Art In America

Makoto Aida

The photograph accompanying this review looks better than the actual work on the wall. The photograph looks like a painting, and feels like earnest art. The actual work looks flimsy and feels flippant. If it were not for the artist’s reputation...

Yamaguchi Keisuke

Once upon a time, in the mid-’90s, contemporary art and more academic fine art were still on good terms in Japan. Mono-ha and abstraction were living traditions, allowing artists to wax metaphoric about materials and process without sounding precious....

Overview: In The Aftermath

The fifth anniversary of the Great East Japan Earthquake, on March 11, and the subsequent tsunami and Fukushima nuclear meltdown has come and gone as I write this. It was a full-time job running around Tokyo and its environs to catch the many...

Sorayama Hajime

Between Pop art and Takashi Murakami’s Superflat lies a minefield of bad taste, a universe of objectified femininity and commodified childhood, endless poop and booby jokes, frivolous consumerism and comics that border on child porn. In the ’90s, that...

Kawaguchi Kazuyuki

The return of Okinawa to Japan in 1972 meant a rethink for photographers. The American bases remained, still spewing drunken soldiers and polluting aircraft, but they no longer seemed quite the revelation they had been for photographers like Tōmatsu...

“Don’t Follow the Wind: Non-Visitor Center”

The brainchild of Tokyo-based art troupe Chim-Pom, “Don’t Follow the Wind” is an international group exhibition located inside the Fukushima Exclusion Zone, the roughly 300 square miles of land near the Daiichi Power Plant that the Japanese government...

Kochi-Muziris Biennale

Under the direction of artist Jitish Kallat (b. 1974), the Kochi-Muziris Biennale brings together some 90 individual artists and groups, nearly half from India and the rest from 29 other countries

Nippon Interzone

Ryan Holmberg on Chewing Gum and Chocolate: Photographs by Shomei Tomatsu, edited by Leo Rubinfein and John Junkerman.

Amol K Patil

In the irregularly shaped, converted antique store that is the Clark House Initiative, "Social Theatre," a show of unassuming works by young Mumbai artist Amol K Patil, came across as smartly soft-spoken.

Vasudha Thozhur and Himmat

In the spring of 2002, up to 2,000 Muslims were killed and some 150,000 displaced in a rash of Hindu-led riots—allegedly carried out in retaliation for a train fire reportedly set by Muslims—in the western Indian state of Gujarat. Shortly thereafter,...

Ali Kazim

It is common in writing on Lahore-based Ali Kazim to begin with his technique. "Starting with a pencil under-drawing," writes London-based critic and curator Hammad Nasar in a pamphlet from 2006, "he follows on with a step miniaturists refer to as...

Kiran Subbaiah

In her 1976 essay "Video: The Aesthetics of Narcissism," which looks at early works by Vito Acconci, Richard Serra, Peter Campus and others who dealt with the destabilizing effects of "the self split and doubled," Rosalind Krauss concluded that...

Know Your Enemy: ANPO

 Linda Hoaglund's new documentary film, ANPO: ART X WAR, offers an impassioned account of Japanese opposition to the post-WWII treaty that made the defeated nation a de facto ally of the U.S. 

Miyako Ishiuchi

Miyako Ishiuchi (b. 1947) has long used photography as a medium for expressing Japan’s memory and mourning. This was particularly evident in her “Mother’s” series (2000-05), exhibited in the Japanese Pavilion of the 2005 Venice Biennale: a group of...

Tetsumi Kudo

It is an ugly body of work. Snot green and biohazard orange are its flagship colors, feces and dick its main forms. The work is intentionally cheap-looking, dominated by lacquered plaster and inexpensive consumer plastics. Through its base materiality...

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