Art Across Borders: Japanese Artists in the United States, 1895-1955

From the 1880s to the early 1920s, hundreds of artists left Japan for the United States. The length of their stays varied from several months to several decades. Some had studied art in Tokyo, but others became interested in art after working in California. Some became successful in the American art world, some in the Japanese art world, and some in both. They used oil paints on canvas, sumi ink on silk, and Leica cameras. They created images of Buddhist deities, labor protests, farmers harvesting rice, cabaret dancers, and the K.K.K. They saw themselves and were seen by others as Japanese nationals, but whether what they created should be called Japanese art proved a difficult and personal question, The case of Japanese artists in the United States during the first half of the twentieth century demonstrates that there is a national art - a Japanese art and an American art - but that the category is not fixed. A painting can be classified in the 1910s as Japanese, but the same painting can be included in a show of American art a few decades later. An artist can proclaim himself to be American, but can then be exhibited as a Japanese artist after his death. National constructions of art and artists serve the art market's purpose of selling a work. Categories set along national lines also reinforce the state's projection of a distinct, homogeneous culture to the international community. For non-Western artists, assigning themselves with a national aesthetic allows for easy identification. But for modern Japanese artists like Kuniyoshi Yasuo, Ishigaki Eitarô, and Shimizu Toshi and others, national categories often posed barriers to creativity and to their success in the art world. Shimizu Toshi was awarded for painting a night scene of Yokohama, but his award was rescinded because he was Japanese. Savvy artists like Yoshida Hiroshi and Obata Chiura worked within national aesthetic categories to better market his work. Kuniyoshi Yasuo remained enigmatic, willing to fall into any category that a critic or dealer might determine they should be cast in, while Ishigaki Eitarô associated himself with international leftist politics that precluded notions of Japanese art. Exploring their histories brings several themes to the fore. First, any attempt to use a single, or hyphenated, national category to describe them or their art is problematic and misleading. An artist's "Japaneseness" was not a fixed characteristic: at different points in his career, he might be classified as a Japanese, American, or even a proletarian artist. Artists could sometimes choose to align themselves with one national culture or eschew both, but the denizens of the art world - critics, museum and gallery curators, schools, and other artists - as well as the public nearly always ascribed a national, or at best hybrid, aesthetic character to their work. During the 1910s and 1920s, when Japanese art had fallen out of fashion and modernism was the vanguard, Japanese artists were freer to transcend the preconceptions of what had become by then conventionally defined as a "Japanese aesthetic," which was based in good part on the works of Japanaiserie of earlier years. Artists of many nationalities strove to be "modern" by consciously rejecting "tradition," which for Japanese artists meant the styles and techniques of traditional Japanese painting. Many of the artists from Japan who wanted to make modern art had little practice in traditional art in any case, since they had received their artistic training in the United States. Indeed, it was their American mentors who taught them what Japanese art was supposed to look like. Modern art did not just set itself against the artistic conventions of the past; it also sought to comment on, and intervene in, the rapidly changing ways of modern life. Japanese artists in New York and Los Angeles joined their colleagues in turning to city streets and everyday life for their subjects, rather than reflecting on a safely imagined past. Portraying the streets they walked, in the techniques they learned in American art schools, came more naturally to them than making a woodblock print of a geisha strolling in a Kyoto garden. They used oils to paint flappers they saw on Fourteenth Street, but had no experience with woodblock printing, geisha, or the gardens of Kyoto

Bowdoin Alumnus Volume 35 (1960-1961)

https://digitalcommons.bowdoin.edu/alumni-magazines/1033/thumbnail.jp

Wooster Magazine: Summer 2013

This edition of the Wooster Magazine was published in the summer of 2013. The edition begins with an article by alum David Gilliss \u2780 reflecting on the Wooster Network and Independent Study. Page four features an article by President Grant Cornwell about Wooster\u27s slogan, America\u27s premier college for mentored undergraduate research. A section by Karol Crosbie looks at the Scot Center and its fitness program. Both the women\u27s and men\u27s Ultimate Frisbee teams are highlighted in a story regarding their history and present. An advertisement for Alumni Weekend is on page six and seven. Some seniors have their independent studies highlighted. Class Notes are featured from page 36 to 63.https://openworks.wooster.edu/wooalumnimag_2011-present/1029/thumbnail.jp

Making Place Work: Site-Specific Socially Engaged Art in 21st Century Toronto

Site-specific socially engaged art practices are on the rise, particularly in cities. Global migration, global networks and online communication notwithstanding, artists, curators and cultural institutions are increasingly working to “activate” audiences in and through local encounters premised on shared exploration of specific urban sites. What kinds of social engagement are made possible through these local encounters? And what kinds of engagement are precluded or overlooked when artists try to engage their publics site-specifically? This dissertation considers site-specific socially engaged art in the context of 21st Century Toronto, a city that is rife with multiple historical and ongoing displacements and that is also facing new challenges, including increasing spatial polarization along class and race lines and considerable political apathy. Drawing both on critical theories of place and contemporary literature on socially engaged art, I offer a new set of criteria for analysis of site-specific social engagement, as well as three in-depth examinations of site-specific socially engaged art practices. I look at the work of REPOhistory (New York, 1989-2000), Jumblies Theatre (Toronto, 2001- ) and DEPARTMENT OF PUBLIC MEMORY (Toronto, 2011- ). My analysis suggests that social engagement premised on site-specificity is promising, in that it can foster new forms of civic dialogue, but is ideally approached with a fluid spatial imagination, relationally specific awareness of urban dynamics, and close attention to social conflicts. This dissertation contributes to the emergent literature on creative placemaking and to the burgeoning scholarship on socially engaged art

