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	<title>The Japan Times &#187; Matthew Larking</title>
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	<link>http://www.japantimes.co.jp</link>
	<description>News on Japan, Business News, Opinion, Sports, Entertainment and More</description>
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		<item>
		<title>Kansetsu Hashimoto&#8217;s Chinese rebellion</title>
		<link>http://www.japantimes.co.jp/culture/2013/09/25/arts/kansetsu-hashimotos-chinese-rebellion/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=kansetsu-hashimotos-chinese-rebellion</link>
		<comments>http://www.japantimes.co.jp/culture/2013/09/25/arts/kansetsu-hashimotos-chinese-rebellion/#comments</comments>
		<pubDate>Wed, 25 Sep 2013 14:30:51 +0000</pubDate>
		<dc:creator>Matthew Larking</dc:creator>
				<category><![CDATA[Hyogo Prefectural Museum of Art]]></category>
		<category><![CDATA[Kansetsu Hashimoto]]></category>
		<category><![CDATA[nanga]]></category>
		<category><![CDATA[Nihonga]]></category>
		<category><![CDATA[painting]]></category>

		<guid isPermaLink="false">http://awsadmin.japantimes.co.jp/?post_type=culture&#038;p=459679</guid>
		<description><![CDATA[From the end of the Edo Period (1603-1867), Japanese art began to shift its fundamental cultural orientation from China to Europe. Kansetsu Hashimoto, however, (1883-1945) initially abjured, and this had much to do with his upbringing Born in Kobe, Hyogo Prefecture, his father was an eminent Confucian scholar whose own painting exploits are nowadays largely [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Aichi Triennale&#8217;s best works deal with disaster</title>
		<link>http://www.japantimes.co.jp/culture/2013/08/22/arts/aichi-triennales-best-works-deal-with-disaster/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=aichi-triennales-best-works-deal-with-disaster</link>
		<comments>http://www.japantimes.co.jp/culture/2013/08/22/arts/aichi-triennales-best-works-deal-with-disaster/#comments</comments>
		<pubDate>Thu, 22 Aug 2013 14:05:47 +0000</pubDate>
		<dc:creator>Matthew Larking</dc:creator>
				<category><![CDATA[Aernout Mik]]></category>
		<category><![CDATA[Aichi Triennale]]></category>
		<category><![CDATA[Katsuhiro Miyamoto]]></category>
		<category><![CDATA[Kenji Yanobe]]></category>
		<category><![CDATA[Shinjiro Okamoto]]></category>

		<guid isPermaLink="false">http://awsadmin.japantimes.co.jp/?post_type=culture&#038;p=432711</guid>
		<description><![CDATA[Since the Great East Japan Earthquake on March 11, 2011, a lot of art here has dealt with disaster. Not all the pieces in the second installment of the Aichi Triennale are on this theme &#8212; but the best ones are. The event launched in 2010 with three aims: to display cutting-edge visual art with [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The nature of Japanese lacquer art</title>
		<link>http://www.japantimes.co.jp/culture/2013/08/14/arts/the-nature-of-japanese-lacquer-art/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=the-nature-of-japanese-lacquer-art</link>
		<comments>http://www.japantimes.co.jp/culture/2013/08/14/arts/the-nature-of-japanese-lacquer-art/#comments</comments>
		<pubDate>Wed, 14 Aug 2013 14:05:03 +0000</pubDate>
		<dc:creator>Matthew Larking</dc:creator>
				<category><![CDATA[Katsuyuki Shirako]]></category>
		<category><![CDATA[lacquerware]]></category>

		<guid isPermaLink="false">http://awsadmin.japantimes.co.jp/?post_type=culture&#038;p=430037</guid>
		<description><![CDATA[Katsuyuki Shirako (b. 1984) is a lacquer artist, though not one who accords specific primacy to that medium. His fourth show at Kyoto&#8217;s eN arts in Kyoto, is predominantly photographs. Drawn from the artist&#8217;s &#8220;Connect&#8221; series, these images show a combination of his carefully crafted lacquer forms with natural plants, leaves and flowers, such as [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Get intimate with Ryota Aoki&#8217;s work and discover its secrets</title>
		<link>http://www.japantimes.co.jp/culture/2013/06/06/arts/get-intimate-with-ryota-aokis-work-and-discover-its-secrets/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=get-intimate-with-ryota-aokis-work-and-discover-its-secrets</link>
		<comments>http://www.japantimes.co.jp/culture/2013/06/06/arts/get-intimate-with-ryota-aokis-work-and-discover-its-secrets/#comments</comments>
		<pubDate>Wed, 05 Jun 2013 15:03:10 +0000</pubDate>
		<dc:creator>Matthew Larking</dc:creator>
				<category><![CDATA[ceramics]]></category>
		<category><![CDATA[Ryota Aoki]]></category>
		<category><![CDATA[Tomio Koyama Gallery]]></category>

