For Students

Past Exhibitions: 2006

Landscapes of Longing: Journeys through Memory and Place

January 21, 2006–April 2, 2006

Featuring:
 Andô Hiroshige’s 53 Stages of the Tôkaidô
 Passage to Angkor: Photographs by Kenro Izu
 Idyllic Retreats in Chinese Landscape Painting
 Hiroshi Sugimoto: Time Exposed

This project will present a cluster of exhibitions that explore how an artist’s personal vision of landscape becomes part of shared, communal memories—memories that define not only a particular place but also a cultural identity, for both insiders and outsiders, across time and national boundaries. With subjects as disparate as life along the highways of early modern Japan, the great stone temples of Cambodia’s ancient royal city of Angkor, scholars’ retreats among the soaring mountains of China, and a series of meditatively abstract seascapes by one of our great contemporary photographers, the extraordinary images in this suite of exhibitions will challenge us to think about the role images play in constructing our response to the landscape, the seascape and the world around us--and the meanings we impute to them.

Ford logo
This project is made possible by Ford Motor Company Fund.


Additional support for these exhibitions and related programming has been provided by the Blakemore Foundation, the University of Michigan's Center for Japanese Studies, Center for Chinese Studies, Center for World Performance Studies, and 19th Annual MLK Symposium Planning Committee and the Office of Academic Multicultural Initiatives, and by the Friends of the Museum of Art.




Andô Hiroshige's 53 Stages of the Tôkaidô

January 21, 2006–April 2, 2006

Pubished in the 1830s, Andô Hiroshige's famous series of woodblock prints of the Tôkaidô, Japan's great coastal road, view the Japanese countryside through an idyllic lens. No trace is visible of what was then already a century of urbanization, severe grain shortages that led to peasant riots, or impending threats of imperialist powers. This print series won immediate popularity among armchair travelers, and modern viewers in Japan and the West have seized upon Hiroshige's countryside vignettes as emblematic of an enduring, "essential" Japan.

Complete sets of the original series of 53 Stages of the Tôkaidô, are extremely rare. This exhibition brings to Ann Arbor a little-known treasure from the Allentown Art Museum, which has been publicly exhibited only once before.

Ford logo
This exhibition is made possible by Ford Motor Company Fund.


Additional support for the exhibition and related programming has been provided by the Blakemore Foundation, the University of Michigan's Center for Japanese Studies, the Japan Business Society of Detroit Foundation, and the Friends of the Museum of Art.


53 Stages of the Tôkaidô: Shôno, Sudden Shower

Andô Hiroshige (Japanese, 1797?-1858)
53 Stages of the Tôkaidô: Kameyama, Clearing after Snowfall
1831-34
Color woodblock print
Allentown Art Museum, Gift of Mr. and Mrs. Fowler Merle-Smith

53 Stages of the Tôkaidô: Kameyama, Clearing after Snowfall

Andô Hiroshige (Japanese, 1797?-1858)
53 Stages of the Tôkaidô: Kambara, Night Snow
1831-34
Color woodblock print
Allentown Art Museum, Gift of Mr. and Mrs. Fowler Merle-Smith

53 Stages of the Tôkaidô: Kambara, Night Snow

Andô Hiroshige (Japanese, 1797?-1858)
53 Stages of the Tôkaidô: Shôno, Sudden Shower
1831-34
Color woodblock print
Allentown Art Museum, Gift of Mr. and Mrs. Fowler Merle-Smith

 




Passage to Angkor: Photographs by Kenro Izu

January 21, 2006–April 2, 2006

Angkor #93, Angkor Wat

Kenro Izu (b. 1949)
Angkor #79, Bayon
1994
Platinum print
Copyright Kenro Izu, Courtesy of Friends Without A Border

Angkor #79, Bayon

Kenro Izu (b. 1949)
Angkor #93, Angkor Wat
1994
Platinum print
Copyright Kenro Izu, Courtesy of Friends Without A Border

The haunting photographs of Kenro Izu depict the monumental stone temple-mountains of the great Khmer empire of ancient Cambodia as they appear today, ravaged by centuries of neglect and the all-devouring jungle. As photographed by thousands of tourists, the temples of Angkor are a picturesque subject that readily fulfills our demand for something exotic yet safely in the past, part of the long-ago and far-away. Yet Izu's lens is never the instrument of an Orientalist gaze: on the contrary, he draws our attention to the aesthetic and architectural genius of the ancient Khmer people, while compelling us to take responsibility for the preservation of this extraordinary site-just as Angkor is being rediscovered and transformed into a symbol of national unity by the Khmer people themselves. Kenro Izu is a Japanese photographer based in New York City. Passage to Angkor, one of his best-known series, has captivated audiences across the globe. This exhibition will be its first showing in Michigan.

