Arts and Culture
Bay Area Artist, Peace Activist Lewis Suzuki, 95
Courtesy of Rafu
Noted artist and peace activist Iwao Lewis Suzuki passed away recently at the age of 95.
“With more than 30 family, friends, and family of friends in attendance, we had four services at his home in Berkeley, Calif., where he died,” his son Masao said in a Facebook post. “The first was a Japanese American Buddhist (Jodo Shinshu) service, the second was the singing of the ‘Internationale’ in Tagalog and English, the third was a Vietnamese service, and finally a Catholic rosary, reflecting the beliefs of his friends and family.”
An important figure in the watercolor movement known as the “California Style,” Suzuki once said, “I feel that art has a place in enriching the life of humanity … Through my art, I try to strengthen that part of culture. And I feel that the arts should project the future of human society. To me, it cannot be non-objective or abstract in that sense.”
Suzuki’s father initially entered San Francisco in 1912 by jumping ship, after which he made his way to Los Angeles and supported himself as a musician. Eventually returning to Japan and marrying, he and his wife moved to Los Angeles, where he opened a dry-cleaning business, and where Lewis was born on Nov. 29, 1920.
In 1929, Suzuki’s father died, and his mother returned to Japan with her six children. There, Suzuki excelled in the art programs in his primary school, attended Kawabata Art Academy in Tokyo, and began exploring the possibility of studying art in the U.S.
In 1939, a fellow passenger on a commuter train saw him looking at a catalog of American art schools, and upon learning that Suzuki had been born in the U.S., strongly suggested that he leave Japan immediately.
Suzuki later recalled that the man showed him photos of the atrocities committed by the Japanese in Nanking, and warned that if Suzuki stayed in Japan he would be forced to join the military and participate in such acts.
He gave Suzuki the name of a man to contact in Los Angeles, which Suzuki did when he returned to California later that year.
The man, Edo Mita, helped him get settled in Los Angeles, where Suzuki completed high school, took classes at Otis Art Institute, and worked as a houseboy.
Edo invited Suzuki to Marxist study groups at his house frequented by Japanese members of the film industry who discussed their concerns of Japan’s growing militarism.
After the U.S. declared war on Japan, he joined the army and taught Japanese at the Military Intelligence Service Language School in Minnesota.
Suzuki became politically active in issues of peace and justice, and believed in the role of art in furthering these causes. He traveled to Hiroshima, which had been devastated by an atomic bomb, and would later create a graphic work, “No More Hiroshimas,” and other peace posters for the American Friends Service Committee.
In 1952, Suzuki traveled to China with the American Peace Crusade and met his future wife, Mary Bonzo, an American citizen who had grown up in the Philippines and was in China with a Quaker group.
The couple married and settled in Berkeley, where Mary was attending school. Suzuki worked as a cabinet-maker while also painting, teaching and exhibiting.
Eventually, he was able to make art full-time.
He was a member of the politically active Graphic Arts Workshop from 1953 to 1963 ad was also a participant in many art fairs held throughout the state.
Shows at shopping malls and parks, he said, were a way to connect with people who may not visit a gallery or have a strong knowledge of art.
Working primarily in watercolors, his works were loosely painted, brightly colored still lifes, landscapes, seascapes and city scenes. A trip to Manila in 1986 prompted him to paint “Smokey Mountain,” which depicts the dire conditions of the community that existed on the city’s landfill.
Suzuki’s bold and imaginative use of color won him numerous awards, including two at the Society of Western Artists show at the De Young Museum in San Francisco.
He served on the Berkeley Art Commission and was recognized by the City of Berkeley in 2010. Until recently, he continued to work at his studio on Grant Street in Berkeley, participating in such events as East Bay Open Studios and Berkeley Artisans Holiday Open Studios.
As a peace activist, he was a delegate to the Asian Pacific Peace Conference in Beijing and to the World Peace Conference in Vienna.
In 2011, Suzuki was inducted into the Community Hall of Fame at La Peña Cultural Center in Berkeley. A the event, he said, “We are the richest country in the world, but there are many people who can’t get health care or who can’t afford to pay for college … Let’s get out of Iraq and Afghanistan. One day we will have peace, where U.S. troops are not overseas and we can have freedom throughout the world.”
Survivors include his son Masao and his daughter Fumi.
Arts and Culture
MacArthur Fellow Jennifer Morgan’s Work Focuses on Slavery’s Impact on Black Women
When grants were announced Oct. 1, it was noted that seven of the 22 fellows were African American. Among them are scholars, visual and media artists a poet/writer, historian, and dancer/choreographer who each receive $800,000 over a five-year period to spend as they see fit.
