The body as a screen: Japanese art photography of the 1990s
Saved in:
| Main Author: | |
|---|---|
| Format: | Thesis Book |
| Language: | English |
| Published: |
Hildesheim [u.a.]
Olms
2011
|
| Series: | Studien zur Kunstgeschichte
192 |
| Subjects: | |
| Online Access: | Inhaltstext Inhaltsverzeichnis |
| Physical Description: | 372 S. Ill. 240 mm x 170 mm |
| ISBN: | 9783487146799 3487146797 |
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IMAGE 1
CONTENTS
NOTES TO THE READER 13
LIST OF JAPANESE PERIODS 13
INTRODUCTION
1 . CHOICE OF TOPIC AND ARTISTS 15
2. DEFINITION OF TERMINOLOGY AND FORMALITIES 17
3. LITERATURE REVIEW 18
4. THESIS STRUCTURE AND METHODOLOGY 23
5. TWO PRINCIPLES FOR AN ANALYSIS OF 'NON-WESTERN' ART 26
PART 1: THE JAPANESE CONTEXT
1. INTRODUCTION 29
2. THE 1990S IN JAPAN - THE 'LOST TEN YEARS'? 30
3. THE CONCEPT OF'ART' 31
4. ART EDUCATION 34
5. ART HISTORY AND ALTERNATIVE RESEARCH INTERESTS 35
6. ART CRITIQUE 37
7. CONTEMPORARY JAPANESE ART 38
7.1 CONTEMPORARY JAPANESE ART AND THE JAPANESE ART SYSTEM 38 7.2
CENSORSHIP 41
7.3 CONTEMPORARY JAPANESE ART AND THE 'WESTERN' ART SYSTEM 43 8.
PHOTOGRAPHY IN JAPAN 49
9. PHOTOGRAPHY EDUCATION 51
10. 'PHOTOGRAPHY' AND 'PHOTOGRAPHIC ART' 53
11. CONTEMPORARY JAPANESE PHOTOGRAPHIC ART 56
11.1 CONTEMPORARY JAPANESE PHOTOGRAPHIC ART AND THE JAPANESE ART SYSTEM
56
11.2 CONTEMPORARY JAPANESE PHOTOGRAPHIC ART AND THE 'WESTERN' ART SYSTEM
60
12. CONCLUSIONS 63
PART 2: CASE STUDIES: TEN PHOTOGRAPHIC ARTWORKS OF THE 1990S
1. MORIMURA YASUMASA'S PORTRAIT (FUTAGO) AND RED MARILYN 65 1.1 THE WORK
OF MORIMURA YASUMASA 65
1.2 MORIMURA'S 'PORTRAITS' AND 'SELF-PORTRAITS' 67
BIBLIOGRAFISCHE INFORMATIONEN HTTP://D-NB.INFO/1014094046
DIGITALISIERT DURCH
IMAGE 2
CONTENTS
1.3 THE DAUGHTER OF ART HISTORY SERIES 68
1.4 PORTRAIT (FUTAGO) (TWINS) (1988-1990) 69
1.4.1 DESCRIPTION AND FORMAL ANALYSIS 69
1.4.2 MORIMURA'S PHOTOGRAPH PORTRAIT (FUTAGO) AND MANET'S PAINTING
OLYMPIA 72
1.4.3 PORTRAIT (FUTAGO) AS A MITATE-E AND APPROPRIATION ART 73 1.5 THE
SELF-PORTRAIT AS ACTRESS SERIES 75
1.6 SELF-PORTRAIT (ACTRESS) / RED MARILYN ( 1996) 77
1.6.1 DESCRIPTION AND FORMAL ANALYSIS 77
1.6.2 RED MARILYN AND RED VELVET, POSE #1 78
1.6.3 'MARILYN' : THE FILM ICON AND HOLLYWOOD STAR 79
1.6.4 RED MARILYN IN ITS CONTEMPORARY ART PHOTOGRAPHY CONTEXT 80
2. YAMANAKA MANABU'S ARAKAN #1 AND GYAHTEI #17 81
2.1 THE WORK OF YAMANAKA MANABU 81
2.2 THE ARAKAN SERIES 82
