CV
POSITIONS
12/2019–present University of Tokyo
Professor, Culture and Representation Course, Department of Interdisciplinary Cultural Studies
5/2019–3/2024 University of Tokyo
Vice Director, Art Center
4/2016–11/2019 University of Tokyo
Associate Professor, Culture and Representation Course, Department of Interdisciplinary Cultural Studies
12/2006–3/2024 Oral History Archives of Japanese Art
Director
4/2014–3/2016 Kyoto City University of Arts
Associate Professor, Archival Research Center
4/2007–3/2014 Hiroshima City University
Associate Professor, Faculty of Arts
5/2005–8/2006 Smithsonian American Art Museum
Predoctoral Fellow
VISITING POSITIONS
2015-2016 Doshisha University
Visiting Lecturer, Faculty of Letters
International Research Center for Japanese Studies
Visiting Research Scholar
2014 Hiroshima City University
Visiting Lecturer, Graduate School of Arts
2012 Columbia University
Visiting Scholar, Department of Art History and Archaeology
2006–2007, 2009 University of Tokyo
2015 Visiting Lecturer, Faculty of Arts and Sciences
2009 Okinawa Prefectural University of Arts
Visiting Lecturer, Faculty of Arts and Crafts
2006 Niigata University
Visiting Lecturer, Institute of Undergraduate Programs and Courses
EDUCATION
2014 Institute of Fine Arts, New York University
Ph.D. in art history
1998 University of Tokyo
M.A. in cultural studies, Department of Interdisciplinary Cultural Studies
1995 University of Tokyo
B.A. in cultural studies, Department of Interdisciplinary Cultural Studies
RESEARCH INTERESTS
Japanese and American art since 1945, the history and theory of archives, oral history interviews on Japanese art, and the restoration of time-based media artworks
BOOKS
Emancipated Painting: Color Field Painting and 20th-Century American Culture. Tokyo: University of Tokyo Press, 2023. (in Japanese)
Usami Keiji: A Painter Resurrected, Lectures and Discussions. Edited by Kenji Kajiya. Tokyo: Komaba Museum, University of Tokyo, 2023. (in Japanese)
Usami Keiji: A Painter Resurrected. Edited by Kenji Kajiya. Tokyo: University of Tokyo Press, 2021. (in Japanese)
Beginning with Usami Keiji’s Kizuna: A Full Transcript of the Symposium. Edited by Atsushi Miura, Kenji Kajiya and Osamu Shimizu. Tokyo: University of Tokyo, 2019.
Shaping the History of Art in Southeast Asia, Art Studies, no. 3. Edited by Patrick D. Flores and Kenji Kajiya. Tokyo: Japan Foundation Asia Center, 2017.
From Postwar to Postmodern, Art in Japan 1945-1989: Primary Documents. Edited by Doryun Chong, Michio Hayashi, Kenji Kajiya, and Fumihiko Sumitomo. New York: Museum of Modern Art, 2012.
Selected Works of Art Criticism by Nakahara Yūsuke. 12 vols. Edited by Kenji Kajiya, Daisuke Awata, and Mika Nagamine. Tokyo: Gendai Kikakushitsu + BankART 1929, starting in 2011 to be completed in 2024. (in Japanese)
DISSERTATION
Color Field Painting in the Cultural Context of America (PhD diss., Institute of Fine Arts, New York University, 2014).
Committee Members: Robert S. Lubar (chair), Thomas Crow and Robert Slifkin.
ARTICLES AND CHAPTERS IN BOOKS
“Diverse Voices of Japanese Modern and Contemporary Art: The Oral History Archives of Japanese Art” ( in Chinese). In The (Im)possibility of Art Archives: Theories and Experience in/from Asia. Edited by Pan Lu, 19–32. London: KCL Publishing House, 2023. English edition published by Palgrave Macmillan is in print.
“Painting as Information: The Reception of Abstract Expressionism in Japan.” In American Art in Asia: Artistic Praxis and Theoretical Divergence. Edited By Michelle Lim and Kyunghee Pyun, 51-67. London: Routledge, 2022.
“The Destruction of Usami Keiji’s Kizuna and the Reconstruction of its Graphic Image” (in Japanese). In Conservation and Preservation of Contemporary Art: For the Construction of Network of Ideas, Methods, and Information. Report for Grant-in-Aid for Scientific Research (A) 2015-2019. Kyoto: Okada Atsushi, 2020, 161–171.
“Decoration as Painting: Color Field Painting and its Design Context” (in Japanese). Bijutsu Forum 21, no. 40 (November 2019): 74–80.
“The Institution of Art in Boris Groys and Postwar Japanese Art” (in Japanese). Shisō, no. 1128 (April 2018): 87–99.
“En embrassant une perspective de Ōura Nobuyuki, et Culture et Politique des années 1980 au Japon” (In French). Traduit de l’anglais par Sylvie Taussig. Implications Philosophiques (août 2017). Online Journal.
“Japanese Art Projects in History.” Field: A Journal of Socially-Engaged Art Criticism, no. 7 (spring 2017). Online journal.
