Throughout the decades AAAC has received critical attention from various sources. While going through our archives we recently rediscovered several articles referencing the Asian American Art Centre’s exhibitions and activities, a few of which we present here.
AAAC is particularly thankful to Holland Cotter for his continued acknowledgement of AAAC’s work, in addition to that of other diverse artists and organizations. Cotter has written for the New York Times since 1998 and won the Pulitzer Prize for Criticism in 2009; his focus on multiculturalism has brought many artists of color into the mainstream. He reviewed a number of AAAC’s exhibitions from 1999 to 2003.
Cotter has reviewed other AAAC exhibitions including Colin Lee's solo show for the Sixth International Asian Art Fair (2001), Toyo Tsuchiya’s Six O’Clock Observed (1999), 2 Far 2 Close (2000), Zheng Lianjie (2002), and Dream So Much 2 (2003).
|Installation view of China: June 4, 1989, remounted in 2014. Photo courtesy of AAAC.|
China: June 4, 1989, an exhibition on the student uprising at Tiananmen Square that included work by major figures including Xu Bing, Nam June Paik, Zhang Hongtu, Barbara Kruger, Leon Golub, Vito Acconci, and Byron Kim, received significant critical attention. Art in America magazine at the end of 1989 chose China: June 4 as one of the most significant exhibition for the year. In 1992 Douglas Utter wrote in the New Art Examiner, "China: June 4, 1989 is an intimate exhibition. Each work comes forward to bear witness on its own terms. [...] A moving exhibition of political art, it transcended the usual considerations of both politics and art to indict a brutal moment of recent history.” The show was remounted at the Whitebox Art Center in 2014 on the 25th anniversary of the incident, and was reviewed in Manhattan Digest and Beyond Chinatown.
|Eye to Eye panel, 1983. Photo courtesy of AAAC.|
AAAC continues to be grateful for your recognition and support.