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Director: Kajiya Kenji (Associate Professor, Graduate School of Arts and Sciences, The University of Tokyo)

Kenji Kajiya is an art historian who specializes in 20th-century American and Japanese art. He holds his PhD in art history at the Institute of Fine Arts, New York University. He served as a fellow at the Smithsonian American Art Museum and an associate professor at Hiroshima City University and Kyoto City University of Arts before he joined the current university in 2016. With scholars and curators he launched the Oral History Archives of Japanese Art and became its Director in 2006. He has begun a book project on Color Field painting in the cultural context of America. He is a co-editor of From the Postwar to the Postmodern, Art in Japan 1945-1989: Primary Documents, published by The Museum of Modern Art, New York in 2012, and 12-volume Selected Art Writings of Nakahara Yūsuke, which are being published by Gendai kikakushitsu and BankART publishing from 2011 to be completed in 2016.

Vice Director: Ikegami Hiroko (Associate Professor, Graduate School of Intercultural Studies, Kobe University)

Hiroko Ikegami is an art historian who specializes in post-1945 American art and the globalization of the art world. As undergraduate exchange student, she studied at the University of Sussex, where she discovered her passion for post-1945 American art. After completing her M.A. degree at Osaka University, she earned her Ph.D. at Yale University in 2007. Conducting a series of interviews for dissertation and the use of oral history program at the Archives of American Art led her to conceive an oral history project of Japanese art with Kenji Kajiya. In 2010, she published The Great Migrator: Robert Rauschenberg and the Global Rise of American Art from The MIT Press. In 2012, she co-organized the first retrospective exhibition of Ushio Shinohara in the United States and in 2015 served as a consulting curator for the Japanese section of “International Pop exhibition at Walker Art Center. She teaches as associate professor in the Graduate School of Intercultural Studies at Kobe University.

Board Member: Sumitomo Fumihiko (Director, Arts Maebashi; Associate Professor, Graduate School of Global Arts, Tokyo University of the Arts)

Sumitomo Fumihiko has co-curated exhibitions including “Aichi Triennale 2013,” “Beautiful New World: Contemporary Visual Culture from Japan” (“798” Dashanzi Art District and Guangdong Museum of Art, 2007), and “Media City Seoul 2010”. He has also served as artistic director of Festival for “Arts and Social Technology Yokohama (CREAM) 2009” and curator of “Beppu Art Project 2012”. He has co-edited From the Postwar to the Postmodern, Art in Japan 1945-1989: Primary Documents (New York: Museum of Modern Art New York, 2012). As a senior curator at Museum of Contemporary Art, Tokyo (MOT), he has curated the exhibition “Kawamata Tadashi: Walkway” (2008). He worked for NTT InterCommunication Center (ICC) in Tokyo, where he organized the exhibitions including “Art Meets Media: Adventure in Perception” (2005) and “Possible Futures: Japanese Postwar Art and Technology” (2005). He is a founding member of Arts Initiative Tokyo (AIT), a nonprofit, independent collective of curators and art administrators based in Tokyo with the mission to provide a new public forum for contemporary art.

Makiguchi Chinatsu (Curator, The National Museum of Modern Art, Kyoto)

Chinatsu Makiguchi is an associate curator at the National Museum of Modern Art, Kyoto, specializing in photography and contemporary art since 2006. She is particularly interested in how museums as a product of the modern period can create various (hi)stories through their physical activities such as collecting and showing of artworks. She worked for exhibitions and projects including “Reading Cinema, Finding Words: Art after Marcel Broodthaers”(2013/2014), “Curatorial Studies 10: Re-reading Henry F. Talbot’s Pencil of Nature” (2016), and “Order & Reorder: Curate Your Own Exhibition from the Collection” (2016).


Adachi Gen (Independent Scholar and Art Historian)

Adachi Gen is an art historian who has written on modern Japanese avant-garde art and manga including “Avant-garde Debates Over Japanese Tradition in the 1950’s with a Focus on the Role of Isamu Noguchi,” which was published in Artistic Vagabondage and New Utopian Projects, edited by Inaga Shigemi (Kyoto: International Research Center for Japanese Studies, 2011). He is currently a lecturer at Nishogakusha University.