“Inflected Modernism: Michael Fried’s discussions of Color Field Painting” (in Japanese). New York: Dreams and Realities of the Delirious City. Edited by Masayuki Tanaka. Tokyo: Chikurinsha. In press.
“Dansaekhwa as Flatbed Picture Plane: Nakahara Yūsuke's Perception of Korean Contemporary Art” (in Korean and Japanese). Journal of the Association of Western Art History, no. 45 (August 2016): 7–38.
“Real/Life: New British Art and the Reception of Contemporary British Art in Japan." British Art Studies, no. 3 (July 2016). Online.
“Japanese Art Projects Unfold Locally: Its Historical Background and the Global Context” (in Japanese). Local Art: Aesthetics, Institution, Japan. Tokyo: Horinouchi shuppan, 2016, 95–133.
“Posthistorical Traditions in Art, Design, and Architecture in the 1950s Japan.” World Art 5, no. 1 (spring 2015): 21–38.
“Art History in Art Archives” (in Japanese). Journal of Art Studies, no. 415 (March 2015): 44–46.
“Tourism on Paper: Living Hiroshima and the Globalization of Hiroshima as a Tourist Site” (in Japanese). Photographers’ Gallery Press, no. 12 (November 2014): 80–87.
“Manga and Art: From the Perspective of Contemporary Art Criticism” (in Japanese). Suzuki Masao, ed. Experience of “Seeing” Manga: Frame, Character, and Modern Art. Tokyo: Suiseisha, 2014), 159–182.“Art History in Art Archives” (in Japanese). Journal of Art Studies, no. 415 (March 2015): 44–46.
“Hiroshima Art Project: A University-based Art Project” (in Japanese). Bulletin of the Faculty of Art, Hiroshima City University, no. 18 (March 2013): 34–37.“Yokoo Tadanori’s Writings” (in Japanese). Eureka 44, no. 13 (November 2012): 214–221.
“A Perceptional Turn in Ishiko Junzō’s Manga Criticism” (in Japanese). Bijutsu Forum 21, no. 24 (November 2011): 104–112.
“Visual Representation of Dreams and Ghosts in Medieval and Early Modern Japan” (in Japanese). Bulletin of the Faculty of Arts, Hiroshima City University, no. 16 (March 2011): 37–44.
“Painters Who Did and Did Not Witness the Atomic Bomb: The Witnessing and Representation of the Atomic Bomb” (in Japanese). Studies in Atomic Bomb Literature, no. 9 (December 2010), 69–86.
“How Emotions Work: The Politics of Vision in Nakazawa Keiji’s Barefoot Gen,” in Jaqueline Berndt, ed., Comics Worlds and the World of Comics: Towards Scholarship on a Global Scale. Global Manga Studies, vol. 1. Kyoto: International Manga Research Center, Kyoto Seika University, 2010, 227 – 243.
“Oral History Archives of Japanese Art and the Future of Documents on Art” (in Japanese). Aida, no. 170 (March 2010): 2–10.
“Color Field Painting and Interior Design” (in Japanese). Bulletin of the Faculty of Arts, Hiroshima City University, no. 15 (March 2010): 36–41.
“Recounted Art History: Towards Making the Oral History Archives of Japanese Art” (in Japanese). Kajima Art Studies, no. 26 (November 2009): 447–455.
“Performance in Modernist Art” (in Japanese). Bulletin of the Faculty of Arts, Hiroshima City University, no. 14 (March 2009): 56–62.
“Asian Contemporary Art in Japan and the Ghost of Modernity.” Trans. Edan Corkill. In Count 10 Before You Say Asia: Asian Art after Postmodernism. Ed. Yasuko Furuichi. Tokyo: Japan Foundation, 2009, 208-221; “Discussion.” With Michio Hayashi, Patrick D. Flores, Fan Di’an, and Raiji Kuroda, 238–263.
“Jiro Takamatsu as Pre-Mono-ha.” Trans. Yoko Nara. Daiwa Press Viewing Room, no. 8 (December 2008): 78–81.
“Media and Mass Culture” (in Japanese). Documentary History of the American People: Documents on Social History. Tokyo: Iwanami shoten, 2006, 344–351.
“How Oura Nobuyuki’s Holding Perspective Prepared for the Nineties Discourse on Art” (in Japanese). Aida, no. 112 (April 2005): 2–14. Reprinted in 9.11–8.15 Nippon Suicide Pact. Tokyo: Kunitachi kobo, 2006, 24–29.
“Beyond the Return to Figuration: Clement Greenberg and Figurative Artists in the 1950s” (in Japanese). Pacific and American Studies, no. 5 (2005): 105–117.
“Deferred Instantaneity: Clement Greenberg’s Time Problem.” Japanese Journal of American Studies, no. 16 (2005): 203–218.
“Greenberg’s Doubt” (in Japanese). Studies in Culture and Representation, no. 3 (2004): 76–93.
