Project Team

Timothy Clark

Tim Clark is Head of the Japanese Section in the Department of Asia at the British Museum. He has curated many exhibitions on aspects of Japanese art and authored and co-authored numerous books about Japanese pictorial art. He curated and wrote the catalogue for the 2009 exhibition Kuniyoshi from the Arthur R. Miller Collection, held at the Royal Academy of Arts, London. In 2011 he published a small monograph for British Museum Press, Hokusai’s Great Wave. Tim was lead curator and catalogue author for the BM special exhibition Shunga: Sex and Pleasure in Japanese Art (2013). He has co-curated the exhibition Hokusai: beyond the Great Wave with Asano Shugo and is leading the related AHRC-funded research project Late Hokusai: Thought, Technique, Society, in collaboration with SOAS, University of London.



Angus Lockyer teaches Japanese, East Asian, and global history at the School of Oriental and African Studies (SOAS), University of London where he also convenes the BA in Global Liberal Arts and serves as one of the Associate Deans for Learning and Teaching.  He has worked on the history of exhibitions and museums in modern Japan, as well as the history of Japanese golf.  His publications include: “The logic of spectacle, c. 1970” in Art History 30 (2007); “National museums and other cultures in modern Japan” in Daniel J. Sherman, ed., Museums and Difference (2008); “Expo fascism? Ideology, representation, economy” in Alan Tansman, ed., The Culture of Japanese Fascism (2009). He collaborated with Tim Clark on the reinstallation of the Japanese galleries at the British Museum in 2005-2006 and is a Co-Investigator on research project Late Hokusai: Thought, Technique, Society.


Roger Keyes

Roger portrait.jpg

Roger Keyes is a leading scholar of ukiyo-e prints and illustrated books who has written and curated widely in the field. He is the author, with the late Peter Morse, of Catalogue Raisonné of the Surviving Single-sheet Prints of Katsushika Hokusai (1972-2007) which comprises 90 volumes of typescript with 5000 illustrations, on deposit at the British Museum. A related article is ‘Pink Fuji: The Print Hokusai Saw’ (Impressions 29, 2007-8). His other major publications include The Art of Surimono in the Chester Beatty Library, Dublin (1985) and Ehon: The Artist and the Book in Japan (2006). He is a member of the research project Late Hokusai: Thought, Technique, Society, and contributing author to the catalogue Hokusai: Beyond the Great Wave (2017).


Dominic Oldman

Dominic Oldman is the Head of ResearchSpace, a British Museum project funded by the Andrew W. Mellon Foundation, developing a Semantic Web ‘contextual’ research environment He is a Senior Curator and was formerly Deputy Head of Information Systems. He is an inter-disciplinary researcher with degrees in Law and Digital Humanities (masters), and is currently a DPhil student of History at Oxford University.  He specialises in historical methodologies and Semantic Web technologies. He is deputy chair of the CIDOC Conceptual Reference Model (CRM) Special Interest Group, an International (ISO) standard for representing cultural heritage knowledge. He has significant experience in developing cultural heritage systems including the BM’s first collection online system and one of the first museum Linked Open Data services. His publications include, “Zen and the Art of Linked Data: New Strategies for a Semantic Web of Humanist Knowledge in the New Blackwell's Companion to Digital Humanities” in  A New Companion to Digital Humanities (2016). He is Co-Investigator of, Late Hokusai: Thought, Technique, Society



Alfred Haft (PhD, School of Oriental and African Studies , University of London) is a curator in the Japanese Section of the Department of Asia, British Museum.  His research considers the role of narrative in Japanese pictorial art, with a focus on the art of the Floating World during the Edo period.  Publications include Aesthetic Strategies of the Floating World (2012); “Affirming the Life Erotic:  Yoshida Hanbei’s Kôshoku kinmô zui (1686)” in Japan Review 26 (2013); and “Hokusai and Tokugawa Japan,” in Timothy Clark, ed., Hokusai:  Beyond the Great Wave (2017).



Sadamura Koto is a Freer Research Fellow at the Freer Gallery of Art and the Arthur M. Sackler Gallery, the Smithsonian Institution, and a Visiting Researcher in the Department of Asia at the British Museum. She is a PhD candidate at the University of Tokyo. Her research focus is a 19th-century Japanese painter Kawanabe Kyôsai and publications include Sex and Laughter with Kyôsai: Shunga from the Israel Goldman Collection (2017). Koto co-curated the exhibition This Is Kyôsai! the Israel Goldman Collection which toured in Japan in 2017. As a member of the research project Late Hokusai: Thought, Technique, Society, she is interested in exploring Hokusai’s legacy in the modern era.


Stephanie Santschi

Stephanie Santschi is Technical Research Assistant for the Late Hokusai project at the British Museum. She is working with the ResearchSpace environment in which the Late Hokusai research project is building a semantic knowledge graph about the life and works of Hokusai. Using CIDOC CRM as a core ontology for revealing the semantic relationships hitherto implicit in the data, she is transforming object records on Hokusai’s paintings, impressions and illustrated books from the British Museum and project partners’ collection databases into a network of linked data which will become available for research and interrogation online. Stephanie holds an M.A. Museum Studies from the University of East Anglia and a B.A. in East Asian Art History, Japanese Studies, and Education from the University of Zurich. Key research interests include the creation, dissemination and interpretation of knowledge; especially in the context of late Edo-period visual culture.


Matsuba RyOko

Matsuba Ryoko (PhD, Ritsumeikan University) is a Postdoctoral Research Assistant at the School of Oriental and African Studies (SOAS), University of London. She is coordinating a joint project between the Art Research Center, Ritsumeikan University and the Japanese Section of the British Museum to create a comprehensive digital archive of the collections of Japanese paintings, prints, illustrated books and decorative arts at the British Museum. Her publications include ‘Image Databases and Early Modern Kabuki Performance Research’ in Image-Database and Studies for Japanese Arts and Cultures (2010); ‘Intertwined characters: Parody images in Edo visual culture’. Andon.99 (2015); ‘Fleurs du mal: Onnagata and Nanshoku in Edo-period Kabuki’ in A Third Gender: Beautiful Youths in Japanese Edo-Period Prints and Paintings (1600–1868)(2016).