During the early part of the Cold War, Japan emerged as a model ally, and Japanese Americans were seen as a model minority. From Confinement to Containment examines the work of four Japanese and Japanese/American artists and writers during this period: the novelist Hanama Tasaki, the actor Yamaguchi Yoshiko, the painter Henry Sugimoto, and the children’s author Yoshiko Uchida. The backgrounds of the four figures reveal a mixing of nationalities, a borrowing of cultures, and a combination of domestic and overseas interests.
China or India? India or China? Maybe Chindia? Anyone who has ever spent much time thinking about the future of the Asia or any particular country or company’s relationship to it, has probably asked this question, and more than once. Several terms, such as “Asia- Pacific” or the newly-launched “Indo-Pacific”, carry this question within it.
Separating Sheep from Goats investigates the history of collecting and exhibiting Chinese art through the lens of the career of renowned American curator and museum director Sherman E Lee (1918-2008). Drawing upon artworks and archival materials, Noelle Giuffrida excavates an international society of collectors, dealers, curators, and scholars who constituted the art world in which Lee operated.
It’s always been a pleasure to handle a Folio Society book, and having three of them at one time, all on Asian themes, was even better.
Wu Changshi 吳昌碩 was an extraordinary artist and a major force in late-nineteenth- and early twentieth-century Chinese art. A true literatus in a changing cultural landscape, he combined the traditional scholarly arts with popular subject matter in a manner that would revolutionize painting. The following series of “views” represent an accumulation of forays into an understanding of Wu Changshi (also pronounced Wu Changshuo, 1844–1927).
A few years ago, President Xi Jinping gave a speech which offered his views on the role art should play in Chinese life.
Knowingly or not, anyone who has spent much time at all on what used to be called the “China Coast” will surely have come across the paintings of the George Chinnery, an English artist active in Macau in the second quarter of the 19th century. Whatever profile Chinnery may have in the broader painterly pantheon, in Hong Kong and Macau he is the closest to an artistic native son that the Western colonial tradition has.