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Collection Highlights Since Its Founding in 1924, the Kalamazoo Institute of Arts Has Built a Collection of Nearly 5,000 Artworks
Collection Highlights Since its founding in 1924, the Kalamazoo Institute of Arts has built a collection of nearly 5,000 artworks. Enjoy an in-depth exploration of a selection of those artworks acquired by gift, bequest, or purchase support by special donors, as written by staff curators and guest editors over the years. Table of Contents KENOJUAK ASHEVAK Kenojuak Ashevak (ken-OH-jew-ack ASH-uh-vac), one of the most well-known Inuit artists, was a pioneering force in modern Inuit art. Ashevak grew up in a semi-nomadic hunting family and made art in various forms in her youth. However, in the 1950s, she began creating prints. In 1964, Ashevak was the subject of the Oscar-nominated documentary, Eskimo* Artist: Kenojuak, which brought her and her artwork to Canada’s—and the world’s—attention. Ashevak was also one of the most successful members of the Kinngait Co-operative, also known as the West Baffin Eskimo Co-operative, established in 1959 by James Houston, a Canadian artist and arts administrator, and Kananginak Pootoogook (ka-nang-uh-nak poo-to-guk), an Inuit artist. The purpose of the co-operative is the same as when it was founded—to raise awareness of Inuit art and ensure indigenous artists are compensated appropriately for their work in the Canadian (and global) art market. Ashevak’s signature style typically featured a single animal on a white background. Inspired by the local flora and fauna of the Arctic, Ashevak used bold colors to create dynamic, abstract, and stylized images that are devoid of a setting or fine details. -
Yosemite Guide Yosemite
Yosemite Guide Yosemite Where to Go and What to Do in Yosemite National Park October 7, 2015 - December 8, 2015 8, December - 2015 7, October Park National Yosemite in Do to What and Go to Where Butterfly basket made by Julia Parker. Parker. Julia by made basket Butterfly NPS Photo / YOSE 50160 YOSE / Photo NPS Volume 40, Issue 8 Issue 40, Volume America Your Experience Yosemite, CA 95389 Yosemite, 577 PO Box Service Park National US DepartmentInterior of the Year-round Route: Valley Yosemite Valley Shuttle Valley Visitor Center Upper Summer-only Routes: Yosemite Shuttle System El Capitan Fall Yosemite Shuttle Village Express Lower Shuttle Yosemite The Ansel Fall Adams l Medical Church Bowl i Gallery ra Clinic Picnic Area l T al Yosemite Area Regional Transportation System F e E1 5 P2 t i 4 m e 9 Campground os Mirror r Y 3 Uppe 6 10 2 Lake Parking Village Day-use Parking seasonal The Ahwahnee Half Dome Picnic Area 11 P1 1 8836 ft North 2693 m Camp 4 Yosemite E2 Housekeeping Pines Restroom 8 Lodge Lower 7 Chapel Camp Lodge Day-use Parking Pines Walk-In (Open May 22, 2015) Campground LeConte 18 Memorial 12 21 19 Lodge 17 13a 20 14 Swinging Campground Bridge Recreation 13b Reservations Rentals Curry 15 Village Upper Sentinel Village Day-use Parking Pines Beach E7 il Trailhead a r r T te Parking e n il i w M in r u d 16 o e Nature Center El Capitan F s lo c at Happy Isles Picnic Area Glacier Point E3 no shuttle service closed in winter Vernal 72I4 ft Fall 2I99 m l E4 Mist Trai Cathedral ail Tr op h Beach Lo or M ey ses erce all only d R V iver E6 Nevada To & Fall The Valley Visitor Shuttle operates from 7 am to 10 pm and serves stops in numerical order. -
Chiura Obata (1885-1975)
Chiura Obata (1885-1975) Teacher Packet ©️2020 1 Table of Contents Biography - Chuira Obata 3 Lesson 1 : Obata Inspired Landscape Art (grades K -12) 3 Lesson 2 : Obata-Inspired Poetry (grades 2 - 7) 7 Lesson 3 : Environmentalism “Can Art Save the World?” (grades 4-8) 10 Lesson 4 : 1906 San Francisco Earthquake (grades 4 and above) 13 Lesson 5 : Japanese Incarceration Experience and Political Art (grades 6-12) 18 Resources 22 2 Biography - Chuira Obata Chiura Obata (1885-1975) was a renowned landscape artist, professor, and devoted environmentalist. Born 1885, in Japan, Obata studied ink painting before immigrating to California in 1903. After settling