JANM is collaborating with the Museum of Modern Art Wakayama (MoMAW) on a three-year research project about Japanese immigrant artists. The partnership includes an annual symposium, educational curriculum, and this exhibition at MoMAW. JANM is lending more than twenty artworks from its permanent collection, including oil paintings, gelatin silver prints, charcoal and ink drawings, sumie paintings, and woodblock prints representing artists Tokio Ueyama, Chiura Obata, Hisako Hibi, Matsusaburo Hibi, Miné Okubo, Jack Yamasaki, Taizo Kato, Harry Shigeta, and the Shaku-do-sha artist collective.
Transbordering—Migration and Art Across Wakayama and the U.S.A.
September 30 – November 30, 2023
The Museum of Modern Art, Wakayama 1-chōme-4-14 Fukiage Wakayama, 640-8137, JAPAN
In September 2021, the National Center for the Preservation of Democracy at the Japanese American National Museum (NCPD@JANM) and Asian Americans Advancing Justice – Los Angeles (Advancing Justice-LA) invited artists to apply for the Artists At Work (AAW) initiative.
Born out of the coronavirus pandemic and inspired by the Works Progress Administration, the AAW initiative employs artists in U.S. cities and regions to create original public-facing art and connect them to cultural institutions. The initiative also ties the artists and cultural institutions to social justice, economic, health, housing, and immigration issues in their local communities.
In December 2021, NCPD@JANM and Advancing Justice-LA selected Audrey Chan and Jason Chu as the 2022 recipients of this initiative. Chan is an illustrator and educator. Chu is a rapper and spoken word poet. Together they will create new artwork focusing on anti-Asian hate and racism.
Chan’s work blends visual and public art with film and research to challenge dominant historical narratives. Growing up in Oak Park, Illinois, she identified as an artist from a young age.
“My art is about picturing the possibilities of what the world could look and feel like if the lived experiences, desires, and struggles of historically marginalized communities were centered in the stories of America’s past, present, and future,” said Chan.
A Delaware native, Chu’s music and poetry stem from exposure to hip hop at an early age.
“I grew up with hip hop. It’s what made me Asian American. The community, the culture, the racial consciousness. I was surrounded by people who were using this art to hold a heritage. It’s a venue for having conversations that I wanted to have and to hear,” Chu said.
Chu earned his bachelor’s in Philosophy at Yale University in New Haven, Connecticut. He earned his master’s from Fuller’s Center for Asian American Theology and Ministry in Pasadena, California. His music and poetry are influenced by the work of Ms. Lauryn Hill, Wu-Tang Clan, Lupe Fiasco, and Kanye West. His three biggest influences are Kendrick Lamar, Bono, and Ai Wei Wei.
“All of them are speaking of hope and healing in a broken world. They show what art can be for people,” he said.
Chan’s art is inspired by the work of Maya Lin, Adrian Piper, and Kerry James Marshall and her own family history. Chan earned her bachelor’s in Studio Art and Political Science at Swarthmore College in Swarthmore, Pennsylvania. She earned her master’s from the California Institute of the Arts (CalArts) in Valencia, California. As she developed her craft, her work also became inspired by political and social issues of the early 2000s.
“In the year prior [to graduate school], I had worked on a grassroots campaign to persuade voters in swing districts of Milwaukee, Wisconsin, to vote for John Kerry during the 2004 presidential election. The invasion of Iraq was underway and I wanted to understand if and how art could be a political medium to mobilize for social justice and to give voice to frustration with the status quo.”
At CalArts, she connected with artists who were a part of the Feminist Art Movement through a campus-wide class project on the legacy of the university’s Feminist Art Program.
“I appreciated that Southern California was a place where artists could be unabashedly political, conceptual, and experimental,” she said.
When Chu moved to Los Angeles ten years ago, he sought a very specific movement.
