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Redraws the contours of Asian American art, attempting to free it from a categorization that stifles more than it reveals. Charting its historical conditions and the expansive contexts of its emergence, Susette Min challenges the notion of Asian American art as a site of reconciliation or as a way for marginalized artists to enter into the canon or mainstream art scene. Pressing critically on the politics of visibility and how this categorization reduces artworks by Asian American artists within narrow parameters of interpretation, Unnamable reconceives Asian American art not as a subset of objects, but as a medium that disrupts representations and embedded knowledge. By approaching Asian American art in this way, Min refigures the way we see Asian American art as an oppositional practice, less in terms of its aspirations to be seen—its greater visibility—and more in terms of how it models a different way of seeing and encountering the world. Uniquely presented, the chapters are organized thematically as mini-exhibitions, and offer readings of select works by contemporary artists including Tehching Hsieh, Byron Kim, Simon Leung, Mary Lum, and Nikki S. Lee. Min displays a curatorial practice and reading method that conceives of these works not as “exemplary” instances of Asian American art, but as engaged in an aesthetic practice that is open-ended. Ultimately, Unnamable insists that in order to reassess Asian American art and its place in art history, we need to let go not only of established viewing practices, but potentially even the category of Asian American art itself.Redraws the contours of Asian American art, attempting to free it from a categorization that stifles more than it reveals. Charting its historical conditions and the expansive contexts of its emergence, Susette Min challenges the notion of Asian American art as a site of reconciliation or as a way for marginalized artists to enter into the canon or mainstream art scene. Pressing critically on the politics of visibility and how this categorization reduces artworks by Asian American artists within narrow parameters of interpretation, Unnamable reconceives Asian American art not as a subset of objects, but as a medium that disrupts representations and embedded knowledge. By approaching Asian American art in this way, Min refigures the way we see Asian American art as an oppositional practice, less in terms of its aspirations to be seen—its greater visibility—and more in terms of how it models a different way of seeing and encountering the world. Uniquely presented, the chapters are organized thematically as mini-exhibitions, and offer readings of select works by contemporary artists including Tehching Hsieh, Byron Kim, Simon Leung, Mary Lum, and Nikki S. Lee. Min displays a curatorial practice and reading method that conceives of these works not as “exemplary” instances of Asian American art, but as engaged in an aesthetic practice that is open-ended. Ultimately, Unnamable insists that in order to reassess Asian American art and its place in art history, we need to let go not only of established viewing practices, but potentially even the category of Asian American art itself.
Curatorship. --- Asian American art --- Art, Asian American --- Ethnic art --- Curating --- Curatorial practice --- Exhibitions. --- Themes, motives.
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"War Baby / Love Child examines hybrid Asian American identity through a collection of essays, artworks, and interviews at the intersection of critical mixed race studies and contemporary art"-- "War Baby / Love Child examines hybrid Asian American identity through a collection of essays, artworks, and interviews at the intersection of critical mixed race studies and contemporary art. The book pairs artwork and interviews with 19 emerging, mid-career, and established mixed race/mixed heritage Asian American artists, including Li-lan and Kip Fulbeck, with scholarly essays exploring such topics as Vietnamese Amerasians, Korean transracial adoptions, and multiethnic Hawai'i. As an increasingly ethnically ambiguous Asian American generation is coming of age in an era of "optional identity," this collection brings together first-person perspectives and a wider scholarly context to shed light on changing Asian American cultures.Laura Kina is associate professor of art, media, and design at DePaul University. Wei Ming Dariotis is associate professor of Asian American studies at San Francisco State University."War Baby / Love Child is an interesting, original, and innovative project that expands the field of Asian American studies by using visual art as a point of entry and analysis for the discipline." -Mark Johnson, editor of Asian American Art: A History, 1850-1970 "One of the strengths of this original volume is its holistic combination of interviews with premier fine artists along with the textual, historical, and scholarly context provided by established and emerging scholars in Asian American Studies." -Nitasha Sharma, author of Hip Hop Desis: South Americans, Blackness, and Global Race Consciousness"--
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This book offers gendered, postcolonial insights into the poetic and artistic work of four generations of female Asian American artists in the San Francisco Bay Area. Nancy Hom, Betty Kano, Flo Oy Wong, Trinh T. Minh-ha, Theresa H.K. Cha, and Hung Liu are discussed in relation to the cultural politics of their time, and their art is examined in light of the question of what it means to be an Asian American artist. Laura Fantone's exploration of this dynamic, understudied artistic community begets a sensitive and timely reflection on the state of Asian American women in the USA and in Californian cultural institutions.--
Sociology of culture --- Sociology of the family. Sociology of sexuality --- Sociology --- Ethnology. Cultural anthropology --- Art --- History of civilization --- niet-westerse cultuur --- etnologie --- sociologie --- cultuur --- feminisme --- kunst --- culturele antropologie --- gender --- leren --- Amerikaanse cultuur --- lesgeven --- Asia --- United States of America --- Asian American artists --- Women artists --- Asian American art --- 2000-2099 --- California.
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This book offers gendered, postcolonial insights into the poetic and artistic work of four generations of female Asian American artists in the San Francisco Bay Area. Nancy Hom, Betty Kano, Flo Oy Wong, Trinh T. Minh-ha, Theresa H.K. Cha, and Hung Liu are discussed in relation to the cultural politics of their time, and their art is examined in light of the question of what it means to be an Asian American artist. Laura Fantone's exploration of this dynamic, understudied artistic community begets a sensitive and timely reflection on the state of Asian American women in the USA and in Californian cultural institutions.--
Sociology of culture --- Sociology of the family. Sociology of sexuality --- Sociology --- Ethnology. Cultural anthropology --- Art --- History of civilization --- niet-westerse cultuur --- etnologie --- sociologie --- cultuur --- feminisme --- kunst --- culturele antropologie --- gender --- leren --- Amerikaanse cultuur --- lesgeven --- Asia --- United States --- Asian American artists --- Women artists --- Asian American art --- ART --- Asian American art. --- Asian American artists. --- Women artists. --- Artists, Women --- Women as artists --- Artists --- Artists, Asian American --- Art, Asian American --- Ethnic art --- Subjects & Themes --- General. --- 2000-2099 --- California. --- Alta California (Province) --- CA --- Cal. --- Cali. --- Californias (Province) --- CF --- Chia-chou --- Departamento de Californias --- Kʻaellipʻonia --- Kʻaellipʻonia-ju --- Kʻaellipʻoniaju --- Kalifornii --- Kalifornii͡ --- Kalifornija --- Ḳalifornyah --- Ḳalifornye --- Kālīfūrniy --- Kaliphornia --- Karapōnia --- Kariforunia --- Kariforunia-sh --- Medinat Ḳalifornyah --- Politeia tēs Kaliphornias --- Provincia de Californias --- Shtat Kalifornii͡ --- State of California --- Upper California
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