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Report on Transwar Design, Kamekura Yūsaku from Nippon Kōbō to the Tokyo Olympics

Event Report by Jackson Zhishen Li

On April 30th, 2026, Professor Gennifer Weisenfeld from Duke University hosted an event titled “Transwar Design, Kamekura Yūsaku from Nippon Kōbō to the Tokyo Olympics.”

Professor Weisenfeld is an Art Historian who specializes in Japanese Art History, and her work explores how Japanese Artistic Production intersects with sociopolitical transformations.

In the event, Professor Weisenfeld first introduced Kamekura Yūsaku, the leading figure in Post-World War II Japanese graphic design. The professor introduced Kamekura’s early life and career, including his graduation from Nihon University High School in 1933 and his art director position at the Nippon magazine. After which Professor Weisenfeld summarized Kamekura’s work on the logo and poster series for the 1964 Tokyo Summer Olympics. Subsequently, she argued the importance of Kamekura’s productions. His design for the 1964 Summer Olympics is not only aesthetically valuable but also reconfigures Japan’s national identity, which can be traced back to the design of the canceled 1940 Tokyo Olympics.

In the event, Professor Weisenfeld demonstrated how Japanese graphic design serves as an object that reflects the cultural and sociopolitical transformations of Japan.

On May 1st, Professor Weisenfeld hosted a workshop titled “Art History, Visual Studies, and the Archive: Thinking through Postcards of the Great Kanto Earthquake of 1923.” In the event, Professor Weisenfeld first introduced the field of Art history, of how it has expanded from its connoisseurship origins to visual studies and digital humanities. Then Professor Weisenfeld showed the physical copies of the Great Kanto Earthquake postcards to the students. Then she engaged with students through discussing the postcards’ visual components, their aesthetic values, and how they reflect the trauma of the Great Kanto Earthquake.

Through two events, Professor Weisenfeld demonstrated the intellectual depth of Japanese Art history and how Art as an object is deeply connected with sociopolitical transformations.