Relevant bibliographies by topics / Contemporary Japanese art

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Contemporary Japanese art'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 February 2022

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Journal articles on the topic "Contemporary Japanese art"

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Tagore-Erwin, Eimi. "Contemporary Japanese art: between globalization and localization." Arts and the Market 8, no. 2 (October 1, 2018): 137–51. http://dx.doi.org/10.1108/aam-04-2017-0008.

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Purpose The purpose of this paper is to identify and analyze the influence that globalization has had on the development of the contemporary Japanese art production. The study also aims to expand the global narrative of Japanese art by introducing concepts behind festivals for revitalization that have been occurring in Japan in recent years. Design/methodology/approach Guided by Culture Theorist Nira Yuval-Davies’ approach to the politics of belonging, the paper is situated within cultural studies and considers the development of contemporary art in Japan in relation to the power structures pr
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Clark, John. "Japanese Modern and Contemporary Art: An Art-Historical Field." Art History 41, no. 4 (September 2018): 766–71. http://dx.doi.org/10.1111/1467-8365.12393.

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Moeran, Brian. "The Art World of Contemporary Japanese Ceramics." Journal of Japanese Studies 13, no. 1 (1987): 27. http://dx.doi.org/10.2307/132585.

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Foxwell, Chelsea. "The Painting of Sadness? The Ends of Nihonga, Then and Now." ARTMargins 4, no. 1 (February 2015): 27–60. http://dx.doi.org/10.1162/artm_a_00104.

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Nihonga (literally “Japanese painting”) is a term that arose in 1880s Japan in order to distinguish existing forms of painting from newly popularized oil painting, and even today it is a category of artistic production apart from contemporary art at large. In this sense, nihonga is the oldest form of a broader worldwide category of “tradition-based contemporary art.” While nihonga was supposed to encompass any form of “traditional” painting, however, in practice it was held together by a recognizable style. When nihonga stopped fulfilling certain material or stylistic criteria, it ceased to be
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Wakeling, Emily Jane. ""Girls are dancin": shōjo culture and feminism in contemporary Japanese art." New Voices 5 (December 2011): 130–46. http://dx.doi.org/10.21159/nv.05.06.

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Foxwell, Chelsea. "The Currency of “Tradition” in Recent Exhibitions of Contemporary Japanese Art." Journal of Asian Humanities at Kyushu University 4 (March 2019): 57–76. http://dx.doi.org/10.5109/2231581.

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Higa, Karin. "Some Thoughts on National and Cultural Identity: Art by Contemporary Japanese and Japanese American Artists." Art Journal 55, no. 3 (1996): 6. http://dx.doi.org/10.2307/777760.

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Vandsø, Anette. "Rheo: Japanese sound art interrogating digital mediality." Acta Universitatis Sapientiae, Film and Media Studies 9, no. 1 (December 1, 2014): 141–54. http://dx.doi.org/10.1515/ausfm-2015-0007.

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Abstract The article asks in what way the Japanese sound artist, Ryoichi Kurokawa’s audiovisual installation, Rheo: 5 Horisonz (2010), is “digital.” Using professor Lars Elleström’s concept of “mediality,” the main claim in this article is that Rheo not only uses digital technology but also interrogates digital mediality as such. This argument is pursued in an analysis of Rheo that draws in various descriptions of digital media by N. Catherine Hayles, Lev Manovic, Bolter, and Grusin among other. The article will show how the critical potential in Rheo is directed both towards digital media as
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Ognieva, T. K. "FEATURES OF THE DEVELOPMENT OF CONTEMPORARY CHINESE, KOREAN AND JAPANESE ART AND CINEMA." UKRAINIAN CULTURAL STUDIES, no. 1 (6) (2020): 69–83. http://dx.doi.org/10.17721/ucs.2020.1(6).15.