“I moved here to Los Angeles to identify as an Asian American rapper and poet. I was seeking out a pan-ethnic community, and that’s a strength of the West Coast. The strength of the East Coast is that there is a strong understanding of racialization. Not only in urban areas, but in small-town America too. I like to say that Asian America means all Asian Americans,” he said.
Chu was inspired to apply to this initiative after a friend tagged him on JANM’s Instagram post.
“My friend, a Cuban American choreographer, tagged me and said ‘Jason this sounds like you.’ This fellowship embodies everything I strive to do because it builds a communal consciousness.”
For Chan, there were many different aspects of the initiative that spoke to her.
“The AAW initiative was an opportunity to partner with NCPD@JANM and Advancing Justice-LA, two inspiring organizations that have been on the frontlines of defending democracy and centering the needs and cultural specificities of AAPI communities. By working together, we’re finding ways to merge art and advocacy to move the needle forward in representing the diversity of AAPI communities and building the solidarities that are essential to survive and thrive in the face of racist hatred and hostility. I also deeply appreciate that the fellowship recognizes art as a form of essential cultural labor and gives new life to the legacy of the Works Progress Administration,” she said.
Chan and Chu plan to create a new artwork that engages multiple generations, represents Southern California Asian American and Pacific Islander communities, and stands alongside other communities fighting against injustice, hate, and violence.
“We’re working on building a collective visual and textual vocabulary for this moment that can be translated into multiple languages and that can be activated through installations, events, and public participation. By making the project bilingual, we hope to provide another resource for intergenerational communication, but also to serve as a reminder that there is so much to learn about and from each other,” said Chan.
My name is Jose Quirarte and this summer I have had the opportunity to work at the Japanese American National Museum as the Getty Marrow Collections and Curatorial Intern. I recently graduated from California State Polytechnic University, Pomona with a bachelor’s degree in history. Throughout my undergraduate work I studied the 20th century ethnic American experience, focusing a majority of my research on the unjust incarceration of Japanese Americans during World War II. As a result, I wanted to create a capstone project during my internship at JANM that reflected my research interests in the Japanese American experience as well as those of other ethnic communities by exploring the complexity of American identity.
In order to fulfill this capstone project, I invited Getty Marrow Undergraduate Interns from JANM, La Plaza de Cultura y Artes, the Chinese American Museum, and the Italian American Museum of Los Angeles to collaborate and create a collections-based project that focused on the ethnic American experience. Specifically, the project invited each intern to highlight items in their museum’s respective collection that reveal lesser known stories and demonstrate how the American experience has been shaped and defined by its rich ethnic history.
Interns selected an artifact or artwork that related to the broad project question:
How have immigrants and subsequent generations shaped what it means to be American?
Participants were encouraged to view and interpret this question from different perspectives and were provided a variety of sub-questions to further delve into different facets of the American experience. The initial goal of the project was to highlight the agency of immigrants in shaping American identity. However, the interns’ submissions made it clear that the answer to this specific question would not fully encompass the American experience of immigrants and their descendents. The interns, through the objects that they selected and wrote about, demonstrated the complexity of the immigrant experience in the United States. They underscored obstacles and triumphs, the ingenuity of immigrants, the unique cultural identity that formed, and the notion that “being American” has not historically conformed to one singular definition.
The following Getty Marrow Undergraduate Interns participated by shaping their own interpretations of the project question:
Japanese American National Museum: Jose Quirarte, Shelby Ottengheime, and Rino Kodama
Italian American Museum of Los Angeles: Mercedes Solaberrieta
La Plaza de Cultura y Artes: Araceli Ramos
The resulting capstone project has been crafted into a blog series titled Ethnic Effects. I have synthesized and framed the submissions into a series of posts that reveal a different facet of the American experience through an analysis of collection items.
I answered the broad project question, by selecting a drawing from JANM’s Miné Okubo Collection (2007.62). I argue that it reveals the complexity of “American identity” and the ways in which it is shaped by the cultural traditions and experiences of immigrants and their children.
