October Issue, 2022
CREDITS
Editors-in-Chief: Ye Xinyi, Lan Chang, Wang Ding Ocean
Assistant Editors: Keith Hui King Yin, Lui Wing Yan Renee, Timothy Lo, Wu Yuxin Stella, Yang Shiyue Rachel, Zheng Jingwen Jane
Layout Designer: Lan Chang
Website Developer: Wu Yuxin Stella
A LETTER FROM THE EDITORIAL EDITORIAL TEAM
Kaigetsudo Doshin 懐月堂度辰, Courtesan Writing a Letter 文を書く遊女図, c. 1715. Hanging scroll, ink and color on paper. New York, The Metropolitan Museum of Art.
ARTIST OF THE ISSUE
Riya Chandiramani in her studio. Photo by courtesy of Young Soy Galley.
EXHIBITION REVIEWS
The ride in The Shipyard. Photo by Ye Xinyi.
“Sail Forth”: Tourism, Myth, and Postindustrial Regeneration in Titanic Belfast
Ye Xinyi
Installation view of Turner’s Modern World at the Museum of Fine Arts Boston. Photo by Wu Yuxin.
The Mixed Glass with Flaring Mouth in the “time tunnel”connecting the first and the second chambers. Photo by Zheng Jingwen.
When History Involves in Contemporary Dialogue: Craftmenship and Design
Zheng Jingwen Jane
BOOK REVIEW
Norman Bryson. Looking at the Overlooked: Four Essays on Still Life Painting. Cambridge: Harvard University Press, 1990.
RESEARCH ARTICLES
Hon’ami Kōetsu (calligraphy) and attr. Tawaraya Sōtatsu (underpainting), Poem by Kamo no Chōmei with Underpainting of Cherry Blossoms, 1606. Ink, gold, and silver on paper.
Lineage of Eccentricity: A Kōrin-Kenzan Pottery Collaboration as the Nexus
Katsushika Hokusai II
Arpita Singh, Woman Plucking Flowers, 1994. Oil on canvas. New Delhi, Vadehra Art Gallery.
Narrating an Ambiguous Dream: Diminishing Border between Private and Public in Woman Plucking Flowers (1994)
Lan Chang
Angelica Kauffman, Odysseus Discovers Achilles Amongst the Daughters of Lycomedes, 1789. Oil on canvas. Helsinki: Finnish National Gallery.
Femininity and Masculinity: Jacques-Louis David’s and Angelica Kauffman’s Self-Projection on Gender Representations
Wu Yuxin Stella
Aleksandr Rodchenko, Pioneer with a Bugle, 1930. Gelatin silver print. New York, Museum of Modern Arts.
The Authenticity of Representation and Visual Distortion: Rodchenko’s Use of Perspectives in Photographic Portraits
Anonymous Author
INTERNSHIP EXPERIENCE
M+ Museum Building LED Facade. Photo by Wu Yuxin.
COMMENTARY
John Everett Millais, Ophelia, 1851-52. Oil on canvas. Tate Britain, London.