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"id": "Crafting History: Arts and Crafts from America's Concentration Camps (exhibition)",
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"title": "Crafting History: Arts and Crafts from America's Concentration Camps (exhibition)",
"description": "2002 exhibition at the\n \n Japanese American National Museum\n \n (JANM).\n \n Crafting History\n \n highlighted some 400 objects from JANM's collection made by Japanese Americans held in American concentration camps during World War II, ranging from a five foot tall Buddhist altar carved in\n \n Heart Mountain\n \n to bird pins, clothing and other textiles, and furniture. Curated by Kristine Kim, the exhibition opened on November 16, 2002. A full slate of public programs took place during the six-month run of the exhibition, including many crafting workshops. Craft items from the camps were also the subject of\n \n The Art of Gaman\n \n , a lavishly illustrated book published in 2005 and an exhibition that traveled around the country and in Japan starting in 2010.",
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"id": "Gasa Gasa Girl Goes to Camp (book)",
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"title": "Gasa Gasa Girl Goes to Camp (book)",
"description": "Concentration camp memoir by a\n \n Nisei\n \n artist. Ten years old at the time of the wartime incarceration, Lily Yuriko Nakai Havey was sent to\n \n Santa Anita Assembly Center\n \n and\n \n Amache\n \n with her older brother and\n \n Issei\n \n parents. Evolving from captions that accompanied displays of the author's postwar paintings,\n \n Gasa Gasa Girl\n \n intersperses stories of life in the camps with recollections of happier days with her parents, brother, and aunts in Hollywood, California, before the war. The book is illustrated by twenty-eight color reproductions of her watercolor paintings that depict both her external and internal lives during the war, as well as a like number of family photographs, archival photographs, and photographs of key objects mentioned in the text. Published by the University of Utah Press, the book includes an foreword by historian Cherstin Lyon.",
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"id": "Lasting Beauty: Miss Jamison and the Student Muralists (exhibition)",
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"description": "Exhibition featuring murals painted by Japanese American students at Rohwer High School under the direction of art teacher Mabel Rose Jamison Vogel.\n \n Lasting Beauty\n \n was one of eight exhibitions mounted in and around Little Rock, Arkansas, as part of the\n \n Life Interrupted\n \n project in 2004. It was later shown at the\n \n Japanese American National Museum\n \n in Los Angeles in 2005.",
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"id": "Living in Color: The Art of Hideo Date (exhibition)",
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"title": "Living in Color: The Art of Hideo Date (exhibition)",
"description": "Retrospective exhibition featuring the work of\n \n Issei\n \n painter\n \n Hideo Date\n \n at the\n \n Japanese American National Museum\n \n (JANM) that opened in 2001. Curated by Karin Higa,\n \n Living in Color\n \n draws on works Date donated to JANM as well as works held by the Los Angeles County Museum of Art and Smithsonian American Art Museum from the 1930s to the 1980s. An established artist by the 1930s, Date was sent to\n \n Santa Anita\n \n and\n \n Heart Mountain\n \n during the war, where he taught art and formed an Art Students League at the latter. Best known for his watercolor and gouache painting before the war, he turned to pencil drawings while incarcerated due in part to the difficulty of obtaining painting materials while in camp. The exhibition includes several of these drawings. Unlike artists such as\n \n Henry Sugimoto\n \n or\n \n Estelle Ishigo\n \n , Date's wartime drawings do not depict scenes from the concentration camps, most being of cats. An illustrated catalog with a biographical essay by Higa was published by Heyday Books, funded in part by a grant from the\n \n California Civil Liberties Public Education Program\n \n .",
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"id": "Manzanar: Photographs by Ansel Adams of Loyal Japanese-American Relocation Center (exhibition)",
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"title": "Manzanar: Photographs by Ansel Adams of Loyal Japanese-American Relocation Center (exhibition)",
"description": "Landmark exhibition of\n \n Ansel Adams\n \n ' photographs of\n \n Manzanar\n \n at New York's Museum of Modern Art. Opening on November 9, 1944,\n \n Manzanar\n \n was not only the sole major museum exhibition documenting the Japanese American incarceration to be displayed while incarceration was still ongoing, but arguably the only such exhibition to appear for the next twenty-five years.",
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"description": "The first group exhibition of art created in the wartime concentration camps. Produced by the California Historical Society in 1972 as a companion to its\n \n\n Executive Order 9066\n \n\n photographic exhibition,\n \n Months of Waiting\n \n toured several venues from 1972 to 1974.",
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"id": "Relocations and Revisions: The Japanese-American Internment Reconsidered (exhibition)",
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"title": "Relocations and Revisions: The Japanese-American Internment Reconsidered (exhibition)",
