English edition of key essays on Japanese art history
History of Japanese Art after 1945 surveys the development of art in Japan since WWII. The original Japanese work, which has become essential ...reading for those with an interest in modern and contemporary Japanese art and is a foundational resource for students and researchers, spans a period of 150 years, from the 1850s to the 2010s. Each chapter is dedicated to a specific period and written by a specialist.
The English edition first discusses the formation and evolution of Japanese contemporary art from 1945 to the late 1970s, subsequently deals with the rise of the fine-art museum from the late 1970s to the 1990s, and concludes with an overview of contemporary Japanese art dating from the 1990s to the 2010s.
These three parts are preceded by a new introduction that contextualizes both the original Japanese and the English editions and introduces the reader to the emergence of the concept of art ( bijutsu ) in modern Japan. This English-language edition provides valuable reading material that offers a deeper insight into contemporary Japanese art.
With an introduction by Kajiya Kenji.
Contributors: Kitazawa Noriaki (editor), Mori Hitoshi (editor), Sato Doushin (editor), Tom Kain (translation editor), Alice Kiwako Ashiwa (translator), Kenneth Masaki Shima (translator), Ariel Acosta (translator), and Sara Sumpter (translator)
Translated from the original Japanese edition published with Tokyo Bijutsu, 2014
In cooperation with Art Platform Japan / The Agency for Cultural Affairs, Government of Japan
Art Platform Japan is an initiative by the Agency for Cultural Affairs, Government of Japan, to maintain the sustainable development of the contemporary art scene in Japan.
Englishedition of key essays on Japanese art historyHistory of Japanese Art after 1945 surveys the development of art in Japan since WWII. The original Japanese work,which has become essential ...reading for those with an interest in modern and contemporaryJapanese art and is a foundational resource for students and researchers, spansa period of 150 years, from the 1850s to the 2010s. Each chapter is dedicatedto a specific period and written by a specialist.TheEnglish edition first discusses the formation and evolution of Japanesecontemporary art from 1945 to the late 1970s, subsequently deals with the rise ofthe fine-art museum from the late 1970s to the 1990s, and concludes with anoverview of contemporary Japaneseart dating from the 1990s to the 2010s.Thesethree parts are preceded by a new introduction that contextualizes both theoriginal Japanese and the English editions and introduces the reader to the emergenceof the concept of art (bijutsu) in modern Japan. This English-language edition providesvaluable reading material that offers a deeper insight into contemporaryJapanese art. With anintroduction by Kajiya Kenji.Contributors:Kitazawa Noriaki (editor), Mori Hitoshi (editor), Sato Doushin (editor), TomKain (translation editor), Alice Kiwako Ashiwa (translator), Kenneth Masaki Shima (translator), Ariel Acosta(translator), and Sara Sumpter (translator)Translated from the original Japaneseedition published with Tokyo Bijutsu, 2014 In cooperation with Art Platform Japan / The Agency for CulturalAffairs, Government of JapanArt Platform Japan is an initiative by the Agencyfor Cultural Affairs, Government of Japan, to maintain the sustainabledevelopment of the contemporary art scene in Japan.
Among the buildings on the National Mall in Washington, D.C., only the Pan American Union (PAU) houses an international organization. The first of many anticipated "peace palaces"constructed in the ...early twentieth century, the PAU began with a mission of cultural diplomacy, and after World War II its Visual Arts Section became a leader in the burgeoning hemispheric arts scene, proclaiming Latin America's entrée into the international community as it forged connections between a growing base of middle-class art consumers on one hand and concepts of supranational citizenship and political and economic liberalism on the other.
Making Art Panamericansituates the ambitious visual arts programs of the PAU within the broader context of hemispheric cultural relations during the cold war. Focusing on the institutional interactions among aesthetic movements, cultural policy, and viewing publics, Claire F. Fox contends that in the postwar years, the PAU Visual Arts Section emerged as a major transfer point of hemispheric American modernist movements and played an important role in the consolidation of Latin American art as a continental object of study.
As it traces the careers of individual cultural policymakers and artists who intersected with the PAU in the two postwar decades-such as Concha Romero James, Charles Seeger, José Gómez Sicre, José Luis Cuevas, and Rafael Squirru-the book also charts the trajectories and displacements of sectors of the U.S. and Latin American intellectual left during a tumultuous interval that spans the Mexican Revolution, the Spanish Civil War, the New Deal, and the early cold war. Challenging the U.S. bias of conventional narratives about Panamericanism and the postwar shift in critical values from realism to abstraction,Making Art Panamericanilluminates the institutional dynamics that helped shape aesthetic movements in the critical decades following World War II.
