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Mikiko Hirayama

Title: Associate Professor and Director of Asian Studies
Office: 728 Old Chemistry Building
Tel: 513-556-0265
Email: miki.hirayama@uc.edu

Professor Hirayama ​teaches courses on Japanese and Chinese art history.  
Her research focuses on Japanese art criticism of the early twentieth century. Her recent publications include  “‘Fictionalized Truth’: Realism as the Vehicle for War Painting” in Art and War in Japan and Its Empire, 1931-1960 (2012), "Notes on Japanese Art Criticism" in Since Meiji: Perspectives on the Japanese Visual Arts (2011),  "The Emperor's New Clothes: Japanese Visuality and Imperial Portrait Photography" in History of Photography (2009), “From Art without Borders to Art for the Nation: Japanist (Nihonshugi) Painting by Dokuritsu Bijutsu Kyōkai during the 1930s” in Monumenta Nipponica (2010), and Reflecting Truth: Japanese Photography in the Nineteenth Century (co-editor, 2005).  She has delivered papers at venues such as the College Art Association conference, Association for Asian Studies conference, and Asian Studies Conference Japan.   Hirayama's service to the field included serving as an anonymous reviewer for Art Bulletin and Ars Orientalis.

Education

  • Ph.D., University of Pittsburgh, Pittsburgh, PA, 2001 (Japanese art history).
  • Master of Arts, International Christian University Graduate School, Tokyo, Japan , 1993 (Japanese Art History).
  • Bachelor of Arts, International Christian University, Tokyo, Japan, 1991 (Japanese Art History).

Research Information

Research Interests

Japanese Painting (18th century-prewar) Modern Japanese art criticism
Early Japanese photography and photographic theory
Chinese and Japanese Aesthetics 

Research Support

  • FDC Collaborative grant. 6,088. 2014 to 2015.
  • Short-Term Research Fellowship. 6,420. 2011 to 2012.
  • Northeast Asia Council Short-Term Travel Grant. 3,000. 2010 to 2011.
  • Grant for Advanced Research and Publication by Individual Scholars. 3,000. 2008 to 2009.
  • Northeast Asia Council Short-Term Travel Grant. 2,000. 2004 to 2005.
  • The Robert and Lisa Sainsbury Postdoctoral Fellowship. 35,000. 2001 to 2002.
  • Japan Iron and Steel Graduate Fellowship . 11,000. 2000 to 2001.
  • Andrew Mellon Predoctoral Fellowship. 14,000. 1999 to 2000.
  • Metropolitan Center Grants for Dissertation Research in Far Eastern Art Studies. 9,477. 1999 to 2000.
  • Mitsubishi Foundation Graduate Fellowship . 11,000. 1998 to 1999.

Publications

Peer Reviewed Publications

  • “From Art without Borders to Art for the Nation: Japanist (Nihonshugi) Painting by Dokuritsu Bijutsu Kyōkai during the 1930s.”  Monumenta Nipponica vol. 65 no. 2 (2011), pp. 357-395 (peer-reviewed).
     
  • “The Emperor’s New Clothes: Japanese Visuality and Imperial Portrait Photography,” History of Photography, vol. 33, no. 2 (May 2009): 165-184 (peer-reviewed).
  • “Ishii Hakutei and the Future of Japanese Painting,” Art Journal vol. 55 no. 3 (Fall 1996): 57-63 (peer-reviewed).

Books

  • Reflecting Truth: Japanese Photography in the Nineteenth Century (collaboration with Nicole Coolidge Rousmaniere).  Leiden, Netherlands: Hotei Publishing, 2005.

Book Chapter

  •  “Inner Beauty: Kishida Ryūsei (1891-1929)’t Theory of Realism.”  Edited by Minh Ngyuen.  Japanese Aesthetics.  Lanham, MD: Lexington Press, forthcoming.
  •  “‘Fictonalized Truth’: Realism as the Vehicle for War Painting (tentative title).”  Edited by Asato Ikeda, Louisa McDonald, and Ming Tienpo.  Art and War in Japan and Its Empire, 1931-1960.  Leiden, The Netherlands: Brill, 2012, 38-57.
  • “Japanese Art Criticism: The First Fifty Years.”  Edited by J. Thomas Rimer.  Since Meiji: Perspectives on the Japanese Visual Arts, 1868-2000.  Honolulu, HI: University of Hawaii Press, 2011, pp. 257-280.
  • Modernité in Art”: Kojima Kikuo’s Critique of Contemporary Japanese Painting, 1931-1940.”  Edited by Hiroshi Nara.  Inexorable Modernity: Japan’s Grappling with Modernity in the Arts.  Lanham, MD: Lexington Press, 2007, pp. 49-68. 
  • “’Elegance’ and ‘Discipline’: The Significance of Sino-Japanese Aesthetic Concepts in the Critical Terminology of Japanese Photography, 1903-1923,” Nicole Coolidge Rousmaniere and Mikiko Hirayama, eds.  Reflecting Truth: Japanese Photography in the Nineteenth Century.  Leiden, Netherlands: Hotei Publishing, 2005, pp. 98-108.