Jose Quirarte, Japanese American National Museum
In this untitled work, artist Miné Okubo depicts herself seated at a mess hall table while she observes several individuals in the process of pounding mochi at the Topaz concentration camp in Utah during World War II. Miné Okubo was just one of the 120,000 Japanese Americans who were imprisoned in America’s concentration camps without due process because of racism and war hysteria. Executive Order 9066 laid the foundation for exclusion of Japanese Americans on the West Coast and their subsequent forced removal. Miné Okubo’s drawings depict the World War II incarceration experience— from removal on the West Coast to daily life at Topaz.
This particular drawing depicts a scene of mochitsuki, a Japanese New Year’s tradition of pounding sweet rice into mochi (rice cakes). Mochi is an important ingredient in a New Year’s soup called ozoni, which is supposed to bring luck. The three men in the background take turns pounding the sweet rice with large wooden mallets while the man kneeling in front turns the mochi and moistens it with water. To the left of Okubo, there are several mochi cakes resting on the counter.
On the surface, this drawing seems to only speak about the mochi-making process in the Topaz concentration camp. However, the drawing, in conjunction with Okubo’s other drawings, helps to reveal the dynamic nature of “American identity” by depicting Japanese Americans actively participating in Japanese traditions. From behind barbed wire fences, Japanese Americans demonstrated that American identity was not homogenous; rather, American identity had always been inherently diverse and multifaceted due to the integration of a variety of immigrant groups and their respective traditions and values. Okubo’s drawing of mochi-making signified the reality that many Japanese Americans held on to traditional Japanese institutions and values. Furthermore, her drawings indicate that Japanese Americans placed an importance on maintaining Japanese traditions, despite attempts by the War Relocation Authority to “Americanize” and “assimilate” them. From within the confines of America’s concentration camps, Japanese traditions and cultures thrived and persisted among the Japanese American community.
If the meaning of what it means to be an “American” is confined to the restrictive ideas of the “melting pot” and a European American standard, then it would allow no room for the preservation of outside cultures and traditions. Yet, Okubo and many other Japanese individuals, within the confines of concentration camps, maintained their cultural traditions and redefined the contemporary definition of American identity. Okubo’s drawings counter the restrictive narrative of the “melting pot” and highlight that Japanese immigrants and their children valued Japanese culture and were intent on keeping their traditions alive. More importantly, Okubo’s drawings reveal a bigger picture: “American identity” is inherently complex and diverse and it is shaped by the values and experiences of immigrant populations and their children.
This series, entitled: “Ethnic Effects,” will reveal commonalities and shared experiences in the American experience through material culture artifacts from JANM, La Plaza de Cultura y Artes, and the Italian American Museum of Los Angeles. The title of this series underscores the overall goal of the project: to highlight personal effects residing at cultural and ethnic museums, and use their historical significance to demonstrate the effect immigrant populations have had on shaping the American experience. Each of the posts in this series analyzes the complexity of “American identity” and demonstrates that the American experience is multifaceted. Through the Getty interns’ analysis of their respective museum items, several throughlines are apparent within the American immigrant experience. In coming to America, immigrant groups and their children have often had to adapt and reinvent themselves, face immense systemic oppression based on racial prejudice, and persevere in any way they can in order to survive. Each of the following posts reveals stories of American immigrants that exemplify the notion that the immigrant experience is not just a minor chapter in America’s history, but is instead an integral part in understanding the complex story of the American experience:
This project has been a wonderful opportunity for several of us Getty MUI interns to meet and collaborate on a project outside of our immediate internships. With the COVID-19 pandemic forcing museum personnel to work from home, a majority of the interns have only had a digital experience working with their institution. Regardless of the unfavorable transition, our supervisors have adapted and have provided the Getty interns with a valuable experience working in the museum field. I would like to take this opportunity to thank the supervisors for their support of this project and their ingenuity in adapting their Getty programs to accommodate work from home.
