Destroyed―Disappeared―Lost―Never Were by Beate Fricke

Its goal is to reframe early modern Japanese art outside the tropes of the floating world and isolation by foregrounding diversity and eco-criticism. In 2023–2024, he will serve as William Andrews Clark Professor at the UCLA Center for 17 th– & 18 th-Century Studies to direct Open Edo: Diverse, Ecological, and Global Perspectives on Japanese Art, 1603–1868, a year-long core program entailing three conferences and two post-doctoral positions. 1200, the figural aspects of poetic language, and the archival anxieties of the Anthropocene. 1600, the modern trope of impermanence, death and manuscript culture ca.

Various articles and chapters have addressed theory and historiography, the encounter with Europe ca. His first book, Facing Images: Problems of Modernity in Japanese Art (under contract, Penn State University Press), set forth a critique of global modernity by focusing on issues such as montage, interface theory, collage, and semiotics in the secular and Buddhist manuscripts of twelfth century Japan. At present, he is at work on a book that proposes a new framework for the history of art by foregrounding the material processes of fragmentation, decay, and assemblage. His work spans the premodern and modern eras, including both secular and Buddhist materials-with a particular interest in exploring the salience of these divisions. Kristopher Kersey’s research focuses on the intersecting histories of Japanese art, design, and aesthetics.

Destroyed―Disappeared―Lost―Never Were by Beate Fricke