Weekly Flipboard Links and Media Round Up

I've sat down a few times this week to compose something coherent to react to the Kanye West fiasco unfolding across every register of social media in response to a recent string of interviews, Twitter rants, and release of new music. I've decided to wait and see until I commit more than a few thoughts in this week's round up, but suffice to say I am watching closely along with the rest of his fan base. Last night on SNL, a fantastic skit "A Kanye Place" summarized the polarized response, capturing the contradiction, fascination, spectacle, and complete frustration that so many of us who have defended Kanye are feeling.

On the one hand, I cannot help making the comparison between Kanye's apparent nod towards authoritarian politics (read Trump) with Salvador Dali's attraction to Hitler in the latter phases of his career. For Dali, the increasing obsession with fascism lead not only to his excommunication from the Surrealist movement, but also to accusations that Dali had abandoned his earlier principles and idealism for fame, money, and popular attention (sound familiar?). On the other hand, Kanye has continued his earlier practice of speaking through comparison, leaving a trail of breadcrumb clues via his Twitter. For example, he raises, very intriguingly, the performative art practice of Joseph Bueys in several instances-- a conceptual artist who bridged performance with social critique through landmark performance works like I Like America, and America Likes Me (1974). To be sure, it is impossible to know right now if what Kanye is doing will ever be coherent as art or constitute a broader plan of political attack (recall he said he would run for president in 2020), but it is very clear that his recent controversial statements (especially around slavery and American history) have landed in a very different way than ever before. He may indeed have jumped the shark this time around, and if so, he may end up like Dali with no road back to his earlier successes. 

"When Contemporary Art Feels Too Inaccessible"

hyperallergic.com

"Stunning ‘Paintings’ Developed Entirely With HTML & CSS Left The Internet In Awe"

designtaxi.com

"Blockbuster Shows Are Ruining Art Museums"

slate.com

"Virtual Reality Asserts Itself as an Art Form in Its Own Right"

nytimes.com

"Where Art Forgeries Meet Their Match"

nytimes.com

"Trailer: Season 9 of "Art in the Twenty-First Century" (VIDEO)"

art21

"How One Artist Transformed Old Master Paintings Into a Beguiling Capsule Collection for Gucci"

artnet.com

"Martin Scorsese still hates Rotten Tomatoes"

artsy.net

"Joseph Beuys Built His Legacy on Anti-Capitalist Work. It’s Now Worth More Than $20 Million"

vulture.com

• When Contemporary Art Feels Too Inaccessible
• Stunning ‘Paintings’ Developed Entirely With HTML & CSS Left The Internet In Awe
• Blockbuster Shows Are Ruining Art Museums
• Virtual Reality Asserts Itself as an Art Form in Its Own Right
• How One Artist Transformed Old Master Paintings Into a Beguiling Capsule Collection for Gucci
• Martin Scorsese still hates Rotten Tomatoes
• Joseph Beuys Built His Legacy on Anti-Capitalist Work. It’s Now Worth More Than $20 Million
• A Modest Proposal: Break the Art Fair
• Where Art Forgeries Meet Their Match
• Trailer: Season 9 of "Art in the Twenty-First Century" (VIDEO)

Weekly Flipboard Links and Media Round Up

Winding down April and heading into the late spring and summer, I find myself two thirds of the way through my sabbatical and very much assessing where I am and what I have left to accomplish before the fall. Last September, when first faced with so much unstructured time, I quickly learned that I would have to establish a schedule and set of daily habits to make sure I stayed on track to accomplish a list of professional and personal goals. Working with weekly, monthly, and quarterly tasks, I wanted to make sure not to squander the opportunity to research, write, and spend time deeply engaged in my own projects before going back to my teaching and administrative duties. And while I have indeed deviated from my initial roadmap as the course of life, together with unexpected events, obstacles, and new opportunities have kept me on my toes, I have come to value a set of "minimums" that I look to do weekly and have managed to check many tasks off my list. 