“Aesthetics of Camouflage: The Art of a Military Design and its Transformation in Art.” In Selection of Papers of the XVth International Congress for Aesthetics. Tokyo: Organizing Committee of the 15th International Congress of Aesthetics, 2003, 118–125.
“Malfunctioning Weapon: Clement Greenberg, the Cultural Cold War, and Globalization” (in Japanese). American Review, no. 37 (2003): 83–105.
“Aesthetics of Camouflage: The Art of a Military Design and its Transformation in Art” (in Slovene). Trans. Lev Kreft. Borec 54, nos. 598–602 (2002): 206–218.
“Reimagining the Imagined: Depictions of Dreams and Ghosts in the Early Edo Period.” Impressions, no. 23 (2001): 86–108.
“Morris Louis and Clement Greenberg: Reexamining Art and Art Criticism in America in the 1950s through the Analysis of their Correspondence” (in Japanese). Kajima Art Studies, no. 17 (November 2000): 44–58.
EXHIBITION CATALOGUE CONTRIBUTIONS
“The Formation of Western Art Collection in Japanese Museums” (in Japanese). Trialogue: Talking 20th-Century Art, 279-28. Tokyo: Sayūsha, 2020.
“Non-Composition in Color Field Painting.” In Color Fields from the Collection of Audrey and David Mirvish, 157–164. Sakura: Kawamura Memorial DIC Museum of Art, 2022.
“Hisashi in Contemporary Art History” (in Japanese). Okazaki Kazuo: Hisashi. Kyoto: Art Office Ozasa, 2017, 41–43.
“Mono-ha, l’école des choses” (in French). Traduit du japonaise par Véronique Pruha. In Japanorama : nouveau regard sur la création contemporaine. Metz: Centre Pompidou-Metz, 2017. 158–159.
“Dialogue and Critique Through Art: Tadanori Yokoo’s Paintings on Paintings” (in Japanese). Tadanori Yokoo: Art of Inspiration. Hakone: Hakone Open-Air Museum, 2016, 6–13.
“Ishiko Junzō and the Logic of Seeing” (in Japanese). Group Genshoku and Ishiko Junzō 1966–1971. Shjizuoka: Shizuoka Prefectural Museum of Art, 2014, 78–86.
“In Defense of Local Art” (in Japanese). Hiroshima Ō. Hiroshima: Hiroshima Ō Executive Committee, 2011, 40–41.
“Art Projects in Japan: Their History and Recent Developments.” (in Japanese). In Hiroshima Art Project 2009. Hiroshima: Hiroshima Art Project, 2010, 261–271.
“Color Field as “Conjugal Fantasy”’ (in Japanese). Mark Rothko. Kyoto: Tanko sha, 2009, 154–163.
“Art Project and Japan: Examining the Architecture of Art.” Trans. Yu Nakai. In Hiroshima Art Project 2008. Hiroshima: Hiroshima Art Project, 2009, 152–161.
“Artist as a Pied Piper: Money, Formlessness, and the Creative City.” In The Former Naka Waste Incineration Plant Art Project. Hiroshima: Hiroshima Art Project, 2007, 234–241.
“The Emperor’s New Clothes in Old Photos: Oura Nobuyuki’s Holding Perspective and the Culture and Politics of 1980s Japan.” In Into the Atomic Sunshine: Post-War Art under Japanese Peace Constitution Article 9. New York: “Atomic Sunshine—Article 9 and Japan” Exhibition Committee, 2007, 32–37.
REVIEWS AND SHORT ESSAYS
“Introduction to the English Edition.” In History of Japanese Art after 1945: Institutions, Discourse, Practice. By Noriaki Kitazawa, Takemi Kuresawa, and Yuri Mitsuda, 9-35. Leuven: Leuven University Press, 2023.
“Re-thinking Genshoku through a re-examination of its relations with Junzo Ishiko and Mono-ha” (in Japanese and English). Re-“Genshoku.” Kamakura: Kamakura Gallery, 2017.
“10 Selected Pictures of Working in America” (in Japanese). Nihon Keizai Shinbun, May 18, 19, 21, 22, 25, 26, 28, 29, June 1, 2, 2015.
Book Review of Money, Trains, and Guillotines: Art and Revolution in 1960s Japan (Durham: Duke University Press, 2013) by William Marotti, Pacific Affairs 88, no. 1 (March 2015): 198-200.
“Sons and Daughters of the Sun and Star in Hiroshima.” Sons and Daughters of the Sun and Star (Hiroshima: Department of Sculpture, Hiroshima City University, forthcoming).
Iwanami Dictionary of World Biography. Tokyo: Iwanami shoten, 2013. 200 entries on artists in North America.
“Exhibition Shows Hi-Red Center Knew How to Raise Eyebrows.” The Japan News, 17 December 2013, 12.
“Hi-Red Center Exhibition: Direct Action that Induces Complicity” (in Japanese). Yomiuri Newspaper, 28 November 2013, 16.
“Studies on Postwar Japanese Art Flourishing Abroad: MoMA Published a Critical Anthology” (in Japanese). Mainichi Newspaper, 24 June 2013, evening edition, 5.
