Relevant bibliographies by topics / Contemporary Japanese art

Academic literature on the topic 'Contemporary Japanese art'

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Published: 4 June 2021
Last updated: 4 February 2022

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Journal articles on the topic "Contemporary Japanese art"

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Tagore-Erwin, Eimi. "Contemporary Japanese art: between globalization and localization." Arts and the Market 8, no. 2 (October 1, 2018): 137–51. http://dx.doi.org/10.1108/aam-04-2017-0008.

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Purpose The purpose of this paper is to identify and analyze the influence that globalization has had on the development of the contemporary Japanese art production. The study also aims to expand the global narrative of Japanese art by introducing concepts behind festivals for revitalization that have been occurring in Japan in recent years. Design/methodology/approach Guided by Culture Theorist Nira Yuval-Davies’ approach to the politics of belonging, the paper is situated within cultural studies and considers the development of contemporary art in Japan in relation to the power structures present within the global art market. This analysis draws heavily from the research of art historians Reiko Tomii, Adrian Favell, and Gennifer Weisenfeld, and is complemented by investigative research into the life of Art Director Kitagawa Fram, as well as observational analyses formed by on-site study of the Setouchi Triennale in 2015 and 2016. Findings The paper provides historical insight to the ways that the politics of belonging to the western world has created a limited benchmark for critical discussion about contemporary Japanese art. It suggests that festivals for revitalization in Japan not only are a good source of diversification, but also evidences criticism therein. Research limitations/implications Due to the brevity of this text, readers are encouraged to further investigate the source material for more in-depth understanding of the topics. Practical implications The paper implies that art historiography should take a multilateral approach to avoid a western hegemony in the field. Originality/value This paper fulfills a need to reflect on the limited global reception to Japanese art, while also identifying one movement that art historians and theorists may take into account in the future when considering a Japanese art discourse.
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Clark, John. "Japanese Modern and Contemporary Art: An Art-Historical Field." Art History 41, no. 4 (September 2018): 766–71. http://dx.doi.org/10.1111/1467-8365.12393.

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Moeran, Brian. "The Art World of Contemporary Japanese Ceramics." Journal of Japanese Studies 13, no. 1 (1987): 27. http://dx.doi.org/10.2307/132585.

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Foxwell, Chelsea. "The Painting of Sadness? The Ends of Nihonga, Then and Now." ARTMargins 4, no. 1 (February 2015): 27–60. http://dx.doi.org/10.1162/artm_a_00104.

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Nihonga (literally “Japanese painting”) is a term that arose in 1880s Japan in order to distinguish existing forms of painting from newly popularized oil painting, and even today it is a category of artistic production apart from contemporary art at large. In this sense, nihonga is the oldest form of a broader worldwide category of “tradition-based contemporary art.” While nihonga was supposed to encompass any form of “traditional” painting, however, in practice it was held together by a recognizable style. When nihonga stopped fulfilling certain material or stylistic criteria, it ceased to be distinguishable from the rest of artistic production. This led to a conundrum in which nihonga, constituted in an age of Orientalism by Western and Japanese fears about the loss of a truly “Japanese” form of painting, has been obliged to reaffirm and reiterate what Kitazawa Noriaki has called its “sad history” of segregation in order to avoid extinction. By examining a series of paintings and written statements that blur the line between nihonga and the rest of modern-contemporary artistic production, I question the practicality and the benefits of continuing to uphold nihonga and tradition-based contemporary as discrete categories of contemporary art.
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Wakeling, Emily Jane. ""Girls are dancin": shōjo culture and feminism in contemporary Japanese art." New Voices 5 (December 2011): 130–46. http://dx.doi.org/10.21159/nv.05.06.

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Foxwell, Chelsea. "The Currency of “Tradition” in Recent Exhibitions of Contemporary Japanese Art." Journal of Asian Humanities at Kyushu University 4 (March 2019): 57–76. http://dx.doi.org/10.5109/2231581.

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Higa, Karin. "Some Thoughts on National and Cultural Identity: Art by Contemporary Japanese and Japanese American Artists." Art Journal 55, no. 3 (1996): 6. http://dx.doi.org/10.2307/777760.

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Vandsø, Anette. "Rheo: Japanese sound art interrogating digital mediality." Acta Universitatis Sapientiae, Film and Media Studies 9, no. 1 (December 1, 2014): 141–54. http://dx.doi.org/10.1515/ausfm-2015-0007.

