tag:blogger.com,1999:blog-80950049767270460602024-03-05T03:59:34.542-05:00Asian American Arts CentreAsian American Arts Centrehttp://www.blogger.com/profile/10345950479257212004noreply@blogger.comBlogger225125tag:blogger.com,1999:blog-8095004976727046060.post-65354241545993001602023-07-31T09:03:00.007-04:002023-10-04T22:37:27.863-04:00Eleanor Yung and the AADT: Dancing "Asian America"<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi5ufl1BJ3y-QzZkRPB77bD3hfeTmIS3sbF6U6uS4C1cfaZwZOCzuX-inLHwmTT3rHBrVVKTjbLkTyhoKHL67I8LQT-q2iGyRUWPeF85D-SG2wdDJhNj2MsiDEL8VT1HNqvFs2jUgJajzSgadI2WPKME77BUwRU6VZ2xFk-7GF1u9uJh-YSe05ExcD0qe0" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1307" data-original-width="1703" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEi5ufl1BJ3y-QzZkRPB77bD3hfeTmIS3sbF6U6uS4C1cfaZwZOCzuX-inLHwmTT3rHBrVVKTjbLkTyhoKHL67I8LQT-q2iGyRUWPeF85D-SG2wdDJhNj2MsiDEL8VT1HNqvFs2jUgJajzSgadI2WPKME77BUwRU6VZ2xFk-7GF1u9uJh-YSe05ExcD0qe0" width="313"></a></div><p data-pm-slice="1 1 []" style="text-align: center;">Passage. 1978.</p><p style="text-align: center;">Costume Design: Kwok Yee Tai</p><br><p></p><p><br></p><p>What Jenny Huang has written on Eleanor Yung and her choreography is beautiful. So well understood and articulated, I feel as if she were there, seeing Eleanor’s dance with us for the first time. Her writing makes explicit an embodied insight into being Asian American in the 70s when a racial/political consciousness was emerging. At that time the thumbs up accolades of mainstream dance reviews seemed enough, but they were certainly not writing for an Asian American audience. Jenny's critical perceptions of that - an analysis of how we are perceived - is most helpful. It is a remarkable moment to have Jenny Huang do this now some thirty years later. It is our pleasure to share this piece with you.</p><p>After introductory remarks on the term ‘Asian American’, background on Eleanor starts on p2, Basement Workshop on p3, Eleanor’s comments about Asian American dance and the make up of the company on p4, the Ribbon Dance and Passage on p5, Kampuchia p6, the developing purpose of the traditional company p7, Asian bodies, Orientalism and mainstream reviews p8, p9, & p10.</p><p><br></p><p><br></p><span></span><span></span><a href="https://artspiral.blogspot.com/2023/07/eleanor-yung-and-aadt-dancing-asian.html#more"></a>Asian American Arts Centrehttp://www.blogger.com/profile/10345950479257212004noreply@blogger.com0tag:blogger.com,1999:blog-8095004976727046060.post-77943878763142644082023-07-27T00:02:00.003-04:002023-08-01T11:37:08.841-04:00ArtAsiaPacific Review of AAAC by Roberta LordThis review by Roberta Lord on AAAC was written long ago but it is more
comprehensive than other reviews posted here. Recently rediscovered, it sheds an
interesting light on AAAC's work.<div><b><br /></b></div><div><b><u>The Asian American Arts Centre</u></b></div><div><b></b>Article by Roberta Lord, published in Art
Asia Pacific 2004</div><div><br /></div><div><div>Robert Lee, executive director of New York City's Asian American Arts Centre</div><div>(AAAC), was an undergraduate physics major at Rutgers University in the 1960s. One summer he took an art course taught by a Sinologist who also happened to be an artist. “An artist teaching art history somehow communicates things that are not verbal,” Lee remembers. He switched his major to studio art and art history, finished his bachelor degree, and moved to Chinatown. "I worked here and took part in the activism of the anti-Vietnam War movement and the civil rights movement. Given the politics of the time, I thought it was more important to be in the community than to try to work on these issues in academia."</div><div><br /></div><div>At first, he says, “I didn't know how to use what I had learned.” Slowly he began to envision a bridge linking the past to the present and the future.</div><div><br /></div><div>In the middle of all the political activity and community activity and arts activity, I began to relate these Asian American artists I was seeing to what I had learned in school. These artists would be the beginning. They would not remain an insignificant minority. They would mean something, and they would mean something in relationship to everything I had learned about the founding cultures of China, India and the West. And so we started to make a collection, an archival collection, and then a few years later we started to look at artists who were difficult to collect because they were in their later years or had passed away.</div><div><br /></div><div>The AAAC occupies 2500-square-feet of loft space on the third floor at 26 Bowery, just south of Canal Street, in the heart of Chinatown. The non-profit organisation's focus has shifted over the last twenty-five years from dance to the visual arts. Lee has directed visual arts programming since 1978. He instituted the first Asian American artist slide archive in the United States. The archive functions as a registry of over 700 Asian American artists as well as a permanent historical record of their works and their development. It is used by national and international publishers, curators, art consultants and community organizations.</div><div><br /></div><div>Earl Jung Reflections Oil on Canvas 1961 63 x 58” 7th AAAC Annual: Stream Segment: The Reintegration of Tradition in Contemporary Art 1997<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXYevxsYG0RbffaPlstcmyYDGYXNTEgx5W3a90fwCU_7Oy5rhzfQm1NhBzWTCvhuzKLxPTZypruM9GTOJ37uK7se57cocOZKtGtf1DV5DwsxJMpCmLuJPKmKTcCuFzwA0QyEEwM7Zz2TFM3wUeqHOGLLDF_8wSvpuNpVbEGJrTLuxM4nYK0NStX7F7mfE/s530/Earl%20Jung%20Reflections%201961.jpeg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="530" data-original-width="481" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXYevxsYG0RbffaPlstcmyYDGYXNTEgx5W3a90fwCU_7Oy5rhzfQm1NhBzWTCvhuzKLxPTZypruM9GTOJ37uK7se57cocOZKtGtf1DV5DwsxJMpCmLuJPKmKTcCuFzwA0QyEEwM7Zz2TFM3wUeqHOGLLDF_8wSvpuNpVbEGJrTLuxM4nYK0NStX7F7mfE/s320/Earl%20Jung%20Reflections%201961.jpeg" /></a></div></div><div><br /></div><div>Despite the inevitable struggles for funding, the exhibitions at the AAAC proceed with boldness, freshness and faith. Lee maximizes available resources by putting together two-to-four-person exhibitions that serve as visual conversations around unifying themes. These conversations are enhanced in brochure essays by Lee and invited critics, and in the related panel discussions and/or gallery tours.