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The article analyzes the conditions and factors that influenced the formation of contemporary art and cinema in China, South Korea and Japan. We can determine the peculiarities of the development of Chinese contemporary art, such as the desire of the first artists, after the Cultural Revolution, to reflect its flux and effects as much as possible. Further, artistic tendencies become diverse: the commercial component and a certain element of the state of affairs are viewed in the works of art by Chinese authors, but the desire for self-expression in different ways testify to the progressive phe
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Kitazawa, Noriaki, and 빛나 황. "Exhibitions and Books History of ‘Japanese Contemporary Art History’ Studies in Japan." Art History Forum 50 (June 30, 2020): 215–33. http://dx.doi.org/10.14380/ahf.2020.50.215.

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Dissertations / Theses on the topic "Contemporary Japanese art"

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Sutcliffe, Paul J. C. "Contemporary art in Japan and cuteness in Japanese popular culture." Thesis, University of the Arts London, 2005. http://ualresearchonline.arts.ac.uk/5642/.

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This thesis is an art historical study focussing on contemporary Japan, and in particular the artists Murakami TakashL Mori Mariko, Aida Makoto, and Nara Yoshitomo. These artists represent a generation of artists born in the 1960s who use popular culture to their own ends. From the seminal exhibition 'Tokyo Pop' at Hiratsuka Museum of Art in 1996 which included all four artists, to Murakami's group exhibition 'Little Boy: The Arts of Japan's Exploding Subculture' which opened in April 2005, central to my research is an exploration of contemporary art's engagement with the pervasiveness of cute
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Papp, Zilia English Media &amp Performing Arts Faculty of Arts &amp Social Sciences UNSW. "Investigating the influence of Edo and Meiji period monster art on contemporary Japanese visual media." Publisher:University of New South Wales. English, Media, & Performing Arts, 2008. http://handle.unsw.edu.au/1959.4/41276.

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Abstract Japanese anime being an important part of modern and contemporary popular visual culture, its aesthetic merits, its roots in Japanese visual arts as well as its rich symbology derived from Japanese folkloristic, literary and religious themes are worth investigating. This research aims to track the visual links between Edo and Meiji period monster art (y??kai-ga) paintings and modern day anime by concentrating on the works of Edo and Meiji period painters and the post-war period animation and manga series Gegegeno Kitaro, created by Mizuki Shigeru. Some of the Japanese origins of anime
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Ferrell, Susanna S. "Pattern and Disorder: Anxiety and the Art of Yayoi Kusama." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/554.

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Yayoi Kusama is undoubtedly one of the most esteemed artists today, and yet she is continually written off as "crazy." Kusama's work draws not from insanity, but from her experiences with Obsessive Compulsive Disorder, and acts as a tool to both process and temper her obsessions and compulsions. In my own work, I reflect on the necessarily obsessive faculty of hand-drawn animation, in an effort to communicate the feeling of OCD.
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Hujar, Brittany A. "Kozo Miyoshi: An Interpretation of Water Through Photography." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1563967017677073.

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Sharp, Kristen, and kristen sharp@rmit edu au. "Superflatworlds: A Topography of Takashi Murakami and the Cultures of Superflat Art." RMIT University. Applied Communication, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080522.093156.

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This thesis maps Takashi Murakami's Theory of Superflat Art and his associated artistic practices and works. The study situates Murakami and Superflat within the context of globalising culture. The thesis interrogates Murakami's art and the theory of superflat within the historical, social, and cultural contexts of their production-consumption in Japan, the United States, and Europe. The thesis identifies Superflat art and Murakami's work as actively participating in, and expressing, the cultural conditions associated with the 'global postmodern' and globalisation processes. The thesis employs
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Takabayashi, Miwa. "Tsutsumu : An investigation into the use of traditional Japanese paper packaging techniques and concepts for a context specific contemporary art practice." Thesis, University of Newcastle Upon Tyne, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.519572.

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Soejima, Emi. "Sur la question de la corporalité dans l'expression artistique de l'art contemporain japonais." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010683.

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Chamberlain, Rachel P. "Articulations of Liberation and Agency in Yanagi Miwa's "Elevator Girls"." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/art_design_theses/102.

