A Getty Intern’s Tale

Applications for the Getty Multicultural Undergraduate Summer Internships at the Japanese American National Museum are due on April 27! If you are considering applying, read on for one former intern’s story of how the experience changed her life.

A communications major, an art major, and an English major walk into a bar…

2011 Getty interns Yuiko Sugino, Alexa Kim, and Alyctra Matsushita, in front of a wall drawing by Stan Sakai.
2011 Getty interns Yuiko Sugino, Alexa Kim, and Alyctra Matsushita, in front of a wall drawing by Stan Sakai.

What sounds like the beginning of a bad joke was my college reality. Living in a house of Humanities and Social Science majors, my roommates and I spent four years worrying not just about term papers and printer cards, but also about student loans and postgraduate careers. As optimistic freshmen, we joked that upon graduation we would all live in cardboard box mansions, as that would be all we could afford. But as graduation loomed nearer, we said it more frequently through gritted teeth.

Then, in my junior year I learned about the Getty Multicultural Undergraduate Internship, available at the Japanese American National Museum as well as numerous other museums throughout Southern California. It sounded promising on all counts. I was attending UC Santa Barbara, and returning to Los Angeles for a cool internship sounded much better than the alternative of slopping meals at my student job in the campus dining commons. I also liked the idea of putting “Getty Intern” in big, bold letters on a résumé that boasted little more than my previously mentioned cafeteria duties. And perhaps most important of all, it was PAID!

After eagerly filling out the application, getting my letters of recommendation, and sacrificing a lamb or two, I learned that I was chosen to be JANM’s 2011 Media Arts Intern. Although excited, I was also a little wary and hoped I wouldn’t be a glorified coffee runner, coming home with fingers bloodied by paper cuts and blackened from fixing toner cartridge jams. But I figured at the very least, I’d have ten weeks in Little Tokyo surrounded by all the mochi ice cream I could get my hands on.

I can still remember my first day, five years ago. I was immediately introduced to the two other Getty interns, who were assigned to the curatorial and production departments. We all squished together on a pale leather sofa in a bright room called the Takei Lounge, nervously awaiting further instructions and making awkward small talk. Then, after a quick orientation, we dove into our jobs as museum interns.

Alyctra Matsushita, right, with Discover Nikkei interns Maya Kochiyama and Krista Chavez. Photo courtesy of discovernikkei.org.
Alyctra Matsushita, right, with Discover Nikkei interns Maya Kochiyama
and Krista Chavez. Photo courtesy of discovernikkei.org.

 

As cliché as it sounds, the ten weeks in Media Arts flew by as I learned many new skills. I spent Saturdays filming public programs, meeting speakers that included baseball players and sports executives, hearing poetry readings, and learning the history of kamaboko (fish cake)—with samples! I got a VIP invitation to the Japanese Consul General’s home. I was suddenly able to grab a camera, shoot some videotape, and use Final Cut Pro to edit my own film. I learned basic Photoshop, and could create a real DVD with all the bells and whistles. Yet, as résumé-ready as these skills were, it was the experience and the interactions with people at the museum that were most life-changing.

I met staff and volunteers who had passion for the same things that I had passion for—brilliant people who cared about Japanese American history and culture, who understood the beauty of books and the knowledge they held. I met academics whose texts I had studied. I met people who could (and had) designed exhibitions from the ground up. One of my fellow Getty interns learned about the mysteries that could be unearthed in a pile of artifacts with a pair of white gloves, while the other experimented with wall vinyls and paints, learning how to make research come to life.

During a summer 2011 public program, Frank Kawana demonstrates how to make kamaboko (Japanese fish cake) by hand.
During a summer 2011 public program, Frank Kawana demonstrates
how to make kamaboko (Japanese fish cake) by hand.

 

In those ten quick weeks, I gained a new skill set, a few extra pounds from all the mochi ice cream and snacks, and most importantly, the knowledge that there is a brick-and-mortar set of walls that houses (and pays!) people who care about the same things I care about. When I left, I still didn’t quite know what I wanted to do with my postgraduate life, but I had a much stronger idea of where I might like to be.

In 2014, when I got a call from my amazing Media Arts supervisor about a temporary position in the museum store, I jumped at the opportunity to get my foot back in the door. Since then, I’ve managed to turn that temp gig into a full-time job, taking on a combination of Development, JANM Store, and Visitor Services duties. I’ve connected and reconnected with dozens of wonderful people, met the great George Takei (friend of the museum and the namesake of the lounge where I met my fellow interns back on that first day), and found a real home in this little JANM family.

