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Past Issues

757: John Everett Millais
755: Avant Garde China
753: The Railway Museum
751: Parallel Worlds
749: George Raab: Canadian Wilderness Etchings
743: Daido Moriyama
741: Bauhaus Experience, Dessau
739: The Perry & Harris Exhibition
737: The House
735: XXIst Century Man
733: Kaii Higashiyama
731: Three Weeks of Art Celebration
729: Fashion + Art
727: New Horizons: The Collection of the Ishibashi Foundation
725: Yokoyama and Toulouse-Lautrec
723: Goth: Reality of the Departed World
721: Genesis Art Lounge
717: Tatsuya Matsui: Flower Robotics
715: Space for Your Future: Recombining the DNA of Art and Design
713: MoMA Design Store + Gallery White Room Tokyo
711: Roppongi Crossing 2007: Future Beats in Japanese Contemporary Art
709: Daikanyama Installation 2007
707: Nippon to Asobo
705: Marina Kappos at Tokyo Wonder Site
703: African-American Quilts: Women Piecing Memories and Dreams
701: Kids Earth Fund
699: The Mural Art of Kotohira-gu Shrine: Okyo, Jakuchu and Gantai
697: “Ayakashi” and “Odilon Redon”
695: Architects Around Town
693: Chocolate
691: My Civilization: Grayson Perry
689: Henry Darger: A Story of Girls At War—of Paradise Dreamed
687: Taisho Chic: Japanese Modernity, Nostalgia and Deco
685: Marlene Dumas: Broken White
683: The Mind of Leonardo: The Universal Genius at Work
681: Suntory Museum of Art and 21_21 Design Sight
679: Art Fair Tokyo 2007
677: Gregory Colbert: Ashes and Snow
675: The Door into Summer: The Age of Micropop
673: World of Kojima Usui Collection
671: Keeping TABs
669: The National Art Center, Tokyo
667: New Year’s Preview
665: Jason Teraoka: Neighbors
663: The 3rd Fuchu Biennale: On Beauty and Value
661: Bill Viola: Hatsu-Yume (First Dream)
659: Shinro Ohtake Zen-Kei
657: Prism: Contemporary Australian Art
655: The Royal Museums of Fine Arts of Belgium Exhibition
653: Luisa Lambri
651: Modern Paradise
649: The Legend of Ultraman
647: Nihonga Painting: Six Provocative Artists
645: Echigo-Tsumari Triennial
643: Art × Communication = Open!
641: YOROYORON: Tabaimo
639: Africa Remix
637: Mashcomix
635: Move On Asia and Hitoshi Nishiyama’s White Out
633: A Passion for Plants
631: Chikaku: Time and Memory in Japan
629: A Sense of You, Created by Me
627: Beautiful Cities in Dreams
626: 77 Million
625: No Border
623: The 9th Annual Taro Okamoto Memorial Award for Contemporary Art
621: Tokyo-Berlin/Berlin-Tokyo
619: Conversation With Art, On Art
617: Olafur Eliasson: Your light shadow
613: Mayumi Terada: New Works
611: Gerhard Richter: New Works
609: Hokusai
607: Stephan Balkenhol: Skulpturen und Reliefs
605: International Triennale of Contemporary Art 2005
603: CWAJ 50 Years of Print Show
601: Hiroshi Sugimoto: End of Time
599: Shinji Ohmaki: Echoes-Infinity
597: Miwa Yanagi
596: Cubism in Asia: Unbounded Dialogues
595: Canada Tsuga: The Feeling of Wood
594: Laurie Anderson: The Record of the Time
593: Today's artists X: Nishimura Morio/Matsumoto Yoko
592: Masaaki Yamada
591: Follow me!
590: Daido Moriyama: Buenos Aires
589: Mutsuro Sasaki: Flux Structure
588: Shinro Ohtake
587: Masterpieces of the Louvre Museum
586: Tabaimo: Yubibira
585: Yasumasa Morimura: Los Nuevos Caprichos
584: Julian Opie: Films and Paintings
583: Masterpieces of the museum island
