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                  <text>Weeks 11-13: Art in the Postwar (1952-1970, and beyond) </text>
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                <text>A Picture to be Burnt</text>
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                <text> 焼かれるべき絵 (Yakareru beki e)</text>
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                <text>A portrait of Emperor Hirohito with his face erased is placed in the middle of a Japanese national flag and is crossed over with a bold red diagonal lines from each corner of the flag.</text>
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                <text>嶋田美子 (Shimada Yoshiko)</text>
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                <text>1993</text>
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        <name>Shimada Yoshiko</name>
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                <text>Several images of mother and child are layered to show the expected roles of mothers across the society.  The cult of motherhood was one of the discourses to support the nationalist ideology for illusory unity during the war. </text>
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                <text>By contrasting images of Japanese mothers and Korean comfort women, Shimada visualizes the imperialist hierarchy.</text>
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        <name>Shimada Yoshiko</name>
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                <text>The image consists of photos of a military brothel, prostitutes, and a person in underwear tinted with red. The artist raises the awareness to the tabooed issue of Japanese history to question the system of exploitation.</text>
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                <text>石内都 (Ishiuchi Miyako)</text>
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                <text>Bottle melted and Deformed by Atomic Bomb Heat, Radiation and Fire, Nagasaki </text>
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                <text>熱線と火災で溶解変形した瓶 </text>
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                <text>東松照明 (Tōmatsu Shōmei)&#13;
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                <text>Shōwa 36 (1961)</text>
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                <text>Miyuki Bridge, shortly after 11:00 am, 6 August 1945</text>
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                <text>御幸橋、8月6日午前11時すぎ (Miyuki Bridge, shortly after 11:00 am, 6 August 1945)</text>
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                <text>A temporary medical treatment station was set up and insured people were waiting for treatment.</text>
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                <text>松重美人 (Matsushige Yoshito)</text>
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