</div><div><br /></div><div>The exhibition “Three Generations: Towards an Asian American Art History” in 1997 showed three painters—Tseng Ta-Yu, Phillip P. Chan and Theresa Chong—whose works are stylistically dissimilar but who as artists are linked by a daisy chain of mentorship. “Stream Segment: The Reintegration of Tradition in Contemporary Art” in 1997 included work by non-Asian artists who had taken Asian subject matter and/or iconography as their point of departure. "Silk Light: 4 Artists from Korea” in 1998 was provoked by the Korean phrase “walking in silk robes in the evening moonlight,” which, according to Lee's accompanying text, “describes the passion and futility of the artistic impulse in the absence of the beholder. Such is the situation here. Such is the situation of Seoul, Korea." The AAAC's exhibition titles are always poetic and provocative: in 1996 the sixth annual group show of the work of a dozen artists selected from the archive was called “Twelve Cicadas in the Tree of Knowledge.”</div><div><br /></div><div>The ongoing "Milieu” project (Parts I and II have already occurred, Part III was recently funded by a National Endowment for the Arts grant), focuses on artists active in the two decades after the Second World War. It is based on a national research project, “Asian American Artists and Their Milieu: 1945-1965,” undertaken by the AAAC in 1987 with support from the New York State Council on the Arts and the Rockefeller Foundation.</div><div><br /></div><div>In addition to its work with contemporary and post-war artists, the AAAC also researches and presents folk arts. In a recent statement about the folk arts program, Lee describes traditional arts as:</div><div><br /></div><div>art practices with spiritual, ethical, health and communal components. Far from naïve, these folk art/life practices serve to maintain a satisfying balance in life. The Arts Centre is mindful of traditional art's potential to offer contemporary perceptions an equanimity that has eluded the stress of modern conceits and the pursuit of excellence.</div><div><br /></div><div>The 12 March 1986 issue of Nation magazine reported that Chinese Minister of Culture Wang Meng (who resigned after the Tiananmen Square massacre), said about his 1986 visit to the United States: “I am deeply impressed by the interest and friendliness of Americans towards the Chinese people, but I am appalled by their lack of knowledge about us.” Americans are not necessarily any better educated about their own countrymen who are of Asian descent. New York City has the largest Asian American population in the United States. Asian Americans represented 7 percent of the city’s total population in the 1990 census, and 12.2 percent of the population of the borough of Queens. Yet as Village Voice writer Andrew Hsiao pointed out in a 23 June 1998 article about Asian American activism, hollow stereotypes of Asian Americans prevail. “Indeed, portraits of Asian Americans as victimized sweatshop toilers or Ivy League drones connect to a long history of painting Asian Americans as poster children for the Horatio Alger version of America.”</div><div><br /></div><div>Amy Loewan at Horace Mann School detail 2017<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTLetzAi4VUCjoE2DsmGOtqocMstdgJ-YuCUgH6v0xYhyAnQfZhKNZEutPoHVY6boi_mUZP7h_sukj27zDdVtZ4kNG5qknrDQ4SswgTIdEE7fbcG27lg-XHqVXCF9d5enCWs9gK-HeLisWbywhA12P7olHy01K0MPyF5B6fkEz3cJqva3aqNp8qToTzjQ/s6000/AmyLoewanHoracedetail635.jpg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="4000" data-original-width="6000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTLetzAi4VUCjoE2DsmGOtqocMstdgJ-YuCUgH6v0xYhyAnQfZhKNZEutPoHVY6boi_mUZP7h_sukj27zDdVtZ4kNG5qknrDQ4SswgTIdEE7fbcG27lg-XHqVXCF9d5enCWs9gK-HeLisWbywhA12P7olHy01K0MPyF5B6fkEz3cJqva3aqNp8qToTzjQ/s320/AmyLoewanHoracedetail635.jpg" width="320" /></a></div></div><div><br /></div><div>Lee finds that a similar confusion reigns in the visual arts. In a recent exhibition essay he wrote, "Despite many efforts to do otherwise, the voice of artists and thinkers from Asia continues to be reinterpreted or modulated for western ears. Assorted expectations, oppression of ethnic communities, nationalistic intentions, agendas based on disinformation as much as on confusion, continue to make it difficult to hear them.” If the blurring of Asian American identity in the United States can be likened to a storm, then Lee works to maintain the AAAC as that storm's calm centre.</div><div><br /></div><div>It's like Captain Kirk in an electrical fog and none of your instruments work and you can't tell where you're going and so you have no names and nothing works and so you just fly by your ears and that's where I think many artists find themselves. I think that's exactly where we are, too. All we have are the words from the last period of time that we knew. I use those words as much as I can ... to be helpful ... to let people know the nature of this fog.</div><div><br /></div><div>The AAAC is distinctly and deliberately an enclave. If it lost this identity, if it moved uptown or even across town, it would lose its bearing altogether. Although Lee understood early on that he could have exploited his expertise in the larger, diluted world of art curatorship—in mainstream educational institutions, museums or galleries—he opted to maintain a local, concentrated presence in the heart of a major Asian American community. He believes that being there, in the heart, plays and will continue to play an important role for both community members and for emerging and established Asian American artists.</div></div>Asian American Arts Centrehttp://www.blogger.com/profile/10345950479257212004noreply@blogger.com0tag:blogger.com,1999:blog-8095004976727046060.post-21822581008285955832023-06-20T17:51:00.020-04:002023-08-04T13:34:17.026-04:00Basement Woskhop, Godzilla, and AAAC<div class="OutlineElement Ltr BCX0 SCXW9015496" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: white; clear: both; cursor: text; direction: ltr; margin: 0px; overflow: visible; padding: 0px; position: relative; user-select: text;">
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<span><span style="font-family: georgia; font-size: 14.6667px; font-variant-ligatures: none;">Before Covid when AAAC had on site internships and we prized our working relationships with such students, some would write articles for our Blog. This one was written in 2019 and because of Covid and other factors was not posted. The perspective of the young author speaks of her generation and after all that has happened is worth making public at this time. </span></span></div><div class="Paragraph SCXW9015496 BCX0" paraeid="{d1b27f7b-5bef-4291-bb29-938a565d800c}{167}" paraid="94180510" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; overflow-wrap: break-word; padding: 0px; text-indent: 48px; user-select: text; vertical-align: baseline;"><span><span style="font-family: georgia; font-size: 14.6667px; font-variant-ligatures: none;"><br /></span></span></div><div class="Paragraph SCXW9015496 BCX0" paraeid="{d1b27f7b-5bef-4291-bb29-938a565d800c}{167}" paraid="94180510" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; overflow-wrap: break-word; padding: 0px; text-indent: 48px; user-select: text; vertical-align: baseline;"><span><span style="font-family: georgia; font-size: 14.6667px; font-variant-ligatures: none;">The following writing is by Maxine Bell, 2019 Summer Intern.</span></span></div>