I was thinking of this as I struck up a conversation with a newly graduated art student who recently realized for the first time that they will have to replicate something of the structure that art school provided them when establishing an art practice away from university. It is certainly not easy, and with the multitude of digital distractions and draws on individual's time today (not to mention, the call of summer!), the challenge is very real. One resource that I recommended to them, and have found especially helpful this past year, is Cal Newport's book Deep Work: Rules For Focused Success in a Distracted World. Newport distinguishes his approach by discussing strategies that are not only geared to finding the time to accomplish goals and build routine and structure into one's life, but also focused on helping harness the mental state of deep focus, concentration, and flow, that drives creativity and productivity. In fact, one of the most important things I learned from Deep Work is the importance of boredom and open reflection in accessing focus and the ability to generate new ideas. I hope some of you find the book helpful and wish you every success in meeting your summer (and long term) goals. Enjoy the links!

"Dirty Words: Emerging"

canadianart.com

"https://www.theatlantic.com/entertainment/archive/2018/04/kanye-west-maga-hat-media/558962/"

theatlantic.com

"Feeling Anxious? You’re Not the Only One"

chronicle.com

"Losing Myself in the Paintings of Facebook-Educated Matthew Wong"

vulture.com

"Whirling Mechanical Precisionism"

nybooks.com

"“Avengers: Infinity War” and “Let the Sunshine In”"

newyorker.com

"'The dirty truth': Wim Wenders will defend 3D to the end"

nationalpost.com

"Inside the Handmade Sketchbooks of a Well-Traveled Artist"

mymodernmet.com

"Answering The Art History Questions You Never Thought to Ask (PODCAST)"

artsypodcast

"The light of democracy — examining the Statue of Liberty (VIDEO)"

smarthistory

• Dirty Words: Emerging
• Who Is to Blame for Kanye West's MAGA Hat?
• Feeling Anxious? You’re Not the Only One
• Losing Myself in the Paintings of Facebook-Educated Matthew Wong
• Whirling Mechanical Precisionism
• “Avengers: Infinity War” and “Let the Sunshine In”
• 'The dirty truth': Wim Wenders will defend 3D to the end
• Inside the Handmade Sketchbooks of a Well-Traveled Artist
• Answering The Art History Questions You Never Thought to Ask (PODCAST)
• The light of democracy — examining the Statue of Liberty (VIDEO)

Top 10 Modern and Contemporary Exhibitions Worth Visiting in Spring/Summer 2018

As spring slowly begins to make its appearance on the west coast, my attention has finally turned towards summer and the many fantastic art exhibitions that are opening in art cities around the world. As in past art seasons compiling my top ten list, I research exhibitions with my own location, travel plans, and geography in mind, but then make sure to consider shows that examine artists and topics that are of particular interest and/or especially significant to my research and current teaching directions. This summer, I am struck by how many shows are mirroring the anxiety and search for meaning in the escalating global tensions all of us are experiencing. Themes around violence, protest, and social transformation intermingle with themes around creative exchange, public performance, and interdisciplinary experimentation. For those of you wanting to research further and set up both real and fantasy travel itineraries, I recommend both a subscription to ArtForum and their artguide app for quick access to hundreds of art cities around the world and the dates and places where one can see fantastic art shows. I present these exhibitions not in ranking order, but working from Vancouver outwards. Enjoy :)

Bombhead

Vancouver Art Gallery, Vancouver: Currently—June 17, 2018

Starting in my own backyard, I am especially happy to recommend a timely and globally significant exhibition organized and curated by one of my academic mentors and dissertation supervisors from my grad school days, Dr. John O’Brian, Professor Emeritus in Canadian and Modern Art History at UBC. Bombhead is described as "a look at the emergence and impact of the nuclear age as represented by artists and their art" and the exhibition brings together a diverse set of art works, along with raising critical questions about nuclear risk. As a child of the 1980s who lived through bomb drills and the ever-present threat of nuclear war with the Soviet Union, I was witness to the nuclear disarmament following the fall of the Berlin wall in 1989 that seemed to signal a new era. But as we have seen in the past few years, and as this exhibition helps situate, rising global tensions (with North Korea and Russia, along with emerging nuclear powers in the Middle East), raises fears for the planet as nuclear war is once again a very real possibility.  

Bruce Conner, Bombhead (1989/2002)

Victorian Radicals: From the Pre-Raphaelited to the Arts and Crafts Movement

Seattle Art Museum, Seattle: June 13—September 8, 2019

We do not often associate the word "Victorian" with "radical" in our perception of the historical moment associated with nineteenth century England, but it is true that some of the most challenging and transgressive subjects for a new art emerged there as artists looked to the effects of industrialization, urbanization, and the reality of everyday social and political conditions. Focusing on the Pre-Raphaelite movement, this exhibition looks especially comprehensive as it will feature a diverse cross section of art forms (paintings, drawings, books, sculpture, textiles, and decorative arts—many never before exhibited outside of the UK).   

