MEGHEN JONES

Curriculum Vitae

Associate Professor of Art History School of Art and Design New York State College of Ceramics Alfred University 1 Saxon Dr., Alfred, NY 14802 USA [email protected]

Japanese Art and Design 1868–Present; and Design’s Global Flows; Modernism; Craft Theory

EDUCATION 2014 Boston University PhD, History of Art & Architecture Dissertation: “Tomimoto Kenkichi and the Discourse of Modern Japanese Ceramics”; Committee members: Alice Tseng, Louise Allison Cort (Freer/Sacker, Smithsonian), Qianshen Bai, Sarah Frederick, Yukio Lippit (Harvard)

2002 Boston University MA, Asian Art History; Certificate of Museum Studies

1997 Musashino Art University, , MA, Industrial, Interior, and Craft Design (ceramics focus)

1993 Earlham College, Richmond, Indiana BA, Japanese Studies; Fine Arts (double major)

1991–92 Waseda University, Tokyo, Japan Study Program

PROFESSIONAL APPOINTMENTS Alfred University, Alfred NY Associate Professor of Art History, School of Art & Design, New York State College of Ceramics (8/2020–) Division Chair of Art History (8/2019–12/2020) Director of Global Studies (10/2018–12/2020) Assistant Professor (2014–20)

Sainsbury Institute for the Study of Japanese Arts and Cultures, Norwich UK Robert and Lisa Sainsbury Fellow (2013–2014)

Earlham College, Richmond IN Teaching Fellow in Japanese Studies (2011–2013) Visiting Instructor of Art (Spring 1998) Meghen Jones, 2

Berklee College of Music, Boston MA Assistant Professor, Department of Liberal Arts (2006–2008)

Central Michigan University, Mt. Pleasant MI Interim Director, Central Michigan University Art Galleries (2004–2005) Boston University Summer Term Instructor (2008, 2011, 2012) Graduate Writing Fellow (Fall 2008; Spring 2011)

PUBLICATIONS Books Path of the Tea Bowl, Editor. Alfred Ceramic Art Museum (in progress) 2019 Ceramics and Modernity in Japan, Co-editor, with Louise Allison Cort (London: Routledge)

Refereed Articles, Chapters, and Conference Proceedings “The Tea Bowl as National Treasure and Modern Icon,” in The Icon as Cultural Model, ed. Erica van Boven and Marieke Winkler (University of Amsterdam Press). Forthcoming, 2021 2019 “A Potter’s Paradise: The Realm of Ceramics in Modern Japan,” in Ceramics and Modernity in Japan (Routledge) 2019 “The Nude, the Empire, and the Porcelain Vessel Idiom of Tomimoto Kenkichi,” in Ceramics and Modernity in Japan (Routledge) 2018 “American Potters’ Interventions with the Tea Bowl: Using Thing Theory to Problematize Cultural Appropriation,” in Conference Proceedings, Back to the Future. The Future in the Past, ICDHS (International Committee for Design History and Design Studies) 10th + 1, ed. Oriol Moret, Barcelona: University of Barcelona, 111–115. 2017 “Hamada Shōji, Kitaōji Rosanjin and the Reception of Japanese Pottery in the Early Cold War United States,” Design and Culture 9:2 (July): 187–205.

Invited Articles, Chapters, and Other Writing “Mingei,” in Oxford Bibliographies in Art History, Editor-in-chief Thomas DaCosta Kaufmann. New York: Oxford University Press (in progress) Review of Gathering for Tea in modern Japan: Class, Culture and Consumption in the Meiji Period by Taka Oshikiri (in progress)

2020 Review of Changing and Unchanging Things: Noguchi and Hasegawa in Postwar Japan by Matthew Kirsch, Dakin Hart, and Mark Dean Johnson, in Journal of Japanese Studies 46:2 (Summer). Meghen Jones, 3

