| Co-Investigator(Kenkyū-buntansha) |
OTANI Shogo Independent Administrative Institution National Museum of Art The National Museum of Modern Art, Tokyo, Department of Programs Development, Curator, 企画課, 主任研究員 (90270420)
IGUCHI Toshino Saitama University, Faculty of Liberal Arts, Associate Professor, 教養学部, 助教授 (00305814)
CHRISTOPHE Charles Musashino Art University, College of Art and Design, Associate Professor, 造形学部, 助教授 (50319224)
OTA Yasuto The Museum of Modern Art, Kamakura & Hayama, Department of cultural and educational program, Chief curator, 普及課, 普及課長 (00393075)
SANBONMATSU Tomoyo The Museum of Modern Art, Kamakura & Hayama, Department of fine art, Curator, 学芸課, 学芸員 (90393074)
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| Research Abstract |
This study assembled data on and made chronological analysis of Japanese art using new technologies, an area where few systematic studies are available, and attempted to create an archive and a database on the subject.
As a model case, we chose materials compiled by Mr. Katsuhiro Yamaguchi, a pioneer and leading artist in the field. His collection contains diverse materials including paper media such as catalogues, lists, books, journals, letters and drawings, photographic films and prints, and videotapes. These materials were digitized and put into a database, which allowed organization of various materials such as catalogues, photos of exhibition venues, and notes on exhibition planning that could easily be dispersed and lost.
Based on the study, the co-researchers, Yasuto Ota and Tomoyo Sanbonmatsu, organized an exhibition Katsuhiro Yamaguchi given at the Museum of Modern Art, Kamakura ＆ Hayama from February 4 to March 26, 2006. In the series of lectures accompanying the show, leading media artists such as Arata Isozaki, Toshio Matsumoto, and Hakudo Kobayashi provided valuable accounts.
In addition, this study made it clear that Japanese media art had gained a strong footing in the early years of the global media art scene, through the researches on the Getty Center in the USA, the discussion with the English critic Jasia Reichardt, and the interviews with two French researchers.
This report provides the respective co-researchers' reflections on the historical development of Japanese media art, accounts given by people involved in the field, and consideration on the basic concepts for archiving. We believe that it can help lay the foundation for the researches into Japanese media art that will likely gain more and more importance in the future.
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