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Abstract The article asks in what way the Japanese sound artist, Ryoichi Kurokawa’s audiovisual installation, Rheo: 5 Horisonz (2010), is “digital.” Using professor Lars Elleström’s concept of “mediality,” the main claim in this article is that Rheo not only uses digital technology but also interrogates digital mediality as such. This argument is pursued in an analysis of Rheo that draws in various descriptions of digital media by N. Catherine Hayles, Lev Manovic, Bolter, and Grusin among other. The article will show how the critical potential in Rheo is directed both towards digital media as a language (Meyrowitz) (or a place for representation) and towards the digital as a milieu (Meyrowitz) or as our culture (Gere). The overall goal of the article is not just analyse this singular art work, but also to show how such a sound art work can contribute to our understanding of our own contemporary culture as a digital culture.
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Ognieva, T. K. "FEATURES OF THE DEVELOPMENT OF CONTEMPORARY CHINESE, KOREAN AND JAPANESE ART AND CINEMA." UKRAINIAN CULTURAL STUDIES, no. 1 (6) (2020): 69–83. http://dx.doi.org/10.17721/ucs.2020.1(6).15.

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The article analyzes the conditions and factors that influenced the formation of contemporary art and cinema in China, South Korea and Japan. We can determine the peculiarities of the development of Chinese contemporary art, such as the desire of the first artists, after the Cultural Revolution, to reflect its flux and effects as much as possible. Further, artistic tendencies become diverse: the commercial component and a certain element of the state of affairs are viewed in the works of art by Chinese authors, but the desire for self-expression in different ways testify to the progressive phenomena characteristic of art. Modern Korean art proves that the scientific and technological revolution and the dominant avant-garde component of mass culture in general cannot supplant the ultimate traditional artistic creativity. One of the characteristic features of contemporary Korean art is a demonstration of belonging to the culture of the country. First of all, this is the influence of the traditions of Confucianism, Buddhism, along with the painful memories of war and long-term colonization by Japan. One can note the simplicity, orderliness, harmony of colors and shapes as an inalienable feature of Korean contemporary art, but modern tendencies show the striving for the discovery of individuality of the artist, which manifests itself in non-standard artistic forms. Japanese visual art combines the works of autochthonous traditions and European artistic principles. Considerable attention is paid to the issue of the relationship between nature and man, reflected in the work of adherents of the synthesis of Japanese traditions and Western variety of forms. Particular attention is paid to contemporary artists in Japan with the latest technology – video art, 3D painting, interactive installations and installations-hybrids. Chinese cinema with the generation of directors, known as the Fifth Generation, reveals new trends. These artists initially sought to convey events and tragedies during the Cultural Revolution, but over time they turned to other themes and genres. Directors of the "Sixth Generation" paid special attention to social problems, the place of action in their films is unknown China – small settlements or cities. Modern Korean cinema covers two large areas: cinema for women – melodrama, and for men – adventure. Today the adventure genre is oriented mainly to teens, and the melodrama genre has been transformed from the problems of the middle-aged women's interest towards the youth audience, therefore, it is more likely to come closer to the romantic comedy. The tragedy of Korea, which is split up into two parts, worries the movie-makers. In recent years there have been changes in South Korean position in exposing North Korean residents. If the previous decades in South Korean cinema was cultivating the image of the enemy: North Korean could be either a spy or killer, but now the inhabitants of North Korea are perceived and presented in films differently, not embodying exclusively negative features. In Japanese cinema, the emphasis is on the visual array, which allows you to bring forward contemplation and the deep meaning is transmitted by artistic images typical of the oriental art in general. In films, much attention is paid to the smallest details; certain asceticism along with the aesthetization of the frame is a reflection of purely Japanese features – minimalism as the meaning of existence. Familiarity with the peculiarities of the development of contemporary art and cinema in China, Korea and Japan is a necessary component for further dialogue between the cultures of East and West in terms of balanced interaction and artistic transformations of the modern world.
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Kitazawa, Noriaki, and 빛나 황. "Exhibitions and Books History of ‘Japanese Contemporary Art History’ Studies in Japan." Art History Forum 50 (June 30, 2020): 215–33. http://dx.doi.org/10.14380/ahf.2020.50.215.

