Immediate Release:
Contact: Esther Wu
Crow Collection of Asian Art
Photos available
The Return of the Yellow Peril at Crow Collection
The Crow Collection of Asian Art is proud to present “The Return of the Yellow Peril: A Survey of the Work of Roger Shimomura, 1969-2007.” The exhibition opens June 6 and will be on view through August 9, 2009.
Shimomura has been called a prankster with a brush whose contemporary style captures the imagination. Others say he is a serious social commentator whose art represents a unique Japanese-American style and point of view.
It turns out that he isboth. His work has been described as “pop art with a Japanese twist.” And that’s why his exhibition, The Return of the Yellow Peril: A Survey of the Work of Roger Shimomura, 1969-2007, is as compelling in its message as it is visually captivating.
Visitors to the Crow Collection of Asian Art will explore the third-generation Japanese American artist’s work over a thirty year span. His uniquely bicultural style of work integrates images from ukiyo-e woodcut prints with images from American popular culture. Using humor as a weapon, his artwork moves from ironic constructions of cultural identity to biting denunciations of racial prejudice.
“Roger Shimomura’s work is on the cutting edge, combining traditional with contemporary to critique experiences of racial discrimination,” said Amy Hofland, director of the Crow Collection of Asian Art. “Some of his works are biting, some are subtle, but all are unforgettable.”
The Return of the Yellow Peril directly plays on the derogatory color metaphors for Asians – “yellow peril” and “yellow terror” that have been aimed at Asian-Americans since the 1800s. The prejudice behind these metaphors resulted in the relocation of 120,000 Japanese Americans to camps following the Pearl Harbor bombing in December 1941. Mr. Shimomura, who was2 years old at the time, and his family spent the next two years behind a barbed-wire fence at Camp Minidoka in south-central Idaho.
He began creating art inspired by his experience as a Japanese American after he joined the art faculty at the University of Kansas in Lawrence in 1969. An incident in which Shimomura was labeled as a “foreigner” – though he was born in America and spoke English without an accent – led him to a new artistic direction in 1971.
He first created comic imitations of Japanese art as an irreverent response to such misguided perceptions. Over the years, his artwork evolved from light-hearted satire to serious critiques and from paintings to performance art. His artwork is found in the collections of major museums, including Whitney Museum of American Art, Smithsonian Museum of American Art, Philadelphia Museum of Art, and Seattle Art Museum.
“Roger Shimomura is always the skeptic, but never a cynic,” says Dee Harris, director of Visual Arts and Humanities, Mid-America Arts Alliance. “He’s pursued the art of social commentary while grounded in an ongoing hope for positive change.”
The exhibition is organized and toured by Mid-America Arts Alliance through its ExhibitsUSA national program.
The Crow Collection of Asian Art is dedicated to arts and cultures of Asia. Located at 2010 Flora Street in the heart of the downtown Dallas Arts District, the museum is open Tuesday through Sunday from 10 AM to 5 PM with extended hours on Thursday until 9 PM. Closed Mondays. Admission is free. For more information call 214-979-6430.
-30-
Immediate Release:
Contact: Esther Wu
Crow Collection of Asian Art
Photos available
The Return of the Yellow Peril at Crow Collection
The Crow Collection of Asian Art is proud to present “The Return of the Yellow Peril: A Survey of the Work of Roger Shimomura, 1969-2007.” The exhibition opens June 6 and will be on view through August 9, 2009.
Shimomura has been called a prankster with a brush whose contemporary style captures the imagination. Others say he is a serious social commentator whose art represents a unique Japanese-American style and point of view.
It turns out that he isboth. His work has been described as “pop art with a Japanese twist.” And that’s why his exhibition, The Return of the Yellow Peril: A Survey of the Work of Roger Shimomura, 1969-2007, is as compelling in its message as it is visually captivating.
Visitors to the Crow Collection of Asian Art will explore the third-generation Japanese American artist’s work over a thirty year span. His uniquely bicultural style of work integrates images from ukiyo-e woodcut prints with images from American popular culture. Using humor as a weapon, his artwork moves from ironic constructions of cultural identity to biting denunciations of racial prejudice.