		<guid isPermaLink="false">http://awsadmin.japantimes.co.jp/?post_type=culture&#038;p=376924</guid>
		<description><![CDATA[Known mostly for producing exquisite white ceramic ware, Ryota Aoki has about-turned for his current exhibition at Tomio Koyama Gallery, Kyoto. The overwhelming shift is to black wares: think practical, utilitarian tableware such as plates, cups, pitchers and vases. Inundated with orders, particularly from the United States and Canada, international demand for his work now [...]]]></description>
		<wfw:commentRss>http://www.japantimes.co.jp/culture/2013/06/06/arts/get-intimate-with-ryota-aokis-work-and-discover-its-secrets/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Seeking impressions in the two-dimensional</title>
		<link>http://www.japantimes.co.jp/culture/2013/05/30/arts/seeking-impressions-in-the-two-dimensional/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=seeking-impressions-in-the-two-dimensional</link>
		<comments>http://www.japantimes.co.jp/culture/2013/05/30/arts/seeking-impressions-in-the-two-dimensional/#comments</comments>
		<pubDate>Wed, 29 May 2013 15:02:42 +0000</pubDate>
		<dc:creator>Matthew Larking</dc:creator>
				<category><![CDATA[Imura Art Gallery]]></category>
		<category><![CDATA[Kyoto]]></category>
		<category><![CDATA[Yu Kiwanami]]></category>

		<guid isPermaLink="false">http://awsadmin.japantimes.co.jp/?post_type=culture&#038;p=373530</guid>
		<description><![CDATA[The title of Yu Kiwanami&#8217;s &#8220;Confirmation of Happiness&#8221; (2013) is, in a sense, a kind of betrayal; for happiness cannot, in fact, be confirmed. A woman stands before a landscape, her head cropped off by the top edge of the picture in an artistic act of decapitation. With no head, we cannot see if she [...]]]></description>
		<wfw:commentRss>http://www.japantimes.co.jp/culture/2013/05/30/arts/seeking-impressions-in-the-two-dimensional/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The ghouls who played on the Japanese mind</title>
		<link>http://www.japantimes.co.jp/culture/2013/05/09/arts/the-ghouls-who-played-on-the-japanese-mind/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=the-ghouls-who-played-on-the-japanese-mind</link>
		<comments>http://www.japantimes.co.jp/culture/2013/05/09/arts/the-ghouls-who-played-on-the-japanese-mind/#comments</comments>
		<pubDate>Wed, 08 May 2013 15:04:03 +0000</pubDate>
		<dc:creator>Matthew Larking</dc:creator>
				<category><![CDATA[Nihonga]]></category>
		<category><![CDATA[Osaka Museum of History]]></category>
		<category><![CDATA[yokai]]></category>
		<category><![CDATA[Yoshikawa Kanpo]]></category>

		<guid isPermaLink="false">http://awsadmin.japantimes.co.jp/?post_type=culture&#038;p=359754</guid>
		<description><![CDATA[“Japanese Ghosts and Eerie Creatures,” which features a selection of works from the mid-Edo Period to the Showa Era, is mostly play, with little horror. ]]></description>
		<wfw:commentRss>http://www.japantimes.co.jp/culture/2013/05/09/arts/the-ghouls-who-played-on-the-japanese-mind/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>In front and behind closed temple doors</title>
		<link>http://www.japantimes.co.jp/culture/2013/04/25/arts/in-front-and-behind-closed-temple-doors/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=in-front-and-behind-closed-temple-doors</link>
		<comments>http://www.japantimes.co.jp/culture/2013/04/25/arts/in-front-and-behind-closed-temple-doors/#comments</comments>
		<pubDate>Wed, 24 Apr 2013 15:05:58 +0000</pubDate>
		<dc:creator>Matthew Larking</dc:creator>
				<category><![CDATA[Daiko Matsuyama]]></category>
		<category><![CDATA[Myoshin-ji Temple]]></category>
		<category><![CDATA[Nihonga]]></category>
		<category><![CDATA[Yuki Murabayashi]]></category>