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Miwa Yanagi’s Elevator Girls series, a collection of glossy photographs featuring groups of similarly clad women lingering in expansive, empty arcades, made its international debut in 1996. While the pieces garnered positive reactions, Yanagi found that most Western viewers read her work as predominantly “Oriental”—confirming stereotypes of a highly polished techno-topic Japan that was still negotiating gender equality. In this thesis, I explore alternative ways of reading Yanagi’s Elevator Girls series, which, I argue, call attention to myopic views of commercialism and identity in order to p
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King, Christopher, and mikewood@deakin edu au. "Images of embodied old age in contemporary Japan." Deakin University. School of Social Inquiry, 1999. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20060719.155237.

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Since the late 1980s, representations of Japanese national identity and Japanese old age have been deconstructed. Images of the resilience of traditional cultural and social institutions are shown to have over-emphasized social and cultural homogeneity, elided social differentiation and inequality and minimized the significance of historical transformation. Key institutions of the postwar modernization project, including the patriarchal seniority system and household structure, are being transformed through globalization and feminization. This thesis focuses on the problem of representing i
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Books on the topic "Contemporary Japanese art"

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Coffland, Robert T. Contemporary Japanese bamboo art. Chicago: Art Media Resources with Tai Gallery, 1999.

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Japan Society (New York, N.Y.), ed. Contemporary Japanese art in America. New York: Japan Society, 1987.

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Moroyama, Masanori. Japanese bamboo baskets: Meiji, modern, contemporary. New York: Kodansha International, 2007.

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1966-, Baldissera Lisa, Art Gallery of Greater Victoria, and Art Gallery of Hamilton, eds. Great new wave: Contemporary art from Japan. Victoria: Art Gallery of Greater Victoria, 2008.

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Bijutsukan, Setagaya. Yasei no fukken =: An aspect of contemporary art. [Tokyo]: Setagaya Bijutsukan, 1991.

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Japan Society (New York, N.Y.). Gallery. and Clark Center for Japanese Art & Culture., eds. New bamboo: Contemporary Japanese masters. New York: Japan Society, 2008.

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Pawā obu Japanīzu kontenporarī āto: The power of Japanese contemporary art. Tōkyō: Asukī, 2008.

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Stampalia, Fondazione scientifica Querini, and Biennale di Venezia (55th : 2013 : Venice, Italy), eds. Imago mundi: Luciano Benetton collection : contemporary Japanese artists. Italy: Fabrica, 2013.

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Gakugeika, Setagaya Bijutsukan, ed. Yasei no fukken: An aspect of contemporary art. [Tokyo]: Setagaya Bijutsukan, 1991.

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1955-, Ozaki Tetsuya, and Japan Society (New York, N.Y.). Gallery, eds. Bye bye Kitty!!!: Between heaven and hell in contemporary Japanese art. New York: Japan Society, 2011.

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Book chapters on the topic "Contemporary Japanese art"

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Rosenstock, Gabriel, Michael Hartnett, and Paul Muldoon. "The Gentle Art of Disappearing." In The Japanese Effect in Contemporary Irish Poetry, 81–113. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9780230355194_5.

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Murai, Mayako. "The Fairy Tale in Contemporary Japanese Literature and Art." In The Fairy Tale World, 347–55. Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series: The routledge worlds: Routledge, 2019. http://dx.doi.org/10.4324/9781315108407-29.

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Chu, Yung-deh Richard. "Historical and Contemporary Roots of Sino-Japanese Conflicts." In China and Japan at Odds, 23–42. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230607118_2.

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Anan, Nobuko. "Introduction: Girls’ Aesthetics." In Contemporary Japanese Women’s Theatre and Visual Arts, 1–17. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137372987_1.

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Anan, Nobuko. "Girls’ Time, Girls’ Space." In Contemporary Japanese Women’s Theatre and Visual Arts, 18–64. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137372987_2.

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Anan, Nobuko. "Girlie Sexuality: When Flat Girls Become Three-Dimensional." In Contemporary Japanese Women’s Theatre and Visual Arts, 65–111. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137372987_3.

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Anan, Nobuko. "Citizen Girls." In Contemporary Japanese Women’s Theatre and Visual Arts, 112–51. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137372987_4.

