Asia Art Archive in America co-hosted a private screening and workshop focused on a selection of video works by Japanese women artists from the Asia Society Museum Collection, including films by Akino Kondoh, Mami Kosemura, Mariko Mori, Yoko Ono, and Tabaimo. Scholar Reiko Tomii and Asia Society curator Michelle Yun led a roundtable discussion on these artists and their works in the context of the history of video and new media art in post-war Japan.
Reiko Tomii is an independent art historian and curator, who investigates post-1945 Japanese art in global and local contexts. Long based in New York, she received her master’s degree from Osaka University and her doctorate from the University of Texas at Austin. Her research topic encompasses “international contemporaneity,” collectivism, and conceptualism in 1960s art, as demonstrated by her curatorial and authorial contribution to Global Conceptualism (Queens Museum of Art, 1999), Century City (Tate Modern, 2001), and Art, Anti-Art, Non-Art (Getty Research Institute, 2007). Her recent publications include Radicalism in the Wilderness International Contemporaneity and 1960s Art in Japan (2016), which was recently awarded the 2017 Robert Motherwell Book Award, and Kazuo Shiraga: Six Decades (2009). As Co-Director of the listserv group PoNJA-GenKon (Post-1945 Japanese Art Discussion Group-Gendai Bijutsu Kondankai), she has organized conferences and panels with Yale University (2005), Getty Research Institute and UCLA (2007), Guggenheim Museum (2009), and University of Chicago (2017), among other institutions .
Michelle Yun is Senior Curator of Modern and Contemporary Art at Asia Society Museum where she oversees the museum’s initiatives in modern and contemporary visual art by Asian and Asian American artists. Appointed in 2012, Yun specializes in Chinese contemporary art and diaspora artists. Her recent exhibitions organized for the Asia Society Museum include a retrospective for the celebrated artist Nam June Paik and the modernist painter Zao Wou-Ki.
This program is supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council.