		<guid isPermaLink="false">http://awsadmin.japantimes.co.jp/?post_type=culture&#038;p=352794</guid>
		<description><![CDATA[While largely beneath the contemporary-art radar, painting for Japanese temples by the stars of the postwar art world is a relatively common activity, though largely restricted to nihonga.]]></description>
		<wfw:commentRss>http://www.japantimes.co.jp/culture/2013/04/25/arts/in-front-and-behind-closed-temple-doors/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>Idiosyncrasies of the Kano school explored in Kyoto</title>
		<link>http://www.japantimes.co.jp/culture/2013/04/11/arts/idiosyncrasies-of-the-kano-school-explored-in-kyoto/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=idiosyncrasies-of-the-kano-school-explored-in-kyoto</link>
		<comments>http://www.japantimes.co.jp/culture/2013/04/11/arts/idiosyncrasies-of-the-kano-school-explored-in-kyoto/#comments</comments>
		<pubDate>Wed, 10 Apr 2013 15:03:19 +0000</pubDate>
		<dc:creator>Matthew Larking</dc:creator>
				<category><![CDATA[Kano Sanraku]]></category>
		<category><![CDATA[Kano Sansetsu]]></category>
		<category><![CDATA[painting]]></category>

		<guid isPermaLink="false">http://awsadmin.japantimes.co.jp/?post_type=culture&#038;p=345542</guid>
		<description><![CDATA[Kano Masanobu (1434-1530) founded the Chinese-art influenced painting school that bears his family name and flourished in different forms through to the Meiji Era (1868-1912). A familiar tale is that as it became the dominant hierarchical painting academy of political and military patronage, it began to stylistically stagnate as its art production was regulated into [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Hitoko Urago&#8217;s &#8216;Connected&#8217;: blot-tests of portraiture</title>
		<link>http://www.japantimes.co.jp/culture/2013/03/07/arts/hitoko-uragos-connected-blot-tests-of-portraiture/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=hitoko-uragos-connected-blot-tests-of-portraiture</link>
		<comments>http://www.japantimes.co.jp/culture/2013/03/07/arts/hitoko-uragos-connected-blot-tests-of-portraiture/#comments</comments>
		<pubDate>Wed, 06 Mar 2013 15:02:37 +0000</pubDate>
		<dc:creator>Matthew Larking</dc:creator>
				<category><![CDATA[abstract]]></category>
		<category><![CDATA[Hitoko Urago]]></category>
		<category><![CDATA[Japanese art]]></category>
		<category><![CDATA[painting]]></category>

		<guid isPermaLink="false">http://awsadmin.japantimes.co.jp/?post_type=culture&#038;p=206986</guid>
		<description><![CDATA[Hitoko Urago pairs paintings — portraits with abstractions — though each work is not necessarily conceived at the same time. &#8220;Untitled (Lynda)&#8221; (2012), for example, depicts a profile of a black woman with big hair against a green background. She is paired with a soft, spotty green abstraction, which becomes more of a chromatic harmony [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>&#8216;What We See&#8217; is not always what you get</title>
		<link>http://www.japantimes.co.jp/culture/2013/02/28/arts/what-we-see-is-not-always-what-you-get/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=what-we-see-is-not-always-what-you-get</link>
		<comments>http://www.japantimes.co.jp/culture/2013/02/28/arts/what-we-see-is-not-always-what-you-get/#comments</comments>
		<pubDate>Wed, 27 Feb 2013 15:05:37 +0000</pubDate>
		<dc:creator>Matthew Larking</dc:creator>
				<category><![CDATA[mixed media]]></category>
		<category><![CDATA[National Museum of Art Osaka]]></category>

