DOCSLIB.ORG

SAYONARA, YOMIURI INDEPENDENT (1964) Tōno Yoshiaki

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
SAYONARA, YOMIURI INDEPENDENT (1964) Tōno Yoshiaki BUNKA-CHO ART PLATFORM JAPAN TRANSLATION SERIES EXHIBITION HISTORIES SAYONARA, YOMIURI INDEPENDENT (1964) Tōno Yoshiaki A source of so much excitement since 1948,1 the Yomiuri Independent is no more. But what of the Tokyo Metropolitan Art Museum’s “six rules” for exhibiting works and the freedom of expression? Is this mission over for free, anti-establishment/ unjuried exhibitions? BUNKA-CHO ART PLATFORM JAPAN TRANSLATION SERIES TŌNO The Yomiuri independenT exhibiTion was discontinued this 1 [The Yomiuri Shimbun Co.’s announce- year, making the previous fifteenth edition its last.2 That means one ment in October 1948 that it would launch less thing to look forward to in the spring.3 Every year, just as things its own Japan Independent Exhibition were settling in to the new season,4 I would cheerfully head over to that caused a stir, as an exhibition of the same place to which I usually hardly ever go, the Metropolitan Art Museum name had been launched the year prior, in Ueno Park. Since in recent years the Yomiuri Shimbun, as exhibition in 1947, by the Japan Art Society [Nihon sponsor, would have five or six critics do write ups of their top works Bijutsu Kai]. The first Yomiuri-sponsored that ran with illustrations on the front page of the evening edition,5 it Japan Independent Exhibition was held in became my custom, at a certain point, to visit on set up day. The venue 1949. Over time the exhibition came to be always seethed with a feverish energy: somebody would be busily known as the Yomiuri Independent in dis- constructing a giant castle out of trash on one side, while a purist would tinction to the other Japan Independent, be hanging and rehanging their paintings [tableaux] on the other. Most and the name was officially recognized of the paintings would still be leaning against the wall, and as I turned from the eighth edition of 1956 onward. them over one after another to pick and choose which I liked, some William Marotti provides an overview of artist would come along and ask me to comment on their work. I’d be the history and social context of the Yomi- the one to get all flustered, and then the next comer would step forth uri Independent, including the contention while I was still tripping over my tongue. I guess visiting on set up day over its name, in “Artistic Practice Finds Its was my best chance for direct contact with young artists—though I can’t Object: The Avant-Garde and the Yomiuri say how the artists felt as they watched us featured critics snooping Indépendant,” pt. 2 in Money, Trains, and about like inspectors.6 This is where I first met Shusaku Arakawa,7 stood Guillotines (Durham, NC: Duke University entranced by Tetsumi Kudo’s anemone-like vinyl sculpture,8 doubled Press, 2013), 111–99. In the case of both over laughing at Ushio Shinohara’s Mohawk hairstyle,9 and was struck exhibitions, the titular independent is by Okamoto Shinjirō’s Marilyn Monroe picture Death of an Actress derived from the French indépendant. (1963).10 There’s no doubt this sweaty weed patch is where my criticism 2 [The decision was made in January was cultivated. 1964.] I’m not getting sentimental here. Setting aside the motivation or 3 [shinnen , literally, “new year.” 新年 reasoning behind it, the discontinuation of the exhibition was obviously Tōno’s idiomatic use of this term derives only a matter of time, and there’s a part of me that even welcomes from the coincidence of the new year with it. The Yomiuri Independent was certainly an important exhibition for the start of spring in the lunar calendar. laying the foundation of Japan’s postwar art scene. It was, first off, a Running for about two weeks each time, stronghold for young artists seeking free expression in opposition the Yomiuri Independent generally opened to the revival of the exclusive salons and art associations of the old in late February or early March, in contrast prewar system. But if the authority of the association exhibitions has to the juried exhibitions organized by art completely hit bottom, and everything is freer now than ever before— associations, which were held in the fall.] almost disturbingly so—then we could say that the Independent, which 4 [toshi ga ake , literally, “the 年が明け staked itself on being “anti-establishment” and “free,” has fulfilled its year would start.” Here again Tōno draws mission. upon new year imagery to establish the 2 BUNKA-CHO ART PLATFORM JAPAN TRANSLATION SERIES TŌNO sense of the Yomiuri Independent kicking off the art calendar. Promotional coverage of the exhibi- tion in the Yomiuri Shimbun often referred to the exhibition as the start of the spring art season.] 