Andrew M. Watsky Department of Art and Archaeology 316 McCormick Hall Princeton University Princeton, NJ 08544 e-mail: [email protected] tel.: 609-258-9338 ∙ fax: 609-258-0103 Education Princeton University ∙ Ph.D., June 1994 • Dissertation: “The Art of the Ensemble: The Tsukubusuma Sanctuary, 1570-1615.” Princeton University ∙ M.A. January 1990 • Japanese Art and Archaeology • Mellon Fellowship in the Humanities o September 1986–June 1987 o September 1988–June 1991 o September 1993–June 1994 • Social Science Research Council and the American Council of Learned Societies, Fellowship Program for Completion of Doctoral Dissertations in Japanese Studies o July–August 1993 • Metropolitan Center for Far Eastern Art Studies Doctoral Grant o January–June 1993 • Fulbright-Hays Doctoral Dissertation Research Abroad Fellowship o September–December 1993 • Japan Foundation Dissertation Fellowship o September 1991–August 1992 • Spears Travel and Research Grant, Princeton University o March–April 1990 Oberlin College ∙ B.A., May 1979 • Art History • Elected to Phi Beta Kappa • Oberlin Shansi Memorial Association Fellow, Japan o September 1980–July 1982 May 4, 2021 Employment • Professor, Princeton University, Department of Art & Archaeology, June, 2008–present • Director, P.Y. and Kinmay W. Tang Center for East Asian Art, July 2017–present • Atsumi Visiting Associate Professor in Japanese Art, Department of Art History and Archaeology, Columbia University, New York, July–December 2006 • Associate Professor, Art History, Vassar College, New York, July 2001–June 2008 and September 1994–June 2001 • Curatorial Assistant/Assistant Curator of Japan: The Shaping of Daimyo Culture, 1185- 1868, National Gallery of Art, Washington, D.C., June 1987–September 1988 • Assistant Director, Gallery Ueda, Tokyo, April 1982–July 1986 Professional Grants and Fellowships • John Simon Guggenheim Memorial Foundation Fellowship, July 2007–-June 2008 • Publication Support Grant, Metropolitan Center for Far Eastern Art Studies, Kyoto, 2002. • Northeast Asia Council Research Travel Grant, May 2000–July 2000 • Travel and Research Grant, Vassar College, July 1995–August 1995; July 1996; May– July 2000; annual grants from 2001–2008 • Travel and Research Grant, Metropolitan Center for Far Eastern Art Studies, Kyoto, July 1996 • Visiting Scholar Grant, Tokyo National Research Institute of Cultural Properties, July– August 1995 Publications “A Double Take on Picturing Place in Japan,” Princeton University Art Museum Magazine (Princeton: Princeton University Art Museum, Winter 2019): 8-10. Picturing Place|Japan, brochure prepared in conjunction with exhibition Picturing Place in Japan, co-authored with Caitlin Karyadi (Princeton: Princeton University Art Museum, 2018). “Powdered Tea Container (Chaire) and Dish with Handle,” Asian Art Museum of San Francisco: Collection Highlights (San Francisco, Asian Art Museum, Chong-Moon Lee Center for Asian Art and Culture, 2018): 268-269. Around Chigusa: Tea and the Arts of Sixteenth-Century Japan, co-edited with Dora C.Y. Ching and Louise Allison Cort (Princeton: P.Y. and Kinmay W. Tang Center for East Asian Art, 2017). 2 Chigusa monogatari: Futatsu no umi o watatta karamono chatsubo [The Tale of Chigusa: The Karamono Tea Jar That Crossed Two Seas], co-edited with Takeuchi Jun’ichi, Oka Yoshiko, and Louise Allison Cort (Kyoto: Shibunkaku, 2016). [Revision and Japanese translation of Chigusa and the Art of Tea, co-edited with Louise Allison Cort (Washington, D.C.: Arthur M. Sackler Gallery, Smithsonian Institution, 2014).] “Chigusa no na” [Chigusa’s Names”], in Chigusa monogatari: Futatsu no umi o wattata karamono chatsubo, co-edited with Takeuchi Jun’ichi, Oka Yoshiko, and Louise Allison Cort (Kyoto: Shibunkaku, 2016). [Revision and Japanese translation of “Chigusa’s Name(s),” in Chigusa and the Art of Tea, co-edited with Louise Allison Cort (Washington, D.C.: Arthur M. Sackler Gallery, Smithsonian Institution, 2014).] “Chatsubo mei ‘Chigusa’” [The Tea Jar Named ‘Chigusa”], co-authored with Louise Allison Cort, Kokka no. 1441 (November 2015): 33-39. [in Japanese] Chigusa and the Art of Tea in Japan, brochure, co-authored with Louise Allison Cort (Princeton: Princeton University Art Museum, 2014). “Chigusa’s Name(s),” in Chigusa and the Art of Tea, co-edited with Louise Allison Cort (Washington, D.C.: Arthur M. Sackler Gallery, Smithsonian Institution, 2014). Chigusa and the Art of Tea, co-edited with Louise Allison Cort (Washington, D.C.: Arthur M. Sackler Gallery, Smithsonian Institution, 2014). “Representation in the Nonrepresentational Arts: Poetry and Pots in Sixteenth-Century Japan,” in Japanese Visual Culture: Performance, Media, and Text, ed. Haruo Shirane, Kobayashi Kenji and Saitō Maori, 145-152 (Tokyo: