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class="right-panel-container"><div class="user-content-wrapper"><div class="uploads-container" id="social-redesign-work-container"><div class="upload-header"><h2 class="ds2-5-heading-sans-serif-xs">Uploads</h2></div><div class="nav-container backbone-profile-documents-nav hidden-xs"><ul class="nav-tablist" role="tablist"><li class="nav-chip active" role="presentation"><a data-section-name="" data-toggle="tab" href="#all" role="tab">all</a></li><li class="nav-chip" role="presentation"><a class="js-profile-docs-nav-section u-textTruncate" data-click-track="profile-works-tab" data-section-name="Papers" data-toggle="tab" href="#papers" role="tab" title="Papers"><span>35</span> <span class="ds2-5-body-sm-bold">Papers</span></a></li><li class="nav-chip" role="presentation"><a class="js-profile-docs-nav-section u-textTruncate" data-click-track="profile-works-tab" data-section-name="Books" data-toggle="tab" href="#books" role="tab" title="Books"><span>1</span> <span class="ds2-5-body-sm-bold">Books</span></a></li><li class="nav-chip" role="presentation"><a class="js-profile-docs-nav-section u-textTruncate" data-click-track="profile-works-tab" data-section-name="Talks" data-toggle="tab" href="#talks" role="tab" title="Talks"><span>8</span> <span class="ds2-5-body-sm-bold">Talks</span></a></li><li class="nav-chip" role="presentation"><a class="js-profile-docs-nav-section u-textTruncate" data-click-track="profile-works-tab" data-section-name="Conference-Announcement" data-toggle="tab" href="#conferenceannouncement" role="tab" title="Conference Announcement"><span>4</span> <span class="ds2-5-body-sm-bold">Conference Announcement</span></a></li></ul></div><div class="divider ds-divider-16" style="margin: 0px;"></div><div class="documents-container backbone-social-profile-documents" style="width: 100%;"><div class="u-taCenter"></div><div class="profile--tab_content_container js-tab-pane tab-pane active" id="all"><div class="profile--tab_heading_container js-section-heading" data-section="Papers" id="Papers"><h3 class="profile--tab_heading_container">Papers by Bert Winther-Tamaki</h3></div><div class="js-work-strip profile--work_container" data-work-id="100548399"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/100548399/Maximum_Embodiment_Y%C5%8Dga_the_Western_Painting_of_Japan_1912_1955_by_Bert_Winther_Tamaki"><img alt="Research paper thumbnail of Maximum Embodiment: Yōga, the Western Painting of Japan, 1912–1955 by Bert Winther-Tamaki" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/100548399/Maximum_Embodiment_Y%C5%8Dga_the_Western_Painting_of_Japan_1912_1955_by_Bert_Winther_Tamaki">Maximum Embodiment: Yōga, the Western Painting of Japan, 1912–1955 by Bert Winther-Tamaki</a></div><div class="wp-workCard_item"><span>The Journal of Japanese Studies</span><span>, 2014</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">drawings, the preoccupation seems to be with the verifi able. Ultimately, it does seem that verif...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">drawings, the preoccupation seems to be with the verifi able. Ultimately, it does seem that verifi cation is the decisive dimension of the “real” that underpins the author’s thesis regarding the signifi cance of “shashin” within the ethos of visual culture. When discussing Itō’s reference to a copper etching as “shashin,” this is indeed the dimension Fukuoka highlights as justifying the association (p. 129). In any case, the book would in my view have been stronger if these differences in nuance had been handled more clearly and, although the Foucauldian premise of Fukuoka’s use of the “real” is clear, it is methodologically counterproductive. Other theorists come to mind: for example, the concepts of “studium” and “punctum” in Jacques Ranciere’s discussion of photography within The Future of the Image (Verso, 2007; based on Roland Barthes’s Camera Lucida [Hill and Wang, 1981]) would seem useful to Fukuoka’s analysis, but such avenues of theorization are not pursued at any length. The foregoing points aside, Fukuoka has done a great work in synthesizing a variety of sources to convincingly argue for a more nuanced and multivalent understanding of “shashin” among the late Edo intelligentsia. She has successfully put forward a case, especially in the fi nal chapter, that rescues the term from being merely another cultural import within a unidirectional process of modernization and technological transfer. This piece of scholarship is accordingly highly commended for developing a more sophisticated understanding of pre-Meiji intellectual culture.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="100548399"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="100548399"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 100548399; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); 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dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=100548399]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":100548399,"title":"Maximum Embodiment: Yōga, the Western Painting of Japan, 1912–1955 by Bert Winther-Tamaki","internal_url":"https://www.academia.edu/100548399/Maximum_Embodiment_Y%C5%8Dga_the_Western_Painting_of_Japan_1912_1955_by_Bert_Winther_Tamaki","owner_id":5096088,"coauthors_can_edit":true,"owner":{"id":5096088,"first_name":"Bert","middle_initials":"","last_name":"Winther-Tamaki","page_name":"BertWintherTamaki","domain_name":"uci","created_at":"2013-08-10T08:33:00.411-07:00","display_name":"Bert Winther-Tamaki","url":"https://uci.academia.edu/BertWintherTamaki"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="97930434"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/97930434/Japanese_Views_of_the_Void_in_Sam_Franciss_Painting_during_the_Informel_Whirlwind"><img alt="Research paper thumbnail of Japanese Views of the Void in Sam Francis's Painting during the 'Informel Whirlwind'" class="work-thumbnail" src="https://attachments.academia-assets.com/107292960/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/97930434/Japanese_Views_of_the_Void_in_Sam_Franciss_Painting_during_the_Informel_Whirlwind">Japanese Views of the Void in Sam Francis's Painting during the 'Informel Whirlwind'</a></div><div class="wp-workCard_item"><span>Tate In Focus</span><span>, Jul 15, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Sam Francis had closer ties to Japan than any other major European or American artist of his gene...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Sam Francis had closer ties to Japan than any other major European or American artist of his generation: this, at least, was the assessment offered on the occasion of an important retrospective exhibition of his work in Japan in 1988. 1 Francis spent a lot of time in the country and created numerous paintings and prints during frequent visits over many years. The largest single collection of his art was assembled in Japan, and two of his five marriages were to Japanese women. Moreover, many Japanese individuals expressed a remarkable degree of affection for the artist and their sentiments appear to have been warmly reciprocated by Francis. Japan did not really emerge as a factor in Francis's life, however, until the artist was in his thirties, during the years bracketed by his work on Around the Blues (Tate T00634; fig.1), which was painted in 1957 and revised with significant additional brushwork around 1962-3. Francis first travelled to Japan after beginning this work in 1957, followed by a second visit in 1960-1, and it was during this period that he forged friendships with numerous leading figures in the Japanese art world. These years coincide with what came to be known as the 'informel whirlwind' ('anforumeru senpū'), a wave of enthusiasm for gestural abstraction that swept the Japanese art world, triggered by the visits to Japan of three protagonists of the art informel movement in Paris: the art critic Michel Tapié, French painter Georges Mathieu, and Sam Francis. This essay provides an account of Francis's increasing connections with Japan in the 1950s and early 1960s, and then considers the perspectives of four well-known figures in the Japanese art world who befriended him in this period: the painter Imai Toshimitsu, the art critic Tōno Yoshiaki, the poet and critic Ōoka Makoto, and the businessman and art collector Idemitsu Sazō. Each of them warmly supported Francis's work in Japan, but their interpretations of his art in this period differed dramatically. The art historian Peter Selz remarked that 'Japan, with a tradition that considers art, above all, as meditative experience, almost immediately responded with sympathy to Francis's work.' 2 This view implies that Francis's art struck a chord with an aesthetic disposition shared among Japanese people because of their presumed conformity with native tradition. For Selz, Francis was much like Japanese Zen Buddhist artists who, Selz believed, 'understand better than any others the value of empty spaces'. 3 Whether Zen-identified or not, a quality of spaciousness or a sense of void was indeed a theme addressed in much commentary on Francis's work published in Japan as well as Europe and the United States. This aesthetic of emptiness emerged in Francis's monochromatic all-over paintings of 1950-3: canvases covered with soft brushstrokes in light grey, or slightly yellow or pinkish tones producing an aqueous, cloudy effect. Many of his canvases from the mid-1950s onwards, including Around the Blues, are abloom with brushstrokes in blue and other colours, but as this painting's title suggests, the unpainted white canvas showing 'around' the colours was of key significance. Furthermore, while the colours in Around the Blues seem unwilling to fully populate the large white bay in the centre-right portion of the canvas or its periphery, many of Francis's works, such as the 1957 paintings Japan Line (private collection) and Honeyed (Marieluise Hessel Collection, Bard College, Annandale-on-Hudson), leave even more compositional real estate uninhabited. Encouraged by the artist's own statements, the space that Francis left untouched or relatively free of brushwork in his canvases stimulated much interpretation and speculative response. 4 Like Selz, many were inclined to compare this quality of emptiness in Francis's painting with Japanese and Asian theoretical and aesthetic concepts, such as nothingness (mu) in Zen</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="541d4e7bde8bbf99a434e7bf12011ddd" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":107292960,"asset_id":97930434,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/107292960/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="97930434"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="97930434"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 97930434; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=97930434]").text(description); $(".js-view-count[data-work-id=97930434]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 97930434; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='97930434']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "541d4e7bde8bbf99a434e7bf12011ddd" } } $('.js-work-strip[data-work-id=97930434]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":97930434,"title":"Japanese Views of the Void in Sam Francis's Painting during the 'Informel Whirlwind'","translated_title":"","metadata":{"publisher":"Tate Publishing","grobid_abstract":"Sam Francis had closer ties to Japan than any other major European or American artist of his generation: this, at least, was the assessment offered on the occasion of an important retrospective exhibition of his work in Japan in 1988. 1 Francis spent a lot of time in the country and created numerous paintings and prints during frequent visits over many years. The largest single collection of his art was assembled in Japan, and two of his five marriages were to Japanese women. Moreover, many Japanese individuals expressed a remarkable degree of affection for the artist and their sentiments appear to have been warmly reciprocated by Francis. Japan did not really emerge as a factor in Francis's life, however, until the artist was in his thirties, during the years bracketed by his work on Around the Blues (Tate T00634; fig.1), which was painted in 1957 and revised with significant additional brushwork around 1962-3. Francis first travelled to Japan after beginning this work in 1957, followed by a second visit in 1960-1, and it was during this period that he forged friendships with numerous leading figures in the Japanese art world. These years coincide with what came to be known as the 'informel whirlwind' ('anforumeru senpū'), a wave of enthusiasm for gestural abstraction that swept the Japanese art world, triggered by the visits to Japan of three protagonists of the art informel movement in Paris: the art critic Michel Tapié, French painter Georges Mathieu, and Sam Francis. This essay provides an account of Francis's increasing connections with Japan in the 1950s and early 1960s, and then considers the perspectives of four well-known figures in the Japanese art world who befriended him in this period: the painter Imai Toshimitsu, the art critic Tōno Yoshiaki, the poet and critic Ōoka Makoto, and the businessman and art collector Idemitsu Sazō. Each of them warmly supported Francis's work in Japan, but their interpretations of his art in this period differed dramatically. The art historian Peter Selz remarked that 'Japan, with a tradition that considers art, above all, as meditative experience, almost immediately responded with sympathy to Francis's work.' 2 This view implies that Francis's art struck a chord with an aesthetic disposition shared among Japanese people because of their presumed conformity with native tradition. For Selz, Francis was much like Japanese Zen Buddhist artists who, Selz believed, 'understand better than any others the value of empty spaces'. 3 Whether Zen-identified or not, a quality of spaciousness or a sense of void was indeed a theme addressed in much commentary on Francis's work published in Japan as well as Europe and the United States. This aesthetic of emptiness emerged in Francis's monochromatic all-over paintings of 1950-3: canvases covered with soft brushstrokes in light grey, or slightly yellow or pinkish tones producing an aqueous, cloudy effect. Many of his canvases from the mid-1950s onwards, including Around the Blues, are abloom with brushstrokes in blue and other colours, but as this painting's title suggests, the unpainted white canvas showing 'around' the colours was of key significance. Furthermore, while the colours in Around the Blues seem unwilling to fully populate the large white bay in the centre-right portion of the canvas or its periphery, many of Francis's works, such as the 1957 paintings Japan Line (private collection) and Honeyed (Marieluise Hessel Collection, Bard College, Annandale-on-Hudson), leave even more compositional real estate uninhabited. Encouraged by the artist's own statements, the space that Francis left untouched or relatively free of brushwork in his canvases stimulated much interpretation and speculative response. 4 Like Selz, many were inclined to compare this quality of emptiness in Francis's painting with Japanese and Asian theoretical and aesthetic concepts, such as nothingness (mu) in Zen","publication_date":{"day":15,"month":7,"year":2019,"errors":{}},"publication_name":"Tate In Focus","grobid_abstract_attachment_id":107292960},"translated_abstract":null,"internal_url":"https://www.academia.edu/97930434/Japanese_Views_of_the_Void_in_Sam_Franciss_Painting_during_the_Informel_Whirlwind","translated_internal_url":"","created_at":"2023-03-04T14:11:10.086-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":5096088,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":107292960,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/107292960/thumbnails/1.jpg","file_name":"2019_Sam_Francis_Tate.pdf","download_url":"https://www.academia.edu/attachments/107292960/download_file","bulk_download_file_name":"Japanese_Views_of_the_Void_in_Sam_Franci.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/107292960/2019_Sam_Francis_Tate-libre.pdf?1699735203=\u0026response-content-disposition=attachment%3B+filename%3DJapanese_Views_of_the_Void_in_Sam_Franci.pdf\u0026Expires=1738767349\u0026Signature=GykWEKyfR06K1c4aAgdxWpMc8Gz-XWurvv6RvP5Zr7f4VhAH-hchHcu4ALb2J7T66mS2qiaW-qh2ozJStftTBSSW4EmkCanOsYkhZ3evFDiFBgVQXHUNbEfC2PvurC-fqL9ZpP51Awd4IbXo-QfrVyd2hdW0gdbxnBg5BCh3YOKM5pgY7iTnvOQ8juty5bgfCI4V2nVd0C9imyoRhGWBFEblQeFzneXFgCo2ULgdXd07eks6LWrd14e0idMB804DMmXlybp~VSGEq-Txk6tcvOes67M1wQZ51vepxcrc01psanLPLrjZ4ONbP8O0Y8KDDGe5m0CtsoYKzPke~R490Q__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Japanese_Views_of_the_Void_in_Sam_Franciss_Painting_during_the_Informel_Whirlwind","translated_slug":"","page_count":2,"language":"en","content_type":"Work","summary":"Sam Francis had closer ties to Japan than any other major European or American artist of his generation: this, at least, was the assessment offered on the occasion of an important retrospective exhibition of his work in Japan in 1988. 1 Francis spent a lot of time in the country and created numerous paintings and prints during frequent visits over many years. The largest single collection of his art was assembled in Japan, and two of his five marriages were to Japanese women. Moreover, many Japanese individuals expressed a remarkable degree of affection for the artist and their sentiments appear to have been warmly reciprocated by Francis. Japan did not really emerge as a factor in Francis's life, however, until the artist was in his thirties, during the years bracketed by his work on Around the Blues (Tate T00634; fig.1), which was painted in 1957 and revised with significant additional brushwork around 1962-3. Francis first travelled to Japan after beginning this work in 1957, followed by a second visit in 1960-1, and it was during this period that he forged friendships with numerous leading figures in the Japanese art world. These years coincide with what came to be known as the 'informel whirlwind' ('anforumeru senpū'), a wave of enthusiasm for gestural abstraction that swept the Japanese art world, triggered by the visits to Japan of three protagonists of the art informel movement in Paris: the art critic Michel Tapié, French painter Georges Mathieu, and Sam Francis. This essay provides an account of Francis's increasing connections with Japan in the 1950s and early 1960s, and then considers the perspectives of four well-known figures in the Japanese art world who befriended him in this period: the painter Imai Toshimitsu, the art critic Tōno Yoshiaki, the poet and critic Ōoka Makoto, and the businessman and art collector Idemitsu Sazō. Each of them warmly supported Francis's work in Japan, but their interpretations of his art in this period differed dramatically. The art historian Peter Selz remarked that 'Japan, with a tradition that considers art, above all, as meditative experience, almost immediately responded with sympathy to Francis's work.' 2 This view implies that Francis's art struck a chord with an aesthetic disposition shared among Japanese people because of their presumed conformity with native tradition. For Selz, Francis was much like Japanese Zen Buddhist artists who, Selz believed, 'understand better than any others the value of empty spaces'. 