Annotation to From The Myth of Seeing: The Independence of Ideas and the Transformation of Art, vol. 4 of The Selected Works of Yusuke Nakahara, edited by the Editorial Board of the Selected Works of Yusuke Nakahara (in Japanese). With Daisuke Awata. Tokyo and Yokohama: Gendai kikaku shitsu and BankART publishing, 2013, 309–325.
Annotation to Great Invention Stories: Art and Scientific Mind, vol. 9 of The Selected Works of Yusuke Nakahara, edited by the Editorial Board of the Selected Works of Yusuke Nakahara (in Japanese). With Daisuke Awata. Tokyo and Yokohama: Gendai kikaku shitsu and BankART publishing, 2013, 294–303.
“Hiroshima Renaissance Art Association” (in Japanese). Art in Hiroshima. Hiroshima: Hiroshima City Culture Foundation, 2012, 98–101.
“Atsushi Suwa: Towards the Resurrection of Painting” (in Japanese). Art in Hiroshima. Hiroshima: Hiroshima City Culture Foundation, 2012, 74–77.
“‘Criticism for Creation’ and its Era” (in Japanese). Newsletter for The Selected Works of Yusuke Nakahara, no. 3 (April 2012): 1–7.
Annotation to Where is the Avant-Garde?: The Era of Independent Exhibitions and the Aesthetics of Nonsense, vol. 3 of The Selected Works of Yusuke Nakahara, edited by the Editorial Board of the Selected Works of Yusuke Nakahara (in Japanese). With Daisuke Awata. Tokyo and Yokohama: Gendai kikaku shitsu and BankART publishing, 2012, 287–309.
Annotation to Modern Sculpture: Confrontation with Material Culture, vol. 6 of The Selected Works of Yusuke Nakahara, edited by the Editorial Board of the Selected Works of Yusuke Nakahara (in Japanese). With Daisuke Awata. Tokyo and Yokohama: Gendai kikaku shitsu and BankART publishing, 2012, 273–281.
“Casting Eyes on Visual Culture” (in Japanese). Bijutsu Techo (April 2012): 150–155.
Annotation to Criticism for Creation: The Horizon of Postwar Art Criticism, vol. 1 of The Selected Works of Yusuke Nakahara, edited by the Editorial Board of the Selected Works of Yusuke Nakahara (in Japanese). Tokyo and Yokohama: Gendai kikaku shitsu and BankART publishing, 2011, 243–253.
Annotation to What the Man and Matter Exhibition Aimed: The First Full-Scale International Exhibition in Japan, vol. 5 of The Selected Works of Yusuke Nakahara, edited by the Editorial Board of the Selected Works of Yusuke Nakahara (in Japanese). Tokyo and Yokohama: Gendai kikaku shitsu and BankART publishing, 2011, 201–209.
“Mark Rothko: Feeling and Experience. Painting as Space” (in Japanese). Bijutsu Techo (May 2011): 42–49.
“Helen Frankenthaler: Colors Expanded. New Path in Abstract Painting” (in Japanese). Bijutsu Techo (May 2011): 141.
“Art and Society after the Great East Japan Earthquake” (in Japanese). Repre: The Newsletter of the Association for Studies of Culture and Representation, no. 12 (May 2011). Online.
“Barefoot Gen and the Great East Japan Earthquake” (in Japanese). Online Magazine of the Hiroshima Peace Memorial Museum, No. 94, May 2, 2011. Online.
“Digital Archives that Preserves the Voices of Artists: Oral History Archives of Japanese Art” (in Japanese). Artscape, February 1, 2011. Online.
“Hiroshima Art Project 2008 and 2009,” “Sasaoka Keiko,” “Keiji Nakazawa,” and “Motomachi and Chojuen Apartment” (in Japanese). Art in Hiroshima. Hiroshima: Hiroshima City Culture Foundation, 2011, 48–49, 58–59, 84–87, 90–93.
“Art and Olympics in Hiroshima” (in Japanese). AG, no. 1 (December 2009): 3.
“Tokyo Art Project: Art and Society after the Yomiuri Independent Exhibition” (in Japanese). Essay for Tokyo Artpoint Project (Tokyo Metropolitan Foundation for History and Culture). December 2009. Online.
Review of Small Museums in North America, vol. 2, edited by the Japanese Association for the Studies on the Ethnicity in North America (in Japanese). American Studies Letter, no. 171 (November 2009): 8.
“Hiroshima Art Project: The Role of Universities in Making Artists” (in Japanese), In Art Initiatives: Relaying Structure. Yokohama: BankART1929, 2009, 115–117.
“The Former Naka Waste Incineration Plant Art Project” (in Japanese). Art in Hiroshima. Hiroshima: Hiroshima City Culture Foundation, 2009, 76–77.
“Modernist Paintings Survive the Death of Criticism.” Review of Morris Louis Exhibition at the Kawamura Memorial Museum of Art (in Japanese). Bijutsu Techo 61, no. 917 (January 2009): 198–199.