National Institute of Japanese Literature, 2013). Re-edited in Impressions no. 34 (2013):140-148. Also published in Japanese, “Jūroku seiki no Nihon ni okeru shika to ōtsubo: ‘Repurezentēshon’ o meguru kōsatsu,” in Amerika ni wattata monogatarie—emaki, byōbu, ehon, ed. Kokubungaku Shiryōkan, 178- 191 (Tokyo: Pelikansha, 2013). “Picturing Yūsai: The Poet Evoked,” in Crossing the Sea: Essays on East Asian Art in Honor of Professor Yoshiaki Shimizu, ed. Gregory Levine, Gennifer Weisenfeld, and Andrew M. Watsky, 137-158 (Princeton: P.Y. and Kinmay W. Tang Center for East Asian Art, 2012). Crossing the Sea: Essays on East Asian Art in Honor of Professor Yoshiaki Shimizu, coedited with Gregory Levine and Gennifer Weisenfeld (Princeton: P.Y. and Kinmay W. Tang Center for East Asian Art, 2012). Review of Morgan Pitelka, Handmade Culture: Raku Potters, Patrons, and Tea Practitioners in Japan (Honolulu: University of Hawai’i Press, 2005), in Artibus Asiae 68, no. 1 (2008), pp. 160-161. “Japanese Art at Vassar,” Art at Vassar (Fall 2004), pp. 4-5. 3 “Locating ‘China’ in the Arts of Sixteenth-Century Japan,” chapter in Location, ed. Deborah Cherry and Fintan Cullen, 68-92 (Oxford: Blackwell Publishing, 2007). First published in Art History 29: 4 (September 2006): 600-624. Translation of entries in Masterpieces of the Kyoto National Museum (Kyoto: Kyoto National Museum, 2004). Chikubushima: Deploying the Sacred Arts in Momoyama Japan (Seattle, WA: University of Washington Press, 2004). • Shimada Prize, 2006, awarded biennially by the Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution, Washington, D.C. and The Metropolitan Center for Far Eastern Art Studies in Kyoto, Japan for an outstanding publication on the history of East Asian art. • John Whitney Hall Book Prize, 2006, awarded annually by the Northeast Asia Council of the Association for Asian Studies to an outstanding English language book published on Japan or Korea. • Reviewed by: o Gregory Levine, Monumenta Nipponica 59, no. 3 (Autumn, 2004): 421-424; o Bruce A. Coats, CAA Reviews (August 2005); o Melanie Trede, Art Bulletin 87, no. 2 (2005): 343-346; o Morgan Pitelka, The Journal of Japanese Studies 31.2 (2005): 445-449; o Kendall H. Brown, The Journal of Asian Studies 64.2 (May 2005): 480-481; o Janice Katz, Early Modern Japan 14 (2006): 72-73. “Shi no bijutsu kara, Benzaiten no bijutsu e: Tsukubusuma Jinja Honden moya ni tsuite” [“From the Art of Death to the Art of Benzaiten: Concerning the Tsukubusuma Jinja Moya”], in Zen Kindai Nihon no shiryō isan purojekuto: Kenkyū shūkai hōkokushū 2001-2002, by COE Japan Memory Project (Tokyo: Historiographical Institute (Shiryo Hensan-jo), The University of Tokyo, 2003): 146-157. [in Japanese] “Floral Motifs and Mortality: Restoring Numinous Meaning to a Momoyama Building,” Archives of Asian Art 50 (1997-1998): 62-92. Review of Japan’s Golden Age: Momoyama, ed. Money L. Hickman, in Apollo 145, no. 421 (March 1997): 63-64. “Sutemaru no gen’ei: Tsukubusuma Jinja Honden moya o megutte” (“Memorializing Sutemaru: Regarding the Moya of the Tsukubusuma Sanctuary Main Hall”), Bijutsu kenkyū no. 366 (February 1997): 51-76. [in Japanese] 4 “Commerce, Politics, and Tea: The Career of Imai Sōkyū,” Monumenta Nipponica 50, no. 1 (Spring 1995): 47-65. Reprinted in Japanese Tea Culture: Art, History, and Practice, ed. Morgan Pitelka, 18-38 (London: Routledge, 2003). Entries in Japan: The Shaping of Daimyo Culture, 1185-1868, ed. Yoshiaki Shimizu (Washington, D.C.: National Gallery of Art, 1988). Exhibitions “Picturing Place in Japan,” curated with Caitlin Karyadi and Cary Liu, Princeton University Art Museum, October 20, 2018-February 24, 2019. “Chigusa and the Art of Tea in Japan,” co-curated with Louise Allison Cort, Princeton University Art Museum, October 11, 2014-February 1, 2015. “Chigusa and the Art of Tea,” co-curated with Louise Allison Cort, Arthur M. Sackler Gallery, February 22-July 27, 2014. Conference Papers, Lectures, Panels “Withered, Shrivelled, and Cold, Etcetera: Translating Tenshō Tea Aesthetics in a Global Age,” Beyond the Southern Barbarians: Repositioning Japan in the First Global Age, International Online Symposium, Kyushu University, 2/21. “About Wabi: Japanese Tea in the Late Sixteenth Century,” Tea Culture(s), International Colloquium, Ca’ Foscari University of Venice, 11/19. “Exhibiting Japan: Pictures of Famous, Sacred, and Imagined, Places,” Place Making in the Arts: Japan and Beyond panel, Princeton University Art Museum, 11/18. “Gained in Translation: The Vocabvlario and Japanese Tea,” Universidade Nova de Lisboa, 10/18. “The Vocabvlario as Insight: The Portuguese and Tea at the Turn of the Sixteenth Century,” Universidade Nova de Lisboa, 10/18. “‘Hearing with the Eyes’: Tea, Aesthetics,