Gallery X & Y: Michiko Itatani, “Starry Night Encounter” September 9, 2016 – October 22, 2016

FOR IMMEDIATE RELEASE:

Gallery X & Y: Michiko Itatani, “Starry Night Encounter” September 9, 2016 – October 22, 2016
Opening Reception: Friday, September 9, 2016, 6-9pm

Linda Warren Projects: 327 N Aberdeen St #151, Chicago, IL 60607

Untitled copy

Michiko Itatani, “HyperCharge” painting from Encounter HCE-3, 2015,
oil on canvas, 84″ x 72″

“Starry Night Encounter” is my personal translation of the Japanese term “ ichi-go ichi-e”. It is an idea found in Zen Buddhism and in the concept of the transitory nature of things. The term is particularly adopted in the Japanese tea ceremony: a 7’x7’ space, a guest, a simple serving of a cup of tea.

One should delight in each encounter as if it were a “once-in-a-lifetime” occurrence. Treat every meeting as if it is the first and the last because it may not come again, or the same meeting repeats infinite times.

In my recent work, I am going back to this very basic feeling in a personal way.

I appreciate every encounter with a person, a creature, a tree, a flower, a rock, a room, a book, a song, a painting or a life.

(Excerpt from Artist Statement) Michiko Itatani

Linda Warren Projects is honored to launch the 2016 fall season with “Starry Night Encounter”, a solo exhibition by one of Chicago’s most prolific and esteemed painters, Michiko Itatani. Presented in both Gallery X and Gallery Y is a wide selection of new work, chosen from several epic series or “chapters”– Cosmic Wanderlust, Hyperbarouqe, Cosmic Theatre, Personal Codes, to name a few – which the artist fluidly intertwines and navigates between. From the macro of the cosmos to the micro of our shared existence, from her monumental to her miniature paintings, Itatani’s profound creative power continually awe-inspires and persuades new meaning.

Using a fictional and symbolic space, I condense experienced and imagined multi-layered encountering events.

For over 40 years, Itatani has been “writing” a poetic transcendental fiction novel with paint. As the ongoing narrative continues to unfold, her emblematic imaginative paintings deliberately suggest that hope and curiosity are vital to the human spirit. It is a broad, and at times, cryptic tale, yet her philosophical faith in humanity proves ever-more powerful. Whether it is in libraries, the theater, in nature, or a cosmic tête- à-tête, Itatani thrusts the viewer into wondrous locations where knowledge, science, and inquisitiveness intersect.

Itatani’s paintings are the places where we confront, discover, and imagine ourselves. Where learning, books, music, and literature connect us to our essence. Where our communal soul, one that is truly rooted in the wonders of the macrocosm, drives us to question our place within it. Itatani is a powerhouse, she is the spacecraft landing, she is the library, the author,

the narrator. She paints our consciousness and illustrates our vulnerability. Each painting invites us to visualize and ponder. Her mission is at once vast and simple – explore, inquire, appreciate, reach out, and recognize our accomplishments, and all the unknown and known beauty of the universe. The selected works illuminates the beauty of such temporal “encounters”.

This remarkable exhibition will be the first segment of an ongoing exhibition and partnership with ZHOU B Art Center. The second segment titled High-Point Contact will be on view at ZHOU B Art Center October 17,2016 – December 30, 2016 and will feature paintings spanning 40 years of Itatani’s career. Accompanying both exhibitions will be individual catalogs, featuring essays by Jason Foumberg.

Michiko Itatani was born in Kobe, Japan, and received her MFA in 1976 from the School of the Art Institute of Chicago, where she is currently a Professor. Itatani has shown widely around the globe, and her work can be found in such prestigious collections as the Art Institute of Chicago; the Museum of Contemporary Art, Chicago; the National Museum of Contemporary Art, Seoul, Korea; Museu d’Art Contemporani de Barcelona (MACBA), Barcelona, Spain; and Tokoha Museum, Shizuoka, Japan. Itatani has been the recipient of numerous awards and honors including the John Simon Guggenheim Fellowship, the Union League Club of Chicago’s “Distinguished Artists” Membership Award, and a National Endowment for Art, Artist’s Fellowship amongst many others. Itatani is represented by Linda Warren Projects, and this marks her second solo exhibition with the gallery.

