In the past 15 years Giant Robot has turned into its own name, or at least what it stands for: a big and heroic Asian icon. It started back in 1994 as a small photocopied zine, folded and stapled by hand by its two founders, Eric Nakamura and Martin Wong. Today, Giant Robot has expanded from a full-color magazine to a diverse range of businesses under one creative umbrella, including five stores, three art galleries (Los Angeles, San Francisco and New York), and a restaurant in LA.

To celebrate its ever-growing success GR is throwing a big art party, its second biennale, hosted by the Japanese American National Museum in downtown LA. From this Saturday through January 24th, 2010 there will be a wide spectrum of exhibitions featuring art by Giant Robot's past contributors and interviewees.

Left: Videogame by artist J. Otto Seibold (in gray shirt) and programmer game maker Kyle Pulver (to his right). Right: cover art by Rob Sato for special GR Biennial issue. From the Giant Robot Biennale, courtesy Eric Nakamura.

Featured events include an exhibit curated by Nakamura; installations by David Choe, Souther Salazar, Rob Sato, Jeff Soto and Deth P. Sun, among others; a group show featuring over 50 artists; a photo exhibit by Ben Clark; a tribute to the Kaiju scene with toy collaborations by Yukinori Dehara, Uglydolls' David Horvath and the legendary Le Merde; and the second release of five custom videogames developed by the Attract Mode Collective and friends.

When I asked Nakamura what his perception of GR's expansion and success was, he replied in an email interview, "GR is a place to spout off and document Asian popular culture, which was largely ignored when we first started. As we grew, so did the culture around us, from Hong Kong cinema to the rise of Asian designer toys and Asian art and street wear. We've been there for each wave of new and exciting elements of culture, adding to it along the way through our editorial choices, retail stores and art exhibitions."

This led to my next question: How did GR succeed in a cluttered modern market where thousands of people have exactly the same idea at the same time, to which Nakamura said, "Perhaps it's perseverance - and a strong vision of our goals and interests. We're not only documenting, but we're living the culture we present in our publication and stores. A lot of people have had the same idea, but they only see the opportunity. Once they start making a magazine, many realize that it's too difficult for them to continue. For us it's our long-term lifestyle."

Giant Robot has a very specific aesthetic, what the owners describe as "new, up-and-coming, underdog, overlooked, and hybrid Asian and Asian-American pop culture." For the sake of hearing both sides of the story, from GR's founders and from its artists, I also asked Uglydoll's co-founder David Horvath about his experience as a GR contributor. Horvath  began by saying, "GR was Uglydoll's birth place! I like Giant Robot. I go to the store to give my soul a suntan."

Horvath's perception of the brand is in synch with that of the founders when he explains that "Nakamura and his crew are all about hard work and saying no to the big cheese-y corporate way, always in favor of doing what they love and what they believe in. It was the perfect first home for Uglydoll, and we are so happy to be doing more and more with GR each year."

Needless to say, the GR Bienniale is a must-see celebration of the modern globalization of pop culture, which is leaving a big, glossy mark in the history of Asian-American influence on both art and consumerism in the United States. As Horvath himself put it: "GR is setting a good example for my kids! Do what you love, work hard at it, never whine or complain, show us, don't tell us, bring value to the world and laugh when the big money corporations come by offering to turn your dream into the next cheesey-poo brand for a few bucks. I would say their tombstone should readf 'kick ass' but I don't think they'll ever have one." Well said!

The opening reception for Giant Robot Biennale 2: 15 Years takes place this Saturday, October 24^th, from 6:00 - 10:00 pm, featuring live music and attendance by many of the participating artists and key members of the GR family. The Japanese American National Museum, 369 East First Street, Los Angeles, CA. 213.625.0414. The show continues through January 24, 2010. For more information, please visit the Giant Robot website.

New York based artist and illustrator Fernanda Cohen is a faculty member of the School of Visual Arts, Vice President of ICON6, lecture coordinator at the Society of Illustrators of New York and adviser to 3×3 Magazine. She is currently designing T-shirts for the GAP (RED) campaign, as well as a handful of advertising and editorial illustration assignments.

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