Reading

October 2017 to June 2018

Term 1. Multiple modernities and methodologies for East Asian design histories

Kikuchi, Yuko, Wendy S. Wong and Yunah Lee. ‘re: focus design—Design Histories and Design Studies in East Asia’, Journal of Design History, Part 1: Introduction and Japan, 24-3: 273-282, 2011; Part 2: Greater China-People’s Republic of China/Hong Kong/Taiwan, 24-4, 2011: 375-395; Part 3 (Korea and Conclusion), 25-1: 93-106, 2012. (Kikuchi-Wong-Lee published combined part-123)

Kikuchi, Yuko. ‘Introduction’, and ‘Refracted Colonial Modernity: Vernacularism in the Development of Modern Taiwanese Crafts’, Refracted Modernity: Visual Culture and Identity in Colonial Taiwan, Honolulu: University of Hawai‘i Press, 2007, pp. 1-17, 217-247. (refracted-modernity-kikuchi-introduction)

Kuan-Hsing Chen, Chapter 5 ‘Asia as Method: Overcoming the Present Conditions of Knowledge Production’. In Chen Kuan-Hsing, Asia as Method: Toward Deimperialization, Durham and London: Duke University Press, 2010, 211-255. (Chen Kuan-Hsing Asia as Method)

Term 2. Decolonisation and socially engaged art in East Asia

Jennison, Rebecca (2009), ‘Postmemory in the Work of Oh Haji and Soni Kum’, in Lee Chonghwa (ed.), Zanshō no oto: ‘Ajia, seiji, āto’ no mirai he [Still Hear the Wound: Towards an ‘Asia, Politics, Art’ to Come], Tokyo: Iwanami Shoten, 7-18. (Rebecca Jennison[1])

Shu-mei, Shih (2007), Visuality and Identity: Sinophone Articulations across the Pacific (Chapter 6: Cosmopolitanism among Empires), Berkeley, CA: University of California Press, 165-182. (Shu-mei Shih[1])

Stephanie, Cheung (2015), ‘Taking Part: Participatory Art and the Emerging Civil society in Hong Kong’, World Art, 5:1, 143-166. (Stephanie Cheung-Taking part participatory art and the emerging civil society in Hong Kong[1])

Term 3. Postcolonial location of ‘Craft’ in East Asia

Kitazawa, Noriaki. ‘The Genesis of the Kōgei (Craft) Genre and the Avant-Garde: Surrounding the Creation of the Tokyo Municipal Museum of Art’, Yuko Kikuchi ed., East Asian Design History Reader, Vol. 1, Leiden: Brill, 2018. (Kitazawa-The Genesis of the Kgei final 10-09-16)

Fukasawa, Naoto. ‘The Boundary between Kogei and Design’ (Fukazawa-The Boundary between Kogei and Design 2016; 深沢直人ーデザインと工芸の違い)

Fukasawa, Naoto. ‘Flattening Mingei, Kogei and Design’ (Mingei to Kōgei to Dezain o Tairaka ni Suru), Footprints of Tools (Dōgu no Ashiato), Tokyo: Anonymous Studio, 2011, pp. 10-27. (201211_深澤直人「民芸と工芸とデザインを平らかにする」『道具の足跡』)

Kikuchi, Yuko. 2015b. ‘The Craft Debate at the Crossroads of Global Visual Culture: re-centring craft in postmodern and postcolonial histories’, in Yuko Kikuchi ed. Negotiating Histories: Traditions in Modern and Contemporary Asia-Pacific Art, Special Issue of World Art, 5-1: 87-115. (kikuchi-world-art-published-article)

 

October 2016 to June 2017

Term 1. Artifacts of Loss – objects made by the Japanese-Americans in internment camps during the Second World War

Delphine Hirasuna, Art of Gaman: Arts and Crafts from the Japanese American Internment Camps 1942-1946 (the catalogue of the exhibition held at the Renwick Gallery of the Smithsonian American Art Museum), Ten Speed Press; First Printing edition (October 1, 2005)(hirasuna-the-art-of-gaman)

