\: Teshigahara Hiroshi’s “Ruined Map”
Peter Tillack\, Montana State University
Discussant\:
Stephen H. Dodd\, SOAS\, University of London
? SESSION 173. 10\:45am-12\:45pm
Grand Ballroom Salon K
Art and War in Twentieth-Century Japan and
the Koreas
Chaired by Sharalyn Orbaugh\, University of British Columbia
Fascist National Erotics\: Japanese-Style Paintings of the
1930s and 1940s
Asato Ikeda\, University of British Columbia
The Aikoku Hyakunin Isshu as Poetry of War\: From Ancient
Imperial Court Poetry to Poetry of the Modern Empire
Nathen Clerici\, University of British Columbia
War and Art\: The Korean War in North and South
Korean’s Illustrated Children’s Books
Dafna Zur\, University of British Columbia
Discussants\:
Janet Poole\, University of Toronto
Hong Kal\, York University
? SESSION 223. 5\:00pm-7\:00pm
Room 414/415
Memories of Meiji\: 19th-Century Nationalism
Re-Imagined in Popular Fiction and Film
Chaired by Stephen Filler\, Oakland University
The More Things Change\: Manifestations of Nationalism
in Mori Ogai’s ‘Maihime’ in 1890 and 1989
Scott C. Langton\, Austin College
Matsumoto Seicho and Meiji\: Caught between Rebels and
Robber-Barons
Michael S. Tangeman\, Denison University
The Nation as Protagonist\: Nationalism in Shiba Ryotaro’s
Saka no ue no kumo
Stephen Filler\, Oakland University
Discussant\:
Guohe Zheng\, Ball State University
? SESSION 224. 5\:00pm-7\:00pm
Grand Ballroom Salon I
Literary Genres and Their Boundaries\:
A Study of Cross-Genre/Trans-Genre
Mechanisms and Genre Hybridity in Edo-
Period Literature
Chaired by Michael G. Watson\, Meiji Gakuin University
Intertextual Resonances That Challenge Generic
Boundaries\: The Rewritings of “Chikusai” in the
Seventeenth and Eighteenth Century
Laura Moretti\, Università Ca’ Foscari Venezia
“Light Snow” and “The Dew Prince”\: Genre-Bending in
Seventeenth-Century Noh
Michael G. Watson\, Meiji Gakuin University
Changing Forms of “Genji” Commentary\: Edo Reception
of “Genji Monogatari”
Machiko Midorikawa\, Waseda University
Message from the Land of Yomi\: Genre and Memory in
Ueda Akinari’s Late Writing
Lawrence E. Marceau\, University of Auckland
Sunday 8\:30 A.M.
? SESSION 237. 8\:30am-10\:30am
Independence Ballroom Salon I
Global Shakespeare and East Asia
Chaired by Robert Tierney\, University of Illinois\,
Urbana-Champaign
Tsubouchi’s Political Joruri
Robert Tierney\, University of Illinois\, Urbana-
Champaign
Shakespearean Theatres and Colonial Taiwan
Peichen Wu\, Chengchi University
Un-Shakespearing Shakespeare and Un-Japanizing Manga
Yukari Yoshihara\, University of Tsukuba
Discussant\:
Alexander Huang\, Pennsylvania State University
Myint Zan\, Multimedia University
? SESSION 249. 8\:30am-10\:30am
Room 303/304
Naming Places/Placing Names\: A Genealogy
of Meisho in Japanese History (1500-1955)
Chaired by Samuel C. Morse\, Amherst College
Illuminating the Outskirts\: The Landscape of Rakugai in
the 16th and 17th Centuries
Misato Ido\, Harvard-Yenching Institute
Topographic Writings of 17th Century Japan and East
Asia\: A New Approach to Kaibara Ekiken’s Keijo shoran
Nobuko Toyosawa\, University of Southern California
Meisho as Poetry and Image in Late Edo Period Illustrated
Gazetteers
Robert D. Goree\, Yale University
Tracing the Emperor\: Photography\, Imperial Inspection
Tours\, and the Creation of Sacred Places\, 1872-1932
Gyewon Kim\, McGill University
Hiroshima as Contemporary Meisho\: Tange Kenzo’s Peace
Memorial Park and Shirai Seiichi’s Atomic Bomb Temple
Hyunjung Cho\, University of Southern California
Discussant\:
Samuel C. Morse\, Amherst College
? SESSION 259. 10\:45am-12\:45pm
Grand Ballroom Salon J
Lieux de Mémoire in Asian Art
Chaired by Yui Suzuki\, University of Maryland\, College
Park
In Darbar in Death\: The Iconography of Sati and the