Dante Gabriel Rossetti, La Donna della Finestra (1881)

Plato in L.A.: Contemporary Artists’ Visions

J. Paul Getty Museum Getty Villa, Los Angeles: Currently—September 3, 2018

With the recent focus on John Paul Getty in movies and television (as I also touched on last week), many people do not realize that the Getty Villa in Malibu has been undergoing extension renovations and updates to reinstall the permanent collection. Located in Los Angeles, the Villa was built by Getty in the 1950s as an attempt to reimagine the most luxurious building of the ancient world-- the Villa of the Papyri-- and to house his collection of Greek, Roman, and Etruscan antiquities. As it reopens this spring, one of the more unusual temporary exhibitions at the Villa features contemporary artists in conversation with the Greek philosopher Plato. Plato is foundational in art history for his influential thinking and philosophies concerning beauty, imitation, and inspiration. I am beyond intrigued by how artists such as Mike Kelley, Jeff Koons, Joseph Kosuth, and Adrian Piper will be arranged around this theme, and to see how the Getty may use their permanent collection to produce this show. 

Uprisings

Contemporary Art University Museum, Mexico City: Currently—July 29, 2018

This is an exhibition that came onto my radar while researching emerging theories around the avant-garde. Uprisings is one of those excellent under-the-radar shows that so many university galleries produce all over the world. Curated by French art historian Georges Didi Huberman, the exhibition examines the collective emotion generated around political events, and how those events are shaped through visual and artistic representation. As the translated text from the website explains: "The figure of the uprising is presented through more than 250 works including manuscripts, documents, paintings, drawings, prints, photographs and films, to show how artists have addressed these issues at different historical moments. The exhibition route follows a sensitive and intuitive path in which the view can be focused on concrete examples across five areas: Elements (unchained); Gestures (intense); Words (exclaimed); Conflicts (lit); and Desires (indestructible)."

Gilles Caron's Catcher demonstrators, Battle of the Bogside, Derry, Northern Ireland, August 1969 (1969)

Adrian Piper: A Synthesis of Intuitions, 1965-2016

Museum of Modern Art, New York: Currently—July 22, 2018

Following the events of September 11, 2001, one of the most powerful art projects to emerge in New York was conceptual artist Adrian Piper's series Everything Will Be Taken Away. At the heart of the project was a public performance where Piper enlisted volunteers to have the words "Everything will be taken away" henna tattooed on their foreheads and set out into the city. Working and going about their everyday lives, the participants kept journals of their interactions with the New Yorkers who would read the sentence from their foreheads in moments of transit and encounters with family, friends, and strangers. Over the years, Piper would exhibit parts of this project around the world (in 2017, our Paris/Documenta field school was able to see her work in Kassel) and it has continued to resonate in ways that move well beyond the 9/11 moment. In my own courses, Piper's work has found an important place, especially as issues concerning gender, racism, violence, and social activism continue to animate our shared discourse. The Museum of Modern Art has finally given Piper a long overdue retrospective, and it is at the top of my list of must-see shows this summer!

Adrian Piper, from the Everything Will Be Taken Away series (2003)

Giacometti

Guggenheim Museum, New York: June 8—September 12, 2018

Alberto Giacometti is an artist that I introduce to describe how European artists dealt with the aftermath and unspeakable violence of WWII. His works have continually sparked some of the most incredible discussions and questions in my classroom, and every year I have at least one art student who declares Giacometti as their new influence or muse. As one of the most important sculptors of the twentieth century, the Swiss-born artist became famous for his figurative compositions examining the human condition, suffering, and the surrealist influence of exploring desires and impulses just under the radar of human consciousness. His works can be found in museums and art collections around the world, and the Guggenheim Museum has planned a sprawling exhibition set to bring together over 175 of Giacometti's art works. It will no doubt be a stunning show.

Alberto Giacometti, Nose (Le nez) (1947)

An Incomplete History of Protest

Whitney Museum of American Art, New York: Currently—August 27, 2018

This past December when I visited New York, I was also witness to one of the worst snow storms in the city's history (a BOMB cyclone!). While there, we were unable to visit this top-of-my-list show as the Whitney had to be closed to deal with the wintery aftermath. Luckily, An Incomplete History of Protest is still on exhibition at the beautiful Whitney Museum of American Art, and the show's themes concerning artist activism, collective action, and social engagement are even more relevant and pressing now as the age of renewed political movements takes hold globally. As the catalogue underscores: "At the root of the exhibition is the belief that artists play a profound role in transforming their time and shaping the future."

