When you see the vibrant image above and hear the exhibition title—Shomei Tomatsu: Island Life—you might get the impression that this photography show is all about idyllic tropical living. And while it does focus on Tomatsu's fascination with Japan's southern islands, it delves much deeper into life for the islands' residents.
After World War II ended, the U.S. occupied the majority of Japan until 1952, but maintained jurisdiction over Okinawa (Japan's southernmost prefecture that includes hundreds of islands) until 1972. Entry into Okinawa was very limited for Japanese citizens during this time. Tomatsu gained entry in 1969 and alternately lived in or regularly visited the southern islands until his death in 2012. Much of Tomatsu's work from this period discusses both the aftermath of World War II and the Americanization of Japan. The decades-long military presence (that still persists today) in Okinawa provided substantial content for Tomatsu to explore both the complicated confluence of Western products and ideas with traditional Japanese culture, as well as the contradictory feelings that Tomatsu himself had about Americanization. As Tomatsu said in writings on the subject, "love and hate are no farther apart than two sides of a sheet of paper."
This is Tomatsu's first posthumous exhibition and his first exhibition in the United States in nearly 10 years. Shomei Tomatsu: Island Life is open through January 5.
1 hour 22 min ago The Art Institute of Chicago Just like the museum's collection comes from artists around the world, so does the Museum Shop’s assortment of products. We source exclusive products from artisans that are inspired by the cultures, mediums, and techniques represented in our museum collection. View our assortment of unique items from India.
10 hours 30 min ago The Art Institute of Chicago NOW ON VIEW—Provoke: Photography in Japan between Protest and Performance, 1960–1975
Provoke was the English-language title for a Japanese photo magazine of the late 1960s; the name also designates the group of photographers and writers who put that formative publication together. Their influence has grown so great that the “Provoke era” is now international shorthand for sixties counterculture in Japan. This generational uprising swelled from the massive unrest, and sheer cultural disorientation, that accompanied the country’s transformation from ruined empire to superpower after World War II.
This exhibition places the achievements of Provoke alongside those of protesters and protest collectives, who made riveting photobooks, films, and photographs throughout the same era, as well as artists and art collectives keenly interested in live performance and its relation to the mechanical image.
14 hours 3 min ago The Art Institute of Chicago NEW ACQUISITION—In the early decades of the sixteenth century, Antwerp was a great center of commerce, finance, and luxury trade. The Flemish city attracted innovative painters like Quentin Massys, Jan Gossart, and Joos van Cleve working in a style that combined northern traditions with Italianate forms. Numerous other painters, whose work is only known under names of convenience, like the Master of the Lille Adoration, swelled the ranks of the Antwerp guild.
Saint Jerome in Penitence (by the Master of the Lille Adoration) is an ideal addition to our collection and can be seen alongside other exemplary paintings from Renaissance Antwerp—on view in Gallery 207.