2.3 ARAKAN #1 (1983-1989) 83
2.3.1 DESCRIPTION AND FORMAL ANALYSIS 83
2.3.2 ARAKAN #1 IN ITS CONTEMPORARY ART PHOTOGRAPHY CONTEXT 84 2.4 THE
GYAHTEI SERIES 85
2.5 GYAHTEI #17 (1995) 86
2.5.1 DESCRIPTION AND FORMAL ANALYSIS 86
2.5.2 GYAHTEI #17 IN ITS CONTEMPORARY ART PHOTOGRAPHY CONTEXT 87
3. MORI MARIKO'S TEA CEREMONY III AND PURE LAND 89
3.1 THE WORK OF MORI MARIKO 89
3.2 THE TEA CEREMONY SERIES 91
3.3 TEA CEREMONY III ( 1994) 91
3.3.1 DESCRIPTION AND FORMAL ANALYSIS 91
3.3.2 TEA CEREMONY OR TEA SERVING? 92
3.4 PURE LAND (1996-1998) 94
3.4.1 DESCRIPTION AND FORMAL ANALYSIS 94
4. ISHIUCHI MIYAKO'S SCAR 1983 ILLNESS AND CHROMOSOME XY S. O. 96 4.1
THE WORK OF ISHIUCHI MIYAKO 96
4.2 THE CHROMOSOME XY SERIES 98
4.3 CHROMOSOME XYS. O. (1995) 98
4.3.1 DESCRIPTION AND FORMAL ANALYSIS 98
4.3.2 CHROMOSOME XY S. O. AS A SELF-CONTAINED 'TORSO' OR THE
MANIFESTATION OF MA 99
4.4 THE SCARS SERIES 100
4.5 SCAR 1983 ILLNESS OR SCARS #36 100
IMAGE 3
CONTENTS
4.5.1 DESCRIPTION AND FORMAI ANALYSIS 100
4.5.2 SCARS, TIME AND MEMORY 101
5. YANAGI MIWA' S ELEVATOR GIRLS 3F 103
5.1 THE WORK OF YANAGI MIWA 103
5.2 THE ELEVATOR GIRLS SERIES 105
5.3 ELEVATOR GIRLS 3F (1998) 106
5.3.1 DESCRIPTION AND FORMAL ANALYSIS 106
5.3.2 ELEVATOR GIRLS 3F IN ITS CONTEMPORARY ART PHOTOGRAPHY CONTEXT 108
6. IZIMA KAORU'S OTSUKA NENE WEARS TUZIGAHANA 109
6.1 THE WORK OF IZIMA KAORU 109
6.2 THE LANDSCAPES WITH A CORPSE SERIES (1993-ONGOING) 111 6.3 OTSUKA
NENE WEARS TUZIGAHANA ( 1999) 113
6.3.1 DESCRIPTION AND FORMAL ANALYSIS 113
6.3.2 WHY OTSUKA NENE IS NOT 'ASLEEP' BUT 'DEAD 116
6.3.3 OTSUKA NENE WEARS TUZIGAHANA AS A NARRATION 117 6.3.4 CRIME
PHOTOGRAPHY 118
6.3.5 OTSUKA NENE WEARS TUZIGAHANA IN ITS CONTEMPORARY ART PHOTOGRAPHY
CONTEXT 11 9
PART 3:
THE BODY AS A SCREEN: READINGS OF THE ANALYSED ARTWORKS
1. BODY THEORIES AND DEFINITION OF 'THE BODY AS A SCREEN' 123
2. THE NAKED BODY 128
2.1 'NAKED' OR 'NUDE'? THE BODY IN ART HISTORY 128
2.1.1 TYPICAL CHARACTERISTICS OF THE 'NUDE' 128
2.1.2 THE NUDE IN EUROPEAN ART HISTORY 129
2.1.3 HOW THE 'NUDE' BECAME 'NAKED' IN EUROPEAN ART HISTORY 131
2.1.4 THE 'NAKED' BODY IN JAPANESE ART HISTORY 131
2.1.5 HOW THE 'NAKED' BECAME 'NUDE' IN JAPANESE ART HISTORY 136
2.2 A DOUBLE-PARODY OF THE FEMALE NUDE OR THE RETURN OF THE MALE OBJECT
IN VISUAL ART: THOUGHTS ON PORTRAIT (FUTAGO) 140 2.2.1 A DOUBLE-PARODY
OF THE FEMALE NUDE 140
2.2.2 THE RETURN OF THE MALE OBJECT IN VISUAL ART 141