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Resilience Archives: THE CULTURAL IMPACT OF PAINTING & PRINTED MEDIA: Artist lecture & creative lab — Lenore Chinn

http://www.resiliencearchives.com/the-cultural-impact-of-painting-printed-media-artist-lecture-creative-lab/

Resilience Archives:

THE CULTURAL IMPACT OF PAINTING & PRINTED MEDIA:
Artist lecture & creative lab

We ensure our histories are not lost by documenting them and Lenore Chinn has been documenting the broader LGBTQ community in San Francisco for over 30 years. Her larger photo-realist paintings began as community portraits, of her friends really, and are now a beautiful and sometimes haunting history. Lenore wraps up this series of workshop with a special artist lecture. She’ll discuss some of the highlights of her career as a painter and social justice founder of some of the most influential LGBTQ and Asian arts organizations in the Bay Area including the Lesbians in the Visual Arts, Queer Cultural Center, and Asian American Women Artists.

We’ll include an open Q&A section to open up the floor for conversation. Also view printed works inspired by the stories from the Dragonfruit Project and see works from other LGBTQ AAPI artists. The lecture will immediately be followed by an open creative lab where we’ll provide materials to create works around the LGBTQ AAPI communities and stories. You’ll see art that’s already been created and share space with other working artists. This is a great opportunity to share creative space with other working LGBTQ AAPI artists.

PROVIDED: A variety of creative materials will be provided to create works in class paper, pens, scanner, printer, glue, tape, scissors, etc.

INSTRUCTORS

Lenore Chinn: Artist
Mia Nakano: Director, Visibility Project

We will be requesting that all participants sign release forms at the beginning of each workshop allowing us to publish scans, audio stories, photos, artwork and other materials created in the workshop as a part of the Resilience Archives at www.resiliencearchives.com.

DATE & TIME

Sunday, August 7th
10am – 2pm

LOCATION

Oakland Asian Cultural Center
Auditorium
388 9th St. #290
Oakland, CA  94607

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TRANSFORMATION: 25 Years of Asian American Women Artists, July 30-September 3

http://aawaa.net/programs/exhibitions/transformation/

TRANSFORMATION

25 Years of Asian American Women Artists

VENUE

Harrington Gallery at the Firehouse Arts Center, 4444 Railroad Ave, Pleasanton, CA

EXHIBITION DATES

July 30 – September 3

Gallery Hours: Wednesday-Friday, 12-5pm.  Saturday 11am-3pm.

OPENING RECEPTION

July 30, 1-3pm.

Join us for an afternoon of light refreshments as we celebrate the last event of AAWAA’s Jubilee year and the opening of our 25th anniversary exhibition. RSVP on Facebook!

ABOUT THE EXHIBITION

In honor of the organization’s 25th anniversary year, Asian American Women Artists Association presents Transformation: 25 Years of Asian American Women Artists. This multidisciplinary and intergenerational group exhibition will feature the works of 38 AAWAA artists members, from past to present. From a small artists collective in the late 1980s to today’s influential arts organization, this exhibition documents and celebrates the evolution of AAWAA artists throughout the years as it continues to leave a legacy of art for future creatives. This exhibition celebrates the diversity, creativity, and evolution of its artist community.

