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Rintaro TERAKADO

寺門 臨太郎

English

Tsukuba Repository

〈Paper〉University Art Colection and
Business-Academia Collaboratio
著者（英） Rintaro TERAKADO
journal or
publication title
Bulletin of the study on philosophy and
history of art in University of Tsukuba
volume 35
page range 13-18
year 2020-03-01
URL http://hdl.handle.net/2241/00160051
13藝叢35
University Art Collection and Business-Academia Collaboration* 
TERAKADO R ntaro 
University of Tsukuba dates back to its foundation as the 
Normal School at the heart of Tokyo in 1872. 101 years after 
its establishing, the university made a new start in the Tsukuba 
Science City that has 45 public scientific research institutes. 
Among Japan’s national universities, the University of 
Tsukuba is the only one with a full-scale art school (figs. 1-5). 
Also is there an established curatorship course, which is a 
training program covering the main requirements for 
obtaining a curator qualification, and actually large number 
of curators for museums and other research institutions have 
come from this course. Even though, the University of 
Tsukuba still have no organization for university museum. 
UTAC, Un vers ty of Tsukuba Art Co ect on 
Under such circumstances, the University of Tsukuba has 
some 600 pieces of artworks collection, namely the 
University of Tsukuba Art Collection, abbreviated acronym 
UTAC.(1) Since 1997, the Institute of Art and Design (now 
reorganized as Faculty of Art and Design) has acquired more 
than 400 pieces from sources, such as gifts from current and 
retired faculty members and students and ex-students, and 
these pieces have been kept in a room like a storage within 
the research building. 
  In addition to these materials, from 2005 through 2010, the 
university authorities have received the donation of some 200 
artworks from his private collection of the Tokyo resident 
entrepreneur Mr. ISHII Akira, whose enterprise made a 
financial endowment to the library-management graduate 
course. The so-called Ishii Collection consists some 100 
Japanese and European modern paintings and works on paper, 
and other 100 early modern Asian porcelains.(2) A well-design 
storage was established solely for this collection in the 
common building of the undergraduate school of art and 
design in 2006. The storage is now in a temperature and 
humidity highly controlled environment (figs. 6 and 7). A 
dedicated exhibition room was opened in 2007 within the 
University of Tsukuba Gallery in the University Hall. 
  The Faculty of Art and Design (hereinafter, abbreviated as 
FAD), University of Tsukuba, has a working group for UTAC 
management.(3) The group members are composed of mainly 
art historians with experience working as a curator. FAD 
considers UTAC as a scholarly artistic resource and has been 
seeking to utilize the art collection effectively as a symbol of 
research, educational outcomes and business-academia 
collaboration. 
  Symposia and workshops on UTAC are organized mainly 
from an art historical point of view (figs. 8 and 9). Art works 
from UTAC has been loaned to art museums inside and 
outside Japan (figs. 10 and 11). One of the full-scale 
exhibitions of the Ishii Collection was held in April through 
June 2011 at the Ibaraki Ceramic Art Museum, Kasama.(4) 
The exhibition cheered the disaster victim affected by the 
Great East Japan Earthquake occurred on March 11, 2011. 
UT Art Street 
Also, UT Art Street, namely a linking of exhibition venues on 
campus, acts in the most important way to showcase UTAC 
from inside and outside the university.(5) UT Art Street aims 
to introduce the research results and educational outcomes by 
faculty members and undergraduate and graduate students as 
well. Those venues include the institute buildings, the foyer 
of the library and even the gateway to the university 
president's office, as well as the Ishii Collection's permanent 
exhibition at the University of Tsukuba Gallery in the 
University Hall and others. 
  University of Tsukuba Gallery on the central area of 
campus contains the permanent exhibition room for the Ishii 
Collection (figs. 12 and 13). UT Art Space showcases mainly 
the research results of faculty members (let say established 
artists and/or designers), also the temporary exhibition of the 
Ishii Collection (figs. 14 and 15). UT Faculty of Art and 
Design Gallery is in the faculty building to show some 
selected artworks from UTAC, and award-winning students' 
artworks after the degree show every year as well (figs. 16 
and 17).  
Bus ness-Academ a Co aborat on w th UTAC 
FAD has been continuing to extend UT Art Street project to 
off campus. One of the leading local commercial enterprise is 
greatly interested in the university sports and art linking 
business. The company set up a studio in order to exhibit art 
students' works in 2016, while investing in the artificial turf 
field for football and others. FAD works with this company to 
organize a variety of exhibitions and educational workshops 
each year. 
14 藝叢35
  In the year of 2017, the author has made a contact with the 
person in charge of business-academia collaboration of a bank, 
the biggest leading local company. The University of Tsukuba 
signed a contract with the bank to use a part of their premises 
in the branch building near by the university free of charge in 
order showcasing the UTAC (fig. 18). Then in the following 
year, FAD drew up a contract with another local bank, 
because they have a well-designed gallery space for public 
use in their main building. Now we can use a small space 
within their premises free of charge as a permanent satellite 
gallery for UTAC.  
  The purpose of collaboration with those companies is to let 
the community know about the presence of our art school and 
art and design institute through UTAC installation and to 
