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Art to help us live through these times Mine Oka and Shunzo Sato (Part 1) Mine Oka – (left) Night of a full moon – Lake Chapala, (right) Night of a full moon – ¡Adiós!. Installation view at the “98th
Noi Sawaragi
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ART/DOMESTIC 2021 MOCAF (Museum of Contemporary Art Fukushima), March 11, 2021, Tomioka, Fukushima. Photo: Noi Sawaragi. For me, it was as if the tenth anniversary of the 2011 Tohoku earthquake and tsunami on March 11 began the month
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Looking back on 2020: Covid-19 and the changing nature of our faces, hands and breath Michelangelo – The Creation of Adam (detail) (c. 1511). What exactly has changed about the way we go about our daily lives as
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“Rei Naito: Mirror Creation” – on a sunny day, on a rainy day Rei Naito – The spirit (2020). Installation view at “Rei Naito: Mirror Creation,” at 21st Century Museum of Contemporary Art, Kanazawa. All images (except where otherwise
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The COVID-19 pandemic and “Don’t Follow the Wind” – and then there were only “exhibitions that no-one can see” Current state of the Designated Waste Landfill Disposal Center (former Fukushima Eco-tech Clean Center), Tomioka, Fukushima. All photos: The writer.
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Katsumi Sunamori – Implications of the Scenery (3) Katsumi Sunamori – From the series “Unzen, Nagasaki” (1993-95) All images: © Katsumi Sunamori Photography Office I came to know about Katsumi Sunamori’s photo series concerning the Mount Unzen disaster
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Katsumi Sunamori – Implications of the Scenery (2) From Katsumi Sunamori Kama Tida: Osaka Nishinari (1989). All images: © Katsumi Sunamori Photography Office In my last column, I delved into the question, Who is Katsumi Sunamori? and discovered
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Katsumi Sunamori – Implications of the Scenery (1) Katsumi Sunamori – From the series “Unzen, Nagasaki” (1993-95). © Katsumi Sunamori Photography Office. On the morning of June 2, 2019, I arrived at Nagasaki Airport and headed south by
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Imagination for recovery – Disaster and restoration Kenichi Tanaka – (left to right)>: Haisen C (1964), oil on canvas; Still life 1 (1975), oil on canvas; Umibe no bochi A (1978), oil on canvas. Installation view at “Art Doctor
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Before “Freedom of Expression?”: 2019 for Shusei Kobayakawa, Kikuji Yamashita, and Nobuyuki Oura Shusei Kobayakawa – Kuni no tate (Shield of the Nation) (1944), color on paper, collection Kyoto Ryozen Gokoku Shrine (entrusted to the Nichinancho Art Museum).
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Evading Perspective – Thoughts inspired by “What If AI Composed for Mr. S?” Reference material: Copy of an instruction sheet given to Mr. N by Mr. S (2014), photocopy on paper, 21 x 29.7 cm. From the Artificial Intelligence
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Inosuke Hazama traveled to Europe four times and studied under Matisse, was an assistant professor at the Tokyo School of Fine Arts, and served as president of the Japan Art Association. However, in the later half of his life he devoted himself to making Ko-Kutani ware in Ishikawa Prefecture. Sawaragi visited the Inosuke Hazama Art Museum to look into this change and Inosuke's enduring pursuit of modern painting.