“Roger Shimomura’s work is on the cutting edge, combining traditional with contemporary to critique experiences of racial discrimination,” said Amy Hofland, director of the Crow Collection of Asian Art. “Some of his works are biting, some are subtle, but all are unforgettable.”
The Return of the Yellow Peril directly plays on the derogatory color metaphors for Asians – “yellow peril” and “yellow terror” that have been aimed at Asian-Americans since the 1800s. The prejudice behind these metaphors resulted in the relocation of 120,000 Japanese Americans to camps following the Pearl Harbor bombing in December 1941. Mr. Shimomura, who was2 years old at the time, and his family spent the next two years behind a barbed-wire fence at Camp Minidoka in south-central Idaho.
He began creating art inspired by his experience as a Japanese American after he joined the art faculty at the University of Kansas in Lawrence in 1969. An incident in which Shimomura was labeled as a “foreigner” – though he was born in America and spoke English without an accent – led him to a new artistic direction in 1971.
He first created comic imitations of Japanese art as an irreverent response to such misguided perceptions. Over the years, his artwork evolved from light-hearted satire to serious critiques and from paintings to performance art. His artwork is found in the collections of major museums, including Whitney Museum of American Art, Smithsonian Museum of American Art, Philadelphia Museum of Art, and Seattle Art Museum.
“Roger Shimomura is always the skeptic, but never a cynic,” says Dee Harris, director of Visual Arts and Humanities, Mid-America Arts Alliance. “He’s pursued the art of social commentary while grounded in an ongoing hope for positive change.”
The exhibition is organized and toured by Mid-America Arts Alliance through its ExhibitsUSA national program.
The Crow Collection of Asian Art is dedicated to arts and cultures of Asia. Located at 2010 Flora Street in the heart of the downtown Dallas Arts District, the museum is open Tuesday through Sunday from 10 AM to 5 PM with extended hours on Thursday until 9 PM. Closed Mondays. Admission is free. For more information call 214-979-6430.
-30-
Immediate Release:
Contact: Esther Wu
Crow Collection of Asian Art
Photos available
The Return of the Yellow Peril at Crow Collection
The Crow Collection of Asian Art is proud to present “The Return of the Yellow Peril: A Survey of the Work of Roger Shimomura, 1969-2007.” The exhibition opens June 6 and will be on view through August 9, 2009.
Shimomura has been called a prankster with a brush whose contemporary style captures the imagination. Others say he is a serious social commentator whose art represents a unique Japanese-American style and point of view.
It turns out that he isboth. His work has been described as “pop art with a Japanese twist.” And that’s why his exhibition, The Return of the Yellow Peril: A Survey of the Work of Roger Shimomura, 1969-2007, is as compelling in its message as it is visually captivating.
Visitors to the Crow Collection of Asian Art will explore the third-generation Japanese American artist’s work over a thirty year span. His uniquely bicultural style of work integrates images from ukiyo-e woodcut prints with images from American popular culture. Using humor as a weapon, his artwork moves from ironic constructions of cultural identity to biting denunciations of racial prejudice.
“Roger Shimomura’s work is on the cutting edge, combining traditional with contemporary to critique experiences of racial discrimination,” said Amy Hofland, director of the Crow Collection of Asian Art. “Some of his works are biting, some are subtle, but all are unforgettable.”
The Return of the Yellow Peril directly plays on the derogatory color metaphors for Asians – “yellow peril” and “yellow terror” that have been aimed at Asian-Americans since the 1800s. The prejudice behind these metaphors resulted in the relocation of 120,000 Japanese Americans to camps following the Pearl Harbor bombing in December 1941. Mr. Shimomura, who was2 years old at the time, and his family spent the next two years behind a barbed-wire fence at Camp Minidoka in south-central Idaho.
He began creating art inspired by his experience as a Japanese American after he joined the art faculty at the University of Kansas in Lawrence in 1969. An incident in which Shimomura was labeled as a “foreigner” – though he was born in America and spoke English without an accent – led him to a new artistic direction in 1971.
He first created comic imitations of Japanese art as an irreverent response to such misguided perceptions. Over the years, his artwork evolved from light-hearted satire to serious critiques and from paintings to performance art. His artwork is found in the collections of major museums, including Whitney Museum of American Art, Smithsonian Museum of American Art, Philadelphia Museum of Art, and Seattle Art Museum.