expect the reaction to research and educational outcomes. 
Those satellite galleries will invite residents to university 
expertise in the fields of art and design. UTAC is a symbol of 
university expertise in the fields of art and design, and a 
symbol of business-academia collaboration in the community. 
  In closing, the author should like to show the potential of 
social contribution and government-academia collaboration 
using UTAC. What can be envisaged to make the Art Street 
another symbol of government-academia collaboration, is to 
stretch it to the regional airport operated by the prefectural 
government and open another satellite gallery there. As is 
well known, every airport has high security and air 
conditioning. Realization is not so easy, but it could be an 
ideal museum at the gateway to the global activities of the 
University of Tsukuba. But in any case, all that is necessary 
to let the UTAC management and UT Art Street projects run 
smoothly and effectively, is indeed the university museum 
organization and its dedicated staff. 
* This essay is shortened the oral manuscript entitled "Art Collection
as Scholarly Resource and Business-Academia Collaboration", that
was presented on an occasion of "UMAC 2019. University Museums
and Collections as Cultural Hubs: The Future of Tradition", the 25th
General Conference of International Council of Museum (ICOM),
International Committee for University Museums and Collections
(September 05, 2019. Kyoto University of Foreign Studies). Its peer-
reviewed abstract has been published in University Museums and
Collections Journal 11-1 (2019), p. 105 [http://umac.icom.museum/
wp-content/ uploads/2019/08/UMACJ_11-1_2019.pdf].
Notes 
(1) On the fixed asset ledger of University of Tsukuba, we find more
than 1400 of property categorized as "tangible = fine arts". While
hundreds of artworks and reproductive objets d'art are under the
management of various faculties and/or departments, it could be
noteworthy that other hundreds of human models for medical
training are categorized as "tangible = fine arts". It is interesting
that the such human model is registered as "tangible=fine arts",
because there seems to be a historical background that shows how
the concept of "bijutsu (fine arts)" has been formed since the
Meiji era.
(2) The inventory catalogues of the Ishii Collection are as per the
followings: TERAKADO Rintaro (ed.), The Ishii Collection,
University of Tsukuba, vol. 1  Paintings, Drawings, and Prints,
Institute of Art & Design, University of Tsukuba, 2011; Curatorial
Dept., Ibaraki Ceramic Art Museum and TERAKADO Rintaro
(eds.), The Ishii Collection, University of Tsukuba, vol. 2
Ceramics, Lacquerwares and Glassware, Institute of Art &
Design, University of Tsukuba, 2011. Also is it possible to access
the online catalogue: https://www.geijutsu.tsukuba.ac.jp/ishii-en/.
(3) The working group is based on the project "Establishment of
A. R. T. [Art Resources in Tsukuba]: Strategic Display and
Utilization of University Art Resources", which was run by the
university research grant 2008-2010. The project was directed by
Prof. OMUKA Toshiharu (now professor emeritus) as a research
representative. It aimed to make the university art collection and
the exhibition facilities to utilize in order contributing socially to
the local community and using effectively them for education and
research. The research on "Utilization of Art Resources in
University" has been followed by also Prof. Omuka from 2011
through 2018 with the Grant-in-Aid for Scientific Research,
Japan Society for the Promotion of Science. See https://www.
geijutsu.tsukuba.ac.jp/artresources/subject.
(4) The exhibition was co-organized by the Ibaraki Ceramic Art
Museum, Kasama and the University of Tsukuba, and held at the
museum from April 28 to June 19. It was planned to start in the
end of March, but was delayed due to the earthquake.
(5) The idea of not only connecting exhibition venues but also making
the entire campus an art museum, is considered in the following
research for instance: Thomas A. Gaines, The Campus as a Work
of Art, Westport: Praeger Publ., 1991. The research is, however,
relatively from the perspective of environmental design that
embodies the "ideal campus" and is not necessarily intended to
regard the campus as a medium for communicating research and
study outcome.
15藝叢35
f g. 1 
Cast court, 5C B dg., Un vers ty of Tsukuba 
f g. 2 
Student's work 
(https://www.ge jutsu.tsukuba.ac.jp/schoo /kose /craft/) 
f g. 3 
Student's work 
(https://www.ge jutsu.tsukuba.ac.jp/schoo /kose /pamm/) 
f g. 4 
Ceram cs stud o 
(photo: Courtesy of Prof. SAITO Tosh ju) 
f g. 5 
Student's work 
(https //www geijutsu tsukuba ac jp/school/wp-
content/uploads/sites/ 52/2018/02/2016-26 0002 jpg) 
16 藝叢35
f g. 6 
Techn ca  pract ce for art h story students 
f g. 8 
Sympos um of the Ish  Co ect on 
f g. 10 
Art h story students record ng aud o gu de 
f g. 7 
Techn ca  pract ce for art h story students 
f g. 9 
Workshop of the Ish  Co ect on 
f g. 11 
Art h story student ta k ng on exh b ts at ga ery 
17藝叢35
f g. 12 
The Ish  Co ect on permanent exh b t on, Un vers ty of 
Tsukuba Ga ery, The Un vers ty Ha  
f g. 13 
The Ish  Co ect on permanent exh b t on poster 
f g. 14 
UT Art Space exh b t ng the Ish  Co ect on 
f g. 15 
Poster for an exh b t on, Selected Works from the Ishii 
Collection  University of Tsukuba Art Collection  "Tristan 
Tzara  L'antitête and Three Artists", 2019.  
18 藝叢35
f g. 16 
UT Facu ty of Art & Des gn Ga ery show ng Award w nn ng 
students' works 
f g. 17 
Poster for an exh b t on The Purchased Works from Degree 
Show 2019 
f g. 18 
UTAC expos t on n the branch bu d ng of a oca  bank 


〈Paper〉University Art Collection and Business-Academia Collaboration

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〈Paper〉University Art Collection and Business-Academia Collaboration

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