Gods of Happiness, Business! 2, 2008
Gods of Happiness, Business! 2 is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. Following traditional Japanese naming conventions last name is provided first.
Gift of Sakata Natsume in memory of her mother Tomiyama Taeko
Gods of Happiness, Business! 1, 2008
Gods of Happiness, Business! 1 is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. Following traditional Japanes naming conventions last name is provided first.
Sea and Sky of Greed 3 is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. Following traditional Japanese naming conventions, last name is provided first.
Sea and Sky of Greed 2 is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. Following traditional Japanese naming conventions, last name is provided first.
Sea and Sky of Greed 1 is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. Following traditional Japanese naming conventions, last name is provided first.
Rough Seas and the Age of Exploration 8-2 Sino-Japanese War
Rough Seas and the Age of Exploration 8-2 Sino-Japanese War is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. The nishiki-e (traditional multicolored Japanese woodblock prints) collaged into this work depict the pivotal naval clash of the First Sino-Japanese War (189495). The vivid, celebratory tones of nishiki-e, which glorified military victories through propaganda art are in stark contrast with haunting imagery that features ghostly figures and blood-stained scenes of Chinese civilians under the control of Japanese soldiers. This work exemplifies Tomiyamas sharp critique of imperialism, in which images of celebration and death are eerily juxtaposed. This unsettling and grotesque combination serves as a stark portrayal of imperialism itself, a theme that recurs throughout her work. It embodies Tomiyamas unwavering determination to confronts the grim and enduring legacy of imperialism and invites viewers to reflect on these harrowing histories. As is customary in Japan, the artist's last name is recorded first.
Rough Seas and the Age of Exploration 7
Rough Seas and the Age of Exploration 7 is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. Following traditional Japanese naming conventions, last name is provided first.
Rough Seas and the Age of Exploration 6 Sino-Japanese War
Rough Seas and the Age of Exploration 6 Sino-Japanese War is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. The nishiki-e (traditional multicolored Japanese woodblock prints) collaged into this work depict the pivotal naval clash of the First Sino-Japanese War (1894-95). The vivid, celebratory tones of nishiki-e, which glorified military victories through propaganda art are in stark contrast with haunting imagery that features ghostly figures and blood-stained scenes of Chinese civilians under the control of Japanese soldiers. This work exemplifies Tomiyamas sharp critique of imperialism, in which images of celebration and death are eerily juxtaposed. This unsettling and grotesque combination serves as a stark portrayal of imperialism itself, a theme that recurs throughout her work. It embodies Tomiyamas unwavering determination to confronts the grim and enduring legacy of imperialism and invites viewers to reflect on these harrowing histories. Following traditional Japanese naming conventions, last name is provided first.
Rough Seas and the Age of Exploration 5
Rough Seas and the Age of Exploration 5 is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. Following traditional Japanese naming conventions, last name is provided first.
Rough Seas and the Age of Exploration 4
Rough Seas and the Age of Exploration 4 is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. Following Japanese naming conventions, last name is provided first.
Rough Seas and the Age of Exploration 3
Rough Seas and the Age of Exploration 3 is is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. Following traditional Japanese naming conventions, last name is provided first.
Rough Seas and the Age of Exploration 2
Rough Seas and the Age of Exploration 2 is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. Following traditional Japanese naming conventions, last name is provided first.
Rough Seas and the Age of Exploration 1
Rough Seas and the Age of Exploration 1 is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. Following Japanese naming customs, last name is provided first.
The Origins of Hiruko and the Puppeteers 8
The Origins of Hiruko and the Puppeteers 8 is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. Following traditional Japanese naming conventions, last name is provided first.
The Origins of Hiruko and the Puppeteers 7
The Origins of Hiruko and the Puppeteers 7 is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. As is customary in Japan, the artist's LAST name is recorded first.
The Origins of Hiruko and the Puppeteers 6
The Origins of Hiruko and the Puppeteers 6 is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. Following Japanese naming customs, last name is provided first.
The Origins of Hiruko and the Puppeteers 5
The Origins of Hiruko and the Puppeteers 5 is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. Following Japanese naming customs, last name is provided first.
The Origins of Hiruko and the Puppeteers 4
The Origins of Hiruko and the Puppeteers 4 is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. Following Japanese naming customs, last name is provided first.
The Origins of Hiruko and the Puppeteers 2
The Origins of Hiruko and the Puppeteers 2 is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. Following Japanese naming customs, last name is provided first.
The Origins of Hiruko and the Puppeteers 1
The Origins of Hiruko and the Puppeteers 1 is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. Following Japanese naming customs, last name is provided first.
Blood Red Plains Burned by the Fires of War
Blood Red Plains Burned by the Fires of War is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. Artist's signature at lower right. Following Japanese naming customs, last name is provided first.
Adrift II is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. Artist's signature at lower right. Following traditional Japanese naming conventions, last name is provided first.
Adrift I is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. Artist's signature at lower right. Following traditional Japanese naming conventions, last name is provided first.