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<span style="font-family: georgia;"><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">S</span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">pending </span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">the last day in the AAAC office,</span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US"> I have already begun to take for granted the resources in this room. I began</span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US"> this internship</span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">, with a very spotty Asian American art history that I compiled on my own, and I’m leaving now with a list of Asian American artists that I follow and draw inspiration from. I leave with a closer connection to NYC and East Coast Asian America</span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">n history</span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">. I have a list of the many books that have surrounded me all summer to reference in future writings. I leave with an insight that most of my friends and family may never have. Most importantly, I leave with the urge to </span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">share</span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">, t</span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">o research, t</span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">o write,</span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US"> and to create.</span><span class="EOP SCXW9015496 BCX0" data-ccp-props="{"201341983":0,"335559731":720,"335559739":160,"335559740":259}" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-size: 11pt; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;"> </span></span></div><div class="Paragraph SCXW9015496 BCX0" paraeid="{d1b27f7b-5bef-4291-bb29-938a565d800c}{167}" paraid="94180510" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-size: 12px; overflow-wrap: break-word; padding: 0px; text-indent: 48px; user-select: text; vertical-align: baseline;"><span style="font-family: georgia;"><br /></span></div><div class="Paragraph SCXW9015496 BCX0" paraeid="{d1b27f7b-5bef-4291-bb29-938a565d800c}{167}" paraid="94180510" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-size: 12px; overflow-wrap: break-word; padding: 0px; text-indent: 48px; user-select: text; vertical-align: baseline;"><span style="font-family: georgia;"><br /></span></div></div><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><div class="OutlineElement Ltr BCX0 SCXW9015496" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: white; clear: both; cursor: text; direction: ltr; margin: 0px; overflow: visible; padding: 0px; position: relative; user-select: text;"><div class="Paragraph SCXW9015496 BCX0" paraeid="{d1b27f7b-5bef-4291-bb29-938a565d800c}{167}" paraid="94180510" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; overflow-wrap: break-word; padding: 0px; text-align: left; text-indent: 0px; user-select: text; vertical-align: baseline;"><span style="font-family: georgia; font-size: large;"><b>Learning about the NYC Chinatown Art Scene</b></span></div></div></blockquote>
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<span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-family: georgia; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US"><br /></span></div>
<div class="Paragraph SCXW9015496 BCX0" lang="EN-US" paraeid="{f7228ca9-5275-4074-b5ec-f3a10afbd45a}{214}" paraid="1883369917" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-size: 12px; overflow-wrap: break-word; padding: 0px; text-indent: 48px; user-select: text; vertical-align: baseline;" xml:lang="EN-US">
<span style="font-family: georgia;"><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">The first day in the office, Bob Lee handed me a framed black and white picture-day-like photograph. He began to tell me about Basement Workshop. He pointed to faces and told me about them and what they’ve accomplished. The photo immediately brought me back to my all Asian/Asian American class last semester, Writing Asian American Diaspora. At college, I’ve been able to surround myself in and out of classrooms by an Asian American community. From personal experience, to feel part of an Asian American community isn’t always just dropped at your doorstep. Three years ago, I didn’t even think I could be considered Asian American. Being mixed race, I never knew which circle to fill in.</span><span class="EOP SCXW9015496 BCX0" data-ccp-props="{"201341983":0,"335559731":720,"335559739":160,"335559740":259}" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-size: 11pt; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;"> </span></span></div>
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<div class="Paragraph SCXW9015496 BCX0" lang="EN-US" paraeid="{fcb88f2b-42d9-4e77-9cd7-b0c45801058b}{178}" paraid="817189709" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; overflow-wrap: break-word; padding: 0px; text-indent: 48px; user-select: text; vertical-align: baseline;" xml:lang="EN-US">
<span style="font-family: georgia;"><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">I wondered how all these young adults met up, how they welcomed one another, how they knew their voice mattered. </span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">During the height of the Asian American Movement (1960-1970), a group of young Asian American activists formed Basement Workshop (1970). As Alexandra Chung describes in her book, </span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-style: italic; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">Envisioning Diaspora</span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">, Basement Workshop served as an “umbrella organization” for the Asian American groups that branched from the initial organization</span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">.</span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US"> </span><span class="EOP SCXW9015496 BCX0" data-ccp-props="{"201341983":0,"335559731":720,"335559739":160,"335559740":259}" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-size: 11pt; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;"> </span></span></div>