PARTICIPATING ARTISTS

Alison Ho | Barbara Horiuchi | Betty Kano | Cathy Lu | Choppy Oshiro | Cynthia Tom | Elaine Gin Louie | Ellen Bepp | Flo Oy Wong | Jennifer Pei Huang | Ji Lim | Jungeun Lee | Karen Chew | Kathy Fujii-Oka | Kookhee Lee | Kristina Lim | Lena Shey | Lenore Chinn | Leslie Zeitler | Linda Shiue | Lucy Liew | Lydia Nakashima Degarrod | Maggie Yee | Manon Bogerd Wada | Maria Miller | Maryln Mori | Marlene Iyemura | Miss TANGQ | Nancy Hom | Nancy Uyemura | Pallavi Sharma | Reiko Fujii | Salma Arastu | Samantha Chundur | Shari DeBoer | Shizue Seigel | Susan Almazol | Yousun Kim

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APPLY NOW: Collections management position at the Smithsonian National Portrait Gallery

APPLY NOW: Collections management position at the Smithsonian National Portrait Gallery

The incumbent would support multiple curatorial departments, including working with time-based media art, as well as the department of painting and sculpture, and the conservation department.  Responsibilities include cataloguing, object movement, filing, procurement, and general administrative support.

More information: https://www.usajobs.gov/GetJob/ViewDetails/446105700

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DAAN AUGUST 2016 NEWSLETTER

DAAN AUGUST 2016 NEWSLETTER

Hello DAAN Members,

We hope you are enjoying the summer. Please take the time to see the opportunities and exhibitions in August.

Thank you!
Diasporic Asian Art Network

FILM SCREENING

Re: Orientations
Directed by Richard Fung
Concordia University Alumni Auditorium, Montréal, CA
August 7 at 7pm

A fascinating look into the lives of seven queer pan-Asian Canadians as they reflect on how they and the world around them have changed since being featured in Richard Fung’s 1984 documentary Orientations.

OPPORTUNITIES

Call for Papers: Symposium “Writing and Picturing in Post-1945 Asian Art”
Paper proposal deadline August 15, 2016

Association of Art Historians Call for Papers:
Art History as Créolité/Creolising Art History

Paper proposal deadline November 7, 2016

Amerasia Journal Special Issue Call for Papers: Exhibiting Race and Culture
Paper submission deadline November 15, 2016

EXHIBITIONS

Unseen
Summercamp’s ProjectProject, Los Angeles, CA, U.S.
Through August 7, 2016

Vacating and Inhabiting
Whitespace Contemporary Art, Auckland, N.Z.
Through August 7, 2016

Wifredo Lam
Reina Sofia, Madrid, Spain
Through August 15, 2016

Andy Warhol | Ai Weiwei
The Andy Warhol Museum, Pittsburgh, PA, U.S.
Through August 28, 2016


Stage Design by Ming Cho Lee

A retrospective exhibition of celebrated and influential set designer Ming Cho Lee (b. 1930, Shanghai, China) that features original scale models, sketches, and photographic reproductions. A recipient of the National Medal of Arts in 2002 and the Tony Award for lifetime achievement in 2013, Lee is one of the most acclaimed living set designers in the U.S. This exhibition is a project of The New York Public Library for the Performing Arts.

Museum of Chinese in America, New York, NY, U.S.
Through September 11, 2016

Shadows of the Floating Worlds: Paper Cuts by Hiromi Moneyhun
Morikami Museum & Japanese Gardens, Delray Beach, FL, U.S.
Through September 18, 2016

Revolution in the Making: Abstract Sculpture by Women
Hauser Wirth & Schimmel, Los Angeles, CA, U.S.
Through September 26, 2016

But a Storm Is Blowing from Paradise: Contemporary Art of the Middle East and North Africa
Guggenheim Museum, New York, NY, U.S.
Through October 5, 2016

Uchinanchu: The Art of Laura Kina
Kwan Fong Gallery of Art and Culture
California Lutheran University, Thousand Oaks, CA, U.S.
Through October 27, 2016

Kay Sekimachi: Student, Teacher, Artist
de Young Museum, San Francisco, CA, U.S.
Through November 6, 2016

The Wayfinding Project — with artist Beatrice Glow
A/P/A Institute at NYU, New York, NY, U.S.
Through December 21, 2016

Everything Has Been Material for Scissors to Shape
Wing Luke Museum, Seattle, WA, U.S.
Through April 16, 2017

ONGOING ONLINE
Asian American Art Oral History Project
AS-AP Project: Godzilla Oral History
Art Asia America
Asian/Pacific/American Archives Survey Project
Asian Diasporic Visual Cultures and the Americas journal
The Artistic Journey of Yasuo Kuniyoshi
Racecraft online at the Center for Art and Thought
H1-B online at the Smithsonian Asian Pacific American Center

Diasporic Asian Art Network

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If you have news items for the monthly newsletter, please send them to Erica Ando atericaando88@gmail.com with the subject line DAAN newsletter.