Annette Lemieux Black Mass (1991)

Van Gogh and Japan

Van Gogh Museum, Amsterdam: Currently—June 24, 2018

Ever since returning home from Japan, I have been thinking about the trip I took to the Hiroshige Museum of Art in Shizuoka City (that I blogged about last week) where I was able to get a closer look at the Ukiyo-e prints that inspired many of the most important modern artists of Paris. Van Gogh's work, in particular, was a central focus at the museum and his avant-garde vision for new forms and content owes a huge debt to the Japanese. Coincidentally, Amsterdam's Van Gogh Museum is featuring an exhibition this spring looking at the artist's interest and fascination in the popular visual culture represented in these particular prints. There is a wonderful website accompanying the show where you can access fantastic resources (for example, this video) looking at how Van Gogh began to see with a Japanese eye. If you find yourself in Amsterdam this summer, go check this out!

Vincent Van Gogh, Courtesan (After Eisen) (1887)

Frida Kahlo: Making Her Self Up

Victoria and Albert Museum, London: June 16—November 4, 2018

As I gear up (pun intended) to teach a special topics course on Art and Fashion this fall, I have paid close attention to all of the fashion influenced exhibitions that have very much formed a trend in art museums around the world over the past several years. This show featuring legendary surrealist artist Frida Kahlo at the V&A Museum in London looks to be an outstanding addition to the recent interest in examining the role fashion plays in the lives and art practice of artists. Featuring personal artifacts and pieces of clothing from Kahlo's life, this exhibition focuses on connecting Kahlo's art practice to her love of self-fashioning and everyday performance of the self. This is another exhibition at the top of my list for the summer!

Nickolas Muray, Frida Kahlo in blue satin blouse, 1939 (1939)

Eugène Delacroix (1798–1863)

Louvre Museum, Paris: Currently—July 23, 2018

Last but not least, a summer art journey would not be complete without a trip to Paris. This summer, the Louvre is presenting another timely exhibition looking at French painter Eugène Delacroix, one of the most important painters in all of art history. Working during a time of heightened political turmoil in early to mid-19th century Paris, the painter is now credited with paving the road for modernist interventions and influence that transformed the direction and role artists would play in the public and political life of nation, along with reframing representations of social conflict and resolution. This is an important must-see show coming at a pivotal moment in France's history.

Eugène Delacroix, Liberty Leading the People (1830)

Weekly Flipboard Links and Media Round Up

Fighting jet lag (still!) and trying to get back into a home routine, I spent the past week catching up with life at home and glued to late night cable news trying to make sense of the escalating craziness in the US and the evolving situation in Syria. It is times like these when the happenings of the art world seem to fade from significance, but I was cheered up Friday night when attending the graduating show of the BFA Fine Arts students from my department (at Kwantlen Polytechnic University). Exhibiting projects making up the culmination of a year's hard work, the artists touched upon many themes that brought conversation and critical reflection to the tumultuous moment we are living through. Whether it be the experience of immigration and living between different traditions and cultural expectations, attention to the body and the kinetics of experience, challenging ideas about gender norms and representation, or bringing attention to the destructive nature of abstracted knowledge and "fake news," the individuals in this show, as in many similar graduating shows around North America, are continuing the role of contemporary artists globally to bring visibility to the marginalized and speak truth to power. I urge you to support local art schools and attend the graduating shows that you will see begin to pop up at local colleges and universities over the next several weeks. I can promise it will not only renew your belief in the potential of young creative talent, but also in the power of art to bridge the social, political, and cultural divide that appears all too often to keep us isolated from one another. Enjoy this week's links! 

