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Current Exhibition

Kawamura Memorial DIC Museum of Art × Michio Hayashi
Quiet Dislocations: Notes on Contemporary Art

Jasper Johns, High school days, 1969
© Jasper Johns / VAGA, New York & JASPAR, Tokyo, 2017  C1343

July 8 - August 27, 2017
9:30 - 17:00 (last admission 16:30)
Mondays (except July 17), July 18
DIC Corporation
Chiba Prefecture, Chiba Prefectural Board of Education, Sakura City, Sakura City Board of Education


The Kawamura Memorial DIC Museum of Art proudly presents the next edition in our Collection Viewpoint; which is a series of exhibitions that seeks to re-examine the works of art in our collection from new perspectives. The focus this time is works of modern and contemporary painting that form the core of the museum’s collection; and the viewpoint from which the roughly ninety selected works are examined is that of art historian and critic Michio Hayashi, whose unique perspective will surely shed new light and bring new pleasure to the viewing experience.

Works created by artists such as Jackson Pollock, Ad Reinhardt, Morris Louis, Frank Stella and others in Modernism’s quest for the essence of painting as an autonomous genre are said to represent a pinnacle of postwar American art. As a result of these artists’ work, painting reached a state of saturation as a self-concluded medium and quickly went into decline, with artists in the 1960s turning to a diversifying variety of non-painterly media such as three-dimensional works. However, painting would never disappear, and today it is bringing to us works in rich abundance like never before. Michio Hayashi’s observation and contemplation of the development of this perpetual, undying art of painting has led to the birth of unique new terms to describe its progress. In this exhibition, four such terms have been chosen to explore the potential of painting to serve as a model for human sensibilities, imagination, and thought.

We present this exhibition in hopes that the vision and thoughts of Michio Hayashi, reflected in it, will lead to new insights into the breadths and depths of the issues that painting addresses.


. Painting and Closed Rooms: Quiet dislocations of vision

With works like this photograph of Matisse in his studio by Brassaï, this section of the exhibition explores the painters’ closed rooms (studios and private living spaces) as spaces that nurtured their desires to see and relationships with the object(s) of their gaze.

The Artists: Henri Matisse, Pierre Bonnard, Pierre Auguste Renoir, Brassaï, Pablo Picasso, Max Ernst, Richard Hamilton, Roy Lichtenstein, Joseph Cornell and others

Brassaï, Matisse with his Model, 1939 1973

Brassaï, Matisse with his Model,1939, 1973

. Reflection and Transparency: The issue of surfaces

Amid the increasing concern over the treatment of the surface (the support) in painting during the 1960s, interest in the issues of reflection of light and image (surfaces that reflect light) and transparency (surfaces that allow light to pass through) intensified among artists and eventually extended to issues of environment. In this section of the exhibition, John McLaughlin and Larry Bell are the central focus of the exhibits.

The Artists: John McLaughlin, Larry Bell, Frank Stella, Tadaaki Kuwayama and others

John McLaughlin X-1958 1958 DR

John McLaughlin, X-1958, 1958

. Lead and Bread: The continual presence of gray and decline into the everyday in postwar art

Taking Jasper Johns’ works with lead as a starting point, this section looks at the important weight that gray, with its non-expressive silence, came to carry in contemporary art and its significance. The discourse also extends to Genpei Akasegawa’s “[Hyperart] Thomasson” and Christo’s “wrapping” works.

The Artists: Claes Oldenburg, Jasper Johns, Genpei Akasegawa, Christo, Richard Hamilton

Jasper Johns Bread 1969 © Jasper Johns / VAGA, New York & JASPAR, Tokyo, 2017 C1343

Jasper Johns, Bread, 1969
© Jasper Johns / VAGA,
New York & JASPAR, Tokyo,
2017  C1343

. The Murmur of the Brush: The [im]personal hand

This section of the exhibition asks what has been said by postwar art about the touch of the brush, what issues it has been associated with and what developments it will see in the future. Introduced here are symbolic works that represent artists’ continued statements on these questions dating back to the nineteenth century.