		<guid isPermaLink="false">http://awsadmin.japantimes.co.jp/?post_type=culture&#038;p=188719</guid>
		<description><![CDATA[Rendered as &#8220;What We See&#8221; in English, the title of this show should perhaps more accurately follow the Japanese one, which would be: &#8220;Dream, Reality, Illusion?&#8221; &#8220;Video&#8221; art is now mostly moribund because technology has changed, leaving that form of expression as largely digitized and stored on hard disc. Subsequent names for the new form [...]]]></description>
		<wfw:commentRss>http://www.japantimes.co.jp/culture/2013/02/28/arts/what-we-see-is-not-always-what-you-get/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Breathing life into the forgotten and neglected</title>
		<link>http://www.japantimes.co.jp/culture/2013/02/14/arts/breathing-life-into-the-forgotten-and-neglected/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=breathing-life-into-the-forgotten-and-neglected</link>
		<comments>http://www.japantimes.co.jp/culture/2013/02/14/arts/breathing-life-into-the-forgotten-and-neglected/#comments</comments>
		<pubDate>Wed, 13 Feb 2013 15:01:56 +0000</pubDate>
		<dc:creator>Matthew Larking</dc:creator>
				<category><![CDATA[Daisuke Fukunaga]]></category>
		<category><![CDATA[Kyoto]]></category>
		<category><![CDATA[painting]]></category>
		<category><![CDATA[Tomio Koyama Gallery]]></category>

		<guid isPermaLink="false">http://awsadmin.japantimes.co.jp/?post_type=culture&#038;p=147751</guid>
		<description><![CDATA[Painter Daisuke Fukunaga (b.1981) states: &#8220;If the world is the stage of a theater, I want to paint the bustle of the things waiting behind the blackout curtain rather than the heroine.&#8221; His motifs are of things forgotten and neglected, but unlike his earlier works of 2007, which realistically depicted drab equipment and everyday objects, [...]]]></description>
		<wfw:commentRss>http://www.japantimes.co.jp/culture/2013/02/14/arts/breathing-life-into-the-forgotten-and-neglected/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Go with the flow from representational to abstract</title>
		<link>http://www.japantimes.co.jp/culture/2013/02/14/arts/go-with-the-flow-from-representational-to-abstract/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=go-with-the-flow-from-representational-to-abstract</link>
		<comments>http://www.japantimes.co.jp/culture/2013/02/14/arts/go-with-the-flow-from-representational-to-abstract/#comments</comments>
		<pubDate>Wed, 13 Feb 2013 15:01:02 +0000</pubDate>
		<dc:creator>Matthew Larking</dc:creator>
				<category><![CDATA[Kusanagi Shinpei]]></category>
		<category><![CDATA[Kyoto]]></category>
		<category><![CDATA[painting]]></category>
		<category><![CDATA[Taka Ishii Gallery]]></category>

		<guid isPermaLink="false">http://awsadmin.japantimes.co.jp/?post_type=culture&#038;p=147786</guid>
		<description><![CDATA[For five years starting in 2007, Shinpei Kusanagi (b.1973) made monthly serialized paintings to accompany installments of Teru Miyamoto&#8217;s novel &#8220;Mizu no Katachi&#8221; (&#8220;The Shape of Water&#8221;) in the magazine éclat. Text and image had little to do with one another, though the small, standard format paintings (what the artist in fact refers to as [...]]]></description>
		<wfw:commentRss>http://www.japantimes.co.jp/culture/2013/02/14/arts/go-with-the-flow-from-representational-to-abstract/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Western influences on Suda&#8217;s nostalgic East</title>
		<link>http://www.japantimes.co.jp/culture/2013/01/03/arts/western-influences-on-sudas-nostalgic-east/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=western-influences-on-sudas-nostalgic-east</link>
		<comments>http://www.japantimes.co.jp/culture/2013/01/03/arts/western-influences-on-sudas-nostalgic-east/#comments</comments>
		<pubDate>Thu, 03 Jan 2013 00:00:12 +0000</pubDate>
		<dc:creator>Matthew Larking</dc:creator>
		
		<guid isPermaLink="false">http://awsadmin.japantimes.co.jp/culture/2013/01/03/%culture_category%/western-influences-on-sudas-nostalgic-east/</guid>
		<description><![CDATA[The fusion of East and West is a major theme in 20th-century art, even though, in important ways, the two don&#8217;t mix. What seems at one point to be their ostensible unification, appears in another as discordant. Such inconsonance lurks in the background at the retrospective of Kunitaro Suda&#8217;s work at the Kyoto Municipal Museum [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Tadanori Yokoo unearths a future from personal past</title>
		<link>http://www.japantimes.co.jp/culture/2012/12/13/arts/tadanori-yokoo-unearths-a-future-from-personal-past/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=tadanori-yokoo-unearths-a-future-from-personal-past</link>
		<comments>http://www.japantimes.co.jp/culture/2012/12/13/arts/tadanori-yokoo-unearths-a-future-from-personal-past/#comments</comments>
		<pubDate>Thu, 13 Dec 2012 00:00:17 +0000</pubDate>
		<dc:creator>Matthew Larking</dc:creator>
		