Awata Daisuke (Art Critic)

Born in 1977, Awata Daisuke won the prize of 13th BT Award of Art Criticism by his essay “Events and the Construction of Layers by Enokura Kōji.” His essays include “Symptoms in Painting − Intervention Ratio B (to the Space),” “Enokura Kōji and Books,” “Grounds and Patterns in SPACE TOTSUKA ’70,” and is the member of editorial board of 12-volume Selected Art Writings of Nakahara Yūsuke (Gendai Kikakushitsu; BankART Publishing, 2011−).

Hosoya Shuhei (Art and Media Researcher)

Born in 1983, Hosoya Shuhei is a scholar on art and media and videographer. After he studied symbolic iconography and book and film editing at university, Hosoya is engaged in art documentation through interviews, researches and records on artists’ practices. His main research field is the art and politics and media in the 1960s, on which he has made videos and texts as well as organized symposia and edited books. After the Great East Japan Earthquake in 2011, Hosoya lives in Sendai and continues his thinking and practice on art and documentation.

Imura Yasuko (Lecturer, Institute of Advanced Media Arts and Sciences)

Yasuko Imura is an art historian specializing in post-1945 Japanese art, and Interdisciplinary Art and Design Studies. She served as an associate fellow at the National Art Center, Tokyo before joining her current university in 2016. She received her Ph.D. from the Kyoto City University of Arts in 2013; the title of her doctoral thesis is Art criticism in the 1960s: From the Perspective of Yoshiaki Tōno. She is a co-editor of The Era of the Virtual Image: An Anthology of Art Criticism of Yoshiaki Tōno (Kawade Shobo Shinsha, 2013) and the author of “From the Exhibition Shikisai to Kūkan (“Color and Space”) to the Osaka Expo – the Intersection of ‘60s Art and Design,” in Bijutsu Forum 21, no. 30, 2014. She co-organized the 2014 exhibition Art and Printed Matter from the 1960s to the 1970s: Primarily from the Museum Collection at the National Museum of Modern Art, Tokyo; and the symposia Between Media and Art: Reading Jasia Reichardt’s Curatorial Work in the 1960s at the National Art Center, Tokyo held in 2015.

Kaburaki Azusa (Librarian and Archivist)

Kaburaki Azusa is a librarian and an archivist. She works for the Museum of Modern Art, Saitama. She has organized the project “Ohtake Shinro’s Selected Books Zen-kei: Retrospective 1955-2006” (Museum of Contemporary Art, Tokyo, 2006) and edited the bibliography of Kawamata Tadashi: Walkway (Bijutsu Shuppansha, 2008), published on the occasion of his exhibition at Museum of Contemporary Art, Tokyo, and 12-volume Selected Art Writings of Nakahara Yūsuke (Gendai Kikakushitsu; BankART Publishing, 2011−).

Kikukawa Aki (Ph.D. Program in Art History, Osaka University)

Kikukawa Aki researches 20th-century abstract sculptures and its acceptance in Japan. In 2014, she received her M.A. degree from Kyoto City University of Arts with her dissertation about Horiuchi Masakazu's constructing sculptures in 1950s. Her study on art of the Kansai area led her to co-organize an exhibition “Lost Statue: Bronze Bust of Kōno Bairei and Sculptors of Bikō" (University Art Museum of Kyoto City University of Arts, 2014). She is currently a graduate student of Osaka University receiving a Research Fellowship for Young Scientists (JSPS), teaching at Kyoto University of Art and Design as an adjunct lecturer.

Miyata Yūka (Library Research Associate, The National Museum of Art, Osaka)

Miyata Yūka is a documentation staff at the National Museum of Art, Osaka. She grew up in Hokkaido and became familiar with the culture of Ainu in her childhood. Her interest in oral history started when she took a class on area studies in high school in Saitama. She graduated from Kyoto University of Art and Design, specializing in paper conservation. She has organized the exhibition “Naiqua Gallery: Japanese Avant-Garde in 1960s” in 2000.

