This artist has gained a broad fan base for her depictions of mysterious scenes lurking in daily urban scenes. This is her first solo exhibition comprising large scale paintings. Sleeping people can be found in her works of parks and highways, as the title indicates. These sleeping people are all completely exposed and sleeping as if gazing at the endless sky above. Her paintings are composed of bold colors and express a mysterious world, balanced between suggested disorder and a premonition of quietude to follow.

There are currently eight research laboratories devoted to engraving, hammering, casting, lacquerware, ceramics, dyeing and weaving, woodwork and glassware, allowing instructors in each department to make free use of various materials and techniques to pursue their artistic practices as a regular working artist. The distinguishing trait of craft is that it makes practical, instrumental uses of materials and techniques, while also requiring that those processes lead to something feasible and applicable. Craft is fundamentally the result of the handmade, of firsthand contact with the material, which must then be cultivated and molded, in order to tap the latent energy inherent in the craft being made. The theme of "contemplating crafts" in this exhibition is a chance to reconsider the singular appeal of artisanal techniques that give shape and form to something through manual flourishes, enabling various possibilities of expression to come about through a creative process that is by turns joyful and worrisome, the artisan's mood shifting just as the colors and shapes of his material do. There is also an accompanying exhibition "Craft Art Exhibition" where some of the participating artists in the main exhibition show their works which can be purchased. Dates: Apr 22 (Tue) - May 25 (Sun), 2008 Closed on Mondays (Except: Open on May 5 (Mon); Closed on May 7 (Wed)) Hours: 10:00-18:00 Place: Geidai Art Plaza (located in the University precinct) Admission: Free

This exhibition displays various works on the theme of the goddess Venus, dating from antiquity through the Renaissance and early Baroque eras. The exhibition, with its selection of approximately 70 paintings, sculptures, and decorative art works, reveals how the myth of Venus stimulated and inspired the artists of antiquity. It will also consider ways in which Venus iconography was revived and developed during the Renaissance resurrection of classical culture. Thanks to the generous cooperation of the Florence Museums Association, we have been able to include the Venere di Urbino, a masterpiece by the major Venetian painter Titian, from the Uffizi Gallery. Images of Venus from other districts of Italy will also be displayed in this exhibition. [Image: Titian “Venus of Urbino” (1538) Oil on canvas, 119 × 165ccm Galleria degli Uffizi, Florence Photo: Antonio Quattrone]

This exhibition presents a wide range of works created by students at Tama Art University and Musashino Art University. Based on the theme of "fictional creatures", the exhibition has something of a rabid insanity behind it...

Part 1 "Breakfast & Open Studio" April 26th (Sat) - May 2nd (Fri) 8:00-12:00 Part 2 "Exhibition & Open Studio" May 3rd (Sat) - 18th (Sun) 12:00-20:00

80 prizewinning works from the Asia-Pacific competition will be on display.

This is the first solo exhibition in Japan by Elisabeth Kopf, an illustrious Austrian graphic designer based in Vienna. She was selected to become a member of the prestigious AGI (International Association of Graphic Designers) in 2006. Kopf works with visual concepts that have been refined and manipulated in order to take into account the potential responses the work will arouse in the viewer. Her work is also possessed of a generous vision and full of emotional affect, reflecting her belief in the power of communication to connect people. In order to help kick her own smoking habit, she started the "Air Cigarette" series of works in 2002 as an art project. This is the Tokyo version of that project, showcasing a total of 6 related works. Opening reception: April 24th (Thu) 19:00-21:00

The development of museum studies in Japan began with surveys and studies of the entire country conducted by the Kyoho shogunate (1716-35), spurred on by the introduction of Western museum studies introduced to Japan with the opening of her seaports. The result of this was the birth of several "museum atlases" that thoroughly scrutinized all manner of things from a scientific perspective. A museum atlas compiles pictures and diagrams together with names, the various tastes of foods, and facts and information pertinent to local areas in something like an almanac or album. With the exchange of information in these albums, obtaining information from other areas helped the process of making copies of such albums with the same information contained within them. Such atlases were not written in the manner of normal books, but rather relied on information that had been researched and then recorded with illustrated memos, tables of contents corrected and altered repeatedly. This exhibition will also display materials that illustrate the painstaking process of actually producing an atlas. Also on display will be materials from China and Meiji-era museum atlases. The atlases on display in this exhibition, as well as the databases containing images of the atlases in the museum's collection will be available for public viewing on the museum's website under the "Tokyo National Museum Information Archive" section.

