The visual images interpreting The Tale of Genji, the world’s first novel, which was written by a woman, are presented as beautiful objects devoid of context.
An exhibition of rarely seen, ancient art explores the complex ideas and rich expressions of Japan’s indigenous religion.
Starting tomorrow, visitors to the Museum of Fine Arts, Boston, will have a rare opportunity to experience what usually occurs behind the scenes in conservation labs.
The Japanese-born art historian Reiko Tomii is one of those researchers who is both passionate about her subjects and recognized among her peers for her meticulous mapping of the cultural-intellectual terrain from which they emerge.
Miniature meditating skeletons, snarling cats, eerie ghosts, and gods of fortune carved in ivory, wood, and horn adorned the sashes of Japanese men throughout the Edo period.
In a letter dated July 23, 1938, sent by the Japanese modernist poet Yone Noguchi to the Nobel Prize winning author Rabindrath Tagore — the first non-European to receive the award — Noguchi wrote the following justification for his country’s invasion of China, effectively ending their friendship:
Art history doesn’t have to live in the past, as proved by the Flux Factory exhibition Ero Guro Nansensu, which closes today.
Entering Japanese artist/composer Ryoji Ikeda’s new installation “the transfinite,” which is currently showing at the Park Avenue Armory, feels like sitting inside of a computer.
Beyond a rising death toll of over 10,800, the 2011 Tohoku earthquake and tsunami in northern Japan has also damaged a current total of 353 Japanese cultural landmarks, including temples, historic sites and iconic landscapes called “places of scenic beauty.” The Matsushima area, north of Sendai, is among the worst hit in terms of cultural damage. Sites damaged include Matsushima’s Zuigan-ji Temple, a Buddhist temple complex founded in 828 whose walls were cracked in the earthquake, as well as 3 other National Treasures.
Bye Bye Kitty!!! Between Heaven and Hell in Japanese Art at Japan Society presents an alternative view of Japanese contemporary art, one separate from that obsession we seem to have with “kawaii” (cute) Japanese art, embodied by the pop culture icon of Hello Kitty, and exemplified in the Superflat work of Takashi Murakami. The artists on display here engage with a different side of Japanese culture, a side more invested in history, medium and prolonged looking. The exhibition is also a rousing, energetic call to action– rethink Japanese contemporary art!