If you have news items you would like your regional representatives to post on the DAAN Facebook page, please find a list of your DAAN repshere.

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CALL FOR SUBMISSIONS: Erasing Borders: Fourteenth Annual IAAC Exhibition of Contemporary Indian Art of the Diaspora 2017

http://www.iaac.us/erasing_borders_2017/

Please write a sentence explaining your artwork if the title does not describe it.

Deadline for Submissions: Tuesday November 1, 2016

The Indo American Arts Council is delighted to announce its Call for Submissions for the Erasing Borders Exhibition of Contemporary Indian Art of the Diaspora 2017 Curated by Vijay Kumar, Erasing Borders explores the contributions of artists whose origins can be traced to the Indian Subcontinent. The exhibition travels to several key galleries and museums in North America from February – November each year. Please visit www.iaac.us

CRITERIA:

  • Artwork submitted must have been completed within the last two years
  • All visual art genres will be considered ( sculpture, painting, installation, photography, video-art, graffiti, murals…)
  • Works in progress will be considered with attached explanations
  • Artists living in North America who have their origins in the Indian Subcontinent
  • All submissions must be received by the deadline of November 1, 2016
  • Works not yet exhibited are highly recommended
  • Collaborative works will also be considered

SUBMISSION REQUIREMENTS:

  • (Artwork will not be considered if we have not received all the requested materials below)
  • All information must be either on a CD or via email, labeled with artist’s Name, E-mail and Phone Number
  • must include high resolution images (at least 1500 x 2100 pixels 300dpi) of the artwork (the images should not be over 2 MB)
  • All images must include: Title, Size, Medium, Price, year completed.
  • must include a document containing artist’s Full Name, E-mail, Web Address, Mailing Address and Phone Number
  • Artist’s Photograph (at least 1200 x 1200 pixels, 300 dpi)
  • Artist Statement
  • Resume
  • Submission fee: $20 Click here to pay online
  • All information should be in the word file format.
  • Application fee $20

Submission deadline: November 1, 2016
Participating artists for 2017 will be announced January 2017

Please send all submissions to:
Erasing Borders 2017
Indo-American Arts Council Inc
351 East 74th Street, Third Floor,
New York, NY 10021
Email: ebart.iaac@gmail.com

* Application Fee $20

Registration fee may be through Pay pal (using any credit card)Click here >> or via cheque to the address above.

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INDO AMERICAN ARTS COUNCIL presents ERASING BORDERS 2016 Erasing Borders Exhibition of Contemporary Indian Art of the Diaspora — July 14-August 17, 2016

INDO AMERICAN ARTS COUNCIL  
presents

ERASING BORDERS 2016
Erasing Borders Exhibition of Contemporary
Indian Art of the Diaspora

Opening Reception: Thursday July 14th, 2016. 6:00-8:00 pm.

The Exhibition will remain open from July 14-August 17, 2016

Kapoor Galleries, 34East 67th Street (between Madison & Park), NYC.

Exhibitions are Free and Open to the Public
RSVP: ebart.iaac@gmail.com

for Map and Directions click here .

IAAC ERASING BORDERS 2016

Erasing Borders is a richly provocative exhibition by artists of the Indian diaspora who confront issues of sexuality, terror, disease, the environment, racial and sectarian politics in painting, prints, installations, video, and sculpture. With great technical mastery and diversity of theme and style, these works combine traditional Indian aesthetics with Western elements, and speak to the powerful experience of personal and cultural dislocation in the global village. In its twelfth year, Erasing Borders is curated by Vijay Kumar and produced by the Indo-American Arts Council. Free and open to the public.