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<div class="Paragraph SCXW9015496 BCX0" paraeid="{d1b27f7b-5bef-4291-bb29-938a565d800c}{187}" paraid="1127378347" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; overflow-wrap: break-word; padding: 0px; text-indent: 48px; user-select: text; vertical-align: baseline;">
<span style="font-family: georgia;"><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">Out of Basement Workshop, a group of active members created </span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-style: italic; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">Yellow Pearl</span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US"> and </span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-style: italic; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">Bridge Magazine. Bridge Magazine</span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">’s publications</span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-style: italic; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US"><span class="NormalTextRun SCXW9015496 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: inherit; margin: 0px; padding: 0px; user-select: text;"> </span></span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">scream Asian American with pages reciting essays about identity, news (global and local), poems, and art. I</span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US"> wish I grew up reading these magazines rather than flipping through pages of models who I couldn’t relate to. These magazines are filled with self-expression, community action, opinions, and reflecting on history. I</span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US"> got the chance to read through many issues before we (AAAC) sent them to a University and was even gifted with a few. Bob informed me that Museum of Chinese in America (MoCA) used to have stacks of </span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-style: italic; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">Bridge</span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US"> at a welcome desk for guests to read and take home. While I am unsure of the total amount of </span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-style: italic; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">Bridge </span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">publications, they were meant to be bi-monthly and lasted from Vol. 1 July/Aug 1971 to the spring of 1985 for Vol. 10.</span><span class="EOP SCXW9015496 BCX0" data-ccp-props="{"201341983":0,"335559731":720,"335559739":160,"335559740":259}" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-size: 11pt; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;"> </span></span></div>
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<span class="EOP SCXW9015496 BCX0" data-ccp-props="{"201341983":0,"335559731":720,"335559739":160,"335559740":259}" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-family: georgia; font-size: 11pt; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;"><br /></span></div>
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<div class="Paragraph SCXW9015496 BCX0" lang="EN-US" paraeid="{cd4ea418-9163-4e63-b761-f6569f400af1}{41}" paraid="172430036" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; overflow-wrap: break-word; padding: 0px; text-indent: 48px; user-select: text; vertical-align: baseline;" xml:lang="EN-US">
<span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-family: georgia; font-kerning: none; font-size: 11pt; font-style: italic; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">As Basement Workshop’s umbrella role, one organization created by Eleanor S. Yung was the Asian American Dance Theater (AADT). This organization was later renamed to its current name, Asian American Arts Centre (AAAC) in 1987. From the beginning of the Centre’s life a big part of its goal was to look at how each Asian American with their own diasporic subjectivities is connected to their identity. As the AADT, performances were held to celebrate both modern and traditional Asian/Asian American dances. Then as the AAAC, the organization worked to uplift Asian American artists and reaffirm value to these artists’ works. </span></div><div class="Paragraph SCXW9015496 BCX0" lang="EN-US" paraeid="{cd4ea418-9163-4e63-b761-f6569f400af1}{41}" paraid="172430036" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; overflow-wrap: break-word; padding: 0px; text-indent: 48px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-family: georgia; font-kerning: none; font-size: 11pt; font-style: italic; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US"><br /></span></div><div class="Paragraph SCXW9015496 BCX0" lang="EN-US" paraeid="{cd4ea418-9163-4e63-b761-f6569f400af1}{41}" paraid="172430036" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; overflow-wrap: break-word; padding: 0px; text-indent: 48px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: georgia;"><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-style: italic; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">Bridge Magazine</span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US"> reminds me of an on-campus Asian American publication called </span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-style: italic; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">Voices</span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">. I had submitted drawings my first year in school and was so overwhelmed with warmth and empowerment when the issue came out as it was my first experience of creative collaboration with an Asian American group. I’m connecting my experiences with Basement Workshop and emphasizing my “firsts” in order to highlight the work Basement did almost 50 years ago while criticizing the similarities. I question why it took me until college to feel a part of the Asian American diaspora. I question why I didn’t know about Basement Workshop until this internship. I question why the writings of </span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-style: italic; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">Bridge Magazine</span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US"> are so strikingly similar to the writings of </span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-style: italic; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">Voices</span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">; how we are writing about the same things yet nobody outside of our community seems to take it seriously enough to stop business as usual by giving these types of readings to future generations.</span><span class="EOP SCXW9015496 BCX0" data-ccp-props="{"201341983":0,"335559731":720,"335559739":160,"335559740":259}" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-size: 11pt; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;"> </span></span></div>