“Roger Shimomura is always the skeptic, but never a cynic,” says Dee Harris, director of Visual Arts and Humanities, Mid-America Arts Alliance. “He’s pursued the art of social commentary while grounded in an ongoing hope for positive change.”
The exhibition is organized and toured by Mid-America Arts Alliance through its ExhibitsUSA national program.
The Crow Collection of Asian Art is dedicated to arts and cultures of Asia. Located at 2010 Flora Street in the heart of the downtown Dallas Arts District, the museum is open Tuesday through Sunday from 10 AM to 5 PM with extended hours on Thursday until 9 PM. Closed Mondays. Admission is free. For more information call 214-979-6430.
-30-
Immediate Release:
Contact: Esther Wu
Crow Collection of Asian Art
Photos available
The Return of the Yellow Peril at Crow Collection
The Crow Collection of Asian Art is proud to present “The Return of the Yellow Peril: A Survey of the Work of Roger Shimomura, 1969-2007.” The exhibition opens June 6 and will be on view through August 9, 2009.
Shimomura has been called a prankster with a brush whose contemporary style captures the imagination. Others say he is a serious social commentator whose art represents a unique Japanese-American style and point of view.
It turns out that he isboth. His work has been described as “pop art with a Japanese twist.” And that’s why his exhibition, The Return of the Yellow Peril: A Survey of the Work of Roger Shimomura, 1969-2007, is as compelling in its message as it is visually captivating.
Visitors to the Crow Collection of Asian Art will explore the third-generation Japanese American artist’s work over a thirty year span. His uniquely bicultural style of work integrates images from ukiyo-e woodcut prints with images from American popular culture. Using humor as a weapon, his artwork moves from ironic constructions of cultural identity to biting denunciations of racial prejudice.
“Roger Shimomura’s work is on the cutting edge, combining traditional with contemporary to critique experiences of racial discrimination,” said Amy Hofland, director of the Crow Collection of Asian Art. “Some of his works are biting, some are subtle, but all are unforgettable.”
The Return of the Yellow Peril directly plays on the derogatory color metaphors for Asians – “yellow peril” and “yellow terror” that have been aimed at Asian-Americans since the 1800s. The prejudice behind these metaphors resulted in the relocation of 120,000 Japanese Americans to camps following the Pearl Harbor bombing in December 1941. Mr. Shimomura, who was2 years old at the time, and his family spent the next two years behind a barbed-wire fence at Camp Minidoka in south-central Idaho.
He began creating art inspired by his experience as a Japanese American after he joined the art faculty at the University of Kansas in Lawrence in 1969. An incident in which Shimomura was labeled as a “foreigner” – though he was born in America and spoke English without an accent – led him to a new artistic direction in 1971.
He first created comic imitations of Japanese art as an irreverent response to such misguided perceptions. Over the years, his artwork evolved from light-hearted satire to serious critiques and from paintings to performance art. His artwork is found in the collections of major museums, including Whitney Museum of American Art, Smithsonian Museum of American Art, Philadelphia Museum of Art, and Seattle Art Museum.
“Roger Shimomura is always the skeptic, but never a cynic,” says Dee Harris, director of Visual Arts and Humanities, Mid-America Arts Alliance. “He’s pursued the art of social commentary while grounded in an ongoing hope for positive change.”
The exhibition is organized and toured by Mid-America Arts Alliance through its ExhibitsUSA national program.
The Crow Collection of Asian Art is dedicated to arts and cultures of Asia. Located at 2010 Flora Street in the heart of the downtown Dallas Arts District, the museum is open Tuesday through Sunday from 10 AM to 5 PM with extended hours on Thursday until 9 PM. Closed Mondays. Admission is free. For more information call 214-979-6430.
-30-
Immediate Release:
Contact: Esther Wu
Crow Collection of Asian Art
Photos available
The Return of the Yellow Peril at Crow Collection
The Crow Collection of Asian Art is proud to present “The Return of the Yellow Peril: A Survey of the Work of Roger Shimomura, 1969-2007.” The exhibition opens June 6 and will be on view through August 9, 2009.