Iconography of Its Absence in the Royal Cenotaphs of
Bikaner
Melia R. Belli\, Washington University\, St. Louis
“Visions of Paradise” or “Hell on Earth”\: Contested
Memories of Mughal Forts
Saleema Waraich\, Smith College
Revisiting Sites\, Localizing Memory\: Hua Yan’s (1682-
1756) Landscape Paintings
Kristen E. Loring\, University of California\, Los Angeles
Crossing the Transitional Realm\: Image\, Ritual\, and
Memory in Early Chinese Funerary Shrines
Jie Shi\, University of Chicago
“Persons in the Pavilion”\: Commemorative Painting and
Manifestation of Identity in 19th-Century Korea
Jiyeon Kim\, University of California\, Los Angeles
Images of the Mushroom Cloud in the Work of Takashi
Murakami
Paula L. Rose\, University of Kansas
Discussant\:
Melia R. Belli\, Washington University\, St. Louis
? SESSION 263. 10\:45am-12\:45pm
Grand Ballroom Salon L
Experiencing the Illustrated Book in East Asia
Chaired by Miriam Wattles\, University of California\,
Santa Barbara
Viewing and Re-Viewing 18th-Century Erotica\:
Nishikawa’s Inkwell\, a Case Study
Jenny L. Preston\, SOAS\, University of London
The Broken Link\: Chinese Painting Albums and Manuals in
Late Choson Korea (1700-1850)
J. P. Park\, University of Colorado\, Boulder
Renzhai’s Painting Legacy\, 1876\: The Book as Artist in
Shanghai
Roberta Wue\, University of California\, Irvine
Discussants\:
Anne Burkus-Chasson\, University of Illinois\, Urbana-
Champaign
Miriam Wattles\, University of California\, Santa Barbara
? SESSION 272. 10\:45am-12\:45pm
Grand Ballroom Salon B
Negotiating Censorship in Modern Japan
Chaired by Rachael Hutchinson\, University of Delaware
Enlightening Audiences into the National/Imperial Subject\:
Cinema as Social Education in Modern Japan
Hideaki Fujiki\, Nagoya University
Dancing Nation\: The Escalated Obedience of Geishas’
Dance Performance during Wartime
Mariko Okada\, Japan Society for the Promotion of Science
From NATO with Love\: Retrieving Asia in Japan’s Cold
War Film Culture
Michael Baskett\, University of Kansas
“Art” Il-Legally Defined? A Legal and Art Historical Analysis
of Akasegawa Genpei’s Model 1\,000-Yen Note Incident
Yayoi Shionoiri\, Columbia University
Discussants\:
Marlene J. Mayo\, University of Maryland
Rachael Hutchinson\, University of Delaware
In conjunction with the exhibition Art\, Anti-Art\, Non-Art\: Experimentations in the Public Sphere in Postwar Japan 1950-1970\, The University of Michigan Museum of Art will present a two-day international symposium and performance considering experimental art of 1960s Japan in a broader cultural and geographical context. The symposium begins with a keynote lecture delivered by Reiko Tomii\, an independent scholar and leading authority on postwar Japanese art\, followed by a special performance by Ei Arakawa\, a New York-based
artist (renowned for his inter-subjective group performances)\, who will reinterpret the legacy of the Japanese avant-garde.
The second day of the symposium features papers by an
international host of speakers\, including Hiroko Ikegami (Osaka University\, Japan)\, Ryan Holmberg (University of Southern California)\, Jonathan Hall (Pomona College and Meiji Gakuin University)\, and Midori Yoshimoto (New Jersey City University).
Generously funded by the Center for Japanese Studies and the Department of History of Art\, this event is co-organized with University of Michigan Museum of Art and Department of History of Art\, in association with PoNJA-GenKon\, a listserv group dedicated to contemporary Japanese art (www.ponja-genkon.net).
Keynote lecture with Reiko Tomii
Friday\, April 2\, 5 pm
Helmut Stern Auditorium
Performance by Ei Arakawa
Friday\, April 2\, 6\:30 pm
Apse
Papers
Saturday\, April 3\, 9\:30 am-5 pm
Helmut Stern Auditorium
All events are free and open to the public.