5 [The timing and format of this feature in fact changed over the years. For the 9th Yomiuri Inde- pendent in 1957, six critics—Imaizumi Atsuo, Nakahara Yūsuke, Okamato Kenjirō, Tominaga Sōichi, and Uemura Takachiyo along with Tōno—each spotlighted a single work in a splashy layout that took up most of page 3 of the March 8 evening edition, toward the end of that year’s run from Feb- ruary 25 to March 12. (Tōno wrote about the painter Toneyama Kōjin.) But for the eleventh edition, held from February 28 to March 15, 1959, the spotlights ran serially on the front page across several days, starting with Tominaga Sōichi’s appraisal of a painting by Kiyokawa Taiji on March 2, and concluding with Hijikata Teiichi’s commentary on a Nagahara Tatsurō painting on March 7. (Tōno did not contribute this year.)] 6 [kensatsukan , literally, “prosecutor.” The word choice is noteworthy considering that 検察官 Neo-Dadaist artist Akasegawa Genpei had been written up in a sensational article in that year’s January 27 edition of the Asahi Shimbun that identified him as the subject of a criminal investi- gation into the production of “imitation” 1,000-yen notes, and speciously linked him to a major forgery ring. See also Akasegawa Genpei, “‘Shihon shugi riarizumu’ ron,” Nihon dokusho shimbun, no. 1246 (February 24, 1964). For the English, see “Theses on ‘Capitalist Realism,’” trans. William Marotti, Bunka-cho Art Platform Japan.] 7 [Tōno wrote about Arakawa’s work at the 11th Yomiuri Independent for the March 8, 1961, eve- ning edition of the Yomiuri Shimbun. Arakawa moved to New York later that year.] 8 [Although Kudo submitted work to multiple editions of the Yomiuri Independent, Tōno is most likely referring to Proliferating Chain Reaction (B) (1959–60), exhibited at the twelfth edition of 1960. On opening day that year, Tōno led off the featured works series on the front page of theYomiuri Shimbun’s evening edition with a spotlight of this work that has since gained notoriety for intro- ducing the phrase junk Anti-Art (garakuta no hangeijutsu) into Japanese art discourse. In his article, Tōno describes the work as comprising “red and white and yellow vinyl strings that were all tied together and knotted into [a structure made of] scrubbing brushes.” See Tōno Yoshiaki, “Garakuta no hangeijutsu” [Junk anti-art], Yomiuri Shimbun, March 2, 1960, evening edition.] 9 [A trademark look of the artist’s, memorably documented in a profile for the April 27, 1958, edi- tion of the weekly Shūkan sankei that anointed Shinohara a “rockabilly painter.” As reproduced in Ushio Shinohara, Zen’ei no michi [The avant-garde road] (Tokyo: Bijutsu Shuppansha, 1968), 31–33.] 3 BUNKA-CHO ART PLATFORM JAPAN TRANSLATION SERIES TŌNO There are those who get angry about the Yomiuri Shimbun Co. 10 [Okamoto’s “manga-esque” paintings suddenly deciding to discontinue the exhibition and then notifying of “actresses or men and women” earned only the artists without offering an official explanation in the paper, but praised from the critic Nakahara Yūsuke that’s a minor quibble, and it’s a bit more mature to acknowledge in a comprehensive review of the 1963 they did well to take it this far in a country where exhibitions function Yomiuri Independent, “Dai 15-kai Yomi- solely as commercial ventures for newspaper companies and uri Andepandan-ten no tenbō: Shikaku department stores. geijutsu ni shinpū” [The outlook from the I’ve gotten roped into insider meetings about this issue twice 15th Yomiuri Independent Exhibition: A already of late. And what I sensed was that while everyone makes new phase in visual art], Yomiuri Shimbun, a big show 11 of wanting to keep the Independent going, they don’t March 12, 1963, evening edition.] have any realistic proposals or display any true commitment. There’s 11 [daigimeibun . Derived from 大義名文 nothing I despise more than this big show, which doesn’t even amount Confucian terminology for the appropriate to the yapping of a whipped cur. And you know why it doesn’t amount bearing of vassals in relation to their lord, to anything? Because, obviously, it would be hard to get mass media this word has come to have the sense of coverage if you did an exhibition that no longer had the involvement “pretense” or “pretext” in modern Japa- of a newspaper company. About ninety percent of the appeal of the nese. It is related to the customary practice Yomiuri Independent for participants surely came down to the hope of presenting one’s tatemae (outward that, just maybe, they could get their work on the front page of the stance) without revealing one’s honne (real evening edition and instantly be minted a star artist in the press. I find intent) in formal communication in Japan. the ambition, the vanity of these artists to be incredibly contemporary, In other words, it refers to a difference and beautiful.
