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November 2020 Exhibition

November 7th - December 4th 2020

It Takes A Village: A Visual Journey Through ARK’s 30 Years In Support of Animals

When Elizabeth Oliver first opened the doors of her home to set up a refuge for abandoned and abused animals in 1990, she had already been a 10-year veteran in the Kansai area volunteering for a national welfare organization.  Long troubled by the negligible rate of adoption and alternative care options for animals against an extremely high number being routinely euthanized by the Public Health facilities and animal welfare groups, Oliver’s new organization, Animal Refuge Kansai, quickly became a leading advocate for education and change to improve the plight of pets and to tighten laws governing the unregulated state of the pet industry.

ARK’s big break into national prominence came suddenly when the Hanshin Awaji Earthquake devastated a large area of Kansai in 1995.  Overnight, 600 animals lost, homeless and with few facilities to take them in except to be euthanized, arrived at ARK. Extensive media exposure led to an army of volunteers, many celebrities amongst them, arriving from across the country. The ensuing media frenzy was not only a breakthrough for ARK, but a game changer for Japan’s public awareness towards the prevention of cruelty to animals.

Soon after, an unprecedented pet boom swept across Japan, with negligible regulatory infrastructure to protect the surging number of pets sold, supplied primarily from unlicensed and untrained ‘balcony breeders’ who followed the cues from the media to anticipate the next flavor-of-the month and send makeshift mills into overdrive.  An early wave of popular puppies were of medium to large size breeds, completely unsuited to Japanese homes.  The numbers of abandoned and euthanized early boom Huskies and Dalmatians skyrocketed. Next came the large number of store-purchased pets in need of serious medical intervention, many of them due to the exceptionally high incidence of unchecked inbreeding in Japan.  Some respite and hopes of a new awakening followed when the official national euthanasia statistics dropped dramatically, only to be revealed that the pounds, run by the Hokenjo Public Health facilities, had stopped taking in ‘dead stock’ of unsold puppies and kittens from pet shops. There are hundreds of thousands of animals born, and not accounted for in official statistics, which are now being euthanized by the mills and pet shops. During the early 2010s, Britain averaged over 1300 cases of cruelty cases being prosecuted annually, while Japan, with twice the population, averaged 13.  Prevention of cruelty and advocacy for better protection remains predominantly in the hands of private citizens and welfare groups.

ARK has been supported by a wide network of advocacy groups, volunteers, donors and collaborators throughout Japan, and the world, through its 30 years.  It does indeed take a village to rescue animals, to house and care for them, to find them forever homes.  More work and funding are needed to expand our educational and regulatory advocacy activities and to complete our Sanctuary in Sasayama. The photographs and artworks in this Exhibition have been contributed to this special FCCJ collection by supporters, many of them artists active as ambassadors for ARK.

Bear-1 270p

Bruce Osborn / FCCJ Exhibition Chair




Cotton Fields
Photography by Osamu Nagahama
Sept. 5 - Oct. 2, 2020

The exhibition of "Cotton Fields," a collection of photographs of Bluesmen, taken by photographer Osamu Nagahama in the Southern United States. Nagahama started listening to American music at FEN (Far East Network, now AFN) when he was in elementary school, especially devoted himself to the goodness of the Blues. Since then, while shooting as a commercial photographer, his longing for Bluesman has been hard to break, and for four years since he was about 50 years old, he has traveled to the Southern United States for 10 times and photographed 70 Bluesmen, whom he met in the landscape of ghetto in the deep south, where almost no foreign people can enter. His passion resonates with the souls of the tough-looking Bluesman. We may hear the sounds from the portraits.
This exhibition settled commemorate with the publication launch of "Cotton Fields" on February 2020.

Born 1941 in Nagoya Aichi Prefecture. Graduated from the Department of Sculpture, Tama Art University. Prior to turning into a freelance photographer in 1966. Nagahama worked as an assistant for the Japanese well known photographer, Yoshihiro Tatsuki. From the late 1960s onwards, his main subjects have been the scenes surrounding overseas rock festivals and countercultures, He is also renowned for works in fashion, advertising, and portraits. Major publications: Hell's Angels, Mosa no gankubi, The Tokyo Hundreds

cotton fields 340p

Bruce Osborn / FCCJ Exhibition Chair


Photo Correspondent Stanley Troutman; From Hollywood to the Pacific War
Postponed to October Year 2020 (originally planned For April)
COVID 19: No opening reception

Los Angeles native Stanley Troutman entered his profession when a neighborhood friend, Coy Watson Jr., a former childhood movie star helped him secure a job at the LA bureau of Acme Newspictures in 1937. Starting out as a "hypo bender" or darkroom assistant, the 20 year old Troutman worked his way up to a staff photographer position and within a year was covering the golden era of Hollywood. When Pearl Harbor was attacked on December 7, 1941, Troutman was 24 years old. While most men his age were entering into the military, Troutman was exempt from service due to being a journalist, something the Department of War deemed vital to the Homefront. Even so, he believed in joining the war effort and in 1944 volunteered to be a war correspondent.

In the spring of 1944, Acme dispatched Troutman to the Pacific Theater where he was embedded with the Wartime Still Picture Pool. Entering the war armed only with a camera, his first assignment was the Battle of Saipan in June 1944 where he worked alongside LIFE Magazine photographer W. Eugene Smith who mentored him in combat photography. After Saipan, Troutman covered the Pacific islands of Tinian, Peleliu, Guam, Borneo and the Philippines battles of Leyte, Luzon, Manila, and Corregidor. It was at Corregidor when going ashore, Troutman's landing craft took heavy machine fire followed by a landmine explosion when hitting the beach. One US Marine was killed, two others were wounded, but Troutman miraculously survived unscathed.