"The first complete translation of one of Candrakirti's major works into precise and readable English is a masterful achievement that might well encourage further collaboration between Western and ...Tibetan scholars. This is a contribution to be applauded."-Journal of Religion
"Huntington's philosophical interpretation . . . is argued with force and clarity. It corrects (with panache) many of the misinterpretations of Madhyamika still current among Anglophone writers."-Journal of the American Oriental Society
Global Trends in Museum Diplomacy traces the transformation of museums from publicly or privately funded heritage institutions into active players in the economic sector of culture. Exploring how ...this transformation reconfigured cultural diplomacy, the book argues that museums have become autonomous diplomatic players on the world stage.The book offers a comparative analysis across a range of case studies in order to demonstrate that museums have gone global in the era of neoliberal globalisation. Grincheva focuses first on the Solomon R. Guggenheim Foundation, which is well known for its bold revolutionising strategies of global expansion: museum franchising and global corporatisation. The book then goes on to explore how these strategies were adopted across museums around the world and analyses two cases of post-Guggenheim developments in China and Russia: the K11 Art Mall in Hong Kong and the International Network of Foundations of the State Hermitage Museum in Russia. These cases from more authoritarian political regimes evidence the emergence of alternative avenues of museum diplomacy that no longer depend on government commissions to serve immediate geo-political interests. Global Trends in Museum Diplomacy will be a valuable resource for students, scholars and practitioners of contemporary museology and cultural diplomacy. Documenting new developments in museum diplomacy, the book will be particularly interesting to museum and heritage practitioners and policymakers involved in international exchanges or official programs of cultural diplomacy.
Why did British industrial cities build art museums? By exploring the histories of the municipal art museums in Birmingham, Liverpool, and Manchester,Transformative Beauty examines the underlying ...logic of the Victorian art museum movement. These museums attempted to create a space free from the moral and physical ugliness of industrial capitalism. Deeply engaged with the social criticism of John Ruskin, reformers created a new, prominent urban institution, a domesticated public space that not only aimed to provide refuge from the corrosive effects of industrial society but also provided a remarkably unified secular alternative to traditional religion. Woodson-Boulton raises provocative questions about the meaning and use of art in relation to artistic practice, urban development, social justice, education, and class. In today's context of global austerity and shrinking government support of public cultural institutions, this book is a timely consideration of arts policy and purposes in modern society.
In the 1930s, the Roosevelt administration--unwilling to antagonize a powerful southern congressional bloc--refused to endorse legislation that openly sought to improve political, economic, and ...social conditions for African Americans. Instead, as historian Lauren Rebecca Sklaroff shows, the administration recognized and celebrated African Americans by offering federal support to notable black intellectuals, celebrities, and artists.Sklaroff illustrates how programs within the Federal Arts Projects and several war agencies gave voice to such notable African Americans as Lena Horne, Joe Louis, Duke Ellington, and Richard Wright, as well as lesser-known figures. She argues that these New Deal programs represent a key moment in the history of American race relations, as the cultural arena provided black men and women with unique employment opportunities and new outlets for political expression. Equally important, she contends that these cultural programs were not merely an attempt to appease a black constituency but were also part of the New Deal's larger goal of promoting a multiracial nation. Yet, while federal projects ushered in creativity and unprecedented possibilities, they were also subject to censorship, bigotry, and political machinations.With numerous illustrations,Black Culture and the New Dealoffers a fresh perspective on the New Deal's racial progressivism and provides a new framework for understanding black culture and politics in the Roosevelt era.
Iconographies of Occupation is the first book to address how the “collaborationist” Reorganized National Government (RNG) in Japanese-occupied China sought to visualize its leader, Wang Jingwei ...(1883–1944); the Chinese people; and China itself. It explores the ways in which this administration sought to present itself to the people over which it ruled at different points between 1939, when the RNG was first being formulated, and August 1945, when it folded itself out of existence. What sorts of visual tropes were used in regime iconography and how were these used? What can the intertextual movement of visual tropes and motifs tell us about RNG artists and intellectuals and their understanding of the occupation and the war?
Drawing on rarely before used archival records relating to propaganda and a range of visual media produced in occupied China by the RNG, the book examines the means used by this “client regime” to carve out a separate visual space for itself by reviving pre-war Chinese methods of iconography and by adopting techniques, symbols, and visual tropes from the occupying Japanese and their allies. Ultimately, however, the “occupied gaze” that was developed by Wang’s administration was undermined by its ultimate reliance on Japanese acquiescence for survival. In the continually shifting and fragmented iconographies that the RNG developed over the course of its short existence, we find an administration that was never completely in control of its own fate—or its message. Iconographies of Occupation presents a thoroughly original visual history approach to the study of a much-maligned regime and opens up new ways of understanding its place in wartime China. It also brings China under the RNG into dialogue with broader theoretical debates about the significance of “the visual” in the cultural politics of foreign occupation.
In Devastation and Laughter, Annie Gérin explores the use of satire in the visual arts, the circus, theatre, and cinema under Lenin and Stalin. Gérin traces the rise and decline of the genre and ...argues that the use of satire in official Soviet art and propaganda was neither marginal nor un-theorized. The author sheds light on the theoretical texts written in the 1920s and 1930s by Anatoly Lunacharsky, the Soviet Commissar of Enlightenment, and the impact his writings had on satirists. While the Avant-Garde and Socialist Realism were necessarily forward-looking and utopian, satire afforded artists the means to examine critically past and present subjects, themes, and practice. Devastation and Laughter is the first work to bring Soviet theoretical writings on the use of satire to the attention of scholars outside of Russia. By introducing important bodies of work that have largely been overlooked in the fields of art history, film and theatre history, Annie Gérin provides a nuanced and alternative reading of early Soviet art.
