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“Love, Peace, Dreams, and Bombs,” an event my friends and I had been planning since last year, finally came to fruition this past February, and I flew back to Santa Barbara very briefly (from Okinawa, where I had been pursuing my dissertation research for a six month stay) to take part. Not quite a symposium or conference, but also not simply an art exhibition, “Love, Peace, Dreams, and Bombs” combined an exhibit of new works by MFA student Yumiko Glover with a series of talks by Yumiko, EALCS PhD student Carl Gabrielson, EALCS Professor Sabine Frühstück, Art History PhD student A. Colin Raymond, and myself, plus video interviews of all of us, conducted and edited by YouTuber / LGBT-activist Naoya Matsushima.

Now that the website is complete, I thought it about time to finally post on the blog about this.

The event was originally conceived as something of an “experiment” in graduate-student-initiated and cross-department / interdisciplinary events, which might stand as an example in incremental moves towards (1) greater interdisciplinary collaboration within the academy, (2) greater variety in the style and character of academic events, and (3) more student-initiated events on campus. Of course, few events I’ve ever participated in have ever been nearly as radical, or impactful, as we might imagine or expect or hope for them to be, and all of them, once they are over, are simply over, but I’m still rather proud of, and happy with, what we accomplished.

Yumiko Glover, “Tomoko vs. Mr. A” (2016). Acrylic on canvas, 77″ sq. Photo my own. (Sadly, I can’t seem to find any of my photos from that week, so I’m using photos from another art show.)

Yumiko’s artwork continues to get my gears turning – not only beautiful, and masterfully executed, but also wonderfully thought-provoking, containing or suggesting references in numerous different directions, to themes of contemporary Japanese social and political issues, but also anime/manga and youth fashion aesthetics, bubble-gum-bright pop colors, hyperreality and technofuturism – they are highly contemporary works, in modern media and techniques, featuring contemporary or even futuristic subjects (schoolgirls, metropolitan skylines, subways, cellphones, the digital world) but also while subtly referencing or even re-imagining / re-creating (mitate-e) classic images from Japanese art history, such as woodblock prints by Harunobu and Utamaro.

The exhibit opened on Sunday Feb 26, and on the Tuesday, three of us (Yumiko, Colin, and myself) gave brief presentations in Prof. Helen Taschian’s ART 1A: Intro to Visual Literacy class, in addition to all five of us giving talks in a more formal panel event the following day at UCSB’s MultiCultural Center (MCC) theatre. I could certainly appreciate how these talks at Prof. Taschian’s class might be seen as tangential, or incidental, to the overall project – and there have certainly been plenty of times that I, as a mere attendee to a “main event” panel discussion have not felt that the classroom visits and other activities I didn’t see constituted part of the main event – but, this time around, as a direct participant in this classroom visit, I really did feel it to be a part of the overall event, the overall experience. This has really given me a new appreciation for how it feels to be a visiting speaker, not just for one “main event” but for other things done in conjunction, and a new appreciation for appreciating the fullness of such events. Even with the talks being just tweaked slightly different versions from what we presented the following day at the formal panel discussion, the classroom visit felt quite different. A different audience, with different background and interests and perspectives. The Visual Literacy class itself provided a different context within which – building on their basic foundational knowledge of art & aesthetics acquired over just the past seven weeks of the academic quarter – we were introducing them to Yumiko’s work, to a brief sampling of Okinawan art today (my presentation), and to some issues and problems in thinking about contemporary art, through examples from contemporary Japanese art (Colin’s presentation). It felt really cool to be including a bit of Japanese, Okinawan, and Japanese/American art (or however Yumiko may identify/categorize her own art practice) into their Visual Literacy class. I don’t know how global (how US/Eurocentric or not) Prof. Taschian’s course is to begin with, but I definitely get a kick out of exposing students to non-Western examples as major examples of how we think about art, etc. American or European art – or particular standard canonical examples of non-Western art – need not be the default go-to examples. We are global citizens of a global world. Let us act like it. And talking about some of the biggest artists in Tokyo, and in Okinawa (or we might just as well have said Tahiti, Hawaii, or countless other marginalized, peripheralized places), plus works by someone like Yumiko Glover, using these and not more standard examples from a canon of Western (or non-Western) modern art, is a key element of doing that. Prof. Taschian’s class also did a walkthrough of the exhibit on the Thursday, along with a formal “critique” of Yumiko’s work by professors and grad students from the Studio Art program, and while I wasn’t able to be there for this part, this too is to my mind very much a part of the overall event, making “Love, Peace, Dreams, and Bombs” overall a fairly complex, extensive, event, and one I’m all the more satisfied with and proud of having been a part of.