Ford logo
This exhibition is made possible by Ford Motor Company Fund.


Additional support for this exhibition and related programming has been provided by the Blakemore Foundation, the University of Michigan's Center for World Performance Studies, the 19th Annual MLK Symposium Planning Committee and the Office of Academic Multicultural Initiatives, and the Friends of the Museum of Art.




The Idyllic Retreat in Chinese Landscape Painting

January 21, 2006–April 2, 2006

The Lofty and Untrammeled Hermit, in the style of Wang Meng

Hou Mougong (Hou Mou-kung)
China, active 1569-1604
The Lofty and Untrammeled Hermit, in the style of Wang Meng
ca. 1573-1619
hanging scroll, ink and color on paper
Museum Purchase, 1959/2.83

The works in this exhibition are by several artists of the Ming- and Qing- period China (14th through early 20th century) whose subject was landscapes of retreat–a time-honored theme associated with "the superior man" who found moral and spiritual cleansing when surrounded by lofty mountains or pure streams and lakes. It was the 11th-century court painter Guo Xi who first articulated in both his writings and his paintings the concept of a landscape that the viewer could (virtually) wander through, shedding the detritus of civilization. A few centuries later, this concept had so thoroughly shaped the landscape painting tradition that artists of all classes and political persuasions painted landscapes through an idealizing, nostalgic lens, free of all traces of contemporary life. All of the works in The Idyllic Retreat in Chinese Landscape Painting are from the collections of the University of Michigan Museum of Art.

Ford logo
This exhibition is made possible by Ford Motor Company Fund.


Additional support for the exhibition and related programming has been provided by the Blakemore Foundation, the University of Michigan's Center for Chinese Studies and MFA Program in Creative Writing, and the Friends of the Museum of Art.




Hiroshi Sugimoto: Time Exposed

January 21, 2006–April 2, 2006

Time Exposed, on loan from the Museum of Contemporary Art in Chicago, presents fifty of the artist's most elusive works-seascapes from around the world. Devoid of narrative content, these meditative views of sky and water contain no birds, landmarks, or other features to distract from the elegantly minimalist views. Sugimoto's seascapes employ short exposure times to capture every wave and undulation of the sea's surface. The resulting images reveal the effects of time of day, weather, and surface of the water. Speaking of these works, the artist said: "Ever since the first men and cultures appeared, they have been facing seas and scenes of nature. The landscape has changed over thousands, millions of years, man has cultivated the ground, built cultures and cities, skyscrapers. The seascapes, I thought, must be the least changed scene, the oldest vision that we can share with ancient peoples." Sugimoto began working on the seascapes in 1980, thinking that the subject would yield interesting content for several years. However, he found the infinite variability presented by the sea and sky to be something that he continued to discover new material for him to explore for many years, "Using the same materials, water and air, I just amaze myself at how I see things differently and new. So I have to keep investigating."

Ford logo
This exhibition is made possible by Ford Motor Company Fund.


Additional support for the exhibition and related programming has been provided by the University of Michigan's Center for Japanese Studies and MFA Program in Creative Writing and by the Friends of the Museum of Art.


Hiroshi Sugimoto
Sea of Japan, Hokkaido from the portfolio Time Exposed
1986
Photolithograph and text on paper
Unnumbered edition from the first edition of 500
Collection Museum of Contemporary Art, Chicago, gift of Maremont Corporation by exchange
1993.25.1-50
Photography (c) Museum of Contemporary Art, Chicago

Hiroshi Sugimoto
Black Sea, Ozuluce from the portfolio Time Exposed
1991
Photolithograph and text on paper
Unnumbered edition from the first edition of 500
Collection Museum of Contemporary Art, Chicago, Gift of Maremont Corporation by exchange
1993.25.1-50
Photography (c) Museum of Contemporary Art, Chicago