The prints of Roger Shimomura : a catalogue raisonné, 1968-2005

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Title:

Author:

Stamey, Emily.

ISBN:

9780295986722

Personal Author:

Stamey, Emily.

Publication Information:

Physical Description:

152 pages : illustrations (chiefly color) ; 25 x 27 cm.

Series:

Jacob Lawrence series on American artists

Jacob Lawrence series on American artists.

Contents:

Artist's statement -- The prints of Roger Shimomura -- Introduction -- Seattle to Syracuse -- Lawrence -- Using Ukiyou -- Oriental masterprints -- Erotic images -- A shift -- Images of internment -- Yellow no same -- Memories of childhood -- Mistake identities.

Abstract:

"This catalogue raisonne begins with Roger Shimomura's first Andy Warhol-inspired screen prints, made while a graduate student in the late 1960s, and ends with his 2005 suite Mistaken Identities, published by the Lawrence Lithography Workshop. Featuring color reproductions of all the artist's extant prints to date, along with an introductory essay and artist's notes, this is the first publication to systematically examine a specific body of work within Shimomura's larger oeuvre. In his prints, as in his paintings and theatre pieces, Shimomura employs a vibrant and provocative stylistic combination of twentieth-century American Pop art and traditional eighteenth- and nineteenth-century Japanese woodblock prints. In his work one finds a personal iconography of popular images and ordinary objects that the artist uses to explore both his own Japanese American identity and the complexities of contemporary American culture."--Jacket.

Personal Subject:

Shimomura, Roger, 1939--Catalogues raisonnés.

Shimomura, Roger, 1939- (OCoLC)fst00367087

Added Author:

Shimomura, Roger, 1939-

Added Corporate Author:

Helen Foresman Spencer Museum of Art.

Electronic Access:

Table of contents http://catdir.loc.gov/catdir/toc/ecip0620/2006028414.html

Copies:

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Summary

Best known as a painter and theater artist, Roger Shimomura explores his Japanese American identity through a vibrant and provocative stylistic combination of twentieth-century American pop art and traditional eighteenth- and nineteenth-century Japanese woodblock prints. In his printed works, one discovers a number of firsts, among them the artist's first examination of place; his first attempt to combat stereotypes by appropriating racist caricatures; and his first use of explicitly sexual imagery.

This catalogue raisonné is also a first. Featuring color reproductions of all the artist's 122 extant prints to date, along with notes by Shimomura about the creative and personal history behind particular images, this is the first publication to systematically examine a specific body of work within Shimomura's larger oeuvre. It is also the first to begin critically examining the importance of the Midwest to his work.

Emily Stamey's introductory essay melds a chronological narrative of Shimomura's printmaking career with insightful analyses of both specific images and the broader conceptual role of prints within his work. She traces the artist's stylistic trajectory from his first Andy Warhol inspired screen prints, made in the bathroom of his graduate student apartment in the late 1960s, to his most recent suite produced with master printer Michael Sims at the Lawrence Lithography Workshop. Within this narrative, Stamey examines the ways in which Shimomura's prints relate to and stand apart from his paintings and theater performances.

A native of Seattle, Shimomura completed his MFA at Syracuse University in New York, and then accepted a teaching position at the University of Kansas. Now retired, Shimomura still lives in Lawrence and remains engaged with the university. He has also made its Spencer Museum of Art the repository for his prints.