in Japantown in San Francisco, Obata established himself as an artist and took on large-scale commissioned art projects. After an influential trip to Yosemite in 1928, Obata began devoting his art to portraying landscapes and the beauty of nature. Throughout the next decade, Obata continued to earn recognition, but like many Japanese Americans during WWII, his life was violently uprooted as his family was interned, first at Tanforan and then at Topaz. During his imprisonment, Obata was able to start art schools at both camps, teaching hundreds of students and even holding an exhibition in 1942. After the end of the war, Obata returned to lecture at UC Berkeley, joined the Sierra Club’s environmentalist efforts, and consistently celebrated Japanese aesthetics until his death. Over the course of a seven-decade career, Obata became a prominent educator at UC Berkeley and a central leader in -
Obata As an Artist and a Lover of Nature
er 1993 me 55 ber 3 0 mal for bers of the YoseANte mite Association Janice T. Driesbach pact on Obata as an artist and a lover of nature. Chiura Obata B (1885-1975), a In Obata's words, that 1927 Japanese-born artist who spent Yosemite trip "was the greatest most of his adult life in the harvest for my whole life and San Francisco Bay Area, is future in painting. The expres- little-known for his Yosemite- sion from Great Nature is im- inspired work. But Obata, who measurable"' The classically- immigrated to California in trained sumi artist appears to 1903, produced a number of have arrived in the Sierra with A remarkable paintings, sketches a mission; he was determined and woodblock prints of the to record the wondrous land- Yosemite region from the time scapes of Tuolumne Meadows, of his first visit to the park in Mount Lyell, Mono Lake, and 1927 through the rest of his life. the rest of Yosemite's high That initial visit, which lasted country in pencil, sumi, and six weeks, had a profound im- watercolor. The sculptor T FACE. TWO Cover: Allorrriug at Mono Lake, 19 Color woodblock print, 11 x 151' Buck Meadow, June 17, 1927. Su on postcard, 3Y x 5% in. How Old Is the Moon, July 2, 19 Sumi on postcard, 5'U x 3'S in. Robert Boardman Howard, this abundant, great nature, t who accompanied Obata leave here would mean losin during a portion of the trip, great opportunity that come observed, "Every pause for only once in a thousand year rest saw Chiura at work. -
The Tanforan Memorial Project: How Art and History Intersected
THE TANFORAN MEMORIAL PROJECT: HOW ART AND HISTORY INTERSECTED A Thesis submitted to the faculty of San Francisco State University AS In partial fulfillment of 5 0 the requirements for the Degree AOR- • 033 Master of Arts in Humanities by Richard J. Oba San Francisco, California Fall Term 2017 Copyright by Richard J. Oba 2017 CERTIFICATION OF APPROVAL I certify that I have read “The Tanforan Memorial Project: How Art and History Intersected” by Richard J. Oba, and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirement for the degree Master of Arts in Humanities at San Francisco State University. I Saul Steier, Associate Professor, Humanities “The Tanforan Memorial Project: How Art and History Intersected” Richard J. Oba San Francisco 2017 ABSTRACT Many Japanese Americans realize that their incarceration during WWII was unjust and patently unconstitutional. But many other American citizens are often unfamiliar with this dark chapter of American history. The work of great visual artists like Ansel Adams, Dorothea Lange, Chiura Obata, Mine Okubo, and others, who bore witness to these events convey their horror with great immediacy and human compassion. Their work allows the American society to visualize how the Japanese Americans were denied their constitutional rights in the name of national security. Without their visual images, the chronicling of this historical event would have faded into obscurity. I certify that the Abstract is a correct representation of the content of this Thesis ACKNOWLEDGEMENT I wish to acknowledge the support and love of my wife, Sidney Suzanne Pucek, May 16, 1948- October 16, 2016. -