2019 “Traces Carrying on Human Tradition: Contemporary Japanese Ceramics in the Marlin Miller Collection” in Materiality: The Miller Ceramic Art Collection, ed. Wayne Higby. Stuttgart: Arnoldsche. 2019 “Clothing the Modern Ceramic Body: Form, Surface, and the Echoes of Tomimoto Kenkichi,” in Vessel Explored/ Vessel Transformed: Tomimoto Kenkichi and his Enduring Legacy, ed. Joan B. Mirviss. New York: Joan B. Mirviss and Shibuya Kurodatoen, 33–41. 2018 “Materiality and the Language of Contemporary Japanese Ceramics,” in Hands and Earth: Ceramics from the Horvitz Collection, ed. Jill Deupi. Miami: Lowe Art Museum, 10–13. 2018 Review of Imitation and Creativity in Japanese Arts: From Kishida Ryūsei to Miyazaki Hayao, by Michael Lucken, in Journal of Japanese Studies 44:1 (Winter): 117–121. 2015 “An Orthodoxy of Praxis: Janet Leach and the Ethos of Tamba Ceramics,” in O Pioneers! Women Ceramic Artists, 1925–1960, ed. Ezra Shales. Alfred NY: Alfred Ceramic Art Museum, 2015, 64–66. 2005 “The Eye of the Ego Looks to Clay: Twentieth-century Japanese Ceramics and the Individual,” in Faszination Keramik: Moderne japanische Meisterwerke in Ton aus der Sammlung Gisela Freudenberg [The Fascination of Ceramics: Masterpieces of Modern Japanese Pottery from the Gisela Freudenberg Collection], ed. Stephan von der Schulenburg. Frankfurt: Museum für Angewandte Kunst (in German and English), 40– 48. 2016 “Research in the Collection and the Agency of Ceramic Objects,” Ceramophile Vol. XXVII no. 1 (Spring): 9. 2010 Tomimoto Kenkichi and the Two Kenzans]. Tōyō tōji gakkai kaihō [Report of the Oriental Ceramics Society] 70 (February 25). 2009 “Amerika ni okeru nihon kindai tōgei no gainen keisei – Hamada to Rosanjin no yuisei” [The Dominance of Hamada and Rosanjin in American Perceptions of Modern Japanese Ceramics]. Gendai no me (Newsletter of the National , Tokyo) 575 (April–May). 2001 “Byodoin,” “Japanese Decorative Arts,” “Korean Art,” and “Persian Miniatures,” in Ann Landi, ed., Schirmer Encyclopedia of Art, New York: Schirmer’s. 2000 “The Poetry of Punchong: Contemporary Korean White Slip Ware of Yu Byoung-Ho, Ree So-Juong and Choi Sung-Jae,” Ceramics Monthly 48:3 (March), pp. 45–48. 1999 “Fired Clay, Illuminated Culture,” Korea Foundation Newsletter (Sept./Oct.): 14–15. 1998 “Tatsumi Kato: A Lifetime in Ceramics,” Ceramics: Art and Perception 34 (Spring): 31– 33. 1996 “Shedding Light on Korean Ceramics,” Ceramics: Art and Perception 23 (Spring).

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Translations from Japanese 2016 Kawai Kanjirō, the poems “Work,” “Vigilance,” and selections from Windows of Life, in Botsugo 50 nen Kawai Kanjirō: kako ga saite iru ima, mirai no tsubomi de ippaina ima 没後50年過去が咲いている今 未来の蕾で一杯の今 [Exhibition of Kawai Kanjirō 50 Years after his Death: The Past is Blooming Now, and the Bud of the Future is the Abundant Present], ed. Sagi Tamei. Mainichi Press. 2016 Hattori Fumitaka, “Seto Ware,” Nakamura Taichi, “,” Oguri Yasuhiro, “Tokoname Ware” and Yokobori Satoshi, “Mashiko Ware” articles for “Made in Japan” site, ed. Maezaki Shinya, Google Cultural Institute https://www.google.com/culturalinstitute/u/0/project/made-in-japan. 2011 Koshikawa Michiaki, “The Current State of Research of El Greco’s Early Works: The Modena Triptych and the Newly-discovered Baptism of Christ,” and Otaka Yasujiro, “The Transition of the Image of the Itinerant Painter El Greco: Considering Various Issues from the Past to the Present and to the Future,” Bulletin of Nagasaki Prefectural Art Museum 4.