3 Whether Zen-identified or not, a quality of spaciousness or a sense of void was indeed a theme addressed in much commentary on Francis's work published in Japan as well as Europe and the United States. This aesthetic of emptiness emerged in Francis's monochromatic all-over paintings of 1950-3: canvases covered with soft brushstrokes in light grey, or slightly yellow or pinkish tones producing an aqueous, cloudy effect. Many of his canvases from the mid-1950s onwards, including Around the Blues, are abloom with brushstrokes in blue and other colours, but as this painting's title suggests, the unpainted white canvas showing 'around' the colours was of key significance. Furthermore, while the colours in Around the Blues seem unwilling to fully populate the large white bay in the centre-right portion of the canvas or its periphery, many of Francis's works, such as the 1957 paintings Japan Line (private collection) and Honeyed (Marieluise Hessel Collection, Bard College, Annandale-on-Hudson), leave even more compositional real estate uninhabited. Encouraged by the artist's own statements, the space that Francis left untouched or relatively free of brushwork in his canvases stimulated much interpretation and speculative response. 4 Like Selz, many were inclined to compare this quality of emptiness in Francis's painting with Japanese and Asian theoretical and aesthetic concepts, such as nothingness (mu) in Zen","owner":{"id":5096088,"first_name":"Bert","middle_initials":"","last_name":"Winther-Tamaki","page_name":"BertWintherTamaki","domain_name":"uci","created_at":"2013-08-10T08:33:00.411-07:00","display_name":"Bert Winther-Tamaki","url":"https://uci.academia.edu/BertWintherTamaki"},"attachments":[{"id":107292960,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/107292960/thumbnails/1.jpg","file_name":"2019_Sam_Francis_Tate.pdf","download_url":"https://www.academia.edu/attachments/107292960/download_file","bulk_download_file_name":"Japanese_Views_of_the_Void_in_Sam_Franci.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/107292960/2019_Sam_Francis_Tate-libre.pdf?1699735203=\u0026response-content-disposition=attachment%3B+filename%3DJapanese_Views_of_the_Void_in_Sam_Franci.pdf\u0026Expires=1738767349\u0026Signature=GykWEKyfR06K1c4aAgdxWpMc8Gz-XWurvv6RvP5Zr7f4VhAH-hchHcu4ALb2J7T66mS2qiaW-qh2ozJStftTBSSW4EmkCanOsYkhZ3evFDiFBgVQXHUNbEfC2PvurC-fqL9ZpP51Awd4IbXo-QfrVyd2hdW0gdbxnBg5BCh3YOKM5pgY7iTnvOQ8juty5bgfCI4V2nVd0C9imyoRhGWBFEblQeFzneXFgCo2ULgdXd07eks6LWrd14e0idMB804DMmXlybp~VSGEq-Txk6tcvOes67M1wQZ51vepxcrc01psanLPLrjZ4ONbP8O0Y8KDDGe5m0CtsoYKzPke~R490Q__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="97930433"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/97930433/Earth_Flavor_Tsuchi_aji_in_Postwar_Japanese_Ceramics"><img alt="Research paper thumbnail of Earth Flavor (Tsuchi aji) in Postwar Japanese Ceramics" class="work-thumbnail" src="https://attachments.academia-assets.com/107293122/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/97930433/Earth_Flavor_Tsuchi_aji_in_Postwar_Japanese_Ceramics">Earth Flavor (Tsuchi aji) in Postwar Japanese Ceramics</a></div><div class="wp-workCard_item"><span>Japan Review</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This article investigates the turn to an earthy aesthetic in Japanese ceramics of the 1950s throu...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This article investigates the turn to an earthy aesthetic in Japanese ceramics of the 1950s through the early 1970s. One term for this aesthetic is “earth flavor” (tsuchi aji), defined here as “the beauty of the bare complexion of the earth fired for a long time” in the manner of several types of ancient Japanese pottery and practiced anew by contemporary Japanese potters in the postwar period who admired it as a “natural feeling for the oneness of clay and kiln.” The postwar production of earth flavor ceramics is mapped to four sites, namely Seto and Shigaraki, regions of continuous ceramic production since ancient times, American coordinates of Japanese earth flavor, and the avant- garde ceramics group Sōdeisha. The kilns of Seto in Aichi Prefecture were the source of a canonical earth flavor associated with tea wares, but the fortunes of this type of pottery were buffeted by a series of controversies centered on the conservative Seto potter Katō Tōkurō. The medieval Shigaraki pot became an icon of earth flavor in the photography of Domon Ken, and was revalued in the practice of contemporary ceramicists. America was a powerful market for ceramic objects as well as ideals of Japanese earth flavor, but it was also the source of provocations that instigated new Japanese views of earth flavor. And finally, experiments with earth flavor in the sculptural ceramics of the Sōdeisha group ranged from forms suggesting live organisms of the soil (Yagi Kazuo) to clay firings that protested the industrial pollution of the earth (Satonaka Hideto).</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a1cab0952ddcd7c5f2358ebd646e1b0b" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":107293122,"asset_id":97930433,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/107293122/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="97930433"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="97930433"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 97930433; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=97930433]").text(description); $(".js-view-count[data-work-id=97930433]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 97930433; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='97930433']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="97930432"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/97930432/The_Oriental_Guru_in_the_Modern_Artist_Asian_Spiritual_and_Performative_Aspects_of_Postwar_American_Art"><img alt="Research paper thumbnail of The "Oriental Guru" in the Modern Artist: Asian Spiritual and Performative Aspects of Postwar American Art" class="work-thumbnail" src="https://attachments.academia-assets.com/99420084/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/97930432/The_Oriental_Guru_in_the_Modern_Artist_Asian_Spiritual_and_Performative_Aspects_of_Postwar_American_Art">The "Oriental Guru" in the Modern Artist: Asian Spiritual and Performative Aspects of Postwar American Art</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The ongoing spiritual, aesthetic, and political preoccupations of American artists with Asian cul...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The ongoing spiritual, aesthetic, and political preoccupations of American artists with Asian culture are increasingly recognized as a definitive feature of modern American art history. But among the questions that require further study is how has this artistic attention to Asian themes impacted American beliefs about what an artist should be? I would like to group together a cluster of metaphysical concepts and popular stereotypes under the term "Oriental guru" and propose that the wide circulation of this figure in discourses of art exerted a profound impact on the profile of the artist in American society. Indeed, one of the leastrecognized components of the East/West discourse as it unfolded in the development of postwar art in the United States was a recurring mode of interaction between artists and interlocutors who served as their "Oriental gurus." Suzuki Daisetsu was the paragon of the type. At the height of his reputation as a Zen sage among New York artists in the 1950s, Suzuki was said to "radiate the glamour that attaches to aging Oriental men of wisdom." 2 But although the figure of Oriental guru was thus defined by race, gender, and age, sometimes women or European American men performed this role. Moreover, the relationship between modern artist and Oriental guru was highly unstable and the same individual could move from one role to the other. Still, many artists absorbed charismatic qualities from guru-like figures and incorporated them into their performance of the role of modern artist. This pattern can be traced in the careers of numerous American artists, but this study focuses on four of the most conspicuous and interesting cases: Mark Tobey,</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="0d83e25ce5c2529b170b298d13c440a8" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":99420084,"asset_id":97930432,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/99420084/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="97930432"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="97930432"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 97930432; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=97930432]").text(description); $(".js-view-count[data-work-id=97930432]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 97930432; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='97930432']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "0d83e25ce5c2529b170b298d13c440a8" } } $('.js-work-strip[data-work-id=97930432]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":97930432,"title":"The \"Oriental Guru\" in the Modern Artist: Asian Spiritual and Performative Aspects of Postwar American Art","internal_url":"https://www.academia.edu/97930432/The_Oriental_Guru_in_the_Modern_Artist_Asian_Spiritual_and_Performative_Aspects_of_Postwar_American_Art","owner_id":5096088,"coauthors_can_edit":true,"owner":{"id":5096088,"first_name":"Bert","middle_initials":"","last_name":"Winther-Tamaki","page_name":"BertWintherTamaki","domain_name":"uci","created_at":"2013-08-10T08:33:00.411-07:00","display_name":"Bert Winther-Tamaki","url":"https://uci.academia.edu/BertWintherTamaki"},"attachments":[{"id":99420084,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/99420084/thumbnails/1.jpg","file_name":"198402273.pdf","download_url":"https://www.academia.edu/attachments/99420084/download_file","bulk_download_file_name":"The_Oriental_Guru_in_the_Modern_Artist_A.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/99420084/198402273.pdf?1677967930=\u0026response-content-disposition=attachment%3B+filename%3DThe_Oriental_Guru_in_the_Modern_Artist_A.pdf\u0026Expires=1739771756\u0026Signature=QvX3u5f881uNgzQrmC4sIMl8qIGZk8DMiBmUYwE6JPNt6Fw04LnX1XkyaejvX8fqnoqOjo51V4X2KBzbSFhHZk~b4ClPLBHwtEp4aY5RAaYVplhDkqTgRr20t8blM43IO2nDtXVe7JmU74zxhWNbmLZq4zupmAcaQv-FShVWkAU4CYNsrlZpC3Am8g26lNqdVbI75vFhtq7IEudtJzyBtwpd5oNtBLW9g2GMS74S8KzbUhUZaapTXXZoC4C0jLjwpo6sIdBAZixv0JDGtYJvl2-zlCR8~mUpsobQVxDlTWYHAgKbiDv9Guwwx1CK6bEUAlEx9vJcQkTe9iGhTFDJsg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="97930430"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/97930430/5_From_Resplendent_Signs_to_Heavy_Hands_Japanese_Painting_in_War_and_Defeat_1937_1952"><img alt="Research paper thumbnail of 5. From Resplendent Signs to Heavy Hands: Japanese Painting in War and Defeat, 1937–1952" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/97930430/5_From_Resplendent_Signs_to_Heavy_Hands_Japanese_Painting_in_War_and_Defeat_1937_1952">5. From Resplendent Signs to Heavy Hands: Japanese Painting in War and Defeat, 1937–1952</a></div><div class="wp-workCard_item"><span>Since Meiji</span><span>, 2017</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="97930430"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="97930430"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 97930430; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=97930430]").text(description); $(".js-view-count[data-work-id=97930430]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 97930430; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='97930430']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=97930430]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":97930430,"title":"5. From Resplendent Signs to Heavy Hands: Japanese Painting in War and Defeat, 1937–1952","internal_url":"https://www.academia.edu/97930430/5_From_Resplendent_Signs_to_Heavy_Hands_Japanese_Painting_in_War_and_Defeat_1937_1952","owner_id":5096088,"coauthors_can_edit":true,"owner":{"id":5096088,"first_name":"Bert","middle_initials":"","last_name":"Winther-Tamaki","page_name":"BertWintherTamaki","domain_name":"uci","created_at":"2013-08-10T08:33:00.411-07:00","display_name":"Bert Winther-Tamaki","url":"https://uci.academia.edu/BertWintherTamaki"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="97930429"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/97930429/Sculptor_S_BruSh_with_ink_From_the_Flight_oF_the_Dragon_to_the_pool_oF_the_inkStone"><img alt="Research paper thumbnail of Sculptor ’ S BruSh with ink : From the Flight oF the Dragon to the pool oF the inkStone" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/97930429/Sculptor_S_BruSh_with_ink_From_the_Flight_oF_the_Dragon_to_the_pool_oF_the_inkStone">Sculptor ’ S BruSh with ink : From the Flight oF the Dragon to the pool oF the inkStone</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The East Asian aesthetic of brush and ink was typically appreciated in the twentieth century for ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The East Asian aesthetic of brush and ink was typically appreciated in the twentieth century for its deep and fascinating roots in historical practices of painting and calligraphy. A new awareness is emerging, however, of just how profoundly the twentieth century itself shaped views of Asian traditions of ink painting that prevail today. For despite the antiquarian preoccupations of many of its proponents, ink painting was dramatically altered and expanded by the theoretical and experimental efforts of numerous artists and writers throughout Asia and beyond. Starting in the late nineteenth century and continuing to this day, for example, photographers have emulated and extended the aesthetic of ink monochrome landscape imagery with photographic techniques1. And since the mid-twentieth century, abstract painters all over the world have studied brush and ink calligraphy for models of non-mimetic signification and gestural brushwork2. Meanwhile, art historians, critics, and theorists h...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="97930429"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="97930429"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 97930429; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=97930429]").text(description); $(".js-view-count[data-work-id=97930429]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 97930429; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='97930429']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); 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window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=97930427]").text(description); $(".js-view-count[data-work-id=97930427]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 97930427; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='97930427']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=97930427]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":97930427,"title":"Maximum Embodiment","internal_url":"https://www.academia.edu/97930427/Maximum_Embodiment","owner_id":5096088,"coauthors_can_edit":true,"owner":{"id":5096088,"first_name":"Bert","middle_initials":"","last_name":"Winther-Tamaki","page_name":"BertWintherTamaki","domain_name":"uci","created_at":"2013-08-10T08:33:00.411-07:00","display_name":"Bert Winther-Tamaki","url":"https://uci.academia.edu/BertWintherTamaki"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="97930426"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/97930426/Remediated_Ink_The_Debt_of_Modern_and_Contemporary_Asian_Ink_Aesthetics_to_Non_Ink_Media"><img alt="Research paper thumbnail of Remediated Ink: The Debt of Modern and Contemporary Asian Ink Aesthetics to Non-Ink Media" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/97930426/Remediated_Ink_The_Debt_of_Modern_and_Contemporary_Asian_Ink_Aesthetics_to_Non_Ink_Media">Remediated Ink: The Debt of Modern and Contemporary Asian Ink Aesthetics to Non-Ink Media</a></div><div class="wp-workCard_item"><span>Getty Research Journal</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Monochromatic ink aesthetics circulates widely today as a sign of Asian cultural identity, but mu...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Monochromatic ink aesthetics circulates widely today as a sign of Asian cultural identity, but much of it is produced by representations of ink generated in media other than ink. This study uses the media studies concept of remediation to develop a taxonomy of non-ink media ranging from late nineteenth-century pictorialist photography to new digital media of popular culture. Chinese ink art has become a successful phenomenon in the global contemporary art market in the past decade, but the protagonists of this movement, including many ink remediators, stand in a much longer transnational modern Asian development of strengthening, expanding, and transforming the beauty of monochromatic ink painting in other media. This study investigates works that deal with themes of Japanese ink aesthetics in non-ink media by artists in Japan and the United States ranging from the calligrapher Inoue Yūichi to the photographer Hiroshi Sugimoto.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="97930426"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="97930426"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 97930426; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=97930426]").text(description); $(".js-view-count[data-work-id=97930426]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 97930426; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='97930426']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=97930426]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":97930426,"title":"Remediated Ink: The Debt of Modern and Contemporary Asian Ink Aesthetics to Non-Ink Media","internal_url":"https://www.academia.edu/97930426/Remediated_Ink_The_Debt_of_Modern_and_Contemporary_Asian_Ink_Aesthetics_to_Non_Ink_Media","owner_id":5096088,"coauthors_can_edit":true,"owner":{"id":5096088,"first_name":"Bert","middle_initials":"","last_name":"Winther-Tamaki","page_name":"BertWintherTamaki","domain_name":"uci","created_at":"2013-08-10T08:33:00.411-07:00","display_name":"Bert Winther-Tamaki","url":"https://uci.academia.edu/BertWintherTamaki"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="97930425"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/97930425/The_Ligneous_Aesthetic_of_the_Postwar_S%C5%8Dsaku_Hanga_Movement_and_American_Perspectives_on_the_Modern_Japanese_Culture_of_Wood"><img alt="Research paper thumbnail of The Ligneous Aesthetic of the Postwar Sōsaku Hanga Movement and American Perspectives on the Modern Japanese Culture of Wood" class="work-thumbnail" src="https://attachments.academia-assets.com/107291819/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/97930425/The_Ligneous_Aesthetic_of_the_Postwar_S%C5%8Dsaku_Hanga_Movement_and_American_Perspectives_on_the_Modern_Japanese_Culture_of_Wood">The Ligneous Aesthetic of the Postwar Sōsaku Hanga Movement and American Perspectives on the Modern Japanese Culture of Wood</a></div><div class="wp-workCard_item"><span>Archives of Asian Art</span><span>, 2016</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The Japanese movement of printmaking known as Sōsaku Hanga (“Creative Prints”) received a tremend...