Christina M. Spiker

Christina M. Spiker

Art Historian | Professor | Digital Humanist

Welcome to Version 3: My Illustrated Life

Redesigning a website feels a little bit like cleaning my house. It progressively gets “messy” to the point that I can’t stand it anymore, I drop everything, and then clean it from top to bottom. Once I begin the process, there is no stopping me, and it consumes every moment of free time until the project is complete. Then, I collapse into a pile on the floor admiring my sparkling living space.

So from my prone position, welcome to Version 3 of my online portfolio/cv/blog. I tend to live with my site layouts for some time. I get excited when I first implement them, grow into them, and eventually grow out of them. Especially as I grow and shift in my career and interests, the site needs to respond in kind. This latest version better showcases the various hats I wear as an academic, a teacher, and a digital humanist. The website features illustrations that I created of myself and my interests through an app called Assembly that my student M introduced to me just before winter break. Although I’m trained in Illustrator, there is something delightfully fun about pinching and zooming my way to an illustration.

The site has a flat, minimalist style and is a LOT snappier than the previous version. Let me know your thoughts below.

Essay Publication on Illustration & Photography of Ainu in Isabella Bird’s Unbeaten Tracks in Japan, 1880

I’m very pleased to announce the publication of my essay “‘Civilized’ Men and ‘Superstitious’ Women: Visualizing the Hokkaido Ainu in Isabella Bird’s Unbeaten Tracks, 1880” in the new edited volume titled Gender, Continuity, and the Shaping of Modernity in the Arts of East Asia, 16th­­–20th Centuries (Leiden: Brill, 2017). The book was edited by Kristen L. Chiem (Pepperdine University) and Lara C. W. Blanchard (Hobart & William and Smith Colleges), who were both awesome to work with throughout this entire process. Overall, the book features work by Lara C. W. Blanchard, Kristen L. Chiem, Charlotte Horlyck, Ikumi Kaminishi, Nayeon Kim, Sunglim Kim, Radu Leca, Elizabeth Lillehoj, Ying-chen Peng, and myself. Here is the official blurb for the book:

Gender, Continuity, and the Shaping of Modernity in the Arts of East Asia, 16th–20th Centuries explores women’s and men’s contributions to the arts and gendered visual representations in China, Korea, and Japan from the premodern through modern eras. A critical introduction and nine essays consider how threads of continuity and exchanges between the cultures of East Asia, Europe, and the United States helped to shape modernity in this region, in the process revealing East Asia as a vital component of the trans-Pacific world. The essays are organized into three themes: representations of femininity, women as makers, and constructions of gender, and they consider examples of architecture, painting, woodblock prints and illustrated books, photography, and textiles.

The book is the second volume in Brill’s series Gendering the Trans-Pacific World: Diaspora, Empire, and Race. The first volume titled after the series was edited by Catherine Ceniza Choy (UC Berkeley) and Judy Tzu-Chun Wu (UC Irvine) this past March. Combined, there are so many insightful contributions to the study of gender in this region. My reading list is ever expanding.

I’m excited about my own contribution to this volume for a few reasons. The essay, which derives from the first chapter of my dissertation, looks closely at the role of photography and illustration in the 1880 publication Unbeaten Tracks in Japan written by explorer and naturalist Isabella Lucy Bird (1851–1904). She is often best known for her travel to Hokkaido and her time spent among the Ainu there. In volumes that contain the word “East Asia” in the title, narratives that concern the creation by and representation of indigenous peoples in Asia are often excluded. We need to do better in this regard to recognize their stories and images as integral to the fabric of the region. I see my research as a small step in this regard. But being concerned chiefly with images produced of the Ainu, rather than by, it highlights the need for more indigenous voices to round out these ideas of how indigenous identity was complicated and complimented by notions of Asianness in the Pacific. Personally, the essay represents a huge accomplishment as well. I wrote the first draft while living in Hokkaido, Japan, and it reminds me of my archival research in the Northern Studies Collection in the Hokkaido University Library. (It also reminds me of all the time spent in local Sapporo coffee shops typing away on my half-broken laptop). In the essay, I also take an interdisciplinary approach that I feel is representative of what I always wanted from Visual Studies. It some senses, the method taken is a culmination of my degree and my time at the University of California, Irvine.

I’m happy to answer questions about the book, the work, or the research involved — just #AMA below. The abstract for my essay can be found here.

css.php