Panelists

Kunié Sugiura was born in Nagoya and currently lives and works in New York. She received her BFA from the School of the Art Institute of Chicago (SAIC) in 1967. At SAIC, Sugiura studied under the conceptual photographer Kenneth Josephson; after almost 50 years, she continues to explore a diverse range of photographic expression. After experimenting with color photography in the 60s and combining acrylic paint with photography on canvas in the 70s, Sugiura began producing photograms with objects from everyday life in the 80s. While pursuing connections between photography and other media, she has also been interested in photography’s materiality, and the way that this materiality can be made abstract. Through her works, she captures light, time, the transience of nature and its memory. The result is an almost contradictory work that harnesses tensions between the concrete and the abstract, while also standing between the improvised and the constructed. Sugiura’s major solo exhibitions include “Time Emit” (Visual Arts Center of New Jersey, Summit, New Jersey, 2008) and “Dark Matters / Light Affairs” (The University of California, Davis, 2001). She has received the Higashikawa Prize (2007) and the Artist’s Fellowship, New York Foundation for the Arts (1998). Her works are included in the permanent collections of the Denver Art Museum; The Museum of Fine Arts, Boston; The Museum of Modern Art, New York; and the Tokyo Metropolitan Museum of Photography.(Source 

Matthew S. Witkovsky is Richard and Ellen Sandor Chair and Curator in the Department of Photography at The Art Institute of Chicago. He is the former associate curator of photographs at the National Gallery of Art. He received his undergraduate degree in literature from Yale University (1989), and his doctorate in the history of art from the University of Pennsylvania (2002), with a thesis on avant-garde art in the former Czechoslovakia. 

Witkovsky has worked in the art world since 1988, first in galleries of contemporary art and vintage photography in New York and Paris, and then at the Philadelphia Museum of Art, where he helped prepare the retrospective Constantin Brancusi: 1876-1957 (1995). Witkovsky returned to the Philadelphia Museum of Art as interim curator of photographs in 1998-1999. He has published and lectured widely on Czech art and architecture, Dada, and modern and contemporary photography, with articles in Harvard Design Magazine,The Art Bulletin, and October. Recently, Witkovsky has focused on enlarging the Art Institute’s holdings in Japanese postwar photography. In 2013, he helped organize “Shomei Tomatsu: Island Life,” the first major museum exhibition of Tomatsu’s work since his death in 2012. (Source) 

Dr. Reiko Tomii is an independent art historian and curator, who investigates postwar Japanese art in global and local contexts. She co-founded PoNJA-GenKon in 2003. Her research topic encompasses “international contemporaneity,” collectivism, and conceptualism in 1960s art. A prolific scholar, she is preparing a book-length study, Radicalism in the Wilderness: International Contemporaneity and 1960s Art in Japan to be published by MIT Press.

 

 

Yasufumi Nakamori is an associate curator of photography at the Museum of Fine Arts, Houston, where he focuses on art and photography made after 1900. Nakamori also teaches the history of modern and contemporary Japanese art and architecture at Rice University. As an expert on the interdisciplinary field of the photography, architecture and visual culture of 20th-century Japan, he has recently authored scholarly essays, including “Tange Kenzō’s Early Photographs and the Tradition Debate (dentō ronsō)” in Kenzō Tange: Architecture for the World (Lars Müller Publishers / Harvard Graduate School of Design 2012) and “Criticism of Expo ’70 in Print: Journals Ken, Dezain Hihyō, and Bijutsu Techō” inJosai University Review of Japanese Culture and Society, vol. 23, 2012 (a special issue on Expo '70 and Japanese Art). In 2011, Nakamori won an Alfred H. Barr Jr. award from the College Art Association for his publication Katsura: Picturing Modernism in Japanese Architecture, Photographs by Ishimoto Yasuhiro (MFAH in association with Yale University Press 2010). Nakamori is the curator of “For a New World to Come: Experiments in Japanese Photography, 1968-1979,” which will originate at the Museum of Fine Arts, Houston in May 2015 and travel to the Grey Art Gallery of New York City in September 2015. (Source

Franz Prichard is an assistant professor of East Asian Studies at Princeton University, where he specializes in contemporary Japanese literature and visual studies. Prichard’s research interests focus on the provocative forms of exchange across works of criticism, fiction, film and photography that offer vivid new perspectives on the worldwide experience of urban becoming. He is currently completing a book manuscript on the rapid transformation of the urban and media environments of Japanese cultural practice in the 1960s and 70s. He received his PhD in the Department of Asian Languages and Cultures at University of California, Los Angeles (2011). Prior to arriving at Princeton, he was a postdoctoral fellow at the Reischauer Institute of Japanese Studies at Harvard University, and taught at the University of North Carolina at Charlotte. (Source)

 Walter Moser is curator of photography at the Albertina Museum in Vienna. He graduated in History of Art from the University of Vienna, after also attending courses at Roma Tre University. He worked as a researcher and later as an assistant curator at the Wien Museum, then as a curator in the photographic collection of
the Film Museum in Vienna. Since 2005 Walter Moser has been working at the Albertina Museum in Vienna, where he has been curator of photography since 2011. Since 2012 he has curated "Joel Sternfeld " (2012), "Body as Protest " (2012), "Lewis Baltz" (2013) and, more recently, "Blow-Up – Antonioni's Film Classic and Photography" (2014). The author of numerous essays, he is now completing "Film Stills by Warren Lynch for Erich von Stroheim's Greed, a Media–theoretical Analysis of Photography and Film", the thesis for his doctorate. (Source)