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The Japanese movement of printmaking known as Sōsaku Hanga (“Creative Prints”) received a tremendous boost after World War II from the patronage of collectors associated with the US military. One appeal of Sōsaku prints by Munakata Shikō, Saitō Kiyoshi, Azechi Umetarō, and Maeda Senpan, among others, was their woody sensibility, or ligneous aesthetic. Human figures rendered like pieces of woodcraft and abstract passages of wood-grain printing intrigued American enthusiasts such as James A. Michener and Oliver Statler. The ligneous aesthetic was appreciated for evoking alluring qualities of ancient Japan as well as for its impressive sense of modernity.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="72449782034e8d5eaa841326911eebe1" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":107291819,"asset_id":97930425,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/107291819/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="97930425"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="97930425"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 97930425; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="97930424"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/97930424/From_Resplendent_Signs_to_Heavy_Hands"><img alt="Research paper thumbnail of From Resplendent Signs to Heavy Hands" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/97930424/From_Resplendent_Signs_to_Heavy_Hands">From Resplendent Signs to Heavy Hands</a></div><div class="wp-workCard_item"><span>Since Meiji</span><span>, 2011</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="97930424"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="97930424"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 97930424; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="97930422"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/97930422/%E6%B4%8B%E7%94%BB_Y%C5%8Dga_The_Western_Painting_National_Painting_and_Global_Painting_of_Japan"><img alt="Research paper thumbnail of 洋画 Yōga/The Western Painting, National Painting, and Global Painting of Japan" class="work-thumbnail" src="https://attachments.academia-assets.com/99420085/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/97930422/%E6%B4%8B%E7%94%BB_Y%C5%8Dga_The_Western_Painting_National_Painting_and_Global_Painting_of_Japan">洋画 Yōga/The Western Painting, National Painting, and Global Painting of Japan</a></div><div class="wp-workCard_item"><span>Review of Japanese Culture and Society</span><span>, 2013</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Today historians of modern Japanese art typically use the term yōga, literally "Western painting,...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Today historians of modern Japanese art typically use the term yōga, literally "Western painting," to refer to the modern Japanese practice of oil painting that was imported from Europe and to a great extent modeled on European precedents. But so ingrained is the European and American propensity to see Japanese culture through a lens of Asian otherness, that I have given whole lectures about the Westernness of Japanese yōga only to be dumbfounded by questions about how this type of painting related to the Asian discipline of training the consciousness for spiritual insight and tranquility. Let it be clear: there is no relationship other than one of homonyms between yoga meditation exercises and yōga painting. More importantly, the designation of a vast development of modern Japanese painting as "yōga" calls attention to its genealogical linkages to European canons, techniques, iconographies, and styles. Nevertheless, the desire to render yōga more conspicuously Japanese was felt even more keenly by its advocates and critics in Japan than by orientalizing viewers in Europe and North America. We may detect art historian Shimada Yasuhiro"s desire to nationalize yōga within his ostensibly objective characterization of its art historical development: "the Japanization of oil painting was the greatest task for oil painters in Japan from the very moment it was</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="942936e01acce7e3b43376d25fb63c32" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":99420085,"asset_id":97930422,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/99420085/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="97930422"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="97930422"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 97930422; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="97930421"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/97930421/Overtly_Covertly_or_Not_at_All_Putting_Japan_in_Japanese_American_Painting"><img alt="Research paper thumbnail of Overtly, Covertly, or Not at All: Putting "Japan" in Japanese American Painting" class="work-thumbnail" src="https://attachments.academia-assets.com/99420082/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/97930421/Overtly_Covertly_or_Not_at_All_Putting_Japan_in_Japanese_American_Painting">Overtly, Covertly, or Not at All: Putting "Japan" in Japanese American Painting</a></div><div class="wp-workCard_item"><span>East-West Interchanges in American Art: A Long and Tumultuous Relationship</span><span>, 2012</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="33bbdde9f7ffdcd48230a853f0a7cf33" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":99420082,"asset_id":97930421,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/99420082/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="97930421"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="97930421"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 97930421; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="97930420"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/97930420/Kitagawa_Tamiji_Painting_in_the_Pursuit_of_Pigmented_Knowledge_of_Self_and_Other"><img alt="Research paper thumbnail of Kitagawa Tamiji: Painting in the Pursuit of Pigmented Knowledge of Self and Other" class="work-thumbnail" src="https://attachments.academia-assets.com/107293255/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/97930420/Kitagawa_Tamiji_Painting_in_the_Pursuit_of_Pigmented_Knowledge_of_Self_and_Other">Kitagawa Tamiji: Painting in the Pursuit of Pigmented Knowledge of Self and Other</a></div><div class="wp-workCard_item"><span>Archives of Asian Art</span><span>, 2013</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The Japanese painter Kitagawa Tamiji 北川民次 (1894–1989) is a particularly rewarding subject for con...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The Japanese painter Kitagawa Tamiji 北川民次 (1894–1989) is a particularly rewarding subject for considering a set of questions about the capacity of painting to function as a tool for acquiring and producing social knowledge in the dislocative experiences of the early twentieth century. How could a painter who was also a traveler deploy his or her medium in the pursuit of knowledge about strangers encountered in foreign places? And, after settling abroad for extended periods, how could an expatriate Japanese painter use this medium to make himself known to natives of this environment? Finally, how did the practice of painting geared toward social needs of this sort also contribute to the painter’s self-knowledge, evolving through years of migration and subsequent reentry to Japanese society? After a brief period studying oil painting at the Preparatory Division of Waseda University in Tokyo, Kitagawa moved at age twenty from Japan to the United States, where he remained for seven years (1914–21), then relocated to Mexico, where he resided for fifteen years until age forty-two (1921–36), and finally spent the rest of his long life in Japan. This study focuses on Kitagawa’s use of the medium of figurative painting to mediate differences of race and culture that he encountered during the formative years of his travel and artistic maturation, as well as his readjustment to Japanese society in the first decade after his return. The relatively small number of Japanese people in the United States and Mexico in the early twentieth century gave him an exceptional status that encumbered his painterly pursuits with different obstacles and greater instability than travelers whose identities positioned them within more established patterns of stereotypical, discriminatory, or privileged reception. W. E. B. Du Bois famously wrote in 1903 of the ‘‘frightful chasm at the color line across which men pass at their peril,’’ but since Asian people in earlytwentieth-century North America generally found fewer templates for identification—whether felicitous or injurious—on either side of the color line, negotiating the ‘‘frightful chasm’’ was a destiny of perhaps less predetermined outcomes than was the case for more populous groups. As we shall see, the story of Kitagawa’s journey through the chasm at the color line was particularly noteworthy for his creative deployments of the colors of paint pigments in his métier as an artist. The study of Kitagawa is rewarding not only because his paintings of himself and others provide an expressive visual record of his travels but also because these images are further illuminated by a Japaneselanguage autobiographical account of this journey that the artist published in 1955, nearly twenty years after returning to Japan. Though titled Youth in Mexico: Fifteen Years with the Indians (Mekishiko no seishun: jūgonen o indeian to tomo ni メキシコの青春:十五年をインディアンと共に), this colorful narrative actually recounts a passage throughout North America, starting with his arrival on the West Coast, continuing with his years in New York City, traveling next through the South, then on to Cuba, and finally through Mexico, where he experienced diverse locales ranging from urban neighborhoods in Mexico City to a poor rural Indian farming community. Kitagawa displays a flair for storytelling and readers of his narrative may wonder how close to the truth some of the described adventures may be, but there is little doubt that the frustrations, disappointments, and yearnings expressed in this text bear a close relationship to the passions that propelled this artist on his extraordinary journey. Of course Kitagawa’s paintings and later writings do not provide an ‘‘objective’’ documentary of his travels; what follows is a sympathetic and sometimes skeptical account of the artist’s immediate and ex post facto subjective responses to the varied social milieus he encountered.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="cbe2d797123da3e149084153f404803e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":107293255,"asset_id":97930420,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/107293255/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="97930420"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="97930420"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 97930420; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=97930420]").text(description); $(".js-view-count[data-work-id=97930420]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 97930420; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='97930420']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "cbe2d797123da3e149084153f404803e" } } $('.js-work-strip[data-work-id=97930420]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":97930420,"title":"Kitagawa Tamiji: Painting in the Pursuit of Pigmented Knowledge of Self and Other","translated_title":"","metadata":{"doi":"10.1353/aaa.2014.0005","issue":"2","volume":"63","abstract":"The Japanese painter Kitagawa Tamiji 北川民次 (1894–1989) is a particularly rewarding subject for considering a set of questions about the capacity of painting to function as a tool for acquiring and producing social knowledge in the dislocative experiences of the early twentieth century. How could a painter who was also a traveler deploy his or her medium in the pursuit of knowledge about strangers encountered in foreign places? And, after settling abroad for extended periods, how could an expatriate Japanese painter use this medium to make himself known to natives of this environment? Finally, how did the practice of painting geared toward social needs of this sort also contribute to the painter’s self-knowledge, evolving through years of migration and subsequent reentry to Japanese society? After a brief period studying oil painting at the Preparatory Division of Waseda University in Tokyo, Kitagawa moved at age twenty from Japan to the United States, where he remained for seven years (1914–21), then relocated to Mexico, where he resided for fifteen years until age forty-two (1921–36), and finally spent the rest of his long life in Japan. This study focuses on Kitagawa’s use of the medium of figurative painting to mediate differences of race and culture that he encountered during the formative years of his travel and artistic maturation, as well as his readjustment to Japanese society in the first decade after his return. The relatively small number of Japanese people in the United States and Mexico in the early twentieth century gave him an exceptional status that encumbered his painterly pursuits with different obstacles and greater instability than travelers whose identities positioned them within more established patterns of stereotypical, discriminatory, or privileged reception. W. E. B. Du Bois famously wrote in 1903 of the ‘‘frightful chasm at the color line across which men pass at their peril,’’ but since Asian people in earlytwentieth-century North America generally found fewer templates for identification—whether felicitous or injurious—on either side of the color line, negotiating the ‘‘frightful chasm’’ was a destiny of perhaps less predetermined outcomes than was the case for more populous groups. As we shall see, the story of Kitagawa’s journey through the chasm at the color line was particularly noteworthy for his creative deployments of the colors of paint pigments in his métier as an artist. The study of Kitagawa is rewarding not only because his paintings of himself and others provide an expressive visual record of his travels but also because these images are further illuminated by a Japaneselanguage autobiographical account of this journey that the artist published in 1955, nearly twenty years after returning to Japan. Though titled Youth in Mexico: Fifteen Years with the Indians (Mekishiko no seishun: jūgonen o indeian to tomo ni メキシコの青春:十五年をインディアンと共に), this colorful narrative actually recounts a passage throughout North America, starting with his arrival on the West Coast, continuing with his years in New York City, traveling next through the South, then on to Cuba, and finally through Mexico, where he experienced diverse locales ranging from urban neighborhoods in Mexico City to a poor rural Indian farming community. Kitagawa displays a flair for storytelling and readers of his narrative may wonder how close to the truth some of the described adventures may be, but there is little doubt that the frustrations, disappointments, and yearnings expressed in this text bear a close relationship to the passions that propelled this artist on his extraordinary journey. Of course Kitagawa’s paintings and later writings do not provide an ‘‘objective’’ documentary of his travels; what follows is a sympathetic and sometimes skeptical account of the artist’s immediate and ex post facto subjective responses to the varied social milieus he encountered.","publisher":"Duke University Press","ai_title_tag":"Kitagawa Tamiji: Art, Identity, and Travel","page_numbers":"189-207","publication_date":{"day":null,"month":null,"year":2013,"errors":{}},"publication_name":"Archives of Asian Art"},"translated_abstract":"The Japanese painter Kitagawa Tamiji 北川民次 (1894–1989) is a particularly rewarding subject for considering a set of questions about the capacity of painting to function as a tool for acquiring and producing social knowledge in the dislocative experiences of the early twentieth century. How could a painter who was also a traveler deploy his or her medium in the pursuit of knowledge about strangers encountered in foreign places? And, after settling abroad for extended periods, how could an expatriate Japanese painter use this medium to make himself known to natives of this environment? Finally, how did the practice of painting geared toward social needs of this sort also contribute to the painter’s self-knowledge, evolving through years of migration and subsequent reentry to Japanese society? After a brief period studying oil painting at the Preparatory Division of Waseda University in Tokyo, Kitagawa moved at age twenty from Japan to the United States, where he remained for seven years (1914–21), then relocated to Mexico, where he resided for fifteen years until age forty-two (1921–36), and finally spent the rest of his long life in Japan. This study focuses on Kitagawa’s use of the medium of figurative painting to mediate differences of race and culture that he encountered during the formative years of his travel and artistic maturation, as well as his readjustment to Japanese society in the first decade after his return. The relatively small number of Japanese people in the United States and Mexico in the early twentieth century gave him an exceptional status that encumbered his painterly pursuits with different obstacles and greater instability than travelers whose identities positioned them within more established patterns of stereotypical, discriminatory, or privileged reception. W. E. B. Du Bois famously wrote in 1903 of the ‘‘frightful chasm at the color line across which men pass at their peril,’’ but since Asian people in earlytwentieth-century North America generally found fewer templates for identification—whether felicitous or injurious—on either side of the color line, negotiating the ‘‘frightful chasm’’ was a destiny of perhaps less predetermined outcomes than was the case for more populous groups. As we shall see, the story of Kitagawa’s journey through the chasm at the color line was particularly noteworthy for his creative deployments of the colors of paint pigments in his métier as an artist. The study of Kitagawa is rewarding not only because his paintings of himself and others provide an expressive visual record of his travels but also because these images are further illuminated by a Japaneselanguage autobiographical account of this journey that the artist published in 1955, nearly twenty years after returning to Japan. Though titled Youth in Mexico: Fifteen Years with the Indians (Mekishiko no seishun: jūgonen o indeian to tomo ni メキシコの青春:十五年をインディアンと共に), this colorful narrative actually recounts a passage throughout North America, starting with his arrival on the West Coast, continuing with his years in New York City, traveling next through the South, then on to Cuba, and finally through Mexico, where he experienced diverse locales ranging from urban neighborhoods in Mexico City to a poor rural Indian farming community. Kitagawa displays a flair for storytelling and readers of his narrative may wonder how close to the truth some of the described adventures may be, but there is little doubt that the frustrations, disappointments, and yearnings expressed in this text bear a close relationship to the passions that propelled this artist on his extraordinary journey. Of course Kitagawa’s paintings and later writings do not provide an ‘‘objective’’ documentary of his travels; what follows is a sympathetic and sometimes skeptical account of the artist’s immediate and ex post facto subjective responses to the varied social milieus he encountered.","internal_url":"https://www.academia.edu/97930420/Kitagawa_Tamiji_Painting_in_the_Pursuit_of_Pigmented_Knowledge_of_Self_and_Other","translated_internal_url":"","created_at":"2023-03-04T14:11:08.279-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":5096088,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":107293255,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/107293255/thumbnails/1.jpg","file_name":"2013_Kitagawa_Tamiji_ArchivesofAsianArt.pdf","download_url":"https://www.academia.edu/attachments/107293255/download_file","bulk_download_file_name":"Kitagawa_Tamiji_Painting_in_the_Pursuit.