GRANTS, FELLOWSHIPS & OTHER FUNDING Sainsbury Institute for the Study of Japanese Arts & Cultures, Univ. of East Anglia, Norwich UK Subvention for the book Ceramics and Modernity in Japan, 2019 Robert and Lisa Sainsbury Fellowship (11 months, 2013–14) Ceramic Art Association subvention for Ceramics and Modernity in Japan, 2019 Alfred University International Fellowship for Faculty Development grant, summer 2019 research in France, Italy, and Germany Bernstein Fund for Student and Faculty Development grant, 2020, 2019, 2018, 2017, 2016, 2015 University of Michigan Asia Library Travel Grant (1 week, Aug. 2018) Japan Foundation Research Fellowship, Visiting Researcher at the International Research Center for Japanese Studies, Kyoto (7 months, 2017) Center for Craft, Creativity, and Design Research Fund Travel Grant, 2015 Japan-U.S. Friendship Commission and the Northeast Asia Council of the Association for Asian Studies research travel grant (summer 2016) University of Chicago Center for East Asian Studies Library Travel Grant (1 week, 2015) Earlham College: Academic Professional Development Fund Grant (research of gardens in Japan, 1 month, 2012) Boston University Graduate Writing Fellowship, 2011, 2008 Meghen Jones, 5

Graduate Research Abroad Fellowship, 2010 Dean’s Fellowship, 2006–2008 Henry Luce Foundation Fellowship, 2000–2001 Marcove Scholarship, 2000–2001 Fulbright IIE Doctoral Dissertation Research Grant for research at the National Museum of Modern Art, Tokyo, and throughout Japan (18 months, 2009–2010) Erwin Panofsky Fellowship for graduate study at the Institute of Fine Arts, New York University, 2002–2003 Award for Most Significant Influence on Artistic Development of Merit Award Student, National Foundation for Advancement in the Arts, 2002 Korea Foundation Korean Studies Fellowship, for six months of ceramics history and techniques research at the studio of Shin Sang-Ho , 1998 Japanese Ministry of Education Fellowship for language training at Osaka University of Foreign Studies and MA studies at Musashino Art University, 1993–1997

INVITED LECTURES 2021 “The Tea Bowl as Body,” Lecture for Rachel Gotlieb’s Aspects of the History of Ceramics: Ceramic “Bodies,” Concordia University, Feb. 3 2020 “Peter Voulkos and Japan,” Lecture for Ezra Shales’s Ceramics as Cultural Identity course, Massachusetts College of Art, Sept. 30 2020 “Mukashi wa ima, ima wa mukashi: Pasts and Presents of Ceramics in Japan,” Jackson Bailey Memorial Lecture Series, Earlham College, March 9 2020 “The Tea Bowl as a Microcosm of Modern Japanese Ceramics,” for Center for Japanese Studies Thursday Lecture Series, University of Michigan, Feb. 6 2019 “Tempest in a Tea Bowl,” Lecture for School of Art, Bowling Green State University, March 13 2017 “Encountering Tea Bowls in Kyoto,” Japan Foundation, Kyoto, June 20 2017 “The Ontology and Icon Formation of the Tea Bowl,” Nichibunken Evening Seminar, International Research Center for Japanese Studies, Kyoto, June 8 2015 “Creating a Potter's Paradise: Ceramics and Cultural Production in Modern Japan,” Depauw University, Nov. 1 2014 “Truth and Splendour: The Modern Porcelain of Tomimoto Kenkichi,” Third Thursday Lecture, Sainsbury Institute for the Study of Japanese Arts and Cultures, May 15 2014 “Ceramics and Cultural Production in 1950s Japan,” World Art Research Seminar, University of East Anglia, March 26 Meghen Jones, 6