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<div class="Paragraph SCXW9015496 BCX0" paraeid="{d1b27f7b-5bef-4291-bb29-938a565d800c}{219}" paraid="1365910537" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-size: 12px; overflow-wrap: break-word; padding: 0px; text-indent: 48px; user-select: text; vertical-align: baseline;">
<span style="font-family: georgia;"><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">T</span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">he birth of Basement Workshop was simultaneous with the term, Asian American being coined. Bob tells me about how the Workshop had conversations of what terminology to call themselves, Amerasian, Asian American, or Asian in America. These self-identifying terms are still a blockade for many individuals of an Asian ethnicity living in America</span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US"> today</span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">. However, the feeling of creating miracles of connection within a cultural community is undeniable. Gaining momentum after the Civil Rights Movement and during the Anti-war Movement, the Asian American Movement was one of community and organization building. In a time where race was </span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">viewed</span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US"> as black and white, the Asian American Movement </span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">worked to denounce</span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US"> this silencing perspective</span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">, yet I question this statement because growing up I felt that all of my peers also saw race as black and white or would claim themselves colorblind. All the work Asian Americans have done in the past and continue to do in the present need to be taught to young Asian Americans, to limit the number of Asian Americans, like myself, who feel/felt out of place and silenced for most of their childhood.</span></span></div><div class="Paragraph SCXW9015496 BCX0" paraeid="{d1b27f7b-5bef-4291-bb29-938a565d800c}{219}" paraid="1365910537" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-size: 12px; overflow-wrap: break-word; padding: 0px; text-indent: 48px; user-select: text; vertical-align: baseline;"><span style="font-family: georgia;"><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US"><br /></span></span></div><div class="Paragraph SCXW9015496 BCX0" paraeid="{d1b27f7b-5bef-4291-bb29-938a565d800c}{219}" paraid="1365910537" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-size: 12px; overflow-wrap: break-word; padding: 0px; text-indent: 48px; user-select: text; vertical-align: baseline;"><span style="font-family: georgia;"><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US"><br /></span></span></div><h1 style="background-color: transparent; overflow-wrap: break-word; padding: 0px; text-align: left; text-indent: 48px; user-select: text; vertical-align: baseline;"><span style="font-family: georgia;"><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: large; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">Reflections on Godzilla and the AAAC</span></span></h1>
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<div class="OutlineElement Ltr BCX0 SCXW9015496" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: white; clear: both; cursor: text; direction: ltr; margin: 0px; overflow: visible; padding: 0px; position: relative; user-select: text;"><div class="Paragraph SCXW9015496 BCX0" lang="EN-US" paraeid="{db6503c5-34c5-4b62-9051-b3ffd9b029f9}{170}" paraid="509153304" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; overflow-wrap: break-word; padding: 0px; text-indent: 48px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: georgia;"><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US"><span style="font-size: 14.6667px; font-variant-ligatures: none;">From working at the AAAC, listening to oral histories from Bob, and reading many documents <span>i</span></span><span face="Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif"><span style="font-size: 11pt; font-variant-ligatures: none;">t had come to my</span></span></span><span class="TextRun SCXW9015496 BCX0" color="windowtext" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US"> attention that there seems to have been a falling out with members of Godzilla and their connection to the AAAC. While I don’t know what happened I can </span><span class="TextRun SCXW9015496 BCX0" color="windowtext" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">infer</span><span class="TextRun SCXW9015496 BCX0" color="windowtext" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">, from </span><span class="TextRun SCXW9015496 BCX0" color="windowtext" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">which</span><span class="TextRun SCXW9015496 BCX0" color="windowtext" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US"> I can only piece together what I know and what I hope my generation and future generations can learn from their relationship.</span><span class="TextRun SCXW9015496 BCX0" color="windowtext" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US"> </span><span class="EOP SCXW9015496 BCX0" color="windowtext" data-ccp-props="{"201341983":0,"335559731":720,"335559739":160,"335559740":259}" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-size: 11pt; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;"> </span></span></div></div><div class="OutlineElement Ltr BCX0 SCXW9015496" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: white; clear: both; cursor: text; direction: ltr; font-size: 12px; margin: 0px; overflow: visible; padding: 0px; position: relative; user-select: text;">
<div class="Paragraph SCXW9015496 BCX0" lang="EN-US" paraeid="{9674f45b-95ef-4614-b887-88f5e8d6d40a}{226}" paraid="1463815653" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; overflow-wrap: break-word; padding: 0px; text-indent: 48px; user-select: text; vertical-align: baseline;" xml:lang="EN-US">