Jane E. Dusselier, Artifacts of Loss: Crafting Survival in Japanese American Concentration Camps. New Brunswick, New Jersey and London: Rutgers University Press, 2008. (jane-e-dusselier-artifacts-of-loss-book)

Allen H. Eaton, Beauty Behind Barbed Wire: The Arts of the Japanese in Our War Relocation Camps, New York: Harper & Brothers Publishers, 1952. (allen-eaton-beauty-behind-barbed-wire)

John Okada, No-No Boy, Seattle and London: University of Washington Press, 1979 (originally published by Charles E. Tuttle, 1957)(john-okada-nonoboy-part-1)(john-okada-nonoboy-part-2)(john-okada-nonoboy-part-3)

Further reading:

Yoshiko Uchida, Desert Exile: The Uprooting of a Japanese-American Family. Seattle and London: University of Washington Press, 1982.

Kristine Kim, Henry Sugimoto: Painting an American Experience. Los Angeles, CA: Japanese American National Museum and Berkeley, CA: Heyday Books, 2000.

Chiura Obata, Topaz Moon: Art of the Internment, Berkeley, CA: Heyday Books, 2000.

Term 2. Rethinking about East Asian Social Practice in Art and Culture

Lu Pan, ‘Introduction’, In Pan Lu, Aestheticizing Public Spaces: Street Visual Politics in East Asian Cities. Bristol: Intellect, 2015, pp. 1-42 (lu_pan_aestheticizing_public_space_introduction).

Leeji Hong, ‘Curatorial Statement’, From the exhibition catalogue of ‘The Subtle Triangle’ (SeMA, 2015), pp. 16-24. (leeji_hong_curatorial_statement)

Carol Yinghua Lu, ‘Asia as Heteroglossia: A review of my thought-process in Discordant Harmony’, From the exhibition catalogue of ‘Discordant Harmony’ (Art Sonje Center, Hiroshima City Museum of Contemporary Art, & Kuandu Museum of Fine Arts, 2015-2016), pp. 38-45. (carol_yinghua_lu_asia_as_heteroglossia)

Wei Hsiu Tung, ‘Conclusion’, In Tung Wei Hsiu, Art for Social Change and Cultural Awakening: An Anthropology of Residence in Taiwan. Lanham: Lexington, 2013, pp. 141-158. (wei_hsiu_tung_art_for_social_change_and_cultural_awakening_conclusion)

Further reading:

Maiqin Wang, Urbanization and Contemporary Chinese Art. New York: Routledge, 2016.

Shu-mei Shih, Visuality and Identity: Sinophone Articulations across the Pacific. Berkeley: University of California Press, 2007.

Wu Hung, Contemporary Chinese Art: A History: 1970s-2000s. London: Thames and Hudson, 2014.

Yoshitaka Mōri, ‘New collectivism, participation and politics after the East Japan Great Earthquake’, World Art, 2015, pp. 167-186.

Lee Dong Yeun, ‘The Typology of East Asian Mass Culture and Cultural Nationalism’, From the exhibition catalogue of ‘The Subtle Triangle’ (SeMA, 2015), pp.36-46.

Term 3. Decolonisation in East Asia

Kuan-Hsing Chen, Chapter 5 ‘Asia as Method: Overcoming the Present Conditions of Knowledge Production’. In Chen Kuan-Hsing, Asia as Method: Toward Deimperialization, Durham and London: Duke University Press, 2010, 211-255. (Chen Kuan-Hsing Asia as Method)

Yuko Kikuchi ed. Refracted Modernity: Visual Culture and Identity in Colonial Taiwan, Honolulu: University of Hawai‘i Press, 2007 (Introduction, and Kikuchi’s article, ‘Refracted Colonial Modernity: Vernacularism in the Development of Modern Taiwanese Crafts’, pp. 217-247.(refracted-modernity-kikuchi-introduction)(Kikuchi-Refracted Colonial Modernity)

Yuko Kikuchi, ‘The Craft Debate at the Crossroads of Global Visual Culture: re-centring craft in postmodern and postcolonial histories’, World Art, 2015, pp. 87-115. (kikuchi-world-art-published-article)

Further reading:

Tani Barlow, ‘Debates over Colonial Modernity in East Asia and Another Alternative’, Cultural Studies, 26-5, 2012, pp. 617-644.

