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Roy Kiyooka: A Canadian Polymath

Exploring the multifaceted career of a pivotal figure in Canadian modernism, from abstract painting to experimental poetry.

Biography 👇 Artistic Journey

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Biography

Early Life and Heritage

Roy Kenzie Kiyooka, born January 18, 1926, in Moose Jaw, Saskatchewan, was a second-generation Japanese Canadian (Nisei). He was raised in Calgary, Alberta. His maternal grandfather was a distinguished samurai and the 17th headmaster of the Musō Jikiden Eishin-ryū school of swordsmanship. This rich heritage perhaps subtly influenced his later artistic explorations of discipline and form. Kiyooka's family relocated to Opal, Alberta, in 1942 following the attack on Pearl Harbor, a period of significant displacement for Japanese Canadians.

Artistic Education

Kiyooka pursued formal artistic training across several institutions. From 1946 to 1949, he studied at the Provincial Institute of Technology and Art in Calgary. His education continued internationally with studies at the Instituto Allende in San Miguel de Allende, Mexico, in 1955. Crucially, from 1957 to 1959, he participated in the Emma Lake Artists' Workshops at the University of Saskatchewan. Here, he engaged with influential figures like the renowned art critic Clement Greenberg and the abstract expressionist painter Barnett Newman, experiences that profoundly shaped his artistic trajectory.

Teaching and Transition

Kiyooka embarked on a career in art education, beginning in 1956 at the Regina College of Art. In 1959, he moved to Vancouver, British Columbia, marking a significant shift in his artistic practice. While initially a painter, Kiyooka began to transition his focus towards photography and, subsequently, filmmaking. He continued his teaching career, instructing at the Nova Scotia College of Art and Design (NSCAD) in Halifax during 1971-1972, and later, from 1973 to 1991, within the Fine Arts Department at the University of British Columbia in Vancouver. His cross-country journey to Halifax was documented in his work Long Beach BC to Peggy’s Cove Nova Scotia, later incorporated into his 1975 publication Transcanada Letters.

Artistic Evolution

From Painting to Photography

Roy Kiyooka's artistic journey was marked by a dynamic evolution across different mediums. Initially recognized as a painter, he explored abstract forms, notably utilizing the ellipse in works like Barometer No. 2 (1964) for the Art Gallery of Ontario. His participation in the Emma Lake workshops exposed him to the forefront of abstract expressionism, influencing his early visual language. However, by the late 1950s and early 1960s, Kiyooka began a significant pivot, increasingly dedicating his practice to photography and filmmaking.

Photography and Conceptual Work

Kiyooka's photographic work often explored themes of place, identity, and the passage of time. His series StoneDGloves: Alms for Soft Palms, created during a visit to Japan, was exhibited at the National Gallery of Canada. This shift into photography allowed him to engage with narrative and documentation in new ways, exemplified by his seminal work Transcanada Letters (1975). This project intricately wove together photography, personal correspondence, and experimental writing to reflect on his experience as a second-generation Japanese Canadian navigating the Canadian landscape.

Multimedia and Sculpture

Beyond painting and photography, Kiyooka ventured into sculpture and filmmaking. For the Canadian pavilion at Expo '70 in Osaka, Japan, he created the sculpture Abu Ben Adam’s Vinyl Dream. His exploration of diverse media demonstrated a commitment to pushing artistic boundaries and engaging with contemporary conceptual practices. His work consistently challenged conventional categories, reflecting a holistic approach to artistic creation.

Literary Contributions

Published Works

Roy Kiyooka was also a prolific writer, publishing several collections of poetry and experimental prose. His literary output often mirrored the thematic concerns found in his visual art, exploring identity, place, and the complexities of experience.

  • Kyoto Airs (1964)
  • Nevertheless These Eyes (1967)
  • StoneDGloves (1970, repr. 1983)
  • transcanada letters (1975, repr. 2004)
  • The Fountainebleau Dream Machine: 18 Frames from A Book of Rhetorick (1977)
  • Wheels, a trip thru Honshu’s Backcountry (1981)
  • Pear Tree Pomes (1987), illustrated by David Bolduc, nominated for a Governor General's Award.

Posthumous publications include:

  • Mothertalk: Life Stories of Mary Kiyoshi Kiyooka (edited by Daphne Marlatt, 1997)
  • Pacific Windows: Collected Poems of Roy K. Kiyooka (edited by Roy Miki, 1997)
  • Pacific Rim Letters (edited by Smaro Kambourelli, 2004)
  • Roy Kiyooka: The Artist & the Moose: A Fable of Forget (edited by Roy Miki, 2009)

Notable Exhibitions

International Recognition

Kiyooka gained significant recognition both nationally and internationally. He represented Canada at the Eighth Sao Paulo Biennial in 1965, receiving a Silver Medal for his contribution. His work was also featured in the Canadian pavilion at Expo '70 in Osaka, Japan, where he contributed the sculpture Abu Ben Adam’s Vinyl Dream.

Major Retrospectives

His career was celebrated with major exhibitions, including a significant twenty-five-year retrospective organized by the Vancouver Art Gallery in 1975. More recently, exhibitions like Roy Kiyooka: Accidental Tourist at the Doris McCarthy Gallery (2005) and retrospectives focusing on specific aspects of his work, such as photography, continue to highlight his enduring legacy.

Accolades and Honors

Significant Distinctions

Roy Kiyooka received numerous honors throughout his distinguished career, reflecting his impact on Canadian arts and culture.

  • Order of Canada (CM): Appointed an Officer in 1978, recognizing his significant contributions.
  • Royal Canadian Academy of Arts (RCA): Membership signifies recognition within the Canadian art establishment.
  • Silver Medal at the Eighth Sao Paulo Biennial: A major international award acknowledging his artistic achievements.
  • Victor Martyn Lynch-Staunton Award: Received in 1973, this prestigious award recognizes outstanding mid-career artists.
  • Governor General's Literary Award Nomination: His book Pear Tree Pomes (1987) was nominated, highlighting his literary merit.

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References

References

A full list of references for this article are available at the Roy Kiyooka Wikipedia page

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Important Notice

This page was generated by an Artificial Intelligence and is intended for informational and educational purposes only. The content is based on a snapshot of publicly available data from Wikipedia and may not be entirely accurate, complete, or up-to-date.

This is not professional artistic, literary, or academic advice. The information provided on this website is not a substitute for professional consultation, critical analysis, or scholarly research. Always refer to primary sources, consult with art historians, literary critics, or academic professionals, and conduct your own thorough research for specific projects or inquiries.

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