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Dissertations / Theses on the topic "Contemporary Japanese art"

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Sutcliffe, Paul J. C. "Contemporary art in Japan and cuteness in Japanese popular culture." Thesis, University of the Arts London, 2005. http://ualresearchonline.arts.ac.uk/5642/.

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This thesis is an art historical study focussing on contemporary Japan, and in particular the artists Murakami TakashL Mori Mariko, Aida Makoto, and Nara Yoshitomo. These artists represent a generation of artists born in the 1960s who use popular culture to their own ends. From the seminal exhibition 'Tokyo Pop' at Hiratsuka Museum of Art in 1996 which included all four artists, to Murakami's group exhibition 'Little Boy: The Arts of Japan's Exploding Subculture' which opened in April 2005, central to my research is an exploration of contemporary art's engagement with the pervasiveness of cuteness in Japanese culture. Including key secondary material, which recognises cuteness as not merely something trivial but involving power play and gender role issues, this thesis undertakes an interdisciplinary analysis of cuteness in contemporary Japanese popular culture, and examines howcontemporary Japanese artists have responded, providing original research through interviews with Aida Makoto, Mori Mariko and Murakami Takashi. Themes examined include the deconstruction of the high and low in contemporary art; sh6jo (girl) culture and cuteness; the relation of cuteness and the erotic; the transformation of cuteness into the grotesque; cuteness and nostalgia; and virtual cuteness in Japanese science fiction animation, and computer games.
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Papp, Zilia English Media &amp Performing Arts Faculty of Arts &amp Social Sciences UNSW. "Investigating the influence of Edo and Meiji period monster art on contemporary Japanese visual media." Publisher:University of New South Wales. English, Media, & Performing Arts, 2008. http://handle.unsw.edu.au/1959.4/41276.

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Abstract Japanese anime being an important part of modern and contemporary popular visual culture, its aesthetic merits, its roots in Japanese visual arts as well as its rich symbology derived from Japanese folkloristic, literary and religious themes are worth investigating. This research aims to track the visual links between Edo and Meiji period monster art (y??kai-ga) paintings and modern day anime by concentrating on the works of Edo and Meiji period painters and the post-war period animation and manga series Gegegeno Kitaro, created by Mizuki Shigeru. Some of the Japanese origins of anime and manga imagery can be traced back to the early 12th century Ch??j?? Giga animal scrolls, where comic art and narrative pictures first appear. However, more recent sources are found in woodblock prints of the late Edo period. These prints are the forerunners of manga in that dialogues appear with the image, generally no anatomical details are given nor are they in perspective, but often a mood is expressed in a cartoon-like manner. The visual rendering of y??kai (monsters) is a Japanese cultural phenomenon: y??kai paintings originate in the Muromachi period, and take up part of the visual arts of that era. The distinct monster (y??kai) imagery emerging in the late Edo to early Meiji periods is the focus of this research. Investigating the Gegegeno Kitaro series, the study pinpoints the visual roots of the animation characters in the context of y??kai folklore and Edo and Meiji period monster painting traditions. Being a very popular series consisting of numerous episodes broadcast from the 1960s to the present time, by analyzing the changing images related to the representation of monsters in the series the study documents the changes in the perception of monsters in this time period, while it reflects on the importance of Mizuki??s work in keeping visual traditions alive and educating new audiences about folklore by recasting y??kai imagery in modern day settings in an innovative way. Additionally, by analyzing and comparing character, set, costume and mask design, plot and storyline of y??kai-themed films, the study attempts to shed light on the roles the representations of y??kai have been assigned in post-war Japanese cinema.
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Ferrell, Susanna S. "Pattern and Disorder: Anxiety and the Art of Yayoi Kusama." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/554.

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Yayoi Kusama is undoubtedly one of the most esteemed artists today, and yet she is continually written off as "crazy." Kusama's work draws not from insanity, but from her experiences with Obsessive Compulsive Disorder, and acts as a tool to both process and temper her obsessions and compulsions. In my own work, I reflect on the necessarily obsessive faculty of hand-drawn animation, in an effort to communicate the feeling of OCD.
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Hujar, Brittany A. "Kozo Miyoshi: An Interpretation of Water Through Photography." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1563967017677073.

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Sharp, Kristen, and kristen sharp@rmit edu au. "Superflatworlds: A Topography of Takashi Murakami and the Cultures of Superflat Art." RMIT University. Applied Communication, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080522.093156.