“Low Cost and High Impact Works in Contemporary Art.” Review of Plans for Anywhere Exhibition at the Hiroshima City Museum of Contemporary Art (in Japanese). To You (Hiroshima City Culture Foundation), no. 278 (May 2008): 12.
“Here is New York” and “Museum of Modern Art, New York” (in Japanese). In Keywords of Contemporary America, edited by Yujin Yaguchi and Mari Yoshihara. Tokyo: Chuko shinsho, 2006, 135–137, 203–206.
“Grey Room: Space for Alternative Discourse on Architecture, Art, Media and Politics” (in Japanese). Repre: Newsletter of the Association of Culture and Representation, no. 1 (September 2006). Online.
Review of Barnett Newman Exhibition at the Philadelphia Museum of Art (in Japanese). Studies in Western Art, no. 10 (October 2003): 188–194.
Review of Mnemonic Regime: In the Margin of the Formalist Criticism by Hisao Matsuura (in Japanese). Bulletin of the Franco-Japanese Society of Art and Archeology, no. 16 (1996): 66–68.
SYMPOSIUM AND CONFERENCE PAPERS
“Diverse Voices of Japanese Modern and Contemporary Art: The Oral History Archives of Japanese Art." “The (Im)Possibility of Art Archives: The Theory and Experience in/from Asia,” Online Roundtable Forum series , Hong Kong, Online, May 29, 2022.
“Between Expression and Art: ‘Artistic Freedom’ in the United States.” Between Freedom and Unfreedom of Expression. 55th Annual Conference, Japanese Association for American Studies, Keio University, Tokyo, Online, June 5, 2021.
“Weather and/as Media.” Asia Theories Network Tokyo Workshop “Unpredictable Weather.” University of Tokyo, Tokyo, December 13, 2019.
“The Destruction of Usami Keiji’s Kizuna and the Reconstruction of its Graphic Image” (in Japanese). Refabrication/Reconstruction of Contemporary Art: From a Perspective of Conservation and Restoration. Kyoto, Kyoto University, March 18, 2019.
“The Navajo/Noland Project: Color Field Painting and Native American Culture” (in Japanese). Hegemony and Aesthetics: Indian Assimilation Policy and American Contemporary Art. Tokyo, Tama Art University, March 27, 2019.
“Exhibiting the Old and the New: ‘Tokyo: Form and Spirit’ Show and its Reception.” U.S.-Japan Curatorial Exchange Workshop, Minneapolis Institute of Art, December 6, 2018.
“Japanese Painters on the Southern Front.” Joint International Workshop with Asia Theories Network “Souths of Asia: Aesthetics, Theory, Archive.” National Taiwan University, Taipei, November 24, 2018.
“Usami Keiji’s Kizuna in Art History” (in Japanese). Beginning with Usami Keiji’s Kizuna. Yasuda Auditorium, University of Tokyo, Tokyo, September 28, 2018.
“Contemporary Art Outdoor Festival Controversy.” “Engaged Critic, Radical Art: Yoshida Yoshie in Art and Performance,” University of California, Los Angeles, Feb 20, 2018.
“Contemporary Art as a Ship of Theseus” (in Japanese). The Future of the Present of the Past 2: Curation and Conservation, Its Principles and Ethics. Hyogo Prefectural Museum of Art, Kobe, November 23, 2017.
“Modern and Contemporary Artworks at the Komaba Campus of the University of Tokyo.” U.S.-Japan Curatorial Exchange Workshop, Asian Art Museum, San Francisco, February 9, 2017.
“Art and Power in Postwar and Contemporary Japanese Art.” On Art Power, Special Symposium Series with Boris Groys: Is Power Immanent in Art?, University of Tokyo, January 20, 2017.
“Oral History in Art History” (in Japanese). Aichi Triennale 2016. "Recording Words: Oral History of Japanese Contemporary Art. Art Scene in Nagoya between late 1980s and early 1990s. Nagoya City Art Museum, Nagoya, August 21, 2016.
“Nakahara Yusuke's Korea(나카하라 유스케의 한국)” (in Japanese). 제2회 미술사학대회 (The 2nd Art History Conference), “한국미술의 정체성: 과거와 현재 (Identity of Korean Art: Past and Present),” Korea National University of Arts (한국예술종합학교), Seoul, Korea, June 11, 2016.
“The Subverting Archive (in Japanese).” Mono-ha and the Archive: For the Global Reception. Session 3: Methodology of the Archive. Tokyo: Tama Art University, March 17, 2016.
“Pilot Project for the Restoration and Preservation of Time-based Media Artworks.” Debriefing Session for the Promotion Project for the Cooperation on Media Art. Kyoto International Manga Museum, Kyoto. March 13, 2016.
“Kimura Ihei's China.” U.S.-Japan Curatorial Exchange Workshop, J. Paul Getty Museum, Los Angeles, February 19, 2016.
“Socially Engaged but How? The Inflection of Social Awareness in Contemporary Japanese Art.” Contemporary Japanese Art and the Social Turn, College Art Association, February 4, 2016.
