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DTSTAMP:20260518T180156Z
DESCRIPTION:Stephanie Su will speak in the Work-in-Progress series\non Wedn
 esday\, November 4\, 2015. Her talk is entitled “Color Matters:\nSynthetic
  Dyes in Early Meiji Japanese Prints.”\n\nStephanie Su is the Andrew W. Me
 llon Postdoctoral Fellow in\nCultures of Conservation at Bard Graduate Cen
 ter. Her research interests\ninclude Chinese and Japanese visual and mater
 ial cultures\, the materiality of\ncolors\, the history of display and col
 lecting\, and the politics of the past.\nShe received the PhD in 2015 from
  the University of Chicago\, where she\ncompleted a dissertation titled En
 tangled Modernities: The Representation\nof China’s Past in Early Twentiet
 h Century Chinese and Japanese Painting. Her\nresearch has been supported 
 by fellowships from the Association of Asian\nStudies\, the Toyota Dissert
 ation Fellowship\, France Chicago Center\, etc. She\nhas published article
 s on both Chinese and Japanese art\, including “Recent\nTrends and Future 
 Directions of Overseas Chinese Art Exhibitions”\n(forthcoming)\; “Traduire
  la peinture d’histoire: Xu Beihong et Confucianisme\ndans la Chine modern
 ” in Philippe Cinquini\, ed.\, Un maître et ses maîtres:\nXu Beihong et la
  peinture académique française (2014)\; “Classicizing\nCreative Prints: Ya
 mamoto Kanae in France\,” in Anne Leonard\, ed.\, Awash in\nColor: French 
 and Japanese Prints (2012)\; and “Ruins as Sites of\nModernity: Yan Wenlia
 ng’s Representation of Roman Ruins in 1930\,” in Majella\nMunro\, ed.\, Mo
 dern Art Asia (2012). \n\nDrawing on her current project with the Metropol
 itan Museum\nof Art\, Stephanie Su’s WIP presentation reveals that the use
  of colors in early\nMeiji Japanese prints is a far more complicated story
  than usually assumed.\nMuch of the reception of Japanese prints from the 
 Meiji era (1868-1912) has\nbeen tied to their use of saturated and bright 
 colors\, particularly purple and\nred\, in contrast to the faded colors pr
 eferred in the earlier “golden age\,” as\nin prints by Kitagawa Utamaro (1
 753-1806). On the one hand\, Meiji prints have\nbeen perceived as gaudy an
 d violent\, partly because of their subject matter. On\nthe other hand\, b
 right colors have been associated with industrialization and\nWesternizati
 on\, since many of these synthetic dyes were imported from the West.\nThis
  East-West model has dominated a binary narrative whereby traditional\nJap
 anese artists loved natural\, organic pigments extracted from plants\, whe
 reas\nMeiji artists’ embrace of synthetic dyes from the West eventually le
 d to a\nperiod of decline and decadence. Drawing on approaches from art hi
 story\,\ntechnical art history\, and conservation science\, the presentati
 on traces the\nproduction\, circulation and aesthetic expression of colors
  and their meanings\nin Japanese prints during the transition from the Edo
  (1615-1868) to the Meiji\nperiods.\n\nCoffee and tea will be served\; att
 endees are welcome to\nbring their own lunch.RSVP is required.
DTSTART;TZID=America/New_York:20151104T120000
DTEND;TZID=America/New_York:20151104T133000
SUMMARY:Bard Graduate Center: Color Matters
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