Nakajima Izumi (Associate professor, Tokyo Metropolitan University)

Nakajima Izumi is a researcher at the Institute for Language and Culture, Meiji Gakuin University She has written on contemporary art, feminism, and Japanese art. She received her doctorate from Graduate School of Language and Society, Hitotsubashi University for a dissertation entitled “Anti Action: Japanese Post-war painting and Women Painters―Yayoi Kusama, Tanaka Atsuko and Fukushima Hideko”. She is currently teaching at Meiji Gakuin University, International Christian University and other colleges in Tokyo as a adjunct lecturer.

Nonaka Yumiko (Assistant Curator/ Registrar, 21st Century Museum of Contemporary Art, Kanazawa)

Nonaka Yumiko is an assistant curator and registrar at 21st Century Museum of Contemporary Art, Kanazawa since 2014. She received her master’s degree in art history at the Graduate School of Nagoya University. Her main research is about post-1945 German art. She is currently interested in the transition of artistic expressions and its reception from the end of World War II until today. She curated “SUPERFLEX One Year Project-THE LIQUID STATE” (2016) and “no new folk studio Orphe” (2016).

Tsuji Yasutaka (Project Assistant Professor, Keio University)

Yasutaka Tsuji specializes in the history of art and architecture after WWII. He is currently Project Assistant Professor at Keio University. In 2014–15, he was Visiting Scholar in the Department of Art History and Archaeology, Columbia University, with a fellowship of the Agency for Cultural Affairs, the Japanese government. His publications include “A Study on the Exhibition "From Space to Environment” (1966)” (Journal of Architecture and Planning, Architectural Institute of Japan, 2014), “Too Far East is West: The Visionary Architecture Exhibition as a Background to Metabolism” (East Asian Architectural History Conference 2015 Proceedings, Seoul: EAAC 2015 Organizing Committee, October 2015), and “Outdated Pavilions: Learning from Montreal at the Osaka Expo” (Invisible Architecture: Italian and Japanese Architectural Movements in the 1960s and 1970s and the Contemporary Debate, Milano: Silvana Editoriale, January 2017).

Yamamine Junya (Curator, Contemporary Art Center, Art Tower Mito)

Yamamine Junya received MA at the Graduate School of Film and New Media,Tokyo University of Fine Arts. He has worked at Japan Media Arts Festival Secretariat, Tokyo Photographic Art Museum and 21st Century Museum of Contemporary Art, Kanazawa. He worked for exhibitions and projects at Tokyo Photographic Art Museum including “3D Visions: Look into History and Future Expression” (Quest for Vision vol. 3, 2010), “Beyond the Naked Eye” (Quest for Vision vol. 4, 2011), “Yebisu International Festival for Art & Alternative Visions”(2012-2015), and “Aperto 04: Nerhol Promnade” (2016) at 21st Century Museum of Contemporary Art, Kanazawa, and “Hello World -For the Post Human age” (2018) at Contemporary Art Gallery, Art Tower Mito. He has participated as a guest curator in the exhibitions and art festivals including“waterpieses” (2013, Latvia, Noass), “SHARING FOOTSTEPS” (2015, Korea,Youngeun Museum of Contemporary Art), “Eco Expanded City” (2016, Poland,WRO Center). He was appointed as a 2015–2016 fellow of the program ofMEXT (Ministry of Education, Culture, Sports, Science and Technology - Japan).

Yamashita Kōhei(Art Historian)

Yamashita Kōhei receieved his PhD in Kyoto City University of Art in 2016. He is an art historian who specializes in Japanese art history after WWⅡ. His doctoral dissertation is entitled “Reconsidering “The Japan International Art Exhibition (Tokyo Biennale)” : A study of the art history making in Japan after WWⅡ”. In his study of Japanese art history after WWⅡ, he examines the structure and intension of art world itself in Japan by analyzing art exhibitions and their discourses. His publications includes “Reconsidering “The Japan International Art Exhibition (Tokyo Biennale)” : The intentions of international art exhibitions in Japan after WWⅡ” (BIGAKU (Aesthetics), Vol.65, No.2, 2014.) and “Changes of Large-Scale Contemporary Art Exhibitions and Institutionalizing “Art” in Japan after WWⅡ: A Study of “International Contemporaneity” in the 1960s” (BULLETIN, Vol.60, Faculty of Fine Arts, Kyoto City University of Arts, 2016.) He is currently an adjunct lecturer at Kyoto City University of Art and other universities.