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Anan, Nobuko. "“Little Girls” Go West?" In Contemporary Japanese Women’s Theatre and Visual Arts, 152–76. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137372987_5.

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Anan, Nobuko. "Afterword: Girls’ Aesthetics as Feminist Practices." In Contemporary Japanese Women’s Theatre and Visual Arts, 177–80. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137372987_6.

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Cucinelli, Diego. "幻の春の声. 近現代日本文学における「亀鳴く」/ The illusory voice of the spring: the motif of ‘crying turtle’ in modern and contemporary Japanese literarure." In Studi e saggi, 29–50. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-260-7.02.

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The turtle (kame) is of great importance in East Asian culture and it is seen as a supernatural creature. In Japanese literature, we can find examples of the turtle in works dating back to the Nara period, such as Tangokuni fudoki and Nihonshoki. Just like the crane, the turtle is a symbol of longevity. However, from the Kamakura period a new and unique interpretation of the turtle as the “singing/crying turtle” makes its appearance. Of this topos, known as kame naku, we can find only very few examples in literature until the Meiji era and the most known are the waka anthologies Shinsen waka rokujō and Fuboku wakashō, and Kyokutei Bakin’s kigo collection Haikai saijiki shiorigusa. However, from the beginning of the modern age, kame naku has been used by many poets as a kigo connected to spring and its frequency has hugely increased. After the war, it began to appear not only in poetry but also in novels and essays. The best known examples of this being Mishima Yukio’s short novel Chūsei, Uchida Hyakken’s essay Kame naku ya, Kawakami Hiromi’s work Oboreru. Using kame naku as a keyword, in this paper we will analyze the attitudes and approaches of modern and contemporary poets and novelists toward the topos.
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Conference papers on the topic "Contemporary Japanese art"

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Wu, Yufei. "Analysis of Mask Art in Japanese Noh." In Proceedings of the 5th International Conference on Arts, Design and Contemporary Education (ICADCE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icadce-19.2019.23.

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Konovalova, Nina. "Contemporary Japanese Garden: Modifications of Space and Concealed Meanings." In Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.95.

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Li, Jun. "Discussion on the Contemporary Value of Yunnan Anti-Japanese War Sites in the Practice of Core Value of Patriotism in Colleges." In 4th International Conference on Education, Language, Art and Intercultural Communication (ICELAIC 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-17.2017.31.

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Beris, Yeter, and İsmail Erim Gulacti. "Influences of Japanese prints on European printmaking (in the case of Degas-Manzi partnership)." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p69.

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Contemporary artists have included classical methods together with innovative digital printing technologies to their artistic manufactures and thus their technological production interactions have been reflected on current art as well. Today’s artists have also been in collaboration with each other by involving the digital printing technologies which kept advancing during the recent 20 years in their works of art just like Degas and Manzi did in their relationships of production partnerships in 19th Century. Besides, those opinions which originated from modernism ideas and movements consist of
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Zhou, Baoling. "Innovation Thinking of Contemporary Business Japanese Teaching." In 3rd International Conference on Management Science, Education Technology, Arts, Social Science and Economics. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/msetasse-15.2015.102.

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Gao, Xiaofei. "Strategies of Training Intercultural Communication Competence in Basic Teaching of Business Japanese." In 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icadce-17.2017.196.

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Zhang Zhongguo and Wang Yapei. "Enlightenment of Japanese 'Natural Park Act' to national park: planning construction and management in China." In 3rd International Conference on Contemporary Problems in Architecture and Construction. IET, 2011. http://dx.doi.org/10.1049/cp.2011.1110.

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Teng, Yan, Li Li, and Wei Qu. "The Plan and Developing Direction of the Japanese English Education System in the New Era." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.164.

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Zhang, Bowei. "Research on the Style of Space Decoration and Furnishing Design of Japanese-Style Homestay." In The 6th International Conference on Arts, Design and Contemporary Education (ICADCE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210106.093.

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Cui, Xiaoping. "Asian Community Series Courses Design in Business Japanese Teaching A Case of Dalian Neusoft University of Information." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.138.

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