"description": "Exhibition at the Long Beach Museum of Art featuring work inspired by the wartime expulsion and incarceration by contemporary Japanese American artists, most of whom were too young to experience the concentration camps firsthand. Opening on May 10, 1992,\n \n Relocations and Revisions\n \n also included a program of videos and well as a catalog with both print and video components.",
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"id": "The View from Within: Japanese American Art from the Internment Camps, 1942-1945 (exhibition)",
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"title": "The View from Within: Japanese American Art from the Internment Camps, 1942-1945 (exhibition)",
"description": "The first-ever national exhibition of more than 130 paintings and other works of art produced by Japanese American artists during their incarceration in the World War II American concentration camps, timed to commemorate the 50-year anniversary of the signing of\n \n Executive Order 9066\n \n , which authorized the mass incarceration of over 120,000 Japanese Americans. The exhibition was curated by Karin Higa and jointly coordinated by the\n \n Japanese American National Museum\n \n , the UCLA Wight Art Gallery, and the UCLA Asian American Studies Center. It first opened at the Wight Art Gallery in Los Angeles on October 13, 1992, and ran until December 6, 1992, then subsequently traveled to the San Jose Museum of Art (January 15-April 10, 1994), Salt Lake Art Center (July 1994), Honolulu Academy of Arts (September 1994), and the Queens Museum New York (May 11-July 16, 1995).",
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"id": "The Art of Gaman: Arts and Crafts from the Japanese American Internment Camps, 1942-1946 (exhibition)",
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"title": "The Art of Gaman: Arts and Crafts from the Japanese American Internment Camps, 1942-1946 (exhibition)",
"description": "Traveling exhibition highlighting art and craft objects made by incarcerated Japanese Americans in wartime concentration camps. Curated by Delphine Hirasuna and based on the 2005 book of the same name,\n \n The Art of Gaman\n \n exhibition has traveled to fourteen venues since its debut in 2006.",
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"id": "The Art of Living: Japanese American Creative Experience at Rohwer (exhibition)",
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"links": {
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"title": "The Art of Living: Japanese American Creative Experience at Rohwer (exhibition)",
"description": "Exhibition of art objects created by Japanese Americans in\n \n Rohwer\n \n . Mounted in 2011 by the Butler Center for Arkansas Studies, the exhibition was based on the collection of Mabel Rose Jamison Vogel, an art teacher at Rohwer. Vogel bequeathed the objects to McGehee, Arkansas, Mayor Rosalie Santine Gould, who in turn donated the collection to the Butler Center in 2010.\n \n The Art of Living\n \n included about 125 pieces, ranging from fashion sketches to bird pins to paintings in a wide variety of styles, augmented by photographs of the camp and interview segments with former Rohwer inmates. The project also includes an online version of the exhibition. Among the public programs tied to the exhibition's run were talks by Delphine Hirasuna, author of\n \n The Art of Gaman\n \n and by Vivienne Schiffer, daughter of Gould and author of the novel\n \n\n Camp Nine\n \n\n , which is set in a Rohwer-like concentration camp.",
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"id": "Arts and Crafts from the Camps: The Arkansas Camp Experience (exhibition)",
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"title": "Arts and Crafts from the Camps: The Arkansas Camp Experience (exhibition)",
"description": "Exhibition of art and craft objects created by Japanese American inmates at the Arkansas concentration camps. Curated by the University of Arkansas at Little Rock Public History Program in 2004, the exhibition included objects from the collection of Rosalie Gould, a former mayor of McGehee, Arkansas, who had amassed a substantial private collection.\n \n\n [1]\n \n\n\n Arts and Crafts from the Camps\n \n was one of the eight exhibitions mounted in the Little Rock area that were part of the\n \n Life Interrupted\n \n project, a collaboration between the\n \n Japanese American National Museum\n \n and the University of Arkansas at Little Rock.",
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"id": "Whispered Silences: Japanese American Detention Camps, Fifty Years Later (exhibition)",
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"title": "Whispered Silences: Japanese American Detention Camps, Fifty Years Later (exhibition)",
"description": "Smithsonian Institution Traveling Exhibition Service (SITES) exhibition that featured photographs of former Japanese American concentration camp sites shot during the 1980s by artist Joan Myers. Debuting in 1995, the exhibition traveled around the country for the next four years. It was accompanied by a book published by the University of Washington Press titled\n \n Whispered Silences: Japanese Americans and World War II\n \n , which includes her photographs along with Gary Okihiro's historical/autobiographical overview of Japanese American history.",
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"id": "Crossings: 10 Views of America's Concentration Camps (exhibition)",
