Junandreekaneko.Pdf

CREATIVE HEARTBEAT Jun Kaneko and six decades in the arts. by JORIE JACOBI / Photography by ATTILIO D’AGOSTINO To make one of his signature five-ton “dango” sculptures, renowned Omaha-based artist and ceramic sculptor Jun Kaneko works with thick slabs of clay that have previously been worked by hand to remove any air bubbles, melding them together using any number of techniques: it could be digging his fingers into the sides and moving them back and forth to create grooves that will be seamlessly sewn together in all of the materials’ pliable splendor; it could be smoothing the clay over with a number of tools, or just his palms. “I’m not sure if I like working with my hands or not. Clay is a very challenging material—that’s what I like,” he says. Completing the thing is a chaotic feat. Working at a scale this large requires pageantry: several studio assistants, rolling wooden platforms with wheels, levers, a massive kiln— and time. It can take up to three weeks alone for the base of each piece to become dry enough to support the additional slabs of clay that come next. The finished piece looks like something only a mythical giant could complete, when in fact it was done by an SUSAN BARRETT [63] unassuming artist with wild, wispy graying hair and attend traditional school and began painting and colorful sweaters. “Creative energy is nothing special. drawing during the day instead. His mother, a success- It’s just like a heartbeat. Without it, I’m dead. I need ful dentist who was one of only a few female dentists art to survive,” he says. “If you’re a practical thinker, in Japan at the time, was also an artist and had long you shouldn’t do art. You don’t think practically about desired to become a painter herself. At the behest of how to make your heart beat. It’s a just necessity. Art her own parents, she never did. “They said, ‘No. You is the necessity of your being.” won’t make any money and survive. Women aren’t painters in this country,’” says artist and longtime Originally from Nagoya, Japan, Jun has been living in arts innovator Ree Kaneko, who is also Jun’s wife. Omaha since 1986, and his prolific career spans over six decades. “What do I like about Omaha? Nobody Growing up, Jun continued voraciously drawing and bothers me,” he says. painting, and his mother showed his work to friends of hers that were artists. With their reassurance, she “I shouldn’t complain. But I don’t like the chaos of found him a painting teacher who grounded him with the art world. I want a quiet environment. Omaha the technical tools that would begin a career as a profes- is a great place for that.” sional artist spanning decades. He completed school at night while painting during the day and developing a Clay crusts and dries over his fingers and hands as he deep desire to move to the U.S. His painting teacher squishes it back and forth with strong, playful resolve. happened to know sculptor and ceramicist Jerry Roth- It makes his hands look like they’ve actually become man, a member of a group of ceramic sculptors in Los part of the sculpture themselves. At once wistful and Angeles who were pushing the medium far beyond bizarre, Jun has said before that’s actually one of the utilitarianism of practical pieces. his greatest desires: to become the medium. “Then there are no technical problems, because I’d know Jun, who had never been away from his family for everything,” he says in a documentary by Emmy a significant time, had never been to the U.S. and Award-winning director Joel Geyer, who has been spoke no English, came to the U.S. for the first time following the artist for over two decades. in August of 1953, at age 21. Through sheer luck, he became connected to Los Angeles-based collectors Jun was born in Nagoya, Japan, in 1942, at the and patrons Fred and Mary Marer, who invited him height of World War II. Nagoya, an industrial city, to stay at their home and helped acquaint him with produced a large portion of Japan’s combat aircrafts American culture. “They made sure Jun had food for and was targeted by the U.S. Air Force. The city was about the first nine years he was living in the U.S.,” bombed several times between 1942 and 1945, and says Ree. They showed him the lay of the land, taking when Jun was a toddler his home was destroyed in him to movies, museums and restaurants. Their home one of the attacks. His parents sent him to live with was also filled to the brim with ceramic sculptures. his grandparents in the mountains, where walking to school took 45 minutes. Language and cultural barriers were a struggle at first—and, particularly as an immigrant, he does In interviews, Jun frequently discusses his disdain for not attempt to sugarcoat his opinion of the current school. The fact that each student was required to U.S. political landscape. “It’s a disaster. We are losing do as were told by the teacher, the same assignment, respect for each other. There’s no respect among the the same way, bred skepticism in him beginning at people living in the world. And, unfortunately, our a young age. As a teenager, he eventually refused to president doesn’t demonstrate how important that [64] ALIVE MAGAZINE SUSAN BARRETT [65] [66] ALIVE MAGAZINE SUSAN BARRETT [67] respect is,” he says. At first, he had to call home to figure out ancient Japanese technique of working with clay. how to complete simple tasks, especially when all the direc- tions were written in English. Ree narrates a story Jun told her Staying in the U.S. was not a hard and fast choice; Jun did about his attempt to demystify an American laundromat for move back to Japan for a time before deciding to return to the the first time, which still makes her laugh. “He had no clean U.S. “I’m obviously from Japan, but I left there when I was clothes, so he went to the laundromat and watched how people so young that I didn’t really know anything about it. People used it, trying to figure it out. He bought 10 boxes of soap thought I knew a lot about Japanese ceramics, but I didn’t, and loaded up clothes in 10 of the washing machines. Then because I started working with ceramics in the U.S. Every time he went to go get a coffee, and when he came back there was someone would ask me about Japanese ceramics, it made me soap and water all over the floor, and the laundromat owner sick. I didn’t know the answers.” He went back, opened up a was so upset with him. Then he finally got all of his clothes studio and worked on some exhibitions before deciding that in the dryers and ended up shrinking everything,” she says. “I where he’d grown up was not where he ultimately wanted to can just picture him doing this. It was the same at the grocery settle. “I knew it was not the place for me. The U.S. is much store. Think about it: cat food often has a picture of chicken freer as far as exchanging ideas and working together. There’s or fish on it. He had to ask people about those things. The also so much space here, which there isn’t in Japan, and it’s language disconnect was a real issue.” so expensive. That really limits art activity. In my mind, I couldn’t survive without a large studio space.” Jun also witnessed the destructive racial tensions that plague America firsthand. He was in Los Angeles during the sum- In an an ironic clash with his long-held disdain of formal mer of 1965 when the Watts riots broke out, set in motion education, Jun has taken a number of prestigious teaching by L.A.P.D. police brutality against Black citizens. “I have positions throughout the years at art schools like the Rhode experienced both subtle and overt racism in the U.S.” he says. Island School of Design in Providence and Cranbrook Academy In the ‘70,s he attended an artist’s residency at the Archie of Art in Michigan. He accepted a tenure-track position at Bray Foundation for the Ceramic Arts in rural Montana at the University of New Hampshire before resigning after one an old brick factory, not knowing that Montana is also home year. “It’s always exciting to work with younger people, but to many coal mines employing Chinese workers, who have Jun never really wanted to be a professor full time,” says Ree. faced a long history of racial discrimination. Driving up to “He wanted to see if he could survive as an independent artist. the brick factory in a Volkswagen, with a giant sculpture in And, I think he made the right decision.” the back he’d been working on, he couldn’t figure out why people would throw rocks at his truck. He also tried to rent Ree first met Jun back in the 1980s. She had been working on a nearby apartment marked “vacant,” and the landlord told a residency program that placed artists in discarded industrial him it had been rented. The next day, the apartment was still worksites, which Jun attended.

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