Japanese American National Museum

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20 years ago today

an interesting show. there seemed to be a definite lack of space, as everything generally was crowded together which didn't work so much with such a diverse millieu of art...however the variety served as a visual sampler and, if they were spaced appropriately, the peices could have dictated an interesting and varied narrative without confusing or overwhelming the viewer. the only contemporary art show i can even remember seeing at janm, which might speak for something. [more]
Posted by lali on 12/30/08

20 ears ago today

although I really enjoyed a few of the pieces in the show,  I didnt feel any sort of connection or fluidity in the show. It was hard for me to take anything from the show, as it was very mixed up, making it hard to concentrate on any sort of theme in particular. I liked the colorful car crash painting though. [more]
Posted by coreybernstein on 1/13/09

New Genres 2008

Dear Diary, Today I'm writing about getting 10 more points by doing this assignment and hopefully finishing  the final... As usual I am become the tool and recieved most of the work but aside from that... The most memorable thing i saw in the Japanese history museum was the piece with the half-a-buffalo ramed into a mirror... Mainly because it was quite confusing and made me think alot about why it was made like as such... Mainly what i concluded was that the artist was either thinking that it... [more]
Posted by SpaceInjectorMonkeySalmon on 1/13/09

20 ears ago today from Jorge

From Jorge,   While visiting the show i encountered various works from various artists. Most works did not capture my attention, but there was an exception, well three actually. The video installation of the bear was very captivating. Also the artist books that were there were very thrilling, a look a gritty look at a gritty artist. My favorite piece was the buffalo. The End. Love you Clement. [more]
Posted by coreybernstein on 1/13/09

Living Flowers

by Nico Machida
In “Living Flowers,” curator Karen Higa has placed ikebana beside the work of top-drawer European and American contemporary artists, as if to suggest that the one’s distinct and historically-rooted sense of craft might begin to inform the other’s cultural capital, and vice-versa. At the level of formal structure, there are obvious affinities between the flowers and the art objects: The treatment of a small space as a kind of compositional universe so essential to ikebana finds correlates in... [more]
Posted by Nico Machida on 6/29/08