Shimomura has been called a prankster with a brush whose contemporary style captures the imagination. Others say he is a serious social commentator whose art represents a unique Japanese-American style and point of view.
It turns out that he isboth. His work has been described as “pop art with a Japanese twist.” And that’s why his exhibition, The Return of the Yellow Peril: A Survey of the Work of Roger Shimomura, 1969-2007, is as compelling in its message as it is visually captivating.
Visitors to the Crow Collection of Asian Art will explore the third-generation Japanese American artist’s work over a thirty year span. His uniquely bicultural style of work integrates images from ukiyo-e woodcut prints with images from American popular culture. Using humor as a weapon, his artwork moves from ironic constructions of cultural identity to biting denunciations of racial prejudice.
“Roger Shimomura’s work is on the cutting edge, combining traditional with contemporary to critique experiences of racial discrimination,” said Amy Hofland, director of the Crow Collection of Asian Art. “Some of his works are biting, some are subtle, but all are unforgettable.”
The Return of the Yellow Peril directly plays on the derogatory color metaphors for Asians – “yellow peril” and “yellow terror” that have been aimed at Asian-Americans since the 1800s. The prejudice behind these metaphors resulted in the relocation of 120,000 Japanese Americans to camps following the Pearl Harbor bombing in December 1941. Mr. Shimomura, who was2 years old at the time, and his family spent the next two years behind a barbed-wire fence at Camp Minidoka in south-central Idaho.
He began creating art inspired by his experience as a Japanese American after he joined the art faculty at the University of Kansas in Lawrence in 1969. An incident in which Shimomura was labeled as a “foreigner” – though he was born in America and spoke English without an accent – led him to a new artistic direction in 1971.
He first created comic imitations of Japanese art as an irreverent response to such misguided perceptions. Over the years, his artwork evolved from light-hearted satire to serious critiques and from paintings to performance art. His artwork is found in the collections of major museums, including Whitney Museum of American Art, Smithsonian Museum of American Art, Philadelphia Museum of Art, and Seattle Art Museum.
“Roger Shimomura is always the skeptic, but never a cynic,” says Dee Harris, director of Visual Arts and Humanities, Mid-America Arts Alliance. “He’s pursued the art of social commentary while grounded in an ongoing hope for positive change.”
The exhibition is organized and toured by Mid-America Arts Alliance through its ExhibitsUSA national program.
The Crow Collection of Asian Art is dedicated to arts and cultures of Asia. Located at 2010 Flora Street in the heart of the downtown Dallas Arts District, the museum is open Tuesday through Sunday from 10 AM to 5 PM with extended hours on Thursday until 9 PM. Closed Mondays. Admission is free. For more information call 214-979-6430.
-30-
Immediate Release:
Contact: Esther Wu
Crow Collection of Asian Art
Photos available
The Return of the Yellow Peril at Crow Collection
The Crow Collection of Asian Art is proud to present “The Return of the Yellow Peril: A Survey of the Work of Roger Shimomura, 1969-2007.” The exhibition opens June 6 and will be on view through August 9, 2009.
Shimomura has been called a prankster with a brush whose contemporary style captures the imagination. Others say he is a serious social commentator whose art represents a unique Japanese-American style and point of view.
It turns out that he isboth. His work has been described as “pop art with a Japanese twist.” And that’s why his exhibition, The Return of the Yellow Peril: A Survey of the Work of Roger Shimomura, 1969-2007, is as compelling in its message as it is visually captivating.
Visitors to the Crow Collection of Asian Art will explore the third-generation Japanese American artist’s work over a thirty year span. His uniquely bicultural style of work integrates images from ukiyo-e woodcut prints with images from American popular culture. Using humor as a weapon, his artwork moves from ironic constructions of cultural identity to biting denunciations of racial prejudice.
“Roger Shimomura’s work is on the cutting edge, combining traditional with contemporary to critique experiences of racial discrimination,” said Amy Hofland, director of the Crow Collection of Asian Art. “Some of his works are biting, some are subtle, but all are unforgettable.”
