Asian American Art A History, 1850-1970 Gordon H. Chang ‘Mark Dean Johneon Principal Editor Paul J, Karlstrom ‘Consulting Editor Sharon Spain Managing Eitor Stanford University Press Stantord, CaliforniaThe Wind Came from the East Asian American Photography, 1850-1965 Dennis Reed Photography has been apart ofthe Asian American experience from the beginning the beginning of Asian immigration to the United States, and nearly ‘he beginning of photography sell! ‘When Chinese immigrantsbegensttlingin San, Francisco during the 18505, many had their portraits taken at studios run by Caucasians, Within a su prsingly short ime, however, Chinese proprietors ‘opened ther own studios in Chinatown t serve the ‘growing Chinese population.” One such photogra ‘her, Ka Chas, opened a portrait studio in San Fran ciscoin 1854, amere fifteen years after the invention of photography? “Amateue photographers were aio active before 1890, which seven more surprising, given the con siderable expense and leisure time required. Mary ‘Tape and Wong Hong Tai each photographed street scenes and took portalts during the 18808. She ‘worked with dy later of her own making and ured camera lens made by Wong, who wasn avid inven- toraswellat a photogrpher® Mays Photo Sto, Ul (Sned rece ‘ith an), 92), Hand-oored photograph with apple gles, 30% » 204i ver the ensuing years, numerous Asian-owned studios—amateurand commercal—were established fm Chinatown and other Asian American cori ties One ofthe most prominent enterprises was San Tranciseo} May's Photo Studio, which opesed ia 1923. Among the tuo’ specialties were large pho- tographs of Chinese opera stars, These photographs ‘were used for handbils or marquees. Many are strike Ing works, often hand-painted, with giter applied to simulate sequins on the opera singer’ gown (fg. 113) While these were commercial works, te ar. Istryisundeniable ‘Among the most interesting photographs made byMay’sPhotoStudioare “composite” portraits, such asthe one ofa Chinese man shown seated in Font of ‘an painted Chinese backécop (Bg 34). Toad Aiional portraits, one of a Chinese woman ad the otheraChinese boy, havebeen glued nto the sene 0 the right ofthe original siter, The inital portat wae composed insuch away that thesiter (orth photog rapher) was able to paste in photographs sere from China ofthe sitters wife and son, al ofthe digues appear before a backsrop painted in Eastern themes, ‘The immigrant man wears a Wester sit an tie a sweater vest, and wingtip shoes, while his patedin uiwifes lothed in traditional Chinese attic, The boy ‘who ie standing, ie dressed n'a Western cos and tie, ‘ut his footwear is Chinese. The boy dutifully holds «book, The resulting photographic montage spo gant, intriguing, and complex. ‘This photograph serves as an introduction to the minture of cultura traditions, scial practices, and visual conventions that inform many of the ‘photographs made by Aslan Americans It suggests Targer issues, often conflicting, that affect all new im migrants, Aslan or non-Aslan, How does one assim late into a new culture? Does one retain and honor ‘one's heritage? How doce one do s0? Subsequent generations, born in the United Stats, confronted ic. 4 Mays Photo Sud Untied (amily oat). 930. Montage of 0 plat ive pins, 8 =, their own challenges of navigating the often unfs: iliac world of their immigrant parents or grand patents while dealing with a larger society that too Frequently assumed them to be immigrants als. To varying degres, evidence ofthese complex issues, faced by Asian immigrants and their offspring. is present in all types of photographs, including com: ‘munity pictures, commercial portraits, and those made ar. ‘Whether we were bom in America oF not, wewereallimmigrnts, —vicroR woe? Benjamen Chinn and Charles Wong enrolled in 2 ‘new photography program started by Ansel Adamsin 1946, the California School of Fine Arts. Chinn was sees of Ue Bitlet ad Wong joie i199 The thre year program was one ofthe frst to teach