Modernity and Modernism in Japan: Japanese Art and Expressions/Representations of Modern Identity

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1 Elizabeth Bilyeu, Portland Community College June 2011 Curriculum Unit and Bibliography developed from Being Japanese: Histories, Identities and Modernities (a faculty development workshop hosted by East-West Center, University of Hawaii, and Central Washington University, April 14-17, 2011, Seattle, WA) Modernity and Modernism in Japan: Japanese Art and Expressions/Representations of Modern Identity Working Outline for Art History Unit for Modern Art History: Art Since 1945 Note: If the course (with a Western focus) is taught in the traditional chronological way, the unit could be infused throughout the chronology of the curriculum during the term, or it could be condensed into a focused unit. Specific Themes of Unit Modern, modern art, modernity, and modernism Modern and Contemporary Japanese art Japanese artists eccentricity and the Western notion of individuality Japanese identity Four lecture components First Lecture: Hiroshima Memorial Peace Park: a travelogue and introduction introduces notions of memory, memorial, and monument; begins with an overview of monument and memorials with a focus on Hiroshima; from an art historical perspective, tours the different areas of the Hiroshima Memorial Peace Park as a response to World War II and the atomic bomb. Student reading: Occupied Japan. Second Lecture: The Gutai Group: a focus on materials and process an overview of the Gutai movement in the 1950s and 1960s; introduce the notion of eccentricity in the history of Japanese art and consider intersections or divergences from the notion of uniqueness/originality in Modern Western art. Students read selections from Print. Third Lecture: Contemporary Japanese Art as it relates to the Historical looks at historical ceramics, architecture, sculpture, and tea ceremony to address visual elements like symmetry/asymmetry and Buddhism and Shintoism; then explores the work of contemporary artist Masami Teraoka and ties to the historical. This lecture could be revised and reworked with other artists and other themes. Artists and artist groups to explore in lecture or by students (individually or through group projects) 1950s: Isamu Noguchi, Bokujin-kai (Ink Human Society) Calligraphy Society 1950s and 1960s: Gutai Group 1960s: Yomiura Indépendant Groups, Obsessional Art (ex: Yayoi Kusama), Tokyo Fluxus (ex: Yoko Ono, Shigeko Kubota)

2 2 1970s: Conceptual Art (ex: On Kawara), Mono-ha (School of Things) movement 1980s: post-mono-ha (School of Things) movement Contemporary Japanese Painting across the decades 1990s: Postmodernism (ex: Yasumasa Morimura - includes himself in his art and responds to his encounters with the West, Takashi Murakami, Masami Teraoka, Mariko Mori) Japanese Art after 1945 (Munroe) has an excellent glossary of movements (and related topics) in Japanese art since 1945, pp The bibliography is also useful. Fourth Lecture: Manga and Popular Culture an overview of Manga and popular culture in Japan; could consider influences on American culture (and understandings and misunderstandings of Japan); begin lecture with Peter Nosco s photo of a photographer taking a picture of a cosplay youth. Possible readings for students (tying popular culture and art): Sawaragi, Noi. On the Battlefield of Superflat : Subculture and Art in Postwar Japan. In Murakami, Takashi, ed. Little Boy: The Arts of Japan's Exploding Subculture. New York: Japan Society, 2005, pp Print. Matsui, Midori. Beyond the Pleasure Room to a Chaotic Street: Transformations of Cute Subculture in the Art of the Japanese Nineties. In Murakami, Takashi, ed. Little Boy: The Arts of Japan's Exploding Subculture. New York: Japan Society, 2005, pp Print. Selections from, Brigitte Koyama-Richard. One Thousand Years of Manga. Paris: Flammarion, Print. OR from Macwilliams, Mark W. Japanese Visual Culture: Explorations in the World of Manga and Anime. Armonk, N.Y: M.E. Sharpe, Print. Unit activities Lectures and readings introduce themes with concrete examples of art work, artist technique, and artist philosophies to students who are studying Art Since 1945 (traditionally with a Western focus). Class discussion and written responses Students will be asked to consider the themes in the readings, and address one or more in a brief response paper focusing on a specific work of art addressed and the intersections with the themes. Students should address visual elements, process/technique, and conceptual aspects of the works in their responses. These papers can be shared and used to initiate class discussion. Themes to consider Modern, modern art, modernity, and modernism Modern and Contemporary Japanese art Japanese artists eccentricity and the Western notion of individuality Japanese identity Research and presentation and/or papers Once students have grounding in the art and understand nuances of the themes, they can be assigned or chose Japanese artists to Students could use this lecture and discussion as a point of reference for exploring some of the key themes of this unit. Readings for Students (See bibliography for annotations and other sources.) Occupied Japan. Art Journal. Vol. 53, No. 4, Winter, 1994, pp Article Stable URL:

