THE LATESTTHE LATESThttp://hfblog.humanistfilms.com/the-latest/2012-05-14T20:01:03ZSquarespaceTHE MINIATURE WORLD OF SEAN CHAOhttp://hfblog.humanistfilms.com/the-latest/2012/5/14/the-miniature-world-of-sean-chao.htmlMING LAI2012-05-14T18:34:23Z2012-05-14T18:34:23Z

"Camouflage" by Sean Chao

 

A piece of artwork by Sean Chao is an invitation to explore. People don’t view his miniature sculptures in display cases from a distance. Instead, they get as close as possible and look at every tiny detail. Soon, they enter a microcosm of the world that conveys Chao’s unique vision.

Chao’s view of the world is both simple and complex. He acknowledges that life can be hard but tries to offer humor through his artwork as a way to deal with it. He admits that he wants people to enjoy his artwork, offering it as a treat to them.

While Chao’s intentions may seem simplistic, they’ve been developed by challenging life experiences. While he was growing up in Taiwan, there was a bad recession and his father’s furniture business suffered greatly. His family was forced to move from their upscale home in a suburban neighborhood to his father’s factory in a rough industrial area.

Even though Chao’s new home was in a more dangerous area, he points out that there was still beauty there. The ocean was nearby, and he recalls how every year countless red crabs would emerge out of the ocean, crawl up the beach, and lay their eggs in the sand. 

Despite this financial tragedy, Chao’s parents did their best to maintain a normal family life. In fact, Chao explains that this difficult time only made his family stronger. He recalls an incident where his brother accidentally stepped on a rat during breakfast and how they laughed at this frightening but funny moment. 

Chao explains how before the recession, he would never see his father. However, after the financial downturn, he would always see him. He remembers how he would watch his father run his business and design furniture at the same time. He would often sit down and draw with him.

Chao always thought his love of creating miniature sculptures was inspired by his father, who was not only a furniture designer but also an architect and artist. However, he reveals that his passion may have actually come from his mother, who used to grow tiny plants in little bottles.

Chao’s parents recognized his talent and supported his art studies. Luckily, his high school had an art program. Eventually, he gained admission to the prestigious Art Center College of Design in Pasadena, California and studied illustration. He learned how to create in every medium, from drawing to painting to sculpture. He found that he liked making art with his hands. While he loved art, he didn’t know that he would eventually become an artist.  

Nature is a recurring theme in Chao’s work. He often depicts dense forests filled with plants, animals, and insects. He’s also portrayed ocean scenes and even space scenes. He creates a lot of movement in every scene so that each one feels like a moment frozen in time.

Chao creates his miniature sculptures in a small studio with Sculpey (a type of polymer clay), bass wood, balsa wood, paper, wire, and painstaking precision. He creates a delicate balance in his sculptures by showing enough detail to illicit amazement and yet enough imperfection to reveal that they’re lovingly handmade.

Watching people view Chao’s artwork, you can’t help but notice their looks of awe as they pore over all the minute details and then their smiles as they walk away. So his intention with his artwork to offer a bit of joy to people seems to be working. Art that tries to change the world—even in a small way—may not be so simplistic after all.

 

Sean Chao's latest work, "Camouflage," will be on display at "Wild at Heart: Keep Wildlife in the Wild," a new group art exhibition at Thinkspace Gallery from May 26, 2012 to June 9, 2012. 

Opening Reception with the artists: Saturday, May 26, 2012, 5:00-8:00 p.m.

http://thinkspacegallery.com/shows/2012-05/#peek

 

To learn more about Sean Chao’s artwork, visit:

http://ilikesoju.blogspot.com/

http://www.facebook.com/seanchao

 

[Editor's Note: We're excited to expand our blog by including interviews, beginning with our good friend and extremely talented artist, Sean Chao. Sean created the beautiful key art for our "Art Recession" movie poster: artrecession.com.]

 

]]>DEPENDENT FILMMAKINGhttp://hfblog.humanistfilms.com/the-latest/2012/5/8/dependent-filmmaking.htmlMING LAI2012-05-09T02:22:22Z2012-05-09T02:22:22Z

Edwin Ushiro, Artist, being interviewed for "Art Recession" at the Gary Baseman Studio

 

As much as I like to call myself an “independent filmmaker,” I think that I’m more of a “dependent filmmaker.” I rely on an entire team of people to help me make a film. Without them, my films simply wouldn’t be possible. 

