Geijutsu Shincho, April 1995

The April 1995 issue of Geijutsu Shincho is organized around an extensive special feature on Itō Seiu, the historically marginal and controversial artist associated with 責め絵, eroticized restraint, grotesque imagery, and popular visual culture. The opening contents pages announce a sequence of reproductions, photographic archives, autobiographical materials, family testimony, collecting memoirs, and visual histories. Across the first two-thirds of the issue, Seiu appears not simply as an erotic artist but as a complex figure situated among ukiyo-e traditions, journalism, theater, private collecting, studio photography, folklore, and the everyday visual culture of late Edo and Meiji Japan. The feature develops from visual portfolios into biography and memoir. Staged photographs, studio records, drawings, paintings, hanging scrolls, album leaves, ghost pictures, and documentary images repeatedly test the boundaries between art, performance, evidence, and sensational display. Seiu’s own autobiographical material recalls childhood, poverty, education, newspaper work, marriage, family tensions, binding performances, aging, illness, and professional life. His daughter Itō Kiku adds a domestic and filial perspective. Later sections survey charms, superstitions, lanterns, shop signs, peddlers, sideshows, unofficial history, and erotic spectatorship, presenting Seiu as an observer and collector of vernacular culture. The issue then broadens into art news and cultural history. Fukutomi Tarō’s investigation of Seiu emphasizes collectors, dealers, private archives, and the postwar recovery of difficult or neglected works. Subsequent departments cover Yanase Masamu’s modernist, proletarian, graphic, theatrical, and political career; the reconstruction of Ryūkyū royal imagery; fifty years of Japanese book design; a rare Sakai Hōitsu folding screen; and Kōshin belief, temples, talismans, and popular religious practice. International exhibition news addresses photography, fashion, film, political art, and collecting. The closing editorial sequence includes a photographic profile of Jim Dine’s home and studio, serialized essays on Tōdai-ji’s Nandaimon and Aizu Yaichi, exhibition calendars, and a substantial travel-and-photography feature on the Kaga hot-spring region. Back matter maps the 1995 Japanese art world through calls for entries, gallery notices, museum programs, art-book advertisements, and publisher announcements. Overall, the issue combines archival recovery, visual reproduction, personal testimony, regional history, museum culture, and the practical infrastructure of art publishing.

Title	Author	Printed Pages	PDF Pages
A Bound Model—In Seiu’s Studio	Watanabe Buichi	3	5
Gravure: Selected Masterworks by Seiu	Uncredited	4	6 –9
The Forbidden Photo Album	Uncredited	14	10 –14
An Autobiography in Self-Portraits	Itō Seiu	22	22 –34
About My Father, Seiu	Itō Kiku	35	35 –36
The True Character of Seiu, the Seme-e Artist	Uncredited	37	40 –51
Seiu and Me	Mochizuki Meika	50	52 –55
Seiu’s One Hundred Ghost Stories	Uncredited	54	56 –63
My Investigation into Itō Seiu	Fukutomi Tarō	62	64 –68
Guide to Upcoming Exhibitions, Recommended CDs, Books, Films, and More	Uncredited	67	69
Super Artist: Yanase Masamu’s Busy Forty-Five Years	Yanase Masamu	71	73 –81
Come Back to Life! Okinawa’s Glittering Gold Figures	Uncredited	80	82 –83
Fifty Postwar Years Surveyed through Book Design	Uncredited	82	84 –85
What a Curiosity! Sakai Hōitsu’s Rare Folding-Screen Masterpiece	Sakai Hōitsu	84	86 –89
Do You Know the Kōshin Belief?	Uncredited	88	90 –93
Stardust, World Art, and International Exhibition News	Various	92–94	94 –97
An Artist’s Happy Home, No. 47: Jim Dine	Minamikawa Sanjirō	104	104 –107
A Plainspoken History of Japanese Art, 21: Tōdai-ji’s Great South Gate	Hashimoto Osamu	108	108 –113
Walking through the Autumn Fields—The Life of Aizu Yaichi, Part 3	Kudō Miyoko	114	114 –123
Serial: Visiting Thousand-Year-Old Hot Springs, No. 11—The Kaga Hot-Spring District	Matsufuji Shōhei	121	124 –132

The formal contents is the two-page spread on PDF viewer pages 3–4. The dominant pagination relationship for the main body is approximately printed page = PDF viewer page minus 2, though the opening Seiu feature and unnumbered advertising produce local shifts. Internal headings such as Childhood of Innocence, Becoming a Newspaper Reporter, Old Age of the Binding Master, the Yanagiya Kosan ghost-picture collection, and the Kaga travel subsections were retained within their formally listed parent containers rather than promoted to separate entries. The short items grouped under the printed page-94 STARDUST/WORLD material are consolidated as one recurring news container because their individual boundaries are not recoverable without creating overlapping or artificially tiny ranges. Some author romanizations and difficult Japanese title readings remain approximate, especially Mochizuki Meika, the Seiu-related visual portfolio headings, and several short art-news notices.