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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.

Profile
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 (updated: August 17th)
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

 

Nike Zoom Vomero 11

"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
volunteers.

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

 

Gifts for Runners

"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.

Biography
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.

www.RobertGerhardt.com

Robert Gerhardt 340p

Bruce Osborn / FCCJ Exhibition Chair

 

Ni?o/a

"Mount Fuji Through the Seasons"
Exhibition: Katsura Endō
(JP/ ENG event poster link)
January 11- February 7, 2020

I first remember becoming aware of Mt. Fuji during the summer festival when I was three years old and my family had gone out in a pleasure boat. I still have a vague memory of a firework display and a spectacular Mt. Fuji floating in the night sky. Every morning Mt. Fuji calls out to me, I awake, then go to see it.
I hope you will enjoy these images of a 'tranquil Fuji' under the sun of first year of Reiwa.

Katsura Endō
Born in Hakone, 1958. His grandfather, Yamada Ōsui was a landscape photographer and his father a commercial photographer. Having a natural love of mountains he took part in an expedition to climb Mt. Imja Tse (Island Peak) in the Himalayas during the winter of 1979-80, at the age of 21, holding a solo exhibition upon his return. He has been involved in countless projects as a photographer, but he considers photographing Mt. Fuji to be his life work. He has held numerous solo exhibitions both in Japan and abroad, including: Paris (2003, 2005, 2008, 2010 and 2013), Nichinancho Museum, Ikeda Memorial Museum, Azumino Higashiyamatsutsu Museum, Gallery Seizan, Mitsukoshi, Seibu, Daimaru, Takashimaya, FCCJ, etc. He has also produced series of landscape photographs of Europe, Hakone, etc.

EK340p

 

 

 

 

 

 

Bruce Osborn / FCCJ Exhibition Chair

 

Ni?os

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