		<guid isPermaLink="false">http://awsadmin.japantimes.co.jp/culture/2012/12/13/%culture_category%/tadanori-yokoo-unearths-a-future-from-personal-past/</guid>
		<description><![CDATA[The establishment of a museum in the name of an individual is always, to a degree, a memorializing issue in preparation for the inevitable. The inauguration of the Yokoo Tadanori Museum of Contemporary Art in many ways heralds such, and Yokoo&#8217;s oeuvre has often been a dialogue with death. &#8220;I always think about dead people [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The fall and rise of &#8220;The Greek&#8221;</title>
		<link>http://www.japantimes.co.jp/culture/2012/11/22/arts/the-fall-and-rise-of-the-greek/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=the-fall-and-rise-of-the-greek</link>
		<comments>http://www.japantimes.co.jp/culture/2012/11/22/arts/the-fall-and-rise-of-the-greek/#comments</comments>
		<pubDate>Thu, 22 Nov 2012 00:00:00 +0000</pubDate>
		<dc:creator>Matthew Larking</dc:creator>
		
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		<description><![CDATA[For an artist, expatriation can be a kind of death &#8212; because for an artist, it can mean estrangement from the contexts and locations that secure a place in the annals of history that tend to emphasize centers over peripheries. El Greco (1541-1614), &#8220;The Greek,&#8221; was born Domenico Theotocopoulos and though he began with relative [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<title>A fine line separates calligraphy and what&#8217;s called &#8216;art&#8217;</title>
		<link>http://www.japantimes.co.jp/culture/2012/11/15/arts/a-fine-line-separates-calligraphy-and-whats-called-art/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=a-fine-line-separates-calligraphy-and-whats-called-art</link>
		<comments>http://www.japantimes.co.jp/culture/2012/11/15/arts/a-fine-line-separates-calligraphy-and-whats-called-art/#comments</comments>
		<pubDate>Thu, 15 Nov 2012 00:01:41 +0000</pubDate>
		<dc:creator>Matthew Larking</dc:creator>
		
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		<description><![CDATA[The late 19th and 20th centuries witnessed a series of flip-flops among scholars as to whether calligraphy could be considered a fine art. Compared to painting and sculpture, wrote painter Koyama Shotaro in 1882, calligraphy did not attain the level of an art based on the Western models that were taking root at the time. [...]]]></description>
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		<title>Kyoto painting schools pushed nihonga to the limit</title>
		<link>http://www.japantimes.co.jp/culture/2012/11/08/arts/kyoto-painting-schools-pushed-nihonga-to-the-limit/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=kyoto-painting-schools-pushed-nihonga-to-the-limit</link>
		<comments>http://www.japantimes.co.jp/culture/2012/11/08/arts/kyoto-painting-schools-pushed-nihonga-to-the-limit/#comments</comments>
		<pubDate>Thu, 08 Nov 2012 00:00:15 +0000</pubDate>
		<dc:creator>Matthew Larking</dc:creator>
		
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		<description><![CDATA[Japan, as elsewhere, has never had a singular art world but a plurality of formations. This is as true of pre-modern art as it is for Modernism and contemporary art &#8212; think of Takashi Murakami, his &#8220;factory&#8221; Kaikai Kiki and Geisai the art fair he founded. Individuals could, as now, constitute worlds unto themselves and [...]]]></description>
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		<title>Fanning the flames of art</title>
		<link>http://www.japantimes.co.jp/culture/2012/09/06/arts/fanning-the-flames-of-art/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=fanning-the-flames-of-art</link>
		<comments>http://www.japantimes.co.jp/culture/2012/09/06/arts/fanning-the-flames-of-art/#comments</comments>
		<pubDate>Thu, 06 Sep 2012 00:00:33 +0000</pubDate>
		<dc:creator>Matthew Larking</dc:creator>
		