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/107293255/2013_Kitagawa_Tamiji_ArchivesofAsianArt-libre.pdf?1699729946=\u0026response-content-disposition=attachment%3B+filename%3DKitagawa_Tamiji_Painting_in_the_Pursuit.pdf\u0026Expires=1738767349\u0026Signature=XsIfxp~IpUTvA3qF4yxj5LoFQGQMCaOQ2DqwCXuIKr9rxJpQZggDm6Se4YQNu0eKEf17VDwehZ4W361faYCtnrvvDCTCK1TS9s~179PP1oUl5eE~nHhRyssmVtanH~zSEkXL0PCkOqX2HPo-k7gNz9YjaWUDf-ARmhbfIr-4iNhXq0~IB29Ck9-JajOkBiNT1MW8yerEsxvCeq~~Lqrl1ft718bHipkvHQRTsPp~Ht-a72IMqIQIbxXwH0AREE8eMOCZbUU50OYmSICTRkpPB6fXdqS477EgPymkfh16~UBmt1BCV-VvZhPf6JWF3AGtALz5mKS8w5kp06SVUUQHmw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Kitagawa_Tamiji_Painting_in_the_Pursuit_of_Pigmented_Knowledge_of_Self_and_Other","translated_slug":"","page_count":20,"language":"en","content_type":"Work","summary":"The Japanese painter Kitagawa Tamiji 北川民次 (1894–1989) is a particularly rewarding subject for considering a set of questions about the capacity of painting to function as a tool for acquiring and producing social knowledge in the dislocative experiences of the early twentieth century. How could a painter who was also a traveler deploy his or her medium in the pursuit of knowledge about strangers encountered in foreign places? And, after settling abroad for extended periods, how could an expatriate Japanese painter use this medium to make himself known to natives of this environment? Finally, how did the practice of painting geared toward social needs of this sort also contribute to the painter’s self-knowledge, evolving through years of migration and subsequent reentry to Japanese society? After a brief period studying oil painting at the Preparatory Division of Waseda University in Tokyo, Kitagawa moved at age twenty from Japan to the United States, where he remained for seven years (1914–21), then relocated to Mexico, where he resided for fifteen years until age forty-two (1921–36), and finally spent the rest of his long life in Japan. This study focuses on Kitagawa’s use of the medium of figurative painting to mediate differences of race and culture that he encountered during the formative years of his travel and artistic maturation, as well as his readjustment to Japanese society in the first decade after his return. The relatively small number of Japanese people in the United States and Mexico in the early twentieth century gave him an exceptional status that encumbered his painterly pursuits with different obstacles and greater instability than travelers whose identities positioned them within more established patterns of stereotypical, discriminatory, or privileged reception. W. E. B. Du Bois famously wrote in 1903 of the ‘‘frightful chasm at the color line across which men pass at their peril,’’ but since Asian people in earlytwentieth-century North America generally found fewer templates for identification—whether felicitous or injurious—on either side of the color line, negotiating the ‘‘frightful chasm’’ was a destiny of perhaps less predetermined outcomes than was the case for more populous groups. As we shall see, the story of Kitagawa’s journey through the chasm at the color line was particularly noteworthy for his creative deployments of the colors of paint pigments in his métier as an artist. The study of Kitagawa is rewarding not only because his paintings of himself and others provide an expressive visual record of his travels but also because these images are further illuminated by a Japaneselanguage autobiographical account of this journey that the artist published in 1955, nearly twenty years after returning to Japan. Though titled Youth in Mexico: Fifteen Years with the Indians (Mekishiko no seishun: jūgonen o indeian to tomo ni メキシコの青春:十五年をインディアンと共に), this colorful narrative actually recounts a passage throughout North America, starting with his arrival on the West Coast, continuing with his years in New York City, traveling next through the South, then on to Cuba, and finally through Mexico, where he experienced diverse locales ranging from urban neighborhoods in Mexico City to a poor rural Indian farming community. Kitagawa displays a flair for storytelling and readers of his narrative may wonder how close to the truth some of the described adventures may be, but there is little doubt that the frustrations, disappointments, and yearnings expressed in this text bear a close relationship to the passions that propelled this artist on his extraordinary journey. Of course Kitagawa’s paintings and later writings do not provide an ‘‘objective’’ documentary of his travels; what follows is a sympathetic and sometimes skeptical account of the artist’s immediate and ex post facto subjective responses to the varied social milieus he encountered.","owner":{"id":5096088,"first_name":"Bert","middle_initials":"","last_name":"Winther-Tamaki","page_name":"BertWintherTamaki","domain_name":"uci","created_at":"2013-08-10T08:33:00.411-07:00","display_name":"Bert Winther-Tamaki","url":"https://uci.academia.edu/BertWintherTamaki"},"attachments":[{"id":107293255,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/107293255/thumbnails/1.jpg","file_name":"2013_Kitagawa_Tamiji_ArchivesofAsianArt.pdf","download_url":"https://www.academia.edu/attachments/107293255/download_file","bulk_download_file_name":"Kitagawa_Tamiji_Painting_in_the_Pursuit.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/107293255/2013_Kitagawa_Tamiji_ArchivesofAsianArt-libre.pdf?1699729946=\u0026response-content-disposition=attachment%3B+filename%3DKitagawa_Tamiji_Painting_in_the_Pursuit.pdf\u0026Expires=1738767349\u0026Signature=XsIfxp~IpUTvA3qF4yxj5LoFQGQMCaOQ2DqwCXuIKr9rxJpQZggDm6Se4YQNu0eKEf17VDwehZ4W361faYCtnrvvDCTCK1TS9s~179PP1oUl5eE~nHhRyssmVtanH~zSEkXL0PCkOqX2HPo-k7gNz9YjaWUDf-ARmhbfIr-4iNhXq0~IB29Ck9-JajOkBiNT1MW8yerEsxvCeq~~Lqrl1ft718bHipkvHQRTsPp~Ht-a72IMqIQIbxXwH0AREE8eMOCZbUU50OYmSICTRkpPB6fXdqS477EgPymkfh16~UBmt1BCV-VvZhPf6JWF3AGtALz5mKS8w5kp06SVUUQHmw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":1236,"name":"Art","url":"https://www.academia.edu/Documents/in/Art"},{"id":5081,"name":"Painting","url":"https://www.academia.edu/Documents/in/Painting"},{"id":152388,"name":"Art Theory and Criticism","url":"https://www.academia.edu/Documents/in/Art_Theory_and_Criticism"}],"urls":[{"id":35311715,"url":"http://muse.jhu.edu/journals/aaa/summary/v063/63.2.winther-tamaki.html"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="97930419"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/97930419/Y%C5%8Dga_The_Western_Painting_National_Painting_and_Global_Painting_of_Japan"><img alt="Research paper thumbnail of Yōga: The Western Painting, National Painting, and Global Painting of Japan" class="work-thumbnail" src="https://attachments.academia-assets.com/99420081/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/97930419/Y%C5%8Dga_The_Western_Painting_National_Painting_and_Global_Painting_of_Japan">Yōga: The Western Painting, National Painting, and Global Painting of Japan</a></div><div class="wp-workCard_item"><span>Info:</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Today historians of modern Japanese art typically use the term yōga, literally "Western painting,...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Today historians of modern Japanese art typically use the term yōga, literally "Western painting," to refer to the modern Japanese practice of oil painting that was imported from Europe and to a great extent modeled on European precedents. But so ingrained is the European and American propensity to see Japanese culture through a lens of Asian otherness, that I have given whole lectures about the Westernness of Japanese yōga only to be dumbfounded by questions about how this type of painting related to the Asian discipline of training the consciousness for spiritual insight and tranquility. Let it be clear: there is no relationship other than one of homonyms between yoga meditation exercises and yōga painting. More importantly, the designation of a vast development of modern Japanese painting as "yōga" calls attention to its genealogical linkages to European canons, techniques, iconographies, and styles. Nevertheless, the desire to render yōga more conspicuously Japanese was felt even more keenly by its advocates and critics in Japan than by orientalizing viewers in Europe and North America. We may detect art historian Shimada Yasuhiro"s desire to nationalize yōga within his ostensibly objective characterization of its art historical development: "the Japanization of oil painting was the greatest task for oil painters in Japan from the very moment it was</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="ac828124133128fc7560c37bae181e2b" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":99420081,"asset_id":97930419,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/99420081/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="97930419"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="97930419"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 97930419; 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ISBN: 0-520-23923-7</a></div><div class="wp-workCard_item"><span>Leonardo</span><span>, 2004</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="d24655bd59b63a2633a4ed3f20e1b214" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":99420087,"asset_id":97930418,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/99420087/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="97930418"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="97930418"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 97930418; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=97930418]").text(description); $(".js-view-count[data-work-id=97930418]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 97930418; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='97930418']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "d24655bd59b63a2633a4ed3f20e1b214" } } $('.js-work-strip[data-work-id=97930418]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":97930418,"title":"Isamu Noguchi and Modern Japanese Ceramics: A Close Embrace of The Earth by Louise Allison Cort and Bert Winther-Tamaki . 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The genealogy of its admission can be traced from two ends. First, it was innovated by the potter Yap&#x27; Kazuo (1918-79) in the 1950s as a means ofr@rming a ...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="97930417"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="97930417"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 97930417; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=97930417]").text(description); 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="39882100"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/39882100/Japanese_Views_of_the_Void_in_Sam_Franciss_Painting_during_the_Informel_Whirlwind"><img alt="Research paper thumbnail of Japanese Views of the Void in Sam Francis's Painting during the 'Informel Whirlwind'" class="work-thumbnail" src="https://attachments.academia-assets.com/107294729/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/39882100/Japanese_Views_of_the_Void_in_Sam_Franciss_Painting_during_the_Informel_Whirlwind">Japanese Views of the Void in Sam Francis's Painting during the 'Informel Whirlwind'</a></div><div class="wp-workCard_item"><span> In Focus: Around the Blues 1957, 1962–3 by Sam Francis</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This article assesses the reception of Sam Francis's abstract painting in Japan during the late 1...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This article assesses the reception of Sam Francis's abstract painting in Japan during the late 1950s and early 1960s by focusing on four influential individuals in Japan who befriended him during this period: the painter Imai Toshimitsu, the art critic Tōno Yoshiaki, the poet and critic Ōoka Makoto, and the businessman and art collector Idemitsu Sazō. Each of them warmly supported Francis’s work in Japan, but their interpretations of his art in this period differed dramatically.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8a5d451951958f0b696d573dbdc0273d" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":107294729,"asset_id":39882100,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/107294729/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="39882100"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="39882100"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39882100; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="668242" id="papers"><div class="js-work-strip profile--work_container" data-work-id="100548399"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/100548399/Maximum_Embodiment_Y%C5%8Dga_the_Western_Painting_of_Japan_1912_1955_by_Bert_Winther_Tamaki"><img alt="Research paper thumbnail of Maximum Embodiment: Yōga, the Western Painting of Japan, 1912–1955 by Bert Winther-Tamaki" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/100548399/Maximum_Embodiment_Y%C5%8Dga_the_Western_Painting_of_Japan_1912_1955_by_Bert_Winther_Tamaki">Maximum Embodiment: Yōga, the Western Painting of Japan, 1912–1955 by Bert Winther-Tamaki</a></div><div class="wp-workCard_item"><span>The Journal of Japanese Studies</span><span>, 2014</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">drawings, the preoccupation seems to be with the verifi able. Ultimately, it does seem that verif...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">drawings, the preoccupation seems to be with the verifi able. Ultimately, it does seem that verifi cation is the decisive dimension of the “real” that underpins the author’s thesis regarding the signifi cance of “shashin” within the ethos of visual culture. When discussing Itō’s reference to a copper etching as “shashin,” this is indeed the dimension Fukuoka highlights as justifying the association (p. 129). In any case, the book would in my view have been stronger if these differences in nuance had been handled more clearly and, although the Foucauldian premise of Fukuoka’s use of the “real” is clear, it is methodologically counterproductive. Other theorists come to mind: for example, the concepts of “studium” and “punctum” in Jacques Ranciere’s discussion of photography within The Future of the Image (Verso, 2007; based on Roland Barthes’s Camera Lucida [Hill and Wang, 1981]) would seem useful to Fukuoka’s analysis, but such avenues of theorization are not pursued at any length. The foregoing points aside, Fukuoka has done a great work in synthesizing a variety of sources to convincingly argue for a more nuanced and multivalent understanding of “shashin” among the late Edo intelligentsia. She has successfully put forward a case, especially in the fi nal chapter, that rescues the term from being merely another cultural import within a unidirectional process of modernization and technological transfer. This piece of scholarship is accordingly highly commended for developing a more sophisticated understanding of pre-Meiji intellectual culture.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="100548399"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="100548399"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 100548399; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); 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dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=100548399]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":100548399,"title":"Maximum Embodiment: Yōga, the Western Painting of Japan, 1912–1955 by Bert Winther-Tamaki","internal_url":"https://www.academia.edu/100548399/Maximum_Embodiment_Y%C5%8Dga_the_Western_Painting_of_Japan_1912_1955_by_Bert_Winther_Tamaki","owner_id":5096088,"coauthors_can_edit":true,"owner":{"id":5096088,"first_name":"Bert","middle_initials":"","last_name":"Winther-Tamaki","page_name":"BertWintherTamaki","domain_name":"uci","created_at":"2013-08-10T08:33:00.411-07:00","display_name":"Bert Winther-Tamaki","url":"https://uci.academia.edu/BertWintherTamaki"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="97930434"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/97930434/Japanese_Views_of_the_Void_in_Sam_Franciss_Painting_during_the_Informel_Whirlwind"><img alt="Research paper thumbnail of Japanese Views of the Void in Sam Francis's Painting during the 'Informel Whirlwind'" class="work-thumbnail" src="https://attachments.academia-assets.com/107292960/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/97930434/Japanese_Views_of_the_Void_in_Sam_Franciss_Painting_during_the_Informel_Whirlwind">Japanese Views of the Void in Sam Francis's Painting during the 'Informel Whirlwind'</a></div><div class="wp-workCard_item"><span>Tate In Focus</span><span>, Jul 15, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Sam Francis had closer ties to Japan than any other major European or American artist of his gene...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Sam Francis had closer ties to Japan than any other major European or American artist of his generation: this, at least, was the assessment offered on the occasion of an important retrospective exhibition of his work in Japan in 1988. 