Our latest film is “Art Recession,” a documentary about the importance of art education, which celebrated its world premiere at the prestigious Newport Beach Film Festival. It started as a very small project with a tiny crew, doing interviews of artists at The Mini Show, an art exhibition fundraiser.

However, this humble project grew into a big one. Through the referrals of our interviewees, we enlisted the help of more and more of them. During post-production, we worked with many highly-skilled professionals and their colleagues.

The toughest part of filmmaking may be getting your film out to the public. So we rely on the support of film festivals, festival attendees, the media, and countless supporters. 

I’m deeply honored to have worked with so many respected artists and talented filmmakers on “Art Recession.” Likewise, I’m touched by the support of so many people for the film. In many ways, my films are all about the same thing—gratitude. 

]]>BLIND PHOTOGRAPHERhttp://hfblog.humanistfilms.com/the-latest/2012/3/26/blind-photographer.htmlMING LAI2012-03-26T18:22:55Z2012-03-26T18:22:55Z

Many years ago, I took a black-and-white darkroom class and met an extraordinary individual—an extremely talented photographer named Michael Richard. On the first day, he walked into class, using a white cane with a red tip to guide himself. To my amazement, he was legally blind.

In addition to dark sunglasses, Michael wore black clothes and sported a short mullet, like an older rock star. I later learned that he was also an accomplished musician and played in a rock band. He was humble and soft-spoken, and I couldn't help but like him. 

Michael generously shared his medical condition and photographic process with me. Because he wasn't completely blind, he was still able to see a little, abstracting scenes to graphic forms and negative space. He used a basic SLR, attached it to a tripod, set it to a high aperture, and focused it by measuring the distance with his footsteps.

In the darkroom, Michael judged the tiny details of his negatives and prints, using a large magnifying glass. The results were astounding—bold graphic images, thoughtful studies of textures, and complex subjects that would challenge even photographers with perfect vision. However, he revealed that on many days of shooting, he didn't create any good photographs—the mark of a perfectionist.

I attended one of Michael's gallery shows and was deeply impressed by his work. One of my favorite photographs was an amazing black-and-white image of a stairwell leading from a dark underground level to a bright ground level. The stairwell, illuminated by rays of sunlight, seemed to suggest hope and even carry religious overtones.

Michael's work is beautiful and profound; however, what impresses me the most is his strength of character. He not only survived his disability but leveraged it to create powerful works of art. He even inspired others, teaching photography to other blind people at the Braille Institute.

Much later, I was shocked to learn that Michael had passed away from cancer. His legacy is his enduring work as well as the many people whom he inspired, including myself. His passing gave even more meaning to my favorite photograph of his—he helped lead others from darkness to light.

To learn more about Michael’s work, visit:

http://www2.rangefindermag.com/magazine/Jan07/showpage.taf?page=70 

http://articles.latimes.com/2006/sep/17/local/me-richard17

]]>THE LAST CAMERA SHOPhttp://hfblog.humanistfilms.com/the-latest/2012/1/31/the-last-camera-shop.htmlMING LAI2012-01-31T06:29:57Z2012-01-31T06:29:57Z

Recently, on a trip to Chicago, I came across this extraordinary camera shop—Central Camera. Founded in 1899, it’s Chicago’s oldest camera store. It was a Sunday so the store wasn’t open, but I desperately wanted to go in and check it out. There’s something special about a camera store that has such a long history.

One by one, independent camera stores have been closing either because of the economy or, worse, obsolescence. People would rather shop at a big camera store chain, a warehouse store, or an online retailer, doing their own research, forgoing customer service, and saving money.  

I can’t help but think of the photography industry, which is rapidly changing. Recently, venerable Kodak filed for bankruptcy. The related motion picture industry is quickly evolving too. In Creative Cow, Debra Kaufmann reported, “ARRI, Panavision and Aaton have quietly ceased production of film cameras within the last year to focus exclusively on design and manufacture of digital cameras.”

While I love using the latest technology, I have a fondness for traditional film cameras. In fact, one of my favorite cameras is a tiny Rollei 35 that I inherited from my father, who was a photographer. He also owned an even smaller Minox 35, which was stolen.

