{"id":21578,"date":"2026-04-01T08:00:27","date_gmt":"2026-03-31T23:00:27","guid":{"rendered":"https:\/\/www.waseda.jp\/inst\/wias\/?p=21578"},"modified":"2026-03-23T14:34:39","modified_gmt":"2026-03-23T05:34:39","slug":"%e7%a7%8b%e5%b1%b1-%e5%be%b9-2-6-2-5-19-12","status":"publish","type":"post","link":"https:\/\/www.waseda.jp\/inst\/wias\/other-en\/2026\/04\/01\/21578\/","title":{"rendered":"YOSHIDA, Yuri"},"content":{"rendered":"<h5>Name<\/h5>\n<p>YOSHIDA, Yuri<\/p>\n<h5>Degree<\/h5>\n<p>Ph.D. in Art History<\/p>\n<h5>HP (URL)<\/h5>\n<p><a href=\"https:\/\/researchmap.jp\/yuriyoshida\">https:\/\/researchmap.jp\/yuriyoshida<\/a><\/p>\n<h5>Status<\/h5>\n<p>Assistant Professor<\/p>\n<h5>Research Topic<\/h5>\n<p>Topological Imagination and Postwar American Art: Reconfiguring Space and Time in the 1960s and Beyond<\/p>\n<p>My research in modern and contemporary art history centers on the question of how and why visual forms take on particular configurations at specific historical moments, and what such processes disclose about the entanglement of art and history. Currently, I focus on diverse artistic practices in American art since the 1960s, examining how technological developments and mathematical modes of thought have shaped visual expression, and how such perspectives may open new approaches to writing the history of postwar art.<\/p>\n<h5>Education and Academic Employment<\/h5>\n<p><strong>Education<\/strong><\/p>\n<table class=\"table table-striped table-chronology table-colored-tbhd\" style=\"width: 100%; border-collapse: collapse; height: 115px;\" border=\"0\">\n<tbody>\n<tr style=\"height: 23px;\">\n<td style=\"width: 17.1004%; height: 23px;\">2022<\/td>\n<td style=\"width: 82.8996%; height: 23px;\">Ph.D. in Art History, Rice University<\/td>\n<\/tr>\n<tr style=\"height: 23px;\">\n<td style=\"width: 17.1004%; height: 23px;\">2014<\/td>\n<td style=\"width: 82.8996%; height: 23px;\">M.A. in Art History, Hunter College, The City University of New York<\/td>\n<\/tr>\n<tr style=\"height: 23px;\">\n<td style=\"width: 17.1004%; height: 23px;\">2011<\/td>\n<td style=\"width: 82.8996%; height: 23px;\">M.A. in Value and Decision Science, Tokyo Institute of Technology<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 17.1004%;\">2009<\/td>\n<td style=\"width: 82.8996%;\">B.S. in Mathematics, Tokyo Institute of Technology<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><strong>Academic Employment<\/strong><\/p>\n<table class=\"table table-striped table-chronology table-colored-tbhd\" style=\"width: 100%; border-collapse: collapse; height: 69px;\" border=\"0\">\n<tbody>\n<tr style=\"height: 23px;\">\n<td style=\"width: 17.1004%; height: 19px;\">2024-<\/td>\n<td style=\"width: 82.8996%;\">Adjunct Lecturer, Musashi University<\/td>\n<\/tr>\n<tr style=\"height: 23px;\">\n<td style=\"width: 17.1004%; height: 23px;\">2023-2026<\/td>\n<td style=\"width: 82.8996%;\">JSPS Postdoctoral Fellow at the University of Tokyo<\/td>\n<\/tr>\n<tr style=\"height: 23px;\">\n<td style=\"width: 17.1004%; height: 23px;\">2019-2020<\/td>\n<td style=\"width: 82.8996%;\">William A. Camfield Fellow, The Museum of Fine Arts, Houston<\/td>\n<\/tr>\n<tr style=\"height: 24px;\">\n<td style=\"width: 17.1004%; height: 24px;\">2018-2019<\/td>\n<td style=\"width: 82.8996%;\">The John and Dominique de Menil Fellow, The Menil Collection<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 17.1004%;\">2014-2015<\/td>\n<td style=\"width: 82.8996%;\">Scholar-in-Residence, The Barnett Newman Foundation<\/td>\n<\/tr>\n<tr>\n<td style=\"width: 17.1004%;\">2010-2012<\/td>\n<td style=\"width: 82.8996%;\">Curatorial Assistant, Mori Art Museum<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<h5>Fields of Research Interests<\/h5>\n<p>Modern and Contemporary Art History, American Art History, Historiography and Theory of Art History, Art and Science<\/p>\n<h5>Academic Publications<\/h5>\n<p>[Books]<\/p>\n<ul>\n<li>Yoshida, Yuri. <em>Barnett Newman and Post-war American Abstract Expressionism<\/em>. Tokyo: Chuo Koron Bijutsu Shuppan, 2025 (in Japanese)<\/li>\n<\/ul>\n<p>[Selected Essays]<\/p>\n<ul>\n<li>\u201cThe Influence of Natural Sciences on Walter De Maria\u2019s Production.