2022/2023 Fine Arts Speaker Series

A ground-breaking study of the cinematic representation of Paris in the films of emigre filmmakers who made it their first refuge from Hitler's Germany.

Written by Paul Yee, a third-generation Chinese-Canadian in search of his own roots as well as those of the community, Saltwater City brings the perceptions of a previously diffident community to its own history. A text resonant with often painful first-person recollections combines with 200 photographs, most reproduced for the first time, to form a chronological portrait of the community from its earliest beginnings to the present. With the assimilation of its people into the mainstream of Canadian life following World War II, Saltwater City, as early Chinese immigrants called the community, was threatened, but changes in attitude, government policy, and the opening of diplomatic relations with China instead caused a renaissance. Now, Vancouver's Chinese community totals over 150,000 people, enjoys considerable political and financial influence and has matured beyond recognition into one of Canada's most successful ethnic enclaves.

Little Boy examines the culture of postwar Japan through its arts and popular visual media. Focusing on the youth-driven phenomenon of otaku (roughly translated as "geek culture or "pop cult fanaticism"), Takashi Murakami and a notable group of contributors explore the complex historical influences that shape Japanese contemporary art and its distinct graphic languages.

In the 1980s a group of entrepreneurs in Ghana created small-scale, mobile film-distribution empires, hitting the road with videocassettes, television monitors, portable gas-powered generators and rolled-up, hand-painted, artist-signed canvas posters. This new medium created the first opportunity for some of the best young painters in Ghana to express themselves on a public scale. In the frequent absence of an original image upon which to base the work they had been commissioned to produce, the artists inevitably created cinematic paintings that were largely interpretive and imagination-driven. In the book's four major essays, author Ernie Wolfe III recounts the rise and fall of the mobile cinema tradition, while noted African art scholar Roy Sieber follows two-dimensional art in Africa from rock paintings in the Sahara to contemporary manuals, wall paintings, and barber board paintings as well as the canvas movie posters themselves; Paul Hayes Tucker compares the phenomenon to 19th century European utility-based painting; and poet and art critic John Yau contributes the perspective of an American art historian. In addition, Hollywood film notables such as horror auteur Clive Barker, actor LeVar Burton, actress Anjelica Huston, and director Gus Van Sant contribute chapter introductions.