A diverse selection of contemporary ceramic work by Japanese women, featuring stunning pieces from virtuosic artists   Since World War II, women artists from Japan have made influential contributions to ceramics that have been inadequately acknowledged. This catalogue focuses on thirty-six ceramists who have produced original and technically innovative pieces over the past fifty years while working outside the male-dominated, traditional Japanese studio practice and its countermovements. Both established and emerging artists with diverse styles are presented together to showcase their collective achievements and impact. After embarking on their careers decades ago, Mishima Kimiyo (b. 1932), Tsuboi Asuka (b. 1932), and Ogawa Machiko (b. 1946) continue to produce groundbreaking sculpture that pushes the limits of the clay as a medium. Among the younger artists featured are Konno Tomoko (b. 1965) and Aoki Katsuyo (b. 1972), whose works explore themes ranging from bodily distortion to fantastical decoration. Many of these creators have resisted gendered expectations, whether by approaching traditionally “feminine� subjects like flowers in unconventional ways or by working in so-called masculine modes, including on large scales. All of the selected pieces are from the exemplary private collection of Carol and Jeffrey Horvitz, who have advocated strongly to bring these artists to global attention.   Distributed for the Art Institute of Chicago   Exhibition Schedule:   Art Institute of Chicago (December 16, 2023–June 3, 2024) John & Mable Ringling Museum of Art, Sarasota, Florida (July 27, 2024–May 11, 2025) Ackland Art Museum, The University of North Carolina at Chapel Hill (June 13–August 31, 2025)

Today's economies fail to recognise that we are in a rapidly worsening crisis, reproducing and often worsening vast and harmful inequalities between people and countries. The current models are unsustainable, and at a time when global temperatures are rising and divides are deepening, humanity is left in a rapidly worsening situation of its own making, the destruction of the living world, which will make large parts of the earth uninhabitable. Without access to the knowledge, skills or tools to build a better future, local, national and global economies will continue to fail to address the interlinked challenges of systemic racism, inequalities faced by women, the Covid-19 pandemic and the nature and climate emergency. Across the world, economics students are coming together under the banner of the student movement, Rethinking Economics, to create a better economics - one which can help to create a world where all our children can flourish regardless of their gender, background or birthplace. Drawing on over sixty interviews with students and professionals from identities and backgrounds marginalised in economics and a wide range of global and historical research, this book illustrates the ways in which the discipline is currently not fit for purpose and sets out a vision for how it can be diversified, decolonised and democratised. The struggle to reclaim economics could not be more crucial - our futures depend on it. This book explains how it can be done. This book is relevant to United Nations Sustainable Development Goal 8, Decent work and economic growth -- .

Today's economies fail to recognise that we are in a rapidly worsening crisis, reproducing and often worsening vast and harmful inequalities between people and countries. The current models are unsustainable, and at a time when global temperatures are rising and divides are deepening, humanity is left in a rapidly worsening situation of its own making, the destruction of the living world, which will make large parts of the earth uninhabitable. Without access to the knowledge, skills or tools to build a better future, local, national and global economies will continue to fail to address the interlinked challenges of systemic racism, inequalities faced by women, the Covid-19 pandemic and the nature and climate emergency. Across the world, economics students are coming together under the banner of the student movement, Rethinking Economics, to create a better economics - one which can help to create a world where all our children can flourish regardless of their gender, background or birthplace. Drawing on over sixty interviews with students and professionals from identities and backgrounds marginalised in economics and a wide range of global and historical research, this book illustrates the ways in which the discipline is currently not fit for purpose and sets out a vision for how it can be diversified, decolonised and democratised. The struggle to reclaim economics could not be more crucial - our futures depend on it. This book explains how it can be done. This book is relevant to United Nations Sustainable Development Goal 8, Decent work and economic growth -- .