1 Francis spent a lot of time in the country and created numerous paintings and prints during frequent visits over many years. The largest single collection of his art was assembled in Japan, and two of his five marriages were to Japanese women. Moreover, many Japanese individuals expressed a remarkable degree of affection for the artist and their sentiments appear to have been warmly reciprocated by Francis. Japan did not really emerge as a factor in Francis's life, however, until the artist was in his thirties, during the years bracketed by his work on Around the Blues (Tate T00634; fig.1), which was painted in 1957 and revised with significant additional brushwork around 1962-3. Francis first travelled to Japan after beginning this work in 1957, followed by a second visit in 1960-1, and it was during this period that he forged friendships with numerous leading figures in the Japanese art world. These years coincide with what came to be known as the 'informel whirlwind' ('anforumeru senpū'), a wave of enthusiasm for gestural abstraction that swept the Japanese art world, triggered by the visits to Japan of three protagonists of the art informel movement in Paris: the art critic Michel Tapié, French painter Georges Mathieu, and Sam Francis. This essay provides an account of Francis's increasing connections with Japan in the 1950s and early 1960s, and then considers the perspectives of four well-known figures in the Japanese art world who befriended him in this period: the painter Imai Toshimitsu, the art critic Tōno Yoshiaki, the poet and critic Ōoka Makoto, and the businessman and art collector Idemitsu Sazō. Each of them warmly supported Francis's work in Japan, but their interpretations of his art in this period differed dramatically. The art historian Peter Selz remarked that 'Japan, with a tradition that considers art, above all, as meditative experience, almost immediately responded with sympathy to Francis's work.' 2 This view implies that Francis's art struck a chord with an aesthetic disposition shared among Japanese people because of their presumed conformity with native tradition. For Selz, Francis was much like Japanese Zen Buddhist artists who, Selz believed, 'understand better than any others the value of empty spaces'. 3 Whether Zen-identified or not, a quality of spaciousness or a sense of void was indeed a theme addressed in much commentary on Francis's work published in Japan as well as Europe and the United States. This aesthetic of emptiness emerged in Francis's monochromatic all-over paintings of 1950-3: canvases covered with soft brushstrokes in light grey, or slightly yellow or pinkish tones producing an aqueous, cloudy effect. Many of his canvases from the mid-1950s onwards, including Around the Blues, are abloom with brushstrokes in blue and other colours, but as this painting's title suggests, the unpainted white canvas showing 'around' the colours was of key significance. Furthermore, while the colours in Around the Blues seem unwilling to fully populate the large white bay in the centre-right portion of the canvas or its periphery, many of Francis's works, such as the 1957 paintings Japan Line (private collection) and Honeyed (Marieluise Hessel Collection, Bard College, Annandale-on-Hudson), leave even more compositional real estate uninhabited. Encouraged by the artist's own statements, the space that Francis left untouched or relatively free of brushwork in his canvases stimulated much interpretation and speculative response. 4 Like Selz, many were inclined to compare this quality of emptiness in Francis's painting with Japanese and Asian theoretical and aesthetic concepts, such as nothingness (mu) in Zen</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="541d4e7bde8bbf99a434e7bf12011ddd" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":107292960,"asset_id":97930434,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/107292960/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="97930434"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="97930434"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 97930434; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=97930434]").text(description); $(".js-view-count[data-work-id=97930434]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 97930434; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='97930434']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "541d4e7bde8bbf99a434e7bf12011ddd" } } $('.js-work-strip[data-work-id=97930434]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":97930434,"title":"Japanese Views of the Void in Sam Francis's Painting during the 'Informel Whirlwind'","translated_title":"","metadata":{"publisher":"Tate Publishing","grobid_abstract":"Sam Francis had closer ties to Japan than any other major European or American artist of his generation: this, at least, was the assessment offered on the occasion of an important retrospective exhibition of his work in Japan in 1988. 1 Francis spent a lot of time in the country and created numerous paintings and prints during frequent visits over many years. The largest single collection of his art was assembled in Japan, and two of his five marriages were to Japanese women. Moreover, many Japanese individuals expressed a remarkable degree of affection for the artist and their sentiments appear to have been warmly reciprocated by Francis. Japan did not really emerge as a factor in Francis's life, however, until the artist was in his thirties, during the years bracketed by his work on Around the Blues (Tate T00634; fig.1), which was painted in 1957 and revised with significant additional brushwork around 1962-3. Francis first travelled to Japan after beginning this work in 1957, followed by a second visit in 1960-1, and it was during this period that he forged friendships with numerous leading figures in the Japanese art world. These years coincide with what came to be known as the 'informel whirlwind' ('anforumeru senpū'), a wave of enthusiasm for gestural abstraction that swept the Japanese art world, triggered by the visits to Japan of three protagonists of the art informel movement in Paris: the art critic Michel Tapié, French painter Georges Mathieu, and Sam Francis. This essay provides an account of Francis's increasing connections with Japan in the 1950s and early 1960s, and then considers the perspectives of four well-known figures in the Japanese art world who befriended him in this period: the painter Imai Toshimitsu, the art critic Tōno Yoshiaki, the poet and critic Ōoka Makoto, and the businessman and art collector Idemitsu Sazō. Each of them warmly supported Francis's work in Japan, but their interpretations of his art in this period differed dramatically. The art historian Peter Selz remarked that 'Japan, with a tradition that considers art, above all, as meditative experience, almost immediately responded with sympathy to Francis's work.' 2 This view implies that Francis's art struck a chord with an aesthetic disposition shared among Japanese people because of their presumed conformity with native tradition. For Selz, Francis was much like Japanese Zen Buddhist artists who, Selz believed, 'understand better than any others the value of empty spaces'. 3 Whether Zen-identified or not, a quality of spaciousness or a sense of void was indeed a theme addressed in much commentary on Francis's work published in Japan as well as Europe and the United States. This aesthetic of emptiness emerged in Francis's monochromatic all-over paintings of 1950-3: canvases covered with soft brushstrokes in light grey, or slightly yellow or pinkish tones producing an aqueous, cloudy effect. Many of his canvases from the mid-1950s onwards, including Around the Blues, are abloom with brushstrokes in blue and other colours, but as this painting's title suggests, the unpainted white canvas showing 'around' the colours was of key significance. Furthermore, while the colours in Around the Blues seem unwilling to fully populate the large white bay in the centre-right portion of the canvas or its periphery, many of Francis's works, such as the 1957 paintings Japan Line (private collection) and Honeyed (Marieluise Hessel Collection, Bard College, Annandale-on-Hudson), leave even more compositional real estate uninhabited. Encouraged by the artist's own statements, the space that Francis left untouched or relatively free of brushwork in his canvases stimulated much interpretation and speculative response. 4 Like Selz, many were inclined to compare this quality of emptiness in Francis's painting with Japanese and Asian theoretical and aesthetic concepts, such as nothingness (mu) in Zen","publication_date":{"day":15,"month":7,"year":2019,"errors":{}},"publication_name":"Tate In Focus","grobid_abstract_attachment_id":107292960},"translated_abstract":null,"internal_url":"https://www.academia.edu/97930434/Japanese_Views_of_the_Void_in_Sam_Franciss_Painting_during_the_Informel_Whirlwind","translated_internal_url":"","created_at":"2023-03-04T14:11:10.086-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":5096088,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":107292960,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/107292960/thumbnails/1.jpg","file_name":"2019_Sam_Francis_Tate.pdf","download_url":"https://www.academia.edu/attachments/107292960/download_file","bulk_download_file_name":"Japanese_Views_of_the_Void_in_Sam_Franci.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/107292960/2019_Sam_Francis_Tate-libre.pdf?1699735203=\u0026response-content-disposition=attachment%3B+filename%3DJapanese_Views_of_the_Void_in_Sam_Franci.pdf\u0026Expires=1738767349\u0026Signature=GykWEKyfR06K1c4aAgdxWpMc8Gz-XWurvv6RvP5Zr7f4VhAH-hchHcu4ALb2J7T66mS2qiaW-qh2ozJStftTBSSW4EmkCanOsYkhZ3evFDiFBgVQXHUNbEfC2PvurC-fqL9ZpP51Awd4IbXo-QfrVyd2hdW0gdbxnBg5BCh3YOKM5pgY7iTnvOQ8juty5bgfCI4V2nVd0C9imyoRhGWBFEblQeFzneXFgCo2ULgdXd07eks6LWrd14e0idMB804DMmXlybp~VSGEq-Txk6tcvOes67M1wQZ51vepxcrc01psanLPLrjZ4ONbP8O0Y8KDDGe5m0CtsoYKzPke~R490Q__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Japanese_Views_of_the_Void_in_Sam_Franciss_Painting_during_the_Informel_Whirlwind","translated_slug":"","page_count":2,"language":"en","content_type":"Work","summary":"Sam Francis had closer ties to Japan than any other major European or American artist of his generation: this, at least, was the assessment offered on the occasion of an important retrospective exhibition of his work in Japan in 1988. 1 Francis spent a lot of time in the country and created numerous paintings and prints during frequent visits over many years. The largest single collection of his art was assembled in Japan, and two of his five marriages were to Japanese women. Moreover, many Japanese individuals expressed a remarkable degree of affection for the artist and their sentiments appear to have been warmly reciprocated by Francis. Japan did not really emerge as a factor in Francis's life, however, until the artist was in his thirties, during the years bracketed by his work on Around the Blues (Tate T00634; fig.1), which was painted in 1957 and revised with significant additional brushwork around 1962-3. Francis first travelled to Japan after beginning this work in 1957, followed by a second visit in 1960-1, and it was during this period that he forged friendships with numerous leading figures in the Japanese art world. These years coincide with what came to be known as the 'informel whirlwind' ('anforumeru senpū'), a wave of enthusiasm for gestural abstraction that swept the Japanese art world, triggered by the visits to Japan of three protagonists of the art informel movement in Paris: the art critic Michel Tapié, French painter Georges Mathieu, and Sam Francis. This essay provides an account of Francis's increasing connections with Japan in the 1950s and early 1960s, and then considers the perspectives of four well-known figures in the Japanese art world who befriended him in this period: the painter Imai Toshimitsu, the art critic Tōno Yoshiaki, the poet and critic Ōoka Makoto, and the businessman and art collector Idemitsu Sazō. Each of them warmly supported Francis's work in Japan, but their interpretations of his art in this period differed dramatically. The art historian Peter Selz remarked that 'Japan, with a tradition that considers art, above all, as meditative experience, almost immediately responded with sympathy to Francis's work.' 2 This view implies that Francis's art struck a chord with an aesthetic disposition shared among Japanese people because of their presumed conformity with native tradition. For Selz, Francis was much like Japanese Zen Buddhist artists who, Selz believed, 'understand better than any others the value of empty spaces'. 3 Whether Zen-identified or not, a quality of spaciousness or a sense of void was indeed a theme addressed in much commentary on Francis's work published in Japan as well as Europe and the United States. This aesthetic of emptiness emerged in Francis's monochromatic all-over paintings of 1950-3: canvases covered with soft brushstrokes in light grey, or slightly yellow or pinkish tones producing an aqueous, cloudy effect. Many of his canvases from the mid-1950s onwards, including Around the Blues, are abloom with brushstrokes in blue and other colours, but as this painting's title suggests, the unpainted white canvas showing 'around' the colours was of key significance. Furthermore, while the colours in Around the Blues seem unwilling to fully populate the large white bay in the centre-right portion of the canvas or its periphery, many of Francis's works, such as the 1957 paintings Japan Line (private collection) and Honeyed (Marieluise Hessel Collection, Bard College, Annandale-on-Hudson), leave even more compositional real estate uninhabited. Encouraged by the artist's own statements, the space that Francis left untouched or relatively free of brushwork in his canvases stimulated much interpretation and speculative response. 4 Like Selz, many were inclined to compare this quality of emptiness in Francis's painting with Japanese and Asian theoretical and aesthetic concepts, such as nothingness (mu) in Zen","owner":{"id":5096088,"first_name":"Bert","middle_initials":"","last_name":"Winther-Tamaki","page_name":"BertWintherTamaki","domain_name":"uci","created_at":"2013-08-10T08:33:00.411-07:00","display_name":"Bert Winther-Tamaki","url":"https://uci.academia.edu/BertWintherTamaki"},"attachments":[{"id":107292960,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/107292960/thumbnails/1.jpg","file_name":"2019_Sam_Francis_Tate.pdf","download_url":"https://www.academia.edu/attachments/107292960/download_file","bulk_download_file_name":"Japanese_Views_of_the_Void_in_Sam_Franci.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/107292960/2019_Sam_Francis_Tate-libre.pdf?1699735203=\u0026response-content-disposition=attachment%3B+filename%3DJapanese_Views_of_the_Void_in_Sam_Franci.pdf\u0026Expires=1738767349\u0026Signature=GykWEKyfR06K1c4aAgdxWpMc8Gz-XWurvv6RvP5Zr7f4VhAH-hchHcu4ALb2J7T66mS2qiaW-qh2ozJStftTBSSW4EmkCanOsYkhZ3evFDiFBgVQXHUNbEfC2PvurC-fqL9ZpP51Awd4IbXo-QfrVyd2hdW0gdbxnBg5BCh3YOKM5pgY7iTnvOQ8juty5bgfCI4V2nVd0C9imyoRhGWBFEblQeFzneXFgCo2ULgdXd07eks6LWrd14e0idMB804DMmXlybp~VSGEq-Txk6tcvOes67M1wQZ51vepxcrc01psanLPLrjZ4ONbP8O0Y8KDDGe5m0CtsoYKzPke~R490Q__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="97930433"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/97930433/Earth_Flavor_Tsuchi_aji_in_Postwar_Japanese_Ceramics"><img alt="Research paper thumbnail of Earth Flavor (Tsuchi aji) in Postwar Japanese Ceramics" class="work-thumbnail" src="https://attachments.academia-assets.com/107293122/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/97930433/Earth_Flavor_Tsuchi_aji_in_Postwar_Japanese_Ceramics">Earth Flavor (Tsuchi aji) in Postwar Japanese Ceramics</a></div><div class="wp-workCard_item"><span>Japan Review</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This article investigates the turn to an earthy aesthetic in Japanese ceramics of the 1950s throu...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This article investigates the turn to an earthy aesthetic in Japanese ceramics of the 1950s through the early 1970s. One term for this aesthetic is “earth flavor” (tsuchi aji), defined here as “the beauty of the bare complexion of the earth fired for a long time” in the manner of several types of ancient Japanese pottery and practiced anew by contemporary Japanese potters in the postwar period who admired it as a “natural feeling for the oneness of clay and kiln.” The postwar production of earth flavor ceramics is mapped to four sites, namely Seto and Shigaraki, regions of continuous ceramic production since ancient times, American coordinates of Japanese earth flavor, and the avant- garde ceramics group Sōdeisha. The kilns of Seto in Aichi Prefecture were the source of a canonical earth flavor associated with tea wares, but the fortunes of this type of pottery were buffeted by a series of controversies centered on the conservative Seto potter Katō Tōkurō. The medieval Shigaraki pot became an icon of earth flavor in the photography of Domon Ken, and was revalued in the practice of contemporary ceramicists. America was a powerful market for ceramic objects as well as ideals of Japanese earth flavor, but it was also the source of provocations that instigated new Japanese views of earth flavor. And finally, experiments with earth flavor in the sculptural ceramics of the Sōdeisha group ranged from forms suggesting live organisms of the soil (Yagi Kazuo) to clay firings that protested the industrial pollution of the earth (Satonaka Hideto).</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a1cab0952ddcd7c5f2358ebd646e1b0b" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":107293122,"asset_id":97930433,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/107293122/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="97930433"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="97930433"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 97930433; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=97930433]").text(description); $(".js-view-count[data-work-id=97930433]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 97930433; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='97930433']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="97930432"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/97930432/The_Oriental_Guru_in_the_Modern_Artist_Asian_Spiritual_and_Performative_Aspects_of_Postwar_American_Art"><img alt="Research paper thumbnail of The "Oriental Guru" in the Modern Artist: Asian Spiritual and Performative Aspects of Postwar American Art" class="work-thumbnail" src="https://attachments.academia-assets.com/99420084/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/97930432/The_Oriental_Guru_in_the_Modern_Artist_Asian_Spiritual_and_Performative_Aspects_of_Postwar_American_Art">The "Oriental Guru" in the Modern Artist: Asian Spiritual and Performative Aspects of Postwar American Art</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The ongoing spiritual, aesthetic, and political preoccupations of American artists with Asian cul...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The ongoing spiritual, aesthetic, and political preoccupations of American artists with Asian culture are increasingly recognized as a definitive feature of modern American art history. But among the questions that require further study is how has this artistic attention to Asian themes impacted American beliefs about what an artist should be? I would like to group together a cluster of metaphysical concepts and popular stereotypes under the term "Oriental guru" and propose that the wide circulation of this figure in discourses of art exerted a profound impact on the profile of the artist in American society. Indeed, one of the leastrecognized components of the East/West discourse as it unfolded in the development of postwar art in the United States was a recurring mode of interaction between artists and interlocutors who served as their "Oriental gurus." Suzuki Daisetsu was the paragon of the type. At the height of his reputation as a Zen sage among New York artists in the 1950s, Suzuki was said to "radiate the glamour that attaches to aging Oriental men of wisdom." 