<span class="EOP SCXW9015496 BCX0" data-ccp-props="{"201341983":0,"335559731":720,"335559739":160,"335559740":259}" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-family: georgia; font-size: 11pt; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;"><br /></span></div>
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<div class="OutlineElement Ltr BCX0 SCXW9015496" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: white; clear: both; cursor: text; direction: ltr; font-size: 12px; margin: 0px; overflow: visible; padding: 0px; position: relative; user-select: text;">
<div class="Paragraph SCXW9015496 BCX0" paraeid="{3b17c3b4-74be-41f1-bba6-d34e1b3fbabc}{4}" paraid="1905641464" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; overflow-wrap: break-word; padding: 0px; text-indent: 48px; user-select: text; vertical-align: baseline;">
<span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-family: georgia; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">When thinking about the relationship between AAAC and Godzilla, what pops into my head is Audre Lorde’s quote, “The master’s tools will never dismantle the master’s house.” The AAAC, the first organization to push for Asian American artists, got a lot of criticism for receiving government funding and was called a “gatekeeper” in a negative sense. Bob tells me, “I thought I was opening a door, a vista. But this could be interpreted by others as a gatekeeper, an agent for those in power to choose.” I can see why the AAAC was not seen as enough, that some people wanted more, that it felt limiting. </span></div><div class="Paragraph SCXW9015496 BCX0" paraeid="{3b17c3b4-74be-41f1-bba6-d34e1b3fbabc}{4}" paraid="1905641464" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; overflow-wrap: break-word; padding: 0px; text-indent: 48px; user-select: text; vertical-align: baseline;"><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-family: georgia; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US"><br /></span></div><div class="Paragraph SCXW9015496 BCX0" paraeid="{3b17c3b4-74be-41f1-bba6-d34e1b3fbabc}{4}" paraid="1905641464" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; overflow-wrap: break-word; padding: 0px; text-indent: 48px; user-select: text; vertical-align: baseline;"><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-family: georgia; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">However, rather than placing the blame and frustration on the AAAC, we must step back and analyze this frustration. The frustration is not anger towards the AAAC, it’s anger towards the AAAC being the only place valuing Asian American artists. It’s anger towards gallery spaces and museums not showing Asian American artists, and it’s the anger of being Asian American- finally feeling like that identity fits, and then having your main mode of expression not be heard. This anger is a good thing as it shows that these artists know their worth. Placing the blame on the AAAC is counterproductive when the real anger is towards larger institutions who uphold White artists. However, the published letter to the Whitney, while the means of the letter were unconventional, the urge to be shown in an institution that makes large profits and erases many creatives of color from the definition of “American art,” feels to me as placing success as ultimate visibility and recognition by the master. I question again, what the best and most effective means are to show the world the power and gravity of Asian American artists and their works. </span></div><div class="Paragraph SCXW9015496 BCX0" paraeid="{3b17c3b4-74be-41f1-bba6-d34e1b3fbabc}{4}" paraid="1905641464" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; overflow-wrap: break-word; padding: 0px; text-indent: 48px; user-select: text; vertical-align: baseline;"><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-family: georgia; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US"><br /></span></div><div class="Paragraph SCXW9015496 BCX0" paraeid="{3b17c3b4-74be-41f1-bba6-d34e1b3fbabc}{4}" paraid="1905641464" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; overflow-wrap: break-word; padding: 0px; text-indent: 48px; user-select: text; vertical-align: baseline;"><span style="font-family: georgia;"><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">The falling out between Godzilla members and the AAAC reflect how many communities of color </span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">can feel that certain organizations who represent them are not enough</span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">. </span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">C</span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">ommunities of color have been put below their White neighbors, have been strategically pinned against one another and are shuffled in an order to uphold White supremacy. Disagreements in how things are run are natural, and I understand there is always room for improvement and different approaches.</span><span class="EOP SCXW9015496 BCX0" data-ccp-props="{"201341983":0,"335559731":720,"335559739":160,"335559740":259}" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-size: 11pt; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;"> </span></span></div>
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<span class="EOP SCXW9015496 BCX0" data-ccp-props="{"201341983":0,"335559731":720,"335559739":160,"335559740":259}" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-family: georgia; font-size: 11pt; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;"><br /></span></div>
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<div class="OutlineElement Ltr BCX0 SCXW9015496" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: white; clear: both; cursor: text; direction: ltr; font-size: 12px; margin: 0px; overflow: visible; padding: 0px; position: relative; user-select: text;">