Load more

Recommended publications
  • Booxter Export Page 1
    Cover Title Authors Edition Volume Genre Format ISBN Keywords The Museum of Found Mirjam, LINSCHOOTEN Exhibition Soft cover 9780968546819 Objects: Toronto (ed.), Sameer, FAROOQ Catalogue (Maharaja and - ) (ed.), Haema, SIVANESAN (Da bao)(Takeout) Anik, GLAUDE (ed.), Meg, Exhibition Soft cover 9780973589689 Chinese, TAYLOR (ed.), Ruth, Catalogue Canadian art, GASKILL (ed.), Jing Yuan, multimedia, 21st HUANG (trans.), Xiao, century, Ontario, OUYANG (trans.), Mark, Markham TIMMINGS Piercing Brightness Shezad, DAWOOD. (ill.), Exhibition Hard 9783863351465 film Gerrie, van NOORD. (ed.), Catalogue cover Malenie, POCOCK (ed.), Abake 52nd International Art Ming-Liang, TSAI (ill.), Exhibition Soft cover film, mixed Exhibition - La Biennale Huang-Chen, TANG (ill.), Catalogue media, print, di Venezia - Atopia Kuo Min, LEE (ill.), Shih performance art Chieh, HUANG (ill.), VIVA (ill.), Hongjohn, LIN (ed.) Passage Osvaldo, YERO (ill.), Exhibition Soft cover 9780978241995 Sculpture, mixed Charo, NEVILLE (ed.), Catalogue media, ceramic, Scott, WATSON (ed.) Installaion China International Arata, ISOZAKI (ill.), Exhibition Soft cover architecture, Practical Exhibition of Jiakun, LIU (ill.), Jiang, XU Catalogue design, China Architecture (ill.), Xiaoshan, LI (ill.), Steven, HOLL (ill.), Kai, ZHOU (ill.), Mathias, KLOTZ (ill.), Qingyun, MA (ill.), Hrvoje, NJIRIC (ill.), Kazuyo, SEJIMA (ill.), Ryue, NISHIZAWA (ill.), David, ADJAYE (ill.), Ettore, SOTTSASS (ill.), Lei, ZHANG (ill.), Luis M. MANSILLA (ill.), Sean, GODSELL (ill.), Gabor, BACHMAN (ill.), Yung
    [Show full text]
  • Off Museum! Performance Art That Turned the Street Into 'Theatre,' Circa 1964 Tokyo
    Performance Paradigm 2 (March 2006) Off Museum! Performance Art That Turned the Street into ‘Theatre,’ Circa 1964 Tokyo Midori Yoshimoto Performance art was an integral part of the urban fabric of Tokyo in the late 1960s. The so- called angura, the Japanese abbreviation for ‘underground’ culture or subculture, which mainly referred to film and theatre, was in full bloom. Most notably, Tenjô Sajiki Theatre, founded by the playwright and film director Terayama Shûji in 1967, and Red Tent, founded by Kara Jûrô also in 1967, ruled the underground world by presenting anti-authoritarian plays full of political commentaries and sexual perversions. The butoh dance, pioneered by Hijikata Tatsumi in the late 1950s, sometimes spilled out onto streets from dance halls. Students’ riots were ubiquitous as well, often inciting more physically violent responses from the state. Street performances, however, were introduced earlier in the 1960s by artists and groups, who are often categorised under Anti-Art, such as the collectives Neo Dada (originally known as Neo Dadaism Organizer; active 1960) and Zero Jigen (Zero Dimension; active 1962-1972). In the beginning of Anti-Art, performances were often by-products of artists’ non-conventional art-making processes in their rebellion against the artistic institutions. Gradually, performance art became an autonomous artistic expression. This emergence of performance art as the primary means of expression for vanguard artists occurred around 1964. A benchmark in this aesthetic turning point was a group exhibition and outdoor performances entitled Off Museum. The recently unearthed film, Aru wakamono-tachi (Some Young People), created by Nagano Chiaki for the Nippon Television Broadcasting in 1964, documents the performance portion of Off Museum, which had been long forgotten in Japanese art history.