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This thesis maps Takashi Murakami's Theory of Superflat Art and his associated artistic practices and works. The study situates Murakami and Superflat within the context of globalising culture. The thesis interrogates Murakami's art and the theory of superflat within the historical, social, and cultural contexts of their production-consumption in Japan, the United States, and Europe. The thesis identifies Superflat art and Murakami's work as actively participating in, and expressing, the cultural conditions associated with the 'global postmodern' and globalisation processes. The thesis employs a Cultural Studies theoretical and heuristic framework, utilising a range of contemporary critical theorisations on postmodern art, Japanese cultural identity and globalisation. This framework and approach are adopted in order to draw attention to ways in which Murakami and Superflat articulate and represent the fundamental contentions and dialogues that characterise contem porary globalisation processes. The tensions that are articulated in relation to the discursive construction of the concepts of art/commodity, modern/postmodern and global/local cultural identities. Importantly, this research demonstrates the ways in which Murakami both participates in, and challenges, the conceptual distinctions indexed within the concepts of 'art' as an aesthetic expression and 'commodity' as an object of symbolic exchange in the global marketplace. It interprets Superflat as an 'expressivity' that challenges binary demarcations being constructed between art and commercial culture, and between the aesthetic-cultural identities of Japan and the West. This thesis problematises the meaning of Murakami's concept and aesthetic of Superflat art by drawing attention to these contestations within Murakami's works and Superflat which are generated as they circulate globally. The thesis argues that Murakami strategically presents his work and Superflat art as an expression of Japanese identity which paradoxically also expresses the fluid imaginings of cultural identity available through contemporary global exchanges. This deliberate territorialising and deterritorialising impulse does not resolve the contentions emerging in globalisation, but rather amplifies them, exposing the key debates on the formation of cultural identity as an oppositional expression and as a commodity in global markets. The concept of 'strategic essentialism' is used as a theoretical lens in order to understand Murakami and Superflat's activation of these global processes. This research contributes a valuable case study to the understanding of cultural production as a strategic negotiation and expression of the flows of capital and culture in globalisation.
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Takabayashi, Miwa. "Tsutsumu : An investigation into the use of traditional Japanese paper packaging techniques and concepts for a context specific contemporary art practice." Thesis, University of Newcastle Upon Tyne, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.519572.

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Soejima, Emi. "Sur la question de la corporalité dans l'expression artistique de l'art contemporain japonais." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010683.

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Chamberlain, Rachel P. "Articulations of Liberation and Agency in Yanagi Miwa's "Elevator Girls"." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/art_design_theses/102.

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Miwa Yanagi’s Elevator Girls series, a collection of glossy photographs featuring groups of similarly clad women lingering in expansive, empty arcades, made its international debut in 1996. While the pieces garnered positive reactions, Yanagi found that most Western viewers read her work as predominantly “Oriental”—confirming stereotypes of a highly polished techno-topic Japan that was still negotiating gender equality. In this thesis, I explore alternative ways of reading Yanagi’s Elevator Girls series, which, I argue, call attention to myopic views of commercialism and identity in order to provide an alternative reading of these women as agents of transgression and ideological transcendence. Whereas many viewed Yanagi’s works as a comment on capitalist machinations, where consumerism has produced soulless, vapid feminine identities, I focus on the ways in which these women exercise agency without relying on notions of an individualized, unique ego.
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King, Christopher, and mikewood@deakin edu au. "Images of embodied old age in contemporary Japan." Deakin University. School of Social Inquiry, 1999. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20060719.155237.

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Since the late 1980s, representations of Japanese national identity and Japanese old age have been deconstructed. Images of the resilience of traditional cultural and social institutions are shown to have over-emphasized social and cultural homogeneity, elided social differentiation and inequality and minimized the significance of historical transformation. Key institutions of the postwar modernization project, including the patriarchal seniority system and household structure, are being transformed through globalization and feminization. This thesis focuses on the problem of representing individual and collective ageing in Japan in the context of modernization. Research is focussed on the contradictions, within essentialist representations of Japanese collective and individual identity, between socially constructed policy forms of old age and collective identities. Contemporary trends towards individualization and diversification of identities, and discourses on the ageing/information society, indicate cultural distance between an instrumentally rational administration and the life world of old people. Research explores the concept of embodiment through its significance in debates on postmodernization of the lifecourse in accordance with the structural shifts towards a postindustrial structure. This study examines representations of old age in broader social and cultural processes. Images of the social and cultural trajectory of the lifecourse draw attention to the embodiment of individual identities and ultimately generational cultures in contemporary social and cultural spaces. This research is the result of analyses of old age, which have been informed by postmodern theory. It in turn informs sociological theorizations of cultural representations of old age in contemporary societies.
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Books on the topic "Contemporary Japanese art"

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Coffland, Robert T. Contemporary Japanese bamboo art. Chicago: Art Media Resources with Tai Gallery, 1999.

