Ignacio Alberto Adriasola Munoz
Relevant Degree Programs
Graduate Student Supervision
Master's Student Supervision (2010 - 2020)
No abstract available.
Onchi Kōshirō (1891-1955) was one of the key figures associated with the creative print movement, sōsaku hanga. The movement developed in Japan in the early 20th century, one of many practices in the visual arts that heralded the rise of modernism in Japan. Creative prints differed both visually, and in their means of production, from the traditional ukiyo-e woodblock prints that had been so popular during the Edo period (1603-1868). Rather than being created on commission by a team of people, as ukiyo-e had been, sōsaku hanga artists took as their motto “self-drawn, self-carved, self-printed.” This change reflected their embrace of expressionist ideals, as they strove to dissolve the boundaries between art and life and sought to depict the everyday, including their own thoughts and feelings. Most scholars break Onchi’s work into pre and post-World War II periods, paying little attention to his wartime activities. However, the war years represent an important time in his career, during which he was forced to negotiate his own artistic subjectivity within a nationalistic frame. In many ways, wartime nationalism helped woodblock print artists to justify their place within society, as the medium came to be seen as uniquely, divinely Japanese. Though it may seem at odds with the movement’s ideals, Onchi was very active during the war, traveling to Manchuria to document activities there, and selling works to help fund the war effort. Through a study of Onchi and other artists’ activities during the war, I explore this period of his life, so as to more critically consider the implications that it had on his existence as a modern Japanese artist, and leader of the sōsaku hanga movement.
This thesis investigates the works of contemporary artists from Japan, Shimada Yoshiko and Oh Haji, who have incorporated into their practice chima chogori, or Korean ethnic dress for women. Highlighting the continued presence and significance of chima chogori within Japanese art and visual culture from the early twentieth century, this thesis examines how their works address and respond to a long history of representations of women in ethnic dress in Japan. During Japan’s colonization of the Korean peninsula (1910-1945), representations of Korean women in chima chogori were actively produced and circulated in the metropole, where such images played a crucial role in demarcating the boundaries between Japan and Korea. Inseparable from Japan’s ongoing imperial aggressions, they further manifest the changing role of colonial Korea within the empire. In postwar Japan, chima chogori reemerged, most notably in the form of school uniforms at Korean schools: taking up chima chogori, a sign of ethnic difference, was a strategic stance taken by Zainichi Koreans in their response to and resistance against the legacies of imperialism that continued to exclude them from the borders of the nation. While drawing attention to the issues of women’s subjectivity and gender difference in the practice and representation of chima chogori uniforms, I also point out how women’s negotiations of their identities through the practice of chima chogori are often obscured in media representations. Intervening in this history of representations of chima chogori in Japanese visual culture, Shimada and Oh reveal a shared concern for the encounter with the other in their approach to chima chogori. Their works, I argue, speak to and open up an ethics of alterity and, in doing so, critique the imperialist systems that constructed difference for the domination of the other and continue to condition the lives of Koreans in Japan. At the same time, their works challenge the representational and discursive practices of chima chogori that have been largely dominated by men.
During a performance piece in August 2015, Greenlandic performance artist Jessie Kleemann carried out an homage to a past artwork by Greenlandic-Danish artist Pia Arke: an ephemeral installation composed of used coffee grounds that Arke herself destroyed upon conclusion of the exhibition that had included it. In order to elucidate the relationship established in Kleemann’s work, this thesis will undertake a close analysis of individual artworks by the two artists. The existing literature has portrayed these artists as lone figures, divorced from the mainstream of Greenlandic art, and they have rarely been compared to other Greenlandic artists, yet I argue they share a common method: a performance of history. This thesis will examine the durational and resonant aspects of both works, and through them argue that performance stages a responsive encounter between subject and object, and between historical references and the present. This thesis will highlight how performance has played a much larger role in reevaluating cultural discourses in Greenland than the existing literature suggests. Kleemann and Arke approach history through the durational aspect of temporality. I argue that in their oeuvres, the work of history occurs as a durational process of both presentation and re-presentation, where both the past and the present play active roles in forming historical knowledge.