Research Resources at the Smithsonian American Art Museum Amelia A
From La Farge to Paik Research Resources at the Smithsonian American Art Museum Amelia A. Goerlitz A wealth of materials related to artistic interchange between the United States and Asia await scholarly attention at the Smithsonian Institution.1 The Smithsonian American Art Museum in particular owns a remarkable number of artworks that speak to the continuous exchange between East and West. Many of these demonstrate U.S. fascination with Asia and its cultures: prints and paintings of America’s Chinatowns; late-nineteenth- century examples of Orientalism and Japonisme; Asian decorative arts and artifacts donated by an American collector; works by Anglo artists who trav- eled to Asia and India to depict their landscapes and peoples or to study traditional printmaking techniques; and post-war paintings that engage with Asian spirituality and calligraphic traditions. The museum also owns hundreds of works by artists of Asian descent, some well known, but many whose careers are just now being rediscovered. This essay offers a selected overview of related objects in the collection. West Looks East American artists have long looked eastward—not only to Europe but also to Asia and India—for subject matter and aesthetic inspiration. They did not al- ways have to look far. In fact, the earliest of such works in the American Art Mu- seum’s collection consider with curiosity, and sometimes animosity, the presence of Asians in the United States. An example is Winslow Homer’s engraving enti- tled The Chinese in New York—Scene in a Baxter Street Club-House, which was produced for Harper’s Weekly in 1874. -
Lives and Legacy by Joyce Nao Takahashi
Japanese American Alumnae of the University of California, Berkeley: Lives and Legacy Joyce Nao Takahashi A Project of the Japanese American Women/Alumnae of the University of California, Berkeley Front photo: 1926 Commencement, University of California, Berkeley. Photo Courtesy of Joyce N. Takahashi Copyright © 2013 by Joyce Nao Takahashi All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without permission in writing from the author. Preface and Acknowledgements I undertook the writing of the article, Japanese American Alumnae: Their Lives and Legacy in 2010 when the editors of the Chronicle of the University of California, Carroll Brentano, Ann Lage and Kathryn M. Neal were planning their Issue on Student Life. They contacted me because they wanted to include an article on Japanese American alumnae and they knew that the Japanese American Women/Alumnae of UC Berkeley (JAWAUCB), a California Alumni club, was conducting oral histories of many of our members, in an attempt to piece together our evolution from the Japanese Women’s Student Club (JWSC). As the daughter of one of the founders of the original JWSC, I agreed to research and to write the JWSC/JAWAUCB story. I completed the article in 2010, but the publication of the Chronicle of the University of California’s issue on Student Life has suffered unfortunate delays. Because I wanted to distribute our story while it was still timely, I am printing a limited number of copies of the article in a book form I would like to thank fellow JAWAUCB board members, who provided encouragement, especially during 2010, Mary (Nakata) Tomita, oral history chair, May (Omura) Hirose, historian, and Irene (Suzuki) Tekawa, chair. -
Japan's Early Ambassadors to San Francisco
1860–1927 Japan’s Early Ambassadors to San Francisco The word ambassador has multiple meanings, from the highest-ranking diplomat representing a nation abroad to the unofficial representative of a certain profession or field of endeavor. In this exhibit, ambassador serves as a keyword through which we examine the earliest Japanese presence in San Francisco and our city’s role as Japan’s gateway to America. The story of this display of artworks begins in 1860, when two ships — one Japanese and one American — carrying Japanese diplomats landed in San Francisco. This opened an era of Japanese immigration with San Francisco at the center, giving the