The Return of the Yellow Peril directly plays on the derogatory color metaphors for Asians – “yellow peril” and “yellow terror” that have been aimed at Asian-Americans since the 1800s. The prejudice behind these metaphors resulted in the relocation of 120,000 Japanese Americans to camps following the Pearl Harbor bombing in December 1941. Mr. Shimomura, who was2 years old at the time, and his family spent the next two years behind a barbed-wire fence at Camp Minidoka in south-central Idaho.
He began creating art inspired by his experience as a Japanese American after he joined the art faculty at the University of Kansas in Lawrence in 1969. An incident in which Shimomura was labeled as a “foreigner” – though he was born in America and spoke English without an accent – led him to a new artistic direction in 1971.
He first created comic imitations of Japanese art as an irreverent response to such misguided perceptions. Over the years, his artwork evolved from light-hearted satire to serious critiques and from paintings to performance art. His artwork is found in the collections of major museums, including Whitney Museum of American Art, Smithsonian Museum of American Art, Philadelphia Museum of Art, and Seattle Art Museum.
“Roger Shimomura is always the skeptic, but never a cynic,” says Dee Harris, director of Visual Arts and Humanities, Mid-America Arts Alliance. “He’s pursued the art of social commentary while grounded in an ongoing hope for positive change.”
The exhibition is organized and toured by Mid-America Arts Alliance through its ExhibitsUSA national program.
The Crow Collection of Asian Art is dedicated to arts and cultures of Asia. Located at 2010 Flora Street in the heart of the downtown Dallas Arts District, the museum is open Tuesday through Sunday from 10 AM to 5 PM with extended hours on Thursday until 9 PM. Closed Mondays. Admission is free. For more information call 214-979-6430.
-30-
Immediate Release:
Contact: Esther Wu
Crow Collection of Asian Art
Photos available
The Return of the Yellow Peril at Crow Collection
The Crow Collection of Asian Art is proud to present “The Return of the Yellow Peril: A Survey of the Work of Roger Shimomura, 1969-2007.” The exhibition opens June 6 and will be on view through August 9, 2009.
Shimomura has been called a prankster with a brush whose contemporary style captures the imagination. Others say he is a serious social commentator whose art represents a unique Japanese-American style and point of view.
It turns out that he isboth. His work has been described as “pop art with a Japanese twist.” And that’s why his exhibition, The Return of the Yellow Peril: A Survey of the Work of Roger Shimomura, 1969-2007, is as compelling in its message as it is visually captivating.
Visitors to the Crow Collection of Asian Art will explore the third-generation Japanese American artist’s work over a thirty year span. His uniquely bicultural style of work integrates images from ukiyo-e woodcut prints with images from American popular culture. Using humor as a weapon, his artwork moves from ironic constructions of cultural identity to biting denunciations of racial prejudice.
“Roger Shimomura’s work is on the cutting edge, combining traditional with contemporary to critique experiences of racial discrimination,” said Amy Hofland, director of the Crow Collection of Asian Art. “Some of his works are biting, some are subtle, but all are unforgettable.”
The Return of the Yellow Peril directly plays on the derogatory color metaphors for Asians – “yellow peril” and “yellow terror” that have been aimed at Asian-Americans since the 1800s. The prejudice behind these metaphors resulted in the relocation of 120,000 Japanese Americans to camps following the Pearl Harbor bombing in December 1941. Mr. Shimomura, who was2 years old at the time, and his family spent the next two years behind a barbed-wire fence at Camp Minidoka in south-central Idaho.
He began creating art inspired by his experience as a Japanese American after he joined the art faculty at the University of Kansas in Lawrence in 1969. An incident in which Shimomura was labeled as a “foreigner” – though he was born in America and spoke English without an accent – led him to a new artistic direction in 1971.
He first created comic imitations of Japanese art as an irreverent response to such misguided perceptions. Over the years, his artwork evolved from light-hearted satire to serious critiques and from paintings to performance art. His artwork is found in the collections of major museums, including Whitney Museum of American Art, Smithsonian Museum of American Art, Philadelphia Museum of Art, and Seattle Art Museum.
“Roger Shimomura is always the skeptic, but never a cynic,” says Dee Harris, director of Visual Arts and Humanities, Mid-America Arts Alliance. “He’s pursued the art of social commentary while grounded in an ongoing hope for positive change.”
The exhibition is organized and toured by Mid-America Arts Alliance through its ExhibitsUSA national program.
