As part of the Community of Images exhibition, we conducted an interview with artist Ko Nakajima in 2023.

Written for Yukihisa Isobe’s retrospective at the Museum of Contemporary Art, Tokyo in 2007, filmmaker Jud Yalkut discusses his work with Yukihisa Isobe.

Shigeko Kubota's review of the TV as a Creative Medium exhibition at the Howard Wise Gallery, May 17 – June 14, 1969. Written for Japanese journal Bijutsu Techō in Japanese, translated into English in 2024 with permission of the Shigeko Kubota Video Art Foundation.

Scholar Nina Horisaki-Christens writes about Ko Nakajima’s ecological visions.

Born in a patriarchal family in Japan, Mako Idemitsu's works explore her inner struggle and identity as a woman, wife, daughter, mother, and a foreigner looking for a home abroad.

Professor and curator Naoko Seki writes about Yukihisa Isobe and his recent practices.

Artist Kyoko Michishita’s report on “Tokyo-New York Video Express” a three-day video art exhibition presented at Tenjo Sajiki in Tokyo in 1974. The event featured 20+ video works that Shigeko Kubota brought over from New York, and works by the members of Video Hiroba.

Antoine Haywood, PhD candidate at the University of Pennsylvania’s Annenberg School for Communication, on the CATV projects of collective Video Earth.

Professor and curator Naoko Seki writes about Yukihisa Isobe and his recent practices.

Jud Yalkut's writing on Yukihisa Isobe, written for the Japanese journal Bijutsu Techō in English, translated into Japanese in 1969. As we could not locate the original manuscript in English, we have translated back into English in 2024 with permission of the Jud Yalkut estate.

As part of the Japanese Expanded Cinema research thread, CCJ partners Go Hirasawa and Hiroko Tasaka interviewed filmmaker Masanori Oe in 2017. Hiroko Tasaka organized the exhibition Japanese Expanded Cinema Revisited at Tokyo Photographic Art Museum in 2017, which included Oe’s Loop Siki No.1 / No.2 / No.3 (1966). Go Hirasawa was the curatorial adviser in the exhibition.

An excerpt from Keiji Uematsu’s 2016 interview with the Oral History Archives of Japanese Art.