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"title": "Crossings: 10 Views of America's Concentration Camps (exhibition)",
"description": "2009 exhibition at the\n \n Japanese American National Museum\n \n featuring the work of ten artists, juxtaposing work created by\n \n Issei\n \n and\n \n Nisei\n \n artists in the concentration camps and works by contemporary artists that draw on that experience. The \"crossings\" in the title refers to the \"crossing point between generations\" that the exhibition strives to provide. Featured artists included Sesshu Foster,\n \n Masumi Hayashi\n \n ,\n \n Hisako Hibi\n \n ,\n \n Toyo Miyatake\n \n , Tadashi Nakamura,\n \n Benji Okubo\n \n ,\n \n Mine Okubo\n \n , Shizu Saldamando, Renee Tajima-Peña, and\n \n Sadayuki Uno\n \n .\n \n Crossings\n \n opened on April 2, 2009.",
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{
"id": "Executive Order 9066 (exhibition)",
"model": "article",
"index": "13 13/{'value': 19, 'relation': 'eq'}",
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"title": "Executive Order 9066 (exhibition)",
"description": "Landmark photographic exhibition on the forced removal and incarceration of Japanese Americans curated by Richard and Maisie Conrat for the California Historical Society in 1972. The first exhibition on this topic to tour nationally—including such venues as the Corcoran Gallery in Washington, D.C. and the Whitney Museum of American Art in New York—it likely introduced many Americans to this story and was part of a resurgence of interest in the topic both inside and outside the Japanese American community in the 1970s.",
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{
"id": "Sights Unseen: The Photographic Constructions of Masumi Hayashi (exhibition)",
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"title": "Sights Unseen: The Photographic Constructions of Masumi Hayashi (exhibition)",
"description": "Retrospective exhibition of the work of photographic collage artist\n \n Masumi Hayashi\n \n held at the\n \n Japanese American National Museum\n \n (JANM). Curated by Karin Higa,\n \n Sights Unseen\n \n included thirty of Hayashi's works—each of which are photo collages consisting of anywhere from five to one hundred forty individual photographs—including several from JANM's collection. This first survey of Hayashi's work included pieces from five different sets of work: abandoned prisons, EPA Superfund sites, Japanese American and Japanese Canadian concentration camps, sacred sites, and portraits of\n \n Nikkei\n \n . The five Nikkei portraits—of Fumi Hayashida,\n \n Yuri Kochiyama\n \n , Joy Kogawa,\n \n Miné Okubo\n \n , and Eji Suyama—were displayed for the first time.",
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"title": "Reflections of Internment: The Art of Hawaii's Hiroshi Honda (exhibition)",
"description": "Exhibition of paintings by Hawai'i\n \n Kibei\n \n artist Hiroshi Honda, most of which depict the various internment and concentration camps he was held in during World War II. The paintings displayed came from a collection discovered and preserved by Honda's son, Ed Honda. Working with an ad hoc committee that included Bill Hoshijo and University of Hawai'i Professor Franklin Odo, the Hondas donated the collection to the Honolulu Academy of Art (HAA) (now the Honolulu Art Museum). With funding from the Hawaii State Foundation on Culture and the Arts and the Andrew W. Mellon Foundation,\n \n Reflections of Internment\n \n opened at HAA on September 10, 1994, alongside a traveling exhibit,\n \n\n The View from Within: Japanese American Art from the Internment Camps, 1942–1945\n \n\n , a broader survey of art from the concentration camps. An accompanying thirty-three page catalog included essays by Odo and Marcia Morse and color reproductions of nineteen of the artworks; it lists a total of fifty-five works. Honda's works displayed included images from his incarceration at the\n \n Camp McCoy\n \n , Wisconsin, interment camp and the concentration camps at\n \n Jerome\n \n , Arkansas, and\n \n Tule Lake\n \n , California. Though he was also held at the\n \n Sand Island\n \n camp in Honolulu, there are no depictions of that camp.\n \n Reflections of Internment\n \n closed after a six-week run and has not been mounted since.",
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"description": "Art installation by Kristine Yuki Aono that debuted at the\n \n Japanese American National Museum\n \n (JANM) in 1996. The installation featured soil collected by the artist at each of the ten\n \n War Relocation Authority\n \n camp sites installed in shallow 3 x 3 square boxes on the floor with glass over them. At each venue, Aono sought community members who lent personal objects from themselves or other family members who had been in each camp that were installed in that camp's box. The exhibition was viewed by walking on the glass over the boxes.",
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"description": "Exhibition featuring the internment art of\n \n Hiroshi Honda\n \n at the Honolulu Academy of Art (HAA) which ran from June 21 to September 9, 2012.\n \n Hiroshi Honda: Detained\n \n , was the HAA's second exhibition of Honda's art, after\n \n\n Reflections of Internment: The Art of Hawaii's Hiroshi Honda\n \n\n in 1994. The exhibition included drawings and watercolors produced during Honda's internment in camps in Hawai'i and in the continental U.S. drawn from the HAA's permanent collection.",
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