For details on the available internships and how to apply, visit our Jobs page.

Roxana Lewis Has a Passion for Adventure

Roxana Lewis. All photos by Dr. T. Takasugi.
Roxana Lewis. All photos by Dr. T. Takasugi.

 

Since 2011, travel agent and food enthusiast Roxana Lewis has been leading Edible Adventures, food-themed walking tours of the Little Tokyo neighborhood, for JANM. Recent adventures have included Little Tokyo Sushi Graze; A Noodling Walk through Little Tokyo; and Little Tokyo Markets, Then and Now. Lewis’s tours are always packed, and participants always come away with a happy belly and increased knowledge of our neighborhood and our culture.

We recently sat down with Lewis to find out more about her background and what drives her to lead Edible Adventures.

JANM: Tell us about yourself and your professional background.

Roxana Lewis: I am a Sansei, born in Boyle Heights. My father was born in San Francisco, my mother in Salt Lake City. I am a travel industry veteran, having started as a ticket agent with Western Airlines in 1968. I worked in corporate travel for a Washington, D.C., think tank before starting my own travel agency, Chartwell Travel Services, in 1977. I named it after Winston Churchill’s home in Kent, England; I was in my Anglophile phase, and I also liked the play on words. In 2007, Chartwell merged with Protravel International, Beverly Hills.

At the sushi bar.
At the sushi bar.

 

My specialties are customized travel arrangements to the backroads of Italy, which I’ve done since 1985, and off-the-beaten-path tours of Japan, which I’ve organized since 1999. I travel annually to keep my knowledge current, exploring different villages and towns, new hotels, unique hiking routes, unusual Zen gardens, special crafts people. I also excel in adventure travel, both soft- and hardcore; I have led some serious mountaineering expeditions, including ascents of Mount Fuji, Mount Rainier, Denali, and Mont Blanc. And, I have a major marathon habit; I have run 244 to date, the last three on a round-the-world trip, from which I just returned last week.

JANM: You obviously have a serious, lifelong love of both travel and food. Can you say a little bit about where this passion comes from?

RL: As a veteran travel agent, I am professionally predisposed to “the road.” Food and culture are twins in any country; where there are people, there is food. To embrace the people, you must embrace their food.

A friendly sushi chef.
A friendly sushi chef.

 

JANM: How did you first come into contact with JANM?

RL: I met [former longtime JANM staff member] Nancy Araki at a National Geographic presentation of photographs by Hong Kong explorer and photojournalist How Man Wong. I told her I was looking for a volunteer project. In 1989, when the museum was still in its early formative stages, I began helping out by doing outreach from its warehouse on Fifth Street downtown.

When JANM opened its first public space in the Historic Building in 1992, I served on every committee invented. I spearheaded the first Volunteer Speakers Bureau, served on the President’s Council, and did a lot of work with Community Outreach.

Checking out the offerings at a local market.
Checking out the offerings at a local market.

 

JANM: What inspired you to launch Edible Adventures?

RL: I had been doing a “Graze Little Tokyo” walking tour for the Sierra Club since the 1990s. By the late 2000s, my JANM volunteer time had become occasional, and my guilt forced me to ask [Vice President of Programs] Koji Sakai if I could develop a food-centric series of tours. He said yes and Edible Adventures was born.

JANM: What are the goals you have in mind when you lead a tour?

RL: My primary goal is to introduce a new audience to the museum, using food as my carrot on a stick, so to speak. I also look for ways to create interest in the Little Tokyo community and then naturally, the Japanese American story.

Roxana Lewis gives the group the inside scoop on Little Tokyo.
Roxana Lewis gives her group the inside scoop on Little Tokyo.

 

JANM: What is your own favorite Asian food?

RL: I have a sweet tooth, so I love any dessert, from Japanese manjū (rice cake with bean paste or other filling) to Filipino halo-halo (shaved ice dessert with milk, jello, fruits, sweet beans, and other ingredients) to Chinese dàn tà (egg custard tart).

You’re in luck—this Saturday, February 20, Roxana Lewis will lead Sweets and Street Art of Little Tokyo. Sample Asian sweets such as dango (rice dumplings), mochi ice cream, imagawayaki (filled pastry), and yokan (jellied dessert) while exploring the street art of Little Tokyo. Tickets are still available!

