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marți, 13 septembrie 2011

Arkansas museum showcases World War II Japanese American art

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By Suzi Parker

LITTLE ROCK, Ark | Sat Sep 10, 2011 3:52pm EDT

LITTLE ROCK, Ark (Reuters) - For decades, Mable Rose Jamison Vogel hauled trunks of art and documents -- bits and pieces of a remarkable chapter in American history -- around the country whenever she moved.

Created by Japanese Americans while they were held captive in Arkansas camps during World War II, the paintings, sculptures, carved wooden bird pins and even a belt made from an orange electrical cord told stories of daily life in a dark era in American history.

Vogel was one of their art teachers, encouraging them to decorate their dire surroundings. Her efforts helped preserve the tales of tens of thousands of Americans who were forced into camps by the U.S. government after the Japanese bombing of Pearl Harbor.

This weekend, "The Art of Living" exhibit opens at the Butler Center for Arkansas Studies in Little Rock. with more than 100 artifacts from Vogel's collection and additional pieces by twin sisters Kazuko Tanaka and Yetsuko Saguchi, who were interned at Rohwer.

"There has been a groundswell of interest in this history," said Nathania Sawyer, the exhibit's producer. "This collection gives a very deep picture of how these people were using art in their everyday life."

The government operated 10 camps during World War II in Arkansas, Arizona, Colorado, Wyoming, California and Idaho. Several other states had temporary camps.

After the Pearl Harbor bombing in 1941, military leaders feared that Japanese Americans on the West Coast posed a national threat. The government forced 110,000 Japanese and Japanese Americans living along the Pacific Coast into what President Franklin D. Roosevelt called "concentration camps" in sparse areas. More than half of them were American citizens.

They were allowed little time to settle business affairs or sell or store their belongings. They were instructed to bring only what they could carry, including bedding and dishes. Once at camp, families lived in cramped single-room quarters until the end of the war. They worked the land, and children attended school. Each camp had its own mayor and police department.

Art was both a popular pastime and an escape from life in dire conditions. At some camps, jazz bands became popular.

The Japanese Americans in Arkansas collected and made materials for their art. One landscape in the collection was painted on discarded denim. Cardboard and box tops were used as canvases. Discarded wood and wire were transformed into sculptures. Burlap became woven rugs.

"Jamie Vogel was so diligent in preserving this story," Sawyer said. "She was very interested in these students and the people who were doing art in the camps. Over the years, she loaned it out, put on exhibitions all over the country and kept the story alive. It offers a very deep picture and how these people were using art in their everyday life."

Jennifer Carmen, a fine and decorative art appraiser in Little Rock, calls the Vogel collection "unique among internment collections" in its vast scope of documenting day-to-day life in the camp.

In June, the National Park Service awarded 24 grants totaling $2.9 million to preserve these sites and interpret Japanese American life during this era.

In 2006, Congress established the grants program to give up to $38 million after President Clinton, in 2000, recommended that the Department of Interior preserve this part of history.

The first grants were awarded in 2009.

Arkansas, which received three grants this year, was the only Southern state to have camps. For the last 10 years, Arkansas has hosted various educational events about the two camps.

In 2004, the University of Arkansas at Little Rock created a series of events called "Life Interrupted," which included a reunion of 1,300 people who had lived in the camps.

Star Trek star George Takei, whose family was sent to Rohwer, attended the event.

The art ended up at the Butler Center after decades of efforts by Vogel and her friend, Rosalie Santine Gould, a former mayor of Gould, Ark.

When she died in 1994, she left a substantial part of the collection to Santine Gould, who has spent her life preserving the story of the two camps at Jerome and Rohwer, Ark., about 100 miles south of Little Rock.

Last year, Gould gave the collection, which was sought by many major art museums, to the Butler Center.

(Edited by Karen Brooks and Greg McCune)


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miercuri, 7 septembrie 2011

Curators make hard choices at 9/11 museum

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A recovered FDNY Squad 252 helmet belonging to deceased FDNY member Kevin M. Prior is seen in this photograph before becoming a part of the National September 11 Memorial & Museum in New York August 22, 2011. Kevin Prior, a firefighter with Brooklyn's Squad 252, can be seen in video footage of the North Tower lobby recorded after the first plane hit getting ready to go upstairs. Responding to a mayday call sent out by fellow firefighters encountering breathing problems, he and five other members of the squad are thought to have been on a floor in the 20s when the tower collapsed. Prior's body was found three weeks after the attacks and buried on Long Island, but his mother was troubled that his helmet had not been returned to the family, and said as much in a television interview. An employee at the city's Office of the Chief Medical Examiner happened to catch the broadcast, recognized Prior's squad and badge numbers, and hand-delivered the badly damaged helmet to his grateful family. The museum, which occupies seven stories below the ground of the World Trade Center site--is still being built at the site of the fallen towers. It is due only to open in 2012, on the 11th anniversary of the attacks. REUTERS/Lucas Jackson

