Since Meiji: Perspectives on the Japanese Visual Arts, 1868-2000

Contributors

Contributors Stephen AddiSS is Tucker-Boatwright Professor of the Humanities and professor of art at the University of Richmond in Virginia. He has exhibited his ink paintings and calligraphy in Korea, China, Japan, Taiwan, Singapore, England, Germany, and in many venues in the United States. He is also the author of more than thirty books and catalogues about East Asian art, including Old Taoist, 77 Dances, Japanese Calligraphy, The Art of Zen, Tall Mountains and Flowing Waters, Haiga: Haiku Painting, The Art of Chinese Calligraphy, Zen Sourcebook, and How to Look at Japanese Art. ChiAki AjiokA graduated from Musashino Art University in Tokyo. She obtained her MA in fine arts from the University of Melbourne in 1985 and her PhD in art history from the Australian National University in 1996. She was curator of Japanese art at the Art Gallery of New South Wales, Sydney, from 1996 to 2003. She has lectured on Japanese art at the University of Sydney while continuing her research on modern Japanese crafts and prints. john ClArk is professor of art history at the University of Sydney and the founding director of the Australian Centre for Asian Art and Archaeology. Among his books are Modern Asian Art (University of Hawai‘i Press, 1998), Eye of the Beholder (coeditor) (Wild Peony, 2006), Modernities of Chinese Art (Brill, 2010), and Modernities Compared: Chinese and Thai Art in the 1980s and 1990s (Power Publications, 2008). From 2004 to 2006 he was working on the new Biennales in Asia under an Australian Research Council Discovery Grant. From 2008 to 2012 he will commence a new comparative study of “The Asian Modern” under an ARC Professional Fellowship. ellen p. ConAnt has written extensively on East-West artistic exchange in the modern era. Her major areas of interest are the foreign employees (yatoi) of the Meiji government and Japan’s participation in international expositions. She organized an exhibition of modern Japanese ceramics for the Art Institute, Chicago, modern Korean art for the World House Galleries , New York, and more recently was guest curator and general editor of Nihonga, Transcending the Past: Japanese Style Painting 1868–1968, held at the St. Louis Art Museum in 1995. She recently served as editor and contributor for Challenging Past and Present: The Metamorphosis of Nineteenth -Century Japanese Art (University of Hawai‘i Press, 2006). 498 | Contributors Mikiko hirAyAMA is associate professor of Asian art history at the University of Cincinnati. Her publications include “Modernité in Art: Kojima Kikuo’s Critique of Contemporary Japanese Painting 1931–1940” in Inexorable Modernity: Japan’s Grappling with Modernity in the Arts (coeditor), and “Ishii Hakutei and the Future of Japanese Painting,” Art Journal (Fall 1996). She is a cotranslator of material included in various books and exhibition catalogues, including Not a Song Like Any Other: An Anthology of Writings by Mori Ōgai and Kazari: Decoration and Display in Japan: The Fifteenth through the Nineteenth Century, as well as The Rise of Modern Japanese Art. MiChAel F. MArrA was professor of Japanese literature, aesthetics, and hermeneutics at UCLA until his death in 2011. He was the author of The Aesthetics of Discontent: Politics and Reclusion in Medieval Japanese Literature (1991); Representations of Power: The Literary Politics of Medieval Japan (1993); Modern Japanese Aesthetics: A Reader (1999); A History of Modern Japanese Aesthetics (2001); Japanese Hermeneutics: Current Debates on Aesthetics and Interpretation (2002); Kuki Shūzō: A Philosopher’s Poetry and Politics (2004); and The Poetics of Motoori Norinaga: A Hermeneutical Journey (2007), all published by the University of Hawai‘i Press. His most recent publication was Essays on Japan: Between Aesthetics and Literature (Brill, 2010). jonAthAn M. reynoldS is associate professor in the Department of Art History, Barnard College, Columbia University. His research focuses on modern Japanese architectural history and Japanese photography. His publications include Maekawa Kunio and the Emergence of Japanese Modernist Architecture (University of California Press, 2001) and “Ise Shrine and a Modernist Construction of Japanese Tradition,” Art Bulletin (June 2001). He has received research fellowships from the Getty Foundation, the Japan Foundation, the Center for Advanced Study in the Visual Arts at the National Gallery in Washington, D.C., and the National Endowment for the Humanities. j. thoMAS riMer is professor emeritus of Japanese literature the University of Pittsburgh and has written widely on various aspects of Japanese literature, theater, and the fine arts. Among his most recent publications are the two-volume The Columbia Anthology of Modern Japanese Literature (Columbia University Press, 2005 and 2007), for...