3 3 From the issue themed Sculpture in Postwar Europe and America, , this is a thought-provoking article that addresses the nuances of post-war Japan-U.S. relations through the rejection of a Hiroshima memorial designed by Japanese-American sculptor Isamu Noguchi. This would be a good article to use to inspire debate in class. Koyama-Richard, Brigitte. One Thousand Years of Manga. Paris: Flammarion, Print. Macwilliams, Mark W. Japanese Visual Culture: Explorations in the World of Manga and Anime. Armonk, N.Y: M.E. Sharpe, Print. Matsui, Midori. Beyond the Pleasure Room to a Chaotic Street: Transformations of Cute Subculture in the Art of the Japanese Nineties. In Murakami, Takashi, ed. Little Boy: The Arts of Japan's Exploding Subculture. New York: Japan Society, 2005, pp Print Print. Use the five-chapter introduction of this text. It could easily be divided among the students, and the students could present concepts to each other. Sawaragi, Noi. On the Battlefield of Superflat : Subculture and Art in Postwar Japan. In Murakami, Takashi, ed. Little Boy: The Arts of Japan's Exploding Subculture. New York: Japan Society, 2005, pp Print. Outcomes related to course -- Modern Art History: Art Since 1945 view works of art "dynamically," that is, to appreciate simultaneously the uniqueness of a work, its origins and precedent, its potential as an inspiration and influence on later art, and its relationship to a particular cultural moment generalize course content to other art not covered in the course so that he/she can understand and value art and architecture in all-encompassing ways, in this country and abroad Competencies and skills covered (related to course -- Modern Art History: Art Since 1945) work creatively with art historical data, using it to develop principles of art history recognize and appraise patterns in historical phenomena assess the ways in which an art object is affected by our own vantage point recognize and discriminate among various styles of art trace the development of art from one period to another analyze formally works of art and appreciate the interrelationship of its elements determine symbolism in art express the relationship of art to society and culture to style analyze the meaning of art objects through understanding of historical, social, and political context use specific terminology to describe works of art Assessment possibilites (related to course -- Modern Art History: Art Since 1945) comprehend, apply, analyze and evaluate reading assignments identify artwork and architecture, and relate facts and ideas about these works of art in exam format research, plan, compose, edit and revise short papers