Thank you to Kristen Hayashi, Clement Hanami, and Akira Boch of JANM; Marianna Gatto of the Italian American Museum of Los Angeles; Gina Alicia Lopez Ramos, Erika Garcia, and Liz Gama of La Plaza de Cultura y Artes; Rachelle Shumard and Ashley Lee of the Chinese American Museum.
Without your support, this project would have not been possible.
Congratulations to George Takei, Stan Sakai, and Mariko Tamaki on their 2020 Eisner Awards wins! The 32nd Annual Will Eisner Comic Industry Awards were presented at a ceremony on July 24, as part of the San Diego Comic-Con International that is being presented virtually this year.
JANM Trustee, actor, and activist George Takei’s graphic memoir, They Called Us Enemy, won the award for Best Reality-Based Work. Our Education unit developed a teacher’s guide to accompany the memoir for IDW Publishing.
Stan Sakai was elected into the Hall of Fame and also won for Best Lettering (Usagi Yojimbo, published by IDW) and Best Archival Collection/Project (Usagi Yojimbo: The Complete Grasscutter). Sakai was honored at JANM’s 2011 Gala Dinner with the Cultural Ambassador Award, the same year that we presented an exhibition about his work, Year of the Rabbit: Stan Sakai’s Usagi Yojimbo. You can also watch clips from an interview with him on Discover Nikkei.
Sakai has had an ongoing relationship with JANM, especially with our JANM Store. In addition to selling his books and comics, he has graciously allowed our Store to produce exclusive merchandise. Look out for more collaborations in the future!
Finally, Mariko Tamaki and Rosemary Valero-O’Connell’s graphic novel Laura Dean Is Breaking Up with Me won awards for Best Publication for Teens, Best Writer, and Best Penciller/Inker. Skim, one of the Japanese Canadian writer’s earlier books, was previously sold at the JANM Store.
At the heart of Japanese American National Museum is its permanent collection. With over 100,000 artifacts stored within two-floors totaling 7,200 square feet, JANM houses the largest collection of Japanese American material culture in the world. From renowned artwork and artifacts of some of the most notable Japanese Americans, it also contains seemingly mundane objects of ordinary individuals with extraordinary stories to tell. The collection is full of family treasures that anchor narratives of hardship and success, loss and triumph, as well as challenge and resilience.
Located in Los Angeles’s Little Tokyo neighborhood, the heart of the Japanese American community since the 1880s, JANM’s founders and early supporters wanted to create an institution that would tell a lesser-known chapter of American history to help ensure that the violations of civil liberties that resulted in the incarceration of people of Japanese ancestry during World War II would never happened again.
After incorporating as a private, non-profit institution in 1985, artifacts and archival items began to populate the Museum’s permanent collection. With in-depth documentation from the immigration of the Issei generation to unique crafts made in America’s concentration camps, the burgeoning archive was unlike any other of its time. While JANM quickly became a renowned national museum, it was also a community archive—a repository for numerous families’ treasures. On January 23, 1999, the Japanese American National Museum expanded to its current location on the corner of Central Avenue and First Street, constructing at its center two floors for collections storage, as seen in the video Behind the Scenes of JANM’s Collection (see below).
While the permanent collection is encyclopedic, covering a myriad of topics that reflect the Japanese American experience from early immigration to the United States to the present, the majority of the collection conveys the varying experiences of Japanese Americans during World War II. This encompasses the forced removal and subsequent confinement of 120,000 people of Japanese ancestry—two thirds of whom were US citizens—in temporary detention centers and later in America’s concentration camps as well as the military experiences of men and women who served in the 442nd Regimental Combat Team, 100th Infantry Battalion, 522nd Field Artillery Battalion, the Military Intelligence Service, and Women’s Army Auxiliary Corps. Artworks in a variety of mediums, photographs, personal letters, and government documents help to illustrate the experience of the former incarcerees and military personnel.
