Contents

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p. ix

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Acknowledgments

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pp. xi-xii

Writing is an inevitably solitary act. But a book, especially one like this, exists thanks to a global village of generous people who have extended a helping hand at one point or another. Special acknowledgments must first go to the many institutions that provided funding for my international research that resulted in this book: the University of California, Merced; the University of California, Santa Barbara; and the Chiang Ching-kuo Foundation for International Scholarly Exchange....

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Introduction

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pp. 1-10

“At least one Japanese we’ve heard of is doing his damnedest to help us win the war,” the New Yorker declared in its “Talk of the Town” section on March 28, 1942. In a brief article titled “Telling Tokio,” writer Russell Maloney informed his readers that Yasuo Kuniyoshi (1889–1953)—an émigré Japanese and “one of this country’s best artists”—had volunteered to write radio broadcasts for the Office ...

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Prelude Surviving Pearl Harbor

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pp. 11-24

In 1943, at the heigh t of World War II, Yasuo Kuniyoshi painted a large canvas, titled Somebody Tore My Poster (Fig. 2). In it, a centrally positioned woman stands in front of a torn poster. Her left hand holds on to a nearby railing as if to prevent herself from falling, while her right hand raises a burning cigarette that ...

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Chapter One Painting American

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pp. 25-45

It might be said that one of the disillusions Kuniyoshi suffered during the war was that witnessing the American government’s treatment of people of Japanese descent made him acutely realize he had always been racialized. Kuniyoshi’s artistic career had developed in a New Deal–progressive milieu and was nurtured by many prominent liberals and leftists in the New York and New England art circles. Since ...

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Chapter Two Negotiating "Japaneseness"

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pp. 46-69

“This is not a racial war.” So Kuniyoshi proclaimed in a letter written in October 1942 to James Reed, a student at Sheldon School in Grand Rapids, Michigan, who contacted Kuniyoshi on behalf of his classmates. The students’ teacher mentioned Kuniyoshi’s name while they were studying “Worthwhile People” in class and told them that this...

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Chapter Three Picturing an Identity Crisis

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pp. 70-97

In the aftermath of Pearl Harbor, Kuniyoshi sought many opportunities to contribute to U.S. propaganda that would not only prove his patriotism but also reinforce his credentials as an American artist. Another motivating factor, no less important, was a view shared by many of his colleagues: that the U.S....

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Chapter Four Fighting the Battles Within

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pp. 98-116

The OWI involvement apparently constituted such a pivotal part of Kuniyoshi’s wartime experience that he evoked the OWI in two of his large-scale oil paintings produced during the war years—an unusual practice in his oeuvre. In both Somebody Tore My Poster and Headless Horse Who Wants to Jump, he deployed ...

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Chapter Five Wearing the Masks

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pp. 117-137

The postwar years brought Kuniyoshi even more critical recognition that further embellished his already illustrious career in spite of his trying wartime experience. In 1946, the U.S. State Department’s Office of International Information and Cultural Affairs purchased three of Kuniyoshi’s works and included them in its traveling exhibition Advancing American Art. In 1947, Kuniyoshi became the ...

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Epilogue Becoming American?

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pp. 138-148

On the occasion of making Kuniyoshi the first living American artist to hold a retrospective at the Whitney Museum in 1948, curator Lloyd Goodrich apparently felt compelled to reinforce Kuniyoshi’s “Americanness.” He rehashed the allegiance issue, likely in direct response to the allegations from the Dondero/conservative camp, and insisted on Kuniyoshi’s American credentials by stating ...

Notes

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pp. 149-169

References

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pp. 171-181

Index

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pp. 183-191