The Crow Collection of Asian Art is dedicated to arts and cultures of Asia. Located at 2010 Flora Street in the heart of the downtown Dallas Arts District, the museum is open Tuesday through Sunday from 10 AM to 5 PM with extended hours on Thursday until 9 PM. Closed Mondays. Admission is free. For more information call 214-979-6430.
-30-
Immediate Release:
Contact: Esther Wu
Crow Collection of Asian Art
Photos available
The Return of the Yellow Peril at Crow Collection
The Crow Collection of Asian Art is proud to present “The Return of the Yellow Peril: A Survey of the Work of Roger Shimomura, 1969-2007.” The exhibition opens June 6 and will be on view through August 9, 2009.
Shimomura has been called a prankster with a brush whose contemporary style captures the imagination. Others say he is a serious social commentator whose art represents a unique Japanese-American style and point of view.
It turns out that he isboth. His work has been described as “pop art with a Japanese twist.” And that’s why his exhibition, The Return of the Yellow Peril: A Survey of the Work of Roger Shimomura, 1969-2007, is as compelling in its message as it is visually captivating.
Visitors to the Crow Collection of Asian Art will explore the third-generation Japanese American artist’s work over a thirty year span. His uniquely bicultural style of work integrates images from ukiyo-e woodcut prints with images from American popular culture. Using humor as a weapon, his artwork moves from ironic constructions of cultural identity to biting denunciations of racial prejudice.
“Roger Shimomura’s work is on the cutting edge, combining traditional with contemporary to critique experiences of racial discrimination,” said Amy Hofland, director of the Crow Collection of Asian Art. “Some of his works are biting, some are subtle, but all are unforgettable.”
The Return of the Yellow Peril directly plays on the derogatory color metaphors for Asians – “yellow peril” and “yellow terror” that have been aimed at Asian-Americans since the 1800s. The prejudice behind these metaphors resulted in the relocation of 120,000 Japanese Americans to camps following the Pearl Harbor bombing in December 1941. Mr. Shimomura, who was2 years old at the time, and his family spent the next two years behind a barbed-wire fence at Camp Minidoka in south-central Idaho.
He began creating art inspired by his experience as a Japanese American after he joined the art faculty at the University of Kansas in Lawrence in 1969. An incident in which Shimomura was labeled as a “foreigner” – though he was born in America and spoke English without an accent – led him to a new artistic direction in 1971.
He first created comic imitations of Japanese art as an irreverent response to such misguided perceptions. Over the years, his artwork evolved from light-hearted satire to serious critiques and from paintings to performance art. His artwork is found in the collections of major museums, including Whitney Museum of American Art, Smithsonian Museum of American Art, Philadelphia Museum of Art, and Seattle Art Museum.
“Roger Shimomura is always the skeptic, but never a cynic,” says Dee Harris, director of Visual Arts and Humanities, Mid-America Arts Alliance. “He’s pursued the art of social commentary while grounded in an ongoing hope for positive change.”
The exhibition is organized and toured by Mid-America Arts Alliance through its ExhibitsUSA national program.
The Crow Collection of Asian Art is dedicated to arts and cultures of Asia. Located at 2010 Flora Street in the heart of the downtown Dallas Arts District, the museum is open Tuesday through Sunday from 10 AM to 5 PM with extended hours on Thursday until 9 PM. Closed Mondays. Admission is free. For more information call 214-979-6430.
-30-
Immediate Release:
Contact: Esther Wu
Crow Collection of Asian Art
Photos available
The Return of the Yellow Peril at Crow Collection
The Crow Collection of Asian Art is proud to present “The Return of the Yellow Peril: A Survey of the Work of Roger Shimomura, 1969-2007.” The exhibition opens June 6 and will be on view through August 9, 2009.
Shimomura has been called a prankster with a brush whose contemporary style captures the imagination. Others say he is a serious social commentator whose art represents a unique Japanese-American style and point of view.
It turns out that he isboth. His work has been described as “pop art with a Japanese twist.” And that’s why his exhibition, The Return of the Yellow Peril: A Survey of the Work of Roger Shimomura, 1969-2007, is as compelling in its message as it is visually captivating.
