The Bay Area's Hub for Asian Pacific American Community Arts Since 1972
 No More Hiroshimas, No More WarLewis Suzuki, 1963 (poster image courtesy of Lincoln Cushing/Docs Populi) |  Year of the TigerJim Dong, 1972 (digital print image courtesy of Choppy Oshiro) |
|---|---|
 Tai-chi on the RooftopJim Dong, 1973 (digital print image courtesy of Choppy Oshiro) |  Looking Back at Galileo High SchoolLeland Wong, 1974 (digital poster image courtesy of Choppy Oshiro) |
 The Masses Are the Makers of HistoryArtist unknown, 1974 (courtesy of Japantown Art & Media Workshop archives/National Japanese American Historical Society) |  Indochina SummerArtist unknown, date unknown (courtesy of Pam Tau Lee) |
 Take Up the StruggleJ-town Collective, with the Committee Against Nihonmachi Evictions, 1977 (courtesy of Japantown Art & Media Workshop archives/National Japanese American Historical Society) |  Pre-War Produce MarketRich Tokeshi, 1977 (courtesy of Japantown Art & Media Workshop archives/National Japanese American Historical Society) |
 UnityLeon Sun, 1980 (courtesy of the artist) |  KomixEd Badajos, date unknown (poster image courtesy of Lincoln Cushing/Docs Populi) |
 Song for a Nisei FishermanChester Yoshida, 1980 (courtesy of Leon Sun/Community Asian Art & Media Project archives) |  A Thousand CranesLeland Wong, 1980 (digital poster image courtesy of Choppy Oshiro) |
 Paper AngelsLeland Wong, 1980 (digital poster image courtesy of Choppy Oshiro) |  She Sews in a SweatshopStephanie Lowe, 1980 (courtesy of Japantown Art & Media Workshop archives/National Japanese American Historical Society) |
 Issei WomenGail Aratani, 1981 (courtesy of Japantown Art & Media Workshop archives/National Japanese American Historical Society) |  Justice for Vincent ChinStephanie Lowe, 1982 (courtesy of Japantown Art & Media Workshop archives/National Japanese American Historical Society) |
 Asian American Jazz FestivalZand Gee, 1982 (courtesy of the artist) |  A Future for Our ChildrenNancy Hom, 1985 (digital print image courtesy of Choppy Oshiro) |
 Celebration of the SpiritNancy Hom, 1985 (digital print image courtesy of Choppy Oshiro) |  6th Asian American Jazz FestivalZand Gee, 1987 (courtesy of the artist) |
 ProgressionsWes Senzaki, 1992 (courtesy of Japantown Art & Media Workshop archives/National Japanese American Historical Society) |  Botong, Weaver of DreamsCarlos V. Francisco, 1992 (poster image courtesy of Lincoln Cushing/Docs Populi) |
 Remembering MalcolmLeon Sun, 1992 (courtesy of the artist) |  Tule Lake PilgrimageRich Tokeshi, 1994 (courtesy of Japantown Art & Media Workshop archives/National Japanese American Historical Society) |
 No More Violence Against AsiansNancy Hom, 1996 (digital poster image courtesy of Choppy Oshiro) |  A Grain of SandLeland Wong, 1997 (courtesy of Japantown Art & Media Workshop archives/National Japanese American Historical Society) |
 Day of RemembranceDavid Monkawa, 2002 (courtesy of the artist) |  Personal Justice Denied The Legacy ContinuesRich Tokeshi, 1998 (courtesy of Japantown Art & Media Workshop archives/National Japanese American Historical Society) |
 Now and ForeverLeon Sun, 2005 (courtesy of the artist) |  StarfishKaYan Cheung, 2014 (courtesy of the artist) |
 Don't FlipYouth MOJO screenprinting workshop / Chinese Progressive Association, 2014 (courtesy of Chinese Progressive Association) |
RECLAIMING
OUR ROOTS
Silkscreened Posters
from the Movement
1963-2014
Screenprinted poster art was an integral part of the Asian American Movement. As a medium, it was almost synonymous with political expression, with “political” being broadly defined. It brought together artists of different mediums, such as photography, drawing, and graphic design. The final production process itself required teamwork and collective action. Screenprinting was affordable and accessible to both experienced and emerging artists. It brought people together and was embraced by the communities in which the artists and workshops were based.
The artwork drew inspiration from many sources – from the cultures we inherited from our respective motherlands and from the direct experience of our community elders in the U. S. We drew freely from each other’s cultures within the Asian communities and from without. Chicano/Latino artists were a major influence and inspiration. Anti-war, Civil Rights, Black Liberation and women’s struggles informed much of our politics. While there was always lively debate reflecting different social perspectives, there was a pervasive sense of cultural democracy and Third World, working class solidarity.
During this period the San Francisco Bay Area had three screenprinting workshops where the bulk of these posters were printed: Kearny Street Workshop (KSW), Japantown Art & Media Workshop (JAM Wksp) and the Community Asian Art & Media Project (CAAMP). KSW and JAM Wksp were located in San Francisco’s Chinatown-Manilatown and Japantown, respectively. CAAMP, an offshoot of JAM Wksp, was based in Oakland Chinatown.
This exhibit does not claim to project a comprehensive or definitive narrative of the Asian American Movement. The small sampling of posters is only meant to give a glimpse into the issues of the times and how artists gave voice to them. Representation of some important events is notably absent. For practical reasons we limited the scope of this modest exhibit to silkscreened posters from the San Francisco Bay Area, but a couple of exceptions were made to show the range of topics that Asian American artists addressed.* Acquisition has been difficult because many of the posters were not widely seen as collector items in their time and have presumably been lost. As the exhibit moves online, it will expand and diversify over time, with input from many of the artists themselves.
Leon Sun
April, 2015
* Lewis Suzuki’s and David Monkawa’s posters were offset printed. David Monkawa is a Los Angeles artist.