Theater Beneath the Sea Splendid Banquet for the Empire
Theater Beneath the Sea Splendid Banquet for the Empire is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. A celebratory flower ball draws the viewer into an undersea world, but reveals itself to be a jellyfish, silently spreading its toxins. Set against a deep green background, the sea floor exposes remnants of imperialism that have been hauntingly preserved, including the emperors official emblem and stylized Manchurian costumes. Amidst these relics, a capitalist party unfolds, engulfed in gold confettia spectacle of excess and consumption, contrasting with the forgotten toxins looming above. Following traditional Japanese naming conventions, last name is lprovided first.
Wandering Minstrels and Puppeteers
Wandering Minstrels and Puppeteers is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. This work represents the curtain call for the sea wanderers and travelers. Among the cast of characters are Malaysian and Indonesian puppets, Polynesian masks, a Western minstrel, Otafuku (a Japanese goddess known for her round face, rosy cheeks, and a cheerful smile, symbolizing happiness and prosperity), and the literary figure Ah Q from Lu Xuns 1921 novella. Lu Xun (1881-1936), a pioneering Chinese writer, used vernacular Chinese in his works to expose the struggles and injustices faced by common people amid modernization and Western imperialism. Tomiyama calls these characters troubadours (tabi-geinin), evoking medieval wandering performers who carried culture and religion with them, freely mingling and sharing ideas across borders. Tomiyama even includes herself in the painting (bottom right), identifying as a fellow traveler and puppeteer performing her art around the globe. Following traditional Japanese naming conventions, last name is provided first.
They Wandered Sea Roads is part of the series, Hiruko and the Puppeteers (2008), and is one of the largest and most ambitious of the artist's career sustaining her longstanding focus on transnational history, warfare, and Japan's brutal colonization of its Asian neighbors. Following traditional Japanese naming conventions, last name is provided first.
Silk textile with the Tree of Life symbol
Self Portrait as Geisha Snorkeler, 1984
Pencil drawing on tracing paper; self portrait as Geisha Snorkeler gazing down with oversized dress and snorkel fins in hand.
Hand drawn and printed poster for Thor 2. Black and white drawn images of female resting head and holding male figure;r set against a colorful backdrop. Text at right.
Film Poster: Chennai Express, 2013
Hand-drawn and printed film poster for Chennai Express. At left, black and white sketch of male riding a motorcycle at left with female at his back. Figures postioned against a colored back-drop.
Horizontal multiple page booklet detailing the film Hamraaz. Cover includes four figures with a fifith figure sketched using vertical lines positioned at right; bands of yellow and organe at top, purple and blue at bottom.
MEHBOOB PRODUCTIONS, Indian
Vertical image; film poster for Mother India; female figure at upper left behing held by male with red turban. At lower right is a Western looking male figure holding a rifle looking toward female.
Vertical film poster of a female figure holding a baby in her arms at right; text at upper left. Master Priter at lower right below image.
Film poster with centralized female figure wearing an orange dress with sparkley necklace. She is being nuzzled by a male figure.
Calendar: Laxmi Ganesh:2014, ca. 2013
2014 Indian calendar with 2 months on one paper; calendar is double sided; Ganesh and attendants at upper half; months throughout lower half; calendar is suspended by a plastic hanger.
Brijbasi Art Press, Indian
Vertical image of a male figure in blue about to spear another male figure; at lower right of image is a female holding a green container with flowers. At lower right and left SS BRIJBASI & SONS FRANKFUT, DELHI & BOMBAY; at lower center, Indian script.
Madan Half Tone Company, Indian
Poster of female figure holding a baby in her arms; baby appears to have adult-like facial features.
Colorful poster of Krishna and Yugal; Krishna playing flute while 2 animals look on from right side. BRIJBASI ART PRESS at lower right.
Inkjet printed canvas of two figures identified as Radha and Madhav; centralized figure sitting with arms raised while second figure rest hands on forward figure's shoulders. Title printed at lower right.
Unstretched canvas of female with intertwined hands rising from the center of a group of riders carrying guns. Two male figures are located at lower right and left carrying guns with SHOLAY positioned at center; signed at lower right of canvas.
DONG HO VILLAGE, Vietnam Tranh dan gian (portfolio of Vietnamese traditional painting), ca. 1945
Tranh dan gian (portfolio of Vietnamese traditional painting), ca. 1945
Vietnamese Traditional Painting Portfolio housing 30 Vietnamese paintings.
Gift of Chuck Bazerman and Shirley Geok-Lin Lim
Large embossed print with colored circular forms at center against creamcolored ground; slight areas of newsprint around edges of circles. Signed, dated, edition statement and title in pencil below image.
Seven part woodblock relief print forming a colorful geometric motif. Lower print (g) is signed and dated with edition statement.
Monochromatic embossed print; applelike form attached to curved shapes throughout upper half of image. Signed, dated with edition at lower right; signed with CG at upper left, reverse. The artist was involved with the Nippon Design Center in the 1960s where much of his graphic work was realized.