University of Michigan Museum of Art
525 South State Street\, Ann Arbor\, 48109-1354
Information\: 734.763.UMMA\; www.umma.umich.edu
_____________________________________
DETAILED SCHEDULE &\; HOTEL INFORMATION
Friday\, April 2
5\:00 pm – Keynote lecture with Reiko Tomii\, Independent Scholar and Co-Founder\, PoNJA-GenKon
Helmut Stern Auditorium\, UMMA
“When Artists Beat Historians\: A Legacy of 1960s Japanese Art Continued”
Moderator\: Alex Potts\, History of Art\, University of Michigan
6\:30 – Performance by Ei Arakawa\, New York-based Artist
Apse\, UMMA
“M for Mavoists (and so on…)”
Saturday\, April 3
9\:30 am – 5\:00 pm\, Papers\, Helmut Stern Auditorium\, UMMA
9\:30 – Welcome remarks by Ruth Slavin\, Interim Co-Director and Director of Education\, UMMA\, and Reiko Tomii\, Independent Scholar and Co-founder\, PoNJA-GenKon
10\:00 – Hiroko Ikegami\, Osaka University\, Japan
“Introducing the Art under the Nuclear Umbrella\: The New Japanese Painting and Sculpture at the Museum of Modern Art\, New York”
10\:30 – Midori Yoshimoto\, New Jersey City University
“Fluxus Nexus/Tokyo—New York”
Moderator\: Joan Kee\, History of Art\, University of Michigan
11\:30 – Lunch break
1\:00 – Ryan Holmberg\, University of Southern California
“Deep Road to the Narrow South\: The Erotopia of Tsuge Yoshiharu Manga\, 1965 – 1970”
Moderator\: Kevin Carr\, History of Art\, University of Michigan
2\:00 – Jonathan Hall\, Pomona College and Meiji Gakuin University
“Away from Center\: Radical Times in Art History”
Moderator\: A.M. Nornes\, Screen Arts and Cultures and Asian Languages and Cultures\, University of Michigan
3\:30 – Coffee &\; tea break
4\:00 – Roundtable discussion with speakers
Access to the University of Michigan
http\://www.umma.umich.edu/visiting/parking.html
http\://www.admissions.umich.edu/visiting/directories.html
Hotel information
Campus Inn\, http\://www.campusinn.com
Bell Tower Hotel\, http\://www.belltowerhotel.com
Inn at the Michigan League\, http\://uunions.umich.edu/league/inn
Lamp Post Inn\, http\://www.lamppostinn.com
Art\, Anti-Art\, Non-Art\: Experimentations in the Public Sphere in Postwar Japan\, 1950-1970 will run from March 27th – June 6th in the UMMA’s Works on Paper Gallery.
This exhibition has been organized by the Getty Research Institute\, Los Angeles. The exhibition and related programs are made possible in part by the University of Michigan Center for Japanese Studies and the Department of the History of Art.
Please send questions to Natsu Oyobe (onatsu@umich.edu) or Jacob Proctor (jdproc@umich.edu)
--------------------------------------
ABSTRACTS
When Artists Beat Historians\: A Legacy of 1960s Japanese Art Continued
Reiko Tomii
What does it mean for an artist to play an art historian? Artist-historians are not a rare breed in post-1945 Japanese art. Notable examples include Murakami Takashi\, whose Superflat trilogy represents his interest in both traditional and postmodern art practices\; Ozawa Tsuyoshi\, who\, just like his senior Morimura Yasumasa\, appropriates the entire art histories\, both Western and Easter in his Soy Sauce Museum\; Nakazawa Hideki\, whose publications serve as an accessible entrance to art history with their “handmade” quality\; and Sugimoto Hiroshi\, whose art collections create a background to his art practices in the exhibition History of History. (Ei Arakawa\, who will present a special performance following this lecture\, also belongs to this artist-historians lineage.)
Prefaced by these recent examples\, this lecture will explore two pioneering artist-historians emerging from the expanded 1960s (1954-1974)\, who have continued to cultivate the model of artists taking on art history into the 21st century\: Akasegawa Genpei and Hikosaka Naoyoshi. Both are gifted conceptualists and have recently developed in each own way remarkably populist-oriented practices of history-writing. Best known for Model 1\,000-Yen Note Incident (1963-1974)\, Akasegawa co-authored (with an art historian Yamashita Y?ji) a series of Cheer Leaders for Japanese Art (Nihon bijutsu ?endan). A member of the radical Biky?t? group and known for his Floor Event project\, Hikosaka initiated a collaborative “imaginary plan” of The New Imperial Museum for Super-First-Class Japanese Art\, which will be published in March 2010.
