Reading

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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