I didn’t realize that I had so much to say about this exhibit, especially since I said so much already before even seeing the exhibition. But, since the review I posted yesterday ended up being so long, I broke it off and am now writing a Part Two, focusing on prominent Japanese-American artist Roger Shimomura.
Shimomura is, of course, one of the real stars of the show. Or, at least, it is to me, as I’ve heard of him before and really like his work. Much of the media for this show focuses on his piece Shimomura Crossing the Delaware, and I have already discussed it myself, too, so I’ll keep it limited. But, just two things about it that make that piece even more incredible than I thought originally – one, that the silhouette of the original piece (George Washington and friends, in their boat) can be seen in the background, a seemingly minor detail, perhaps, which actually alters the narrative of the piece fairly dramatically. Shimomura is not replacing Washington, after all, but only upstaging him. Throughout American history, Asian-Americans have been, essentially, also-rans, or footnotes. Here, Shimomura places himself in the forefront and in the spotlight, implying something about a narrative of American history in which Washington and his ilk are still present, and still play out their important and influential historical roles, but in which Asian-Americans are shown to be Americans as well, to be present in the narrative. On a second note, I really like that Shimomura made his piece on roughly the same scale as the original now hanging in the Metropolitan Museum. It gives his piece grandeur, power, and impact, and also, if we want to read into it, says something about his piece, himself, and Japanese-Americans, Asian-Americans in general, not being smaller or lesser.
In some of the other pieces included in the exhibition, Shimomura addresses American stereotypes of Japanese, along two different lines. In American Hello Kitty and American Pikachu, Shimomura incorporates a self-portrait into the iconic cartoon characters, commenting, I guess, on American associations of Japan with anime (above all else). Frankly, I’m not quite sure exactly what he’s going for here. Is it meant to be a criticism? Is it a bad thing to associate Japan primarily/chiefly with anime? The Japanese government has been actively pushing quote-unquote “Cool Japan” for the last several years, as part of a concerted effort to expand Japanese soft power, and to thereby increase pro-Japan sentiments. Would Shimomura prefer that we associate Japan instead with negative things? That is, unless Shimomura’s whole point is not about Japan, but is instead about how we associate Japanese-Americans with Japanese culture rather than with American identity. If that’s it, that makes a lot more sense… especially in consideration of the themes of his other works.
Another set of works, titled American vs Japs and American vs Japs 2 depict Shimomura, painted relatively realistically, punching and kicking cartoonish stereotypical “Japs” drawn in the style of 1940s American propaganda. My kneejerk reaction is to see this as a terribly outdated battle. It’s not the 1940s anymore, and depictions of Japan in US mass media today doesn’t resemble this propaganda at all. Yet, on second thought, I realize that there are far too many in this country who, sadly, have not gotten the memo, and still hold onto completely outdated notions of anti-Japanese hatred. Comments of “that was for Pearl Harbor” and the like, as well as much worse vitriol, have appeared in disgustingly vast numbers on Internet forums and the like during US-Japan sporting events, and, perhaps most upsettingly of all, during the 3/11 disaster. Is this what Shimomura is fighting against? Actually, I kind of doubt it. Perhaps he’s more fighting that he (and other Americans) be the target of these attitudes, moreso than actually fighting against those attitudes existing. This is just my guess, based on his personal history of having been imprisoned in the WWII-era Internment Camps, and all the surrounding issues of Japanese-Americans as loyal Americans, being continually seen as not American enough, or as still foreign. I don’t know how much Shimomura has any real connections with Japan… from what little I know about him and his work, he’s much more focused on Japanese-American issues.