582: The Elegance of Silence
581: Tapies
580: The world is a stage: Stories behind pictures
579: Shigejiro Sano At Play in the Esprit of Paris
578: The Body: Hitoshi Abe
577: Tenshin Okakura: The Awakening of Japan
576: Contemporary Spanish Photography: Ten Views
575:Taro Okamoto Memorial Award
574: Takeshi Tamai: Till Moss Grows On
573: Laura Owens
572: Alphonse Mucha: Treasures Of The Mucha Foundation
571: “Welcome, Welcome” Art-Beijing-Contemporary
570: The hidden side of Japanese art
569: Art Scope 2004: Cityscape Into Art—Michiko Shoji + Johannes Wohnseifer
568: Life Actually
567: Traces: Body and Idea in Contemporary Art
566: Mirrorical Returns: Marcel Duchamp and the 20th Century Art
565: Archilab: New Experiments In Architecture, Art and the City, 1950-2005
564: The Second Annual Fuchu Biennale
563: Have We Met?
561-2: Fluxus: Art Into Life
560: Christopher Wool
559: Pop Art and co.
558: Art & Money
557: Art of the Japanese Postcard
556: Yayoi Kusama: Eternity-Modernity
555: Ihei Kimura: The Man with the Camera
554: Wolfgang Tillmans: Freischwimmer
553: Emerging Generation
552: Larry Clark: Punk Picasso
551: Cool & Light: New Spirit in Craft Making
550: Angelo Mangiarotti: Un Percorso
549: Endo Akiko: Poetry of an Everlasting Life
548: Paris and Klein
547: Yoshitomo Nara: From the Depth of My Drawer
546: Colors: Viktor & Rolf & KCI
545: Micro Presence & Macro Presence
544: Non-sect Radical: Contemporary Photography III
543: Pastoral and Flowers in Modern French Painting
542: Collapsing Histories: time, space and memory
541: Supernatural Artificial
540: Jiro Takamatsu: Universe of His Thought
539: The World Press Photo 2004
538: I Dreamt of Flying: Noguchi Rika
537: Man Ray Exhibition: The Gift of His Vision
536: Why Not Live For Art?
535: Brazil: Body Nostalgia
534: n_ext: New Generation of Media Artists
533: Empty Garden II
532: Street Art in Africa: A Color Commotion
531: Modern Crafts and Design from the Museum Collection: Art Deco
530: And or Versus? : Adventures in Images
529: Modern Means
528: Remaking Modernism in Japan 1900-2000
527: Treasures of a Sacred Mountain: Kukai and Mount Koya
526: Jan Jansen: Master of Shoe Design
525: Yasuo Kuniyoshi: Between Two Worlds
524: Beyond The Border: Seung H-Sang and Yung Ho Chnag
523: Testimony of Life: Ancient Roman Portraits from the Vatican Museums
522: I Love Art
521: "My" Siberia and "My" Earth: The 30 Year Memorial Retrospective Exhibition of Yasuo Kazuki
520: Time of My Life: Art with a Youthful Spirit
519: Joy of Life: Two Photographers from Africa-JD 'Okhai Ojeikere and Malick Sidibé
518: Roppongi Crossing: New Visions in Japanese Art 2004+Kusamatrix
517: Exposition Musee Marmottan Monet
516: Treasures of a Great Zen Temple: Nanzenji
515: Johannes Itten: Ways to Art
514: Meiji Kaigakan (Memorial Picture Gallery)
513: Kaii Higashiyama: One Man's Path
512: Future Cinema: The Cinematic Imaginary after Film
511: Yasujiro Ozu: Japanese Film Master
509/10: End-of-the-year review and 2004 preview
508: Surface tension
507: Jean Nouvel
506: Makoto Aida: My Ken Ten
505: Gaudi: Exploring Form
504: Ino Tadataka and Old Maps of Japan/Fusuma Paintings of Jukoin
503: Naoshima Contemporary Art Museum
502: Happiness: A Survival Guide for Art and Life
501: Today's Man
500: Taro Shinoda: Helicopter 1