2.3 THE AGED FEMALE BODY: THOUGHTS ON GYAHTEI #17 144 2.3.1 OLD BODIES
IN 20TH CENTURY IMAGERY 144
2.3.2 THE NAKED AGED FEMALE IN ART HISTORY 144
IMAGE 4
CONTENTS
2.3.3 THE 'BEAUTY OF DECAY' 147
2.4 THE NAKED BODY AS A 'TORSO' OR 'LANDSCAPE': THOUGHTS ON CHROMOSOME
XY AND SCAR 1983 ILLNESS 149
2.4.1 STYLISED IMAGES OF NAKED BODY PARTS 149
2.4.2 SCAR 1983 ILLNESS AS AN ABSTRACT LANDSCAPE 150 2.5 CONCLUSIONS 151
3. THE BODY AND 'NATIONAL' IDENTITY 152
3.1 THE 'JAPANESE' BODY AND 'NATIONAL' IDENTITY: THOUGHTS ON PORTRAIT
(FUTAGO) AND RED MARILYN 153
3.1.1 FRENCH COLONIAL HISTORY 153
3.1.2 THE HISTORICAL BACKGROUND OF JAPAN 156
3.1.3 THE JAPANESE BACKGROUND OF THE 1990S 166
3.2 CONCLUSIONS 171
4. THE BODY AND SOCIAL CODES 172
4.1 THE SYSTEM OF JAPANESE DEPARTMENT STORES: THOUGHTS ON ELEVATOR GIRLS
3F 175
4.1.1 ELEVATOR GIRLS IN JAPANESE DEPARTMENT STORES AND THEIR 'SOCIAL
CODES' 175
4.1.2 ELEVATOR GIRLS 3F AS A SOCIO-CRITICAL WORK OF ART 179 4.2 THE
SYSTEM OF JAPANESE OFFICES: THOUGHTS ON TEA CEREMONY III 180
4.2.1 THE OERU VS. THE SARARIMAN 180
4.2.2 THE OERU'S MASQUERADE 184
4.3 CONCLUSIONS 185
5. THE GENDERED BODY 187
5.1 'IDEAL FEMININITY': THOUGHTS ON ELEVATOR GIRLS 3F AND TEA CEREMONY
III 188
5.1.1 'IDEAL FEMININITY' IN LATE 20TH CENTURY JAPAN 188 5.1.2
'FEMININITY' AS 'DECORATIVE' AND 'GRACEFUL' APPEARANCE 190 5.1.3
'FEMININITY' AS 'KIND, GENTLE, POLITE' AND 'SUBMISSIVE' BEHAVIOUR 190
5.1.4 KAWAII AS A NEW ' FEMININE IDEAL 191
5.1.5 KAWAII WOMEN IN POPULAR CULTURE 194
5.1.6 ELEVATOR GIRLS 3F AND TEA CEREMONY III AS IMAGES OF FEMINIST
CRITIQUE 197
5.2 THE 'BEAUTIFUL FEMALE CORPSE': THOUGHTS ON OTSUKA NENE WEARS
TUZIGAHANA 199
5.2.1 THE 'BEAUTIFUL WOMAN' AND 'DEATH' 199
5.2.2 'DEATH AND THE MAIDEN' AND THE 'FEMALE CORPSE' 200 5.2.3 THE
CULTURAL ANALOGY OF 'DEATH' AND 'FEMININITY' 202
10
IMAGE 5
CONTENTS
5.2.4 MORE THAN A 'MALE' GAZE ON THE 'BEAUTIFUL FEMALE CORPSE' 203
5.3 'MASCULINITY' IN 1990S JAPAN: THOUGHTS ON CHROMOSOME XY S .O. 206
5.3.1 ANONYMOUS INTIMACY - ISHIUCHI'S GAZE ON THE MALE BODY 206
5.3.2 'MASCULINITY' IN CHROMOSOME XYS. O. AND ROBERT
MAPPLETHORPE'SC7/SR(1986) 208
5.3.3 A NEW 'MASCULINE IDEAL' AND THE RISE OF THE 'FEMALE' GAZE 209
5.3.4 CHROMOSOME XYS. O. AS AN ALTERNATIVE NUDE 212 5.4 'HYBRID' GENDER
REPRESENTATIONS IN PORTRAIT (FUTAGO) AND RED MARILYN 213
5.4.1 GENDER 'HYBRIDITY' 213
5.4.2 FIRST READING: A 'MAN' IN THE 'DISGUISE' OF A 'WOMAN' 213 5.4.3