"An Indigenous Artist’s Futuristic Vision of Traditional Transformation Masks"

hyperallergic.com

"The Internet Apologizes …"

nymag.com

"Do You Think Mona Lisa Is Happy? Then You Probably Are Too, New Research Says"

artnet.com

"After Zaha's "vagina" stadium, here are six more examples of yonic architecture"

dezeen.com

"A Collector Follows His Nose Through the Maze of Modern Art"

vulture.com

"Cy Twombly and the Transporting, Transforming Power of Art That Barely Uses the Tools of Art"

vulture.com

"7 Tips for Applying to Art School"

arsty.net

"Podcast episode 27: the enduring appeal of enigmatic Beuys. Plus, lost masterpieces reborn (PODCAST)"

artnewspaper.com

"‘Drawing Is Always a Struggle’: An Interview with Art Spiegelman"

nybooks.com

"A Landslide of Classic Art Is About to Enter the Public Domain"

theatlantic.com

• An Indigenous Artist’s Futuristic Vision of Traditional Transformation Masks
• Do You Think Mona Lisa Is Happy? Then You Probably Are Too, New Research Says
• The Internet Apologizes …
• After Zaha's "vagina" stadium, here are six more examples of yonic architecture
• A Collector Follows His Nose Through the Maze of Modern Art
• Cy Twombly and the Transporting, Transforming Power of Art That Barely Uses the Tools of Art
• 7 Tips for Applying to Art School
• Podcast episode 27: the enduring appeal of enigmatic Beuys. Plus, lost masterpieces reborn (PODCAST)
• ‘Drawing Is Always a Struggle’: An Interview with Art Spiegelman
• A Landslide of Classic Art Is About to Enter the Public Domain

Location | Japan: Ukiyo-E and the Visual Culture of Everyday Life

To visit Japan in person is to be immersed in a non-stop aesthetic experience—an experience shaped by visual storytelling, fantasy, space-making, and attention at every level to artful detail, ranging from the luxurious to the most everyday and banal. This was perhaps my biggest takeaway impression of a place that has been at the very top of my travel bucket list for as long as I can remember. Not surprisingly, the country that has popularized manga and anime into universally recognized forms of mass contemporary visual culture also has a deeply entangled and shared history with Western forms of art. Enter Ukiyo-e print culture, and my own deep fascination with how representations of Japanese urban life came to influence the art of the fleeting and the everyday pioneered in Europe by the Impressionists and modern avant-garde art movements .

Translated, Ukiyo-e literally means “pictures of the floating world” and helps categorize a style of Japanese woodblock painting and printmaking from the early 17th to late 19th century Edo period. Innovating techniques of production and wide distribution that would allow for popular consumption of these images throughout Japan and then around the world by the late nineteenth century, talented Japanese artists turned to printmaking as a way to connect with and share art to the widest possible audience. Importantly, the subject of Ukiyo-e prints references the fleeting nature and everyday instances of urban life, emphasizing pleasure, beauty, landscapes, and the fashions of the time. This, and overt references to the transformative nature of city life, would come to influence and align with French poet and art critic Charles Baudelaire’s challenge to artists of his time—to represent and draw inspiration from the everyday and ephemeral urban world around them, and not slavishly adhere to the traditions and forms of the ancient past. Critically, for Baudelaire, and the new generation of modern and avant-garde artists he would come to influence, this was more than just a change in the subject or content for art, it was also equally a revolution in the form of art. 

Edouard Manet, Portrait of Emile Zola (1868). Note the presence of Ukiyo-e prints on the far left and upper right register of Manet's painting-- a nod to the fashionable Japanese print culture that was part of the Paris urban scene from the mid to late 19th century. 

The critical discussion of Ukiyo-e prints forms a key section of any course where I discuss the turn towards modernism in art. Representing the contemporary world was considered a revolutionary move away from the guiding purpose of high art, since at least the time of the Renaissance, to value images of the biblical past, historical record, and images of universal values and truths via metaphor. Turning instead to the banalities and fleeting moments of everyday life, in all of its messiness, incompleteness, and contingency, the role of artists as it emerged under the modern and avant-garde movements of the late 19th and early 20th centuries was less about being the purveyor of some kind of “truth” via their representations, and more about complicating and even calling into question the possibility of ever seeing or representing the complete world one sees with their eyes.

The flatness, stark colour contrasts, and often incomplete visions of Ukiyo-e prints provided one of the important influences to modern artists of the late 19th century who attempted to work out a new way to make the images Baudelaire was calling for. Turning, for example, to artists such as Edouard Manet, Mary Cassatt, Vincent Van Gogh, and Henri de Toulouse-Lautrec (see image comparisons below), we can see the influence of Ukiyo-e prints in the way content and form shifts in these artists works away from more traditional, figurative, and mimetic representations, towards the flat, divided, and unmodulated colour palettes of the Japanese. As I tell my students, new ways of making art cannot come out of a vacuum, and we now know that these artists were very much studying the work of Japanese printmakers when formulating new directions for their art practice.

