In The Other American Moderns, ShiPu Wang analyzes the works of four early twentieth-century American artists who engaged with the concept of “Americanness”: Frank Matsura, Eitarō Ishigaki, Hideo Noda, and Miki Hayakawa. In so doing, he recasts notions of minority artists’ contributions to modernism and American culture.
Wang presents comparative studies of these four artists’ figurative works that feature Native Americans, African Americans, and other racial and ethnic minorities, including Matsura and Susan Timento Pose at Studio (ca. 1912), The Bonus March (1932), Scottsboro Boys (1933), and Portrait of a Negro (ca. 1926). Rather than creating art that reflected “Asian aesthetics,” Matsura, Ishigaki, Noda, and Hayakawa deployed “imagery of the Other by the Other” as their means of exploring, understanding, and contesting conditions of diaspora and contested notions of what it meant to be American in an age of anti-immigrant sentiment and legislation.
Based on a decade-long excavation of previously unexamined collections in the United States and Japan, The Other American Moderns is more than a rediscovery of “forgotten” minority artists: it reconceives American modernism by illuminating these artists’ active role in the shaping of a multicultural and cosmopolitan culture. This nuanced analysis of their deliberate engagement with the ideological complexities of American identity contributes a new vision to our understanding of non-European identity in modernism and American art.
|Publisher:||Penn State University Press|
|Sold by:||Barnes & Noble|
|File size:||30 MB|
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About the Author
Table of ContentsContents
List of Illustrations
1 Going “Native” in an American Borderland: Frank S. Matsura’s Photographic Miscegenation
2 By Proxy of His Black Heroes: Eitarō Ishigaki and the Battles for Equality
3 We Are Scottsboro Boys: Hideo Noda’s Visual Rhetoric of Transracial Solidarity
4 In Search of Miki: Hayakawa, a Californian Cosmopolitan
Epilogue: Concerning Exclusion