    [Show full text]
  • Robert Morris, Minimalism, and the 1960S
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 1988 The Politics of Experience: Robert Morris, Minimalism, and the 1960s Maurice Berger Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1646 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book.
    [Show full text]
  • Cutie and the Boxer, 1/11/2013
    CUTIE AND THE BOXER, 1/11/2013 PRESENTS A FILM BY ZACHARY HEINZERLING CUTIE AND THE BOXER US|HD UK THEATRICAL RELEASE: 1 Nov, 2013 RUNNING TIME: 82 minutes Press Contact: Yung Kha T. 0207 831 7252 [email protected] Web: http://cutieandtheboxer.co.uk/ Twitter: @CutieAndBoxer Facebook: http://www.facebook.com/cutieandtheboxer CUTIE AND THE BOXER, 1/11/2013 SHORT SYNOPSIS A reflection on love, sacrifice, and the creative spirit, this candid New York story explores the chaotic 40- year marriage of renowned “boxing” painter Ushio Shinohara and his artist wife, Noriko. As a rowdy, confrontational young artist in Tokyo, Ushio seemed destined for fame, but met with little commercial success after he moved to New York City in 1969, seeking international recognition. When 19-year-old Noriko moved to New York to study art, she fell in love with Ushio—abandoning her education to become the wife and assistant to an unruly, husband. Over the course of their marriage, the roles have shifted. Now 80, Ushio struggles to establish his artistic legacy, while Noriko is at last being recognized for her own art—a series of drawings entitled “Cutie,” depicting her challenging past with Ushio. Spanning four decades, the film is a moving portrait of a couple wrestling with the eternal themes of sacrifice, disappointment and aging, against a background of lives dedicated to art. LONG SYNPOSIS Cutie and the Boxer is an intimate, observational documentary chronicling the unique love story between Ushio and Noriko Shinohara, married Japanese artists living in New York. Bound by years of quiet resentment, disappointments and missed professional opportunities, they are locked in a hard, dependent love.
    [Show full text]
  • Galleria Massimo Minini
    GALLERIA MASSIMO MININI Via Apollonio 68 – 25128 Brescia tel. 030383034 [email protected] www.galleriaminini.it shusaku arakawa seventeen works Can art be put at the service of the mind? Marcel Duchamp made this a principle, Shusaku Arakawa made it a reality. Arakawa, an artist who was anything but local in his thinking, left Japan to plunge into the New York scene of the ’60s. With one goal: to create mental art, a science of the imagination that conceives and conveys two civilizations; a new form of thought that blends together two opposite worlds: analytic and compendious, discriminating and absolutizing, impersonal and subjective. He drew on concrete reality, on visual images anchored to the world around them, objects described through mental diagrams—shadows at first, then graphic renderings that follow geometric rules. Since the visible world is impossible to capture with the sole aid of geometry, he proceeded by meditation, infusing atonal fields with pure spirit and trading images for words. The names of things conjure up enigmatic outlines, similar forms refer to different objects, color is added to give substance to the arrangement of signs. What we see on the canvas before us is not a fixed image, but a visualization of thought in movement. Shusaku Arakawa (Nagoya, July 6, 1936 – Manhattan, May 18, 2010) was an artist and architect, one of the best-known and most influential figures in Japanese art. His major shows have included: Museum of Modern Art, Tokyo, 1958; MOMA, New York, 1966; 35th Venice Biennale, 1970; Neue National Galerie, Berlin, 1972; Städtische Kunsthalle Düsseldorf, 1977; Solomon R.