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		<description><![CDATA[Shingo Tanaka (b. 1983) has installed his panels so seamlessly into Kyoto&#8217;s eN arts gallery that the works first appear to be done on the walls. Though having trained as an oil painter, the soft scumblings and wisps of smoke and licks of fire in a restricted palette of black and ochres on white background, [...]]]></description>
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		<title>Exploring themes of dimensions and time, Japan&#8217;s contemporary art scene is a cosmos of its own</title>
		<link>http://www.japantimes.co.jp/culture/2012/08/23/arts/exploring-themes-of-dimensions-and-time-japans-contemporary-art-scene-is-a-cosmos-of-its-own/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=exploring-themes-of-dimensions-and-time-japans-contemporary-art-scene-is-a-cosmos-of-its-own</link>
		<comments>http://www.japantimes.co.jp/culture/2012/08/23/arts/exploring-themes-of-dimensions-and-time-japans-contemporary-art-scene-is-a-cosmos-of-its-own/#comments</comments>
		<pubDate>Thu, 23 Aug 2012 00:00:17 +0000</pubDate>
		<dc:creator>Matthew Larking</dc:creator>
		
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		<description><![CDATA[&#8220;The Cosmos as Metaphor&#8217; at Taka Ishii Gallery and Hotel Anteroom Kyoto is almost entirely engaging. Bringing together many diverse artists, the expectation is that the exhibition concept is spread wide. Indeed &#8220;Multi-dimensional and magical time spaces&#8221; along with &#8220;untouched civilizations&#8221; and &#8220;other mythologies&#8221; are the staggering parameters. The restriction to 12 contemporary artists helps [...]]]></description>
		<wfw:commentRss>http://www.japantimes.co.jp/culture/2012/08/23/arts/exploring-themes-of-dimensions-and-time-japans-contemporary-art-scene-is-a-cosmos-of-its-own/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<item>
		<title>Contemporary Japanese artists strive to create works uninfluenced by the West</title>
		<link>http://www.japantimes.co.jp/culture/2012/08/02/arts/contemporary-japanese-artists-strive-to-create-works-uninfluenced-by-the-west/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=contemporary-japanese-artists-strive-to-create-works-uninfluenced-by-the-west</link>
		<comments>http://www.japantimes.co.jp/culture/2012/08/02/arts/contemporary-japanese-artists-strive-to-create-works-uninfluenced-by-the-west/#comments</comments>
		<pubDate>Thu, 02 Aug 2012 00:00:06 +0000</pubDate>
		<dc:creator>Matthew Larking</dc:creator>
		
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		<description><![CDATA[&#8220;Real Japanesque: The Unique World of Japanese Contemporary Art&#8221; at the National Museum of Art, Osaka, is in many ways a trying exhibition. Its concept claims that Japanese artists born after the 1970s are attempting to create something entirely new and that they are distancing themselves from imitating 20th-century Western art and its so-called, though [...]]]></description>
		<wfw:commentRss>http://www.japantimes.co.jp/culture/2012/08/02/arts/contemporary-japanese-artists-strive-to-create-works-uninfluenced-by-the-west/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>Expressions that lie between functionality and art</title>
		<link>http://www.japantimes.co.jp/culture/2012/06/28/arts/expressions-that-lie-between-functionality-and-art/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=expressions-that-lie-between-functionality-and-art</link>
		<comments>http://www.japantimes.co.jp/culture/2012/06/28/arts/expressions-that-lie-between-functionality-and-art/#comments</comments>
		<pubDate>Thu, 28 Jun 2012 00:01:10 +0000</pubDate>
		<dc:creator>Matthew Larking</dc:creator>
		
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		<description><![CDATA[&#8220;Function Dysfunction&#8221; at the Tomio Koyama Gallery, Kyoto, brings together the ceramic works of three Americans: ceramicists Adam Silverman and Ani Kasten, and sculptor Alma Allen. Silverman, who felt that their works shared an aesthetic DNA, brought the three together, explaining that their pieces, which each sourced nature and in distinctive ways, would complement one [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<item>
		<title>Painting in awe of nature and the act of creation</title>
		<link>http://www.japantimes.co.jp/culture/2012/06/21/arts/painting-in-awe-of-nature-and-the-act-of-creation/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=painting-in-awe-of-nature-and-the-act-of-creation</link>
		<comments>http://www.japantimes.co.jp/culture/2012/06/21/arts/painting-in-awe-of-nature-and-the-act-of-creation/#comments</comments>
		<pubDate>Thu, 21 Jun 2012 00:00:53 +0000</pubDate>
		<dc:creator>Matthew Larking</dc:creator>
		