Art Man Japan, a young group of butsudan (Buddhist altar) craftsmen from Mikawa, will exhibit their T-shirt designs at this exhibition entitled "Love My Job, Love My Town." While employing traditional techniques of butsudan making, this collective creates a completely new type of work, transcending the notion of religion that altars are often associated with. Their work has been picked up by magazines, newspapers, and TV programs, netting them much publicity and making their novel take on butsudans something of a sensation. In addition to 10 T-shirts designed by them, this exhibition also presents "Budan" and "Art Man Doll," initial works that made them popular. *The space is closed during the Golden Week holidays.

Tokyo Wonder Site Hongo is pleased to be hosting "Imaginary Museum of the O Collection - Magical Museum Tour Room 3 'Kozo Uchida, Hitoshi Kuriyama and Cobra - Imaginary Hotel Magical'". This exhibition, the continuation of a series launched last year, is composed of works from the Satoshi Okada Collection. Our aim is to provide a permanent venue for works by emerging Japanese contemporary artists, creating a space similar to a permanent exhibition in an art museum. Room 3 will showcase works by three artists: Kozo Uchida, Hitoshi Kuriyama and Cobra, all successful artists in both solo and group shows in Japan and abroad. The concept is "Imaginary Hotel Magical" Exhibition staged in a room at the "Hotel Magical" into which a character named Voo Doo Daddy O wanders into the year 21XX and ends up staying at. Just what exactly is this mystery-filled hotel? How will it affect the visitors? This show, taking place in a series of rooms at an imaginary museum, will run for approximately six months. Future installment in Room 4 and other rooms will feature work by Julian Schnabel, Chiezo Taro, Toshiyuki Konishi and Fumiaki Akahane. Don't miss it! -Opening Reception Date & Time: May 2nd (Fri) 17:00- [Image: Hitoshi Kuriyama "Hotel Magical" (2008) neon light, electric cables, etc.]

This year's Index exhibition themed "destruction" is the fourth in the series. The exhibition is held annually in Kyoto and Tokyo with the support of student volunteers from Kyoto University of Art and Design, Art Studies and Cultural Production department. The exhibition aims to assist young promising artists in promoting their works. In addition, the organizers' hope is that the exhibition will shed light on today's significant social issues through the perceptive eyes of rich expressions of these talented artists. The theme "destruction" refers not only to outwardly violent destruction brought on by war and to the environment, but also to the internal disintegration of systems and and frameworks. The creative process is also closely linked to destruction. These artists' works focuses on the roles and effects of destruction, an unavoidable force in today's society. Opening Reception: May 2nd (Fri), 17:30- [Image: Kazuhito Matsumoto]

A close-up look at Kashiwazaki, Kariwa and Izumozaki, in Niigata Prefecture. Introduces the rich bounty of nature and culinary culture stemming from these tourist spots. - Exhibition of winners from photo contest featuring these regions - Photo exhibition of 51 Kashiwazaki landscapes - Photos of seaside fireworks in Kashiwazaki (includes full-size mockup of fireworks) - Fine produce and specialties from Kashiwazaki

Statues, paintings, and other works will be brought from the Yakushi-ji Temple in Nara for this special commemorative exhibition. This temple is the headquarters of the Hosso School of Buddhism, and this year marks 1300 years since the one-time national capital Heijo-kyo was established in Nara. Please see website for details on related events.

Exhibition by five artists who create artwork for record jackets, logos and other design projects. Opening Party : April 25th 18:00-

Bugaku is a type of music with accompanying dance performance, derived from those created in ancient China and Korea, and imported to Japan in the late 8th century. During the Heian period (794-1192) it developed a style unique to Japan as the official performing art at the imperial court, held during Buddhist ceremonies and for sheer entertainment. As the popularity of bugaku thrived, the costumes evolved and elements of aristocratic attire were incorporated into the exotic style, resulting in distinctive designs. Since the initial refinement of the Japanese style, bugaku continued as a traditional theater art performed in Buddhist and Shinto festivals, using the traditional costumes, modified in accordance with changes to the aesthetic sense and textile techniques of subsequent periods. Unfortunately, due to the perishable nature of the costumes themselves, the number of surviving works is insufficient to accurately trace the history. Most of the extant bugaku costumes were used by Nanto Gakubu, the official bugaku troupe in Nara, or at temples, including Shitennoji in Osaka and Nikkosan Rinnoji in Tochigi, from the mid Edo (1603-1868) to Meiji periods (1868-1912). However, there are some earlier examples of costumes made in the medieval style, such as those from the Kamakura period (1192-1333) preserved at Toji (Kyoogokokuji) in Osaka, and the Muromachi period (1392-1573) preserved at Koyasan Amanosha in Wakayama. The Tokyo National Museum has been researching the history of bugaku costumes by creating copies of these. A selection of bugaku costumes and masks preserved at Koyasan Amanosha also forms part of the museum collection. Many of the bugaku costumes previously featured in displays in the Main Gallery are of the style developed in the late Edo period, which continues to be used today. The current display also features examples from the Muromachi period, and copies of the costumes from the Kamakura period, to show the changes made to the designs of traditional bugaku costumes to acquire the present style.