\u201d <em>The Kajima Foundation for the Arts: Annual Research Report<\/em>, vol. 40, 2023, pp. 283\u2013293 (in Japanese)<\/li>\n<li>\u201cPlacing Abstraction: Barnett Newman and the System of Historicization.\u201d Ph.D. dissertation, Rice University, 2022<\/li>\n<li>\u201cBarnett Newman\u2019s Bird\u2019s-Eye View of His Contemporaries: An Analysis of Several November 1959 Drafts\u201d <em>Bijutsushi: The Journal of the Japan Art History Society<\/em>, 2020, pp. 45\u201349 (in Japanese)<\/li>\n<li>\u201cBarnett Newman\u2019s Perception of Artistic Genealogy and Production as Seen in His Criticism of Ad Reinhardt\u2019s \u201cBlack\u201d Paintings.\u201d <em>NACT Review: Bulletin of the National Art Center, Tokyo<\/em>, 2019, pp. 51\u201368 (in Japanese)<\/li>\n<li>\u201cBarnett Newman\u2019s Self-Historicization: Analysis of Late 1960s Letters on Deposit at the Barnett Newman Foundation.\u201d <em>Bijutsushi: The Journal of the Japan Art History Society<\/em>, 2017, pp. 50\u201366 (in Japanese)<\/li>\n<li>\u201cThe Depth of the Canvas: The Transformation of Spatial Awareness in Barnett Newman\u2019s Paintings.\u201d <em>Bijutsushi: The Journal of the Japan Art History Society<\/em>, 2012, pp. 302\u2013319 (in Japanese)<\/li>\n<\/ul>\n<h5>Other Interests<\/h5>\n<p>Museum-going, regular exercise, translation, reading, and pursuing research even outside working hours.<\/p>\n<h5>Affiliated Academic Organizations<\/h5>\n<p>The Japan Art History Society<br \/>\nThe Japanese Society for Aesthetics<br \/>\nICOM Japan<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Name YOSHIDA, Yuri Degree Ph.D. in Art History HP (URL) https:\/\/researchmap.jp\/yuriyoshida Status Assistant Pr [&hellip;]<\/p>\n","protected":false},"author":6,"featured_media":21504,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[97],"tags":[],"class_list":["post-21578","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-other-en"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.waseda.jp\/inst\/wias\/wp-json\/wp\/v2\/posts\/21578","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.waseda.jp\/inst\/wias\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.waseda.jp\/inst\/wias\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.waseda.jp\/inst\/wias\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/www.waseda.jp\/inst\/wias\/wp-json\/wp\/v2\/comments?post=21578"}],"version-history":[{"count":1,"href":"https:\/\/www.waseda.jp\/inst\/wias\/wp-json\/wp\/v2\/posts\/21578\/revisions"}],"predecessor-version":[{"id":21887,"href":"https:\/\/www.waseda.jp\/inst\/wias\/wp-json\/wp\/v2\/posts\/21578\/revisions\/21887"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.waseda.jp\/inst\/wias\/wp-json\/wp\/v2\/media\/21504"}],"wp:attachment":[{"href":"https:\/\/www.waseda.jp\/inst\/wias\/wp-json\/wp\/v2\/media?parent=21578"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.waseda.jp\/inst\/wias\/wp-json\/wp\/v2\/categories?post=21578"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.waseda.jp\/inst\/wias\/wp-json\/wp\/v2\/tags?post=21578"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}