2 But although the figure of Oriental guru was thus defined by race, gender, and age, sometimes women or European American men performed this role. Moreover, the relationship between modern artist and Oriental guru was highly unstable and the same individual could move from one role to the other. Still, many artists absorbed charismatic qualities from guru-like figures and incorporated them into their performance of the role of modern artist. This pattern can be traced in the careers of numerous American artists, but this study focuses on four of the most conspicuous and interesting cases: Mark Tobey,</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="0d83e25ce5c2529b170b298d13c440a8" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":99420084,"asset_id":97930432,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/99420084/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="97930432"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="97930432"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 97930432; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=97930432]").text(description); $(".js-view-count[data-work-id=97930432]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 97930432; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='97930432']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "0d83e25ce5c2529b170b298d13c440a8" } } $('.js-work-strip[data-work-id=97930432]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":97930432,"title":"The \"Oriental Guru\" in the Modern Artist: Asian Spiritual and Performative Aspects of Postwar American Art","internal_url":"https://www.academia.edu/97930432/The_Oriental_Guru_in_the_Modern_Artist_Asian_Spiritual_and_Performative_Aspects_of_Postwar_American_Art","owner_id":5096088,"coauthors_can_edit":true,"owner":{"id":5096088,"first_name":"Bert","middle_initials":"","last_name":"Winther-Tamaki","page_name":"BertWintherTamaki","domain_name":"uci","created_at":"2013-08-10T08:33:00.411-07:00","display_name":"Bert Winther-Tamaki","url":"https://uci.academia.edu/BertWintherTamaki"},"attachments":[{"id":99420084,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/99420084/thumbnails/1.jpg","file_name":"198402273.pdf","download_url":"https://www.academia.edu/attachments/99420084/download_file","bulk_download_file_name":"The_Oriental_Guru_in_the_Modern_Artist_A.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/99420084/198402273.pdf?1677967930=\u0026response-content-disposition=attachment%3B+filename%3DThe_Oriental_Guru_in_the_Modern_Artist_A.pdf\u0026Expires=1739771756\u0026Signature=QvX3u5f881uNgzQrmC4sIMl8qIGZk8DMiBmUYwE6JPNt6Fw04LnX1XkyaejvX8fqnoqOjo51V4X2KBzbSFhHZk~b4ClPLBHwtEp4aY5RAaYVplhDkqTgRr20t8blM43IO2nDtXVe7JmU74zxhWNbmLZq4zupmAcaQv-FShVWkAU4CYNsrlZpC3Am8g26lNqdVbI75vFhtq7IEudtJzyBtwpd5oNtBLW9g2GMS74S8KzbUhUZaapTXXZoC4C0jLjwpo6sIdBAZixv0JDGtYJvl2-zlCR8~mUpsobQVxDlTWYHAgKbiDv9Guwwx1CK6bEUAlEx9vJcQkTe9iGhTFDJsg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="97930430"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/97930430/5_From_Resplendent_Signs_to_Heavy_Hands_Japanese_Painting_in_War_and_Defeat_1937_1952"><img alt="Research paper thumbnail of 5. From Resplendent Signs to Heavy Hands: Japanese Painting in War and Defeat, 1937–1952" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/97930430/5_From_Resplendent_Signs_to_Heavy_Hands_Japanese_Painting_in_War_and_Defeat_1937_1952">5. From Resplendent Signs to Heavy Hands: Japanese Painting in War and Defeat, 1937–1952</a></div><div class="wp-workCard_item"><span>Since Meiji</span><span>, 2017</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="97930430"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="97930430"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 97930430; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=97930430]").text(description); $(".js-view-count[data-work-id=97930430]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 97930430; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='97930430']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=97930430]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":97930430,"title":"5. From Resplendent Signs to Heavy Hands: Japanese Painting in War and Defeat, 1937–1952","internal_url":"https://www.academia.edu/97930430/5_From_Resplendent_Signs_to_Heavy_Hands_Japanese_Painting_in_War_and_Defeat_1937_1952","owner_id":5096088,"coauthors_can_edit":true,"owner":{"id":5096088,"first_name":"Bert","middle_initials":"","last_name":"Winther-Tamaki","page_name":"BertWintherTamaki","domain_name":"uci","created_at":"2013-08-10T08:33:00.411-07:00","display_name":"Bert Winther-Tamaki","url":"https://uci.academia.edu/BertWintherTamaki"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="97930429"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/97930429/Sculptor_S_BruSh_with_ink_From_the_Flight_oF_the_Dragon_to_the_pool_oF_the_inkStone"><img alt="Research paper thumbnail of Sculptor ’ S BruSh with ink : From the Flight oF the Dragon to the pool oF the inkStone" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/97930429/Sculptor_S_BruSh_with_ink_From_the_Flight_oF_the_Dragon_to_the_pool_oF_the_inkStone">Sculptor ’ S BruSh with ink : From the Flight oF the Dragon to the pool oF the inkStone</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The East Asian aesthetic of brush and ink was typically appreciated in the twentieth century for ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The East Asian aesthetic of brush and ink was typically appreciated in the twentieth century for its deep and fascinating roots in historical practices of painting and calligraphy. A new awareness is emerging, however, of just how profoundly the twentieth century itself shaped views of Asian traditions of ink painting that prevail today. For despite the antiquarian preoccupations of many of its proponents, ink painting was dramatically altered and expanded by the theoretical and experimental efforts of numerous artists and writers throughout Asia and beyond. Starting in the late nineteenth century and continuing to this day, for example, photographers have emulated and extended the aesthetic of ink monochrome landscape imagery with photographic techniques1. And since the mid-twentieth century, abstract painters all over the world have studied brush and ink calligraphy for models of non-mimetic signification and gestural brushwork2. Meanwhile, art historians, critics, and theorists h...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="97930429"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="97930429"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 97930429; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=97930429]").text(description); $(".js-view-count[data-work-id=97930429]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 97930429; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='97930429']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); 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window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=97930427]").text(description); $(".js-view-count[data-work-id=97930427]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 97930427; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='97930427']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=97930427]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":97930427,"title":"Maximum Embodiment","internal_url":"https://www.academia.edu/97930427/Maximum_Embodiment","owner_id":5096088,"coauthors_can_edit":true,"owner":{"id":5096088,"first_name":"Bert","middle_initials":"","last_name":"Winther-Tamaki","page_name":"BertWintherTamaki","domain_name":"uci","created_at":"2013-08-10T08:33:00.411-07:00","display_name":"Bert Winther-Tamaki","url":"https://uci.academia.edu/BertWintherTamaki"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="97930426"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/97930426/Remediated_Ink_The_Debt_of_Modern_and_Contemporary_Asian_Ink_Aesthetics_to_Non_Ink_Media"><img alt="Research paper thumbnail of Remediated Ink: The Debt of Modern and Contemporary Asian Ink Aesthetics to Non-Ink Media" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/97930426/Remediated_Ink_The_Debt_of_Modern_and_Contemporary_Asian_Ink_Aesthetics_to_Non_Ink_Media">Remediated Ink: The Debt of Modern and Contemporary Asian Ink Aesthetics to Non-Ink Media</a></div><div class="wp-workCard_item"><span>Getty Research Journal</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Monochromatic ink aesthetics circulates widely today as a sign of Asian cultural identity, but mu...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Monochromatic ink aesthetics circulates widely today as a sign of Asian cultural identity, but much of it is produced by representations of ink generated in media other than ink. This study uses the media studies concept of remediation to develop a taxonomy of non-ink media ranging from late nineteenth-century pictorialist photography to new digital media of popular culture. Chinese ink art has become a successful phenomenon in the global contemporary art market in the past decade, but the protagonists of this movement, including many ink remediators, stand in a much longer transnational modern Asian development of strengthening, expanding, and transforming the beauty of monochromatic ink painting in other media. This study investigates works that deal with themes of Japanese ink aesthetics in non-ink media by artists in Japan and the United States ranging from the calligrapher Inoue Yūichi to the photographer Hiroshi Sugimoto.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="97930426"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="97930426"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 97930426; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=97930426]").text(description); $(".js-view-count[data-work-id=97930426]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 97930426; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='97930426']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=97930426]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":97930426,"title":"Remediated Ink: The Debt of Modern and Contemporary Asian Ink Aesthetics to Non-Ink Media","internal_url":"https://www.academia.edu/97930426/Remediated_Ink_The_Debt_of_Modern_and_Contemporary_Asian_Ink_Aesthetics_to_Non_Ink_Media","owner_id":5096088,"coauthors_can_edit":true,"owner":{"id":5096088,"first_name":"Bert","middle_initials":"","last_name":"Winther-Tamaki","page_name":"BertWintherTamaki","domain_name":"uci","created_at":"2013-08-10T08:33:00.411-07:00","display_name":"Bert Winther-Tamaki","url":"https://uci.academia.edu/BertWintherTamaki"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="97930425"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/97930425/The_Ligneous_Aesthetic_of_the_Postwar_S%C5%8Dsaku_Hanga_Movement_and_American_Perspectives_on_the_Modern_Japanese_Culture_of_Wood"><img alt="Research paper thumbnail of The Ligneous Aesthetic of the Postwar Sōsaku Hanga Movement and American Perspectives on the Modern Japanese Culture of Wood" class="work-thumbnail" src="https://attachments.academia-assets.com/107291819/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/97930425/The_Ligneous_Aesthetic_of_the_Postwar_S%C5%8Dsaku_Hanga_Movement_and_American_Perspectives_on_the_Modern_Japanese_Culture_of_Wood">The Ligneous Aesthetic of the Postwar Sōsaku Hanga Movement and American Perspectives on the Modern Japanese Culture of Wood</a></div><div class="wp-workCard_item"><span>Archives of Asian Art</span><span>, 2016</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The Japanese movement of printmaking known as Sōsaku Hanga (“Creative Prints”) received a tremend...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The Japanese movement of printmaking known as Sōsaku Hanga (“Creative Prints”) received a tremendous boost after World War II from the patronage of collectors associated with the US military. One appeal of Sōsaku prints by Munakata Shikō, Saitō Kiyoshi, Azechi Umetarō, and Maeda Senpan, among others, was their woody sensibility, or ligneous aesthetic. Human figures rendered like pieces of woodcraft and abstract passages of wood-grain printing intrigued American enthusiasts such as James A. Michener and Oliver Statler. The ligneous aesthetic was appreciated for evoking alluring qualities of ancient Japan as well as for its impressive sense of modernity.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="72449782034e8d5eaa841326911eebe1" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":107291819,"asset_id":97930425,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/107291819/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="97930425"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="97930425"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 97930425; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="97930424"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/97930424/From_Resplendent_Signs_to_Heavy_Hands"><img alt="Research paper thumbnail of From Resplendent Signs to Heavy Hands" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/97930424/From_Resplendent_Signs_to_Heavy_Hands">From Resplendent Signs to Heavy Hands</a></div><div class="wp-workCard_item"><span>Since Meiji</span><span>, 2011</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="97930424"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="97930424"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 97930424; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="97930422"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/97930422/%E6%B4%8B%E7%94%BB_Y%C5%8Dga_The_Western_Painting_National_Painting_and_Global_Painting_of_Japan"><img alt="Research paper thumbnail of 洋画 Yōga/The Western Painting, National Painting, and Global Painting of Japan" class="work-thumbnail" src="https://attachments.academia-assets.com/99420085/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/97930422/%E6%B4%8B%E7%94%BB_Y%C5%8Dga_The_Western_Painting_National_Painting_and_Global_Painting_of_Japan">洋画 Yōga/The Western Painting, National Painting, and Global Painting of Japan</a></div><div class="wp-workCard_item"><span>Review of Japanese Culture and Society</span><span>, 2013</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Today historians of modern Japanese art typically use the term yōga, literally "Western painting,...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Today historians of modern Japanese art typically use the term yōga, literally "Western painting," to refer to the modern Japanese practice of oil painting that was imported from Europe and to a great extent modeled on European precedents. But so ingrained is the European and American propensity to see Japanese culture through a lens of Asian otherness, that I have given whole lectures about the Westernness of Japanese yōga only to be dumbfounded by questions about how this type of painting related to the Asian discipline of training the consciousness for spiritual insight and tranquility. Let it be clear: there is no relationship other than one of homonyms between yoga meditation exercises and yōga painting. More importantly, the designation of a vast development of modern Japanese painting as "yōga" calls attention to its genealogical linkages to European canons, techniques, iconographies, and styles. Nevertheless, the desire to render yōga more conspicuously Japanese was felt even more keenly by its advocates and critics in Japan than by orientalizing viewers in Europe and North America. We may detect art historian Shimada Yasuhiro"s desire to nationalize yōga within his ostensibly objective characterization of its art historical development: "the Japanization of oil painting was the greatest task for oil painters in Japan from the very moment it was</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="942936e01acce7e3b43376d25fb63c32" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":99420085,"asset_id":97930422,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/99420085/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="97930422"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="97930422"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 97930422; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="97930421"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/97930421/Overtly_Covertly_or_Not_at_All_Putting_Japan_in_Japanese_American_Painting"><img alt="Research paper thumbnail of Overtly, Covertly, or Not at All: Putting "Japan" in Japanese American Painting" class="work-thumbnail" src="https://attachments.academia-assets.com/99420082/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/97930421/Overtly_Covertly_or_Not_at_All_Putting_Japan_in_Japanese_American_Painting">Overtly, Covertly, or Not at All: Putting "Japan" in Japanese American Painting</a></div><div class="wp-workCard_item"><span>East-West Interchanges in American Art: A Long and Tumultuous Relationship</span><span>, 2012</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="33bbdde9f7ffdcd48230a853f0a7cf33" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":99420082,"asset_id":97930421,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/99420082/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="97930421"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="97930421"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 97930421; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="97930420"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/97930420/Kitagawa_Tamiji_Painting_in_the_Pursuit_of_Pigmented_Knowledge_of_Self_and_Other"><img alt="Research paper thumbnail of Kitagawa Tamiji: Painting in the Pursuit of Pigmented Knowledge of Self and Other" class="work-thumbnail" src="https://attachments.academia-assets.com/107293255/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/97930420/Kitagawa_Tamiji_Painting_in_the_Pursuit_of_Pigmented_Knowledge_of_Self_and_Other">Kitagawa Tamiji: Painting in the Pursuit of Pigmented Knowledge of Self and Other</a></div><div class="wp-workCard_item"><span>Archives of Asian Art</span><span>, 2013</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The Japanese painter Kitagawa Tamiji 北川民次 (1894–1989) is a particularly rewarding subject for con...