This exhibition introduces the daily lives of the Ainu people by focusing on their tools for weaving, hunting and fishing in addition to their daily clothes and wooden vessels. The Ainu people inhabited the harsh and forbidding northern territory of Hokkaido Island and surrounding islands. They revered nature as gods and by making their livelihoods through hunting, gathering, fishing, and farming were able to co-exist with nature. They wove their own fabrics; producing uniquely styled garments that were decorated with a rich variety of embroidery. Using arrows and spears with poison-tipped points (poison was made by each household according to its own formula), they hunted brown bears, Hokkaido Sika deer, hares, foxes, raccoon dogs, White-tailed eagles and Steller's sea eagles. Eagle feathers were considered precious goods for trade.

The Japanese lacquerwork technique of maki-e had advanced tremendously by the Muromachi period. It had reached a stage of such refinement where almost all techniques known to us today were already invented and employed, furthermore employed in combinations, achieving complicated expressions through artful use of lacquer and other material. Influenced by the literary trend of the era, motifs of poetic nature were preferred. Many extant examples of maki-e lacquerwork dating to the Muromachi period are based on famous waka poems. In addition, the organized trade with Ming China was energetically pursued, also with the support of the government, allowing an immense amount of import wares from China as well as other countries to enter Japan. In the Muromachi period, import articles from China and Korea were treasured as karamono, an expression similar to the term 'chinoiserie' of 18th century Europe. Amongst the military elite with the shogunal house leading the trend, it was also popular to furnish the interior with vast amounts of karamono artifacts. This karamono trend had a multi-faceted effect. In the field of lacquerworks, Chinese choshitsu (lacquer carving) techniques encouraged the advancement of its Japanese counterpart, such as tsuikoku (carved black lacquer) and tsuishu (carved red lacquer) inspiring the kamakura-bori carving, and the technique of chinkin (application of gold to achieve a contrast effect with the lacquer) developing from the Chinese sokin technique. Initially just copied from continental artifacts, the Japanese lacquerwork technique as well as design advanced and grew indigenous to Japan, producing many individual and characteristic wares.

This exhibition presents painting and illustrations by artist Yumeji Takehisa（1884-1934). His illustrations were seen in a number of publications. This exhibition aims to introduce the life of this multi-talented individual who was active as an illustrator, poet, critic, calligrapher, designer, and producer. Gallery Talk: May 11th (Sun), 15:00 [Image: Senoh Sheet Music Illustrated by Yumeji Takehisa "Yoimachigusa (Evening Primrose)" (1934)]

Souji Omokawa became famous as an illustrator of adventure stories for children in the period just after World War II. His illustrations helped spark the imagination of children in the postwar period, and the books he illustrated were extremely popular back in those days. This exhibition presents approximately 400 of his original illustrations. [Image: "Shonen Kenya" 5th Edition (1953)]

This exhibition highlights Paris's golden age as an art capital of the world from 1830 to 1930. 150 works depicting the shifting landscape and nature of France from this period are on view. Commemorative Lectures: "19th Century the Seine and Paris" Date: April 26th (Sat) 14:00-16:00 Lecturer: Jean-Marc Leri/ Musee Carnavalet "Paris, Art of 100 Years" Date: May 11th (Sun) 14:00-16:00 Lecturer: Yoichiro Iide/ Tokyo Junshin Women's College Location: Lecture Hall Capacity: 240 people (free, first come first served) Doors open at 13:00. [Image: Pierre-Auguste Renoir "Madame Robert de Bonnieres" (1889) Oil on canvas, 117 x 89cm Musée du Petit Palais ©Photo RMN-©Bulloz/ distributed by DNPAC]

This is the third edition of the exhibition series "Graphic Trial," which is based on the "execution of beauty." Relief printing directors and four leading art directors have collaborated to produce offset prints and exploring the possibilities of graphic expression in the process. Masaaki Hiromura, Hiroaki Nagai, Kaoru Takai, and Mari Yonetsu are the selected designers for this collaboration. Each of them has tackled various themes and experimented with all sorts of printing techniques in order to produce a final, polished image. This exhibition presents their production process, as well as posters created through a number of trials. Design Talk in Toppan Vol. 5 - Inviting the Creators May 24th (Sat) 15:00-17:00 (doors open at 14:30) Location: Printing Museum, Gutenberg Hall Reservation required (between April 14th to May 12th) Please refer to the website for more information.