1 of 8. A recovered FDNY Squad 252 helmet belonging to deceased FDNY member Kevin M. Prior is seen in this photograph before becoming a part of the National September 11 Memorial & Museum in New York August 22, 2011. Kevin Prior, a firefighter with Brooklyn's Squad 252, can be seen in video footage of the North Tower lobby recorded after the first plane hit getting ready to go upstairs. Responding to a mayday call sent out by fellow firefighters encountering breathing problems, he and five other members of the squad are thought to have been on a floor in the 20s when the tower collapsed. Prior's body was found three weeks after the attacks and buried on Long Island, but his mother was troubled that his helmet had not been returned to the family, and said as much in a television interview. An employee at the city's Office of the Chief Medical Examiner happened to catch the broadcast, recognized Prior's squad and badge numbers, and hand-delivered the badly damaged helmet to his grateful family. The museum, which occupies seven stories below the ground of the World Trade Center site--is still being built at the site of the fallen towers. It is due only to open in 2012, on the 11th anniversary of the attacks.

Credit: Reuters/Lucas Jackson

By Jonathan Allen

NEW YORK | Tue Sep 6, 2011 4:55pm EDT

NEW YORK (Reuters) - Curators are making hard choices at the museum memorializing the September 11, 2001 attacks at the site of the World Trade Center's toppled twin towers, aiming to convey the horror of the event without trespassing into ghoulishness.

"We're not here to traumatize our visitors," said Alice Greenwald, director of New York's 9/11 Memorial Museum that is due to open in its underground home at the Ground Zero site next year on the 11th anniversary of the attacks.

"Monumental artifacts are one thing, but we also have a human story to tell," Greenwald said.

Some of the most potentially disturbing exhibits are being set aside from the main exhibition spaces in special alcoves to allow visitors a chance to decide whether or not to view it.

It is here that museum curators have placed material such as images of people plummeting from the burning towers after the buildings were struck by airliners hijacked by al Qaeda militants, and a recording of the measured voice of a flight attendant aboard one of the planes moments before her death.

For museum curators, deciding whether to include examples of some victims' painful final moments was one of their toughest dilemmas as they sought to pay tribute to the nearly 3,000 people killed without piling more grief onto the living.

It's a familiar problem for people aiming to memorialize wars and atrocities.

"We're not just a history museum, we're also a memorial institution and so the tension that happens between commemoration and documentation is a flash point," Greenwald said in an interview at the museum's offices overlooking the ongoing construction of a facility that will occupy seven stories below ground at the World Trade Center site.

Greenwald is no stranger to these debates. For almost two decades she helped create exhibits at the National Holocaust Museum in Washington memorializing the murder of millions of people at the hands of the Nazis during World War Two.

'THE 9/11 STORY'

Greenwald and her colleagues are aware that there are countless objects that might overwhelm a visitor.

There will be photos of the 19 al Qaeda hijackers, although Greenwald said they will be presented as "criminals."

Another difficult question for curators was whether to include disturbing pictures of victims who jumped or fell from the towers. Excluding such pictures would be a serious omission, Greenwald said. The photos will be located in an alcove clearly marked with a warning and none of the people pictured are identifiable, she added.

"It is one of the aspects of the 9/11 story that if you didn't include it, you're not telling the story," she said.

In choosing audio recordings of the last words spoken by some victims, the museum avoided some of the most distressing calls to the 911 emergency phone number. "That's a form of human remains," Greenwald said. "We will include nothing that feels like a moment when we shouldn't have been there."

Instead, curators chose recordings with the permission of victims' families that show what Greenwald called the "exceptional nature" of many of those killed in the attacks.

This includes the remarkably composed voice of Betty Ong, a flight attendant on American Airlines Flight 11, as she relays details of the bloody hijacking to colleagues on the ground in the minutes before the plane crashed into the North Tower.

The museum has acquired hundreds of items belonging to victims, survivors and first responders.

The significance of a horribly crushed fireman's helmet is obvious. Other items might be more subtle in their importance: dust-caked shoes, a crumpled wallet, clothing, a never-finished knitting project, a blackened doll -- all commonplace items that have taken on the air of relics.

The museum has been sculpted out of the vastness of the World Trade Center's foundations, and incorporates part of the slurry wall, originally built to hold back the waters of the Hudson River and which survived the buildings' collapse.

There will be a memorial exhibition for the 2,982 people killed in the September 11 attacks and in the 1993 bombings of the World Trade Center that were a prelude to the later event. The exit of the museum has been designed so that visitors emerge at the heart of the 9/11 Memorial -- cascading waterfalls set into the footprints of the fallen towers surrounded by bronze panels bearing the names of the dead.

"For every heart-wrenching story you have 10 stories about the goodness of human beings," Greenwald said. Referring to future visitors to the museum, she added, "They're going to come out with a lot to think about."

(Editing by Will Dunham)


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