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Staging Shimomura at the Spencer Museum of Art highlights digitally remastered footage from performances created by Roger Shimomura between 1984 and 2002. The exhibition also includes costumes and props, photographs from production, and other documentation from the performances. All of the material is presented alongside a variety of Shimomura’s prints and paintings from throughout his career.
Shimomura’s work is deeply biographical. Much of the source material stems from his family’s experiences while they were forced to live in a concentration camp in Idaho as part of the incarceration of Japanese Americans during World War II.
The dialogue between paintings and performances created in this exhibition offers audiences a deeper understanding of the artist’s rich universe of personal experiences and pop culture references that examine the dark underbelly of stereotypes and racism that continue to resonate in America today.
A public lecture series featuring scholars and artists will further explore themes in the exhibition.
Hiroko Ikegami (Kobe University) examines Roger Shimomura’s Seven Kabuki Plays against the backdrop of his Diary paintings, both of which draw on his grandmother’s diary entries during the incarceration of Japanese Americans.
Krystal Reiko Hauseur discusses her research for Masking Identity: The Performance Art of Roger Shimomura (2019), the first monograph on the subject.
Scott Tsuchitani, an interdisciplinary artist and cinematographer based in San Francisco, discusses the influence of Roger Shimomura’s work on other artists, including himself.
For further details, visit spencerart.ku.edu.
Staging Shimomura continues at the Spencer Museum of Art (1301 Mississippi Street, Lawrence, Kansas) through June 21, 2020. The exhibition is curated by Kris Ercums, Spencer Museum Curator of Global Contemporary & Asian Art. For Press inquiries, email Elizabeth Kanost firstname.lastname@example.org.
“Black infants in America are now more than twice as likely to die as white infants—11.3 per 1,000 black babies, compared with 4.9 per 1,000 white babies, according to the most recent government data—a racial disparity that is actually wider than in 1850, 15 years before the end of slavery, when most black women were…
In 1850, when Dr. Robert W. Gibbes commissioned J. T. Zealy to make daguerreotypes of persons held in slavery in and around Columbia, South Carolina, for Harvard Professor Louis Agassiz to use in support of his theory that African people were a separate species, daguerreotypes were at the height of fashion.
Works by Rodolfo Abularach, Mario Bencomo, Denise Carvalho, Pérez Celis, Entes, and Agustín Fernandéz are on view at the NYC gallery through January 7, 2022.
he ownership of images has a long and nuanced legal history, which has evolved dramatically in recent years as cultural standards and photographic technologies have rapidly advanced
Renty and his daughter Delia. Renty was an enslaved African, kidnapped from the Congo, sold and forced into slave labor on the South Carolina plantation of B.F. Taylor
“Ecosystem X,” an art-based reimagining of life on planet Earth, is the theme of this open call. 10 artists will win $5,000 and one student will receive $5,000 as a scholarship/stipend.
The show, which honors the 50th anniversary of an exhibition history once ignored, continues a series of projects documenting Wilmington’s contemporary art scene.
As a scholar of African American history and photography whose work has focused on the status of violent images in museums and archives, I fully support the validity of Ms. Tamara Lanier’s claim and the amicus brief.
The daguerreotypes of Renty Taylor, Delia, Drana, Alfred, Jack, George Fassena, and Jem remained in an unused storage cabinet until 1975, when it was discovered by an employee of the Peabody Museum.
I am writing in support of the amicus curiae brief submitted by Professor Ariella Aïsha Azoulay of Brown University for the full restitution of the daguerreotypes of Renty Taylor and his daughter Delia, currently held by Harvard University, to their familial descendant, Tamara Lanier.