Participating Artists: (Click on the artists name for details): Anna Bradfield, Anujan Ezhikode,Arun Prem, Bivas Chaudhuri, Bolo, Delna Dastur, George Oomen, Indrani Nayar Gal, Mansoora Hassan, MD Tokon, Nipun Manda, Norbert Gonsalves, Padmini Mongia, Parul Mehra, Quinza Najm, Pooja Gupta, Radhika Mathews, Rahul Mehra, Reeta Gidwani Karmarkar, Renuka Khanna,Rochana Dubey, Sejal Krishnan, Tara Sabharwal, Uday K Dhar

The Indo-American Arts Council is a 501 ©3 not-for-profit secular arts organization passionately dedicated to promoting, showcasing and building an awareness of artists of Indian origin in the performing arts, visual arts, literary arts and folk arts. For information please visit www.iaac.us

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Summercamp’s ProjectProject: Unseen Opening Sunday, July 24th

Summercamp’s ProjectProject: Unseen
Opening Sunday, July 24th

Summercamp’s ProjectProject
Unseen

Allison Alford & Dai Toyofuku
Audrey Chan
Jay Erker
Brian Getnick
Nicholette Kominos
Ruby Osorio
Thinh Nguyen
Elyse Reardon-Jung
Jesse Robinson
Geneva Skeen
Semi-Tropic Spiritualists
Carrie Whitney
and Amir H. Fallah in Guestroom

Unseen July 24th—August 7th, 2016
Opening Reception: Sunday July 24th 5—8PM

3119 Chadwick Drive, Los Angeles, CA 90032
summercampprojectproject.org
Hours by appointment, please contact summercampprojectproject@gmail.com

Summercamp’s ProjectProject presents Unseen. An outdoor group exhibition bringing together artists whose work reveals underlying magic, psychic phenomena, and textural sound as well as dealing with elements that support and balance, issues of injustice, and social practices. Organized by Fatima Hoang, Elonda Norris & Janice Gomez.

Astri Swendsrud and Quinn Gomez-Heitzeberg’s sculptural information kiosk introduces the audience to their history and projected future of utopian thinking and occult practice through the Semi-Tropic Spiritualists, an organization that created a campsite meeting place outside the city limits of Los Angeles in 1905. Through their installations and performance work, this community is being re-created as a model for exploring ideas of faith and skepticism, belief and charlatanism, and utopian social ideals.  InGoatspace, Ruby Osorio’s works explore fantasy, which she defines as the state of mind she finds herself in when encountering ambiguity.  In this state, there is a thin line between memory and fantasy—fantasy can fix itself in the memory to the point of becoming real. Osorio Walks this line using literature, vintage photographs and botanical reference books as source material to explore the uncanny and enigmatic.

In her practice, Jay Erker creates “potential spaces,” which is a psychological term conceived by the British psychologist D. W. Winnicott to designate a conceptual space or a state of mind based upon a series of dialectical relationships: fantasy/reality, I/other, symbol/symbolized, etc., in which each idea affects and transforms the other in a state of perpetual becoming and destruction. For Unseen, Erker’s audio text of essay, lyrical poetry, sound art, and performance addresses the space and environment specifically, and generally address the experience of the art and people. Carrie Whitney questions the sensory experiences in the world for the “unseen” to compete with by investigating its existence. To experience this requires a curiosity and a willingness to listen. In this work a space is created with familiar objects that stereotypically remind us of what could be worn to conjure the unseen.

Dispersed throughout the hillside below the Summercamp patio, Geneva Skeen’s multi-channel sound work is composed of field recordings from the site and surrounding neighborhood. The sound piece will be fragmented into hyper-specific corners of the hillside. The installation itself seeks to provoke an internal dialogue between the listener and the idea of an individual’s position within a complex, tiered environment, both literally and metaphorically.  Jesse Robinson couples ready-made objects with fabricated sculptural forms staging conversations in which the language of sculpture collides with the language of consumerism. Using the conventions of display, he examines how these two different, yet related, formal structures shape desire and the relationships we have with things. While Nicholette Kominos’ constructions are based on simple forms inspired by commonplace or everyday objects, she utilizes the context of familiarity to explore how complex and informative the ordinary can be.