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		<description><![CDATA[Makito Okada, in his solo show at the imura art gallery, Kyoto, is concerned with rehabilitating the 18th- and 19th-century preoccupation with the Romantic aesthetic concept of the sublime. Instead of man being seen as in harmony with the natural world, obtaining aesthetic delight from it, the sublime posited man in awe of nature, finding [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<item>
		<title>An artistic way with words</title>
		<link>http://www.japantimes.co.jp/culture/2012/06/14/arts/an-artistic-way-with-words/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=an-artistic-way-with-words</link>
		<comments>http://www.japantimes.co.jp/culture/2012/06/14/arts/an-artistic-way-with-words/#comments</comments>
		<pubDate>Thu, 14 Jun 2012 00:00:59 +0000</pubDate>
		<dc:creator>Matthew Larking</dc:creator>
		
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		<description><![CDATA[&#8220;Shoichi Ida, Prints (1941-2006)&#8221; focuses on works bequeathed to The National Museum of Modern Art, Kyoto, by the artist&#8217;s studio and family. Though mostly forgotten today, Ida could count among his acquaintances such renowned artists as modernist painter Robert Rauschenberg and minimalist sculptor Carl Andre, and his works can be found in illustrious collections, including [...]]]></description>
		<wfw:commentRss>http://www.japantimes.co.jp/culture/2012/06/14/arts/an-artistic-way-with-words/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Representing Japan at Art Kyoto</title>
		<link>http://www.japantimes.co.jp/culture/2012/04/27/arts/representing-japan-at-art-kyoto/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=representing-japan-at-art-kyoto</link>
		<comments>http://www.japantimes.co.jp/culture/2012/04/27/arts/representing-japan-at-art-kyoto/#comments</comments>
		<pubDate>Fri, 27 Apr 2012 00:00:24 +0000</pubDate>
		<dc:creator>Matthew Larking</dc:creator>
		
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		<description><![CDATA[In the wake of the recently held Art Fair Tokyo, Kyoto is following up with its own alternative in Art Kyoto. Organizers will, however, eschew the international art fair model seen in Tokyo and do what Kyoto does best &#8212; represent Japan. Keigo Ishibashi, a member of Art Kyoto&#8217;s executive committee, says he wants to [...]]]></description>
		<wfw:commentRss>http://www.japantimes.co.jp/culture/2012/04/27/arts/representing-japan-at-art-kyoto/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Representing Japan at Art Kyoto</title>
		<link>http://www.japantimes.co.jp/culture/2012/04/27/arts/representing-japan-at-art-kyoto-2/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=representing-japan-at-art-kyoto-2</link>
		<comments>http://www.japantimes.co.jp/culture/2012/04/27/arts/representing-japan-at-art-kyoto-2/#comments</comments>
		<pubDate>Fri, 27 Apr 2012 00:00:24 +0000</pubDate>
		<dc:creator>Matthew Larking</dc:creator>
		
		<guid isPermaLink="false">http://awsadmin.japantimes.co.jp/?post_type=culture&#038;p=27889</guid>
		<description><![CDATA[In the wake of the recently held Art Fair Tokyo, Kyoto is following up with its own alternative in Art Kyoto. Organizers will, however, eschew the international art fair model seen in Tokyo and do what Kyoto does best &#8212; represent Japan. Keigo Ishibashi, a member of Art Kyoto&#8217;s executive committee, says he wants to [...]]]></description>
		<wfw:commentRss>http://www.japantimes.co.jp/culture/2012/04/27/arts/representing-japan-at-art-kyoto-2/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>Mavo, the movement that rocked Japan&#8217;s art scene</title>
		<link>http://www.japantimes.co.jp/culture/2012/04/26/arts/mavo-the-movement-that-rocked-japans-art-scene/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=mavo-the-movement-that-rocked-japans-art-scene</link>
		<comments>http://www.japantimes.co.jp/culture/2012/04/26/arts/mavo-the-movement-that-rocked-japans-art-scene/#comments</comments>
		<pubDate>Thu, 26 Apr 2012 00:00:26 +0000</pubDate>
		<dc:creator>Matthew Larking</dc:creator>
		
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		<description><![CDATA[In an Aug. 31, 1923, edition of the Shin-aichi newspaper, a clipping shows a photo of artists milling around paintings propped up against a tree in Tokyo&#8217;s Ueno Park. Another image in the previous day&#8217;s Asahi Graph shows a girl looking over an apparently abstract painting, above which is a label that reads &#8220;Mavo.&#8221; These [...]]]></description>
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		<title>Mavo, the movement that rocked Japan&#8217;s art scene</title>
		<link>http://www.japantimes.co.jp/culture/2012/04/26/arts/mavo-the-movement-that-rocked-japans-art-scene-2/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=mavo-the-movement-that-rocked-japans-art-scene-2</link>
		<comments>http://www.japantimes.co.jp/culture/2012/04/26/arts/mavo-the-movement-that-rocked-japans-art-scene-2/#comments</comments>
		<pubDate>Thu, 26 Apr 2012 00:00:26 +0000</pubDate>
		<dc:creator>Matthew Larking</dc:creator>
		
