{"created":"2023-05-15T13:34:54.112505+00:00","id":6085,"links":{},"metadata":{"_buckets":{"deposit":"936709af-c4f6-4c7c-a0ca-647eb11e40cd"},"_deposit":{"created_by":3,"id":"6085","owners":[3],"pid":{"revision_id":0,"type":"depid","value":"6085"},"status":"published"},"_oai":{"id":"oai:tobunken.repo.nii.ac.jp:00006085","sets":["20:946:961"]},"author_link":["27924","27925"],"item_10001_biblio_info_7":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"2015-03-20","bibliographicIssueDateType":"Issued"},"bibliographicIssueNumber":"415","bibliographicPageEnd":"56","bibliographicPageStart":"52","bibliographic_titles":[{"bibliographic_title":"美術研究"},{"bibliographic_title":"The bijutsu kenkyu : the journal of art studies","bibliographic_titleLang":"en"}]}]},"item_10001_description_5":{"attribute_name":"抄録","attribute_value_mlt":[{"subitem_description":"     A mini-symposium titled “Aspects of Art Archives” was held on February 25, 2014 in the Seminar Room of the National Research Institute for Cultural Properties, Tokyo (NRICPT). In exhibitions examining post-World War II Japanese art held in Japan, there is often a display of archival materials, such as sketchbooks, letters, record photographs and video footage to assist with an understanding of the intentions of the artists in their creative process. Particularly in the case of artists and groups whose art form is performance or other actions, it would not be excessive to state that such archives are the only means by which we can verify the intentions of that expression. In recent years there has been a growing interest in postwar Japanese art in North America, and quite frequently overseas museums have begun to assemble archives of material on those artists deemed important in this period. The mini-symposium’s intention was both to look back on how Japan’s cultural properties research institutes, art museums and archival organizations handle archives of postwar Japanese art, and to also consider our desires regarding how such art archives should develop in the future.\n     Thus the theme of this mini-symposium was set as art archives in terms of contemporary art. The first section included individual presentations by the art historian Kajiya Kenji (then Associate Professor, Hiroshima City University, now Associate Professor, Kyoto City University of Arts), the archivist Uesaki Sen (Researcher, Keio University Art Center) and librarian Kikkawa Hideki (Associate Fellow, NRICPT).  In their lectures they introduced the contemporary art archives in both America and Japan as seen from their various vantage points, and also gave keynote address-type elements such as the composition and methodologies of art archives. The second section consisted of a discussion among the speakers and symposium participants, based on those lectures and considering both the current state of art archives and our hopes for them in the future.\n     The lecture by Kajiya, an art historian specializing in American art history, was titled, “Art History in Art Archives.” Kajiya touched on the Archives of American Art at the Smithsonian Institution, the Museum Archives of MOMA, New York, and the Special Collections of the Getty Research Institute, as he considered the function of archive materials in the study of contemporary American art. In addition, he also touched on the activities of the Oral History Archives of Japanese Art for which he is the director, noting what is desirable in the art archives essential for the study of postwar Japanese art, from the dual viewpoints of archive operator and user.\n     Uesaki’s talk was titled, “Archives and the Avant-Garde: Ephemerality of Expression and the Totality of Archive Materials,” and used the Sogetsu Art Center’s ephemera database as a model approach for avant-garde art archives. In this lecture he indicated that the archives of the group of materials known as ephemera do not contain the artworks themselves, but rather are the archives of all the miscellaneous materials closely related to the artworks. He further considered the process by which databases related to avant-garde art are planned and constructed, the meaning of organizing the different types of materials, the aims for archiving, and the philosophies inherent in archives themselves.\n     Kikkawa’s lecture was titled, “Records and Materials in the Notes Made by the Artist Nakamura Hiroshi: Focusing on the Sightseeing Art Research Institute and the Tokyo Art Pillar Exhibition.” The lecture introduced Nakamura’s production notebooks in the NRICPT collection. In these notebooks Nakamura recorded theactivities of the Avant-Garde Art Society of the latter half of the 1960s. These notebooks include materials regarding the operations of the Avant-Garde Art Society, such as meeting minutes, submission rules for exhibitions, photographs of display scenes and other materials. Kikkawa focused on the materials related to the Sightseeing Art Research Institute and the Tokyo Art Pillar exhibition, noting the meaning of such materials as research sources.\n     This Research Note is a summary of the individual papers from Session 1 of the symposium, as summarized by the speakers themselves. In addition, it reproduces the discussion held between the speakers and the symposium participants in Session 2 of the symposium.","subitem_description_type":"Abstract"}]},"item_creator":{"attribute_name":"著者","attribute_type":"creator","attribute_value_mlt":[{"creatorNames":[{"creatorName":"橘川, 英規"}],"nameIdentifiers":[{}]},{"creatorNames":[{"creatorName":"Kikkawa, Hideki","creatorNameLang":"en"}],"nameIdentifiers":[{}]}]},"item_files":{"attribute_name":"ファイル情報","attribute_type":"file","attribute_value_mlt":[{"accessrole":"open_date","date":[{"dateType":"Available","dateValue":"2017-10-05"}],"displaytype":"detail","filename":"415_52_Kikkawa_Redacted.pdf","filesize":[{"value":"2.1 MB"}],"format":"application/pdf","licensetype":"license_11","mimetype":"application/pdf","url":{"label":"415_52_Kikkawa_Redacted.pdf","url":"https://tobunken.repo.nii.ac.jp/record/6085/files/415_52_Kikkawa_Redacted.pdf"},"version_id":"93485174-b0c0-4d62-910d-d689aab106ab"}]},"item_language":{"attribute_name":"言語","attribute_value_mlt":[{"subitem_language":"jpn"}]},"item_resource_type":{"attribute_name":"資源タイプ","attribute_value_mlt":[{"resourcetype":"journal article","resourceuri":"http://purl.org/coar/resource_type/c_6501"}]},"item_title":"画家中村宏氏作成ノートに残された記録と資料―東京芸術柱展、観光芸術研究所を中心に―","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"画家中村宏氏作成ノートに残された記録と資料―東京芸術柱展、観光芸術研究所を中心に―"},{"subitem_title":"Records and Materials in the Notes Made by the Artist Nakamura Hiroshi: Focusing on the Sightseeing Art Research Institute and the Tokyo Art Pillar Exhibition","subitem_title_language":"en"}]},"item_type_id":"10001","owner":"3","path":["961"],"pubdate":{"attribute_name":"公開日","attribute_value":"2017-10-05"},"publish_date":"2017-10-05","publish_status":"0","recid":"6085","relation_version_is_last":true,"title":["画家中村宏氏作成ノートに残された記録と資料―東京芸術柱展、観光芸術研究所を中心に―"],"weko_creator_id":"3","weko_shared_id":3},"updated":"2023-05-15T14:48:45.882919+00:00"}