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“Determining Domain” exhibition photos

Link to blogpost with photos of the show

I’m currently part of a group exhibition called Determining Domain at Intersection for the Arts in San Francisco.

There will also be a series of lectures and workshops about the practical aspects of art and intellectual property (legal risks and protecting your own creative work).

Intersection for the Arts presents

Determining Domain

A group exhibition featuring work by seven artists – Bigface, Scott Kildall & Nathaniel Stern, Sanaz Mazinani, Farnaz Shadravan, Stephanie Syjuco, and Scott Tsuchitani – that explore complex issues regarding intellectual property and image ownership.

November 7, 2012 – January 19, 2013

Gallery & Community Hours: Tuesdays through Saturdays, 12–6pm, FREE

Intersection for the Arts
925 Mission Street @ 5th St (1 block south of Powell St. BART)
San Francisco CA 94103
tel 415/626 2787



Bootleg – CLEVER is a new queer think tank started by media artist Cherly Dunye that is engaged in media based activities committed to social transformation. CLEVER is a site where academic debate meets up with political activism and artistic/cultural practices, and where different forms of knowledge production and articulation form productive coalitions. Invited panelists including Dr. Annie Sprinkle (Ecosexual Sexecologist, artist and activist), Jiz Lee (performer, artist, activist), Shine Louise Houston (CrashPad, Pink and White Productions) and Alex Austin (Founder and Owner of Austin Law Group) will explore image ownership and marketplace regulation in a discussion of whether or not porn can be covered by copyright.

Wednesday December 5, 2012, 7-9pm, $5-$15/sliding scale

Lecture on Intellectual Property – Delve into the complex issues of intellectual property in the art world with Professor Marc H. Greenberg by looking at actual court decisions and legal statutes that shape the field of intellectual property to the more theoretical issues of ownership, value, and the creative process. Greenberg is an intellectual property attorney and the Founding Director of the IP Law Program at Golden Gate University School of Law.

Date TBA, 7-9pm, $5-$15/sliding scale

Copyright Done Right– A workshop tutorial about artists’ rights to creative work, led by intellectual property lawyer Inder Comar. Learn how law affects the art world through practical resources and discussion: (1) how to copyright a body of creative work; (2) tips for protecting one’s work and policing one’s own intellectual property; and (3) issues of fair use, public domain, and open source copyright licensing models. With a particular dedication to trial and appellate work, Comar Law provides a wide range of legal services to individuals and companies, especially in areas of employment, intellectual property, civil rights, and international law.

Wednesday January 16, 2013, 7-9pm, $5-$15/sliding scale

Artists Talk

Saturday January 19, 2013, 2pm, FREE

(more info)

Davies Forum Exhibition and Lecture, 4/24/12

Exhibition & Public Lecture
The Davies Forum
University of San Francisco
2130 Fulton @ Parker, 94117

Illusions of Harmony: Forgetting the Unnamable in Japanese and American History
Kalmanovitz Hall Atrium
Tuesday, April 24 to Tuesday, May 1

Beyond Obsequious: Honor, Abjection, and Agency in Japanese American Visual Culture
Tuesday, April 24, 6:00pm
Maier Room in Fromm Hall
Reception to Follow in Kalmanovitz Hall (probably around 7:00-8:30pm)

This is the culminating event of a semester-long forum on “Citizenship in Japan and the US.”

How can art intervene in culturalist discourse to create space for a more diversely inclusive and activated notion of citizenship? This artist talk will pick up on ideas posed by preceding Davies Forum speakers—mechanisms for remembering and forgetting critical lessons of history (Lisa Yoneyama); and the dynamics of “polite racism” and notions of national belonging (Takashi Fujitani)—to discuss the artwork in the Davies exhibition and the influences that inspired it.  Tsuchitani will share his own inquiry into issues of race and identity as they have played out in the arena of Japanese American visual representation during the course of his lifetime, along with the aesthetic strategies that he has employed to leverage this awareness into effective forms of cultural resistance, agency, and interventional change.