		<guid isPermaLink="false">http://awsadmin.japantimes.co.jp/?post_type=culture&#038;p=27896</guid>
		<description><![CDATA[In an Aug. 31, 1923, edition of the Shin-aichi newspaper, a clipping shows a photo of artists milling around paintings propped up against a tree in Tokyo&#8217;s Ueno Park. Another image in the previous day&#8217;s Asahi Graph shows a girl looking over an apparently abstract painting, above which is a label that reads &#8220;Mavo.&#8221; These [...]]]></description>
		<wfw:commentRss>http://www.japantimes.co.jp/culture/2012/04/26/arts/mavo-the-movement-that-rocked-japans-art-scene-2/feed/</wfw:commentRss>
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		<title>Ceramics as a blossoming form of art</title>
		<link>http://www.japantimes.co.jp/culture/2012/04/05/arts/ceramics-as-a-blossoming-form-of-art/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=ceramics-as-a-blossoming-form-of-art</link>
		<comments>http://www.japantimes.co.jp/culture/2012/04/05/arts/ceramics-as-a-blossoming-form-of-art/#comments</comments>
		<pubDate>Thu, 05 Apr 2012 00:00:29 +0000</pubDate>
		<dc:creator>Matthew Larking</dc:creator>
		
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		<description><![CDATA[In 1981, Etsuko Tashima (b.1959) completed the postgraduate ceramic course of Osaka University of Arts, where she is now professor. Her graduation work, &#8220;Censored&#8221; (1981), was a series of legs cast from her own body and arranged so that they appeared to grow out of the ground. Attaching breasts to cups and making suggestive, sexual [...]]]></description>
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		<item>
		<title>Ceramics as a blossoming form of art</title>
		<link>http://www.japantimes.co.jp/culture/2012/04/05/arts/ceramics-as-a-blossoming-form-of-art-2/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=ceramics-as-a-blossoming-form-of-art-2</link>
		<comments>http://www.japantimes.co.jp/culture/2012/04/05/arts/ceramics-as-a-blossoming-form-of-art-2/#comments</comments>
		<pubDate>Thu, 05 Apr 2012 00:00:29 +0000</pubDate>
		<dc:creator>Matthew Larking</dc:creator>
		
		<guid isPermaLink="false">http://awsadmin.japantimes.co.jp/?post_type=culture&#038;p=27908</guid>
		<description><![CDATA[In 1981, Etsuko Tashima (b.1959) completed the postgraduate ceramic course of Osaka University of Arts, where she is now professor. Her graduation work, &#8220;Censored&#8221; (1981), was a series of legs cast from her own body and arranged so that they appeared to grow out of the ground. Attaching breasts to cups and making suggestive, sexual [...]]]></description>
		<wfw:commentRss>http://www.japantimes.co.jp/culture/2012/04/05/arts/ceramics-as-a-blossoming-form-of-art-2/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>Rich tales of Inka Essenhigh</title>
		<link>http://www.japantimes.co.jp/culture/2012/03/22/arts/rich-tales-of-inka-essenhigh-2/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=rich-tales-of-inka-essenhigh-2</link>
		<comments>http://www.japantimes.co.jp/culture/2012/03/22/arts/rich-tales-of-inka-essenhigh-2/#comments</comments>
		<pubDate>Thu, 22 Mar 2012 00:00:10 +0000</pubDate>
		<dc:creator>Matthew Larking</dc:creator>
		
		<guid isPermaLink="false">http://awsadmin.japantimes.co.jp/?post_type=culture&#038;p=27856</guid>
		<description><![CDATA[Inka Essenhigh&#8217;s earlier body of work fused a personal take on Surrealism with motifs that seem borrowed from animation. Works such as &#8220;Mob + Minotaur&#8221; (2002), with such strong anime and manga characteristics, had some critics refer to it as a kind of pop-Surrealism or Japanimation. Her recent body of work, however, is of a [...]]]></description>
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