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展覧会評 「Tokyo: Art & Photography」展
https://doi.org/10.18953/00009095
https://doi.org/10.18953/00009095cd8fd0b8-09f1-449b-ad60-eb12ca20bbf8
| 名前 / ファイル | ライセンス | アクション |
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436_47_Hayashi_Redacted (1.1 MB)
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| Item type | 学術雑誌論文 / Journal Article(1) | |||||||||
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| 公開日 | 2024-03-31 | |||||||||
| タイトル | ||||||||||
| タイトル | 展覧会評 「Tokyo: Art & Photography」展 | |||||||||
| タイトル | ||||||||||
| タイトル | Exhibition Review : Tokyo: Art and Photography at the Ashmolean Museum | |||||||||
| 言語 | en | |||||||||
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| 言語 | jpn | |||||||||
| 資源タイプ | ||||||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||||||
| 資源タイプ | journal article | |||||||||
| ID登録 | ||||||||||
| ID登録 | 10.18953/00009095 | |||||||||
| ID登録タイプ | JaLC | |||||||||
| 著者 |
林, 美和子
× 林, 美和子
× Hayashi Bitmead , Miwako
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| 抄録 | ||||||||||
| 内容記述タイプ | Abstract | |||||||||
| 内容記述 | From July 2021 to January 2022, a remarkable exhibition, entitled ‘Tokyo: Art and Photography’, was held at the Ashmolean Museum, the oldest museum in the world, located in Oxford, United Kingdom, to commemorate the 2020 Summer Olympics, known as Tokyo 2020. It was originally planned to open to the public at the time of Tokyo 2020 itself, however the coronavirus pandemic delayed it for a year along with the exhibition. Curators Lena Fritsch and Clare Pollard challenged themselves to represent Tokyo’s over 400-year history since the beginning of the Edo period using works of art. Their challenge was stretched far more than anyone expected due to the pandemic. All the works of art originally chosen for the exhibition needed to go through a further selection process to reduce the numbers of artworks on display due to new safety measurements that were put in place in order to reopen the museum. That is clearly evidenced in the accompanied exhibition catalogue in which works of art that were not on display were nevertheless included and discussed. The city has grown significantly in every way since it became the de facto capital of Japan in 1603, and it is now one of the biggest cities in the world. How to illustrate such a massive city in all its diversity? The exhibition defined Tokyo as a city where natural and human disasters repeatedly occur, inspiring artists with creativity over the centuries. The exhibition consisted of three themes: The Urban Environment; The People who Live in the City; and Artistic Innovation. However, each part was cleverly intertwined on topics such as ever-changing social issues. The first theme, The Urban Environment, was further composed of ‘City’ and ‘Destruction and Renewal’. The former mainly focused on famous places, so-called meisho, represented by Utagawa Hiroshige’s woodblock prints, One Hundred Famous Views of Edo (Meisho Edo hyakkei) and drawings of later landmarks by contemporary artists such as Yamaguchi Akira whereas the latter’s focal point was historical natural disasters and reconstructions, also portrayed by woodblock prints of the time. The second theme, The People who Live in the City, put attention on the lives of people, especially everyday life. It portraited activities undertaken by a wide range of people from the Meiji Emperor, the first emperor ever who lived in Tokyo, to ordinary people from the Edo period to the present day. The last theme, Artistic Innovation, presented the way in which artists became innovative and pioneered in the art world. One of the notable displays was a series of woodblock prints, which rendered transitions of not only new techniques introduced at the time, but also new ways of artistic expression, yet the materials employed remained unchanged. Interestingly though, apart from woodblock prints, the rooms were filled with contemporary arts that often would have sent some sort of message to society. In other words, art has been used as a means of expressing opinions of artists, often subtly, yet sometimes explicitly. It is obvious to imagine that everyone has their own view on Tokyo and its history and what representative or stereotypical works of art illustrate or even define the city. Yet, the Tokyo exhibition at the Ashmolean Museum certainly not only reintroduced their visitors to Japanese art and culture in general, but also introduced Tokyo’s lessknown history and social issues that are not so common knowledge. Unfortunately, the exhibition was mainly viewed by residents of the United Kingdom due to travelrestrictions. The richly illustrated exhibition catalogue with full scholarly essays will surely provide the essence of the exhibition. |
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| 書誌情報 |
美術研究 en : The bijutsu kenkyu : the journal of art studies 号 436, p. 47-58, 発行日 2022-03-30 |
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