Conference/Workshop Proceedings

  • “Summaries of the Scholarly Symposia: Transcultural Visuality,” TransAsian Photography Review vol. 1, no. 2 (spring 2011)
     

Invited Publication

  • “Between Beauty and Obscenity: The Problem of Cultural Discontinuity in Modern Japan,” Japan Studies Working Paper Series, No. 3 (December 1991), Tokyo: International Christian University (unpaginated, 65 pgs, sole entry in the volume, invited).
  • “Ishii Hakutei and the Hōsun journal (tentative title),” Shin hanga—Sōsaku hanga: A Dialogue in Art. Nihon no Hanga, Amsterdam, and Hotei Publishing, Leiden (forthcoming in 2016)

Review

  • Bert Winther-Tamaki.  Maximum Embodiment: Yoga, the Western Painting of Japan, 1912-1955 (University of Hawai'i Press, 2012).  Monumenta Nipponica vol. 68 no. 1 (2013), pp. 357-395.
  • Dōshin Satō.  Modern Japanese Art and the Meiji State: The Politics of Beauty.  CAA.reviews, September 2013
  • Anne Tucker, et. al.  The History of Japanese Photography (New Haven: Yale University Press in association with the Museum of Fine Arts, Houston, 2003).  CAA.reviews, 2004.
  • Jonathan M. Reynolds, Maekawa Kunio and the Emergence of Japanese Modernist Architecture (Berkeley, Los Angeles and London: University of California Press, 2001).  School of Oriental and African Studies Bulletin, University of London, Vol. 66 (2003): 145-147.

Presentations & Lectures

Paper Presentations

  • Mikiko Hirayama (be/r /Octo). “New Wine in New Bottles: Japanese Imperial Portraits of the Meiji Period (1868-1912)” . Midwest Popular Culture Conference, Cincinnati, Ohio.
  • Mikiko Hirayama (be/r /Octo). Tsuda Seifū's Adaptation of Proletarian Art Theory in New Parliament (1931)". Midwest Conference on Asian Affairs, Michigan State University,, East Lansing, MI.
  • Mikiko Hirayama (ua/ry/Febr). “Transcultural Visuality: Photography in East-Asia”. College Art Association , New York, NY.
  • Mikiko Hirayama (be/r /Octo). “Location, Location, Location: Regionalism in Twentieth-Century East Asian Art” . Midwest Conference on Asian Affairs, The Ohio State University.
  • Mikiko Hirayama ( 2/01/June). “Was There Socialist Realism in Japan? Proletarian Art of the Interwar Years” . Asian Studies Conference Japan, Tokyo, Japan.
  • Mikiko Hirayama (be/r /Octo). “Between Light and Darkness: Ethnic Nationalism of Early Showa Oil Painting” . Symposium: Change, Continuity and Conflict in Twentieth Century Asian Art, University of Kentucky, Lexington, KY.
  • Mikiko Hirayama (discussant) (be/r /Octo). “From Feudalism to Universalism: Identity Conflicts in Japanese Culture”. Midwest Conference on Asian Affairs, Miami University, Oxford, OH.
  • Mikiko Hirayama (discussant) (h /20/Marc). “Continuity and Change in Meiji Visual Culture” . Association for Asian Studies Conference, Chicago, IL.
  • Mikiko Hirayama (presenter and panel chair) (h /24/Marc). “Fauvists in the Land of Rising Sun: Critical Evaluations of Japanist (nihonshugi) Painting, 1934-35,” . Association for Asian Studies Conference, Boston, MA.
  • Mikiko Hirayama (be/r /Octo). “The Material and the Spiritual Become One”: Reflections of National Identity in “Japanist” Painting, 1931-36, . Mid-Atlantic Region Conference, Association for Asian Studies, Pittsburgh, PA .
  • Mikiko Hirayama (be/r /Octo). “The Material and the Spiritual Become One”: Reflections of National Identity in “Japanist” Painting, 1931-36, . Mid-Atlantic Region Conference, Association for Asian Studies, Pittsburgh, PA .
  • Mikiko Hirayama (presenter and panel chair) (l / 2/Apri). “In Pursuit of Photographic Vision: The Language of Japanese Pictorialist Photography, 1903-1923” . Midwest Art History Society Annual Conference, University of Notre Dame, Notre Dame, IN .
  • Mikiko Hirayama (presenter and panel chair) (mb/er/Nove). "’Elegance’ and ‘Discipline’: The Significance of Sino-Japanese Aesthetic Concepts in the Critical Terminology of Japanese Photography: 1903-1923” . “Reflecting Truth: Symposium on Early Japanese Photography” , Norwich School of Art, Norwich, UK.

Experience & Service

Work Experience

  • 2008 to Present, Associate Professor, University of Cincinnati, Cincinnati, OH.
  • 2001 to 2008, Assistant Professor, University of Cincinnati, Cincinnati,OH.
  • 2000 to 2001, Teaching Fellow, University of Pittsburgh, Pittsburgh, PA .
  • 1991 to 1995, Clerical Assistant, International Christian University, Tokyo, Japan.