The Magical Worlds of Sean Chao

Sean Chao. Photo courtesy of the artist.
Sean Chao. Photo courtesy of the artist.

 

Originally from Taipei, Taiwan, artist Sean Chao graduated from Art Center College of Design in 2007 and now makes his home in Los Angeles. In 2012, Chao was featured in JANM’s Giant Robot Biennale 3 exhibition. He is known for creating intricate miniature dioramas using polymer clay, basswood, and paper, with nature as a recurring theme; he often depicts dense forests or vast oceans filled with plants and wildlife.

This Saturday, January 16, Chao will be leading a workshop at JANM titled Water Memory. Participants will learn to create their own sculptural underwater scenes using polymer clay, acrylic paint, and paper. In advance of this workshop, Chao graciously agreed to answer a few questions via email regarding his process and his influences.

JANM: How did you become interested in making dioramas?

Sean Chao: Growing up, I was very intrigued and fascinated by the dioramas at various natural history museums I visited, both in Taiwan and here in the States. It amazed me, the many details that were put into the dioramas to recreate natural scenes. It’s a different dimension—frozen in time and locked in a clear display case. One day I just decided to create my own dioramas, filled with worlds that I create.

Sean Chao, Big Cat, 2015, bass wood, polymer clay, acrylic, and gouache paint on wood panel. Photo courtesy of the artist.
Sean Chao, Big Cat, 2015, basswood, polymer clay, acrylic, and gouache
paint on wood panel. Photo courtesy of the artist.

 

JANM: Tell us about some of the inspirations that drive your work. Monkeys and country peasants seem to make frequent appearances.

SC: I grew up in Taiwan and my culture influenced my work tremendously. I grew up in the city, but I was always fascinated by the simplicity of peasant life in the country—so much closer to nature and so far away from the crowd.

My dioramas are fantasy worlds that I create. Anthropomorphic characters are very charming. They have their own personalities in my world, inspired by the people and animals around me. My brother was born in the Year of the Monkey and he is one of my best friends. My monkey character is based on his personality: smart and adventurous.

Sean Chao, Persimmon Picnic, 2015, bass wood, polymer clay, acrylic, and gouache paint on wood panel. Photo courtesy of the artist.
Sean Chao, Persimmon Picnic, 2015, basswood, polymer clay, acrylic,
and gouache paint on wood panel. Photo courtesy of the artist.

 

JANM: You also have an interesting “creatures within creatures” theme going on, where robots are controlled from the inside by animals. Could you tell us more about this theme?

SC: Human beings create computers, robots, and artificial intelligence based on the likeness of ourselves. It’s in our nature to create. I simply created my own version of the robot. It’s based on an ideal human personality and controlled by characters that were inspired by my family and friends.

JANM: Who are some of your own favorite artists?

SC: Beatrix Potter—she was an illustrator, natural scientist, and conservationist, and one of my favorite children’s book illustrators. Hayao Miyazaki—I grew up watching his animations. The stories are very touching for both children and adults, and the way he captures the personality of each character is just fascinating. There is definitely more to learn from him for my own work.

Learn to make a piece like this in this weekend's Water Memory workshop. Sean Chao, Skull Koi 2, 2015, bass wood, polymer clay, acrylic, and gouache paint on wood panel. Photo courtesy of the artist.
Learn to make a piece like this in this weekend’s Water Memory workshop.
Sean Chao, Skull Koi 2, 2015, basswood, polymer clay, acrylic, and gouache paint
on wood panel. Photo courtesy of the artist.

 

JANM: What are you most excited about for your upcoming Water Memory workshop?

SC: Meeting people who share the same interest in sculpture and diorama, and of course I’m very excited to show them my techniques. It will be a real fun event.

Space is still available for Chao’s workshop. To register, click here.

Girl Scout Creates Patch Program to Raise Awareness of WWII Japanese American Incarceration

Ambassador Girl Scout Lauren Wong sits in front of JANM's Common Ground exhibition.
Ambassador Girl Scout Lauren Wong sits in front
of JANM’s Common Ground exhibition.

 

My name is Lauren Wong. I am an Ambassador Girl Scout with Troop 881, based at the Orange County Buddhist Church in Anaheim, California, and a candidate for the Girl Scout Gold Award. This award is similar to the Eagle Scout rank in Boy Scouts; it is the highest award a Girl Scout can earn. Applying for it is a seven-step process that begins with identifying a global issue and ends with creating a project that educates, inspires, and promotes awareness of that issue. For my Gold Award application, I have created a special Girl Scout patch program for the Japanese American National Museum.