The Artists: Jackson Pollock, Morris Louis, Cy Twombly, Robert Ryman, Natsuyuki Nakanishi, Lee U-Fan

Natsuyuki Nakanishi R・R・W-Four Beginnings Ⅲ 2002 © Natsuyuki Nakanishi 2017

Natsuyuki Nakanishi, R・R・W-Four Beginnings Ⅲ, 2002
© Natsuyuki Nakanishi 2017

Comment from Michio Hayashi

“The twentieth century represented a major turning point in the history of art - one of the greatest in scale and depth since the Renaissance. The unique collection of the Kawamura Memorial DIC Museum of Art is a rare and valuable lode well worth mining to understand this pivotal century. Into this lode I dug four different shafts. They are (1) the closed rooms that crystallized the gaze of the artists; (2) the reduction to the most minimal elements of art production that was in turn folded back onto the question of the environment; (3) the dull but delicate existence of the everyday; and (4) painting as a stage for [sometimes abrasive] stimulation of the human senses. By “cross-positioning” the works—many of which have not been displayed for some time—I sought to direct light into these four shafts in a way that created an interlacing network. Interwoven into this brightly lighted “maze” are multiple layers of time and space, and several hidden narrow paths and trails. Welcome to the great pleasure of being lost and choosing your own path through.”

Michio Hayashi

Michio Hayashi (Art historian, art critic; Professor, Sophia University)
Born 1959 in Hakodate, Hokkaido. Graduated from the faculty of literature of Tokyo University and received a doctorate in art history from Columbia University graduate school. Post at Sophia Univ. since 2003. Selected writings include Kaiga wa Nido Shinu, arui wa Shinanai [Painting dies twice, or never] (in seven volumes from Art Trace, 2003-9), To Live with the Dead: Re-reading of Baudrillard’s Symbolic Exchange and Death [Shisha to tomoni Ikiru] (Gendai Shokan, 2015), Natsuyuki Nakanishi (Fergus McCaffrey Gallery, 2014) among numerous others.

Lectures and  Gallery Talks

(All will be conducted in Japanese.)

Michio Hayashi (Art Historian, art critic; Professor, Sophia University)
August 5 (Sat.): The Artist’s Gaze, in Closed Rooms
August 12 (Sat.): Freezing Point of Image – The Phenomenology of Perception
August 19 (Sat.): The Anti-Aesthetic of Gray
August 26 (Sat.): Painting as Surface – The Murmur of Silence

Time (each day): 13:30 - 15:00(open from 13:00)
No reservations needed|Limit 80 people|Museum admission necessary

■Gallery Talk
(All will be conducted in Japanese.)

July 8 (Sat.): Michio Hayashi (Art Historian, art critic; Professor of Sophia University)
July 15 (Sat.): Discussion type talk “mite!” by Museum guide staff
July 22 (Sat.): Kiyoko Maeda (Associate Curator)
July 29 (Sat.): Art Teller Tony
August 19 (Sat.): Discussion type talk “mite!” by Museum guide staff
Regularly scheduled tours by the Museum guide staff are held daily except on days of the above-listed gallery talks

Daily 14:00-15:00
No reservations needed | limited to first 60 people | Gather at the Entrance Hall 14:00 |
Museum admission necessary

Repeater Tickets

Repeater Tickets

Repeater Tickets are available at a discounted price for visitors who wish to attend the lectures or gallery talks multiple times during the exhibition.

Adults: ¥2,000 / Students & Seniors over 65: ¥1,600

This can-type badge designed specially for this exhibition serves as the repeater ticket.

Event Stamp Card

Event Stamp Card

For this exhibition, we have prepared an event stamp card. By collecting a stamp on this card for each lecture or gallery talk you attend, the stamps can be exchanged for beverage or dessert coupons based on the number of stamps.

*Up to three exchanges per card.


Original Goods

Stella T-shirts (reissued), postcards,
Japanese handmade stationary and envelopes

At the Museum Shop during this exhibition new original goods including T-shirts, specially finished postcards, Japanese handmade stationary and envelopes and more will be on sale.

Repeater Tickets

Related book

A related book by Michio Hayashi will be published (only in Japanese).


Students & Seniors over 65 with ID
Elementary, middle and high school students
Adult Repeaters
Students & Seniors Repeaters

*With the Repeater Tickets, you can see this exhibition as many times as you wish.

[Group rate over 20 persons (following price is for one person)]

Students & Seniors over 65 with ID
Elementary, middle and high school students

To Group Visitors

[Persons with disability pass (+ one attendant each)]

Students & Seniors over 65 with ID
Elementary, middle and high school students

Handicap Accessibility

  • *Admission also includes entrance to the permanent collection galleries.
  • *Museum Admission includes Grounds Admission.
  • - For students and seniors over 65, discounts require identification such as a Student ID, passport or driver's license.
  • - Students=college, vocational and preparatory school students
  • - Art Education Support Program is available for teachers so they can provide an interactive gallery talk with their students. (¥3500 per class / in Japanese only)

Future Exhibitions

Felice Beato Photographs
September 9 – December 3, 2017

  • Museum