On the Contributors
Guest Editors
Álex Bueno is Project Assistant Professor in the Faculty of Arts and Sciences at the University of Tokyo. He holds a B.A. in Art History from Princeton University and an M.A. and Ph.D. in Architecture from Harvard University. He specializes in the cultural history of modernization in the design fields of architecture, landscape architecture, and urban planning in the United States, Western Europe, and Japan. He has translated extensively, and his most recent work appeared in Kazuo Shinohara: Traversing the House and the City, ed. Seng Kuan (Harvard Graduate School of Design & Lars Müller, 2021).
Yasutaka Tsuji is Assistant Professor at the University of Tsukuba. He specializes in the history of art and architecture after 1945. He holds a Ph.D. in Architecture from the University of Tokyo. He was a visiting scholar at Columbia University on a fellowship from the Agency for Cultural Affairs, Government of Japan (2014–15), and a research fellow of the Japan Society for the Promotion of Science (2014–16). His publications include: "Outdated Pavilions: Learning from Montreal at the Osaka Expo" (Invisible Architecture: Italian and Japanese Movements in the 1960s (Silvana Editoriale, 2017) and "Displaying the Phenomenal City: The Installation of the 1975 Shinjuku Exhibition at the Museum of Modern Art in New York" (East Asian Architecture in Globalization, Springer, 2021). He has also written Nibiiro no sengo–geijutsu undō to tenji kūkan no rekishi (Postwar Japan as Dullness: A History of Art Movements and Exhibition Installations)(Suiseisha Publishing, 2021).
Assistant Editors
Rika Hiro is a Visiting Assistant Professor, Occidental College, California. Her doctoral dissertation looked at the aftereffects of the atomic bombs in arts and exhibition culture [End Page 254] in postwar Japan. She co-founded the non-profit art space Art2102 of Los Angeles and co-curated Art, Anti-Art, Non-Art: Experimentations in the Public Sphere in Postwar Japan 1950–1970 and Radical Communication: Japanese Video Art, 1968–1988 at the Getty Research Institute. She is currently researching Japanese diaspora artists in mid-twentieth-century Los Angeles with a fellowship of the DNP Foundation for Cultural Promotion.
Miho Tajima received her Ph.D. in Comparative Cultures from Josai International University and her B.A. in Japanese and Asian Studies from the University of California, Berkeley. She is a translator and researcher of modern Japanese literature, currently researching novels written by non-L1 speakers of Japanese from the perspectives of feminism and postcolonial criticism. Her publications include: America o manazasu musumetachi (What Daughters Saw in America) (Takanashi Shobō, 2022), Hagio Moto Kosatsu: kaihō sareru haha no shintai (Hagio Moto: Released/Liberated Body of Mother) (Takanashi Shobō, forthcoming 2022).
Section Editors
Andre Haag is Assistant Professor of Japanese literature and culture at the University of Hawaiʻi at Mānoa. He received his Ph.D. in Japanese literature from Stanford University. Haag's research explores how the tensions and terrors of colonialism attendant to the annexation of Korea and internalization of the "Korea Problem" were inscribed within the literature, culture, and vocabularies of Japanese metropole. His current projects include a monograph on the cultures of anxiety, fear, and panic in imperial Japan and an edited volume on ethno-racial passing in East Asia under colonialism.
Rika Hiro (please see above).
Reiko Tomii is an independent art historian and curator who investigates post-1945 Japanese art in global and local contexts for the narration of a world art history of modernisms. Her research topic encompasses "international contemporaneity," collectivism, and conceptualism in 1960s art. She is Co-Founder/Co-Director of PoNJA-GenKon, a scholarly listserv (www.ponja-genkon.net). Her recent publication Radicalism in the Wilderness: International Contemporaneity and 1960s Art in Japan (MIT Press, 2016), which received the 2017 Robert Motherwell Book Award, was turned into an exhibition Radicalism in the Wilderness: Japanese Artists in the Global 1960s at Japan Society Gallery in New York in 2019. In 2020, she received the Commissioner for Cultural Affairs Award from the Japanese government.
(rtomii.js@gmail.com) [End Page 255]
Contributors
Hollis Goodall is Curator of Japanese Art at the Los Angeles County Museum of Art, where she has overseen more than 275 exhibitions and installations in the Pavilion for Japanese Art, educational programs, collection management and development, and research. Her new exhibition, Sam Francis and Japan: Emptiness Overflowing, co-curated by Leslie Jones, is scheduled to open in spring 2023. She received her Bachelor's Degree from the University of Texas with Honors, then a Master's Degree in East Asian Art from the University of Kansas. She was a Research Fellow at the University of Kyoto from 1986 to 1988.