IIJIMA, Takao (aka Ay-O)
Rainbowcolored serigraph in concentric squares; exterior reds conclude at center with blues. Dated, edition statement and signed Ay-O, at lower right; title on reverse.
L-Art Vivant Trois Figures, 1984
Abstract image consisting of a narrow gray and green shape bordered by solid red on the left; a black area interspersed with white shapes is on the right. A white area with yellow diagonal slashes and a green spiral is at the center positioned between black and red areas.
Lunatic Park with Action figure, Badge and Atom Car, ca. 1998
Badge, Action Figure and Atom car made from molded plastic with lettering "Lunatic Park Kenji Yanobe" at outer edge of badge. "Atom Boy" helmet occupies center of circle.
Artist unknown, Japanese
The Three Legion in First Army Attack the Enemy on Three Side and Occupied Ku-Lien-Cheng, c. 1904-05
Swiftly executed, prints such as these were distributed throughout the war giving a largely Japanese audience up-to-date information on the Russo-Japanese war (1904-05). Through a series of military engagements on land and sea, Japans much smaller army wrested control of an important Chinese trading harbor, Port Arthur, from Russia. Such imagery helped bolster support for the military and instilled national pride. Though made in Japan, the incorporation of English text (often mispelled) indicates some were meant for wider distribution. .
The Occupation of Liau-yang and the enemy was defeated by our army's fierce attack, c. 1904-05
Swiftly executed, prints such as these were distributed throughout the war giving a largely Japanese audience up-to-date information on the Russo-Japanese war (1904-05). Through a series of military engagements on land and sea, Japans much smaller army wrested control of an important Chinese trading harbor, Port Arthur, from Russia. Such imagery helped bolster support for the military and instilled national pride. Though made in Japan, the incorporation of English text (often mispelled) indicates some were meant for wider distribution.
The attack of the side of Siao-yang by our first arm, c. 1904-05
The Vladivostok Squadron almost lost by our fleet at the sea of Ulsan, c. 1904-05
Japanese War Including Every One Occupation Ryoyo, c. 1904-05
In Urusan Offing Ryureku Smash, c. 1904-05
Japanese War Portarthu [Port Arthur] Hakugiyokusah Battery Occu[p]ation, c. 1904-05
Japanese Engagement Occupation Battery at Portarthur (Port Arthur), c. 1904-05
Hirado Ware Tea Pot, late 18th C.
a: tea pot with replaced handle; b: lid; c: wood box
Rajput Miniature Painting, c. 1800
Artist unknonw, Indian, Punjabi
Artist unknown, Indian, Punjabi
Hand painted silk fabric sample in a floral and natural motif, probably made in Nishijin--Kyoto
Artist unknown, Chinese
Chinese genre painting of two females standing in front of a green shade tree; flowers and green shrubs flank their feet at lower left. One woman is dressed in orange robe; female behind her is wearing light red rob -- inscription at upper left.
Chinese genre painting of two females standing on a porch appearing to be wind blown. Both females are wearing loosely fitted robes over white dress with ribbons fluttering; inscriptions at lower right.
Chinese genre painting of two males, one is seated at a white table; second is feeding a long legged bird; inscription at upper left.
Chinese genre painting of two females being entertained by a small male figure at lower left.
Chinese genre painting of an elderly man showing a scroll to a seated figure sitting at front wearing a blue robe. Inscription at upper right.
Chines genre painting of a female figure sitting on a throne-like chair; hands clasped in front; figure is wearing a red robe covered in a black vest with white border. Figure also dons a headdress with white pearl-like attachments hanging from each side.
Chinese genre painting of a male figure sitting on a throne-like chair; hands brought together and resting in front. Male is wearing a brown robe with blue cuffs and red pleated skirt.
Chinese genre painting with an elderly man fishing off the edge of a rock formation wearing a large brimmed hat. Inscription at upper right.
Chinese genre painting with centralized image of a large male figure; two smaller male figures appear, one at right and the second looking out from the rear. Stork appears at left with inscription at upper left.
Chinese genre painting of an oxen with two individuals hooking him up to his carriage. Inscription fills the upper left area.
Chinese genre painting with three individuals engaged in a cock fight. Inscription at upper left.
Chinese grenre painting of a male figure standing draped in bluish green robes; male sports a mustaches, beard and is wearing an elevated hat. Lengthy insccription at left.
Chinese genre painting with centralized image of two men holding up a figure positioned on a cloud-like form; at upper left appears a dragon-like creature; at upper right inscription.
Chines grenre painting of an elderly man riding an oxen whose head is turned left; image is centralized with inscription at upper right.
Chinese genre painting of two monks leaning together looking at a tiger positioned at center; inscription at upper right.
Chinese genre painting of an elderly man riding a donkey while second individual at front appears to help him. Inscription at upper right.
Chinese genre painting of a single figure at right stooped and pointing to a large bird while a second male figure at left looks on. Inscription at upper right.