Visitors to the Crow Collection of Asian Art will explore the third-generation Japanese American artist’s work over a thirty year span. His uniquely bicultural style of work integrates images from ukiyo-e woodcut prints with images from American popular culture. Using humor as a weapon, his artwork moves from ironic constructions of cultural identity to biting denunciations of racial prejudice.
“Roger Shimomura’s work is on the cutting edge, combining traditional with contemporary to critique experiences of racial discrimination,” said Amy Hofland, director of the Crow Collection of Asian Art. “Some of his works are biting, some are subtle, but all are unforgettable.”
The Return of the Yellow Peril directly plays on the derogatory color metaphors for Asians – “yellow peril” and “yellow terror” that have been aimed at Asian-Americans since the 1800s. The prejudice behind these metaphors resulted in the relocation of 120,000 Japanese Americans to camps following the Pearl Harbor bombing in December 1941. Mr. Shimomura, who was2 years old at the time, and his family spent the next two years behind a barbed-wire fence at Camp Minidoka in south-central Idaho.
He began creating art inspired by his experience as a Japanese American after he joined the art faculty at the University of Kansas in Lawrence in 1969. An incident in which Shimomura was labeled as a “foreigner” – though he was born in America and spoke English without an accent – led him to a new artistic direction in 1971.
He first created comic imitations of Japanese art as an irreverent response to such misguided perceptions. Over the years, his artwork evolved from light-hearted satire to serious critiques and from paintings to performance art. His artwork is found in the collections of major museums, including Whitney Museum of American Art, Smithsonian Museum of American Art, Philadelphia Museum of Art, and Seattle Art Museum.
“Roger Shimomura is always the skeptic, but never a cynic,” says Dee Harris, director of Visual Arts and Humanities, Mid-America Arts Alliance. “He’s pursued the art of social commentary while grounded in an ongoing hope for positive change.”
The exhibition is organized and toured by Mid-America Arts Alliance through its ExhibitsUSA national program.
The Crow Collection of Asian Art is dedicated to arts and cultures of Asia. Located at 2010 Flora Street in the heart of the downtown Dallas Arts District, the museum is open Tuesday through Sunday from 10 AM to 5 PM with extended hours on Thursday until 9 PM. Closed Mondays. Admission is free. For more information call 214-979-6430.
-30-
Immediate Release:
Contact: Esther Wu
Crow Collection of Asian Art
Photos available
The Return of the Yellow Peril at Crow Collection
The Crow Collection of Asian Art is proud to present “The Return of the Yellow Peril: A Survey of the Work of Roger Shimomura, 1969-2007.” The exhibition opens June 6 and will be on view through August 9, 2009.
Shimomura has been called a prankster with a brush whose contemporary style captures the imagination. Others say he is a serious social commentator whose art represents a unique Japanese-American style and point of view.
It turns out that he isboth. His work has been described as “pop art with a Japanese twist.” And that’s why his exhibition, The Return of the Yellow Peril: A Survey of the Work of Roger Shimomura, 1969-2007, is as compelling in its message as it is visually captivating.
Visitors to the Crow Collection of Asian Art will explore the third-generation Japanese American artist’s work over a thirty year span. His uniquely bicultural style of work integrates images from ukiyo-e woodcut prints with images from American popular culture. Using humor as a weapon, his artwork moves from ironic constructions of cultural identity to biting denunciations of racial prejudice.
“Roger Shimomura’s work is on the cutting edge, combining traditional with contemporary to critique experiences of racial discrimination,” said Amy Hofland, director of the Crow Collection of Asian Art. “Some of his works are biting, some are subtle, but all are unforgettable.”
The Return of the Yellow Peril directly plays on the derogatory color metaphors for Asians – “yellow peril” and “yellow terror” that have been aimed at Asian-Americans since the 1800s. The prejudice behind these metaphors resulted in the relocation of 120,000 Japanese Americans to camps following the Pearl Harbor bombing in December 1941. Mr. Shimomura, who was2 years old at the time, and his family spent the next two years behind a barbed-wire fence at Camp Minidoka in south-central Idaho.