SECOND READING: BEYOND THE BINARY OF'FEMALE' AND 'MALE' 215
5.4.4 THIRD READING: THE 'WESTERN FEMINISATION' OF THE JAPANESE 'MALE'
219
5.5 CONCLUSIONS 220
6. THE RELIGIOUS BODY 223
6.1 HOMELESSNESS AND BUDDHIST FOLLOWERS: THOUGHTS ON ARAKAN #1 224
6.1.1 A HOMELESS MAN AS AN ENLIGHTENED BUDDHIST FOLLOWER 224 6.1.2
ARAKAN #1 AND CHRISTIAN ICONOGRAPHY 228
6.2 ENLIGHTENMENT IN 'POP LAND': THOUGHTS ON MORI'S PURE LAND 229 6.2.1
THE BUDDHIST ICONOGRAPHYOF PURE LAND 229
6.2.2 PURE LAND AS 'POP LAND' 231
6.3 THE IMPERMANENT BODY IN BUDDHIST CULTURE: THOUGHTS ON OTSUKA NENE
WEARS TUZIGAHANA, GYAHTEI #17 AND SCAR 1983 ILLNESS 233
6.3.1 THREE DIFFERENT 'MEMENTO MORI' 233
6.3.2 SUICIDE AND THE AESTHETIC APPRECIATION OF DEATH 234 6.3.3 THE
HUMAN BODY'S IMPERMANENCE AS AN AESTHETIC CONCEPT 238
6.3.4 THE HUMAN BODY AS A BUDDHIST MEMENTO MORI 240 6.4 CONCLUSIONS 244
7. THE BODY AND PHOTOGRAPHIC DISCOURSE 245
7.1 THE PHOTOGRAPH AS AN 'INDEX' AND A 'SYMBOL': THOUGHTS ON SCAR 1983
ILLNESS 246
11
IMAGE 6
CONTENTS
7.1.1 THE INDEXICAL REFERENCE 246
7.1.2 THE SYMBOLIC REFERENCE 248
7.2 (FASHION) PHOTOGRAPHY AND 'DEATH': THOUGHTS ON OTSUKA NENE WEARS
TUZIGAHANA 249
7.2.1 DEATH AND THE PHOTOGRAPHIC MEDIUM 249
7.2.2 DEATH IN (FASHION) PHOTOGRAPHY 251
7.3 CONCLUSIONS 254
CONCLUSIONS
1. SUMMARY OF THE MAIN FINDINGS 257
2. 20TH CENTURY BINARY STRUCTURES AND 21 ST CENTURY HYBRIDITY 262
APPENDIX
BIBLIOGRAPHY (PRIMARY AND SECONDARY SOURCES) 266
INTERVIEWS WITH THE ARTISTS 299
MORIMURA YASUMASA 299
YAMANAKA MANABU 306
MORI MARIKO 314
ISHIUCHI MIYAKO 317
YANAGI MIWA 323
IZIMA KAORU 329
ILLUSTRATION ACKNOWLEDGEMENTS 337
REPRODUCTION OF THE ARTWORKS 341
12 |
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| dewey-sort | 3779.20952 |
| dewey-tens | 770 - Photography, computer art, cinematography |
| discipline | Kunstgeschichte Allgemeines |
| era | Geschichte 1900-1999 gnd |
| era_facet | Geschichte 1900-1999 |
| format | Thesis Book |
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| indexdate | 2024-07-21T00:12:25Z |
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| isbn | 9783487146799 3487146797 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-024481452 |
| oclc_num | 760129198 |
| open_access_boolean | |
| owner | DE-12 DE-83 DE-188 DE-255 DE-11 DE-19 DE-BY-UBM DE-Y3 |
| owner_facet | DE-12 DE-83 DE-188 DE-255 DE-11 DE-19 DE-BY-UBM DE-Y3 |
| physical | 372 S. Ill. 240 mm x 170 mm |
