Dean Matsuura’s recent research themes elaborate on a full analysis of influences in the medieval Italian art and Renaissance art and how to apply the findings to the modern world.

His Educational Promise: “I know pursuing art is never an easy path to follow. My promise as the Dean is to provide all the supports I can give to our students who are aspired to do better than they did as undergraduates.”

Education: Upon graduating with a degree in Art from the School of Art at Tokyo University of the Art, Dean Matsuura received a scholarship from the Italian government to further his studies with the Research Institute of the German Art History in Florence within the Department of Art History of the School of Literature at University of Florence. He partook in the Research Fellowship for Young Scientist at Japan Society for the Promotion of Science and completed the doctoral program at Tokyo University of the Art without a doctoral degree.

Career: After teaching part-time at universities such as Juntendo University, Tokyo Kasei University, and Tokyo University of the Art, he joined Tama Art University.

Activities: While focusing on his field of study, he apportions his time to promote the Renaissance Art and the Italian language.

Publications and Translations: Some of his distinguished works include “La Galleria dell’ Arte Art Rinascimentale Italiana (Museums of ItalianRenaissance)” (Tokyodo Shuppan Co., Ltd.), “Raffaello ” (Kawade Shobo Shinsha), “Art History of Italian Renaissance” (Kawade Shobo Shinsha), “Cappella Sostina, the Chapel” (Kawade Shobo Shinsha), “Disconstructio Tabularum Alatarium (Disconstruction of Altarpieces)” (Arina Shobo), “Anatomy of Sculpture”(Arina Shobo),“La Raccolta di Saggi sulla Storia dell’ Arte italiana (The Collection of Essays on Italian Renaissance Art)” (Tokyodo Shuppan Co. Ltd.) as a co-author, “Florentine Art” (NHK Publishing, Inc.) as a team translator, “A Collection of Katsuhiko Hibino” (Shogakukan Inc.), and “Express Learning of Italian” (Goken Co., Ltd.)

　Ogawa was born in 1959 and graduated from the University of Tokyo Faculty of Letters, Art History Department. Worked as a reporter for Nikkei Business Publications, Inc., overseeing Classical and Western music. Nikkei Art Editor-in-chief, in charge of the editorial board editing committee and arts reporters at the Nikkei culture section. Ogawa has authored a large number of articles including, “The mad painter, Kawanabe Kyosai”, “Journey to find the light〜Caravaggio, La Tour, Rembrandt, Vermeer”, “Understanding the Techniques of Tsuguharu Foujita—Opaque-white beauty born of Talc”. He has also contributed to additional publications, such as NIKKEI, NIKKEI Business Online and ONTOMO-mag.
Editor in Chief of “Whooops!” magazine published by the Department of Art Science at Tama Art University.

Kyoko Kinoshita received her Ph.D in Japanese Art History from the Osaka University Graduate School of Letters. She served as a curator of Japanese Art at Philadelphia Museum of Art for many years, and she has been a professor of Japanese Art History at Tama Art University since 2013. As a professor and an adjunct curator, she is engaged in education at university while traversing the fields of university education and museums and past and present works of art. In addition, she co-organised plans and exhibitions which connect Japan and the United States, such as the GENJI: A Japanese Classic Illuminated (Metropolitan Museum of Art, 2019) and the Hinges: Sakaki Hyakusen and the Birth of Nanga Painting (UC Berkeley Art Museum & Pacific Film Archive, University of California, Berkeley, 2019), and will contine this activities as well. Her main research interests are pre-modern Japanese painting and formation of Japanese art collections in the United States. “Comprehensive Research on Pre-Modern Sugito-e ” and “Research on Arthur Tress Collection at University of Pennsylvania” are the Kaken research projects that she is currently working on. As a recent study, she focuses on Japanese art works which facinate American collectors and audiences who have different social and cultural backgrounds beyond culture, space and time, and discusses the various reasons of it. Co-authored Book, Ink and Gold: Art of the Kano (Yale University Press, 2015), and recent essays are as follows; “Signatures and Seals of Sakaki Hyakusen” (Hinges: Sakaki Hyakusen and the Birth of Nanga Painting, University of California Press, 2019), “Evolving Iconographies of The Tale of Genji: Early Modern Interpretations of a Yamato-e” (The Tale of Genji: A Japanese Classic Illuminated, 2019), “Study of the Red-Seal Ship Screen in the Collection of Philadelphia Museum of Art” (2018, Kashima Bijutsu Zaidan Nenpo, Kashima Art Foundation, 2019), “The Edo-Kano School Genji-e and the Double-Sided Screen by Kano Seisenin Osamabu and Kano Yusei Kuninobu” (Kakagaraku, Geika Shoin, 2018), “Plum-Tree with Red Blossoms by Ika Gyokuran” (Shubi No. 18, 2018) and others.

Recent Research Theme
Product planning from the perspective of brand promotion.

Thoughts on Graduate Education
Considering the role of the graduate school as a think tank in society,
I want to pursue Design, not only in terms of its commercial value, but also the cultural aspects of design.

