Japanese Art in the Contact Zone: Between Orientalism and ‘Japansplaining’

. Migrations in Visual Culture, page 45-54. Ljubljana, Ljubljana University Press, Faculty of Arts, (2018)


After WWII, Japan came to be economically and politically at eye level with its former enemy nations. Therefore, one cannot say that the Western reception of Japanese artworks takes place within an actual context of an asymmetrical power relation. Yet, European and American audiences often approach Japanese art from a position of perceived superiority. Overt and subtle traces of this attitude can be detected in reviews and other texts on Japanese artworks ranging from the films of Akira Kurosawa to the photographs of Nobuyoshi Araki.

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