All of JANM’s collections are significant historical resources for scholars and researchers who study United States history and politics, Japanese American history, trans-Pacific migrations, and other similar topics. Yet, they are also incredibly important to the families that have donated them to the museum. Those who come to research the collections at JANM are not always scholars. Instead, many are descendants of family members who donated historical documents and artifacts to the museum. They visit JANM to learn more about where they come from and the uniqueness of their family history. This is what makes the holdings within the Japanese American National Museum’s permanent collection especially significant and incredibly valuable.
To bring your family’s artifacts into JANM’s permanent collection please email email@example.com. Or to help maintain and preserve JANM’s Collection with a donation please click here.
Behind the Scenes
In Behind the Scenes of JANM’s Collection the following artifacts can be seen:
Antique Kodak camera owned and used by Frank Kamiyama of Fresno, CA, Gift in Memory of Frank U. Kamiyama, 2000.335.2
Shell pins from Topaz concentration camp, Gift of Ryo Maruoka and Aiko Yoshida, 93.122.2
Harold Landon’s correspondence with Sohei Hohri, Gift of Harold Landon Family in Memory of Sohei Hohri, 2019.13.9
Suitcases taken to Manzanar concentration camp, Gift of Grace Shinoda Nakamura, 2001.61
The Heart Mountain mystery stones, Gift of Leslie and Nora Bovee, 94.158.1
Suit of Harry Miyagawa, Gift of the Uragami Family, 91.92.3
Citizen USA, Gift of Lois Ferguson in Memory of Charles K. Ferguson, 2002.174.2
Every three months, staff at the Japanese American National Museum meet to discuss donation offers of artifacts for the museum’s permanent collection. One collection that arrived at the museum recently was from the family of Larry Akira Ogino.
Kathy Bishop and her siblings recently offered to JANM a collection of watercolor paintings created by their father, Larry Akira Ogino, during his time at the WRA concentration camp at Poston. The five vibrant watercolors accepted into JANM’s permanent collection capture life and scenery at Poston, with some of the works evoking the style of other watercolor artists in Poston and other camps, such as Gene Sogioka.
Larry was born in 1919 in San Francisco, California. During his youth, the family owned and operated a fruit and vegetable farm in the Los Gatos and Campbell neighborhoods adjacent to San Jose. Prior to incarceration, Larry was an art student at San Jose State College. Larry, his mother, and three brothers were sent directly to Poston. Their father joined them after a year at the Santa Fe Department of Justice camp. Larry left camp in June 1943 for employment in Chicago, and later volunteered to join the 442nd Regimental Combat Team. He served as a medic in Europe during his tour of duty.
Once out of the service, Larry was sponsored by a family friend and was able to continue his studies at the Studio School of Art in Chicago. During this time, he painted landscapes in watercolor, but also experimented with oils and acrylics. He was hired as a technical illustrator and worked for several different companies in the Midwest before finally returning to San Jose, where he was employed at FMC Corporation until his retirement. Until his death in 2000, Larry continued to paint—some animals (including cougars, foxes, dogs, cats, and birds), but mostly landscapes.
With over 100,000 artifacts, JANM’s Collections Management and Access staff work to preserve and document the experiences of Japanese Americans like Larry Akira Ogino. If you are interested in donating, making an appointment to view your family’s past donations, or learning more about objects in JANM’s permanent collection, please email firstname.lastname@example.org.
Coming to New York City on October 18, 19, and 20, and Orange County on November 10 is Masters of Modern Design: The Art of the Japanese American Experience.
This documentary, a co-production between JANM’s Watase Media Arts Center and KCET for the series ARTBOUND, explores five second generation Japanese American artists—Ruth Asawa, George Nakashima, Isamu Noguchi, Gyo Obata, and S. Neil Fujita—following the ways in which their camp experiences impacted their lives, influenced their art, and sent them on trajectories that eventually led to their changing the face of American culture with their immense talents.
