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  • On the Contributors

Guest Editor:
Ayelet Zohar is a Senior Lecturer in the Art History Department, Tel Aviv University. She received her Ph.D. from the University of London (2007). She is the recipient of postdoctoral and research fellowships at Stanford University (2007–9); Smithsonian Institution (2011); Hokkaidō University (2012); and Waseda University (2017–18); and was a Visiting Associate Professor at Yale University (2018). Zohar’s research focuses on Japanese photography from the nineteenth to twenty-first centuries. An Israeli Science Foundation Grant (2016–20) supported her work on war memory in Japanese photography; Ishibashi Foundation for Art Research Grant at Nichibunken (2020) was postponed. Zohar has published extensively on Japanese photography and contemporary art and her articles have appeared in: Theory, Culture and Society; Positions: Asia Critique; N. Paradoxa; Third Text; Japan Focus; Trans-Asia Photography Review, and more. Her forthcoming book is titled Performative Recollection: War Memory in Contemporary Japanese Video Art.

(azohar@tauex.tau.ac.il)

Co-Guest Editor:
Frank Feltens is the Japan Foundation Assistant Curator of Japanese Art at the Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution. He received his Ph.D. from Columbia University and has published widely on subjects ranging from early modern Japanese painting to postwar photography. Similarly, his exhibitions have examined areas like the intersections between photography and prints in the Meiji and Taishō eras, classicism in Japanese painting, modern Japanese literati painting, and Katsushika Hokusai.

(feltensf@si.edu)

Contributors:
Nava Astrachan is a contemporary artist (painter), who graduated with a Master’s degree from the department of Art History, Tel Aviv University. Her main research interest focuses on body politics and the social and gendered aspects of the body.

(navaa1@mail.tau.ac.il)

Carrie Cushman is the Linda Wyatt Gruber ’66 Curatorial Fellow in Photography at the Davis Museum at Wellesley College. She holds a Ph.D. in Art History from Columbia University and is a specialist in postwar and contemporary photography from Japan. Her current book project, Temporary Ruins: Photography in Late-Modern Japan, argues for the ruin as a central motif in contemporary Japanese photography. She has curated five exhibitions at the Davis Museum, including Komatsu Hiroko: Creative Destruction. Opening in the fall of 2021, this installation questions the logic of urban redevelopment and its effects on the environment.
ccushman@wellesley.edu

Lena Fritsch is the Curator of Modern and Contemporary Art at the Ashmolean Museum, University of Oxford. She is a specialist in Japanese photography and an experienced translator of the Japanese language. She was previously employed at Tate Modern and Hamburger Bahnhof - Museum of Contemporary Art, Berlin. Publications include: Tokyo: Art & Photography (in print), A.R. Penck: I Think in Pictures (2019), Ravens & Red Lipstick: Japanese Photography since 1945 (2018), The Body as a Screen: Japanese Art Photography of the 1990s (2011) and Yasumasa Morimura’s Self-Portrait as Actress: Überlegungen zur Identität (2008). Fritsch holds a Ph.D. in Art History from Bonn University and also studied at Keio University.

(lena.fritsch@ashmus.ox.ac.uk)

Michio Hayashi is Professor, Sophia University, Faculty of Liberal Arts, since 2003, with a Ph.D. from Columbia University. His publications include: Quiet Dislocations (Shizukani kuruu manazashi) (Tokyo: Suiseisha, 2017), Painting Dies Twice, or Never (Kaiga wa nidoshinu, aruiwa shinanai), vols.1–7 (Tokyo: Art Trace, 2003–9), Natsuyuki Nakanishi (New York: Fergus McCaffrey Gallery, 2014), Tadaaki Kuwayama (Fellbach: Edition Axel Menges, 2014), “Reframing the Tragedy: Lessons from Post-3/11 Japan,” in In the Wake: Japanese Photographers Respond to 3/11 (Museum of Fine Arts, Boston, 2015), “Tracing the Graphic in Postwar Japanese Art,” in Tokyo 1955–1970: A New Avant-Garde (New York: MoMA, 2012). He co-edited a volume of Japanese postwar art criticism, From Postwar to Postmodern: Art in Japan 1945–1989 (New York: MoMA, 2012).

(michio-h@sophia.ac.jp)

Hoshino Futoshi is an Assistant Professor in the School of Social Sciences at Waseda University. He received his M.A. (2007) and Ph.D. (2014) from the Graduate School of Arts and Sciences at the University of Tokyo. His publications include Sūkō no shūjigaku (Rhetoric of the Sublime) (Tokyo: Getsuyōsha, 2017), The Sublime and...

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Additional Information

ISSN
2329-9770
Print ISSN
0913-4700
Pages
pp. 272-278
Launched on MUSE
2021-02-16
Open Access
No
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