User:Major Maizeman/gap analysis

Gap analysis

 * What is the title of the article in which you identified a gap. If no article exists at all, what should the title be?

Tsuneko Taniuchi


 * Document the gap you found, describe how you identified it, and analyze its impact on knowledge.

While searching on the Brooklyn Museum Feminist Art Base a pattern began to stand out. Already many of the woman artists where missing from Wikipedia representation, but the ones that did have a page were those that were either internationally recognized, or really prolific and successful in their home country. But very few woman artists that lived abroad and had a varying spectrum of cultural influence in their work are often absent from Wikipedia. Tsuneko Taniuchi belongs to this specific community of artists that seek out cultural influence around the world to better understand feminism and what it means. Being born in Japan but living in France let her experience being seen as an outsider on a purely surface basis and she said she felt like she was looked as strangely and differently as if she weren’t appealing. Her work reflected that by her sealing herself inside a block of ice naked and putting it on display. She over exposed her body as if to show the world who she was. This is just an example of how this specific community of artists have a unique way of looking at and experiencing the world. Unfortunately, this same specific group is largely unnoticed aside from their local works. By filling in Tsuneko and similar artists we can document their work onto the world biggest encyclopedia of events and preserve the art. Possibly by doing this, and filling this and similar artist gaps more of these artistic messages can be shared.


 * Propose a paragraph of new or substantially edited content based on reliable sources. (If you are editing existing content, post the current version along with your edited version, and clearly mark which is which.)

Tsuneko Taniuchi was born Hyogo, Japan. To follow her work as an artist abroad she moved to New York from 1983-1984. After this she moved to Paris, France in 1987 where she lives and works today. Since the 60’s she considers her work would be viewed in the “context of developing Feminist performance practices” [1]. However, in the mid to late 80’s her works began focusing primarily on woman and their current situation in modern society. In 1995 she developed a new way for herself to display her work and her message while setting herself aside from the rest of the artistic community and doing something different. As a form of performative art she created the “Micro-Event” that often last no longer than 20 minutes and are performed by Tsuneko. Usually involving a strange or bizarre scene, these short displays are actually inspired by the desire to share with the audience her everyday life. [2] Some displays are set up and prepared, while others are simply photos of important moments from the artist’s life. Wedding photos were displayed as art, and she even voiced interest as displaying herself as a Micro-Event as she gave birth. An issue that bothered her greatly was the modern view society seems to have of marriage. She worries people see relationships as having one another, and that possessive view actually has latent harmful effects to the relationship. Feeling like you possess or control your significant other can breed unhealthy thoughts and lead to “jealousy and agony”. To combat this strong singular view on marriage, as a Micro-Event she called out around the world for people who wanted to marry her. In Ginza, Tokyo she took place in 18 different ceremonies to show that marriage is not people joining together, but teaming up to support each other [3]. Another example of a Micro-Event that she planned and put on display was called Ice Vitrine. She displayed her body nude in an ice block for 15 minutes in front of an audience of 10 people. This art work is an example of an expression of an artists that is responding to dealing with new culture from their old one. Feeling like gaze’s are shot over her differently as a person because of the face value of her skin made her respond by over exposing herself. Immersing herself in this cold shell isolates her, while she tries to share everything down to her body with the audience [4]. Still to this day she works at creating new works to help communicate her views on the current position modern woman are in. In the summer of 2014 she returned to Tokyo to put on a series of display performances in a space dedicated exclusively to her works and spreading her unique blend of heavily Japanese and French influences through a primarily feminist lens.[5]


 * List the reliable sources that could be used to improve this gap. (You can use the Cite tool from the editing toolbar above to input and format your sources.)


 * "Tsuneko Taniuchi." Brooklyn Museum. Web. .
 * "Tsuneko Taniuchi." » Bio. Web. 18 Feb. 2016. .
 * "Micro-Events: Tsuneko Taniuchi, Studio International." Studio International. 26 Aug. 2014. Web. 17 Feb. 2016. .
 * "Tsuneko Taniuchi (JPN) | Lilith Performance Studio." Lilith Performance Studio. 13 Feb. 2009. Web. 18 Feb. 2016. .
 * "Tsuneko Taniuchi at the Forum." Fondation D'Entreprise Hermès. Web. 18 Feb. 2016. .