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The Japanese painter Kitagawa Tamiji 北川民次 (1894–1989) is a particularly rewarding subject for considering a set of questions about the capacity of painting to function as a tool for acquiring and producing social knowledge in the dislocative experiences of the early twentieth century. How could a painter who was also a traveler deploy his or her medium in the pursuit of knowledge about strangers encountered in foreign places? And, after settling abroad for extended periods, how could an expatriate Japanese painter use this medium to make himself known to natives of this environment? Finally, how did the practice of painting geared toward social needs of this sort also contribute to the painter’s self-knowledge, evolving through years of migration and subsequent reentry to Japanese society? After a brief period studying oil painting at the Preparatory Division of Waseda University in Tokyo, Kitagawa moved at age twenty from Japan to the United States, where he remained for seven years (1914–21), then relocated to Mexico, where he resided for fifteen years until age forty-two (1921–36), and finally spent the rest of his long life in Japan. This study focuses on Kitagawa’s use of the medium of figurative painting to mediate differences of race and culture that he encountered during the formative years of his travel and artistic maturation, as well as his readjustment to Japanese society in the first decade after his return. The relatively small number of Japanese people in the United States and Mexico in the early twentieth century gave him an exceptional status that encumbered his painterly pursuits with different obstacles and greater instability than travelers whose identities positioned them within more established patterns of stereotypical, discriminatory, or privileged reception. W. E. B. Du Bois famously wrote in 1903 of the ‘‘frightful chasm at the color line across which men pass at their peril,’’ but since Asian people in earlytwentieth-century North America generally found fewer templates for identification—whether felicitous or injurious—on either side of the color line, negotiating the ‘‘frightful chasm’’ was a destiny of perhaps less predetermined outcomes than was the case for more populous groups. As we shall see, the story of Kitagawa’s journey through the chasm at the color line was particularly noteworthy for his creative deployments of the colors of paint pigments in his métier as an artist. The study of Kitagawa is rewarding not only because his paintings of himself and others provide an expressive visual record of his travels but also because these images are further illuminated by a Japaneselanguage autobiographical account of this journey that the artist published in 1955, nearly twenty years after returning to Japan. Though titled Youth in Mexico: Fifteen Years with the Indians (Mekishiko no seishun: jūgonen o indeian to tomo ni メキシコの青春:十五年をインディアンと共に), this colorful narrative actually recounts a passage throughout North America, starting with his arrival on the West Coast, continuing with his years in New York City, traveling next through the South, then on to Cuba, and finally through Mexico, where he experienced diverse locales ranging from urban neighborhoods in Mexico City to a poor rural Indian farming community. Kitagawa displays a flair for storytelling and readers of his narrative may wonder how close to the truth some of the described adventures may be, but there is little doubt that the frustrations, disappointments, and yearnings expressed in this text bear a close relationship to the passions that propelled this artist on his extraordinary journey. Of course Kitagawa’s paintings and later writings do not provide an ‘‘objective’’ documentary of his travels; what follows is a sympathetic and sometimes skeptical account of the artist’s immediate and ex post facto subjective responses to the varied social milieus he encountered.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="cbe2d797123da3e149084153f404803e" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":107293255,"asset_id":97930420,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/107293255/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="97930420"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="97930420"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 97930420; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=97930420]").text(description); $(".js-view-count[data-work-id=97930420]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 97930420; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='97930420']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "cbe2d797123da3e149084153f404803e" } } $('.js-work-strip[data-work-id=97930420]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":97930420,"title":"Kitagawa Tamiji: Painting in the Pursuit of Pigmented Knowledge of Self and Other","translated_title":"","metadata":{"doi":"10.1353/aaa.2014.0005","issue":"2","volume":"63","abstract":"The Japanese painter Kitagawa Tamiji 北川民次 (1894–1989) is a particularly rewarding subject for considering a set of questions about the capacity of painting to function as a tool for acquiring and producing social knowledge in the dislocative experiences of the early twentieth century. How could a painter who was also a traveler deploy his or her medium in the pursuit of knowledge about strangers encountered in foreign places? And, after settling abroad for extended periods, how could an expatriate Japanese painter use this medium to make himself known to natives of this environment? Finally, how did the practice of painting geared toward social needs of this sort also contribute to the painter’s self-knowledge, evolving through years of migration and subsequent reentry to Japanese society? After a brief period studying oil painting at the Preparatory Division of Waseda University in Tokyo, Kitagawa moved at age twenty from Japan to the United States, where he remained for seven years (1914–21), then relocated to Mexico, where he resided for fifteen years until age forty-two (1921–36), and finally spent the rest of his long life in Japan. This study focuses on Kitagawa’s use of the medium of figurative painting to mediate differences of race and culture that he encountered during the formative years of his travel and artistic maturation, as well as his readjustment to Japanese society in the first decade after his return. The relatively small number of Japanese people in the United States and Mexico in the early twentieth century gave him an exceptional status that encumbered his painterly pursuits with different obstacles and greater instability than travelers whose identities positioned them within more established patterns of stereotypical, discriminatory, or privileged reception. W. E. B. Du Bois famously wrote in 1903 of the ‘‘frightful chasm at the color line across which men pass at their peril,’’ but since Asian people in earlytwentieth-century North America generally found fewer templates for identification—whether felicitous or injurious—on either side of the color line, negotiating the ‘‘frightful chasm’’ was a destiny of perhaps less predetermined outcomes than was the case for more populous groups. As we shall see, the story of Kitagawa’s journey through the chasm at the color line was particularly noteworthy for his creative deployments of the colors of paint pigments in his métier as an artist. The study of Kitagawa is rewarding not only because his paintings of himself and others provide an expressive visual record of his travels but also because these images are further illuminated by a Japaneselanguage autobiographical account of this journey that the artist published in 1955, nearly twenty years after returning to Japan. Though titled Youth in Mexico: Fifteen Years with the Indians (Mekishiko no seishun: jūgonen o indeian to tomo ni メキシコの青春:十五年をインディアンと共に), this colorful narrative actually recounts a passage throughout North America, starting with his arrival on the West Coast, continuing with his years in New York City, traveling next through the South, then on to Cuba, and finally through Mexico, where he experienced diverse locales ranging from urban neighborhoods in Mexico City to a poor rural Indian farming community. Kitagawa displays a flair for storytelling and readers of his narrative may wonder how close to the truth some of the described adventures may be, but there is little doubt that the frustrations, disappointments, and yearnings expressed in this text bear a close relationship to the passions that propelled this artist on his extraordinary journey. Of course Kitagawa’s paintings and later writings do not provide an ‘‘objective’’ documentary of his travels; what follows is a sympathetic and sometimes skeptical account of the artist’s immediate and ex post facto subjective responses to the varied social milieus he encountered.","publisher":"Duke University Press","ai_title_tag":"Kitagawa Tamiji: Art, Identity, and Travel","page_numbers":"189-207","publication_date":{"day":null,"month":null,"year":2013,"errors":{}},"publication_name":"Archives of Asian Art"},"translated_abstract":"The Japanese painter Kitagawa Tamiji 北川民次 (1894–1989) is a particularly rewarding subject for considering a set of questions about the capacity of painting to function as a tool for acquiring and producing social knowledge in the dislocative experiences of the early twentieth century. How could a painter who was also a traveler deploy his or her medium in the pursuit of knowledge about strangers encountered in foreign places? And, after settling abroad for extended periods, how could an expatriate Japanese painter use this medium to make himself known to natives of this environment? Finally, how did the practice of painting geared toward social needs of this sort also contribute to the painter’s self-knowledge, evolving through years of migration and subsequent reentry to Japanese society? After a brief period studying oil painting at the Preparatory Division of Waseda University in Tokyo, Kitagawa moved at age twenty from Japan to the United States, where he remained for seven years (1914–21), then relocated to Mexico, where he resided for fifteen years until age forty-two (1921–36), and finally spent the rest of his long life in Japan. This study focuses on Kitagawa’s use of the medium of figurative painting to mediate differences of race and culture that he encountered during the formative years of his travel and artistic maturation, as well as his readjustment to Japanese society in the first decade after his return. The relatively small number of Japanese people in the United States and Mexico in the early twentieth century gave him an exceptional status that encumbered his painterly pursuits with different obstacles and greater instability than travelers whose identities positioned them within more established patterns of stereotypical, discriminatory, or privileged reception. W. E. B. Du Bois famously wrote in 1903 of the ‘‘frightful chasm at the color line across which men pass at their peril,’’ but since Asian people in earlytwentieth-century North America generally found fewer templates for identification—whether felicitous or injurious—on either side of the color line, negotiating the ‘‘frightful chasm’’ was a destiny of perhaps less predetermined outcomes than was the case for more populous groups. As we shall see, the story of Kitagawa’s journey through the chasm at the color line was particularly noteworthy for his creative deployments of the colors of paint pigments in his métier as an artist. The study of Kitagawa is rewarding not only because his paintings of himself and others provide an expressive visual record of his travels but also because these images are further illuminated by a Japaneselanguage autobiographical account of this journey that the artist published in 1955, nearly twenty years after returning to Japan. Though titled Youth in Mexico: Fifteen Years with the Indians (Mekishiko no seishun: jūgonen o indeian to tomo ni メキシコの青春:十五年をインディアンと共に), this colorful narrative actually recounts a passage throughout North America, starting with his arrival on the West Coast, continuing with his years in New York City, traveling next through the South, then on to Cuba, and finally through Mexico, where he experienced diverse locales ranging from urban neighborhoods in Mexico City to a poor rural Indian farming community. Kitagawa displays a flair for storytelling and readers of his narrative may wonder how close to the truth some of the described adventures may be, but there is little doubt that the frustrations, disappointments, and yearnings expressed in this text bear a close relationship to the passions that propelled this artist on his extraordinary journey. Of course Kitagawa’s paintings and later writings do not provide an ‘‘objective’’ documentary of his travels; what follows is a sympathetic and sometimes skeptical account of the artist’s immediate and ex post facto subjective responses to the varied social milieus he encountered.","internal_url":"https://www.academia.edu/97930420/Kitagawa_Tamiji_Painting_in_the_Pursuit_of_Pigmented_Knowledge_of_Self_and_Other","translated_internal_url":"","created_at":"2023-03-04T14:11:08.279-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":5096088,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":107293255,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/107293255/thumbnails/1.jpg","file_name":"2013_Kitagawa_Tamiji_ArchivesofAsianArt.pdf","download_url":"https://www.academia.edu/attachments/107293255/download_file","bulk_download_file_name":"Kitagawa_Tamiji_Painting_in_the_Pursuit.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/107293255/2013_Kitagawa_Tamiji_ArchivesofAsianArt-libre.pdf?1699729946=\u0026response-content-disposition=attachment%3B+filename%3DKitagawa_Tamiji_Painting_in_the_Pursuit.pdf\u0026Expires=1738767349\u0026Signature=XsIfxp~IpUTvA3qF4yxj5LoFQGQMCaOQ2DqwCXuIKr9rxJpQZggDm6Se4YQNu0eKEf17VDwehZ4W361faYCtnrvvDCTCK1TS9s~179PP1oUl5eE~nHhRyssmVtanH~zSEkXL0PCkOqX2HPo-k7gNz9YjaWUDf-ARmhbfIr-4iNhXq0~IB29Ck9-JajOkBiNT1MW8yerEsxvCeq~~Lqrl1ft718bHipkvHQRTsPp~Ht-a72IMqIQIbxXwH0AREE8eMOCZbUU50OYmSICTRkpPB6fXdqS477EgPymkfh16~UBmt1BCV-VvZhPf6JWF3AGtALz5mKS8w5kp06SVUUQHmw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Kitagawa_Tamiji_Painting_in_the_Pursuit_of_Pigmented_Knowledge_of_Self_and_Other","translated_slug":"","page_count":20,"language":"en","content_type":"Work","summary":"The Japanese painter Kitagawa Tamiji 北川民次 (1894–1989) is a particularly rewarding subject for considering a set of questions about the capacity of painting to function as a tool for acquiring and producing social knowledge in the dislocative experiences of the early twentieth century. How could a painter who was also a traveler deploy his or her medium in the pursuit of knowledge about strangers encountered in foreign places? And, after settling abroad for extended periods, how could an expatriate Japanese painter use this medium to make himself known to natives of this environment? Finally, how did the practice of painting geared toward social needs of this sort also contribute to the painter’s self-knowledge, evolving through years of migration and subsequent reentry to Japanese society? After a brief period studying oil painting at the Preparatory Division of Waseda University in Tokyo, Kitagawa moved at age twenty from Japan to the United States, where he remained for seven years (1914–21), then relocated to Mexico, where he resided for fifteen years until age forty-two (1921–36), and finally spent the rest of his long life in Japan. This study focuses on Kitagawa’s use of the medium of figurative painting to mediate differences of race and culture that he encountered during the formative years of his travel and artistic maturation, as well as his readjustment to Japanese society in the first decade after his return. The relatively small number of Japanese people in the United States and Mexico in the early twentieth century gave him an exceptional status that encumbered his painterly pursuits with different obstacles and greater instability than travelers whose identities positioned them within more established patterns of stereotypical, discriminatory, or privileged reception. W. E. B. Du Bois famously wrote in 1903 of the ‘‘frightful chasm at the color line across which men pass at their peril,’’ but since Asian people in earlytwentieth-century North America generally found fewer templates for identification—whether felicitous or injurious—on either side of the color line, negotiating the ‘‘frightful chasm’’ was a destiny of perhaps less predetermined outcomes than was the case for more populous groups. As we shall see, the story of Kitagawa’s journey through the chasm at the color line was particularly noteworthy for his creative deployments of the colors of paint pigments in his métier as an artist. The study of Kitagawa is rewarding not only because his paintings of himself and others provide an expressive visual record of his travels but also because these images are further illuminated by a Japaneselanguage autobiographical account of this journey that the artist published in 1955, nearly twenty years after returning to Japan. Though titled Youth in Mexico: Fifteen Years with the Indians (Mekishiko no seishun: jūgonen o indeian to tomo ni メキシコの青春:十五年をインディアンと共に), this colorful narrative actually recounts a passage throughout North America, starting with his arrival on the West Coast, continuing with his years in New York City, traveling next through the South, then on to Cuba, and finally through Mexico, where he experienced diverse locales ranging from urban neighborhoods in Mexico City to a poor rural Indian farming community. Kitagawa displays a flair for storytelling and readers of his narrative may wonder how close to the truth some of the described adventures may be, but there is little doubt that the frustrations, disappointments, and yearnings expressed in this text bear a close relationship to the passions that propelled this artist on his extraordinary journey. Of course Kitagawa’s paintings and later writings do not provide an ‘‘objective’’ documentary of his travels; what follows is a sympathetic and sometimes skeptical account of the artist’s immediate and ex post facto subjective responses to the varied social milieus he encountered.","owner":{"id":5096088,"first_name":"Bert","middle_initials":"","last_name":"Winther-Tamaki","page_name":"BertWintherTamaki","domain_name":"uci","created_at":"2013-08-10T08:33:00.411-07:00","display_name":"Bert Winther-Tamaki","url":"https://uci.academia.edu/BertWintherTamaki"},"attachments":[{"id":107293255,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/107293255/thumbnails/1.jpg","file_name":"2013_Kitagawa_Tamiji_ArchivesofAsianArt.pdf","download_url":"https://www.academia.edu/attachments/107293255/download_file","bulk_download_file_name":"Kitagawa_Tamiji_Painting_in_the_Pursuit.