The film will screen three times as a part of the Architecture & Design Film Festival at the Cinépolis Luxury Cinemas in New York City.
Showtimes are Friday, October 18 at 9:15 p.m.; Saturday, October 19 at 7 p.m.; and Sunday, October 20 at 1:30 p.m. Q&A with Mira Nakashima (furniture designer and daughter of George Nakashima), Kenji Fujita (artist and son of S. Neil Fujita), and filmmaker Akira Boch will follow the Friday night screening.
Masters of Modern Design will also screen in Orange County on Sunday, November 10 at 12:30 p.m. at the Orange County Buddhist Church. A Q&A with the filmmakers will follow. This is a free event, but please rsvp to: email@example.com.
Masters of Modern Design: The Art of the Japanese American Experience is available on DVD at the JANM Store. JANM members receive 10% discount!
Our newest exhibition, Kaiju vs Heroes: Mark Nagata’s Journey through the World of Japanese Toys opens on Saturday, September 15 and showcases hundreds of dazzling vintage and contemporary Japanese vinyl toys, providing a feast for the eyes and the imagination! Kaiju translates to “strange creature” in English but has come to mean “monster” or “giant monster” referring to the creatures that inhabited the postwar movie and television screens of Japan. The advent of these monsters brought about the creation of characters to combat them—hence the emergence of pop-culture heroes like Ultraman and Kamen Rider. Drawing from the extensive vinyl toy collection of Mark Nagata, the exhibition also demonstrates how Nagata’s pursuit of these Japanese toys took him on an unexpected journey that brought new realizations about his cultural identity as an American of Japanese ancestry.
Growing up in California, Mark Nagata was a fan of Disneyland, comic books, and classic Japanese television shows, movies, and toys. These influences inspired his creativity and spurred his initial interest in drawing and art. After attending the Academy of Art College in San Francisco during the late 1980s, Nagata embarked on a 10-year-plus journey as a freelance commercial illustrator. In 2001, Mark transitioned from illustration to co-founding Super 7 magazine, a publication dedicated to vintage and art vinyl toys. Through his work on the magazine, Nagata combined his passion for Japanese vinyl toys with his artwork. It was during this period that Nagata founded the Max Toy Company in 2005 to produce vinyl kaiju and hero toys. Fast-forward to today, and not much has changed for this toy designer, painter, illustrator, and collector. We caught up with Nagata via email to ask him a few questions.
JANM: What is your favorite kaiju toy of all time?
Mark Nagata: To be honest, my favorite kaiju toy is actually a hero toy. It’s an Ultraman figure, made of soft red vinyl, produced by a Japanese company called Bullmark in the 1970s. Ultraman is my favorite hero and when I discovered that there was a very rare variation of this figure, the hunt was on. During one of my trips to Tokyo in search of toys, I actually found one but the price was very expensive. Even though my fellow toy friends were willing to let me borrow the money, sadly I had to pass on the chance to obtain it. For the next month after returning home, I couldn’t stop thinking of the figure. So, I decided to sell off a bunch of toys and contacted a dealer in Japan to see if the figure was still there for sale. Luckily, it was and they helped me to purchase it. Because the figure is fragile and expensive, I requested that they carefully wrap and pack the figure in a sturdy box and declare the full insurance amount when shipping it.
I waited what seemed like weeks for the figure to arrive. To my complete horror, the mailman handed me a shoe box that was partially opened, and inside the figure was barely wrapped in one piece of newspaper! I quickly examined the figure to make sure it was not broken and luckily it was in perfect condition. As I was throwing out the box, I glanced at the shipping label and once again was shocked to see that the declared insurance value was $5.00, not the value of $5,000! The story has a happy ending, but to this day I keep thinking of how lucky I was that it made it to me in one piece!