<div class="Paragraph SCXW9015496 BCX0" lang="EN-US" paraeid="{a7a44e56-53af-45e8-9f8b-72d6e70c9655}{30}" paraid="69136443" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; overflow-wrap: break-word; padding: 0px; text-indent: 48px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: georgia;"><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">I believe it’s important for groups like Godzilla and AAAC to engage with their differences and their similarities to see what has worked, what hasn’t, and what their goals are. Ultimately, both Godzilla and the AAAC share(d) the similar goal in placing and sharing the value on Asian American art. The differences in their approaches are exciting, but the lack of recognition of one another is quite upsetting. </span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">When</span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US"><span class="NormalTextRun SCXW9015496 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: inherit; margin: 0px; padding: 0px; user-select: text;"> </span></span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">we don’t uplift one another, w</span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">ho is really benefiting? In Bob’s essay, “Asian American Art: One Perspective” published in Brandywine Graphic Workshop Inc.’s </span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-style: italic; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">Impressions: Contemporary Asian Artist Prints </span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">in 1997, he writes:</span><span class="EOP SCXW9015496 BCX0" data-ccp-props="{"201341983":0,"335559731":720,"335559739":160,"335559740":259}" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-size: 11pt; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;"> </span></span></div>
<div class="Paragraph SCXW9015496 BCX0" lang="EN-US" paraeid="{a7a44e56-53af-45e8-9f8b-72d6e70c9655}{30}" paraid="69136443" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; overflow-wrap: break-word; padding: 0px; text-indent: 48px; user-select: text; vertical-align: baseline;" xml:lang="EN-US">
<span class="EOP SCXW9015496 BCX0" data-ccp-props="{"201341983":0,"335559731":720,"335559739":160,"335559740":259}" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-family: georgia; font-size: 11pt; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;"><br /></span></div>
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<div class="OutlineElement Ltr BCX0 SCXW9015496" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: white; clear: both; cursor: text; direction: ltr; font-size: 12px; margin: 0px; overflow: visible; padding: 0px; position: relative; user-select: text;">
<div class="Paragraph SCXW9015496 BCX0" paraeid="{3b17c3b4-74be-41f1-bba6-d34e1b3fbabc}{14}" paraid="614159142" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; margin-left: 48px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;">
<span style="font-family: georgia;"><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">In a sense, history is the art of telling the future. The history of culture and art is the passage of changing aesthetic ideas and patterns. My bias is that culture and art serve and reflect the people. What we have now divides people, serves the production of wealth, deludes and misdirects young people, and disregards elders.</span><span class="EOP SCXW9015496 BCX0" data-ccp-props="{"201341983":0,"335559685":720,"335559739":160,"335559740":259}" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-size: 11pt; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;"> </span></span></div>
<div class="Paragraph SCXW9015496 BCX0" paraeid="{3b17c3b4-74be-41f1-bba6-d34e1b3fbabc}{14}" paraid="614159142" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; margin-left: 48px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;">
<span class="EOP SCXW9015496 BCX0" data-ccp-props="{"201341983":0,"335559685":720,"335559739":160,"335559740":259}" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-family: georgia; font-size: 11pt; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;"><br /></span></div>
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<div class="Paragraph SCXW9015496 BCX0" paraeid="{3b17c3b4-74be-41f1-bba6-d34e1b3fbabc}{20}" paraid="1024735356" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;">
<span style="font-family: georgia;"><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US"> </span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">White supremacy wants groups of color to pin against one another in order to distract from the real enemy (White supremacy). This derailment is exactly what delays progress for communities of color and is very much strategic by those in power.</span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US"> </span><span class="EOP SCXW9015496 BCX0" data-ccp-props="{"201341983":0,"335559739":160,"335559740":259}" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-size: 11pt; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;"> </span></span></div>
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<span class="EOP SCXW9015496 BCX0" data-ccp-props="{"201341983":0,"335559739":160,"335559740":259}" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-family: georgia; font-size: 11pt; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;"><br /></span></div>
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<div class="Paragraph SCXW9015496 BCX0" paraeid="{3b17c3b4-74be-41f1-bba6-d34e1b3fbabc}{26}" paraid="63783187" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; overflow-wrap: break-word; padding: 0px; text-indent: 48px; user-select: text; vertical-align: baseline;">
<span style="font-family: georgia;"><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">I hope that my generation and the generations to come can learn from th</span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">e</span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US"> relationship </span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">between</span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US"> Godzilla and AAAC. I hope we celebrate the accomplishments of both groups while being critical of their silences. Whatever happened between the two and the pettiness aside, both Godzilla and AAAC are empowering examples of strong Asian American artists who know their worth and wish the world listened to them and saw their power as well. Going forward we must create strong connections with other groups with similar goals and uplift one another as a strong unit. We must give credit where credit is due and support one another.</span></span></div>
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<div class="Paragraph SCXW9015496 BCX0" paraeid="{3b17c3b4-74be-41f1-bba6-d34e1b3fbabc}{32}" paraid="371643996" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; overflow-wrap: break-word; padding: 0px; text-indent: 48px; user-select: text; vertical-align: baseline;">
