List of Papers for IMC2021

  1. Barbara Balfour. 白黒 / Black & White
  2. Marina Borodina. Teaching Mokuhanga in Russia
  3. Ryota Cho. 張 諒太.「ウィリアム·ニコルソン《Xylographer》から推察する西洋式彫刻道具グレイヴァーよる木版彫刻法」-美術雑誌『明星』におけるニコルソン木版の受容-  A Speculation on the Use of Woodcut Engraving in William Nicholson’s Xylographer: The Reception of Nicholson’s Woodcuts in the Arts Magazine ‘Myojo’
  4. Claire Cuccio. Passage through Asia. The Cultural Diversity of Mokuhanga in Nepal
  5. Bess Frimodig, Karen Helga Maurstig. The lowest Instagram possible. Hagaki Xylograms – Postcards from Every Day
  6. Paul Furneaux. Ink, Sweat and Tears: Sumi Ink as a key element in the work of Paul Furneaux
  7. Jennifer Giaccai. Identifying different types of sumi using Raman spectroscopy
  8. Lari Gibbons. Mokuhanga Journey: Creating intersections through collaboration and education
  9. Paola Beatriz Gonzalez Farias. Japanese woodcut: the view from Chile
  10. Keiko Hara, Akira Takemoto. Water Dreams: Mokuhanga in Walla Walla
  11. Wuon-Gean Ho. Making colour bounce, blend and break: a macroscopic and microscopic examination of mokuhanga techniques
  12. Roslyn Kean. Tattoo-Ink of the Print and Ink of the Skin
  13. Irene Keckes. Contemporary Mokuhanga and Print Installation
  14. Shoichi Kitamura. 北村昇一. Donald Groscostさんのドローイングを木版画にするためのプロセス The Process of Turning Donald Groscost’s Drawings into Woodblock Prints
  15. Yuta Konno. 海外における水性木版画ワークショップ活動による技法普及への貢献とその報告ー次の世代へ Contributing to the Spread of Water-Based woodblock Techniques through Overseas Workshops
  16. Marco Leona. A timeline for the introduction of synthetic dyestuffs in Japan during the late Edo and Meiji periods
  17. Xiaoqiao Li. Image Decaying: exploring materials, surfaces and time within printmaking and moving image editing
  18. Jennifer Mack-Watkins. The Influence of Political and Social Issues Using the Practice of Mokuhanga as a Change Agent
  19. Shahida Mansoor. Self-Expression in the Art of Mokuhanga
  20. Terry McKenna. The Tou-no-ha Mokuhanga School – From Hiroshima to the World
  21. Deborah Metz. Exploring an Interdisciplinary Approach to the Print Experience
  22. Tuula Moilanen. Sumi Ink and the Woodblock Printed News Bulletins during the Edo-Meiji Period
  23. Ruth Pelzer Montada. 21st-century Ukiyoe
  24. Yoonmi Nam. Arranged Flowers & Four Seasons: Prints Inspired by East Asian Still Life Traditions
  25. Julie Nelson Davis. In the Refuge of Pictures: Japanese illustrated Books and the Avant-Garde Photographer
  26. Hellory Maria Nella Ponte. Beyond Sumi Black and Color: the Light between ‘No Ink’ Karazuri and Tsuyazumi
  27. Endi Poskovic. Craft Inside and Outside Japan: Teaching Mokuhanga
  28. Harriina Raïnä. The Other as Matter – Animal Matter in Mokuhanga
  29. Lucy May Schofield. Borderless – A collaboration across continents
  30. Henry Smith. Lessons from the Tokunō Gift. The State of Japanese Color Woodblock Printing in 1888
  31. Tanja Softic, Katsutoshi Yuasa. Artistic and intercultural collaboration in the medium of mokuhanga
  32. Faith Stone. Nihon Hanga, Buddha woodblocks in historical and contemporary art
  33. Elisabet Alsos Strand. My Practice
  34. Asuka Tsutsumi. Fusion of classical and contemporary techniques: woodcut rubbing print and inkjet
  35. Annu Vertanen. Between Traditions
  36. April Vollmer. Coda: Creative Mokuhanga since 2015
  37. Wang Muyi. 石墨の陰陽(Negative and Positive in Graphite)木版画における墨とグラファイトの応用(Application of Sumi and Graphite in Woodcut)
  38. Carol Wilhide Justin. Study the Old to Discover the New
  39. Aleksander Wozniak. Proportions and line in the Japanese woodcut – Ukiyoe. A subjective approach
  40. Katsutoshi Yuasa. 克俊湯浅.「版画は風のなかを飛ぶ種子 ファンタジーは可能か?」. ‘Prints are seeds that fly in the wind. Is fantasy possible?’