    [Show full text]
  • Translating the Narrative: an Approach to the Conceptual Design of a Contemporary Orthodox Christian Church
    Translating the Narrative: an Approach to the Conceptual Design of a Contemporary Orthodox Christian Church by Anastasiya Burchevska A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master In Architecture Carleton University Ottawa, Ontario © 2016 Anastasiya Burchevska Abstract The conceptual design approach is meant to address the challenges faced by an architect when it comes to creating a contemporary Orthodox Christian church. The design would have to adapt to various urban, architectural and social conditions that significantly differ from those of the previous eras. This design approach establishes a framework that allows the integration of the various design aspects of such a complex architectural object as the Orthodox Christian church at the conceptual design stage. This thesis focuses on the creation of the architectural narrative or the information layer integrated in the building design as a method of communicating a theological concept in terms applicable to the current cultural and temporal context. ii Table of Contents Translating the Narrative: an Approach to the Conceptual Design of a Contemporary Orthodox Christian Church ................................................................................................. i Abstract ......................................................................................................................... ii Table of Contents ........................................................................................................
    [Show full text]
  • Case 1:17-Cv-07748 Document 1 Filed 10/10/17 Page 1 of 20
    Case 1:17-cv-07748 Document 1 Filed 10/10/17 Page 1 of 20 UNITED STATES DISTRICT COURT SOUTHERN DISTRICT OF NEW YORK ARCHITECTURAL BODY RESEARCH FOUNDATION, Civil Action No.: Plaintiff, v. COMPLAINT REVERSIBLE DESTINY FOUNDATION, INC., ESTATE OF MADELINE GINS, RONALD SPENCER AND MICHAEL GOVAN AS DIRECTORS OF THE REVERSIBLE DESTINY FOUNDATION, INC. AND DEMAND FOR JURY TRIAL EXECUTORS OF THE ESTATE OF MADELINE GINS, AND STEPHEN GINS, AS EXECUTOR OF THE ESTATE OF MADELINE GINS, Defendants. The Architectural Body Research Foundation, Inc. (“ABRF”), by its undersigned counsel, alleges, upon knowledge as to facts known to it, and upon information and belief as to all other matters, as follows: PRELIMINARY STATEMENT 1. ABRF, a non-profit foundation, brings this action against Defendants for copyright infringement, declaratory judgment, conversion and replevin in connection with the unlawful taking and exploitation of a valuable work of art entitled The Mechanism of Meaning, by the late artist Shusaku Arakawa (“Arakawa”) and his wife, Madeline Gins (“Gins”). 2. ABRF was founded by Arakawa and Gins in May 1987 under the name Container of Minds Foundation. As set forth in its founding documents, the organization is dedicated to the construction of large-scale, permanent monuments in the nature of architectural sculpture manifesting a developing body of esthetic and perceptual thought. The creation of those works was a logical extension of the lifework of Arakawa and Gins and their seminal work of conceptual art known as The Mechanism of Meaning. The work exists in several editions and Case 1:17-cv-07748 Document 1 Filed 10/10/17 Page 2 of 20 media, including books, paintings and drawings.