Since I was little, my grandmother has told me stories of her incarceration at Tule Lake concentration camp, inspiring my passion for learning more about my Japanese American history. Students do not generally get the opportunity to learn about the mistreatment of Japanese Americans during World War II, as it is often overlooked in history classes. Even today, many of my school friends do not know about the camps. My goal is to educate the general public and inspire them to appreciate the lives they have today and not let history repeat itself.

Girl Scout patch for those who complete Lauren Wong's Common Ground curriculum. Designed by Lauren Wong.
Girl Scout patch for those who complete Lauren Wong’s Common Ground curriculum. Designed by Lauren Wong.

 

I have created an educational tool called Experience the Past, available in three separate worksheets geared toward elementary school students, middle school students, and high school students/adults. The worksheets, which can be requested at JANM’s front desk, are designed to accompany a visit to the museum’s core exhibition, Common Ground: The Heart of Community. They pose questions and suggest exercises that are designed to help visitors identify with the exhibition, think more deeply about what they’re seeing, connect it with aspects of contemporary life, and converse with others about their experience.

At the end of their visit, participants who complete a worksheet earn a custom patch that I created. Through this program, I hope to spread awareness of the history of Japanese American incarceration, which is important not just to Japanese American history, but to American history as a whole.

Tickets are still available for two upcoming Girl Scout programs at JANM. On January 9 and 16, current Girl Scouts are invited to take a private tour of Giant Robot Biennale 4, followed by a zine-making workshop with exhibiting artist Yumi Sakugawa. For more details and to register, visit janm.org.

Katsuya Terada Returns This Month to Complete His Live Drawing

Katsuya Terada at work in the JANM galleries. Photo by Carol Cheh.
Katsuya Terada at work in the JANM galleries. Photo by Carol Cheh.

 

Giant Robot Biennale 4 is a highly interactive show, with several features that invite viewer engagement on a more active level than usual. One of these features is the live, on-site creation of a major new work by Katsuya Terada.

Starting shortly before the exhibition opened in October, Terada spent several days working inside of a roped-off area in JANM’s lower-level galleries to create a new, two-part drawing from scratch. Visitors were able to watch him as he worked. The artist had to leave town before he could finish, but he plans to return later this month (after the 19th) to complete the piece in the gallery.

Katsuya Terada. Photo by Carol Cheh.
Katsuya Terada.
Photo by Carol Cheh.

The live drawing idea came from Eric Nakamura, curator of the show and founder of the Giant Robot empire. “Museums are typically filled with static objects,” he noted. “I wanted to present an interactive experience, where people could ask questions, and see what artists are like in person. It’s not everywhere that you can do this.” Nakamura gave Teraya no time limits, wanting him to produce a finished work that is suitable for framing.

So far the work is looking exquisitely finished right out of the gate. It does not yet have a title, but it does have a theme: masks. “I thought it would be interesting to draw a mask wearing a mask,” the artist says. Terada, who speaks very little English, spoke to me shortly before he left with the help of his friend and fellow exhibiting artist Yoskay Yamamoto, who served as translator.

I asked Terada to explain his process, which is organic rather than planned. “If I draw one line, that will tell me how to draw the next line,” he replied. “However, when I see the entire surface, and I start drawing one image, that will usually be the starting point, and from there I’m just trying to fill up the page without making mistakes—in composition, in choice of items to draw. I’m just making sure everything fits in the right way.”

Katsuya Terada. Photo by Carol Cheh.
Katsuya Terada. Photo by Carol Cheh.

 

Personally, I would find that process stressful. I asked him how he felt about that, and about having people watch him while he draws.

“It is stressful! But it’s like I’m challenging myself by being in that position,” Terada replied. “Having an audience can be a positive thing—it means that I have to work hard and I can’t slack off. But drawing itself is just enjoyable to me, with or without an audience.”

Terada will be back at JANM sometime after December 19th to complete his drawing. Keep your eyes on JANM’s Twitter feed and Facebook page to see when he’s in the gallery. Until then, you can come to the museum to view his progress to date.

Katsuya Terada's unfinished drawing, as he left it in October. The artist will return to JANM this month to complete the work. Photo by Carol Cheh.
Katsuya Terada’s unfinished drawing, as he left it in October. The artist will return to
JANM later this month to complete the work. Photo by Carol Cheh.

Diary of a Nisei Week Princess, Part Four: The Trip to Japan!