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Japan Society (New York, N.Y.), ed. Contemporary Japanese art in America. New York: Japan Society, 1987.

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Moroyama, Masanori. Japanese bamboo baskets: Meiji, modern, contemporary. New York: Kodansha International, 2007.

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1966-, Baldissera Lisa, Art Gallery of Greater Victoria, and Art Gallery of Hamilton, eds. Great new wave: Contemporary art from Japan. Victoria: Art Gallery of Greater Victoria, 2008.

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Bijutsukan, Setagaya. Yasei no fukken =: An aspect of contemporary art. [Tokyo]: Setagaya Bijutsukan, 1991.

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Japan Society (New York, N.Y.). Gallery. and Clark Center for Japanese Art & Culture., eds. New bamboo: Contemporary Japanese masters. New York: Japan Society, 2008.

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Pawā obu Japanīzu kontenporarī āto: The power of Japanese contemporary art. Tōkyō: Asukī, 2008.

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Stampalia, Fondazione scientifica Querini, and Biennale di Venezia (55th : 2013 : Venice, Italy), eds. Imago mundi: Luciano Benetton collection : contemporary Japanese artists. Italy: Fabrica, 2013.

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Gakugeika, Setagaya Bijutsukan, ed. Yasei no fukken: An aspect of contemporary art. [Tokyo]: Setagaya Bijutsukan, 1991.

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1955-, Ozaki Tetsuya, and Japan Society (New York, N.Y.). Gallery, eds. Bye bye Kitty!!!: Between heaven and hell in contemporary Japanese art. New York: Japan Society, 2011.

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Book chapters on the topic "Contemporary Japanese art"

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Rosenstock, Gabriel, Michael Hartnett, and Paul Muldoon. "The Gentle Art of Disappearing." In The Japanese Effect in Contemporary Irish Poetry, 81–113. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9780230355194_5.

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Murai, Mayako. "The Fairy Tale in Contemporary Japanese Literature and Art." In The Fairy Tale World, 347–55. Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series: The routledge worlds: Routledge, 2019. http://dx.doi.org/10.4324/9781315108407-29.

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Chu, Yung-deh Richard. "Historical and Contemporary Roots of Sino-Japanese Conflicts." In China and Japan at Odds, 23–42. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230607118_2.

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Anan, Nobuko. "Introduction: Girls’ Aesthetics." In Contemporary Japanese Women’s Theatre and Visual Arts, 1–17. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137372987_1.

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Anan, Nobuko. "Girls’ Time, Girls’ Space." In Contemporary Japanese Women’s Theatre and Visual Arts, 18–64. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137372987_2.

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Anan, Nobuko. "Girlie Sexuality: When Flat Girls Become Three-Dimensional." In Contemporary Japanese Women’s Theatre and Visual Arts, 65–111. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137372987_3.

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Anan, Nobuko. "Citizen Girls." In Contemporary Japanese Women’s Theatre and Visual Arts, 112–51. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137372987_4.

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Anan, Nobuko. "“Little Girls” Go West?" In Contemporary Japanese Women’s Theatre and Visual Arts, 152–76. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137372987_5.

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Anan, Nobuko. "Afterword: Girls’ Aesthetics as Feminist Practices." In Contemporary Japanese Women’s Theatre and Visual Arts, 177–80. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137372987_6.

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Cucinelli, Diego. "幻の春の声. 近現代日本文学における「亀鳴く」/ The illusory voice of the spring: the motif of ‘crying turtle’ in modern and contemporary Japanese literarure." In Studi e saggi, 29–50. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-260-7.02.