    [Show full text]
  • Shusaku ARAKAWA Et La Reversible Destiny
    19/06/2015 Ruri TAKAHASHI Shusaku ARAKAWA et la Reversible Destiny Né le 6 juillet 1936 à Nagoya au Japon et mort le 19 mai 2010 à New York, il est un architecte et plasticien contemporain japonais.Après avoir fait des études de mathématiques et de médecine, Shusaku Arakawa s'orienta vers la création artistique dans la mouvance néo-dada (en). Il réalise sa première exposition personnelle en 1958. En 1960, il est cofondateur du groupe des Neo Dada Organizers, avant de partir pour New York en 1961, où il réside depuis. Il y rencontre en 1963 sa future compagne, la poétesse Madeline Gins (en), qui participera dès lors à la création de ses œuvres. Le travail d'Arakawa est constitué d'interrogations en forme de jeu entre l'image et le langage, entre le signifiant, le mot, et sa signification. Il fait immédiatement penser à Marcel Duchamp et à ses recherches. Ces œuvres peuvent prendre l'aspect apparent de diagrammes scientifiques, ou de schémas extraits d'ouvrages philosophiques. Il faut bien sûr relier cet aspect aux études scientifiques qu'il fit avant de se diriger vers l'art.Le travail en apparence froid et objectif, avec ces lettres tracées au normographe et ses quadrillages recouvrent en effet une réflexion profonde sur le dialogue entre le mot et l'objet qu'il désigne. Architecture Shûsaku Arakawa devient architecte et fait carrière dans cette voie à partir des années 1980, sans renoncer pour autant à son travail de plasticien.Shûsaku Arakawa et Madeline Gins innovent en proposant en 1987 le concept de Architecture contre la mort (Architecture Against Death) qui guidera toute la suite de leurs conceptions.Ce concept privilégie l'aspect ludique, original, coloré des bâtiments, plutôt que le côté pratique ou fonctionnel.
    [Show full text]
  • A Companion to Digital Art WILEY BLACKWELL COMPANIONS to ART HISTORY
    A Companion to Digital Art WILEY BLACKWELL COMPANIONS TO ART HISTORY These invigorating reference volumes chart the influence of key ideas, discourses, and theories on art, and the way that it is taught, thought of, and talked about throughout the English‐speaking world. Each volume brings together a team of respected international scholars to debate the state of research within traditional subfields of art history as well as in more innovative, thematic configurations. Representing the best of the scholarship governing the field and pointing toward future trends and across disciplines, the Blackwell Companions to Art History series provides a magisterial, state‐ of‐the‐art synthesis of art history. 1 A Companion to Contemporary Art since 1945 edited by Amelia Jones 2 A Companion to Medieval Art edited by Conrad Rudolph 3 A Companion to Asian Art and Architecture edited by Rebecca M. Brown and Deborah S. Hutton 4 A Companion to Renaissance and Baroque Art edited by Babette Bohn and James M. Saslow 5 A Companion to British Art: 1600 to the Present edited by Dana Arnold and David Peters Corbett 6 A Companion to Modern African Art edited by Gitti Salami and Monica Blackmun Visonà 7 A Companion to Chinese Art edited by Martin J. Powers and Katherine R. Tsiang 8 A Companion to American Art edited by John Davis, Jennifer A. Greenhill and Jason D. LaFountain 9 A Companion to Digital Art edited by Christiane Paul 10 A Companion to Public Art edited by Cher Krause Knight and Harriet F. Senie A Companion to Digital Art Edited by Christiane Paul
    [Show full text]
  • 2012 SUNY New Paltzdownload
    New York Conference on Asian Studies September 28 –29, 2012 ________________________________________________________________________ ________________________________________________________________________ NYCAS 12 Conference Theme Contesting Tradition State University of New York at New Paltz Executive Board New York Conference on Asian Studies Patricia Welch Hofstra University NYCAS President (2005-2008, 2008-2011, 2011-2014) Michael Pettid (2008-2011) Binghamton University, SUNY Representative to the AAS Council of Conferences (2011-2014) Kristin Stapleton (2008-2011, 2011-2014) University at Buffalo, SUNY David Wittner (2008-2011, 2011-2014) Utica College Thamora Fishel (2009-2012) Cornell University Faizan Haq (2009-2012) University at Buffalo, SUNY Tiantian Zheng (2010-2013) SUNY Cortland Ex Officio Akira Shimada (2011-2012) David Elstein (2011-2012) SUNY New Paltz NYCAS 12 Conference Co-Chairs Lauren Meeker (2011-2014) SUNY New Paltz NYCAS Treasurer Ronald G. Knapp (1999-2004, 2004-2007, 2007-2010, 2010-2013) SUNY New Paltz NYCAS Executive Secretary The New York Conference on Asian Studies is among the oldest of the nine regional conferences of the Association for Asian Studies (AAS), the largest society of its kind in the world. NYCAS is represented on the Council of Conferences, one of the sub-divisions of the governing body of the AAS. Membership in NYCAS is open to all persons interested in Asian Studies. It draws its membership primarily from New York State but welcomes participants from any region interested in its activities. All persons registering for the annual meeting pay a membership fee to NYCAS, and are considered members eligible to participate in the annual business meeting and to vote in all NYCAS elections for that year.
