|JASA Calendar of Lectures and Special Events|
Please print out this schedule of Japanese Art Society events for reference. (Click on Print icon at right and use the print function of your browser.) You may also refer to the Newsletter's listing of JASA events. If you wish to receive reminders by E mail, please contact our Membership Coordinator, Christy Laidlaw. Lectures are open to the public and free of charge. Please note: The New York University Institute of Fine Arts requests that all members who plan to attend its events contact its hotline at (212) 992-5803 or E-mail IFA.Events@nyu.edu. Please note: For events at the Marymount School, the building is landmarked and not wheelchair accessible. For all regional events, we would appreciate advance notice of attendance. Please contact the Membership Coordinator.
MONDAY, JANUARY 9, 5:30 P.M
GALLERY TOUR Of Simon Starling: At Twilight exhibition
Dr. Michael Chagnon, Curator of Exhibition Interpretation at the Japan Society, will give JASA members a private tour of the exhibition Simon Starling: At Twilight (on view through January 15). This new project by Turner Prize–winner Simon Starling reimagines the 1916 premiere staging of W. B. Yeats' noh-inspired dance play, At the Hawk's Well, revealing how Japan's traditional masked theater form helped shape Western Modernism one hundred years ago.
TUESDAY, JANUARY 10, 6 P.M.
The Marymount School
Swept Away by the Great Wave: A Woman Whose Time Has Come
Katherine Govier will give a talk based on her novel The Printmaker’s Daughter. The legendary printmaker Hokusai is one of Japan’s best-known artists. However, the story of his daughter Oei, considered by many to be the “ghost brush” responsible for many of Hokusai’s brilliant late works, came to light for the first time in The Printmaker’s Daughter. Govier’s novel, published by HarperPerennial in the U.S., combines scholarly detective work and a daring narrative that shines fresh light on women and the art world of 19th-century Edo.
MONDAY, FEBRUARY 6, 6 P.M.
The Marymount School
Flash of Light, Fog of War: Illumination and Innovation in Senso-e
Bradley M. Bailey will discuss senso-e, or “war pictures,” of the Russo- and Sino-Japanese Wars, which represent the twilight of large-scale commercial Japanese printmaking. While based on the centuries-old tradition of ukiyo-e, senso-e also showcase the sweeping changes and modernity of the Meiji era. This presentation, based loosely on the upcoming exhibition at the Ackland Art Museum at the University of North Carolina–Chapel Hill, will examine the modern innovations of Japanese woodblock prints of the period, with special emphasis on technologies of war, such as shipbuilding, printing, and above all, light.
SUNDAY, MARCH 12, 11 A.M.
Japan Society Auditorium
ANNUAL JASA MEETING AND Lecture “Amusements in a Samurai Mansion: Male Youths as Actors, Escorts or Outcasts in Early Edo Arts”
The annual meeting of the Japanese Art Society of America will precede this lecture by John T. Carpenter, recently named the Mary Griggs Burke Curator of Japanese Art at the Metropolitan Museum of Art in New York. From 1999 to 2009, Dr. Carpenter taught history of Japanese art at the School of Oriental and African Studies, University of London, and served as Head of the London Office of the Sainsbury Institute for the Study of Japanese Arts and Cultures. He has also taught courses at the University of Heidelber, and, from 2009 to 2011 he was Visiting Professor in the Department of Cultural Resource Studies at the University of Tokyo. He has published widely on Japanese art, especially in the areas of calligraphy, painting and woodblock prints.
TUESDAY, MARCH 14, 6 P.M.Bonhams Auctions
580 Madison Ave., between 56th and 57th Streets
New York, New York
Kuniyoshi, Kunisada: A Closer Look
Joan Wright, Bettina Burr Conservator for Flat Asian Works on Paper at the Museum of Fine Arts Boston, will present her work with the Japanese print collection highlighting the brilliant special effects created by the artisan block carvers and printers who transformed Kuniyoshi and Kunisada’s designs into stunning works of art. Information about the colorants used for printing, comparison of impressions and detailed images of surface effects will be included.
WEDNESDAY, APRIL 5, 6 P.M.
The Marymount School
Re-Creating Ukiyo-e: The Art and Craft of Tachihara Inuki
Henry D. Smith II, Professor Emeritus, East Asian Languages & Cultures, Columbia University, will discuss Tachihara Inuki (1951–2015), who occupies a unique place in the history of the Japanese ukiyo-e print as an artist-craftsman. Inuki singlehandedly assumed all the tasks traditionally distributed among the members of the “ukiyo-e quartet”: publisher, designer, woodblock carver and printer. Giving up a brief career as a jazz musician at the age of twenty-five, he set out to master entirely on his own the skills needed to make prints, using as faithfully as possible the tools and materials of nineteenth-century artisans. Over a period of fourteen years from 1978, he produced 60-odd ukiyo-e “recreations” (saigen), striving to produce prints that would have the same visual and tactile impact that they would have had when freshly printed in Edo. From 1992, he turned away from ukiyo-e recreations to his own original sôsaku prints, using the same techniques. This work was diverse, including book illustrations, portraits of contemporary kabuki actors, and most memorably, a group of portraits of what he imagined three of the great ukiyo-e masters to have looked like. Tachihara died in the summer of 2015 shortly before a retrospective exhibition of his work opened at the Hagi Uragami Museum in Yamaguchi Prefecture, for which a handsome catalogue was prepared.
MONDAY, MAY 15, 6 P.M.
The Marymount School
The Art of Japanese Armor: A Shokunin's (craftsman’s) Perspective
Japanese armor is considered to be the apex of Japanese art because one suit can have components that employ all of the exalted Japanese arts. This talk by Andrew Mancabelli will examine Japanese armor as a work of art and explain the different attributes and processes by which Japanese armor is made and restored. In addition, the shokunin’s difficulties in the modern world and the problems with preservation, restoration, and display will be discussed.
Past JASA programs