Washida Meruro (Curator)

He is interested in topics such as participation, community, locality, and life in relation to art. He curated numerous shows and projects including solo exhibitions of Kazuyo Sejima + Ryue Nishizawa / SANAA (2005), Atelier Bow-Wow (2007), Shimabuku (2011), Mitsunori Sakano (2016), and group exhibitions such as “Kanazawa Art Platform 2008,” “Architecture since 3.11” (2014, guest curators: Taro Igarashi, Ryo Yamazaki. All exhibitions at 21st Century Museum of Contemporary Art, Kanazawa). Washida has conducted research on the show “Chambres d'ami”(1986), curated by Jan Hoet and held in the city of Ghent, in which he interviewed people who offered their house, worked as guards, and taxi drivers between the sites. With this research he reevaluated the exhibition as one of the pioneering examples of participatory exhibition. He also researched on Tsurugi Contemporary Art Festival (1991-99), also curated by Hoet, by interviewing twenty citizens in addition to research on literatures (“Locality and Tradition in Tsurugi Contemporary Art Festival” in R, a journal on contemporary art and culture, 21st Century Museum of Contemporary Art, Kanazawa, no. 6, pp. 84-87). In order to obtain adequate evaluation of the roles of non-professionals in art history, he attaches importance to the method of interview with citizens and organizers of art movements.

Members in U.S.:

Nakamori Yasufumi (Curator and Head, Department of Photography and New Media, Minneapolis Institute of Art)

Nakamori Yasufumi developed an interest in postwar Japanese art and architecture, while working in Tokyo as a US attorney from 1999 to 2002, when he visited numerous museums and architectures and met emerging contemporary artists. Between 2008 and 2016, he served as an assistant (and later, an associate) curator of photography at the Museum of Fine Arts, Houston, and taught modern and contemporary East Asian art and post-1945 Japanese art and architecture at Rice University. In his PhD dissertation (Cornell, 2011), he examined selected collaborations between architects, artists and photographers, in particular the unbuilt projects led by Tange Kenzō and Isozaki Arata from 1953 to 1970, respectively, with a focus on their pursuit for modernity, considering the resurgence of notion of tradition. Part of his dissertation was published, titled Katsura: Picturing Modernism in Japanese Architecture, Photographs by Ishimoto Yasuhiro (Houston: Museum of Fine Arts, in association with Yale University Press, 2010), which received a 2011 Alfred H. Barr, Jr. Award from the College Art Association. His 2015 exhibition (MFA Houston, and NYU Grey Art Gallery and Japan Society Gallery) and publication titled For a New World to Come: Experiments in Japanese Art and Photography, 1968–1979 were highly acclaimed. In 2016, he participated in the Getty Leadership Institute.

Tezuka Miwako (Consulting Curator, ARAKAWA+GINS Reversible Destiny Foundation; Co-director, PONJA-GenKon)

