Yasuko Tsuchikane is an adjunct assistant professor at the Cooper Union, and also teaches at Waseda University and Sophia University, Tokyo. Specializing in late 19th- and 20th-century Japanese art history, she has focused her research on the country’s intellectual, socio-political, and ideo-religious discourses in relation to the premodern visual and material cultures of Japan and Asia at large. Her aim is to reposition them and their global complication in modernity in various areas that have tended to escape standard art historical investigations, but retain their enduring and changing cultural presence, such as ceramic three-dimensional objects, architectural paintings for religious institutions, and calligraphy. Selected publications include “Picasso as Other: Koyama Fujio and Polemics of Postwar Japanese Ceramics,” Review of Japanese Culture and Society, 2014; “Rescuing Temples and Empowering Art: Naiki Jinzaburō and the Rise of Civic Initiatives in Meiji Kyoto,” Kyoto Visual Culture in the Early Edo and Meiji Periods: The Arts of Reinvention (Routledge, 2016); and “Defining Modernity in Japanese Sculpture: Two Waves of Italian Impact on Casting Techniques,” Finding Lost Wax: the Disappearance and Recovery of an Ancient Casting Technique and the Experiments of Medardo Rosso (Brill, 2020, forthcoming). In 2015 and 2016, she served as a fellow at the Sainsbury Institute for the Study of Japanese Arts and Cultures in Norwich, UK, where she worked on a book manuscript on Inshō Dōmoto (1891-1975), the most prolific artist in Japan charged with Buddhist temple architectural painting commissions in the twentieth century. Rather than focusing on the artist as the agent for the production of modern art for religious institutions, the manuscript in progress strives to decentralize his role among the influences of multiple parties from different social sectors, supportive of such projects in the public arena with their distinctive values and agendas across shifting lines dividing “religious” and “secular.” More recently, she has begun to expand her investigation on the interrelation among multiple social sectors that influenced the production of architectural paintings into a new medium with a new art historical question: how new aesthetic values were experimented with to legitimize unfamiliar ceramic objects beyond competing interests across national borders. This line of her research comes from her earlier study on Fujio Koyama (1900-75), an archaeologist-turned-curator of Japan’s contemporary ceramic art, who organized the country’s first international ceramic exhibition in 1964 with a great struggle traversing from his previous promotion of Asian neo-classical pottery to the pioneering curatorship of Euro-American vanguard ceramic art, largely contested across various cultural sectors in Japan at that time. At Bard Graduate Center, she will be researching on Koyama’s controversial curatorial decisions, which she will resituate, out of Japan’s local context, as a part of the contemporary international discourse on art and crafts by looking into his direct contacts with some Western art and crafts communities, including his visit to Aileen Osborn Webb (1892–1979) in New York right before her launching of the World Crafts Council in 1964.