4 Modernity and Modernism in Japan: Japanese Art and Expressions/Representations of Modern Identity 4 Working Annotated Bibliography for Art History Unit for Modern Art History: Art Since 1945 On Art and Design in Japan: Calza, Gian C. Japan Style. London: Phaidon, Print. Divided into three sections (Irregular Beauty, The Feeling of Nature, and Masters of Art), this book reflects on and responds to Japanese art and design through these themes. Cooke Lynne. Contemporary Japanese Art: Some Recent Exhibitions in the United States. The Burlington Magazine. Vol. 133, No. 1059, June 1991, pp Article Stable URL: The focus of this short article is art from the 1980s and 1990s. Hanley, Susan B. Everyday Things in Premodern Japan: The Hidden Legacy of Material Culture. Berkeley, CA: University of California Press, Print. A good background source on social relationship to material culture. Higa, Karin. Some Thoughts on National and Cultural Identity: Art by Contemporary Japanese and Japanese American Artists. Art Journal. Vol. 55, No. 3, Autumn 1996, pp Article Stable URL: From an issue themed Japan : Art, Architecture, and National Identity this short section would be an easy introduction for students to contemporary art by Japanese and Japanese Americans. Koyama-Richard, Brigitte. One Thousand Years of Manga. Paris: Flammarion, Print. This is a history of manga; also looks at its connection to anime. Kurczynski, Karen. Review of Into Performance: Japanese Women Artists in New York by Midori Yoshimoto. Woman's Art Journal. Vol. 27, No. 1, Spring - Summer 2006, pp Article Stable URL: This book review gives a good overview of the book and the artists: Yayoi Kusama, Yoko Ono, Takako Saito, Mieko Shiomi, and Shigeko Kubota. Macwilliams, Mark W. Japanese Visual Culture: Explorations in the World of Manga and Anime. Armonk, N.Y: M.E. Sharpe, Print. A collection of essays by different authors Print. An exhibition catalog, this is the pivotal text and resource for this unit. An expanded textbook of sorts, it includes voices of different scholars, a bibliography, and key writing/quotes (extensive) by artists. Murakami, Takashi, ed. Little Boy: The Arts of Japan's Exploding Subculture. New York: Japan Society, Print. This should be a key text in the exploration of contemporary art, popular culture, and identity. It includes essays by Japanese and American scholars. Rosenfield, John M, and Fumiko E. Cranston. Extraordinary Persons: Works by Eccentric, Nonconformist Japanese Artists of the Early Modern Era ( ) in the Collection of Kimiko and John Powers = [kinsei Kijin No Geijutsu]. Cambridge, Mass: Harvard University Art Museums, 1999.

5 Print. Volume 1, Introduction discusses concepts: communal, individual, dissent, and artists eccentricity. Instructor can use this as background to introduce these themes. 5 Salel, Stephen F, and Nobuo Tsuji. Retracting a Diagnosis of Madness: A Reconsideration of Japanese Eccentric Art., Print. Instructor may use introduction and conclusion to help define eccentric. Occupied Japan. Art Journal. Vol. 53, No. 4, Winter, 1994, pp Article Stable URL: From the issue themed Sculpture in Postwar Europe and America, , this is a thought-provoking article that addresses the nuances of post-war Japan-U.S. relations through the rejection of a Hiroshima memorial designed by Japanese-American sculptor Isamu Noguchi. This would be a good article to use to inspire debate in class. Winther-Tamaki, Bert. Yagi Kazuo: The Admission of the Nonfunctional Object into the Japanese Pottery World. Journal of Design History. Vol. 12, No. 2, 1999, pp Article Stable URL: Explores the nonfunctional ceramic object, introduced in Japan in the 1950s. Yoshimoto, Midori. Into Performance: Japanese Women Artists in New York. New Brunswick, N.J: Rutgers University Press, This book looks at the work of Yayoi Kusama, Yoko Ono, Takako Saito, Mieko Shiomi, and Shigeko Kubota. Artist Monographs Morimura, Yasumasa, Filippo Maggia, and Marinella Venanzi. Yasumasa Morimura: Requiem for the XX Century : Twilight of the Turbulent Gods. Milano: Skira, Print. On Japanese Identity and Modernity: Eigo De Hanasu "nihon" Q & A =: Talking About Japan Q & A. Tōkyō: Kōdansha Intānashonaru, Print. This book gives a great overview (in question-answer format) to the reader who may know nothing about Japanese culture. Nosco, Peter. Japanese Identity: Cultural Analyses. Denver, Colo: Center for Japan Studies at Teikyo Loretto Heights University, Print. Use the preface and introduction as instructor background for introducing to students key Japanese terms and considering the problematics or paradoxes of modern Japanese identity in general. Nosco, Peter. Remembering Paradise: Nativism and Nostalgia in Eighteenth-Century Japan. Cambridge, Mass: Council on East Asian Studies, Harvard University, Print. The conclusion will be most useful for the instructor as historical background and psychological themes (ex: nostalgia). Vlastos, Stephen. Mirror of Modernity: Invented Traditions of Modern Japan. Berkeley: University of California Press, Print. Instructor may use the introductory and concluding chapters of this book as background to the complicated nature of considering modernity and identity in Japan.