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A non-profit dedicated to cultural diversity in photography. |
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| EN FOCO | Photographers | |
 © Kevin Miyazaki, 5054A-19617 (antlers), Camp Home series, 2008  © Kevin Miyazaki, 5076A-19617 (view), Camp Home series, 2010  © Kevin Miyazaki, 5062A-19617 (red steps), Camp Home series, 2008 |
Kevin J. Miyazaki Born: 1966, Milwaukee, WI Resides: Milwaukee, WI Heritage: Japanese-American Selected Exhibitions: Union Gallery, University of Wisconsin, Milwaukee WI 2011 Zaller Gallery, Cleveland, OH 2011 Portrait Society, Milwaukee, WI 2011 Milwaukee Art Museum, Milwaukee WI 2010, 2006 Rayko Photo Center, San Francisco, CA 2009 Photo Center Northwest, Seattle, WA 2009 Milwaukee Institute of Art & Design, Milwaukee, WI 2008 Commission House, Milwaukee, WI 2004 Gingrass Gallery, Milwaukee, WI 2003 Education: BA, 1990, Drake University, Des Moines, IA Awards: Mary L. Nohl Fellowship for Individual Artsts, 2007 Publications: Nueva Luz photographic journal, Volume 16#2 (En Foco: Bronx, 2012) Time Magazine Lightbox blog, 2011 Artist’s Statement: In Camp Home I document the reuse of buildings from the Tule Lake and Heart Mountain Japanese internment camps, where members of my father’s family were incarcerated during World War ll. “Camp” is the term used by most Nisei, or first-generation Japanese Americans, to describe both the physical place they were held, as well as the wartime incarceration experience itself. The barracks which served as homes to internees at Tule Lake in Northern California and Heart Mountain in Northwest Wyoming, were literally dispersed throughout the neighboring landscape following the war. Returning veterans, many of whom had fought in the Pacific theater, won homesteads in a Government-sponsored lottery which granted 50’ sections of the former internment camp buildings. The homesteaders paid for the transportation of the camp buildings to their new land plots, where they were adapted into homes, barns and outbuildings, all important for their new start as farmers. The image titles are a combination of two US Government issued numbers. The first is a number identifying the parcel of homestead land where the photograph was taken. The second portion is the number assigned to my family during internment. Every family and individual were issued numbers. I'm interested in examining the changing value of these institutional architectural forms. In searching for family history– both my own and that of the current building owners who I encounter– time is often spent sharing our own uniquely American stories. Family histories intersect and are connected by the history of these building, and by the lives lived within their walls. Website: |
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