2014 “When Craft Became Art: Tomimoto Kenkichi and the Discourse of the Self in Early Twentieth Century Japan,” Faculty of Asian & Middle Eastern Studies, University of Cambridge, Feb. 3 2013 “Tomimoto Kenkichi’s Porcelain and the Body Politic in Japan, 1920s–1950s,” Japan Research Seminar Lecture, SOAS, University of London, Oct. 30 2012 “Without Making Patterns from Patterns: Tomimoto Kenkichi and Modern Japanese Ceramics,” Annual Meeting Speaker for the Asian Art Society, Indianapolis Museum of Art, April 25 2011 “Mingei Ceramics,” Cincinnati Asian Art Society, Cincinnati Art Museum, Nov. 20 2011 “Imaging the Pot, Potting the Image: Modernist Japanese Visualities in the Prints, Photographs, and Metaceramics of Tomimoto Kenkichi," Univ. of Cincinnati, Oct. 13 2010 “Tomimoto Kenkichi: Modern Bunjin Spirit,” Lecture to Musashino Art University students, National Museum of Modern Art Crafts Gallery, June 27 (in Japanese) 2010 “Craft Now: Mapping American/Japanese Contemporary Crafts,” Utatsuyama Crafts Workshop, , June 24 (in Japanese; Co-lecture with Kida Takuya) 1999 “An Introduction to Korean Punch’ong and Chong’ja Techniques and History” Guest Lecture and Workshop Demonstrations, University of Toledo and Bowling Green State University, Ohio, 1999

CONFERENCE PARTICIPATION 2020 “Tomimoto Kenkichi’s My Ceramics Making and the West” for the conference Waga Tōki Tsukuri (My Ceramics Making), Arts Resources Research Center. Kyoto City University of Arts (online), Nov. 29

2019 “Intermediality and Expressionism in 1910s Japanese Pottery, Prints, and Paintings,” for the panel Rethinking Intermedial Aesthetics: Art in the Age of the Expanding Cultural Market in Japan and Beyond, 1870s–1940s, Association for Asian Studies Conference, Denver, March 22 2019 Chair of the session Ceramics and the Global Turn, College Art Association conference, New York City, Feb. 15 2018 “American Potters’ Interventions with the Tea Bowl: Using Thing Theory to Problematize Cultural Appropriation,” Back to the Future. The Future in the Past, International Committee on Design History and Studies (ICDHS) Conference, University of Barcelona, Spain. Oct. 31 2018 “Tea Bowls as National Treasures and Cultural Icons in 1950s Japan,” The Icon as Cultural Model: Past, Present and Future conference, Open University, University of Amsterdam, The Netherlands. Jan. 25 2017 “Reflections on the Current Status of Japanese Art History Studies in American Higher Education,” International Conference on Japanese Cultural Studies Outside of Japan– its Meghen Jones, 7