After a year covering the war, Troutman returned home for a badly needed respite. But after a week, Acme assigned him to the Army Air Force (AAF) for a worldwide press tour on General Jimmy Doolittle's B-17 bomber. Called the Headliner, this press plane left Washington DC in July 1945, stopping off in Europe, Northern Africa and mainland Asia. By mid August, the tour had him back in Guam just after the atomic bombs were dropped on Japan. Laid over and awaiting passage to Japan, in late August he covered the liberation of the Chapei internment camp in Shanghai, China.

When he arrived Japan on August 30, 1945, he covered the arrival of General Douglas MacArthur at Atsugi Airfield. He then toured the devastated landscapes of Yokohama and Tokyo. His next two assignments were his most important of the war, Hiroshima and Nagasaki. In visiting Hiroshima, Troutman became one of the first
journalists allowed into the city. Next was Nagasaki when he was given access to it's apocalyptic landscape. Troutman also covered the bombed out Mitsubishi aircraft factories in Nagoya .

By the end of September 1945, Troutman was back home settling into postwar life. The following year, he left Acme to work for the University of California Los Angeles (UCLA) where he headed up school’s photo publicity department as both a still photographer and filmmaker until retiring in 1980.

Troutman passed away on January 2, 2020 at age 102 in Orange County, California.
Stanley WW II - camera 340p
Bruce Osborn / FCCJ Exhibition Chair



"A bond with Tomodachi"
Exhibition by Japan Disaster Recovery Support (JDRS)

March 7 - April 17, 2020 (Update as of April 3, 2020: extended period)
March 9 (Mon.) opening reception
19:00 - 21:00

To commemorate 9th anniversary of the Great East Japan Earthquake of 2011, we are exhibiting photographs selected from over 2,000 images taken in the devastated areas. These pictures are from the relief activities records of Japan Self-Defense Forces and U.S. Forces in Japan.

Through this exhibition, we would like to express our gratitude to those who joined the relief efforts and also as a reminder of the importance of disaster preparation in hopes of saving future lives.

We like to thank the US Embassy Tokyo, Reconstruction Agency, Cabinet Office, Ministry of Foreign Affairs, and Ministry of Defense for supporting this exhibition.

About JDRS:
The Japan Disaster Recovery Support (JDRS) was setup in prefectures of Shimane, Osaka and Hiroshima 8 yr. ago for the purpose of holding photo exhibitions showcasing the relief activities and volunteer support for people living in disaster-stricken areas following the Great East Japan Earthquake. The JDRS has held 42 exhibitions at various venues, including prefectural and municipal government buildings, department stores and cultural facilities mainly in Osaka, Fukuoka, Hiroshima, and Ehime prefectures, along other cities in Western Japan.

At each venue, volunteer groups and local fire departments, which joined the relief efforts, provided photos of their activities so people in the community could learn about their support.

Contributions for the disaster-stricken areas recovery left in the donation boxes at the exhibitions were given to Japanese Red Cross.

In March 2019, we were authorized as a non-profit organization and opened our headquarters in Osaka. We currently have 25 members, ranging in age from 22 to 84, living in areas between Tokyo and Kyushu planning the exhibitions. In addition, we have the support of over 500

This exhibition at the Foreign Correspondence Club of Japan is our first show in Eastern Japan. Members of the Tokyo Junior Chamber and university students helped to prepare this exhibition.

JDRS 340p








Bruce Osborn / FCCJ Exhibition Chair



"Mic Check"
Exhibition: Robert Gerhardt

February 8- March 6, 2020
Feb. 10 (Mon.) opening reception
19:00 - 21:00 VIP Room

I began making the photographs in this series in November of 2014 when a Grand Jury absolved a white police officer in the killing of Michael Brown in Ferguson, Missouri. Two weeks later, a second Grand Jury on Staten Island cleared white police officers in the killing of Eric Garner. The local protests that erupted in response to these decisions in Ferguson and on Staten Island spread to cities and towns across the country. People took to the streets to protest against both Grand Jury decisions, along with overreach, brutality and racism among police forces in general. And as more incidents occurred throughout the country, more protests happened, and people over and over again took to the streets.

In New York City, the mass protests ranged from long marches through the city, to candlelight vigils, to protesters occupying stores in Times Square, and everything in between to get their voices heard. The events would involve hundreds, and in some cases thousands, of people. And they happened so frequently that it was all I could do to stay on top of what was going on in the city. While I had always carried a camera with me, I began packing my camera bag every morning with more and more gear and film so that no matter what happened, and where it happened, I would be ready.

But things have changed since the height of the movement. The national Black Lives Matter Movement has disbanded in many areas, like New York City, where there is no longer a national chapter. This leaves smaller grass roots groups picking up the cause. The number of people who show up to the fewer protests that do happen has dwindled. But the movement marches on non-the-less. But where it will go next, and in what form it will take, has yet to be seen. And what the lasting impact will be on the United States is still up for interpretation.

Rob's work has been in numerous solo and group exhibitions in North America, Europe and Asia, and is in a number of public and private collections including The Museum of the City of New York, The New York Historical Society, and the Arab American National Museum. His work has also been published both nationally and internationally, including in The Guardian, The Diplomat, The New York Times, The Huffington Post, Newsweek, The Hong Kong Free Press, Haaretz, and Suddeutsche Zeitung.

Robert Gerhardt 340p

Bruce Osborn / FCCJ Exhibition Chair



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