The Rise of Postmodernism: A Backlash Against the Pursuit of Purity in Art

Modern art emerged and gained prominence from the late 19th century to the mid -20th century. This period of Modernism was characterized by the development of various influential movements, including Impressionism, Post-Impressionism, Expressionism, Cubism, and Surrealism. Modernist artists sought to challenge traditional conventions and explore innovative visual and expressive techniques. The dominant modernist aesthetic would favor a unified pursuit of novel forms of expression, often regarded as striving toward a universally valid ideal.

Historically, art served to depict various real-life events, religious themes, and narratives rooted in the fabric of society. However, these connections were gradually abandoned, and art began to drift away from everyday life in pursuit of an autonomous ideal of "art for art's sake." This shift gave rise to what came to be known as "high art" or "fine art"—forms of artistic expression detached from social realities—that became overly valued, reinforcing cultural hierarchies.

In response to this, postmodern art emerged in the 1960s as a critique of both the distorted values and critical frameworks of modern art. It challenged the modernist pursuit of extreme purity and its claims to a biased form of universality.

Takenaka originally worked as a pharmacist, but in the 1990s, she left her job and spent a short time in San Francisco for study, which was to become a turning point that ultimately led her to art. During her time in the U.S., she encountered a range of contemporary artworks influenced by postmodernism, which prompted a fundamental question: “How can this be considered art?” This encounter with contemporary art proved to be a life-changing experience for her. Driven by a desire to explore how contemporary art is situated within the fields of art theory, aesthetics, and art history, Takenaka enrolled in the School of Letters at Osaka University, where she majored in aesthetics.

“Art is fundamentally intertwined with society, and artists engage not only in pure creative expression but also in broader social issues, including politics, economics, and the art market. Historically, however, art history has been shaped by Eurocentric values, centered on white male perspectives, and there has been a growing awareness—within the field of art history itself—that it has contributed to reinforcing a biased cultural structure,” Takenaka explains. In the 1990s, when Takenaka was in graduate school, academic discussions, and translations calling for a critical reassessment of the art system and art history began to gain traction in Japan. “It was during this period, as I was conducting my graduate studies, that I became interested in the relationship between contemporary art, aesthetics and society,” she recalls. “This interest led me to write my doctoral dissertation, focusing on that very relationship.”

Art in Society: Photography as a Mirror of the Real

Takenaka’s initial interest in contemporary art led her into the field of art studies, but as her research progressed, her focus expanded to the broader theme of art’s role within society.

She participated in a major research project, titled "Globalization and Transformation in the Social System of ‘Art’—Toward a Construction of a Theory of Contemporary Art/Visual Culture" after receiving her Ph.D. Continuing further, Takenaka says, “Through this project, I had the opportunity to collaborate not only with scholars of American, German, and Russian art, but also with sociologists, media scholars, and museum curators.” Further, she says, “Engaging with experts studying art as a social institution and system, I deepened my interest in the societal functions and significance of art.”

In the pursuit of this theme, Takenaka selected photography as her primary research focus. Unlike paintings and other art forms, which allow artists to freely construct a world entirely from imagination, photography’s defining characteristic is its capacity to capture fragments of the real world. Even when a photograph is staged, it always involves a subject and can be understood as a technique that directly reflects certain aspects of reality.

Invented in the 19th century, photography was followed in the 20th century by the rapid expansion of media such as film, television, and photographic magazines. The images disseminated through these channels have profoundly shaped our perception of reality and influenced the social environments we inhabit, to the extent that mass media itself has come to constitute a form of reality. Among these image technologies and media, photography stands out as one of the most significant, which motivated Takenaka to explore its role in society.

Another reason for Takenaka’s focus on photography is its ubiquity in contemporary life. For example, in today’s world, smartphones enable us to take photographs in place of written notes, and to share and exchange images daily, making image creation accessible to virtually everyone. At the same time, an online aesthetic culture surrounding photography has emerged and become widespread on social media, especially among younger generations. Photography thus transcends its role as a mere tool for documentation; it has become a vital visual medium deeply embedded in everyday life, possessing artistic qualities and occupying a space at the intersection of “art and non-art.”

Art or Not? Individual sensibility and social intuition are key

There are countless examples of photographs that were originally taken as mere documentation but were later recognized as works of art. The concept of documentary photography emerged when certain images—initially captured for evidentiary or record-keeping purposes—resonated deeply with viewers and were recognized as socially significant.