| publishDate | 2011 |
| publishDateSearch | 2011 |
| publishDateSort | 2011 |
| publisher | Olms |
| record_format | marc |
| series | Studien zur Kunstgeschichte |
| series2 | Studien zur Kunstgeschichte |
| spelling | Fritsch, Lena Verfasser (DE-588)136578330 aut The body as a screen Japanese art photography of the 1990s Lena Fritsch Hildesheim [u.a.] Olms 2011 372 S. Ill. 240 mm x 170 mm txt rdacontent n rdamedia nc rdacarrier Studien zur Kunstgeschichte 192 Zugl.: Bonn, Univ., Diss., 2010 Geschichte 1900-1999 gnd rswk-swf Körper (DE-588)4031575-7 gnd rswk-swf Fotografie (DE-588)4045895-7 gnd rswk-swf Japan (DE-588)4028495-5 gnd rswk-swf (DE-588)4113937-9 Hochschulschrift gnd-content Japan (DE-588)4028495-5 g Fotografie (DE-588)4045895-7 s Körper (DE-588)4031575-7 s Geschichte 1900-1999 z DE-604 Studien zur Kunstgeschichte 192 (DE-604)BV035415984 192 X:MVB text/html http://deposit.dnb.de/cgi-bin/dokserv?id=3864491&prov=M&dok_var=1&dok_ext=htm Inhaltstext DNB Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024481452&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Fritsch, Lena The body as a screen Japanese art photography of the 1990s Studien zur Kunstgeschichte Körper (DE-588)4031575-7 gnd Fotografie (DE-588)4045895-7 gnd |
| subject_GND | (DE-588)4031575-7 (DE-588)4045895-7 (DE-588)4028495-5 (DE-588)4113937-9 |
| title | The body as a screen Japanese art photography of the 1990s |
| title_auth | The body as a screen Japanese art photography of the 1990s |
| title_exact_search | The body as a screen Japanese art photography of the 1990s |
| title_full | The body as a screen Japanese art photography of the 1990s Lena Fritsch |
| title_fullStr | The body as a screen Japanese art photography of the 1990s Lena Fritsch |
| title_full_unstemmed | The body as a screen Japanese art photography of the 1990s Lena Fritsch |
| title_short | The body as a screen |
| title_sort | the body as a screen japanese art photography of the 1990s |
| title_sub | Japanese art photography of the 1990s |
| topic | Körper (DE-588)4031575-7 gnd Fotografie (DE-588)4045895-7 gnd |
| topic_facet | Körper Fotografie Japan Hochschulschrift |
| url | http://deposit.dnb.de/cgi-bin/dokserv?id=3864491&prov=M&dok_var=1&dok_ext=htm http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=024481452&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV035415984 |
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