Roger Shimomura: Stereotypes and Admonitions
This series illustrates incidents of racial insensitivity I have experienced during my life. Accompanying each painting is a written description of the incident that inspired the piece. Also included in this series are events that have affected the Asian American community on a regional and national basis over the past 60 years — essentially my lifetime.- Roger Shimomura
FOX AND CHARLIE CHAN, 2003
Acrylic on canvas, 20 x 24 inches
FOX network recently rescinded its decision to air The Charlie Chan Mystery Tour due to protests from the Asian American community. The old Charlie Chan movies featured ethnic stereotypes and “yellow-faced” white actors, considered offensive and to many Asian Americans. The Organization of Chinese Americans stated, “Charlie Chan is a painful reminder of Hollywood’s racist refusal to hire minorities to play roles that were designed for them, and a further reminder of the miscegenation laws that prevented interracial interaction even on screen.”
FLORENCE, SOUTH CAROLINA, 2003
Acrylic on canvas, 20 x 24 inches
In l969, after graduating from Syracuse University, Roger and his first wife visited their good friend Alvin, in Florence, South Carolina. Alvin’s mother threw a dinner party for her friends and relatives, all long-time residents of Florence. The purpose of the party was for everyone to meet Alvin’s “friends from Japan” despite Roger and his wife’s repeated insistence that they were Americans who happened to be of Japanese descent.
During pre-dinner cocktails, Roger was introduced to Fran, one of Alvin’s favorite aunts. Fran was a school teacher and college graduate, often referred to as the “intellectual” of the family. As introductory pleasantries were exchanged, Fran asked Roger his name. Roger said his first name and then, in very crisp English, Fran repeated her question to Roger. After Roger repeated his first name, Fran commented very slowly, so a not to be misunderstood, “Well, I guess my name sounds as weird to you as yours does to me.”
THE HISTORY OF ART, 2003
Left to right: Version 1 and Version 2
Acrylic on canvas, 20 x 24 inches
Several years ago, Roger had a conversation with an art history colleague who was writing a textbook on the history of art. She informed Roger that she had included his name and painting in the chapter on contemporary American art. She also said she could not promise that his name would survive the editing process due to a difference of opinion with her editor, who felt that Roger would be better defined as a contemporary Japanese painter than a contemporary American painter.
THE GOOK, 2003
Acrylic on canvas, 20 x 24 inches
One Saturday afternoon in the summer of 1976, Roger visited Seattle’s tourist-filled Pike Place Market. While walking along the crowded stalls, Roger noticed that walking in front of him was a tattooed Caucasian male with long hair, wearing a leather headband, cutoff jeans and no shirt. The man appeared to be in a highly agitated state and was walking in an exaggerated fashion while swearing profusely.
As Roger began to pass him, the man yelled at Roger, “Hey Gook, I killed your fuckin’ brother in ‘Nam. I killed your mother and father, too!” Then for at least 30 more feet the man walked beside Roger, screaming about having “killed hundreds of VCs and Chinks just like you!”
NOT AN INDIAN (Variation 2), 2003
Acrylic on canvas, 20 x 24 inches
In the spring of 1970, after moving to Lawrence, Kansas, Roger went to Wilson’s Department store to buy his wife a coat for her birthday. Wilson’s would not take Visa or MasterCard at the time and required that charges be made to a Wilson’s credit card only. The salesperson told Roger that he could fill out an application and obtain immediate approval to charge the coat.
As directed, Roger went to the second floor credit counter and requested an application. The woman behind the counter said it was against Wilson’s policy to issue credit cards to Indians. When Roger said he was not an Indian, the woman told him she did not believe him. Roger then asked to speak to the manager.
When the manager arrived, the woman behind the counter told him she had dutifully informed Roger that it was store policy not to grant credit cards to Indians. The manager examined Roger carefully and then said, “She’s right, sir. We don’t give credit cards to Indians.” Roger repeated to the manager that he was not an Indian, whereupon the manager said, “You got any proof that you ain’t, mister?”
ORIENTAL TYPE, 2003
Acrylic on canvas, 20 x 24 inches
During the spring of 1969, Roger was selected as one of two finalists for a faculty position at a university in the state of Kentucky. Roger was socially acquainted with one of the selection committee members. After completing the first day’s interviews with students, faculty and administrators, Roger was informed that the Department Chair had discovered Roger was an “Oriental” person. Roger’s friend on the committee was instructed to inform Roger that there were no “Oriental types” in Kentucky, and that he would be extremely unhappy and lonely living there. The Chair then announced she had decided to terminate this search.
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