Tezuka Miwako received BA from New York University, and worked at art galleries in SoHo where she encountered exciting works by contemporary Asian artists. In the mid-1990s when there was no such field as contemporary Asian art, she decided to continue her study at Columbia University’s graduate program in art history. With a particular interest in cross-disciplinary collaborative activities by Jikken Kobo (Experimental Workshop) during the 1950s, Tezuka conducted a series of interviews with former members of the group as well as with artists and art critics who were active at the time. In 2005 she received PhD from Columbia University for her research on Jikken Kobo.
From 2005 to 2012 she worked as contemporary at curator at Asia Society Museum in New York, working with a broader perspective on Asian contemporary art. As the museum began collecting contemporary Asian art in 2007, Tezuka conducted a series of interviews with artists whose works were acquired into the museum collection.
In July 2012, Tezuka was appointed Director of the Gallery, Japan Society, New York, first as a Japanese national in the organization’s 100-year-long history. During her three-year tenure, she led the gallery to a new direction envisioning the merging of the tradition and the contemporary through a number of exhibitions and new initiatives including the Summer Artist Residency Program and benefit auctions.
Presently, Tezuka works to enhance programs of the online network PoNJA-GenKon as Co-Director, with Dr. Reiko Tomii. She is also a consulting curator of the Reversible Destiny Foundation in New York, a progressive art foundation established by late Shusaku Arakawa and late Madeline Gins.
Tezuka has curated numerous exhibitions, including: Garden of Unearthly Delights: Works by Ikeda, “Tenmyouya & teamLab” (2014), “Points of Departure: Treasures of Japan from the Brooklyn Museum” (2014), “Rebirth: Recent Work by Mariko Mori” (2013), “Wang Gong Xin: My Sun” (2012), “U-Ram Choe: In Focus” (2011), “Yoshitomo Nara: Nobody’s Fool” (2010), “Yang Fudong: Seven Intellectuals in a Bamboo Forest” (2009), and “Condensation: Five Video Works by Chen Chieh-jen” (2007).

Tomii Reiko (Art Historian; Independent Scholar; PONJA-GenKon co-founder)

Reiko Tomii is an independent art historian and curator based in New York who investigates post-1945 Japanese art in global and local contexts. She was first exposed to oral history while studying art history at Osaka University, where her department regularly hosted conversations with such living artists as Gutai’s Motonaga Sadamasa and Shiraga Kazuo. Oral history has since become a vital part of her research and publications, including her doctoral dissertation on George Ricky at the University of Texas at Austin (completed 1988) and her research for the first U.S. retrospective of Kusama Yayoi at the now-defunct Center for International Contemporary Arts (CICA) in New York (1989). Together with her rigorous historical investigation, her ongoing engagement with oral history is demonstrated by, among numerous others, her recent works on Hikosaka Naoyoshi (Professor Eiko Wakayama Memorial Volume, 2006), Akasegawa Genpei (Hyperart Thomason, 2010), Xu Bing (Albion Editions, 2011), and Radicalism in the Wilderness: International Contemporaneity and 1960s Art in Japan (Cambridge, Mass.: MIT Press, 2016). After she co-founded PoNJA-GenKon (Post-1945 Japanese Art Discussion Group / Gendai Bijutsu Kondankai), a listserv group of specialists interested in contemporary Japanese art (, in 2003, she has integrated oral history as part of scholarly conferences she co-organized under the group’s auspice with Yale University (2005), Getty Research Institute (2007), and New York University (2014).

Yoshimoto Midori (Associate Professor, Art Department, New Jersey City University)

Yoshimoto Midori is associate professor of art history and gallery director at New Jersey City University. After receiving her B.A. from Osaka University, she moved to the United States on a Rotary Foundation scholarship. In 2005, she published her Ph.D. dissertation, completed at Rutgers University, as Into Performance: Japanese Women Artists in New York. She has contributed various essays to Japanese exhibition catalogs such as, Japanese Women Artists in Avant-garde Movements, 1950-1975 (Tochigi Prefectural Art Museum, 2005), Dissonances (Toyota Municipal Museum of Art, 2008), Ay-O: Over the Rainbow Once More (Museum of Contemporary Art, Tokyo, 2012). Her English publications include: “1962-1964” in Yoko Ono One Woman Show (MoMA, 2015); “Fluxus Nexus: Fluxus in New York and Japan” (, 2013); “Limitless World: Gutai’s Reinvention in Environment Art and Intermedia” (Gutai: Splendid Playground, Guggenheim Museum, 2013); “From Space to Environment: The Origins of Kankyō and the Emergence of Intermedia Art in Japan” (CAA Art Journal, fall 2008); a special issue, “Women and Fluxus” of the Women and Performance journal (guest-editor, Nov. 2009), and a special issue, “Expo ’70 and Japanese Art” of the Josai Review of Japanese Society and Culture (guest-editor, 2012).

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