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<h2 class="hd hd-2 unit-title">Day 3 – Image-Driven Scholarship</h2>
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<p>Day 3 tackles the topic of image-driven scholarship.</p>
<ul>
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<ul>
<ul>
<li><span style="font-size: 1em;">Dr. Sebring joins to discuss the grammar of visual images in the digital realm</span></li>
<li><span style="font-size: 1em;">You’ll look at ways of doing history with images, both in the tradition of art historians, and as social/cultural historians using the visual sources now available through digitization</span></li>
<li><span style="font-size: 1em;">The ”textbook“ for this course is the Visualizing Cultures (VC) project at MIT. VTx derives from the visual databases and essays on the VC website</span></li>
<li>The exhibition, <em>Kiyochika: Master of the Night</em> is introduced by Dr. Ulak, who will continue the tour at various points during the course</li>
<li><span>Missing Histories; Moga, and Rediscovered Women Artists; and <strong>Discussion: Missing Histories</strong></span></li>
</ul>
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</ul>
<p></p>
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<h2 class="hd hd-2 unit-title">What is Visualizing Cultures?</h2>
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<p>Prof. Dower introduces the Visualizing Cultures project, founded at MIT in 2002 to explore the potential for doing history using the newly digitized visual record. Professors Shigeru Miyagawa and John Dower co-founded the Visualizing Cultures project, and Ellen Sebring was Creative Director. </p>
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<h3 class="hd hd-2">What is the MIT Visualizing Cultures Project?</h3>
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<h2 class="hd hd-2 unit-title">Dr. Sebring: Navigating Visualizing Cultures</h2>
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<p>VTx is based on three units featuring essays by James Ulak developed in collaboration with MIT Visualizing Cultures, and accompanied by several other units made up of Visual Narratives and Galleries.</p>
<ul>
<ul>
<li><span style="font-size: 1em;">”Kiyochika’s Tokyo: Master of Modern Melancholy (1876–1881)“</span></li>
<li><span style="font-size: 1em;">”Tokyo Modern: Koizumi Kishio’s ‘100 Views’ of the Imperial Capital (1928–1940)“</span></li>
<li><span style="font-size: 1em;">”100 Views by 8 Artists (1928–1932)“</span></li>
</ul>
</ul>
<p>Below are the ”splash pages“ of the three units, accessible on the Visualizing Cultures website [<a href="http://visualizingcultures.mit.edu" target="_blank">visualizingcultures.mit.edu</a> this content is eternal to edX and will open in a new window]</p>
<div><img height="auto" width="90%" src="/assets/courseware/v1/7ed72b1acb2c32980f07d02bb3af987e/asset-v1:MITx+VTx+1T2019+type@asset+block/vc-unit_Kiyochikas-Tokyo-1.jpg" alt="Entry page of Kiyochikas Tokyo: Master of Modern Melancholy (1876–1881) by James T. Ulak, MIT Visualizing Cultures, 2016" /></div>
<h5><br />Caption (above): Entry page of ”Kiyochika’s Tokyo: Master of Modern Melancholy (1876–1881)“ by James T. Ulak, MIT Visualizing Cultures, 2016 (image: the Robert O. Muller Collection of the Freer Gallery of Art and the Arthur M. Sackler Gallery, Smithsonian Institution)<br /><br /><br /></h5>
<div><img height="auto" width="90%" src="/assets/courseware/v1/bcdce8810ad7b7bc48c2ea00eb4ae220/asset-v1:MITx+VTx+1T2019+type@asset+block/vc-unit_Tokyo-Modern-1_Koizumi.jpg" alt="Entry page of Tokyo Modern: Koizumi Kishios 100 Views of the Imperial Capital (1928–1940)” by James T. Ulak, MIT Visualizing Cultures, 2009" /></div>
<h5><br />Caption (above): Entry page of ”Tokyo Modern: Koizumi Kishio’s ’100 Views‘ of the Imperial Capital (1928–1940)“ by James T. Ulak, MIT Visualizing Cultures, 2009 (Image: The Wolfsonian–FIU, Miami Beach, FL, The Mitchell Wolfson, Jr. Collection)<br /><br /><br /></h5>
<h5></h5>
<div><img height="auto" width="90%" src="/assets/courseware/v1/e691bac6c211dc075730136c2e38813d/asset-v1:MITx+VTx+1T2019+type@asset+block/vc-unit_Tokyo-Modern-III_8Artists.jpg" alt="Entry page of 100 Views by 8 Artists (1928–1932) by James T. Ulak, MIT Visualizing Cultures, 2009" /></div>
<h5><br />Caption (above): Entry page of ”100 Views by 8 Artists (1928–1932)“ by James T. Ulak, MIT Visualizing Cultures, 2009 (image: Carnegie Museum of Art)</h5>
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<h2 class="hd hd-2 unit-title">Museum & Collections</h2>
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<p>How do museums collect and curate art? What are the differences between physical and digital exhibitions?</p>
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<h3 class="hd hd-2">Museum Collections</h3>
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<h2 class="hd hd-2 unit-title">Going to the Smithsonian Exhibition</h2>
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<p>Dr. Sebring introduces an exhibition tour she created for Visualizing Cultures, followed by a video of Dr. Ulak at the Smithsonian Institution in Washington, DC, where he curated the exhibition <em>Kiyochika: Master of the Night</em>. We will see more of the exhibition at the end of Module II.</p>
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<h6 style="padding-left: 30px;">”Kiyochika: Master of the Night“ March 29 to July 27, 2014. The Robert O. Muller Collection of the Freer Gallery of Art and the Arthur M. Sackler Gallery, Smithsonian Institution. In the exhibition, approximately half of the prints from the Kiyochika’s views of Tokyo are displayed in thematic groupings that represent the artist’s unique visions and site selections. Beyond describing the odd juxtapositions of traditional and modern, Kiyochika lingers on more subtle shifts in communal sensibility. He shows a population inclined to spectatorship over participation and introduces solitary figures sleepwalking in a new landscape. <a href="https://asia.si.edu/exhibition/kiyochika-master-of-the-night/" target="_blank">(Source: ”Kiyochika: Master of the Night,“ on the Smithsonian Institution website</a> This is external to edX and will open a new window)</h6>