Craft Across Continents presents 50 objects in two-parts: the first 22 plates focus on works by Japanese makers; the second section of 21 plates on works by American and European practitioners. Marking the mid-way point of the volume is a special 8-page section, printed on a different uncoated paper stock, featuring large-scale, full-page images, including a portrait of the collectors and views of the glass, ceramics, bamboo and other objects as seen in the domestic setting of the collectors' private home. The wide-ranging and highly personal collection includes masterworks of twenty-first-century Japanese wood-fired ceramics, as well as works in porcelain by Satoshi Kino and Machiko Ogawa. Moreover, an additional 20-plus objects were gifted to the Mint in 2021 including further Japanese ceramics, a fine collection of Japanese bamboo sculptures by several generations of makers-a unique feature of the Collection-as well as an indigo resist-dyed wall hanging by Rowland Ricketts, an artist and farmer based in Bloomington, Indiana, using natural dyes and historical Japanese processes to create contemporary textiles. From Europe and the United States, there are major glass sculptures, a seminal installation by Danish maker Tobias Mohl, a mobile by Polish-trained artist Anna Skibska, and fine examples of cast blown, and lamp-worked glass. One of the most spectacular large glazed ceramic vessels in the collection is by the British maker, Gareth Mason. AUTHORS: Jen Sudul Edwards is chief curator and curator of Contemporary Art at The Mint Museum. Joe Earle is an author and curator. He was chair of the Asia, Oceania, and Africa department at the Museum of Fine Arts, Boston and served as vice president and director for the Japan Society Gallery at Japan Society from 2007-2011. Annie Carlano is senior curator of Craft, Design & Fashion at The Mint Museum. Rebecca Elliot is assistant curator of craft, design, and fashion at The Mint Museum. SELLING POINTS: . A wide-ranging and highly personal collection which through both its contents and its structure underscores the subtle interplay of Asian and Western craft practitioners and makers . Reveals how traditional methods of Japanese wood firing and textile dying inform and inspire contemporary makers in Europe and the USA . Accompanies a unique exhibition, which celebrates Lorne Lassiter and Gary Ferraro's unique collection of international craft acquired over decades, and which they have gifted to the Mint Museum to form a central part of its permanent craft collection . A a special 8-page central section features large-scale, full-page images of selected pieces from, and views of the collection as seen in the domestic setting of the collectors' private home 100 colour illustrations

These are exciting times for Japanese bamboo art. May 2017 saw the opening of Japan House Sao Paulo, whose inaugural exhibition 'Bamboo: The Material That Built Japan' drew over 300,000 visitors. From June 2017 to February 2018 the Metropolitan Museum of Art in New York mounted another bamboo show that was seen by about 400,000. From 27 November, the Musee du quai Branly in Paris will present the largest-ever exhibition on the subject. This authoritative catalogue of 323 works from the Naej Collection thus appears at a moment when a new global audience has emerged. The Naej Collection is especially strong in works by leading artists from 1850 to 1950, when great craft dynasties were established and first Osaka and then Tokyo emerged as major centres of artistic basketry. The catalogue breaks new ground by combining dramatic photography with precious documentary information drawn from signatures and inscriptions, making it not merely the visual record of a great collection but the essential reference work for a developing field of connoisseurship. Text in English, Japanese and simplified Chinese.

'Our democracy has gone profoundly wrong. Economists have failed us. Politicians have lied to us. Things must change. This fearless new book will help make it happen' Owen Jones 'An explosive call for change ... packed with original research ... a case study for the question we should all be asking since the crash: how have the elites - in Westminster, in the City, in economics - stayed in charge?' Aditya Chakrabortty, Guardian 'Utterly compelling and sobering' Ha-Joon Chang A century ago, the idea of 'the economy' didn't exist. Now economics is the supreme ideology of our time, with its own rules and language. The trouble is, most of us can't speak it. This is damaging democracy. Dangerous agendas are hidden inside mathematical wrappers; controversial policies are presented as 'proven' by the models of economic 'science'. Government is being turned over to a publicly unaccountable technocratic elite. The Econocracy reveals that economics is too important to be left to the economists - and shows us what we can do about it. 'A rousing wake-up call from a collective of dissident graduate students ... technically assured, well-argued and informative' Robert Skidelsky 'If war is too important to be left to the generals, so is the economy too important to be left to narrowly trained economists ... thought-provoking' Martin Wolf 'An interesting and highly pertinent book' Noam Chomsky