Click to view larger

More info:  The Davies Forum

Campus Map

“Four Decades of Art Activism” panel FRI 1/27

Four Decades of Art Activism

How can art be a catalyst for social change? Join Bay Area artists in a fishbowl conversation on Friday, January 27, 7-9 p.m., Intersection for the Arts, 925 Mission, San Francisco. Free and open to the public. Continue reading ‘“Four Decades of Art Activism” panel FRI 1/27’

“Chain Letter” at Shoshana Wayne Gallery

Hot dog in line to install at Bergamot Station, Santa Monica

One of many happy artists in line to install their art for Chain Letter

Last weekend I participated in a “Chain Letter” show down in Santa Monica, along with about 1,600 [!] other artists.  While I was down there I had a chance to visit galleries in Culver City as well as a couple museum shows (street art at MOCA Geffen and the awe inspiring Marco Brambilla at Santa Monica Museum).  LA Weekly did a fun review of the Chain Letter show (calling it “Artmaggeddon”), and I’ve posted lots of pictures of the shows and video here.
Update:  More Reviews of Chain Letter!

In Print


New Book

Cover of The Routledge Companion to Museum EthicsJust published this week, The Routledge Companion to Museum Ethics: Redefining Ethics for the Twenty-First Century Museum, edited by Janet Marstine, details my “Asians Art Museum” (Lord It’s the Samurai) project, in a chapter on “Museum Censorship” by Christopher Steiner.

From the publisher, about the book:

It argues for a museum ethics discourse defined by social responsibility, radical transparency and shared guardianship of heritage. And it demonstrates the moral agency of museums: the concept that museum ethics is more than the personal and professional ethics of individuals and concerns the capacity of institutions to generate self-reflective and activist practice.”

As for my work, Steiner asserts, ‘ . . .the intervention was a productive contribution that enhanced the exhibition narrative’.

More at the Asians Art Museum blog.

In Japan

Cover, Impaction [178]Earlier this year I was interviewed by Megumi Kitahara, professor of Japanese Studies at the Graduate School of Osaka University, for the 63rd installment of her ongoing serial essay on “Art Activism” in インパクション (Impaction) magazine.  At 14 pages in length, it’s by far the most in-depth interview I’ve ever given.

北原恵.  アート・アクティヴィズム(63), Impaction [178], 106-119, 2011.

For those who read Japanese, here’s a link to Prof. Kitahara’s academic publications on CiNii.

Cover of Murakami's bookThis is actually the second interview I’ve had published in Japan.  The first was by Yumiko Murakami for her book アジア系アメリカ人  中公新書 : アメリカの新しい顔  (Ajiakei Amerikajin: Amerika no atarashii kao) (Asian Americans: New Faces of America), reportedly the first book published in Japan on the subject of Asian Americans (Tokyo: Chūō Kōronsha, pp. 211-214, 1997).  She interviewed me about my experience producing the documentary Meeting at Tule Lake for the Tule Lake Pilgrimage.

Teaching Geisha

Like my samurai project above, my Sansei Geisha project has also influenced academic discourse.  I only recently came across the following, from May of last year:

Jan Bardsley. Teaching Geisha in History, Fiction, and Fantasy (PDF), ASIANetwork Exchange, Vol. 17, No. 2 (Spring 2010 Issue)

Jan Bardsley is a professor of Japanese Humanities at University of North Carolina, interested in feminism and popular culture in Japan, who has written about my work previously:

Liza Dalby’s Geisha: the view twenty-five years later, Southeast Review of Asian Studies, Vol. 31 (Annual 2009), pp.309-323.

Bay Area Artists for Japan

I was supposed to be in Japan right now, giving a talk today at a university in Kyoto.  Then disaster struck and everything changed.

As the crisis continues to unfold, the one thing that is clear among all the uncertainty is that Japan is facing a long and difficult recovery.

Please join me and others in the art community as we use our art to help those who are suffering, in an art benefit for the relief effort in Japan.  We need your help! Continue reading ‘Bay Area Artists for Japan’

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