Maybe one day, I’ll travel to Chicago again and finally visit this historic camera shop. Hopefully, it will still exist, and I’ll find a vintage Minox 35 or the latest digital camera. Without specialty stores like this one and their knowlegeable salespeople and innovative products, we never would've arrived here. 

]]>"JOURNEY OF A PAPER SON" STUDY GUIDEhttp://hfblog.humanistfilms.com/the-latest/2011/11/16/journey-of-a-paper-son-study-guide.htmlMING LAI2011-11-16T23:41:20Z2011-11-16T23:41:20ZAs a companion to the award-winning short film, “Journey of a Paper Son,” we’ve created this helpful Study Guide: 

 

What is a “paper son”?

What is the Chinese Exclusion Act of 1882? 

How long did the Chinese Exclusion Act of 1882 last?

Why was the Chinese Exclusion Act of 1882 repealed?

What is Angel Island or the U.S. Immigration Station at Angel Island?

How was Angel Island different from Ellis Island?

How were Chinese immigrants interrogated at Angel Island? 

How did Chinese immigrants use “coaching books” to prepare for the interrogations at Angel Island?

Why did Chinese immigrants carve poems on the walls of their barracks at Angel Island?

How did the San Francisco earthquake of 1906 assist in illegal immigration?

What is the Confession Program?

What is the significance of the bill, ACR 42?

What is the Chinese Exclusion Resolution—S. Res. 201?

 

We’ve also created a Suggested Reading List:

http://astore.amazon.com/httpwwwhuma09-20

 

In “Journey of a Paper Son,” an elderly Chinese man (Jack Ong), who’s dying from cancer, shocks his family when he reveals that he’s a “paper son” (one who illegally immigrated to the U.S., using fake documents and claiming he’s the son of an American citizen) and asks them for a final wish to change back his name.

His request threatens to tear apart his family (Patty Toy Chung, Angelina Cheng, Teddy Chen Culver), testing the limits of their love. He forces them to question who he really is and even their own identities. Meanwhile, his doctor (Mario Cortez) desperately tries to save him.

We discover that the dying man is just one of countless “paper sons” who were born from the Chinese Exclusion Act of 1882, the first federal law to restrict immigration to the U.S. based on race or nationality.

On July 17, 2009, the California legislature approved ACR 42, a landmark bill to apologize to the state’s Chinese American community for racist laws, including the Chinese Exclusion Act.

Recently, the Senate unanimously passed S. Res. 201, the Chinese Exclusion Resolution that acknowledges and expresses deep regret for the Chinese Exclusion Laws. Most importantly, it “reaffirms its commitment to preserving the same civil rights and constitutional protections for people of Chinese or other Asian descent in the United States accorded to all others, regardless of their race or ethnicity” (“Congressional Record—Senate” October 6, 2011).

Hopefully, this Study Guide and Suggested Reading List can help provoke thought, spark discussion, and create change.

To learn more about the Chinese Exclusion Resolution, visit:

http://www.1882project.org/newspress/senate-passes-chinese-exclusion-resolution/

http://www.gpo.gov/fdsys/pkg/CREC-2011-10-06/pdf/CREC-2011-10-06-pt1-PgS6352-2.pdf

]]>PORTRAITS OF JAPANESE AMERICAN ACTIVISMhttp://hfblog.humanistfilms.com/the-latest/2011/11/8/portraits-of-japanese-american-activism.htmlMING LAI2011-11-09T00:18:27Z2011-11-09T00:18:27Z

Lloyd Inui, founding member and former Director of the Asian American Studies Program at California State University—Long Beach

Karen Ishizuka, award-winning producer and writer

Jim Matsuoka, founding member of Nikkei for Civil Rights and Redress

 

What’s the face of Japanese American activism today? Male or female? Young or old? Gay or straight? It’s all of these things, as I’ve come to learn.

Recently, I had the honor of being invited to photograph the Legacy of Japanese American Activism Conference—an intergenerational conference of Nikkei activists to discuss critical community issues and to take action around these issues.

Held on November 5, 2011 at the Japanese American National Museum in Los Angeles, the conference provided an opportunity for different generations of Nikkei activists to come together and develop a broader perspective on the issues that they’re working on. 