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<h3 class="hd hd-2">Introduction to the Exhibition</h3>
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<h2 class="hd hd-2 unit-title">Day 3 - Missing Histories, Moga, Discussion - Missing Histories</h2>
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<p>One question that is important to ask when collecting sources is: what is missing? What are we not seeing? In just one example of missing histories, the primary sources for this course come from male artists. We've added a few references in the course to remind us of female artists and writers working at the same time. On the other hand, women, especially young women, are prominently featured as the subjects of artworks. Prof. Dower discusses the fascination with portraying “modern beauties” in 1930s Japan:</p>
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<blockquote>
<h5>Print artists, painters, and illustrators all devoted great energy to depicting “modern beauties.” . . . And the portraits of these contemporary beauties—whatever their hairstyle, whatever their dress, whatever activity they might be engaged in—tapped into a pictorial tradition of “pictures of beauties” (bijinga) that had achieved great splendor in feudal times. (Dower, <em>The Brittle Decade</em>, 23)</h5>
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<p>Dower’s essay continues with a discussion of the conflation of freedom and eroticization in the imagery of young women. In addition, as a female consumer market emerged with the movement toward independence, companies like Shiseido Cosmetics, and travel companies that sold the ease of modern travel, painted another picture to appeal to women:</p>
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<h5>Bourgeois women of the sort idealized by Shiseido were not just models of elegant grooming and haute couture, not just a leisured smart set. . . . they also were portrayed as relatively autonomous individuals—unconstrained by male ties, seeking and not just providing sexual pleasure, enjoying themselves outside the home, and engaged not only in consumption but also in activities like biking, hiking, skiing, golfing, swimming, boating, touring, taking photographs, even piloting a plane. Women were also depicted admiringly in professional roles as educators, doctors, lawyers, and the like. (Dower, <em>The Brittle Decade</em>, 29)</h5>
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<p>In the video, Prof. Nagahara talks about the <em>Moga,</em> or ”modern girl,“ who appears as a cosmopolitan figure in the visuals of 1920s and 1930s Tokyo.</p>
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<p>___________________________</p>
<h5>Source: Dower, John. ”Modernity and Militarism,“ <em>The Brittle Decade: Visualizing Japan in the 1930s,</em> additional essays by Anne Nishimura Morse, Jacqueline Atkins, Frederic Sharf (Boston Museum of Fine Arts, MFA Publications, 2012)</h5>
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<p><strong>Moga, and Rediscovered Women Artists</strong></p>
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<p>How do women figure in these historical sources? Of course, they appear as subjects in the ”100 Views of Tokyo“ prints. But, there were also female artists. Take a look at this six-panel folding screen, ”Preparing to Go Out“ (Yoso ō hitobito) painted in 1935 by Taniguchi Fumie, and read about her fate as an artist. </p>
<div><img height="auto" width="100%" src="/assets/courseware/v1/6421d1efd82bfba1a910ab3cb361f4e1/asset-v1:MITx+VTx+1T2019+type@asset+block/1935_taniguchi-fumie_NGV.jpg" alt="Folding screen by Taniguchi Fumie, title "Waiting to Go Out," in which six women are dressing for an evening out." /></div>
<h5><br />”Preparing to Go Out“ (Yoso ō hitobito), 1935, six-panel screen painted by Taniguchi Fumie (National Gallery of Victoria, Melbourne). <a href="https://www.ngv.vic.gov.au/explore/collection/work/135177/" target="[object Object]">View ”Preparing to Go Out“ by Yosoou hitobito, (1935) on the National Gallery of Victoria, Melbourne website.</a> This is external to edX and will open a new window</h5>
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<p>About Taniguchi Fu<span style="font-family: 'Open Sans', Verdana, Arial, Helvetica, sans-serif;">mie, from art</span>daily.com:</p>
<h5 style="padding-left: 30px;"><strong><span style="font-family: 'Open Sans', Verdana, Arial, Helvetica, sans-serif;">In 1935, Japanese artist Taniguchi Fumie created her trailblazing work Preparing to go out (Yosoou hitobito). Taking inspiration from the 17th century Matsuura screens, the artist created a large sixfold screen capturing changing attitudes towards women, consumerism and fashion in the early 20th century. Despite making huge progress in her artistic practice during the 1930s, Fumie had her burgeoning career cut short after she evacuated to the countryside to escape the final bombing raids of World War II. Leaving Japan in the early 1950s, Fumie was never known to paint again and eventually settled in Los Angeles, where she found work as a waitress, seamstress and maid. </span></strong><a href="http://www.mutualart.com/ExternalArticle/Japanese-Modernism-Opens-at-NGV-Internat/0516B5FADE962E08?source_page=Artist" target="[object Object]">(Source: ”Japanese Modernism opens at NGV International“ on the Mutual Arts website.</a> This is external to edX and will open a new window)<br /><br /></h5>
<p><strong>Discussion:</strong></p>
<p>In the following discussion, how important do you think it is to search for untold or overlooked histories? In what ways can these stories be found? Can you think of examples? You might also choose to comment on the Moga or modern girl. Does it help to introduce this topic before looking at the ”100 Views“?</p>
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