    [Show full text]
  • This Deleuzian Century Faux Titre Etudes De Langue Et Littérature Françaises
    This Deleuzian Century Faux Titre Etudes de langue et littérature françaises Series Editors Keith Busby M.J. Freeman† Sjef Houppermans et Paul Pelckmans VOLUME 400 The titles published in this series are listed at brill.com/faux This Deleuzian Century Art, Activism, Life Edited by Rosi Braidotti Rick Dolphijn LEIDEN | BOSTON Cover illustration: Denis Sinyakov, photographer, www.denissinyakov.com Library of Congress Control Number: 2015933470 issn 0167-9392 isbn 978-90-42-03916-2 (paperback) isbn 978-94-01-21198-7 (e-book) Copyright 2014 by Koninklijke Brill nv, Leiden, The Netherlands. Koninklijke Brill nv incorporates the imprints Brill, Brill Hes & De Graaf, Brill Nijhoff, Brill Rodopi and Hotei Publishing. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Koninklijke Brill nv provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, ma 01923, usa. Fees are subject to change. This book is printed on acid-free paper. Acknowledgments As the editors of This Deleuzian Century, we wish to specially thank the following persons for hosting the National Symposium on Deleuze Scholarship: Andrej Radman, Sjoerd van Tuinen, Henk Oosterling, Frans- Willem Korsten, Arjen Kleinherenbrink and Anneke Smelik. Our gratitude to Denis Sinyakov for donating the striking photograph on the book cover. Many thanks to Christa Stevens from Rodopi for her editorial assistance in the preparation of this volume; to Sophie Chapple for helping with the copy editing process, and especially to Goda Klumbyte and Toa Maes for general assistance.
    [Show full text]
  • Ushio Shinohara Maltese Falcon
    MEDIA RELEASE For more information contact: Deborah M. Colton 713.869.5151 [email protected] Ushio Shinohara Maltese Falcon January 11, 2020 through February 29, 2020 Public Opening Reception: Saturday, January 11th from 6:00 to 8:00 pm Deborah Colton Gallery is pleased to present Ushio Shinohara: Maltese Falcon. The exhibition features the newest works by the internationally acclaimed Japanese artist, Ushio Shinohara, whose performative paintings are created with boxing gloves he uses like paintbrushes. His flashy, multicolored three- dimensional sculptures are also included in the exhibition, which nearly vibrates with the energy of the works that comprise the show. There is a public opening reception on Saturday, January 11th from 6:00 to 8:00 pm. Born in Tokyo in 1932, Ushio Shinohara (nicknamed "Gyu-chan") is a Japanese Neo-Dadaist artist and International Pop painter who has lived and worked in the United States since 1969. His parents, a tanka poet and Japanese painter, instilled in him a love for artists such as Cézanne, Van Gogh, and Gauguin. Most recently known for his exuberant boxing paintings, which are artifacts of his performances, Ushio Shinohara works in several mediums, including painting, printmaking, drawing and sculpture. His work was first featured at Deborah Colton Gallery in the grand exhibition Love is a Roar-r-r!, along side works of his wife, artist Noriko Shinohara, whose series Cutie and the Bullie tells the story of their tumultuous relationship. Both were featured in the Oscar and Academy Award nominated documentary, Cutie and the Boxer, which depicts their more than 40-year relationship as a couple and as artists.
    [Show full text]