Current Status and Future Perspectives, University of East Anglia and the Sainsbury Institute for the Study of Japanese Arts and Cultures, Norwich UK, July 12 2015 “The Politics of Japanese Ceramics in Cold War America: Displaying and Performing Pre-Modern Culture,” From “Soft” to “Hard” Power? Changing Visions of Diplomacy by Design, 1945 Onwards Symposium, University of Brighton, UK, Nov. 27 2015 “Tomimoto Kenkichi, Living National Treasure of 1950s Japan,” Midwest Japan Seminar, Niagara University, NY, April 25 2015 “Ushering in a ‘Fresh Spirit’ to the Kokuten and Teiten: Tomimoto Kenkichi’s Ceramics and the Discourse of Bijutsu Tōki,” for the panel The Appreciation, Theory, and Practice of Art Ceramics in Modern Japan, Association for Asian Studies Conference, Chicago, March 28 2014 “The Nude, the Vessel, and the Empire,” for the workshop Ceramics, Art and Cultural Production in Modern Japan Sainsbury Institute for the Study of Japanese Arts and Cultures, Norwich, UK, May 23 2014 “The ‘Total Work of Craft’ in 1910s Japan,” The Gesamtkunstwerk: A Concept for All Times and Places Conference, University of Lisbon, Portugal, March 13 2012 “The Shining Jewel Lies in Your Hand: Experiential Education Approaches to East Asian Art History Courses,” The Future of East Asian Studies at Liberal Arts Colleges Conference, Earlham College, Indiana, Oct. 6 2012 Moderator, “Hiroshige and Kunisada at Earlham: Printed Visions of Travel and Literature in 19th Century Japan,” 3rd Annual Research Conference, Earlham College, Indiana, April 17 2011 “Tomimoto Kenkichi, Bernard Leach, and the Transnational Emergence of Bijutsu Tōki,” New England Association of Asian Studies Conference, Wellesley College, MA. October 22 2010 “Fans of Japan: Women’s Japonisme and Crazy Quilts in the United States 1876–1910,” Image and Gender Research Association Meeting, Musashi University, Tokyo. Feb. 14 (in Japanese) 2010 “Tomimoto Kenkichi's ‘Linkage’ (renkan) to Kenzan in the History of Modern Japanese Ceramics: Amateurism, Transnationalism, and Rebellion,” Modern Japanese History Workshop, Waseda University, Tokyo. February 5 2009 “Tomimoto Kenkichi and Ogata Kenzan,” Oriental Ceramics Society Symposium, National Museum of Modern Art, Tokyo, Nov. 29 (in Japanese) 2009 “Objects on the Edge of Function: Tomimoto Kenkichi’s Kyoto Period Overglaze Enamel Porcelain,” Modern Design History Workshop Japan Symposium, Kyoto Women’s University, Kyoto, Dec. 6 (in Japanese) 2008 “The Phallus According to Yayoi Kusama,” Love and Pop: Contemporary Visual Cultures in Japan and Beyond symposium, Brooklyn Museum, NY. April Meghen Jones, 8

2008 “Fans of Japan: Women’s Japonisme and Crazy Quilts in the United States 1876–1910,” Globalization Then and Now: Cultural Exchange Across Borders conference, City University of New York, New York City, March 2005 “The Ego Realized in Clay: Early Twentieth-century Japanese Ceramics and the Individual,” Midwest Art History Society Conference, Cincinnati Art Museum, OH 2002 “Yanagi Sōetsu’s Japan Folk Crafts Museum and the Construction of Japanese Folk Craft Identity” 7th Annual Japan-America Workshop for Japanese Art History, Keio University, Tokyo East Asian Studies Graduate Student Symposium, Harvard University, 2001

WORKSHOP ORGANIZED 2014 Ceramics, Art and Cultural Production in Modern Japan, Sainsbury Institute for the Study of Japanese Arts and Cultures, Norwich, UK, May 23

CAMPUS LECTURES & EVENTS 2019 Lecture, “From Montelupo Fiorentino to Meissen: Notes on Local/Global Ceramics Cultural Heritage and State Patronage in Europe Today,” Bergren Forum, Alfred University, Sept. 19 2019 Convener, lecture by Choichiro Yatani, Professor of Social and Behavioral Sciences, Alfred State, “The Journey of an “Undesirable Alien” from the Oki Islands, Japan, to Alfred, USA,” Global Studies program event, April 25 2019 Convener and moderator, panel discussion “Ai Weiwei’s Human Flow, Globalization, and Artists’ Interventions,” Global Studies program event with speakers Andrew Kless, Monir Madkour, Laura McGough, Andrés Monzón, and Jeff Sluyter-Beltrao, Feb. 20 2018 Convener, lecture by Visiting Researcher Dr. Hongxia Zhang, “Body of Desires: Beneath Porcelain Skin,” Oct. 4 2018 Convener, lecture by Anna Myzelev, Assistant Professor of Art History and Museum Studies, SUNY Geneseo, “When Balaklava goes Orange: Pussy Riot and the Fashion of Protest,” Feb. 14 2016 Lecture, “From Anime to Zen: Encountering Japan Program, Spring 2016,” Bergren Forum, Alfred University, Oct. 27 2016 Lecture, “Takashi Murakami, Superflat, and Contemporary Japanese Art” for ARTH211 Issues and Debates in Contemporary Art, Oct. 20 2015 Lecture, “A Potter’s Paradise: Ceramics and Craft Ideology in Modern Japan,” Bergren Forum, Alfred University, Sept. 10