“The Archive as Prosthetic Supplement.” Archive Fever in Contemporary Art Institutions and Creative Practices, Archives & Research, Asia Culture Center, Gwangju, December 11, 2015.
“Pilot Project for the Restoration and Preservation of Time-based Media Artworks.” Midterm Debriefing Session for the Promotion Project for the Cooperation on Media Art. National Art Center, Tokyo. December 1, 2015.
“There Seems To Be A Scholar Who Says An Archive Is A Fever” (in Japanese). What Does the Archive Mean Really? Discussion on Archive for Beginners. Kyoto Art Center, September 19, 2015.
“Multiculturalism in Art” (in Japanese). Multiculturalism as an Issue: The 2nd Forum on Art in Society. University of Tokyo, August 29, 2015.
“Restoration and Refabrication in Time-Based Media Works.” U.S.-Japan Curatorial Exchange Workshop, Japan Foundation, Tokyo, July 20, 2015.
“The Significance of Mass Culture in the Reception of Color Field Painting” (in Japanese). The 68th Japan Art History Society, Okayama University, May 22, 2015.
“Atomic Bomb for Sightseeing: Kimura Ihei’s photographs in a Travel Guide to Hiroshima” (in Japanese). Trauma and Utopia: Interactions in Post-War and Contemporary Art In Asia: Symposium Jointly Organized by Mori Art Museum and Tate Research Centre: Asia-Pacific. Toranomon Hills Forum, Tokyo, October 10, 2014.
“Modernized Differently: Avant-Garde Calligraphy and Art in Postwar Japan ,” M+ Matters: Postwar Abstraction in Japan, South Korea and Taiwan, Hong Kong, Hong Kong Arts Centre , June 28, 2014.
“Activities of Archival Research Center at Kyoto City University of Arts” (in Japanese). Symposium on Art Archives: The Present and Prospect of Art Archives in the Kansai Area. Osaka University of Arts, May 24, 2014.
“Art History in Art Archives” (in Japanese). Aspects of Art Archives. National Research Institute for Cultural Properties, Tokyo, February 25, 2014.
“Discourse Where Manga and Art Meet: Folded Time and Space” (in Japanese). Discourse on Manga, Discourse on Surrealism: On Visual Experience on Manga: Frame, Figure and Surrealism, no. 3. Waseda University, Tokyo, December 6, 2013.
“Posthistorical Traditions: Strategies of Anachronism in Japanese Art between 1955 and 1978.” Negotiating histories: Traditions in Modern and Contemporary Asia-Pacific Art, Tate Modern, October 21, 2013.
“Intervening in Nature and Society: History of the ‘Art Project’ in Japan, 1955–2013.” Japan Foundation, London, October 17, 2013.
“What the Man and Matter Exhibition Aimed: The First Full-Scale International Exhibition in Japan” (in Japanese). Reading Yusuke Nakahara: The Horizon of Art Criticism, Vol. 2. BankART Studio NYK, Yokohama, October 8, 2013.
“Arts and Crafts by Japanese Americans in Concentration Camps” (in Japanese). Hiroshima Prefectural Art Museum, Hiroshima, July 28, 2013.
“Words in Paintings” (in Japanese). Yokoo Tadanori Museum of Contemporary Art, Kobe, May 18, 2013.
“Textured Contexts: Postwar and Contemporary Japanese Art in America, 1989–2012” (in Japanese). The 8th Asian Museum Curators’ Conference. Japan Foundation, Tokyo, December 22, 2012.
“Contingent Images in Contemporary Art” (in Japanese). Symposium: Image Rights. The 7th Research Conference. Association for Studies of Culture and Representation. University of Tokyo, Tokyo, November 10, 2012.
“Archives at Home and Abroad” (in Japanese). Symposium: Unfinished History, part 1 of Archives for Creation. Kyoto Horikawa Senior High School of Music, Kyoto, October 7, 2012.
“Form and Formlessness in Contemporary American Art” (in Japanese). The 4th Society for Studies of Figure. Hiroshima University, Higashi Hiroshima, September 6, 2012.
“Color Field Painting is Now” (in Japanese). Museum of Contemporary Art, Tokyo. November 19, 2011.
“Nakahara Yūsuke and his Age” (in Japanese). Workshop: Perspectives on the 1950s, Reading Nakahara Yūsuke: Horizon of Art Criticism. BankART Studio NYK, Yokohama, June 6, 2011.
“Morimura Yasumasa and his Age” (in Japanese). Hiroshima City Museum of Contemporary Art, Hiroshima, December 4, 2010.
“Practice of the Oral History Archives of Japanese Art” (in Japanese). Waseda University, Tokyo, November 26, 2010.
“Paintings by Those Who Did Not Witness: Visual Representation of the Atomic Bomb by Non-Witnesses” (in Japanese). Symposium: Representation of the Atomic Bomb / Literature and Political Realism. Autumn Convention of the Association for Japanese Social Literature and the 32nd Meeting of the Society for the Studies in Atomic Bomb Literature. Hiroshima University, Higashi Hiroshima, October 3, 2010.