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The turtle (kame) is of great importance in East Asian culture and it is seen as a supernatural creature. In Japanese literature, we can find examples of the turtle in works dating back to the Nara period, such as Tangokuni fudoki and Nihonshoki. Just like the crane, the turtle is a symbol of longevity. However, from the Kamakura period a new and unique interpretation of the turtle as the “singing/crying turtle” makes its appearance. Of this topos, known as kame naku, we can find only very few examples in literature until the Meiji era and the most known are the waka anthologies Shinsen waka rokujō and Fuboku wakashō, and Kyokutei Bakin’s kigo collection Haikai saijiki shiorigusa. However, from the beginning of the modern age, kame naku has been used by many poets as a kigo connected to spring and its frequency has hugely increased. After the war, it began to appear not only in poetry but also in novels and essays. The best known examples of this being Mishima Yukio’s short novel Chūsei, Uchida Hyakken’s essay Kame naku ya, Kawakami Hiromi’s work Oboreru. Using kame naku as a keyword, in this paper we will analyze the attitudes and approaches of modern and contemporary poets and novelists toward the topos.
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Conference papers on the topic "Contemporary Japanese art"

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Wu, Yufei. "Analysis of Mask Art in Japanese Noh." In Proceedings of the 5th International Conference on Arts, Design and Contemporary Education (ICADCE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icadce-19.2019.23.

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Konovalova, Nina. "Contemporary Japanese Garden: Modifications of Space and Concealed Meanings." In Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.95.

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Li, Jun. "Discussion on the Contemporary Value of Yunnan Anti-Japanese War Sites in the Practice of Core Value of Patriotism in Colleges." In 4th International Conference on Education, Language, Art and Intercultural Communication (ICELAIC 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-17.2017.31.

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Beris, Yeter, and İsmail Erim Gulacti. "Influences of Japanese prints on European printmaking (in the case of Degas-Manzi partnership)." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p69.

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Contemporary artists have included classical methods together with innovative digital printing technologies to their artistic manufactures and thus their technological production interactions have been reflected on current art as well. Today’s artists have also been in collaboration with each other by involving the digital printing technologies which kept advancing during the recent 20 years in their works of art just like Degas and Manzi did in their relationships of production partnerships in 19th Century. Besides, those opinions which originated from modernism ideas and movements consist of the core of this cooperation post Industrial Revolution era. Therefore, the concept of nationalism, the devastating consequences of the world wars and the latest industrial and technological advancements have all transformed human life irreversibly. Consequently, during this transformation era, various significant movements of art such as Impressionism and Expressionism emerged in the 20th century and representatives of those art movements substituted such a lot of printmaking practices in their works of art. None of those mentioned above took place in other previous movements of art. They reflected their points of view that they display social movements and none of the other artists who represent other senses of art have ever exhibited such a lot of printmaking practices. Thus, various printing technologies which present a new laboratory environment to the artists. As a result of this, printing technologies have been preferred as a sort of new artistic media value and it started to take its prominent place in collections of art as well as in museums during artistic presentations. Within this context, this article aims at studying the phenomenon of art by considering how it has changed during the historical process by examining those works of art which reveal these variations. Common production and working techniques in traditional printmaking, contributions of the technological advantages to the artistic manufacture. Besides, periodical innovations will be examined and presented by introducing an updated point of view to the topic within the content of this article that contain some citations from the second part of the thesis titled “Effects of fine art printmaking on the phenomenon of contemporary art”.
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Zhou, Baoling. "Innovation Thinking of Contemporary Business Japanese Teaching." In 3rd International Conference on Management Science, Education Technology, Arts, Social Science and Economics. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/msetasse-15.2015.102.

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Gao, Xiaofei. "Strategies of Training Intercultural Communication Competence in Basic Teaching of Business Japanese." In 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icadce-17.2017.196.

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Zhang Zhongguo and Wang Yapei. "Enlightenment of Japanese 'Natural Park Act' to national park: planning construction and management in China." In 3rd International Conference on Contemporary Problems in Architecture and Construction. IET, 2011. http://dx.doi.org/10.1049/cp.2011.1110.

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Teng, Yan, Li Li, and Wei Qu. "The Plan and Developing Direction of the Japanese English Education System in the New Era." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.164.

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Zhang, Bowei. "Research on the Style of Space Decoration and Furnishing Design of Japanese-Style Homestay." In The 6th International Conference on Arts, Design and Contemporary Education (ICADCE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210106.093.

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Cui, Xiaoping. "Asian Community Series Courses Design in Business Japanese Teaching A Case of Dalian Neusoft University of Information." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.138.

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