Report of the Secretary of the Interior; being part of the message and documents communicated to the two Houses of Congress at the beginning of the second session of the Fifty-third Congress Pt 2, Report of the Commissioner of Education, 1893

Annual Message to Congress wtih Documents: Pres. Cleveland. 4 Dec. HED 1. 53-2, v1-21 , 16692p. [3197-3218] Pres. discusses Indian policy ; annual report of the Sec. of War (Serials 3198-3206) ; annual report of the Sec. of Interior (Serials 3209-3215) ; annual report of the Gen. Land Office (Serial 3 209): annual report of the CIA (Serial 3210); et

B!SON: A Tool for Open Access Journal Recommendation

Finding a suitable open access journal to publish scientific work is a complex task: Researchers have to navigate a constantly growing number of journals, institutional agreements with publishers, funders’ conditions and the risk of Predatory Publishers. To help with these challenges, we introduce a web-based journal recommendation system called B!SON. It is developed based on a systematic requirements analysis, built on open data, gives publisher-independent recommendations and works across domains. It suggests open access journals based on title, abstract and references provided by the user. The recommendation quality has been evaluated using a large test set of 10,000 articles. Development by two German scientific libraries ensures the longevity of the project

Technology responsiveness for digital preservation: a model

Digital preservation may be defined as the cumulative actions undertaken by an organisation or individual to ensure that digital content is usable across generations of information technology. As technological change occurs, the digital preservation community must detect relevant technology developments, determine their implications for preserving digital content, and develop timely and appropriate responses to take full advantage of progress and minimize obsolescence. This thesis discusses the results of an investigation of technology responsiveness for digital preservation. The research produced a technology response model that defines the roles, functions, and content component for technology responsiveness. The model built on the results of an exploration of the nature and meaning of technological change and an evaluation of existing technology responses that might be adapted for digital preservation. The development of the model followed the six-step process defined by constructive research methodology, an approach that is most commonly used in information technology research and that is extensible to digital preservation research. This thesis defines the term technology responsiveness as the ability to develop continually effective responses to ongoing technological change through iterative monitoring, assessment, and response using the technology response model for digital preservation

Pioneer Science and the Great Plagues: How Microbes, War, and Public Health Shaped Animal Health

Pioneer Science and the Great Plagues covers the century when infectious plagues—anthrax, tuberculosis, tetanus, plague, smallpox, and polio—were conquered, and details the important role that veterinary scientists played. The narrative is driven by astonishing events that centered on animal disease: the influenza pandemic of 1872, discovery of the causes of anthrax and tuberculosis in the 1880s, conquest of Texas cattle fever and then yellow fever, German anthrax attacks on the United States during World War I, the tuberculin war of 1931, Japanese biological warfare in the 1940s, and today’s bioterror dangers. Veterinary science in the rural Midwest arose from agriculture, but in urban Philadelphia it came from medicine; similar differences occurred in Canada between Toronto and Montreal. As land-grant colleges were established after the American Civil War, individual states followed divergent pathways in supporting veterinary science. Some employed a trade school curriculum that taught agriculturalists to empirically treat animal diseases and others emphasized a curriculum tied to science. This pattern continued for a century, but today some institutions have moved back to the trade school philosophy. Avoiding lessons of the 1910 Flexner Report on medical education reform, university-associated veterinary schools are being approved that do not have control of their own veterinary hospitals, diagnostic laboratories, and research institutes—components that are critical for training students in science. Underlying this change were twin idiosyncrasies of culture—disbelief in science and distrust of government—that spawned scientology, creationism, anti-vaccination movements, and other anti-science scams. As new infectious plagues continue to arise, Pioneer Science and the Great Plagues details the strategies we learned defeating plagues from 1860 to 1960—and the essential role veterinary science played. To defeat the plagues of today it is essential we avoid the digital cocoon of disbelief in science and cultural stasis now threatening progress.https://docs.lib.purdue.edu/purduepress_ebooks/1059/thumbnail.jp

From Sin to Science: The Cancer Revolution of the Nineteenth Century

This dissertation analyzes the critical importance of the late nineteenth century to the development of a novel, radical approach to cancer that continues into the twenty-first century. From the 1870s to the 1890s, physicians and the public came to understand cancer in an entirely new light, founded upon the application of scientific principles, methods, and instruments to cancer medicine as well as upon a major change in the social perception of the disease. Cancer as it was conceptualized, diagnosed, and treated prior to this revolutionary transformation will be explored. The birth of cellular pathology will set the stage for the transition of cancer from a macroscopic, eponymous malady to a microscopic, cellular disease. The founding of an institution devoted solely to the care of cancer patients and the investigation of the disease will illustrate how societal beliefs, combined with personal tragedy, philanthropy, and medical expertise, legitimized the disease and fostered cancer research. The histories of the cancers of two Presidents of the United States, Ulysses S. Grant and Grover Cleveland, who were diagnosed with the disease only nine years apart during these critical years, will be compared and contrasted for the insights they provide on this great transformation. The scientific underpinnings of these changes will be examined from their roots in physics, chemistry, and biology to their applications in microscopy, anesthesia, and antisepsis. Modern cancer will be shown to be based firmly on the medical microscope and the advent of scientific surgery that occurred in the late nineteenth century