He began creating art inspired by his experience as a Japanese American after he joined the art faculty at the University of Kansas in Lawrence in 1969. An incident in which Shimomura was labeled as a “foreigner” – though he was born in America and spoke English without an accent – led him to a new artistic direction in 1971.
He first created comic imitations of Japanese art as an irreverent response to such misguided perceptions. Over the years, his artwork evolved from light-hearted satire to serious critiques and from paintings to performance art. His artwork is found in the collections of major museums, including Whitney Museum of American Art, Smithsonian Museum of American Art, Philadelphia Museum of Art, and Seattle Art Museum.
“Roger Shimomura is always the skeptic, but never a cynic,” says Dee Harris, director of Visual Arts and Humanities, Mid-America Arts Alliance. “He’s pursued the art of social commentary while grounded in an ongoing hope for positive change.”
The exhibition is organized and toured by Mid-America Arts Alliance through its ExhibitsUSA national program.
The Crow Collection of Asian Art is dedicated to arts and cultures of Asia. Located at 2010 Flora Street in the heart of the downtown Dallas Arts District, the museum is open Tuesday through Sunday from 10 AM to 5 PM with extended hours on Thursday until 9 PM. Closed Mondays. Admission is free. For more information call 214-979-6430.
-30-
Immediate Release:
Contact: Esther Wu
Crow Collection of Asian Art
Photos available
The Return of the Yellow Peril at Crow Collection
The Crow Collection of Asian Art is proud to present “The Return of the Yellow Peril: A Survey of the Work of Roger Shimomura, 1969-2007.” The exhibition opens June 6 and will be on view through August 9, 2009.
Shimomura has been called a prankster with a brush whose contemporary style captures the imagination. Others say he is a serious social commentator whose art represents a unique Japanese-American style and point of view.
It turns out that he isboth. His work has been described as “pop art with a Japanese twist.” And that’s why his exhibition, The Return of the Yellow Peril: A Survey of the Work of Roger Shimomura, 1969-2007, is as compelling in its message as it is visually captivating.
Visitors to the Crow Collection of Asian Art will explore the third-generation Japanese American artist’s work over a thirty year span. His uniquely bicultural style of work integrates images from ukiyo-e woodcut prints with images from American popular culture. Using humor as a weapon, his artwork moves from ironic constructions of cultural identity to biting denunciations of racial prejudice.
“Roger Shimomura’s work is on the cutting edge, combining traditional with contemporary to critique experiences of racial discrimination,” said Amy Hofland, director of the Crow Collection of Asian Art. “Some of his works are biting, some are subtle, but all are unforgettable.”
The Return of the Yellow Peril directly plays on the derogatory color metaphors for Asians – “yellow peril” and “yellow terror” that have been aimed at Asian-Americans since the 1800s. The prejudice behind these metaphors resulted in the relocation of 120,000 Japanese Americans to camps following the Pearl Harbor bombing in December 1941. Mr. Shimomura, who was2 years old at the time, and his family spent the next two years behind a barbed-wire fence at Camp Minidoka in south-central Idaho.
He began creating art inspired by his experience as a Japanese American after he joined the art faculty at the University of Kansas in Lawrence in 1969. An incident in which Shimomura was labeled as a “foreigner” – though he was born in America and spoke English without an accent – led him to a new artistic direction in 1971.
He first created comic imitations of Japanese art as an irreverent response to such misguided perceptions. Over the years, his artwork evolved from light-hearted satire to serious critiques and from paintings to performance art. His artwork is found in the collections of major museums, including Whitney Museum of American Art, Smithsonian Museum of American Art, Philadelphia Museum of Art, and Seattle Art Museum.
“Roger Shimomura is always the skeptic, but never a cynic,” says Dee Harris, director of Visual Arts and Humanities, Mid-America Arts Alliance. “He’s pursued the art of social commentary while grounded in an ongoing hope for positive change.”
The exhibition is organized and toured by Mid-America Arts Alliance through its ExhibitsUSA national program.
The Crow Collection of Asian Art is dedicated to arts and cultures of Asia. Located at 2010 Flora Street in the heart of the downtown Dallas Arts District, the museum is open Tuesday through Sunday from 10 AM to 5 PM with extended hours on Thursday until 9 PM. Closed Mondays. Admission is free. For more information call 214-979-6430.
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