city unique access to Japanese culture even as it grappled with growing racism. The display ends with the story of the 1927 Friendship Dolls, sent from Japan as “ambassadors of goodwill” in order to appeal to the hearts of the American people in the wake of legislation that had halted all further Japanese immigration to the United States. A panoramic view of San Francisco looking west from Russian Hill, including the wharf where the Japanese ships docked. The top official on the Kanrin Maru brought this print home with him, giving Japan one of its first impressions of San Francisco. Photo courtesy of the Bancroft Library, University of California, Berkeley. PART I The Arrival of the Kanrin Maru and the First Japanese Embassy One hundred fifty years ago, the Japanese shogunate government broke its long self-imposed isolationism and sent its first official diplomatic delegation to a Western nation. This embassy was dispatched to America to deliver a ratified treaty finalized after U.S. -
Program &Schedule INTERNATIONAL MOKUHANGA CONFERENCE
Program &Schedule INTERNATIONAL MOKUHANGA CONFERENCE Kyoto & Awaji June 7-11, 2011 PRESENTERS AND DEMONSTRATORS ■ DEMONSTRATIONS ■ WORKSHOPS ■ ARTIST`S PRESENTATIONS ■ TECHNICAL INNOVATIONS ■ HISTORY AND PHILOSOPHY OF MOKUHANGA ■ MOKUHANGA AND SOCIETY ■ MATERIAL STUDIES ■ MOKUHANGA IN JAPAN TODAY ■ TEACHING MOKUHANGA ■ INTERNATIONAL EXCHANGE Code number in red is related to the schedule Names are sorted by alphabetical order. Demonstrations & Workshops DEMONSTRATIONS Demonstrations` program will be updated as new options come in Barbagli, Niccolo (Italy) D/01 Artist Two Visions of Water: Carved in Wood, Printed on Paper Barbagli reflects on the precious element of water that has been the symbol of Life, Flow of Time, Shape of Mind and subject for many artists in eastern and western art history as well through the practice of the eastern and western woodcut print techni- ques. Special printing techniques in Japanese woodblock printmaking will be featured. Kernan, Catherine (USA) D/02 Artist, Owner of Mixit Print Studio, Somerville Woodcut Monoprints with Akua Waterbased Inks Kernan demonstrates woodcut monoprinting using Akua waterbased inks and ink modifiers. Unorthodox methods include off- setting to plastic, transferring from block to block, using one block to lift ink from another, and reversing the positive/negative image. An instructional DVD of these techniques is also available at the conference. Mathie, William (USA) D/03 Artist, Associate Professor, Edinboro University of Pennsylvania Building a Traditional Mokuhanga Desk, to carve and print while standing This demonstration offers a video and plans to build a desk to hold a traditional mokuhanga carving desk, printing table and other furniture. The desk also stores the equipment when not in use. -
Artwork of Topaz 18
LESSON 4 Artwork of Topaz 18 Time George W. Chilcoat 2 class periods (45 minutes per period) • Citizen 13660 by Miné Okubo. • Handout 4-2: Artists in Topaz Overview • Overhead 4-1: Quote from Yoshiko Uchida • Various art supplies Lesson 4 introduces students to a unique and instruc- tive primary source: artwork created at the Topaz con- Assessments centration camp. Students will analyze the artwork to gain additional insight into the emotions of the Topaz • Handout 4-1: Hisako Hibi Collection artists. • Handout 4-2: Artists in Topaz • Student Artwork Objectives Background • Students will reflect on what emotions the people at Topaz felt. Many accomplished Japanese American artists who • Students will learn to analyze works of art for emo- lived in San Francisco prior to World War II were tional impact. incarcerated at Topaz between 1942 and 1945. While in • Students will discuss how artwork constitutes a pri- Topaz the artists continued to produce their own art- mary source. work and also taught art classes; many of their youth and adult students created excellent works of art. This Enduring Understanding artwork, which provides insight into the emotions felt by those who were forcibly removed from their • Diversity in the United States helps democracy to homes, constitutes a unique collection of primary function. sources. Essential Questions Four paintings by Ms. Hisako Hibi (1907–1991), a • What is the Topaz “Relocation Camp”? Topaz artist, will specifically be analyzed in Lesson 4. • How does racism affect the American experience? In total, 63 Hibi paintings and related bibliographic • How do communities endure? information are available on the Japanese American National Museum’s Web site at http://www.janm.org/ Materials collections/people/hibi-hisako/ (accessed August 3, 2009). -
