{"title":"Transwar Art in Japan","authors":"Namiko Kunimoto","doi":"10.1080/09528822.2022.2146398","DOIUrl":null,"url":null,"abstract":"Abstract This article focuses on the question of periodisations in Japanese art history through a consideration of the long-running careers of four successful but politically and aesthetically diverse artists: Domon Ken (1909‒1990), Okamoto Tarō (1911‒1996), Yoshihara Jirō, and Katsura Yuki (1913‒1991). The arc of these artists careers across the prewar, war, and postwar periods upsets popular periodisations in Japan’s art history that assert the postwar as a time of rupture and renewal. My focus is meant to challenge this ‘postwar paradigm’ while elucidating these artist’s negotiation of ethics and plurality during drastically different political eras. How does a reading of their work reveal continuities before and after the war, and what are the political stakes of these continuities?","PeriodicalId":45739,"journal":{"name":"Third Text","volume":null,"pages":null},"PeriodicalIF":0.3000,"publicationDate":"2022-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Third Text","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/09528822.2022.2146398","RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ART","Score":null,"Total":0}
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Abstract
Abstract This article focuses on the question of periodisations in Japanese art history through a consideration of the long-running careers of four successful but politically and aesthetically diverse artists: Domon Ken (1909‒1990), Okamoto Tarō (1911‒1996), Yoshihara Jirō, and Katsura Yuki (1913‒1991). The arc of these artists careers across the prewar, war, and postwar periods upsets popular periodisations in Japan’s art history that assert the postwar as a time of rupture and renewal. My focus is meant to challenge this ‘postwar paradigm’ while elucidating these artist’s negotiation of ethics and plurality during drastically different political eras. How does a reading of their work reveal continuities before and after the war, and what are the political stakes of these continuities?
期刊介绍：
Third Text is an international scholarly journal dedicated to providing critical perspectives on art and visual culture. The journal examines the theoretical and historical ground by which the West legitimises its position as the ultimate arbiter of what is significant within this field. Established in 1987, the journal provides a forum for the discussion and (re)appraisal of theory and practice of art, art history and criticism, and the work of artists hitherto marginalised through racial, gender, religious and cultural differences. Dealing with diversity of art practices - visual arts, sculpture, installation, performance, photography, video and film.
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