The conference was dynamic in that it used a workshop format. So instead of there being typical speakers and attendees, everyone was an active participant. The topics of the workshops included: Activism in the Great Recession, Civil Rights and Civil Liberties, Educate to Transform!, LGBT[JA]Q?, and The Role of Community Activism in Little Tokyo.

There were many respected activists on the workshop panels. However, there may have been more in attendance. One younger participant explained it the best. She revealed that she was intimidated by all the noted activists at the conference. But in the end, it didn’t matter because everyone showed mutual respect for one another and valued each other’s ideas.

Humility seemed to be a common characteristic of all these activists. When we asked some of them if we could take their portrait, they often replied, “Why? What did I do?”

At the same time, I couldn’t help but be humbled by the many achievements of all these activists, from fighting racism to surviving internment to protesting against war. In many ways, we wouldn’t be here without their sacrifice and hard work.

Even though the conference was about Japanese American activism, it seemed to also apply to activism in general. So in looking at and photographing the different faces throughout the conference, I saw less Japanese American or Asian American activists and more concerned human beings who want to make a difference.

I was deeply honored to be a part of this historic event. Hopefully, the next generation of activists will be born from and nurtured by inspiring events like this one. Naturally, their faces will continue to change.

To learn more about the Japanese American Activism Conference, visit:

http://jalegacy2011.wordpress.com/

http://www.facebook.com/jalegacy2011

 

To learn more about our portraits, visit:

Lloyd Inui: http://www.janm.org/projects/inrp/english/staff.htm

Karen Ishizuka: http://janmstore.com/karenishizuka.html

Jim Matsuoka: http://jalegacy2011.wordpress.com/narrative-interview-essays/jim-matsuoka/

]]>THE COMING "ART RECESSION"http://hfblog.humanistfilms.com/the-latest/2011/9/28/the-coming-art-recession.htmlMING LAI2011-09-28T15:28:16Z2011-09-28T15:28:16Z

Cut art education, and the consequences are grave. As generations of students are denied art education, there will be a recession in art and all its benefits. At worst, society gets robbed, and humanity dies. 

Despite its huge impact, art education is often one of the first programs to be cut, especially when the economy is hard hit. “Art Recession” explores the importance of art education, showing how it teaches us to communicate, develops our critical thinking skills, helps us to learn other subjects, expresses our individualism, enriches our culture, builds our society, and ultimately conveys our humanity. This documentary then offers powerful ways to save it.

The documentary interviews the art world about this timely subject—from visionary artists and respected art curators to inspiring art teachers and knowledgable museum educators to involved parents and promising art students. These thought-provoking interviews include Gary Baseman, Gary Blackwell, Michelle Borok, Denise Gray, Jason Holley, Brooke Kent, Monica Magana, Rachel Matos, Karol Heinecken Mora, Eric Nakamura, Paige Oden, Ming Ong, Ralph Opacic, Aaron Smith, Brian Stoebe, Courtney Stoebe, Tiffany Stoebe, Edwin Ushiro, Tianyi Wang, and P. Williams.

One of the most powerful ways to save art education is through advocacy. Our documentary, “Art Recession,” is our way of contributing to this worthy cause. If enough people understand the importance of art education, then they won’t allow it to be cut and they’ll let it flourish. One day, there might even be a boom in art. 

For more information about “Art Recession,” please visit:

artrecession.com

facebook.com/artrecessiondocumentary

twitter.com/humanistfilms

]]>"JOURNEY OF A PAPER SON" IS NOW AVAILABLE ON DVDhttp://hfblog.humanistfilms.com/the-latest/2011/4/30/journey-of-a-paper-son-is-now-available-on-dvd.htmlMING LAI2011-04-30T06:26:55Z2011-04-30T06:26:55Z

 "JOURNEY OF A PAPER SON" IS NOW AVAILABLE ON DVD. 

Buy online at CreateSpace and Amazon.  