The 2015 Nisei Week Court pays an official visit to Mitsukoshi department store.
The 2015 Nisei Week Court pays an official visit to Mitsukoshi department store.

It’s hard to believe that a little over a month ago, my fellow 2015 Nisei Week Court members and I (and many of our parents) were exploring Tokyo and Nagoya. It was a trip of a lifetime and unlike any other trip to Japan I’d experienced before. Even though I’d been to Japan a handful of times and studied abroad in Tokyo for one year, we still managed to do things I will probably never have the opportunity to do again.

After checking into the Hotel New Otani Tokyo at the crack of dawn on Tuesday, October 13, we wasted no time exploring the city, visiting the Tokyo Skytree restaurant and observation tower and the Ueno, Asakusa, Harajuku, and Shibuya districts all in one day. Three coffees and nearly 20,000 steps later, I thought my legs were going to fall off. The next day, we went to Tokyo DisneySea, a theme park located in Urayasu, Chiba, just outside the city. I couldn’t tell who was more excited (or who shopped more)—the parents or us. We all had a great time going on rides, shopping, and eating the specialty foods.

Enjoying some custard manju at Tokyo DisneySea.
Enjoying some custard manju at Tokyo DisneySea.

 

By Thursday it was already time to make our way to Nagoya—the main focus of our trip. Nagoya and Los Angeles have been sister cities since 1959—in fact, they are each other’s first sister cities, which makes for a special relationship. Nagoya’s biggest annual event is the Nagoya Matsuri, a festival held to spread Nagoya’s rich history and culture to the world—not unlike our own Nisei Week Japanese Festival back home. As official representatives of Nisei Week, our job was to spread goodwill and maintain strong relationships between the two physically distant communities.

We took the shinkansen (high-speed rail) from Tokyo Station to Nagoya Station and checked in to the Nagoya Creston Hotel. Our welcome dinner that night (which included geisha performances!) was hosted by Pyua O2, a Nagoya-based business association whose members would accompany us for much of the rest of our time there.

Taking in a tea ceremony, courtesy of Pyua 02.
Taking in a tea ceremony, courtesy of Pyua 02.

 

The next day we paid official visits to Matsuzakaya department store, Mitsukoshi department store, and Nagoya City Hall, where we met Mayor Takashi Kawamura and his staff. After these visits, Pyua O2 took us to the unique and world-famous Osu Shopping District, which has a 400-year history and is home to over 1,200 businesses. That evening, we attended the Sister City Reception, where we met representatives from Nagoya’s other sister cities and performed two Elvis songs, “Love Me Tender” and “Hound Dog”—the latter with the help of Mayor Kawamura, who was dressed as Elvis!

The Court sings Elvis tunes for the crowd, and gets a little help from Nagoya Mayor Takashi Kawamura!
The Court sings Elvis tunes for the crowd, and gets a little help
from Nagoya Mayor Takashi Kawamura.

 

Saturday was the start of the Nagoya Matsuri. During a special Sister City event, we had the pleasure of reprising our modern dance number from Coronation at a shopping mall called Oasis 21. That night, we had dinner at a restaurant owned by one of the Pyua O2 members and sang the night away with karaoke.

A fancy shabu shabu dinner with Nagoya city officials.
A fancy shabu shabu dinner with Nagoya city officials.

 

Sunday was our last and possibly most memorable day in Nagoya. We squeezed in a short tour of Nagoya Castle before we had to get ready to be in the parade! I couldn’t believe the number of people in attendance—thousands and thousands. The best part was seeing all the children smile as we waved at them. We finished the night eating wagyu shabu shabu with Nagoya city officials.

A view of Gero Onsen, an idyllic hot spring resort in Gifu Prefecture.
A view of Gero Onsen, an idyllic hot spring resort in Gifu Prefecture.

 

The next morning we went on an overnight trip to Gero Onsen, a hot spring resort, accompanied by Pyua O2. Along the way we stopped in Takayama and other spots in Gifu Prefecture. On Tuesday morning, we headed back to the Creston Hotel, and then it was time to say goodbye. Even our tour guide was crying! Our time in Nagoya wouldn’t have been nearly the same without the hospitality of Pyua O2 and Nagoya’s city officials.

Camryn and her parents in front of Nagoya Castle.
Camryn and her parents in
front of Nagoya Castle.
For the rest of the trip, everyone in the group went their separate ways. Some went back home to Los Angeles while others extended their stays with excursions to Osaka, Kyoto, and Hiroshima. I decided to go back to Tokyo on my own to spend time with friends I didn’t get to see earlier in the trip.

