Inproceedings,
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)
DOI: 10.4312/9789610601166
Abstract
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.