In the award-winning short film, “Journey of a Paper Son,” an elderly Chinese man (Jack Ong), who's dying from cancer, shocks his family when he reveals that he’s a “paper son” (one who illegally immigrated to the U.S., using fake documents and claiming he’s the son of an American citizen) and asks them for a final wish to change back his name. His request threatens to tear apart his family (Patty Toy Chung, Angelina Cheng, Teddy Chen Culver), testing the limits of their love. Meanwhile, his doctor (Mario Cortez) desperately tries to save him. To learn more, visit: journeyofapaperson.com

Get a free Study Guide and check out a Suggested Reading List.

]]>THE DISAPPEARING ISLANDhttp://hfblog.humanistfilms.com/the-latest/2010/10/12/the-disappearing-island.htmlMING LAI2010-10-12T18:11:09Z2010-10-12T18:11:09Z

U.S. Immigration Station at Angel Island / Barracks

Cots in Barracks

Chinese Poetry on Barrack Walls

 

Can an entire island vanish before our very eyes? Can its rich history be erased from memory? It’s possible if not for the hard work of many individuals and organizations. The legacy of Angel Island would be forgotten without them.

This year marks the 100th anniversary of the U.S. Immigration Station at Angel Island. For this special occasion, I traveled to San Francisco and visited it for the first time. Before this trip, I had only read about this storied place and imagined the journey of so many immigrants to there.

It was a profound experience, seeing firsthand the immigration station located on a remote island, the wooden barracks that housed thousands of immigrants, and the countless Chinese poems that were carved into the wooden walls of the barracks. These poems seemed to whisper like ghosts from the past, conveying the pain and suffering of the Chinese immigrants who wrote them.

Also known as the “Guardian of the Western Gate,” the immigration station was built to carry out the Chinese Exclusion Act of 1882, the first federal law to restrict immigration to the U.S. based on race or nationality. This law lasted for 61 years and was finally repealed in 1943, when the U.S. needed to foster relations with China, who became an ally during WWII.

To bypass the discriminatory Chinese Exclusion Act, many Chinese people illegally immigrated to the U.S. as “paper sons” or “paper daughters,” using fake documents and claiming that they’re the children of American citizens. According to a CNN report, “one scholar estimates that 150,000 paper sons and paper daughters committed this crime.” Furthermore, “researchers suggest that one in three Chinese Americans are survivors or descendents of the paper son system.”

At first, it seems odd to celebrate a painful past. However, by remembering the past, we can help prevent it from happening again. That’s the premise of our short film, “Journey of a Paper Son,” which is about a Chinese paper son who asks his family for a dying wish to change back his name.

If more people learn about the Chinese Exclusion Act, Angel Island, and paper sons and daughters, then this important history won’t disappear. History doesn’t have to repeat itself. In fact, this vicious cycle can be broken.

On July 17, 2009, the California legislature passed a landmark bill that apologizes to the state’s Chinese American community for racist laws, including the Chinese Exclusion Act. President Barack Obama proclaimed January 21, 2010 as National Angel Island Day.

To honor the day in 1943 when the Chinese Exclusion Act was repealed, December 17th has been designated as the “Day of Inclusion,” a day to “remember and learn about the sacrifices and contributions of those in our immigrant heritage.”

To learn more about the U.S. Immigration Station at Angel Island and donate to its preservation, visit the Angel Island Immigration Station Foundation site: http://www.aiisf.org/

]]>AKIRA KUROSAWA TURNS 100http://hfblog.humanistfilms.com/the-latest/2010/4/13/akira-kurosawa-turns-100.htmlMING LAI2010-04-13T21:41:01Z2010-04-13T21:41:01ZLegendary director, Akira Kurosawa, was born on March 23, 1910 and passed away on September 6, 1998. During his prolific career, he directed 30 films, many of which have become classics. He’s generally regarded as one of the world’s greatest directors. If he was still living, he would’ve been 100 this year.

Kurosawa’s legacy still lives on. His powerful films have moved countless viewers and influenced generations of filmmakers. They’ve managed to transcend time and place to become timeless and universal.

Like many others, we were inspired to become filmmakers because of Kurosawa. His films showed us how powerful this art form can be. They attempt to change the world, constantly addressing why human beings can’t get along and conveying messages of peace and nonviolence.

Kurosawa’s films have often been described as “humanist.” Indeed, the lens through which he viewed the world was one of compassion. In honor of this master director, we named our production company, “Humanist Films.” While no one can replace him, we strive for the same ideals in our films.

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