To say we all had a great time would be an understatement. It was such an honor to represent the Nisei Week Foundation and to continue the good relationship between Nagoya and Los Angeles. We had the best food anyone could possibly eat, met the nicest people, and created lasting memories with each other and our families. We’re all looking forward to seeing the members of Pyua O2 and Nagoya city representatives at next year’s Nisei Week Japanese Festival!

Camryn Sugita is blogging about her year as a Nisei Week Princess. If you missed previous entries, you can catch up here on part 1, part 2, and part 3.

JANM’s Board of Trustees Convenes in New York City

JANM board members listen as Clifford Chanin, Vice President for Education and Public Programs at the National September 11 Memorial and Museum, points out features of the outdoor memorial. Photo by Nicole Miyahara.
JANM board members listen as Clifford Chanin, Vice President for Education and Public Programs at the National September 11 Memorial and Museum, points out features of the outdoor memorial. Photo by Nicole Miyahara.

 

Members of JANM’s Board of Trustees, Board of Governors, and staff traveled to New York City for a weekend-long offsite meeting of the Board of Trustees at the end of October. It was a welcome opportunity to escape the hot temperatures in Los Angeles for the cool autumn weather in New York. Most of the weekend was devoted to taking care of business, but time was also set aside for relaxing, networking, and catching up.

The social highlight was the Saturday afternoon reception, held at the Nippon Club in Midtown. In addition to JANM board members, distinguished guests included Yosuke Honjo, CEO and President, Ito En (North America); Masahide Enoki, Vice President, Ito En; Sugu Mike, Executive Chairman, MUFG Union Bank; Yumi Higashi, Vice President of Corporate Communications, MUFG Union Bank; and Osamu Honda, Director General of the Japan Foundation, New York. Delicious food and beverages were enjoyed by all.

A carved wood plate by Henry Sugimoto, now part of the museum's permanent collection. Photo by Nicole Miyahara.
A carved wood plate by Henry Sugimoto, now part of the museum’s permanent collection. Photo by Nicole Miyahara.

At the reception, JANM announced a major gift from the estate of artist Henry Sugimoto, generously made by his daughter Madeleine. The artworks and artifacts span Sugimoto’s entire career and include 240 oil paintings and more than 200 watercolors. This acquisition makes the Sugimoto Collection, which comprises over 700 works of art, the largest collection of paintings at JANM.

Maggie Wetherbee, JANM Collections Manager, made a special trip to New York to bring one of her favorite Sugimoto pieces to the reception for guests to see. It is a carved wood plate created by the artist in the 1980s; it depicts Madeleine Sugimoto at age six, sitting in front of the mess hall at “Jerome Camp” in Arkansas, where the Sugimoto family was incarcerated, in 1943. The tags attached to her and the pieces of luggage surrounding her bore their family number, so that they could be returned to their assigned barrack if they were separated from her parents. Attendees were very excited and appreciative to see this piece up close, and were able to ask Wetherbee additional questions about the collection.

Dr. Greg Kimura, JANM’s President and CEO, gave a short presentation on the latest happenings at the museum, including exhibitions, educational tours, and new technology. Representative Mark Takano of the 41st Congressional District, a longtime supporter of the museum, spoke about what JANM means to him. He mentioned that Riverside City College, which is part of his district, holds a major collection of works by artist Mine Okubo; JANM also has a significant number of works by Okubo in its permanent collection. Rep. Takano also promised to assist JANM in bringing its recent exhibition, Before They Were Heroes: Sus Ito’s World War II Images, to a prominent venue in Washington, D.C.

Dr. Greg Kimura, JANM's President and CEO, gives a short presentation about the latest happenings at the museum. Photo by Nicole Miyahara.
Dr. Greg Kimura, JANM’s President and CEO, gives a short presentation about the latest happenings at the museum. Photo by Nicole Miyahara.

 

In addition to the meetings and reception, some board members and their family and friends elected to visit the National September 11 Memorial and Museum, located on the former site of the World Trade Center. The group was given a guided tour by the museum’s founding President and CEO, Joseph C. Daniels, and Vice President for Education and Public Programs Clifford Chanin. In addition to being a deeply moving experience, the intimate tour was an opportunity to build a partnership with an institution with which JANM shares a common mission of commemorating a national tragedy and promoting the messages of hope, transcendence, and tolerance that come out of it.