Issues 499-
Issues 449-
Issues 399-
Art
By Lucy Birmingham

The Perry & Harris Exhibition
Get a glimpse of “The Dawn of US-Japan Relations” at The Edo-Tokyo Museum

Scene of American Ambassador Harris’ Visit to the Edo Castle in 1857
Courtesy of Kurofune Museum

Imagine it is July 8, 1853. You are standing at the edge of Uraga Harbor near Edo, fearfully looking out at four American black-hulled steam frigates. Japan has been isolated from the rest of the world for over 200 years, and the shogun is determined to keep it that way. There is, however, a growing division between those who favor opening up to the West (kaikoku) and those who favor “expelling the barbarian” (joi).

You must try and persuade the leader of this invasion, one Commodore Matthew C. Perry, to divert to Nagasaki, Japan’s only port open to foreign vessels. If a battle were to begin in Uraga Harbor now, Perry’s “Black Ships” would likely decimate the Japanese defenses with their modern weaponry. It is your job to ensure the talks go smoothly. The shogun is counting on you.

You approach Perry, an imposing figure with scowling jowls and eyes drooping with thick bags. He wears a distinctive three-sided hat and an impressive uniform embroidered in gold and decked with brass buttons. Later you learn that Perry is a seasoned naval officer who was sent to Africa to stop the transatlantic slave trade and who successfully commanded the American fleet in the Mexican War. He is tenacious and shrewdly diplomatic. You marvel at the advanced technology he shows you on the tour of the ship.

Perry, however, refuses to carry on to Nagasaki, so on July 14 your delegation allows him to land in Kurihama, where he presents a letter from US President Millard Fillmore requesting diplomatic ties and commercial trade.

John Beaufain Irving Jr., Portrait Oil Painting of Matthew Calbraith Perry, 1868
Courtesy of U.S. Naval Academy Museum

When Perry returns for an answer in February of the following year—armed with twice as many ships—he demands negotiations be held. On March 31, 1854, he signs the Convention of Kanagawa, awarding most-favored-nation status for the US and two port openings at Shimoda and Hakodate.
In July 1856, three months after Perry dies from cirrhosis of the liver at age 63 (he liked his drink), Townsend Harris is chosen as the first Counsel General to the Empire of Japan. Harris’s true aim, however, is trade with China; Japan is considered more of a link.

With the shogun’s reluctant blessing, Harris opens the first US Consulate at Gyokusen-ji Temple in the city of Shimoda. After two difficult years, he successfully negotiates the “Treaty of Peace and Commerce” (better known as the Harris Treaty) on July 29, 1858. It is the first official trade arrangement between Japan and the US, but its terms are so unequal that it plagues both the shogunate and the Meiji government that follows.

Portrait of Somou Katoh, 1860
Courtesy of Somou Katoh Memorial Museum

Now fast-forward to 2008. The Edo-Tokyo Museum in Ryogoku is celebrating the 150th anniversary of the Harris Treaty with an impressive display of official papers, pictures, photos, memorabilia and period pieces gathered from far-flung sources.

Highlights include the black-and-white oil paintings by the German-born artist William Heine, who was commissioned to record Perry’s exploits. The Japanese woodblock prints of Perry’s portrait in various configurations are especially entertaining. Several images of Japanese people key to the negotiations are also included.

The exhibition has some English description, but not enough to fully enjoy the insights that it offers on this fascinating period of US-Japan relations. To get a richer picture, a trip to Shimoda on the tip of the Izu Peninsula is a must. There is the Kurofune (Black Ship) Museum, the Perry Road and important temples where treaties were signed. You can contemplate the vestiges of history while immersed in ancient hot spring waters.

Through June 22, Edo-Tokyo Museum. See exhibition listings (other areas) for details.

Artifacts

Your wife dumps you. What do you do? Some people might celebrate by busting out the bachelor gear and hitting the town. Others might sit teary-eyed at the kitchen table, nursing a glass of whisky and thumbing through dog-eared photo albums. When photographer Masahisa Fukase’s wife left him, he caught the night train to his native Hokkaido and, over the next few years, shot a series of dark and disturbing photographs of ravens. Originally exhibited in the 1970s, The Solitude of Ravens can now be seen at Omotesando’s Rat Hole Gallery. Dark, grainy silhouettes of flocks in stormy skies create moods of loneliness and despair. These are balanced by sharp, angular close-ups that reveal the tough, brutal practicality of the birds, countering any slide into self-pitying sentimentality. Through these stark images, Fukase seems to have found the means to both express and curtail his feelings.

Rat Hole Gallery, through Oct 12. See exhibition listings (Harajuku/Aoyama) for details.
CBL


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