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	<title>The Japan Times &#187; Matthew Larking</title>
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	<description>News on Japan, Business News, Opinion, Sports, Entertainment and More</description>
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		<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>

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		<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>
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		<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>
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		<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>

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		<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>
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		<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>

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		<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>
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		<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>
		
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		<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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		<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>
		
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		<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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		<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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		<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>
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