Another highlight of our trip was enjoying some delicious meals at Hasaki and Sakagura, two restaurants owned by Bon Yagi and his daughter Sakura Yagi, who are longtime friends of the museum. We highly recommend visiting either or both of these establishments the next time you are in New York.

A Chat with GRB4 Artist Yoskay Yamamoto

Yoskay Yamamoto in front of his artwork, Wish You Were Here.
Yoskay Yamamoto in front of his artwork, Wish You Were Here.

 

Giant Robot Biennale 4 is filled with outstanding artworks. One of the most attention-grabbing is perhaps Yoskay Yamamoto’s Wish You Were Here, a complex, wall-mounted installation composed of numerous small paintings, photo-transfer panels, hand-carved wooden sculptures, and hanging objects. Displayed near the back of JANM’s upper-level galleries, Wish You Were Here stuns viewers with its exuberant presence.

Shortly before GRB4 opened, Yamamoto graciously answered a few questions about this work and the others he has in the show.

JANM: Did you custom-make Wish You Were Here for this exhibition?

Yoskay Yamamoto: Yes. This is a type of installation that I’ve been working on since 2012; I think that was the first time I did something with the panels and suspended sculptures together as one piece. From there, I gradually added more panels, and repainted more, adding different color palates and textures. The latest additions are the sunset hues and scenery, painted to fit into this particular kind of color palette.

Yoskay Yamamoto's Wish You Were Here.
Yoskay Yamamoto’s Wish You Were Here.

 

JANM: What were the inspirations behind this piece?

YY: The sunset is one of the main visual elements in the 100 panels I brought here. Ever since I started living in Los Angeles, I’ve been fascinated by how beautiful the sunset is in the city. At the same time, I’ve heard it’s due to the smog we have. I find this ironic. If I’m outside at the right time, I try to photograph the sunsets I see. Then I use a lot of them as reference.

20151021_162018

JANM: So you were born in Japan?

YY: Yes, in this small seaside town called Toba, which has a population of about 22,000. It’s decreasing every year because the younger generation ends up leaving to go to bigger cities.

Yoskay Yamamoto's California Dreamin' and Keep On Shining
Yoskay Yamamoto’s California Dreamin’ and Keep On Shining.

 

JANM: What brought you to California?

YY: Toba is a sister city to Santa Barbara, so I went to high school there and then studied graphic design at the community college. To pursue my art, I moved to San Francisco for about a year. Then, ironically, I got assigned to a gallery in LA. So I packed up my stuff and moved down here.

Yoskay Yamamoto's Cosmic Boy.
Yoskay Yamamoto’s Cosmic Boy.
JANM: Can you tell us about the other three pieces you have in the show?

YY: The smaller wall installation is called Cosmic Boy. I bought a bootleg Astro Boy figure from Hong Kong on eBay, and I just took the head off and re-sculpted it. Then I had my friend fabricate 25 of them for me.

I also have two paintings here called Keep on Shining and California Dreamin’. These are both based on the old Americana signage that I see around LA. I think this is something that’s dying in culture—I don’t think anybody is making these signs any more. I like seeing the craftsmanship in them—there’s something special and magical about it. I try to pick some titles or combinations of words that I like, to give a positive message to them.

Giant Robot Biennale 4 is on view at JANM through January 24, 2016.

Introducing Mark Robbins

JANM recently hired Mark Robbins as the museum’s new Community and Government Relations Officer. To help introduce Mark to the greater JANM community, we conducted the following brief interview.

New JANM staff member Mark Robbins, right, attends the Go For Broke National Education Center's 14th Annual Evening of Aloha Gala Dinner with his wife, Iryll Robbins-Umel, center. At left is keynote speaker and pioneering Asian American athlete Natalie Nakase.
New JANM staff member Mark Robbins, right, attends the Go For Broke National Education Center’s 14th Annual Evening of Aloha Gala Dinner with his wife, Iryll Robbins-Umel, center. At left is keynote speaker and pioneering Asian American athlete Natalie Nakase.

JANM: What led you to come to work for the museum?

Mark Robbins: The mission of the museum appealed to me greatly. I was impressed by how JANM aims to tell the full Japanese American story, in all its shades and complexities. As a hapa and a fourth-generation Japanese American, I saw joining the JANM staff as an opportunity to contribute to something important while learning more about my own family’s history. I was also excited about all of JANM’s programs—the performances, workshops, film screenings, panels, and so on. It’s a vibrant institution that offers so much to its visitors and tests the boundaries of what a museum can be.