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/107293255/2013_Kitagawa_Tamiji_ArchivesofAsianArt-libre.pdf?1699729946=\u0026response-content-disposition=attachment%3B+filename%3DKitagawa_Tamiji_Painting_in_the_Pursuit.pdf\u0026Expires=1738767349\u0026Signature=XsIfxp~IpUTvA3qF4yxj5LoFQGQMCaOQ2DqwCXuIKr9rxJpQZggDm6Se4YQNu0eKEf17VDwehZ4W361faYCtnrvvDCTCK1TS9s~179PP1oUl5eE~nHhRyssmVtanH~zSEkXL0PCkOqX2HPo-k7gNz9YjaWUDf-ARmhbfIr-4iNhXq0~IB29Ck9-JajOkBiNT1MW8yerEsxvCeq~~Lqrl1ft718bHipkvHQRTsPp~Ht-a72IMqIQIbxXwH0AREE8eMOCZbUU50OYmSICTRkpPB6fXdqS477EgPymkfh16~UBmt1BCV-VvZhPf6JWF3AGtALz5mKS8w5kp06SVUUQHmw__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":1236,"name":"Art","url":"https://www.academia.edu/Documents/in/Art"},{"id":5081,"name":"Painting","url":"https://www.academia.edu/Documents/in/Painting"},{"id":152388,"name":"Art Theory and Criticism","url":"https://www.academia.edu/Documents/in/Art_Theory_and_Criticism"}],"urls":[{"id":35311715,"url":"http://muse.jhu.edu/journals/aaa/summary/v063/63.2.winther-tamaki.html"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="97930419"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/97930419/Y%C5%8Dga_The_Western_Painting_National_Painting_and_Global_Painting_of_Japan"><img alt="Research paper thumbnail of Yōga: The Western Painting, National Painting, and Global Painting of Japan" class="work-thumbnail" src="https://attachments.academia-assets.com/99420081/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/97930419/Y%C5%8Dga_The_Western_Painting_National_Painting_and_Global_Painting_of_Japan">Yōga: The Western Painting, National Painting, and Global Painting of Japan</a></div><div class="wp-workCard_item"><span>Info:</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Today historians of modern Japanese art typically use the term yōga, literally "Western painting,...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Today historians of modern Japanese art typically use the term yōga, literally "Western painting," to refer to the modern Japanese practice of oil painting that was imported from Europe and to a great extent modeled on European precedents. But so ingrained is the European and American propensity to see Japanese culture through a lens of Asian otherness, that I have given whole lectures about the Westernness of Japanese yōga only to be dumbfounded by questions about how this type of painting related to the Asian discipline of training the consciousness for spiritual insight and tranquility. Let it be clear: there is no relationship other than one of homonyms between yoga meditation exercises and yōga painting. More importantly, the designation of a vast development of modern Japanese painting as "yōga" calls attention to its genealogical linkages to European canons, techniques, iconographies, and styles. Nevertheless, the desire to render yōga more conspicuously Japanese was felt even more keenly by its advocates and critics in Japan than by orientalizing viewers in Europe and North America. We may detect art historian Shimada Yasuhiro"s desire to nationalize yōga within his ostensibly objective characterization of its art historical development: "the Japanization of oil painting was the greatest task for oil painters in Japan from the very moment it was</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="ac828124133128fc7560c37bae181e2b" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":99420081,"asset_id":97930419,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/99420081/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="97930419"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="97930419"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 97930419; 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ISBN: 0-520-23923-7</a></div><div class="wp-workCard_item"><span>Leonardo</span><span>, 2004</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="d24655bd59b63a2633a4ed3f20e1b214" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":99420087,"asset_id":97930418,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/99420087/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="97930418"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="97930418"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 97930418; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=97930418]").text(description); $(".js-view-count[data-work-id=97930418]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 97930418; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='97930418']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "d24655bd59b63a2633a4ed3f20e1b214" } } $('.js-work-strip[data-work-id=97930418]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":97930418,"title":"Isamu Noguchi and Modern Japanese Ceramics: A Close Embrace of The Earth by Louise Allison Cort and Bert Winther-Tamaki . 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The genealogy of its admission can be traced from two ends. First, it was innovated by the potter Yap&#x27; Kazuo (1918-79) in the 1950s as a means ofr@rming a ...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="97930417"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="97930417"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 97930417; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=97930417]").text(description); 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="39882100"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/39882100/Japanese_Views_of_the_Void_in_Sam_Franciss_Painting_during_the_Informel_Whirlwind"><img alt="Research paper thumbnail of Japanese Views of the Void in Sam Francis's Painting during the 'Informel Whirlwind'" class="work-thumbnail" src="https://attachments.academia-assets.com/107294729/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/39882100/Japanese_Views_of_the_Void_in_Sam_Franciss_Painting_during_the_Informel_Whirlwind">Japanese Views of the Void in Sam Francis's Painting during the 'Informel Whirlwind'</a></div><div class="wp-workCard_item"><span> In Focus: Around the Blues 1957, 1962–3 by Sam Francis</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">This article assesses the reception of Sam Francis's abstract painting in Japan during the late 1...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">This article assesses the reception of Sam Francis's abstract painting in Japan during the late 1950s and early 1960s by focusing on four influential individuals in Japan who befriended him during this period: the painter Imai Toshimitsu, the art critic Tōno Yoshiaki, the poet and critic Ōoka Makoto, and the businessman and art collector Idemitsu Sazō. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="38165322"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/38165322/TOXIC_MUD_and_other_contaminated_earthy_substances_in_Japanese_installation_art_during_and_after_the_Bubble_Economy_1980s_of_1990s"><img alt="Research paper thumbnail of TOXIC MUD and other contaminated earthy substances in Japanese installation art during and after the Bubble Economy, 1980s of 1990s" class="work-thumbnail" src="https://attachments.academia-assets.com/58199725/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/38165322/TOXIC_MUD_and_other_contaminated_earthy_substances_in_Japanese_installation_art_during_and_after_the_Bubble_Economy_1980s_of_1990s">TOXIC MUD and other contaminated earthy substances in Japanese installation art during and after the Bubble Economy, 1980s of 1990s</a></div><div class="wp-workCard_item"><span>East Asia Center, UCSB</span><span>, 2019</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">A repertoire of corruptions is manifest in soil, dirt, sand, and clay that was deposited in many ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">A repertoire of corruptions is manifest in soil, dirt, sand, and clay that was deposited in many works of Japanese installation art during the Economic Bubble and after its burst. Kawaguchi Tatsuo sealed soil inside metal encasements that seem to protect it from radiation at the cost of isolating it from any ecological function. Declaring “I want to kill earth,” Endō Toshikatsu immersed a large volume of soil in a bath of formalin, a chemical that wipes out all microbes and other life forms in healthy topsoil. Yanagi Yukinori fashioned flags of contemporary nation-states in colored sand packed in networks of plexiglass boxes and added legions of ants that violated the nation-state system by transporting colored grains of from one flag to another. Regardless of the agent of contamination -- whether anticipated nuclear radiation in Kawaguchi’s metal encasements, the formalin Endō used to kill earth, or the (trans)national politics coloring Yanagi’s ant farm sands -- earth was hardly a neutral medium, much less a pure or fertile foundation of life. Irredeemably alienated from an environmentalist ethics, soil behavior in these works tracks its plight in the larger context of contemporaneous Japan. This lecture is drawn from a book in preparation titled ‘The Soil is Dead’: Earthy Substances in Japanese Ceramics, Photography, and Installation Art, 1955-1995.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="2b5971f45505649fddd677236a2ea19b" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":58199725,"asset_id":38165322,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/58199725/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="38165322"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="38165322"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38165322; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="33185117"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/33185117/Earth_Photography_from_HAMAYA_Hiroshi_to_NAKAHIRA_Takuma"><img alt="Research paper thumbnail of Earth Photography from HAMAYA Hiroshi to NAKAHIRA Takuma" class="work-thumbnail" src="https://attachments.academia-assets.com/53268175/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/33185117/Earth_Photography_from_HAMAYA_Hiroshi_to_NAKAHIRA_Takuma">Earth Photography from HAMAYA Hiroshi to NAKAHIRA Takuma</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The various concepts and substances collectively designated by the Japanese word tsuchi —earth, l...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The various concepts and substances collectively designated by the Japanese word tsuchi —earth, land, soil, ground, clay, ceramics — have been continuously and deeply tinctured by their remediation in the medium of photography. How was tsuchi revealed and hidden, as　well as purified and contaminated by Japanese photographers? This lecture maps a topography of Japanese earth through the works of such diverse photographers of Japan as　HAMAYA Hiroshi, DOMON Ken, NAGANO Shigeichi, HANABUSA Shinzō, TŌMATSU Shōmei, and NAKAHIRA Takuma from the 1950s through the 1970s. An eco-critical approach to image theory holds the potential to bring new relevance and interpretive　perspectives to some of the most iconic works of Japanese photography.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="723783b49abbe1e19f57a127a9d24e9f" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":53268175,"asset_id":33185117,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/53268175/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="33185117"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="33185117"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 33185117; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="32451169"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/32451169/TSUCHI_Japanese_Earth_and_Soil_in_Pottery_Photography_and_Installation_Art_1960_2000"><img alt="Research paper thumbnail of TSUCHI: Japanese Earth and Soil in Pottery, Photography, and Installation Art, 1960-2000" class="work-thumbnail" src="https://attachments.academia-assets.com/52641714/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/32451169/TSUCHI_Japanese_Earth_and_Soil_in_Pottery_Photography_and_Installation_Art_1960_2000">TSUCHI: Japanese Earth and Soil in Pottery, Photography, and Installation Art, 1960-2000</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Large and small portions of the earth and its soil are often kiln-fired, photographed, or sculpte...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Large and small portions of the earth and its soil are often kiln-fired, photographed, or sculpted as works of art. These works -- ceramics, photographs, installations -- have much to say about changing relations between human beings and the earth, as well as shifting conditions of the earth itself. Not only have natural disasters and industrial contaminations disrupted Japanese land with unfortunate frequency, they have also materialized in works of art. At the same time, ideals of closeness to the earth and minimal intervention by human hands gave tsuchi (a term that encompasses earth, land, soil, clay, and ceramics) unique currency in late twentieth-century art in Japan. This lecture employs the compelling evidence of a wide range of works of photography, pottery, and sculpture to evoke a portrait of tsuchi.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="1324965975d5d732104d629818c7c41a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":52641714,"asset_id":32451169,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/52641714/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="32451169"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="32451169"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 32451169; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="11169762"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/11169762/Remediated_Ink_The_Debt_of_Asian_Ink_Aesthetics_to_Non_Ink_Media"><img alt="Research paper thumbnail of Remediated Ink: The Debt of Asian Ink Aesthetics to Non-Ink Media" class="work-thumbnail" src="https://attachments.academia-assets.com/36808854/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/11169762/Remediated_Ink_The_Debt_of_Asian_Ink_Aesthetics_to_Non_Ink_Media">Remediated Ink: The Debt of Asian Ink Aesthetics to Non-Ink Media</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Many materials and media other than ink have been used to represent and indeed extend, strengthen...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Many materials and media other than ink have been used to represent and indeed extend, strengthen, or refocus the aesthetics of Japanese and/or Asian ink, often without spilling a drop of actual ink. Media such as photography, oil-on-canvas, video, and digital imaging, but also tomato juice, soy sauce, gun- powder, tv commercials, and computer games have contributed substantial new dimensions to qualities of ink associated with Asian tradition. The modern vibrant and multifarious visual epistemology of Japa- nese and Asian ink painting owes much to acts of remediation in non-ink media, perhaps more than works made with actual ink.<br /><br />Ohio State University, March 5, 2015, Ohio Union, Traditions Room</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e2afab133ba72666949de8aa6eeb40f9" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":36808854,"asset_id":11169762,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/36808854/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="11169762"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="11169762"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 11169762; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="6309196"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/6309196/Changing_Images_of_the_Body_in_Modern_Japanese_Art"><img alt="Research paper thumbnail of Changing Images of the Body in Modern Japanese Art" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/6309196/Changing_Images_of_the_Body_in_Modern_Japanese_Art">Changing Images of the Body in Modern Japanese Art</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The crucible of modern Japanese history stimulated creative approaches to depicting the human bod...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The crucible of modern Japanese history stimulated creative approaches to depicting the human body.  Japanese visual culture underwent extraordinary changes in the late nineteenth- and early twentieth- centuries due to new media such as oil painting and photography, new audiences including foreigners at worlds fairs, and new spectacles such as train travel and the modern military.  Focusing on works in the Cleveland Museum of Art's exhibition, Remaking Tradition: Modern Art of Japan, this lecture examines modern transformations of traditional figures in Japanese art, including venerable spiritual teachers, formidable warriors, and kimono-clad beauties.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="6309196"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="6309196"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 6309196; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="4414677"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/4414677/Commensurable_Distinctions_Intercultural_Negotiations_of_Modern_and_Contemporary_Japanese_Visual_Culture"><img alt="Research paper thumbnail of Commensurable Distinctions: Intercultural Negotiations of Modern and Contemporary Japanese Visual Culture" class="work-thumbnail" src="https://attachments.academia-assets.com/32810911/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/4414677/Commensurable_Distinctions_Intercultural_Negotiations_of_Modern_and_Contemporary_Japanese_Visual_Culture">Commensurable Distinctions: Intercultural Negotiations of Modern and Contemporary Japanese Visual Culture</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">"Organized by Bert Winther-Tamaki and William Marotti. While modern Japanese art has often b...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">"Organized by Bert Winther-Tamaki and William Marotti.    <br />While modern Japanese art has often been assessed in terms of the uniqueness of its transformations or revisions of modern Euramerican art, the closeness of its products to transnational ideas and forms has typically been overlooked or regretted. This conference examines the critical role of relationships of convergence, similarity, or identity whether or not these relationships serve to provoke new forms of difference. <br />“Commensurable distinctions” operate within a globalized concept of art as distinctive visual dimensions generated by a transnational framework (format or genre), one that positions artists (and artworks, styles, movements) in relative measure to some standard presumed to have global reach or authority. Focusing on fluidity, mutations, and interstices as opposed to modes of analysis based on contained national and cultural forms, we hope to examine the compatibility and global passages of transfer and transaction that lead to situated distinctions and complex drifts. The conference will provide another take on the JAG moniker and our shared injunction to consider “Japanese Arts and Globalizations.” We invite considerations of the frameworks operative in, and generative of, the possible identification of distinguishing features of modern Japanese art as commensurate with the distinguishing features of foreign counterparts. Such considerations might investigate exemplary cases such as world’s fairs and avant-garde movements, and the operation of these frameworks within conceptions of self-expression and national culture. The papers presented at this conference will forge innovative approaches to the analysis of relationships between visual culture in Japan and other regions."</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="323cbb821081afb87b8f3efa0f18cbe1" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":32810911,"asset_id":4414677,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/32810911/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="4414677"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="4414677"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 4414677; 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