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TEACHING EXPERIENCE Alfred University Teaching 12 credit hours per semester Graduate: ARTH 500 Ceramics in Japan and Beyond (Fall 2018) ARTH 539 Global Flows: Ceramic Art, Craft and Design (Fall 2014, Fall 2015, Fall 2016, Fall 2017, Fall 2018, Fall 2019, Fall 2020)

Undergraduate, advanced: ARTH 300 History of Modern Design (Spring 2019) ARTH 300 Ceramics in Japan and Beyond (Spring 2016, Fall 2018) ARTH 300 Contemporary Japanese Visual Culture (Fall 2015, Spring 2018, Fall 2020) ARTH300 History of Ceramics Late 19th Cent. to Present (Spring 2018, Spring 2020) ARTH 306 Arts of Japan (Spring 2015, Fall 2016, Spring 2019) ARTH 307 East Asian Design & Material Culture (Spring 2015, Spring 2016, Fall 2017, Fall 2019) ARTH 439 Global Flows: Ceramic Art, Craft and Design (Fall 2014, Fall 2015, Fall 2016, Fall 2017, Fall 2018, Fall 2019) ARTH 499 BS Thesis in Art History and Theory (Spring 2016, Spring 2019)

Undergraduate, introductory: ARTH 120 Encountering Japan: Art, Aesthetics, and Society (Spring 2016; 7-week course followed by 10-day foreign study program in Japan co-led with School of Business Director: 14 art history students and 4 business students) ARTH 126 Buddhist Arts of Asia (Fall 2014, Spring 2015, Fall 2015, Fall 2016; Fall 2017, Spring 2018, Fall 2018, Spring 2019, Spring 2020, Summer 2020) ARTH 128 Introduction to Material Culture (Fall 2015, Spring 2016, Fall 2017, Spring 2018, Fall 2018, Spring 2019)

Earlham College Undergraduate, advanced: East Asian Craft (Spring 2012) Gender and Japanese Visual Culture (Fall 2011) Japanese Art 19th Century to the Present (Spring 2012) Japanese Gardens (Spring 2013) Contemporary Japanese Visual Culture (Fall 2012) Ceramics II-III (Spring 1998)

Undergraduate, introductory: Arts of Japan (Fall 2011, Fall 2012) Arts of Asia (Spring 2013) Ceramics I (Spring 1998)

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Boston University Arts of Asia (Instructor of Record, Summer 2008, 2011, 2012) Global Arts and Crafts (Instructor of Record, Fall 2008; Spring 2011) Introduction to Art History I, Antiquity to the Middle Ages (Teaching Fellow for 3 sections, Fall 2007) Introduction to Art History II, Renaissance to Today (Teaching Fellow for 3 sections, Spring 2008)

Berklee College of Music Global Art History I (7 classes for 5 semesters total, 2006–2008) Arts of Japan (3 classes for 3 semesters total, 2006–2008)

