1945 Outbreak of War between Japan and the U.S.

1945 The U.S.-Japan War and Activism through Art Fig. 124. Yasuo Kuniyoshi, “Water Torture”Fig. 125: Yasuo Kuniyoshi, “The Killer”Fig. 126. Yauso Kuniyoshi “Eradicate the Enemy: Buy Wartime Bonds!”Fig. 127. Yasuo Kuniyoshi, “Clean Up This Mess!”Fig. 128. Chuzo Tamotsu, “Map of China Cut into Pieces.”Fig. 129. Yasuo Kuniyoshi, “”Victims of MilitarismFig. 130. Chuzo Tamotsu, Tanks and SoldiersFig. 131. Chuzo Tamotsu, “Dilemma”Fig. 132. Toshi Shimizu, ChargeFig. 133. Toshi Shimizu, “Machine Guns” Previous slide Next slide In the 1930s, Japanese artists in New York who lacked citizenship spoke out against the war through their creative output. However, their message went unheard. On December 7th, 1941 (December 8th in Japan), war broke out between […]

1936-1941 American Artists’ Congress and the Municipal Art Committee

1936-1941 American Artists’ Congress and Exhibition of the Municipal Art Committee Exhibits Fig. 101. Sakari Suzuki, “Of Her Past” In response to the growing labor movement in New York City during the Great Depression and concerns about the spread of fascism in Europe, some artist’s art began to critique social issues. In November 1929, these liberal-minded writers and artists formed the John Reed Club. In February 1936, members of the John Reed Club organized the American Artists’ Congress “Anti-War, Anti-Fascism, and the Defense of Culture” as its slogan. By 1941, the American Artists’ Congress held 22 exhibitions including an annual exhibition and special shows. NEXT > VISIT Exhibition 1936-1940 June […]

世界恐慌とニューディール政策

The Great Depression and the New Deal Fig. 78. Sakari Suzuki, “Preventive Medicine.” Mori Suzuki created a mural at Willard Parker Hospital on the theme of the history of the fight against infectious diseases, featuring Louis Pasteur, Edward Jenner, and Hideyo Noguchi. In the fall of 1929, the New York stock market crashed, ushering in the Great Depression of the 1930s. Galleries closed, painters lost patrons and museum support, and life was complicated. U.S. President Franklin D. Roosevelt launched the New Deal to alleviate economic conditions, which included employment programs for the arts. The Public Works of Art Project (PWAP), a six-month government employment program, was launched in 1933 and […]

1927, 1935, 1936 The New York Shimpo and the Japanese Artists Exhibition

1927, 1935, 1936 The New York Shimpo and the Japanese Artists Exhibition Fig. 52. A Group Photograph taken at a Japanese exhibition in 1927. Kuniyoshi Yasuo is in the center, Hamachi Kiyomatsu is second from the left in the front row, and Eitaro Ishigaki is third from the left in the back row. Bumpei Usui’s “Furniture Factory” is on the far left, and Yasuo Kuniyoshi’s “Two Women” displayed beside it on the wall. In New York City in the 1920s, Japanese artists showed their works at exhibitions held by the Society of Independent Artists and the Salons of America. Meanwhile, the artists of the Gacho-kai continued to interact with each […]

1920s The Salons of America and the Society of Independent Artists Exhibition

1920s The Salons of America and the Society of Independent Artists Exhibition Fig. 11. Photos of the Salons of America, exhibition venue In the 1920s, the United States enjoyed a post-first World War economic boom. The streets were filled with flappers, women with short skirts and bobbed hair, and popular culture, such as radio, movies, and dance halls, was in full swing. The art world was seeking a uniquely American art style, influenced by modernism rather than the European realistic techniques of the Academy School. The exhibition of “The Eight” was held at the Macbeth Gallery in 1908. The works of John Sloan and Robert Henry, known as the “Ashcan […]

1922 Gacho-kai Exhibition

1922 Gacho-kai Exhibition Fig. 5. The Gacho-Kai group photo at the exhibition site. In the center of the front row is Kotato Gado(T.K. Gado), and Yasuo Kuniyoshi is on the right side of the front row, facing sideways. Eitaro Ishigaki is on the far left in the back row, Kyohei Inukai is second from the left in the second row, and Toshi Shimizu is fourth from the left in the back row. The art styles of the New York Japanese Art Association artists ranged from Western paintings to applied arts. This was probably because many Japanese artists at the time were supported by Japanese companies in the area. Later, the […]

1917 - 1918
紐育美術日本協会の展覧会

Located on the East Coast of the United States, New York City was an immigration hub for Europeans that prospered as a center of economy, industry, and culture at the end of the 19th century.  In the early 20th century, a Japanese community formed there which mainly consisted of government officials and business people. However, artists from art schools in Japan were also drawn to NYC as a temporary relay point to Europe, as were Japanese artists studying in American art schools who had previously immigrated for work.  Around 1915, these artists formed a group called the New York Nihon Bijutsu Kyokai (New York Japanese Art Association). According to a […]

参考文献

Credits and References http://www.ancestry.com Baigell, Matthew and Williams, Julia. Artists Against War and Fascism. (New Jersey: Rutgers University Press 1986). Baron, Herman. “Writings and Notes: A.C.A. Uptown”, Herman Baron papers, circa early 1950s. unpublished typescript, A.C.A. Galleries records,1917-1963. Archives of American Art, Smithsonian Institution, Washington, DC. ―――.Undated, correspondence, “A.C.A. gallery circa, 1936-1940”.manuscript. in Max Weber papers. Archives of American Art, Smithsonian Institution, Washington, DC.   Chang, Gordon H., Johnson, Mark Dean, Karlstrom, Paul J. and Spain, Sharon, eds. Asian American Art, a history 1985-1970 (Stanford: Stanford University Press, 2008). Chuzo Tamotzu. Transcript, September 3, 1964.  Oral history interview with Chuzo Tamotzu. Archives of American Art, Smithsonian Institution, Washington, DC.   Clark. Marlor. […]

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