As public awareness of the documentary photography genre expanded, audiences began to find emotional depth in the lives of ordinary people depicted in the images. Moments such as expressions of parental love amid hardship or the quiet resilience of individuals confronting poverty touched viewers’ hearts. These photographs eventually came to be recognized as artworks and were added to museum collections.

In this context, Takenaka pointed out that one factor that distinguishes art from non-art is individual sensibility. Among countless photographs, certain images stand out—those that are perceived as particularly compelling or evocative—and may be embraced as art.

The other key factor is the role of social institutions. A photograph deemed “good” based on personal sensibility may gain broader recognition when it is exhibited in a gallery, featured in a photo exhibition, or otherwise brought into public view. This visibility can lead to the photograph being recognized as a work of art. Moreover, once such work is displayed within the institutional framework of a museum, it can attain the formal status of an artwork. In this way, artistic value is often shaped and reinforced by social structures and systems.

Thus, even an everyday photograph stored on your smartphone can come to be recognized as art—if it resonates with viewers and is integrated into the appropriate institutional or cultural framework.

The final performance: Photography, death, and dignity

As an example of how photographs for record-keeping purposes came to be recognized as works of art, Takenaka cites an exhibition at the Museum of Modern Art (MoMA) in New York that featured photographs of people taken before their execution in the camps under Pol Pot's regime in Cambodia (known as S-21).

Members of the Khmer Rouge took photographs of detainees prior to their execution. While the exact reason for these photographs remains unclear, one interpretation is that they served as documentation—“proof of the work”—involved in the mass purges. It is evident, then, that these images were never intended as works of art and should not be viewed or appreciated as such.

The individuals who photographed people moments before their execution were, of course, not artists. However, as human beings, we often assert our existence through acts of expression—what might be called performance. Singing a song, delivering a compelling speech, or even simply gazing at someone can serve as forms of expression that reveal one's inner self and intentions. A gentle look or an angry glance, for instance, are also expressions directed toward others, conveying emotion and meaning beyond words.

In this context, Takenaka suggests that the final appearance of those about to be executed can be seen as a kind of final performance by the detainees themselves. Although we cannot know exactly what was reflected in their eyes, many of them were likely aware that death was imminent—and in that awareness, their presence as human beings is profoundly inscribed in our hearts.

Takenaka reflects that if she were to be photographed in the final stages of her life—for example, while facing a terminal illness—she might feel a strong desire to have that final moment recorded.

From this perspective, these photographs can be understood as a deeply moving and sublime form of artistic expression—a “final performance” of the person being photographed. Takenaka argues that interpreting such images through this lens is one of the important roles that art can play. It allows us to receive the final images of those who were massacred with a sense of humanity, acknowledging them as evidence that these individuals truly lived. She emphasizes that this perspective carries profound meaning.

Understanding Humanity and the World Through the Lens of Art

Reflecting on the relationship between art and human nature, Takenaka remarks, “Art is one of the most vivid expressions of what it means to be human. The act of discovering, creating, and sharing beauty with others is not necessary for biological survival, yet people often go to great lengths—even risking their lives—to create and preserve it.”

She sees this seemingly irrational impulse as a fundamental aspect of human identity and a key reason the study of art is so vital to the humanities. Her lifelong goal is to explore both humanity and the world through the lens of art—a perspective that not only underpins her own research but also resonates strongly with major currents in contemporary art scholarship.

Takenaka is currently conducting research on photographic works in the collection of the MoMA, with plans to publish her findings in the near future. In parallel, she plays an active role at the Art Research Center, Ritsumeikan University, where her research has expanded to include Japanese art—especially ukiyo-e prints—while maintaining photography as a central theme.

Her work on Japanese art often involves international collaboration, particularly with colleagues at the Institute of Oriental Art at Freie Universität Berlin. “It’s fascinating to see how researchers abroad engage with Oriental and Japanese art,” she notes. “I find their approach to Japanese art deeply inspiring, as it is guided by free thinking and unconstrained by established frameworks.”

Another key area of interest for Takenaka is the advancement of digital humanities. The vArt Research Center, Ritsumeikan University houses an extensive image database of ukiyo-e and other artworks, and she sees great potential in leveraging AI and other advanced information technologies to examine these materials from new perspectives. She is especially eager to collaborate with researchers from diverse fields who bring expertise in these emerging methods.