It was with this rich context in place that I planned a visit to one of the most important museums and workshops of Ukiyo-e printmaking in Japan, the Hiroshige Museum of Art in Shizuoka City not far from the famed Mount Fuji, on the south coast of Japan. At the museum, which houses one of the largest collections of Utagawa Hiroshige’s prints, I was able to finally view a wide range of Ukiyo-e prints in both painted and printed form, and learn much more about the printmaking process that effectively placed affordable artworks in the homes of Japanese people for several centuries. At the time of my visit, there was a special exhibition of Ukiyo-e prints from the early 19th century depicting samurai and geisha entertainment culture that would further influence later artists of the era the Impressionists would be looking at (see my photographs below). We were also able to see side by side comparisons of Japanese prints and Van Gogh works where the undeniable influences and even borrowing were apparent. Finally, the museum also encouraged visitors to dress up and perform as subjects in their own virtual Ukiyo-e print, complete with kimonos and a well lit space suitable for photographing and sharing. As one of the guides told me, it was the intention of the museum to encourage active participation in a visual culture that gave visibility to everyday people and their lives.

Another fascinating section of the museum was the exhibition of contemporary art works influenced by Ukiyo-e print culture. Notable among them were the work of two UK artists. The first artist, Emily Allchurch, uses photographic collage to rework one of Hiroshige’s famous prints of Mount Fuji in Tokaido Road (2013), while the second artist, Carl Randall, and his work titled Mihni no Matsubara (2016), depicts crowds of selfie-taking young people and tourists, a contemporary subject matter, explored through the formal conventions of oil painting. I enjoyed examining these works up close and seeing how the museum made space for contemporary art works such as these to continue the conversation linking Ukiyo-e print culture to a global modern world with its fascination for the ephemeral, the urban, and the everyday. 

Before leaving the museum, we learned that in the coming week a new exhibition featuring world famous Japanese-street artist Lady AIKO was set to open, featuring collaboration with onsite craftsmen to produce an original woodcut. I cannot express how sad I was to miss this amazing show. Later, the museum was kind enough to send me the press package for the exhibition titled LADY GO! AIKO x EDO Girls Collection that included the following description:

“Hiroshige Museum of Art meets globally active street artist, AIKO, for the first collaboration
ever! A collection of works representing the unique world of contemporary Eshi, AIKO, and
Ukiyo-e that feature women depicted by Utagawa-style Eshi including Hiroshige, Toyokuni
III, and Kuniyoshi will be featured at this exhibition. Highlighted works we may feel casually
familiar with include a giant wall art by AIKO exhibited for the first time in Japan, “America
no Yume”, which is created with techniques of Ukiyo-e Hanga, and Edo girls fashion that
appear in Ukiyo-e of the Tōkaidō and Kabuki. We hope you enjoy the world of “Girls” loved
by many generations of the Edo period to today."

The vivid poster for the Lady AIKO collaborative exhibition on this spring at the Hirsohige Museum of Art.

The show features two large rooms including one featuring prints from the collection displaying the life of girls depicted in Ukiyo-e prints, and the second room with the large scale mural The Tale of Mr. Skull and Mermaids (at the top of this page)—a work that AIKO first showed in Brooklyn, inspired by the intersection of “pop culture” of the Edo period and that of contemporary New York—and the original woodcut AIKO created with the museum titled American Dreams (featured in the above poster). I hope one day to see this work in person as well (Japan, I will be back!) but it is clear that the legacy of Ukiyo-e lives on in the way that the medium was clearly intended.

Further Reading:

Guth, M.E. Alicia Volk, and Emiko Yamanashi. Japan and Paris: Impressionism, Postimpressionism, and the Modern Era. Essays by Christine Honolulu Academy of Arts, Honolulu, 2004. 

Morse, Anne Nishimura, Shūgō Asano, and Museum of Fine Arts, Boston. Drama and Desire: Japanese Paintings from the Floating World, 1690-1850. 1st ed. Boston: Museum of Fine Arts, Boston, 2007.

Tinios, Ellis and British Museum. Japanese Prints: Ukiyo-e in Edo, 1700-1900. Burlington, VT: Lund Humphries, 2010.