JANM: How do you visualize your role at the museum?

MR: Right now, I have a lot to learn, both in terms of the history of Little Tokyo and the various efforts underway at JANM. I see my role, though, as helping the museum be an informed and valuable partner in the community. While we are a national museum, Little Tokyo is in our DNA. Helping to preserve the health and distinct character of Little Tokyo is critical to our mission and our future. I will also play a role in the museum’s government relations, identifying federal grant opportunities for the museum, and working with our Young Professionals Network.

JANM: Can you tell us about your education and work history prior to joining the museum?

MR: I studied Communication and Political Science as an undergraduate at Stanford and went to law school at UCLA. I worked in Washington, DC, for about seven years as a policy advisor in the offices of the late Senator Ted Stevens of Alaska and former Governor of Alaska Sean Parnell. I then moved back to Los Angeles and held temporary positions as an attorney for Legal Aid in Compton before the opportunity with JANM came up.

JANM: You were born in Alaska. Can you tell us about your experience growing up there?

MR: I grew up on Kodiak Island, which is located in the Gulf of Alaska. In addition to its huge brown bears, Kodiak is known for its fishing. My father ran a commercial fishing boat for about 40 years there, catching cod, halibut, and salmon. That was our family business, and my older brother and I worked on the boat in the summers to earn money for school.

JANM: What have been your most memorable experiences so far at the museum?

MR: There have been many. Bringing my family (including my wife, young daughter, and mother) to the Natsumatsuri Family Festival in August was definitely a highlight. We had a large and energetic crowd on hand for the event and I was happy to have three generations of my family share the experience. I have also appreciated spending time with our volunteers, several of whom have committed their time and effort to the museum for decades. Their spirit and enthusiasm are inspiring and a constant reminder of why what we do here is so important. More recently, I’ve been getting to know our New Leadership Advisory Council. They are an impressive group and I’m excited about what we can accomplish together.

Shin-Issei Volunteer Kyoko Ogawa Contributes Invaluable Japanese Translation Skills

Kyoko Ogawa volunteering at the front desk of the Hirasaki National Resource Center.
Kyoko Ogawa volunteering at the front desk of the Hirasaki National Resource Center.

 

The collections office is where you will find Kyoko Ogawa, one of the museum’s newest volunteers, every Tuesday. Originally from Nagano prefecture in Japan, Kyoko moved to the United States with her husband over thirty years ago.

As a shin-Issei (Japanese national who immigrated to the United States after World War II), Kyoko provides the invaluable service of translation from Japanese to English. In fact, she is currently the only collections volunteer who translates letters, diaries, and other archival materials largely written by our community’s Issei (prewar, first-generation immigrant) pioneers.

A letter in the JANM collection that Kyoko has been working on translating.
A letter in the JANM collection that Kyoko has been working on translating.

 

“Kyoko is really invaluable in the sense that she is providing a service that has been lacking in the collections department,” says Maggie Wetherbee, JANM’s Collections Manager. “We were so excited when we found out she wanted to volunteer. Most people do not want to do it because it is so tedious.”

Though decades removed from the early Japanese American migrants, Kyoko, with her strong native language skills, provides us with a link to the Issei experience. Her first volunteer project involved translating Buddhist sermons that were read in the American concentration camps during World War II.

Kyoko also volunteers in the Hirasaki National Resource Center, where she helps visitors research their family’s records from the Issei generation to the present. From time to time, she lends a hand as an origami volunteer as well.

A glimpse of JANM's archives.
A glimpse of JANM’s archives.
“Everyone is just so nice, and their dedication is incredible!” Kyoko says about all the museum volunteers. She is particularly thankful to her volunteer mentors, Marge Wada and Irene Nakagawa, who have helped her transition into JANM’s lively and close-knit volunteer community.

One key take-away from her time at JANM has been the importance of sharing diverse lived experiences—a concept she did not grow up with in a largely homogeneous Japan. With every passing week, she cheerfully asserts, “I am learning something new!”

Please note Kyoko Ogawa is not available for general translation requests. Her volunteer services are currently limited to the needs of JANM’s Collections and Management Access Unit.

This post was researched and written by Sakura Kato, JANM’s summer 2015 curatorial and collections intern. Kato, who just graduated from the University of Southern California with a degree in history and pre-law, conducted the interview with Ogawa in Japanese.