Kuan-Hsing Chen ed., Trajectories: Inter-Asia Cultural Studies, London and New York: Routledge, 1998.

Leo Ching, ‘Inter-Asia Cultural Studies and the Decolonial-turn’, Inter-Asia Cultural Studies, 11-2, 2010, pp. 194-87.

Yuko Kikuchi, Japanese Modernisation and Mingei Theory: Cultural Nationalism and Oriental Orientalism, London: Routledge Curzon, 2004.

October 2014 to June 2015

Kikuchi, Yuko. ‘Hybridity and the Oriental Orientalism of Mingei Theory’, Journal of Design History, 10-4 (1997): 343-354. (Yuko Kikuchi-Hybridity and Oriental Orientalism)

Kida, Takuya. ‘Kitarō Kunii’s Discourse on Indigenous Industrial Arts: “Japaneseness” and Modern Design in 1930s Japan’, Design History 9 (2011): 47-92. (Kida Takuya-Kunii)

Ling, Wessie. ‘Harmony and Concealment: How Chinese Women Fashioned the Qipao in 1930s China. In: Material Women, 1750-1950: Consuming Desires and Collecting Practices. Ashgate, Farnham, 2009, 209-225. (Wessie book chapter Chinese women fashioned in Qipao 1930s)

Mori, Junko. ‘Modern Seating, Modern Sitting: Japanese Women and the Use of the Chair’, Design History 5 (2007): 99-124.(Mori Junko-Modern Seating)

Kojima, Kaoru. ‘The Woman in Kimono: An Ambivalent Image of Modern Japanese Identity’, Jissen Women’s College Aesthetics and Art History, 25 (2011): 1-15. (Kojima-TheWomaninKimono2011001)

Shih, Shu-mei, Chapter 1: ‘Against Diaspora: The Sinophone as Places of Cultural Production’. In Shu-mei Shih, Chien-hsin Tsai and Brian Bernards, eds., Sinophone Studies: A Critical Reader, New York: Columbia University Press, 2013, 25-42. (Shih Shu-mei Sinophone Studies)

Chen, Kuan-Hsing, Chapter 5 ‘Asia as Method: Overcoming the Present Conditions of Knowledge Production’. In Chen Kuan-Hsing, Asia as Method: Toward Deimperialization, Durham and London: Duke University Press, 2010, 211-255. (Chen Kuan-Hsing Asia as Method)

October 2013 to June 2014

Naoto Fukasawa, ‘Without Thought’, ‘Imperfect Perfection’, ‘A Shape with the Operation Included’, ‘Discontinuity in Behaviour’; Jasper Morrison, ‘Noticing the Unnoticeable’. In Naoto Fukasawa ed., Naoto Fukasawa, London; New York: Phaidon, 2007.

Kenji Kaneko (translated by Rupert Faulkner), ‘Studio Craft and Craftical Formation’ in Paul Greenhalgh ed., The Persistence of Craft, London: A&C Black and New Brunswick, New Jersey: Rutgers University Press, 2002

Yuko Kikuchi ‘The Mingei Movement’ from Karen Livingstone and Linda Parry eds., International Arts and Crafts, London: V&A, 2005.

Yuko Kikuchi, Wendy S. Wong, ‘re: focus design: Design Histories and Design Studies in East Asia Part 1 (Introduction and Japan), Part 2 (Greater China-PRC/Hong Kong and Taiwan) and Part 3 (Korea and conclusion)’, Journal of Design History, 24-3 (2011), 24-4 (2011), 25-1 (2012).

Motohiro Koizumi, ‘‘Collaborative Art’ in Urban Social Spaces and Its Implications’

Soetsu Yanagi, ‘The Beauty of Irregularity’. In Soetsu Yanagi, adapted by Bernard Leach, The Unknown Craftsman, Tokyo, New York: Kodansha International, 1989(1972).

Further reading on the Mingei Movement and theory (Yuko Kikuchi)

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