In the last decade, there has been a telling increase of attention given to contemporary Asian artists exhibited in the United States and Europe. Since 2008, artists from China, Japan, South Korea, and Central Asia have been featured in exhibitions from the Venice Biennale to the Whitney Biennale, and are becoming ever more present on the Western art stage. Meanwhile, curatorial practice, once focused on the care of objects, is shifting to encompass a wider range of creative activity. Curators are taking time to engage with living artists in a collaborative setting, rather than as impartial facilitators. This capstone seeks to address the lack of non-Western art in the rural United States Southwest in an effort to further the academic conversation around contemporary Japanese artistic practices. Through the publication of an exhibition catalogue, Northern Arizona will have the opportunity to engage with the ongoing intercultural dialogue on the globalized artistic stage, and support the international practice of emerging contemporary artist Yasuaki Onishi.
","abstract_html":"<p>In the last decade, there has been a telling increase of attention given to contemporary Asian artists exhibited in the United States and Europe. Since 2008, artists from China, Japan, South Korea, and Central Asia have been featured in exhibitions from the Venice Biennale to the Whitney Biennale, and are becoming ever more present on the Western art stage. Meanwhile, curatorial practice, once focused on the <em>care </em>of objects, is shifting to encompass a wider range of creative activity. Curators are taking time to engage with living artists in a collaborative setting, rather than as impartial facilitators. This capstone seeks to address the lack of non-Western art in the rural United States Southwest in an effort to further the academic conversation around contemporary Japanese artistic practices. Through the publication of an exhibition catalogue, Northern Arizona will have the opportunity to engage with the ongoing intercultural dialogue on the globalized artistic stage, and support the international practice of emerging contemporary artist Yasuaki Onishi.</p>","abstract_has_math":false,"creators":["Lawhead, Emily"],"institution":null,"degree_name":"Master of Arts in Museum Studies","degree_level":"Project/Capstone - Global access","degree_discipline":"Museum Studies","degree_department":null,"school":null,"contributors":["Stephanie A. Brown"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2017,"date_issued":"2017-12-15T08:00:00Z","date_published":"2017-12-15T08:00:00Z","updated_at":"2026-07-24T05:44:13Z","subjects":["museum studies","contemporary art","Japanese art","curation","curatorial studies","Asian studies","intercultural dialogue","exhibition catalogue","Yasuaki Onishi","Asian Art and Architecture","Interdisciplinary Arts and Media","Japanese Studies","Sculpture"],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://repository.usfca.edu/capstone/677","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Stephanie A. Brown"]},{"key":"dc:creator","label":"Author","values":["Lawhead, Emily"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.available","label":"Dc Date Available","values":["2017-12-07T08:00:00Z"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Museum Studies"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Project/Capstone - Global access"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Master of Arts in Museum Studies"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["museum studies","contemporary art","Japanese art","curation","curatorial studies","Asian studies","intercultural dialogue","exhibition catalogue","Yasuaki Onishi","Asian Art and Architecture","Interdisciplinary Arts and Media","Japanese Studies","Sculpture"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://repository.usfca.edu/capstone/677"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["In the last decade, there has been a telling increase of attention given to contemporary Asian artists exhibited in the United States and Europe. Since 2008, artists from China, Japan, South Korea, and Central Asia have been featured in exhibitions from the Venice Biennale to the Whitney Biennale, and are becoming ever more present on the Western art stage. Meanwhile, curatorial practice, once focused on the care of objects, is shifting to encompass a wider range of creative activity. Curators are taking time to engage with living artists in a collaborative setting, rather than as impartial facilitators. This capstone seeks to address the lack of non-Western art in the rural United States Southwest in an effort to further the academic conversation around contemporary Japanese artistic practices. Through the publication of an exhibition catalogue, Northern Arizona will have the opportunity to engage with the ongoing intercultural dialogue on the globalized artistic stage, and support the international practice of emerging contemporary artist Yasuaki Onishi.
"]},{"key":"dc:title","label":"Title","values":["Curating Contemporary Japanese Art: Exhibition Catalogue Production for Hidden Landscapes: Yasuaki Onishi and Invisible Space"]}]}],"canonical_facts":{"dc:contributor":["Stephanie A. Brown"],"dc:creator":["Lawhead, Emily"],"dc:date.available":["2017-12-07T08:00:00Z"],"dc:description.abstract":["In the last decade, there has been a telling increase of attention given to contemporary Asian artists exhibited in the United States and Europe. Since 2008, artists from China, Japan, South Korea, and Central Asia have been featured in exhibitions from the Venice Biennale to the Whitney Biennale, and are becoming ever more present on the Western art stage. Meanwhile, curatorial practice, once focused on the care of objects, is shifting to encompass a wider range of creative activity. Curators are taking time to engage with living artists in a collaborative setting, rather than as impartial facilitators. This capstone seeks to address the lack of non-Western art in the rural United States Southwest in an effort to further the academic conversation around contemporary Japanese artistic practices. Through the publication of an exhibition catalogue, Northern Arizona will have the opportunity to engage with the ongoing intercultural dialogue on the globalized artistic stage, and support the international practice of emerging contemporary artist Yasuaki Onishi.
"],"dc:identifier":["https://repository.usfca.edu/capstone/677"],"dc:subject":["museum studies","contemporary art","Japanese art","curation","curatorial studies","Asian studies","intercultural dialogue","exhibition catalogue","Yasuaki Onishi","Asian Art and Architecture","Interdisciplinary Arts and Media","Japanese Studies","Sculpture"],"dc:title":["Curating Contemporary Japanese Art: Exhibition Catalogue Production for Hidden Landscapes: Yasuaki Onishi and Invisible Space"],"thesis:degree_discipline":["Museum Studies"],"thesis:degree_level":["Project/Capstone - Global access"],"thesis:degree_name":["Master of Arts in Museum Studies"]},"updated_at":"2026-07-24T05:44:13Z"}