Special to The Post
When grants were announced Oct. 1, it was noted that seven of the 22 fellows were African American. Among them are scholars, visual and media artists a poet/writer, historian, and dancer/choreographer who each receive $800,000 over a five-year period to spend as they see fit.
Their names are Ruha Benjamin, Jericho Brown, Tony Cokes, Jennifer L. Morgan, Ebony G. Patterson, Shamel Pitts, Jason Reynolds, and Dorothy Roberts. This is the fourth in the series highlighting the Black awardees. The report below is excerpted from the MacArthur Fellows web site.
Jennifer L. Morgan is a historian deepening understanding of how the system of race-based slavery developed in early America.
A life-long New Yorker, professor Morgan, 59, is currently on leave from New York University as a fellow at the Cullman Center for Scholars and Writers at the New York Public Library.
She is a 1986 graduate of Oberlin College where she majored in Africana studies and received her PhD in history from Duke University in 1995.
Using a range of archival materials—and what is missing from them—Morgan brings to light enslaved African women’s experiences during the 16th and 17th centuries. She shows that exploitation of enslaved women was central to the economic and ideological foundations of slavery in the Atlantic world.
Morgan has established gender as pivotal to slavery’s institutionalization in colonial America, and her attention to the full ramifications of slavery for Black women sheds light on the origins of harmful stereotypes about Black kinship and families that endure to this day.
Morgan wrote her groundbreaking first book, “Laboring Women: Reproduction and Gender in New World Slavery” (2004), at a time when most scholarship focused on the transport, labor, and resistance of enslaved men.
In Laboring Women, Morgan argues that enslavement was fundamentally different for women because of their reproductive potential. Enslaved women were expected to both perform agricultural fieldwork and produce children, who were born into enslavement.
Morgan’s analysis of wills, probate proceedings, and purchasing records reveals how slaveowners understood forced procreation as a strategy to maintain their labor supply (rather than importing more people to enslave as laborers from Africa).
In her second book, “Reckoning with Slavery: Gender, Kinship, and Capitalism in the Early Black Atlantic” (2021), Morgan examines the development of accounting practices that transformed enslaved people into commodities within a system of trade.
She argues that such data obscured and justified the violence enslavers inflicted upon human beings. Record-keepers largely left gender and parentage out of demographic and accounting records. By refusing to acknowledge kinship among enslaved people, enslavers could rationalize family separation.
Morgan links the so-called neutral data of the slave trade to the consolidation of a hierarchy of race, based on false narratives about the difference and inferiority of enslaved Africans. At the same time, Morgan recovers the humanity and agency of enslaved women.
She demonstrates that enslaved women understood that their captors exploited their ability to produce children to create wealth. Morgan also charts their efforts to resist the commodification of their motherhood.
Morgan is currently at work on “The Eve of Slavery”—a book about African women in 17th-century North America. It is organized around the life of Elizabeth Key, a woman of color who sued for freedom in 1656 on the grounds that her father was a free white man.
The lives of Key and other Black women who tried to protect themselves and their children offer an intimate window into the development of American slavery.
Art
Brown University Professor and Media Artist Tony Cokes Among MacArthur Awardees
When grants were announced earlier this month, it was noted that seven of the 22 fellows were African American. Among them are scholars, visual and media artists a poet/writer, historian, and dancer/choreographer who each receive $800,000 over a five-year period to spend as they see fit. Their names are Ruha Benjamin, Jericho Brown, Tony Cokes, Jennifer L. Morgan, Ebony G. Patterson, Shamel Pitts, Jason Reynolds, and Dorothy Roberts. This is the third in the series highlighting the Black awardees.
Special to The Post
When grants were announced earlier this month, it was noted that seven of the 22 fellows were African American. Among them are scholars, visual and media artists a poet/writer, historian, and dancer/choreographer who each receive $800,000 over a five-year period to spend as they see fit. Their names are Ruha Benjamin, Jericho Brown, Tony Cokes, Jennifer L. Morgan, Ebony G. Patterson, Shamel Pitts, Jason Reynolds, and Dorothy Roberts. This is the third in the series highlighting the Black awardees. The report below is excerpted from the MacArthur Fellows web site.
Tony Cokes
Tony Cokes, 68, is a media artist creating video works that recontextualize historical and cultural moments. Cokes’s signature style is deceptively simple: changing frames of text against backgrounds of solid bright colors or images, accompanied by musical soundtracks.