Ken K. Ito is Professor Emeritus of Japanese Literature at the University of Hawaiʻi at Mānoa and the University of Michigan. He is the author of Visions of Desire: Tanizaki's Fictional Worlds (Stanford University Press, 1991) and An Age of Melodrama: Family, Gender, and Social Hierarchy in the Turn-of-the-Century Japanese Novel (Stanford University Press, 2008), which received the 2010 John W. Hall Prize of the Association for Asian Studies.
Nicholas Lambrecht is an Assistant Professor of Global Japanese Studies in the Graduate School of Letters at Osaka University. He holds a Ph.D. in East Asian Languages and Civilizations from the University of Chicago, and specializes in modern and contemporary Japanese literature, with an emphasis on writings depicting movement and migration after the fall of the Japanese empire. His recent work in English includes the article "Globalizing Global Japanese Studies: Interests, Expectations, and Expertise" (Anthology of Transborder Cultural Studies, 2020), and his published translations include essays by the literary critic Hirano Ken and the author and playwright Ishihara Nen.
Dianne Lee Shen is an independent curator and archivist specializing in Asian American visual culture. She served as the collections strategist and Museum without Walls curator at the Los Altos History Museum from 2019 to 2021. She has held positions at the J. Paul Getty Museum, Christie's, Metropolitan Water District of Southern California, and The Broad Museum. She received her M.A. in East Asian Area Studies from the University of Southern California and B.A. in International Studies from the University of California, Irvine.
Meher McArthur is Arts & Cultural Director of JAPAN HOUSE Los Angeles. She is an Asian art historian specializing in Japanese art and served recently as the Academic [End Page 256] Curator at Scripps College in Claremont and Creative Director at the Storrier Stearns Japanese Garden in Pasadena. Previously, she was Curator of East Asian Art at Pacific Asia Museum (PAM, now USC PAM), also in Pasadena. She has also curated exhibitions for the traveling exhibition company International Arts & Artists (IA&A), including Folding Paper: The Infinite Possibilities of Origami (2012–2016) and Washi Transformed: New Expressions in Japanese Paper (from October 2021).
Nobuko Miyama Ochner is retired Associate Professor of Japanese at the University of Hawaiʻi-Mānoa. Her research examines cross-cultural interactions and intertextuality in modern Japanese literature. She has worked extensively on Nakajima Atsushi, including his biography and translations and analyses of his writings. Her recent works include: "Nakajima Atsushi's 'Gojō Tan'i': An Intertextual reading in Relation to Faust and Zarathustra" (Confluences, 2005); translations of two Wujing stories in the collection of Nakajima's stories, The Moon over the Mountain (Iowa City: Autumn Hill Books, 2011); "Shūshin Kani'iri (Possessed by Love, Thwarted by the Bell), an Okinawan kumi odori (Asian Theatre Journal, 22.1, 2005).
Yasuko Tsuchikane is Adjunct Associate Professor at Cooper Union and part-time lecturer at Waseda University and Sophia University. She specializes in 20th century Japanese visual culture, particularly in relation to its reformulation of modernity against premodernity and its global ramifications in multiple areas, such as Buddhist temple architectural art, ceramics, and calligraphy. Publications include "Defining Modernity in Japanese Sculpture: Two Waves of Italian Impact on Casting Techniques" (Finding Lost Wax: the Disappearance and Recovery of an Ancient Casting Technique and the Experiments of Medardo Rosso, Brill, 2021), "Rescuing Temples and Empowering Art: Naiki Jinzaburō and the Rise of Civic Initiatives in Meiji Kyoto" (Kyoto Visual Culture in the Early Edo and Meiji Periods: The Arts of Reinvention, Routledge, 2016), and "Picasso as the Other: First 'Global' Polemics of a Postwar Ceramic/Painting Dichotomy" (special journal issue, "Commensurable Distinctions: Intercultural Negotiations of Modern and Contemporary Japanese Visual Culture," Review of Japanese Culture and Society, December 2014). She holds a Ph.D. in art history from Columbia University.
(yasuko.tsuchikane@cooper.edu) [End Page 257]
