Please join us for the JAHF graduate student panel, which will take place from 6:00 p.m. – 7:00 p.m. (immediately following the business meeting) in New York on Friday, February 13th in the Beekman Parlor, 2nd floor at the Hilton New York.
Presenter information and abstracts can be found below.
We hope to see you there!
Mimi
JAHF Grad Rep
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Anna Pushakova, Russian State University for Humanities
Japanese Woodblock Print Journey from the Collection of The State Museum of Oriental Art (Moscow, Russian Federation): Its Interpretation and Conservation
Research focuses on the Japanese woodblock print (#15749 I / 22250) from the collection of the State Museum of Oriental Art (Moscow, Russian Federation). During the museum acquisition in 1969 it was called Journey and has been attributed to Hokuba Teisai (1771-1844), one of the leading disciples of Katsushika Hokusai (1760-1849). This print had no titles, signatures, seals or inscriptions. During the examination before conservation in 2013 it was assumed that this print actually may be the work of Katsushika Hokusai himself. Another copy of this print (attributed to Hokusai) had been found in the British Museum (#1937,0710,0.205), but the colors of these two prints had some differences. Unlike Moscow’s print, British one didn’t have blue colour at all. Therefore, during the study the traditional methods of visual research were combined with physical and chemical analysis, such as multispectral photography, multi-angle photography, polarization microscopy and electronic microscopy with X-ray microanalysis (with the support of Consciquence Lab, Moscow). It was known that before the museum acquisition this print was restored and duplicated. Physical chemical analysis revealed that the print was hand coloured. This secondary blue color was removed during the conservation process and the print returned to its original state. The State Museum of Oriental Art houses more than 2.000 Japanese woodblock prints by such artists as Hokusai, Hiroshige, Utagawa School and many others.
Wibke Schrape, Free University of Berlin
Ikeda Koson’s Woodblock-Printed Copybooks as an Order of Images: Making Art History in Nineteenth-Century Japan
My PhD thesis examines Ikeda Koson’s (1801–1806) paintings, model paintings (funpon) and printed copybooks (edehon) not only to broaden the understanding of Rinpa as an artistic genealogy but to examine processes of art historical knowledge production in nineteenth-century Japan. In this paper, I focus on Koson’s published copybooks Newly Selected One Hundred Pictures by Kōrin (Kōrin shinsen hyakuzu, 1864) and Mirror of Master Hōitsu’s True Works (Hōitsu Shōnin shinseki kagami 1865) that compile compositions by Ogata Kōrin (1658–1716) and Sakai Hōitsu (1761–1828) in form of monochrome small-scale reproductions (shukuzu). These copybooks were published in the years preceding the Meiji Restoration and function as a pivot between Hōitsu’s first outline of the Ogata lineage (Ogata-ryū) around the centennial of Kōrin’s death in 1815 and the politically motivated re-conceptualization of this artistic genealogy as Kōrin school around 1905. My presentation illuminates shifts in the promotion of the genealogy from Hōitsu to Koson. Furthermore, I explore these edehon as a published order of images that works on both levels of the Rinpa genealogy, its artistic production and its art historical construction.
Stella Melchiori, York University
Chim-Pom’s Real Times & Curating History
The Tokyo based contemporary art collective Chim-Pom is jointly known for their raucous and uncompromising implementation of street culture and humour, as well as their position as one of the first and only groups of artists to visit, and in turn address 3/11 and its fraught aftermath—and so quickly at that. Through Chim-Pom’s exhibition Real Times, a show that consisted of video, performance and found objects, all either directly taken from or inspired by the events of the Tōhoku disaster and the ensuing Fukushima Daiichi nuclear meltdown, these artists strongly asserted their social voice. As part of a larger project, that is, my masters level major research paper, this presentation will seek to highlight the structure of Real Times, as well as the show’s affective transference. My essay will also outline the yet to be completed works of Chim-Pom, which I discussed with them in a studio interview last summer. My full major research paper will more thoroughly analyze Chim-Pom’s methods of translating trauma, and the contextualization of their work in relation to Japanese trauma based art. While acknowledging the limitations of witnessing trauma through visual culture, I wish to frame the specific transformative powers of the Real Times exhibition.