Cokes was born in Richmond, Va., and received a BA in creative writing and photography from Goddard College in 1979 and an MFA from Virginia Commonwealth University in 1985. He joined the faculty of Brown University in 1993 and is currently a professor in the Department of Modern Culture and Media.
According to Wikipedia, Cokes and Renee Cox, and Fo Wilson, created the Negro Art Collective (NAC) in 1995 to fight cultural misrepresentations about Black Americans.[5]
His work has been exhibited at national and international venues, including Haus Der Kunst and Kunstverein (Munich); Dia Bridgehampton (New York); Memorial Art Gallery University of Rochester; MACRO Contemporary Art Museum (Rome); and the Carpenter Center for the Visual Arts (Harvard University), among others.
Like a DJ, he samples and recombines textual, musical, and visual fragments. His source materials include found film footage, pop music, journalism, philosophy texts, and social media. The unexpected juxtapositions in his works highlight the ways in which dominant narratives emerging from our oversaturated media environments reinforce existing power structures.
In his early video piece Black Celebration (A Rebellion Against the Commodity) (1988), Cokes reconsiders the uprisings that took place in Black neighborhoods in Los Angeles, Detroit, Newark, and Boston in the 1960s.
He combines documentary footage of the upheavals with samples of texts by the cultural theorist Guy Debord, the artist Barbara Kruger, and the musicians Morrisey and Martin Gore (of Depeche Mode).
Music from industrial rock band Skinny Puppy accompanies the imagery. In this new context, the scenes of unrest take on new possibilities of meaning: the so-called race riots are recast as the frustrated responses of communities that endure poverty perpetuated by structural racism. In his later and ongoing “Evil” series, Cokes responds to the rhetoric of the Bush administration’s “War on Terror.”
Evil.16 (Torture.Musik) (2009–11) features snippets of text from a 2005 article on advanced torture techniques. The text flashes on screens to the rhythm of songs that were used by U.S. troops as a form of torture.
The soundtrack includes Metallica’s “Enter Sandman” and Britney Spears’s “… Baby One More Time,” songs known to have been played to detainees at deafening decibel levels and on repeated loops. The dissonance between the instantly recognizable, frivolous music and horrifying accounts of torture underscores the ideological tensions within contemporary pop culture.
More recently, in a 2020 work entitled HS LST WRDS, Cokes uses his pared-down aesthetic to examine the current discourse on police violence against Black and Brown individuals. The piece is constructed around the final words of Elijah McClain, who was killed in the custody of Colorado police. Cokes transcribes McClain’s last utterances without vowels and sets them against a monochromatic ground. As in many of Cokes’s works, the text is more than language conveying information and becomes a visualization of terrifying breathlessness. Through his unique melding of artistic practice and media analysis, Cokes shows the discordant ways media color our understanding and demonstrates the artist’s power to bring clarity and nuance to how we see events, people, and histories.
Activism
San Francisco Foundation Celebrates 76th Anniversary
“I’m not going to sugarcoat it: the past couple of years have been tough. From uncertainty about the future of our nation to ongoing wars and violence globally to Supreme Court decisions that rolled back decades of work on racial equity and reproductive rights – it’s easy to become cynical and fatigued,” said San Francisco Foundation CEO Fred Blackwell.
By Conway Jones
The San Francisco Foundation celebrated the 76th anniversary of its founding in 1964 on Thursday, Oct. 24, at The Pearl in San Francisco.
Over 150 people came together with members of the SFF community whose intent was to fulfill the promise of the Bay: democracy, racial equity, affordable housing, and more.
A fireside chat featured SFF CEO Fred Blackwell in conversation with KQED Chief Content Officer and SFF Trustee Holly Kernan.
“I’m not going to sugarcoat it: the past couple of years have been tough. From uncertainty about the future of our nation to ongoing wars and violence globally to Supreme Court decisions that rolled back decades of work on racial equity and reproductive rights – it’s easy to become cynical and fatigued,” said Blackwell.
“Resolve is what is necessary to keep us moving forward in the face of attacks on DEI and affirmative action, of an economy that undervalues arts and caretaking, of a housing shortage that keeps too many of our neighbors sleeping in the streets,” he continued.
Youth Speaks provided poetry and a musical performance by Audiopharmacy, a world-renowned hip-hop ensemble and cultural community arts collective.
The San Francisco Foundation is one of the largest community foundations in the United States. Its mission is to mobilize community leaders, nonprofits, government agencies, and donors to advance racial equity, diversity, and economic opportunity.
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