Two ceremonial spaces invoking forgotten ties between humans and plants will be led by Allison Alford and Dai Toyofuku. Other collaborators include a resident fig tree, along with an oak tree, several elderberry and black walnut trees, sages and buckwheat from the Lower Arroyo. This event during Unseen is one of an ongoing series of secret rituals that will be performed throughout the summer and the only ritual made available to the public. Human visitors will have the opportunity to participate in communion, blessing, and healing rites.

Elyse Reardon-Jung’s most current work investigates tropes of art history with an emphasis on the delicately absurd and the politely idiotic. Using the illumination of ill-repute, neon, to represent simplified Odalisque nudes, we can consider the liberal way we consume the female form.  Although a well trod path, She is ever curious at the way the female body becomes a repository for hyper loaded cultural signifiers/baggage. Using simple execution and transparent materials, loaded with the weight of constant use. The familiar subject and familiar materials are meant to feel relatable as well as fairly silly. The absurd can be an entry point, a gateway to serious consideration. Audrey Chan’s flag features a series of Sculpey figurines made to resemble the editors of the zine “Would Be Saboteurs Take Heed” carrying heroic personal attributes. By fashioning these figurines, she wants to reconsider and invert the tropes and representational politics of the heroic statue in Western art—as large in scale, predominantly male, nude, idealized, and Western or European in identity. The figurines are diminutive, honor Asian American individualism and diversity, and resist totalizing and stereotypical representations. They propose a new set of heroes for intersectional and biomythographical narratives.

Thinh Nguyen’s current work examines non-binary identity and vulnerability. He reclaims his feminine superego, Long Long, from childhood memories of growing up and wearing dresses. While performing songs he wrote in response to the current sociopolitical climate, Nguyen will be wearing one of the his functional biomorphic sculptures made of reclaimed dresses. Straddling the line between beauty and grotesque, Brian Getnick presents a series of sculptures that brings to mind what once was, could have been, and is now.

And as a compliment to Unseen, Amir H. Fallah will be featured in Guestroom. Fallah’s approach to art making is akin to the process of an archaeological dig. Fallah investigates his subject’s lives through the analysis of their personal belongings, becoming the arbiter of these individuals’ histories, curating found elements into contemporary portraiture. Through this process he does not attempt to beautify or flatter his subjects, but instead focuses on integral points of their lives that subsequently shaped who they were as individuals. In direct opposition to the history of portraiture, he hides the true identity of his subjects by cloaking them in vivid, patterned fabrics found amongst their belongings. The viewer is forced to craft an identity for the subjects through their own interpretation of the curated elements presented.
Through the process of art making and the employment of contemporary portraiture, Fallah explores the realms of truth through storytelling. Obsessive consideration of truth’s limitations can help us understand one another, and this examination of identity is the keystone of his practice.

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VACATING AND INHABITING: HANNA SHIM . KRYSTIE WADE . KERRY ANN LEE . ERIN FORSYTH

VACATING AND INHABITING

HANNA SHIM  .  KRYSTIE WADE  .  KERRY ANN LEE  .  ERIN FORSYTH

12 July – 7 August, 2016
Preview: Tues 12 July, 5.00 – 7.30pm

Within Vacating and Inhabiting, there exists an underlying sense of playfulness, but also
disorientation, as the audience is required to navigate the surreal, dreamlike interiors,
landscapes, and installations…>>

WHITESPACE is now open on Sundays
for your viewing pleasure. 11.00am – 3.00pm

  

Whitespace  |  12 Crummer Rd  |  Ponsonby  |  Auckland
Gallery Hours  
|  Tues to Fri 11-5pm  |  Sat 11-4pm   |  Sun 11-3pm
dwhite@whitespace.co.nz
  |  http://www.whitespace.co.nz/ 