Bauhaus began in Weimar in Germany as a school for design in 1919. Centered on Weimar, Dessau and Berlin, Bauhaus was forced to close down in 1933 with the rise of the Nazi regime. However, even 75 years after its founding, it continues to have a profound influence on design and architecture around the world. This exhibition focuses on how Bauhaus was variously interpreted and appropriated during different periods of its history, and on the Dessau period in particular. During its short period of activity, concrete manifestations of the ideals of its founder, Walter Gropius, were constructed in Dessau. From his student work that shows the influences of his formative education, right up to his designs for stage sets, products from his atelier, drawings, and photographs, this show showcases the broad range of Bauhaus activities. The show also includes architectural sections, blueprints and diagrams, models and images. The selection features a total of around 260 works, 241 of which are from the Bauhaus Dessau Foundation's collection. 146 of them will be exhibited in Japan for the first time.

Korean tea bowls are ceramic bowls made in Korea and used as tea bowls in Japan, and it was here that they became an especially admired form of ceramic ware. Originally mass produced in provincial Korean kilns for everyday use, they caught the attention of Japanese tea masters for their rustic simplicity. They embody the aesthetic principles of the wabi style of tea ceremony, and so became highly prized during the Tensho era (1573-92) when this was perfected. They continued to gain popularity and tea masters began to specially order their favorite style bowls. Despite being adopted into Japanese culture and the fond appreciation the Korean tea bowls received here, it is undeniable that their unique beauty was created by the potters from the privately owned kilns during the Joseon dynasty. Therefore, in recent years scholars have begun working to define the place of Korean tea bowls within the history of the ceramics and international exchanges of the Joseon dynasty. The research has included aesthetic appreciation and the study of documentary evidence, as well as the study of material evidence from excavations of kiln sites and Japanese historic sites, and has made significant progress over the last 20 years. This thematic display features Korean tea bowls from the Museum's collection, many of which were donated by Messrs. Matsunaga Yasuzaemon (1875-1971) and Hirota Matsushige (1897-1973). It includes many excellent works and a wide variety of pottery types such as Ido, Totoya, and Hori-Mishima. Korean Tea Bowls Imported to Japan Room 14, Honkan April 8, 2008, 14:00 Speaker: Imai Atsushi, Curator of Chinese Ceramics (In Japanese) [Image: Tea Bowl, Oido type, Known as Uraku, Joseon dynasty, 15-16th century, Korea(Important Art Object, Gift of Mr. Matsunaga Yasuzaemon)]

Fumio Asakura is known as the father of Japanese Modern Sculpture. Originally built as Asakura's home atelier, Asakura Choso Museum has a permanent exhibit of his major works. Closed from Dec. 29 to Jan. 3.

Over 300 treasures derived from Horyuji Temple are stored and displayed here.

The First floor of the Heiseikan is dedicated to the display of archaeological finds from Japan.

Masterpieces of Japanese Art, spanning the Jomon era to the Edo period.

Seiki Kuroda (1866-1924) left huge footprints in modern japanese art as a painter, pedagogue and art administrator. He helped revolutionize mid-Meiji period painting, and his influence reached far and wide throughout the literary-art world. 126 oil paintings, 170 dessins, sketchbooks and letters are on exhibit in the Memorial Hall.

The NMWA was established in 1959 around the core Matsukata Collection as Japan's museum specializing in Western art. The Main Building displays pre-18th century paintings, including those by Ritzos, Van Cleve, Veronese, Rubens, Van Ruysdael, and Ribera. The New Wing displays 19th to early 20th century French paintings, including works by Delacroix, Courbet, Manet, Renoir, Monet, Van Gogh, Gauguin, and Moreau. The galleries also feature works by the next generation of artists, such as Marquet, Picasso, Soutin, Ernst, Miro, Dubuffet and Pollock. The NMWA drawing collection centers on works by such 18th to 19th century French artists as Boucher, Fragonard, Delacroix, Moreau, Rodin, and Cezanne. The prints collection features works by Durer, Holbein, Rembrandt, Callot, Piranesi, Goya, and Klinger, ranging from the 15th century through the early 20th century. The NMWA also houses some 58 sculptures by Auguste Rodin, including three works displayed in the museum's forecourt, the Thinker, the Gates of Hell, and the Burghers of Calais. Other pre and post Rodin sculptors featured in the collection include Carpeaux, Bourdelle and Maillol.

Artworks and crafts from China, the Korean peninsula, Southeast Asia, India, the Middle East, and Egypt, organized by area and genre.

Works, studies, sketches, ceramics, kimonos, artworks by friends, letters, bamboo crafts, and other belongings of Yokoyama Taikan are on display. Exhibits will change every three months. Closed during summer, winter, and rain season. May be closed in heavy snow or hurricane.