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What is the TAP Review?
The Trans-Asia Photography Review is an international refereed journal (ISSN: 2158-2025) devoted to the discussion of historic and contemporary photography from Asia. Online and free of charge, it is published by Hampshire College in collaboration with the Michigan Publishing, a division of the University of Michigan Library. Two issues are published annually, in the fall and spring. Readers can join our email list to be notified additionally about special events pertaining to photography in Asia.
The study of photography from Asia is a field that is still in its early stages, and we aim to encourage quality, depth and breadth in its development. The TAP Review brings together the perspectives of curators, historians, photographers, anthropologists, art historians and others in an effort to investigate photography from Asia as fully as possible.
The TAP Review is a central location in cyberspace where readers from anywhere can go - to read about previously unknown histories of photography, to engage with new ways of thinking about past and present photographic work, to see photographs that otherwise would be unavailable to them, and to learn about relevant books, archives and symposia.
We welcome proposals for articles, book reviews and curatorial projects, and are open to other suggestions, in keeping with our goal of promoting the fullest possible understanding of photography from Asia. Submission guidelines can be found under the "Participate" heading at the top of our website. The editor can be contacted at email@example.com.
|Who We Are||
Sandra MATTHEWS is a photographer, writer, and Associate Professor of Film and Photography at Hampshire College. Her active interest in photography from Asia began in 1980 when she had the opportunity to research photographic work made in Hong Kong and China.
Reviews and Resources Editor:
Raymond LUM is Librarian for Western Languages in the Harvard- Yenching Library, where he is also curator of the historic photographs collections.
Geoffrey BATCHEN is Professor of Art History at Victoria University in Wellington, New Zealand. His most recent book is Suspending Time: Life, Photography, Death (Japan: Izu PhotoMuseum, 2010).
Abby ROBINSON is a photographer and writer whose photographic work has been published in The New Yorker, The New York Times, ARTnews, and numerous other publications; her articles have been published in the New York Times, Asian Art News, and Photo District News. She edits the Focal Point section of the TAP Review.
Michael CHEN is a photographer who has worked as Galleries Director at the Hong Kong Art Centre (1983-88) and as an art consultant in Taiwan (1989-2007). His photographic work has been widely shown throughout Asia.
Sabeena GADIHOKE is Associate Professor of Video and Television Production at the AJK Mass Communication Research Centre at Jamia University in New Delhi. She is also an independent documentary filmmaker and curator. Her book on India’s first woman press photographer, Camera Chronicles of Homai Vyarawalla (Mapin/ Parzor) was published in 2006. Her current research interests focus on documentary, popular cinema and photo histories of the early decades after Indian independence.
Yi GU is an Assistant Professor of Art History at University of Toronto. Her research focuses on twentieth century Chinese art, photography history, and the politics of cultural translation. Her works on Chinese photography have appeared in journals including The Art Bulletin and Ars Orientalis.
is an Assistant Professor of Art History at University of Toronto. Her research focuses on twentieth century Chinese art, photography history, and the politics of cultural translation. Her works on Chinese photography have appeared in journals including The Art Bulletin and Ars Orientalis.
GU Zheng is a photography critic and curator based in Shanghai, where he is Professor in the School of Journalism and Vice-director of the Research Center for Visual Culture at Fudan University. He has published many books in Chinese on contemporary photography and photographic history, and has curated numerous exhibitions of Chinese photography in China and abroad.
KANEKO Ryuichi is Guest Curator at the Tokyo Metropolitan of Photography. He has written widely on Japanese photography, and his most recent books in English are Japanese Photobooks of the 1960's and 70's( with Ivan Vantanian) and Japan's Modern Divide: The Photographs of Hiroshi Hamaya and Kansuke Yamamoto (with Judith Keller, Amanda Maddox, and Kotaro IIzawa).
Anthony LEE is Professor of Art History at Mount Holyoke College. He is the founder and editor of the series "Defining Moments in American Photography", published by the University of California Press. His most recent book is A Shoemaker's Story: Being Chiefly about French Canadian Immigrants, Enterprising Photographers, Rascal Yankees and Chinese Cobblers in a Nineteenth-Century Factory Town (2008).
Young Min MOON is an artist, critic, and Associate Professor in the Department of Art at University of Massachusetts, Amherst. His work has been exhibited in the U.S., Canada, and South Korea. He has published essays on contemporary Korean art and curated the traveling exhibition "Incongruent: Contemporary Art from South Korea" (2005-2007).
Samuel MORSE is Howard M. and Martha P. Mitchell Professor, Art and the History of Art and Asian Languages and Civilizations at Amherst College. A prolific writer on Japanese art, Morse curated, in 2012, the exhibition "Reinventing Tokyo: Japan's Largest City in the Artistic Imagination" at the Mead Art Museum, and edited the accompanying book.
David ODO is the Bradley Assistant Curator of Academic Affairs at the Yale University Art Gallery. He is currently completing a monograph, to be published by the Peabody Museum Press (Harvard University Press), about the anthropological co-opting of early Japanese souvenir photographs.
Christopher PHILLIPS has been curator at the International Center of Photography in New York City since 2000. In 2004, he co-organized (with Wu Hung) the first major U.S. exhibition of Chinese contemporary photography, "Between Past and Future: New Photography and Video from China." In recent years he has curated the exhibitions "Atta Kim: On-Air" (2006), "Shanghai Kaleidoscope" (2008), "Heavy Light: Recent Photography and Video from Japan" (2008) and "Wang Qingsong: When Worlds Collide (2011).
Claire Roberts is a historian of Chinese art and a curator. She is a Senior Lecturer in Art History at the University of Adelaide in Australia. Roberts has published widely on Chinese visual and material culture including photography, and curated numerous exhibitions. Her most recent book is Photography and China.
Ajay SINHA is Professor of Art History at Mt. Holyoke College, where he teaches courses on Indian photography and film. He has authored Imagining Architects: Creativity in Indian Temple Architecture (2000), and edited, with Raminder Kaur, Bollyworld: Popular Indian Cinema through a Transnational Lens (2005).
Alexander SUPARTONO is an independent curator and a lecturer in the Department of Photography at the Jakarta Art Institute. His exhibitions have been showcased at the Goethe Institute and at international festivals.
Ayelet ZOHAR is an artist, curator and visual culture researcher specializing in photography from Japan. She is currently a lecturer in the Asian Studies Department at the Hebrew University, Jerusalem and the University of Haifa, Israel. Zohar was the editor of TAP Review Volume 2 issue 1 entitled: The Elu[va]sive Portrait: In Pursuit of Photographic Portraiture in East Asia and Beyond (Fall 2011).
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Copyright to the Trans Asia Photography Review (sometimes referred to herein as "Journal") is held by its publisher, Hampshire College, while copyright to individual articles appearing in the Journal remain with the article's author(s), unless otherwise specified. Except as otherwise provided, Hampshire College, and the individual article authors, grant permission for material in this publication to be copied for use by nonprofit educational institutions, and individual scholars and educators, for scholarly or instructional purposes only, provided that (1) copies are distributed at or below cost, (2) the author, the publisher, and the Journal are identified on the copy, and (3) proper notice of the copyright appears on each copy. For any other uses of the Journal, or of individual articles, permission must be obtained from Hampshire College, or the individual author(s), respectively.