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Call for Papers: SYMPOSIUM “Writing and Picturing in Post-1945 Asian Art”

Call for Papers
SYMPOSIUM “Writing and Picturing in Post-1945 Asian Art”
(Part II: Graduate Student Workshops)

Center for the Art of East Asia, Center for East Asian Studies (University of Chicago), and PoNJA-GenKon are organizing a three-day international symposium Writing and Picturing in Post-1945 Asian Art to take place in April 2017. The second day of the symposium will include graduate student workshops to focus on the latest scholarship emerging from research done by graduate students and recent graduates in the field. We would like unpublished materials that will point to new directions of research and interpretation.

Symposium Summary
Dates: April 21–23, 2017
Place: Department of Art History, University of Chicago
Co-organized by Center for the Art of East Asia, Center for East Asian Studies, and PoNJA-GenKon

This symposium begins with the examination of two basic human activities, writing and picturing. In different cultures, these two have had historically varying relationships. To name just one, in East Asia, the two (書 and画) have traditionally been entwined, with ink and brush playing central roles. In postwar art, traditional and culturally specific modes of writing and picturing began to undergo transformation, inspired, facilitated, and accelerated in part by increased transnational exchange. In view of developments over the past half century, the symposium Writing and Picturing will survey the state of scholarship and discuss future directions in museological and art-historical studies. The symposium organizers aspire to form a bridge between the established field of modernist art history and newly evolving contemporary art while casting a wider geographical net beyond East Asia. By providing a platform for the presentation of new research on various practices that merge writing and picturing in postwar and contemporary art, we aim to create a watershed for the culturally dynamic rethinking of these fundamental human acts. For the full concept statement and questions, please contact mailponja@gmail.com.

Eligibility for Submission
Students currently enrolled in graduate-level institutions anywhere in the world and recent PhDs who have received their degrees from such institutions in the past two years are eligible to submit paper proposals.

General Parameters
Within the scope of the symposium, proposed papers should be based on original and critical research within the following parameters:

1) the paper must address the work of art and related media in visual culture (e.g. film, design, architecture, manga, etc.) produced after 1945
2) the artist(s) must have been either born in Asia, of Asian descent, or active in Asia
3) the work must demonstrably relate to aesthetic or socio-political situations in Asia after 1945.
4) the paper may address much broader genres of expression than calligraphy, such as ceramic and textile art, as long as it presents a unique approach to the issue of tradition and modernity.
5) You are welcome to submit more than one proposal. However, you will have only one selected paper to present during the program.

Please send:

1) your proposal, no more than 500 words
2) your CV, no more than 2 pages
3) if you want to attach image(s), no more than 1MB (please scale down the files)

Send to: mailponja@gmail.com
Due: August 15, Monday, 2016

Funding

Please direct any question to mailponja@gmail.com.

Selection Committee
Co-Chairs: Reiko Tomii, Miwako Tezuka, Chelsea Foxwell
Committee members: Joan Kee, David Raskin

About PoNJA-GenKon
PoNJA-GenKon is an acronym for “Post Nineteen-forty-five Japanese Art / Gendai Bijutsu Kondankai,” an online discussion group of students, art professionals, artists, and individuals interested in contemporary Japanese art across the globe. It was founded in 2003 by two scholars, Dr. Reiko Tomii and Dr. Miwako Tezuka. Also known in its short form, PoNJA, the group fosters communication among the members, shares knowledge with the public, and helps develop this area of study. Today, it has grown to include more than 120 members globally, including all the key leaders and innovators of this still-young field. So much so, “ponja” as a terminology has also come to signify the field of postwar and contemporary Japanese art history.

Miwako Tezuka's photo.
Lead Image: Enrico Isamu Oyama (b.1983), Improvised Mural (Walls), detail, 2015. Acrylic-­‐based aerosol, acrylic paint and sumi ink on walls. (H) 3.8 m x (L) 69.5 m (overall). Installation at Tringle Space, Chelsea College of Arts, University of the Arts, London, United Kingdom. Photo by Tom Carter

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