COLLECTIONS, CURATORIAL, AND RESEARCH EXPERIENCE In progress: Curator Path of the Tea Bowl, Alfred Ceramic Art Museum 2015 Curator, Global Flows: Ceramics from the Permanent Collection, Alfred Ceramic Art Museum, April 23–August 15 2012 Curator, The Shining Jewel Lies in Your Hand: Buddhist Arts of Asia from the Earlham College Permanent Collection, Ronald Gallery, Earlham College, Fall 2008 Researcher and translator for Noh Modernisms: Pedagogies of Transnational Performance, Carrie Preston 2000–2006 Planning assistance for several international symposia on ceramics history and practice, Ceramics Program, Harvard University 2004-5 Coordinator, Place(meant): Recent Photography from the Midwest, Sympathetic: Manipulative Potential, Central Michigan University Art Gallery 2004 Translator for exhibition catalogue Trade Taste & Transformation: Jingdezhen Porcelain for Japan, 1620–1645 (2006) curated by Julia Curtis, The China Institute, New York 2003–2004 Creating digital catalogue of private Japanese art collection in New York, NY 2003 Researched and performed translation for Mika Gallery, New York, NY 2001 Researched /updated database of private collection of Japanese ceramics in Washington, DC

SCHOLARLY SERVICE Committee on Design, College Art Association, 2019– Research group member, Letters between Bernard Leach and Tomimoto Kenkichi in the Kyoto City University of Arts Collection Project, 2015– Treasurer, Japan Art History Forum, 2015–2018 Manuscript reviewer: Routledge; Bloomsbury; Pearson Education Article reviewer: Journal of Modern Craft; ˆReview; ASIANetwork Exchange: A Journal for Asian Studies in the Liberal Arts, 2017; Bulletin of the National Museum of Modern Art, Tokyo Meghen Jones, 11

Board of Directors, Studio Potter journal, 2002–2008

INSTITUTIONAL SERVICE Alfred University University-wide Co-chair, Online Faculty Development Task Force (Summer 2020) Director, Global Studies Program (10/2018–12/2020) Chair, Global Awareness Committee (10/ 2018–12/2020) Chair, Honors Thesis Committee for Amber Conrow (2019) Search Committee for Art Librarian (2018) Marlin Miller Outstanding Senior Awards Committee (2015–17) Alfred Research Grants for Undergraduate Studies Committee (2014–17) Consultant for Alfred Ceramic Art Museum acquisitions of Japanese ceramics (2014–) School of Art and Design Division Chair, Art History (8/2019–12/2020) Search Committee for Dean of School of Art & Design (2020) Graduate Advisory Committee (2017–18; 2019) BS in Art History and Theory thesis adviser: Gregory Lastrapes, “The Early History of Porcelain and the Significance of Shufu Ware: Science, Culture, and Material-Based Aesthetics” (2019) Emily Stoddard, “If Collections Could Speak, What Would They Say? A Study of Ten Objects from the John and Andrea Gill Collection of Ceramics” (2015) Reader, BS in Art History and Theory thesis, Grant Akiyama, “Vase and Jar: Shoji Hamada and Kitaoji Rosanjin in the Postwar Period” (2017) Search Committee for Tenure-Track Faculty in Art History (2019) Portfolio Committee (2016–18) Faculty Advisor, Art History Club (2015–19) Co-chair, Search Committee for Visiting Assistant Faculty in Art History (2016) Visiting Artists and Scholars Committee (2015–16) Juror, Variance: Survey of Graduate Student Work, Alfred Ceramics exhibition in conjunction with NCECA conference, The Wurks, Providence, RI (March 25–28, 2015) Representative at National Portfolio Day events / recruiting at high schools (2014, 2015, 2016, 2017)

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Earlham College Graduate Fellowship Committee (2013) Consultant to college’s curator of collections on acquisitions of Japanese and Korean art (2013) Reader of four Japanese Studies senior theses (2011–2013) Reviewer, senior art major capstone projects (2011–2013) Co-coordinator, Japanese Studies Faculty on Film series (Spring 2012) Coordinator of exhibition highlighting student research, Hiroshige and Kunisada at Earlham: Printed Visions of Travel and Literature in 1800s Japan, Landrum Bolling Center, Earlham College (Spring 2011)

LANGUAGES Japanese: Full professional proficiency French: Professional reading proficiency

PROFESSIONAL AFFILIATIONS Association for Asian Studies Academic Associate, Sainsbury Institute for the Study of Japanese Arts and Cultures (SISJAC) Japan Art History Forum (JAHF) (last updated 2/2021)