Sierra Wave by Beth Pratt
Yose/ite A JOURNAL FOR MEMBERS OF THE YOSEMITE ASSOCIATION Spring 2002 Volume 64 Number 2 ate{ The Library - UC Berkeley Received onp Q -29-02 Yosemite ' RSuNr,LTi '' JUN 1 0 2002 THE SIERRA WAVE BY BETH PRATT "Imagine a world without clouds — nothing but clear blue sky from horizon to horizon, 365 days a year. What a monotonous world it would be, bereft of the imagery of billowing castles, dragons, and winged steeds, deprived of the drama of motion and shadow, innocent of the expectancy and foreboding that cloud changes arouse in the human spirit ." BETTE RODA ANDERSON, Weather in the West The sky expresses itself in a poetry of clouds . That poetry MOUNTAIN WEATHER : A DANCE OF WINDS resounds with a nautical flavor, for the sky is an ocean of The Sierra Nevada has many unique characteristics that air, an ocean we tend to forget for its invisibility . This sea combine to create its Mediterranean climate of short, wet of air does reveal itself in the clouds at times, its complex- winters and long, dry summers . Global weather patterns, ities and motions made perceptible. In a sense, clouds are like the Pacific High, a high pressure system that moves the waves of the air, the visible manifestations of the north from the tropics and acts as a barrier to the colder air moving south, affect the Sierra climate . Local charac- atmospheric tide. The Sierra Nevada adds its own special verse to the teristics also exert their influence : extreme variations in poetry of the sky. Known as the Sierra Wave, this cloud elevation (from 2,000 to 14,000 feet) and varied sun formation perfectly illustrates the sea above our heads. -
Catalogue II of the Regional Oral History Office, 1980-1997
http://oac.cdlib.org/findaid/ark:/13030/tf2j49n63c No online items Catalogue II of the Regional Oral History Office, 1980-1997 Processed by The Bancroft Library staff The Bancroft Library. University of California, Berkeley Berkeley, California, 94720-6000 Phone: (510) 642-6481 Fax: (510) 642-7589 Email: [email protected] URL: http://bancroft.berkeley.edu © 1997 The Regents of the University of California. All rights reserved. Note History --History, CaliforniaGeographical (By Place) --California Catalogue II of the Regional Oral 1 History Office, 1980-1997 Catalogue II of the Regional Oral History Office, 1980-1997 The Bancroft Library University of California, Berkeley Berkeley, California Contact Information: The Bancroft Library. University of California, Berkeley Berkeley, California, 94720-6000 Phone: (510) 642-6481 Fax: (510) 642-7589 Email: [email protected] URL: http://bancroft.berkeley.edu Edited by: Suzanne B. Riess and Willa Baum Encoded by: James Lake © 1997 The Regents of the University of California. All rights reserved. Collection Summary Collection Title: Catalogue II of the Regional Oral History Office, Date (inclusive): 1980-1997 Creator: Bancroft Library. Regional Oral History Office Repository: The Bancroft Library Berkeley, California 94720-6000 Physical Location: For current information on the location of these materials, please consult the Library's online catalog. Languages Represented: English Access Collection is open for research. Publication Rights Copyright has not been assigned to The Bancroft Library. All requests for permission to publish or quote from manuscripts must be submitted in writing to the Head of Public Services. Permission for publication is given on behalf of The Bancroft Library as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which must also be obtained by the reader.