JANM: Where was the most unique place you bought a kaiju toy?
MN: Not really the most unique place, but I think using a fax machine to order toys from Japan was unique. Before email and the internet (yes, that long ago) I would buy toys via the fax machine. A dealer from Japan would fax me in the middle of the night (it was his daytime) with various toy offers. The next day I would circle what I wanted and fax it back to him. I’d still have to wait for another fax to me with payment information. Once I got the totals I had to get a postal money order and mail the payment to him. I’d wait a month for a box to arrive and sometimes a toy would be sold out by the time he got payment. In that case, I would end up with a credit with the dealer.
There was much more work involved to obtain Japanese toys back in those days. Now, with the internet, toy buyers can get a ”fix“ instantly. To me, the fun has been taken out of the searching and hunting process for these toys.
JANM: What is your favorite piece featured in the exhibition?
MN: I know I will get asked this question and to be honest it’s like picking your favorite child! In no particular order for the heroes: the Bullmark Red Ultraman figure, Marusan Talking Ultraman figure, and Ultraman costume. For kaiju figures, I would say the glow in the dark Bullmark Zazan figure, Bandai Barom One Doruge figure, and Bullmark Mirrorman Darklon figure.
Join Mark Nagata on Saturday, September 15, at 2:00 p.m., for a conversation with Marusan toy company President Eiji Kaminaga about kaiju toy history, the world of Japanese toy collecting, and their companies’ histories. (The Marusan toy company created some of the first vinyl kaiju and hero toys of the 1960s and these toys make up a significant part of Nagata’s collection). The conversation will be moderated by Brad Warner, who worked for 15 years at Tsuburaya Productions, the makers of the Ultraman television shows.
Following the discussion, Mark Nagata will sign copies of Toy Karma, an accompanying book by and about Nagata, as well as a 13″ x 19″ print (10″ x 17″ image size) featuring a kaiju and hero image by toy photographer Brian McCarty, who will also be signing the print. The book is $24.95 and the print is $50. Both can be purchased the day of the event. RSVP here.
What We Carried: Fragments & Memories from Iraq & Syria, a traveling exhibition of the Arab American National Museum, is on view at JANM until August 5, 2018. Having previously created work centered on American soldiers who served in Afghanistan and Iraq, photographer Jim Lommasson wanted to tell the stories of those affected by the United States’ participation in these countries. When the same approach he had used in the past did not yield meaningful results, he tried another tactic. The following is excerpted from the artist’s statement:
I realized from the conversations, that when one leaves their home, under the cover of darkness with a kid under each arm, you can’t take much with you except some practical items and maybe one or two mementos. It became clear that the carried items tell the story. I began to ask recent refugees in several U.S. cities to share those things with me. I photographed the objects, I made 13” x 19” archival prints and asked the participant to write on the photograph why that item above all others, was so important that they chose to carry it on their long journey to America. The results speak volumes about being uprooted and displaced, about loss, and the preservation of identity. What was carried? What was left behind?
I realized that the objects and the stories help those of us who see them feel compassion and an intimate empathy. What would I take with me? But the more powerful understanding is the realization, of what was left behind. What was left behind was everything else: homes, friends, family, school, careers, culture and history.
The stories tell how similar we all are. Circumstances and zip codes determine what kind of lives we will live. When we try to walk in “others” shoes, we become more human. When we understand that those “others” are not as different as the media and that politicians make them out to be. When we see tired, hungry and desperate families arriving in inflatable boats, walking by the thousands to refugee camps, we have to understand that we would look just like them if we lived in a war zone, or were victims of a natural disaster. Those tired, desperate people might also be teachers, doctors, engineers, or homemakers. Their objects tell us how similar we are. What would you choose? A picture of your mother, bible, a Qur’an, a ring, a teapot, maybe even a Barbie doll? Yes, all of these things travelled from Iraq and Syria to your neighborhood. We aren’t as different as we think. Certainly those who fan the flames of “us” and “them” profit by spreading fear and hatred for personal political gain and try to keep them out by persecuting based on foreign-ness or religion. History has demonstrated that it works.