“Hiroshima Art Project 2007–2010” History and Present of Japanese-Type Art Project, Tokyo Art Research Lab, Tokyo Artpoint Project, 3331 Arts Chiyoda, Tokyo, July 2, 2010.
“Reactivated Trauma: Visual Performance of Nakazawa Keiji’s Barefoot Gen.” The Eighth Crossroads in Cultural Studies Conference, Association for Cultural Studies. Lingnan University, Hong Kong, June 18, 2010.
“Theory and History of Modernism” (in Japanese). Lecture for Space Zero. Space Zero, Hiroshima, March 30, 2010.
“Clement Greenberg 101” (in Japanese). Symposium: Re-Crossing of Beauty and Sublime: Towards Restarting Art Theory. Roppongi Hills, Tokyo, March 28, 2010.
“Painters in Barefoot Gen: Considering the Performative Power of the Image” (in Japanese). Kyoto Seika University International Manga Research Center’s First International Conference: Comics Worlds and the World of Comics: Scholarship on a Global Scale. Kyoto Seika University Kyoto International Manga Museum, Kyoto, December 20, 2009.
“Understanding the Currents of Contemporary Art” (in Japanese). Three-day lectures for Koganei Artfull Action. Koganei City Hall, Koganei, December 4–6, 2009.
“What is Oral Art History? ” (in Japanese). Symposium: The Possibilities of Oral Art History. National Museum of Art, Osaka, November 14, 2009.
“History of Art Projects in Japan” (in Japanese). Lecture for Hiroshima Art Project. Hiroshima City Yoshijima Social Welfare Center, Hiroshima, August 9, 2009.
“Color Field Painting and Mass Culture” (in Japanese). The 23rd Conference of the Hiroshima Society for Science of Arts, Hiroshima Prefectural Art Museum, Hiroshima, July 25, 2009.
“Mark Rothko: Feeling on the Color Field” (in Japanese). UTCP (University of Tokyo Center for Philosophy) Workshop: The Rothko Experience: Attention, Distraction, Temporality. University of Tokyo, Tokyo, May 22, 2009.
“Drawings since the 1960s and Japanese Artists” (in Japanese). Lecture for Emotional Drawing Exhibition. Seoul Olympic Art Museum, Seoul, March 7, 2009.
“Asian Contemporary Art in Japan and the Ghost of Modernity” (in Japanese). Japan Foundation’s International Symposium 2008: Count 10 Before You Say Asia: Asian Art after Postmodernism. Japan Foundation, Tokyo, November 22, 2008.
“Community-Based Art Projects in Japan.” Lecture related to The Fourth Asian Museum Curator’s Conference, Mitsui Garden Hotel, Hiroshima, November 18, 2008.
“University and Community” (in Japanese). Conference: Let’s Unite: Artist Initiatives. BankART1929, Yokohama, November 9, 2008.
“Representing War in Japanese Modern Art: War Record Paintings, Hiroshima and Beyond.” Conference: Making/Performing History, Waseda University, Tokyo, March 1, 2008.
“American Art after 9/11” (in Japanese). Lecture for Museum College 2007, Hiroshima City Museum of Contemporary Art, June 24, 2007.
“Museum as Media” (in Japanese). Niigata Society for the Study of Digital Media. Niigata University, Niigata, September 14, 2006.
“Who’s Afraid of the Autonomy of Art?: Bateson, Luhmann, and Greenberg” (in Japanese). Association for Studies of Culture and Representation. University of Tokyo, Tokyo, November 20, 2005.
“Performance in Color-Field Painting.” Fellows Lectures, Smithsonian American Art Museum, Washington, D.C., December 13, 2005.
“Emperor in Disguise, Emperor as Disguise: Oura Nobuyuki’s Holding Perspective and the Culture and Politics of Eighties Japan.” Claims to Authority: Workshop on Modern and Contemporary East Asian Art. Institute of Fine Arts, New York University, New York, May 21, 2005.
“Performance in Modernist Art,” (in Japanese). American Literature Society of Japan, Keio University, Tokyo, May 2004.
“Is Art a False Friend of Culture?: Locating Culture in the History of American Art since the 1950s” (in Japanese). Japanese Association for American Studies, Kobe University, Kobe, June 2003.
“Camouflage and the Twentieth-century Art” (in Japanese). Japanese Society for Aesthetics, Waseda University, Tokyo, October 2001.
“Aesthetics of Camouflage: The Art of a Military Design and its Transformation in Art.” International Congress for Aesthetics, Kanda University of International Studies, Makuhari, August 2001.
“Frank Stella and His Contemporary American Art” (in Japanese). Kawamura Memorial DIC Museum of Art, Sakura, September 5, 2015.
INVITED LECTURES
“Color Field Painting: The Background and Development” (in Japanese). Kawamura Memorial DIC Museum of Art, Sakura, June 12, 2022.
“A Lost Painting and Archives: How to Address the Destruction of Usami Keiji’s Painting” (in Japanese). The 34th Archive Study Group, Archival Research Center, Kyoto City University of Arts, Kyoto, June 21, 2021.