Education
1994 Graduated from Tama Art University Department of Design with a major in 3D design and speciality in Product Design
1996 Study abroad at ROYAL COLLEGE OF ART INDUSTRIAL DESIGN
2002 Graduated from Domus Academy Design Master’s Degree Course

Career
1997 Joined Bridgestone Sports Co., Ltd.
2001 Established “studio galleryworks”

Selected awards include Design Nagoya ’95 International Competition Special Jury Award and Design Forum ’95 and ’99. Design Production 2015 and 2016 Organization’s Good Design Award screening committee.

Brief Biography:
Born in Nobeoka, Miyazaki, in 1976.
Associate Professor of the Graphic Design Department.

With a degree from General Policy Department at Keio University, Professor Saga worked at a computer company before receiving his PhD through higher education in the master and doctoral programs at Joshibi University of Art and Design (His doctoral thesis title: The Development of Typographic Printing Techniques Applied in Modern Newspapers in the Early Meiji Period). After receiving his doctoral title, he has been devoting his career to research the histories of designs and typography and the construction of graphic designs and digital archives.

In 2014, he has assumed a full-time professor position at Tama Art University. His researches emphasize on the histories of typography and graphic designs and the digital archive construction. He strives to focus his researches to understand the typography and designs in the modern times from the angles of “ideas, expressions, functions, individuals and the society”. His research objective is to gain standpoints to analyze the future vision of designs by comprehending the histories of the designs in Europe and Japan as a whole.

His publications include “The Cultural History of Typographic Printings” (Bensei Publishing Inc., 2009) and “The World of Kodoken Seicho Type Matrix” as a part of collection for Kodoken Seicho type matrix at Joshibi University of Art and Design (Joshibi University of Art and Design, 2016) as a co-author, “Shapes of Words and Design Collection Vol. 1 & 2” (Joshibi University of Art and Design, 2013 & 2014) as an editor, “Wim Crouwel: A Graphic Odyssey” (BNN Inc., 2012) as a translator, and “Mein Leben: Spielerischer Ernst und ernsthaftes Spiel/ Commentary: Grid Systems as Aesthetics” (BNN Inc., 2018) as a translation supervisor and commentator.

-Associate Professor, Tama Art University
-Contributing Researcher, Transtechnology Research at University of Plymouth, UK
-Visiting Research Fellow, Institute of Social Sciences, Chuo University
-Organizer, Ningengaku-kobo [Atelier Anthropology]

Ph.D, Hitotsubashi University, 2008.
M.A., Hitotsubashi University, 2001.
y-nakamura@tamabi.ac.jp

1. Profile,

Brief Bio
Yutaka Nakamura is a tenured associate professor at Tama Art University in Japan. He is also a contributing researcher at Transtechnology Research at University of Plymouth, UK, a visiting researcher at Institute of Social Sciences at Chuo University in Japan, and an organizer of Ningengaku-kobo [Atelier Anrhtopology]. Trained in the field of cultural anthropology, he has conducted his fieldwork among African-American Muslim communities in Harlem, New York. More recently he started his new project that engages in the cultural expressions and movements in the socio-cultural “margins” as well as in the emergent field of design anthropology both in the US and Japan. His research topics include violence, social pain and suffering, cultural expressions and movements, modes of communication and discommunication, mechanisms of discrimination and conflicts, and social design.

Recent Research Interests
In 2015, Yutaka published an ethnography, Zankyo no Harlem [Reverberated Harlem: Voices of Muslims on the Street] (Editorial Republica, 2015), based on his fieldwork in Harlem, NY, which began almost a year after 9.11, when the socio-political atmosphere in the city was still tense. The book focused on the frustration and anger among African-American Muslim communities and explored historical as well as socio-cultural contexts surrounding their often strong and emotional language. In doing so, the book dealt with such topics as the position of archive in their historiography, the force of gentrification in the redevelopment and the Columbia University’s campus expansion, and the conflicts and discommunication with other Muslims and non-Muslims, as well as among themselves.

In 2016, Yutaka collaborated with other creators from various genres – artist, designer, poet, film director, photographer etc. – and published an edited book on art, design, and creativity, Geijyutsu no Jyugyou [Lectures on Art: Behind Creativity] (Koubundou, 2016). Ever since he started teaching at Tama Art University in 2008, his exploration into the field of art and design has begun. The book is his first attempt to investigate what is behind creativity and explore some of the selective creators’ ways of seeing and beings in the world in the contemporary Japanese society.

Yutaka has also been collaborating with a New York based photographer, Makoto Matsuo, and conducting fieldwork in the socio-cultural “margins” of the U.S. In this project, his focus is on the cultural expressions and movements especially by the Native Americans, African-Americans and other cultural creatives in relation to violence and social pain and suffering. Ever since the beginning of the project in 2011, Yutaka and Makoto have visited the Seminole communities in Florida, Chickasaw Nation in Oklahoma, Pueblo communities in New Mexico, Native Hawaiian community in Molokai, cultural creatives in Big Island, local communities in Alaska, Leach Lake Indian Reservations in Minnesota, Standing Rock Indian Reservation in North and South Dakota, Charlottesville in Virginia, Ferguson in Missouri, and others. His travel writings together with Makoto’s photographs are published in the form of booklet called Lost and Found (Ningengaku-kobo [Atelier Anthropology]). The booklet is a collaborative effort by Yutaka and other students and graduates from Tama Art University as well as other universities in Japan.

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