You can read Lommasson’s full statement on our website. What We Carried is included with museum admission. For a closer look at the exhibition, visit JANM on July 28, 2018, when we will be hosting two special events for visitors. At 10:30 a.m., take a guided gallery tour of the exhibition, or join us at 2:00 p.m. for Stories of Displacement, presented in partnership with Vigilant Love, which will share the perspectives of recent Iraqi and Syrian refugees, Japanese Americans incarcerated during World War II, and others.
On Saturday, March 3, artist Mari Inukai will lead a sold-out kokeshi doll workshop in celebration of Hinamatsuri (Girls’ Day), which takes place that day. It’s no surprise that spots in this workshop went quickly, as the popular artist—whose dreamy paintings and animations often depict and are inspired by the lives of young girls—may be the perfect person to lead a celebration of Girls’ Day.
Born in Nagoya, Japan, Inukai came to the United States in 1995 to study art. After attending Santa Monica Community College, she went on to obtain a BFA in character animation from California Institute of the Arts in 2004. Her short animated film, Blue and Orange (2003), has been an official selection at numerous film festivals, including the 2003 Sundance Film Festival, and was the Japan Grand Prize winner at the Short Shorts Film Festival EXPO 2005. In addition to her animation practice, Inukai regularly exhibits her paintings and drawings. She also designs clothes, toys, and other fun products. She now lives in Beverly Hills with her daughter Sena, who is often a subject of her artworks.
According to her website, Inukai’s paintings are “an expression of her desires, ambitions, and hopes for the future, starting from where she stands now. Like water flowing, seeking its path, [she] channels her direction naturally, finding her importance as she travels forward.” We caught up with Inukai via email to ask her a few questions.
JANM: What inspired you to create this workshop?
Mari Inukai: March 3 is a special day for girls in Japan. Americans may be familiar with Hinamatsuri, but in Japan, that day is also known as Momo No Sekku (桃の節句), the peach harvest festival. The day marks the changing of the seasons, and peach blossoms are said to ward off evil; they also stand for longevity. I thought we should celebrate!
JANM: Why was it important to you to encourage collaboration among participants?
MI: In the past, young Japanese girls would celebrate Hinamatsuri (ひな祭り) together by making dolls, eating sweets, and drinking sweet rice sake. I wanted to recreate that spirit in my workshop, so that we can all inspire and help each other and learn something new together and most of all, have fun!
JANM: What is your own relationship to Hinamatsuri? Was it something you regularly celebrated back in Japan?
MI: I have two sisters, so Hinamatsuri was pretty special when we were small. I remember our mom making chirashizushi (a colorful sushi dish), karaage (fried chicken), or tempura and salad. We would have a cute decorated cake with two dolls on top. There was a lot of laughter. No sake though!
JANM: Looking through your extensive body of work, I see that girls are frequently the subject.
MI: Yes. I paint my daughter Sena most, because she is the most inspiring thing in my life. I paint my friends and their children too. I am really fortunate to have great friends!
JANM: Do you think that Japanese traditions, like Hinamatsuri, have influenced your own artwork?
MI: Absolutely. Not just Hinamatsuri, but all Japanese traditions. In fact, I have curated a special MOMO/桃の節句 group show for Giant Robot that is also opening on March 3. I gathered several talented figurative artists whom I really admire and asked each of them to create their own “Momo No Sekku world.” I am doing a mural in collaboration with Audrey Kawasaki, and perhaps Amy Sol too. Amy has her own solo show opening on the same day at Thinkspace Gallery, so she will be in town. As for myself, I am making paintings with Gansai Japanese water color pigments, so they will look really different from my oil paintings. Please join us for the party!