\\"Fluxus Nexus/Tokyo-New York\\"
Midori Yoshimoto
Since its beginning\, Fluxus has been transnational with its open-ended ideas and practice permeating among like-minded artists across the globe. Fluxus included an unusually large number of Japanese artists such as Yoko Ono\, Ay-O\, Takako Saito\, Mieko Shiomi\, Sigeko Kubota\, Takehisa Kosugi\, and Yasunao Tone. Through frequent travels and correspondences\, these artists bridged vanguard communities in Tokyo and New York\, infusing Fluxus concepts and events with new artistic developments in Japan. This paper examines the history of Japanese reception of Fluxus as just as importantly\, its continuing legacy into the 21st century.
\\"Introducing the Art under the Nuclear Umbrella\: 'The New Japanese Painting and Sculpture' at the Museum of Modern Art\, New York\\"
Hiroko Ikegami
This paper examines the introduction of postwar Japanese art to the United States in the 1960s\, focusing on the exhibition \\"The New Japanese Painting and Sculpture\,\\" organized by the Museum of Modern Art\, New York. Shown at eight different venues in 1965–67\, the exhibition\, featuring works by 46 Japanese artists\, was the first large-scale exhibition of postwar Japanese art in the country. Behind this promotion of Japanese modern art was the patronage of John D. Rockefeller III\, who attended the San Francisco Peace Conference in 1951 and was since committed to foster cultural exchange between the two countries. His agenda was at once cultural and political\: JDR III believed in the importance of improving Japan’s image in the U.S.\, so that Japan could play its economical and political role in the Cold War regime.
The exhibition \\"The New Japanese Painting and Sculpture\\" was part of such cultural exchange program\, as it originated from MoMA’s International Program\, not its curatorial department. In fact\, archival documents at the museum reveal that William S. Lieberman\, co-curator for the exhibition\, organized the show out of obligation rather than his curatorial will. This raises a critical question about the overseas reputation of postwar Japanese art\: was it a mere product of cultural diplomacy during the Cold War era\, born and flourished under the protection of U.S.’s nuclear umbrella? This question has much critical resonances today\, when the end of the Cold War regime and the rise of Chinese art are drastically changing the geopolitical map of the international art scene.
\\"The Voiceless Voice\: Orality and Sixties Japanese Culture\\"
Ryan Holmberg
In 1972\, critic and curator Nakahara Y?suke published a short essay titled \\"The Voiceless Voice.\\" In it\, he posited two trajectories of manga\: one descendant from animation and the moving image (epitomized by Tezuka Osamu) and one that embodied the oral ghosts of the popular theatrical form kamishibai (represented by Shirato Sanpei). Using Nakahara’s text as a point of departure\, this paper will explore connections between a nexus of phenomena in 60s-early 70s Japan – the labeling of television animation as \\"electric kamishibai\,\\" playwright and filmmaker Terayama Sh?ji’s valorization of live speech over the dead letter\, and the appraisal of emaki within art historical studies as a visual aid for etoki oral storytelling – that shared an oftentimes nostalgic investment in orality as a vitalizing\, populist\, culturally legitimizing force.
\\"Away from Center\: Radical Times in Art History\\"
Jonathan M Hall
Sometimes\, even the passage of time cannot tame the unruly. Getty Center concerns over nakedness led to the cancellation of a rare US screening in 2007 of Kato Yoshihiro’s White Rabbit of Inaba (Inaba no shirousagi\, 1970)\, planned as part of the “Rajikaru!” series which accompanied the Getty Research Institute’s “Art\, Anti-Art\, Non-Art” exhibition. Likewise\, in 2009\, when Kato and Asakawa Haruka adapted Zero Jigen’s ritual march for a hybrid Tokyo performance that would include the same White Rabbit footage\, some players kept their underpants even as the film exposed a far looser relation to corporeal privacy. This paper is concerned far less with the imperiled nudity of today’s Japanese male\, and far more with the politics of historiography. Surveying the differing conclusions that Burger\, Huyssen\, Suarez and Rancière draw about avant-garde politicality\, I interrogate specifically how art historical approaches to Japan’s 1960s have struggled\, often unsuccessfully\, to denominate the political intensity of the period. My queries consider two areas\: 1) questions of periodization and 2) questions of mediatization. In considering the implications of theoretical models of vangardism for the Japanese 1960s\, I look for alternatives to disciplinary orthodoxies of both time and medium within the work of Jonouchi Motoharu\, the Sogetsukan\, and the anti-World Expo hanpaku movement.
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