Still, the exhibit itself (and gallery opening reception), and the panel discussion at the MCC, were the real centerpieces of the week. I am so glad to have gotten to do this in the MCC theatre. If we had gotten a classroom, that would have been fine, but doing it in the MCC made the whole thing just feel one level “higher” – classier, nicer, more properly put-together, in a sense. Yumiko talked about her artworks, how they were inspired in large part by her own identity and experiences, growing up in Fukuyama, Hiroshima prefecture (about 63 miles from Hiroshima City), and being Japanese, seeing how Japanese popular culture, media, everyday life, and national-level politics have developed over the last several decades. Yumiko’s works are not only about hyperreality and a colorful, pop-aesthetic Tokyo-urban landscape of everyday life infused with youthful energy, referencing or built upon a backdrop history of Japanese art tradition, but the most recent batches are also increasingly engaged in political commentary, against the renewed militarism and nationalism of the Abe administration and its supporters.

Sabine Frühstück and Carl Gabrielson then talked about that recent trend of rising militarism, particularly in terms of the imag(in)ed role or place of the Japanese Self-Defense Forces within Japanese life or Japanese society, the step-by-step shift of the JSDF from total non-involvement in warzones in the 1990s to increased engagement first in postwar minesweeping efforts in the Persian Gulf overseas construction efforts in Cambodia, and then later in an active warzone (although still not with combat troops – only medics, engineers, etc. etc.) in Iraq in the early 2000s, to now, since 2015, a formal reinterpretation of the Constitution newly adopted into law, which would allow Japan to deploy full-on combat troops not only in defense of Japan (or reaction to attacks against Japanese people or property) but also in response to attacks on allies.

Carl talked in particular about the way the JSDF is marketed to the Japanese public, as protectors of an idealized clean, honest, peaceful, prosperous Japanese everyday life – a very common trope throughout Japanese media – and as protectors who do so without any explicit or overt discussion or display of violence. JSDF ads include very little, if any, depiction of weaponry or action, at all, focusing very much instead on a more quiet, soft perhaps, dignified image of people – largely unseen, unheard, in everyday Japanese life, operating somewhere at a physical remove, a distance – who work to protect Japanese life from turmoil and threats. Even the threats themselves are not only not named, they are left entirely undefined: these ads don’t so much stir up “fear” (e.g. fear of Islamic extremist terrorism) as they do, arguably, perhaps, merely emphasize the goodness of what needs to be protected.

I next shared a glimpse, a sampling, of what I’d seen of Okinawan art in the preceding six months or so. I would say my main intention was twofold: (1) to just simply share something of my experience; even those who’ve spent more time in Tokyo, who know the Tokyo and national art scene better than I do haven’t been feet-on-the-ground seeing all this stuff in Okinawa right now, in 2016-17 as it happens. And (2) to try to contribute just a bit to combatting the continued US/Eurocentrism of our understanding and vision of the art world. This is the 21st century. We are global citizens, Let’s fucking act like it. Okinawa is a part of the world, no less so than California or New York or Texas, no less so than England or France or Japan or China. No matter how small, no matter how seemingly peripheral in one way or another, it is a part of our world, a jigsaw puzzle piece that is essential to a more complete vision of the whole.

Finally, Colin talked about how we understand art and aesthetic categories. In the aftermath of minimalism and modernism reaching (arguably) their limits, the movements having been played out to their fullest possible extent, now what? In our frenetic postmodern moment, when absolutely anything can be art, what now is (and is not) “Art”? Also, as we become increasingly interconnected into the global, just because we have access to seeing more art from around the world doesn’t mean we actually understand it in cultural and political context. It may actually be easier than ever before to think we do – seeing artworks from all around the world on the internet, and at a first glance thinking we “get” it, based on preconceptions about Japan. But, in truth, as Colin explained, there is historical, cultural, and political knowledge that is essential to understanding more validly, more deeply, more truly, what an artwork is referencing or pointing to.

Matthew Limb did an excellent job as moderator, guiding us through some important themes and questions at the end of the panel.

These were accompanied by the brilliant inclusion of a series of video interviews organized by Naoya Matsushima, projected onto the wall of the gallery. While five of us gave talks in UCSB’s MultiCultural Center (MCC) theatre in a formal panel event on the Wednesday, that’s ephemeral – even more ephemeral than a one-week gallery show – and these videos, summarizing the main themes of our talks in a (hopefully) even more accessible manner than the talks themselves, brought those talks, those topics, more directly into conversation with the artworks.

It was a real pleasure to collaborate with these folks, and to have such an event under my belt, keeping me connected into fields of Art and Art History, and to get to contribute to having just a bit more Japan-related events on campus, introducing our audiences to these various aspects of Japanese & Okinawan art and politics. I look forward to hopefully many more fruitful collaborations in future.

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