“Formalism and Beyond” (in Japanese). “Form.” BUoY, Tokyo, February 9, 2020.
“The History and Context of Art Festivals in the World and Japan” (in Japanese). Triennale School for Aichi Triennale 2019, Toyota City Central Library, March 17, 2019.
“Introduction to the History of Arts Projects” (in Japanese). Arts Project School. 3331 Arts Chiyoda, Tokyo, September 19, 2018.
“What is Art Project?” (in Japanese). Think School: Curation Course. Sapporo Ekimaedori Town Planning Inc., Sapporo, August 18, 2018.
“Kazuo Okazaki: The Era of Objects” (in Japanese). Chiba City Museum of Art, Chiba, October 15, 2016.
“Frank Stella and His Contemporary American Art” (in Japanese). Kawamura Memorial DIC Museum of Art, Sakura, September 5, 2015.
“When Art Becomes Archives” (in Japanese). Obi vol. 02: Opening, Obiya Sutematsu, Kyoto, August 21, 2015.
“Transfigured Hiroshima: The Changing Representation of the Atomic-Bombed City in Japanese Visual Culture,” Third Generation: Representation of the Holocaust and WWII in Photography and Vide Art, Tel Aviv University, Tel Aviv, June 9, 2015.
“Refabricating Art History in Postwar Japan.” Dallas Museum of Art, Dallas, March 26, 2015.
“Intervening in Nature and Society: History of the 'Art Project' in Japan, 1955-2013.” Japan Foundation, London, October 17, 2013.
“Arts and Crafts by Japanese Americans in Concentration Camps” (in Japanese). Hiroshima Prefectural Art Museum, Hiroshima, July 28, 2013.
“Words in Paintings” (in Japanese). Yokoo Tadanori Museum of Contemporary Art, Kobe, May 18, 2013.
“Color Field Painting is Now” (in Japanese). Museum of Contemporary Art, Tokyo, November 19, 2011.
“Morimura Yasumasa and his Age” (in Japanese). Hiroshima City Museum of Contemporary Art, Hiroshima, December 4, 2010.
“Activities of Oral History Archives of Japanese Art” (in Japanese). Waseda University, Tokyo, November 26, 2010.
“Theory and History of Modernism” (in Japanese). Lecture for Space Zero. Space Zero, Hiroshima, March 30, 2010.
“History of Art Projects in Japan” (in Japanese). Lecture for Hiroshima Art Project. Hiroshima City Yoshijima Social Welfare Center, Hiroshima, August 9, 2009.
“Drawings since the 1960s and Japanese Artists” (in Japanese). Lecture for Emotional Drawing Exhibition. Seoul Olympic Art Museum, Seoul, March 7, 2009.
“American Art after 9/11” (in Japanese). Lecture for Museum College 2007, Hiroshima City Museum of Contemporary Art, Hiroshima, June 24, 2007.
TRANSLATIONS
Clement Greenberg, Art and Culture: Critical Essays (Boston: Beacon Press, 1961). Forthcoming.
Yve-Alain Bois and Rosalind E. Krauss, Formless: A User’s Guide (New York: Zone Books, 1997). Japanese Translation with Gaku Kondo and Kazumi Takakuwa, published by Getsuyo sha in 2011.
Thierry de Duve, “A Public Debate with Clement Greenberg,” in Thierry de Duve, Clement Greenberg between the Lines (Paris: Dis Voir, 1996): 121–158. Translated into Japanese in Critical Space 2, no. 13 (April 1997): 73–89; no. 14 (July 1997): 93–107.
GRANTS AND FELLOWSHIPS
2021–2023 Grant-in-Aid for Scientific Research (C), Japan Society for the Promotion of Science
2017 Terra Foundation for American Art International Publication Grant
2016–2018 Grant-in-Aid for Scientific Research (C), Japan Society for the Promotion of Science
2013–2015 Grant-in-Aid for Scientific Research (C), Japan Society for the Promotion of Science
2011 Hiroshima City University Overseas Training Program
2010-2012 Grant-in-Aid for Scientific Research (C), Japan Society for the Promotion of Science
2009-2011 Hiroshima City University Grant (Oral History Archives)
2008–present Ishibashi Foundation Grant
2008 Hiroshima City University Grant (Hiroshima Art Project)
2008 Grant of the Kajima Foundation for the Arts
2005–2006 Predoctoral Fellowship, Smithsonian American Art Museum
2004 Getty Research Library Grant
2003–2005 Research Fellowship for Young Scientists, Japan Society for the Promotion of Science
2002 Institute of Fine Arts Fellowship
2001 Shelby White and Leon Levy Fellowship
2001 Lila Acheson Wallace Fellowship
1999–2000 Institute of Fine Arts Fellowship
1999 Grant of the Kajima Foundation for the Arts
1998–2001 Japan Scholarship Foundation
1998–2001 Rotary Foundation Multi-Year Ambassadorial Scholar
1995–1997 Japan Scholarship Foundation