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  • Contributors

Maki Kaneko is an assistant professor in the Kress Foundation Department of Art History at the University of Kansas. Her recent publications include “Mukai Junkichi’s Transformation from a War to Minka (Folk House) Painter,” Archives of Asian Art, no. 61 (2011) and “Under the Banner of the New Order: Uchida Iwao’s Responses to the Asia-Pacific War and Japan’s Defeat” in Art and War in Japan and its Empire, 1931–1960 (2012). She is currently working on a book manuscript tentatively entitled “Artists Go to War: Visual Representation of Japanese Artists during the Asia-Pacific War and Occupation, 1930–1950.”

KuroDalaiJee (Kuroda Raiji) is an art historian and chief curator of Fukuoaka Asian Art Museum. He is the author of Anarchy of the Body: Undercurrents of Performance Art in 1960s Japan (Nikutai no anākizumu: 1960 nendai nihon bijutsu ni okeru pafōmansu no chika suimyaku, grambooks, 2010).

John Szostak is an associate professor of Japanese art history at the University of Hawai’i at Manoa. His research specialization is modern Japanese painting history, especially Nihonga painting of the Meiji, Taishō, and early Shōwa eras. His book-length study of Tsuchida Bakusen and the Kokuga Society is scheduled for publication in early 2013.

Miwako Tezuka has been appointed director of Japan Society Gallery in New York in 2012. She has curated and cocurated numerous exhibitions, including her most recent, Yoshitomo Nara: Nobody’s Fool (Asia Society, 2010). Dr. Tezuka’s most recent publication is “Jikken [End Page 489] Kōbō in the International Arena,” in Jikken Kōbō—Experimental Workshop (Kamakura, Japan: Museum of Modern Art, Kamakura and Hayama, 2013).

Ming Tiampo is associate professor of art history at Carleton University. She is cocurator of Gutai: Splendid Playground, Solomon R. Guggenheim Museum, New York, 2013.

Reiko Tomii is an independent art historian and curator who investigates post-1945 Japanese art in global and local contexts. Her particular interests include “international contemporaneity,” collectivism, and conceptualism in 1960s art, as demonstrated by her curatorial and authorial contribution to Global Conceptualism (1999), Century City (2001), and Art, Anti-Art, Non-Art (2007).

Alicia Volk is associate professor of Japanese art history at the University of Maryland. Her award-winning In Pursuit of Universalism: Yorozu Tetsugorô and Japanese Modern Art (2010) places Japanese modern art in the framework of global modernism. She is now writing a book titled “Democratizing Japanese Art, 1945–1960,” about the rebuilding of the Japanese art world following World War II.

Midori Yoshimoto is associate professor of art history and gallery director at New Jersey City University, who specializes in post-1945 Japanese art and its global intersections. Her publications include: Into Performance: Japanese Women Artists in New York (Rutgers Univ. Press, 2005); an essay in Japanese Women Artists in Avant-garde Movements, 1950–1975 (Tochigi Prefectural Museum of Art, 2005); entries in Yes Yoko Ono (Japan Society, 2000); an essay in Yayoi Kusama (Centre Pompidou, 2011), and “From Space to Environment: The Origins of Kankyō and the Emergence of Intermedia Art in Japan” in College Art Association’s Art Journal (fall 2008). She guest-edited an issue on “Women and Fluxus” for the Women and Performance journal (Rutledge, 2009) and another special issue on “Expo ’70 and Japanese Art” for the Review of Japanese Culture and Society (Josai University, 2012). Yoshimoto has also served as a lecturer at the Museum of Modern Art, New York, since 2004. [End Page 490]



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