October 17, 2017; 6:30 – 8:00pm
Battle Royale! Japanese Art History Discussion: Nobuo Tsuji and Takashi Murakami
Nobuo Tsuji and Takashi Murakami

Photo by Naohiro Tsutsuguchi (Shinchosha) ©2009 Takashi Murakami/Kaikai Kiki Co., Ltd. All rights reserved.

Artist Takashi Murakami and the art historian Nobuo Tsuji, will discuss key issues surrounding the terms “Superflat” and “kazari” and their connections to Japanese art. The audience will also receive a preview of the exhibition Takashi Murakami: Lineage of Eccentrics, A Collaboration with Nobuo Tsuji and Museum of Fine Arts, Boston.
Co-sponsored by The Italian Academy.
RSVP required by October 15: mgbcenter@columbia.edu

The Italian Academy 1161 Amsterdam Avenue, Columbia University

December 7, 2017; 6-7:00PM
Facing Turbulent Times: Images of the Great Peace in East Asia
Chin-Sung Chang
Professor of Art History, Seoul National University

Detail from The City of Great Peace, early nineteenth century, Korea. Eight-panel screen, ink and colors on silk, 113.6 x 49.1 (each panel), National Museum of Korea, Seoul.

Chin-Sung Chang is Professor of Art History at Seoul National University, specializing in the history of Chinese and Korean painting. He holds a master’s and PhD in art history from Yale University, an MA in art history from Columbia, and a BA in archaeology and art history from Seoul National University. He was both a Jane and Morgan Whitney Fellow in 2005–2006 and an Andrew W. Mellon Fellow in 2013–2014 at the Metropolitan Museum of Art. He has co-authored Landscapes Clear and Radiant: The Art of Wang Hui (1632–1717) and Art of the Korean Renaissance, 1400-1600. He is currently working on monographs on the eminent Chinese literati artist Ni Zan (1301–1374) and the distinguished Korean court painter Kim Hongdo (1745–after 1806).

612 Schermerhorn Hall, Columbia University

November 9, 2017; 6 – 7:00pm
Gold in Japanese Paintings, and What It Can Tell Us
Frank Feltens
Assistant Curator, Freer Gallery of Art and Arthur M. Sackler Gallery

Unkoku Tōgan, Landscape, Muromachi or Momoyama Period, 16th century. Ink, gold, and tint on paper. Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution, Washington, D.C.: Gift of Charles Lang Freer, F1907.134

Gold has the potential to unveil fascinating secrets about works of art. At the example of screens by the 16th-century Unkoku School at the Freer and Sackler Galleries, this lecture examines the changing perceptions of gold in late medieval and early modern Japanese painting. In the process, we will see how the aesthetic of paintings shifted over time, and how it sometimes departed from the original intention of the painter.

612 Schermerhorn Hall, Columbia University

Thursday, September 21; 6pm
In Between Space: Frank Lloyd Wright’s Interchange with Japan
Ken Tadashi Oshima

Building on the MoMA exhibition Frank Lloyd Wright at 150: Unpacking the Archive, this lecture explores the dynamic dialogue between East and West in Wright’s work spanning from the 1893 World’s Columbian Exposition, his first 1905 trip to Japan, decade-long design development of the Imperial Hotel and beyond.

612 Schermerhorn Hall, Columbia University

April 20, 2017; 6:00 – 7:00pm
Japanese Narrative Handscrolls (emaki): Emperors, Shoguns, and Landscapes
Akira Takagishi
Visiting Professor, Tokyo University

Detail from Konda sōbyō engi emaki, 1433

Emperors and shoguns were at the center of power in medieval-period Japan. While the emperors transmitted refined court culture, the shoguns sought to unify the nation with their military might. By analyzing emaki commissioned by emperors and shoguns, this talk will
attempt to identify their understanding of nationhood and milieu.


April 13, 2017; 6:00pm to 7:00pm
The Self-Knowing Copy: A Copy of a Copy of the Qingming shanghe tu
Yeewan Koon
Associate Professor of Art History, Hong Kong University

A common truism in Chinese art history is that copying works by former masters is essential, but to be imitative rather than transcendental was to be skilled yet without talent. The importance of copying has led to numerous worthy tomes on transfer methods and the assessment of the quality of brushwork in relation to these methods. But what happens when we use image as the key investigative subject? This presentation takes an attributed Qiu Ying copy of the Qingming shanghe tu as the starting point to investigate a small group of mid-Ming paintings that are copies of earlier famous paintings, but with either new endings or beginnings that radically shifts the narrative of the original. In such instances, there are always at least two embedded narratives – one that references the original, and the other of the copy's conceit. My interest lies in unpacking how these different narratives interact, what they may reveal about the values of an “original” in mid-Ming times, and how, instead of transcending the master, these paintings work because they are “self-knowing” imitations.

Tuesday, April 4, 2017; Reception 5 - 5:30pm, Lecture 5:30 - 7:00pm
Nara Yoshitomo: Japan's Leading Neo-pop Artist
Nara Yoshitomo
From the Depth of My Drawer – My Works, My Childhood


RSVP required: mo2486@columbia.edu by April 3rd

Thursday, December 1, 2016 | 6:00–7:00pm
The Way to the Jingoji Portraits: A Perspective from the Study of Japanese Medieval Portrait Paintings
Professor Michio Yonekura
Distinguished Atsumi Visiting Professor

A major focus of Professor Yonekura's research has been the portrait painting in the temple Jingoji thought to be of Minamoto Yoritomo. The process of investigating this iconic work has led him to rethink the significance of studying the historical context of Japanese portrait paintings. What he learned was the mundane fact that portraits are products of society that adhere to the visual conventions and customs of their historical context. Yonekura will explain how clues about the the identity of the sitter and dating of the portrait may be discovered within the cultural milieu of medieval Japanese society.