<span style="font-family: georgia;"><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">Once groups work with one another, whether that be through collaborations, (co)funding, presentations, resources, sharing, etc., impactful opportunities can take place, benefitting all groups involved. </span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">We cannot lose sight of the reason Asian American artists are left out of American art, who decides this, and why we must be included in the narrative.</span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US"> We must learn from one another and work on how best to dismantle the master. I can already observe this happening, and I hope it continues. </span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">My generation has a savviness with social media where we can connect very easily with </span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">one another</span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">. I believe we can make large impact</span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">s</span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US"> when working together by amplifying each other's</span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US"> voices</span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">. Ultimately, this work is for the future generations to live in a world where artists </span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">who </span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">look like them or share a last name have solo and group shows in accessible spaces.</span><span class="TextRun SCXW9015496 BCX0" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-kerning: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US"> Spaces where Asian American children, teens, and adults can all smile with pride then go home and pick up a paintbrush.</span><span class="EOP SCXW9015496 BCX0" data-ccp-props="{"201341983":0,"335559731":720,"335559739":160,"335559740":259}" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-size: 11pt; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;"> </span></span></div><div class="Paragraph SCXW9015496 BCX0" paraeid="{3b17c3b4-74be-41f1-bba6-d34e1b3fbabc}{32}" paraid="371643996" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; color: windowtext; font-family: "Segoe UI", "Segoe UI Web", Arial, Verdana, sans-serif; overflow-wrap: break-word; padding: 0px; text-indent: 48px; user-select: text; vertical-align: baseline;"><span class="EOP SCXW9015496 BCX0" data-ccp-props="{"201341983":0,"335559731":720,"335559739":160,"335559740":259}" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-family: Cambria, Cambria_MSFontService, serif; font-size: 11pt; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;"><br /></span></div><div class="Paragraph SCXW9015496 BCX0" paraeid="{3b17c3b4-74be-41f1-bba6-d34e1b3fbabc}{32}" paraid="371643996" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; color: windowtext; font-family: "Segoe UI", "Segoe UI Web", Arial, Verdana, sans-serif; overflow-wrap: break-word; padding: 0px; text-indent: 48px; user-select: text; vertical-align: baseline;"><span class="EOP SCXW9015496 BCX0" data-ccp-props="{"201341983":0,"335559731":720,"335559739":160,"335559740":259}" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-family: Cambria, Cambria_MSFontService, serif; font-size: 11pt; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjP3rvRhe4maLW7snUrPSq_Sf-MKa2YHvkNoinQQhQys4vD3wl3RJddnRnvNFDe7KzF-i5S7ttlUpdo2THDH7qor_9VpJvW6pd2koteE11LvuoAHad-HfMcGX_IzTTxeE13Jld3XZlHGVihKao_COsfqkYHMYIpYkOegOu4I67E_FEw4BiHyY41FbjWcbE" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="914" data-original-width="707" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEjP3rvRhe4maLW7snUrPSq_Sf-MKa2YHvkNoinQQhQys4vD3wl3RJddnRnvNFDe7KzF-i5S7ttlUpdo2THDH7qor_9VpJvW6pd2koteE11LvuoAHad-HfMcGX_IzTTxeE13Jld3XZlHGVihKao_COsfqkYHMYIpYkOegOu4I67E_FEw4BiHyY41FbjWcbE" width="186" /></a></div><br /><div style="text-align: center;"><span style="background-color: transparent; color: windowtext; font-size: 11pt;">Written by Maxine Bell, 2019 Summer Intern.</span></div></span></div>
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Asian American Arts Centrehttp://www.blogger.com/profile/10345950479257212004noreply@blogger.com0tag:blogger.com,1999:blog-8095004976727046060.post-19341985973199091212020-11-24T17:41:00.018-05:002020-11-26T00:29:31.761-05:00 Back When It Was Said To Me I Had No Right...<div>
<p class="MsoNormal"><br /></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman",serif;">Recalling some exhibitions and
memories: </span></b></p><p class="MsoNormal"><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "MS Mincho"; mso-fareast-theme-font: minor-fareast;">I was born and
raised in Newark NJ in the Black, Puerto Rican and downtown neighborhood, apart
from the Chinatown that barely existed back then. My family’s laundry was
four blocks from the area where the riots of 1968 broke out. When Black
students took over the law building on Rutgers local campus I was with them.
When many years later my father mentioned that someone came by the laundry,
said something was going to happen that evening, and he need only take a chair
and sit outside in front of his plate glass façade, and nothing will happen to
his store. Clearly this was a planned uprising, not a riot. When AAAC mounted
the Ancestors exhibit an Asian American artist said to me I had no right to do
such a show. I knew I had every right. </span></p>
<p class="MsoNormal"><span style="font-family: "Times New Roman",serif; font-size: 10pt; mso-fareast-font-family: "Times New Roman";"><br />
</span><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";">Dr. Alan Crite created a body of work that
recorded life in the South end of Boston. He started working as an artist for
the US government through the WPA. For decades he worked with African American
churches. He mentored and encouraged many African American artists.
Artists at Northeastern University would call him father. He took under his
wing the artist Lotus Do and she is forever grateful for his mentorship.
As board member and chair of <i>The Association of American Cultures (TAAC), </i>I
brought Alan Crite to their bi-annual national conference, to promote and
generate the collection of papers and oral histories documenting the relations
between African and Asian American individuals and communities. Unfortunately
we never received the support of foundations to continue this. </span></p>
<p class="MsoNormal"><span style="font-family: "Times New Roman",serif;"> </span></p>
<p class="MsoNormal" style="tab-stops: .5in 1.5in 3.0in 328.0pt;"><span style="font-family: "Times New Roman",serif;"> </span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman",serif;">Ancestors:
a Collaborative Project with Kenkeleba House</span></b></p>
<p class="MsoNormal"><span style="font-family: "Times New Roman",serif;">This
public exhibition was designed to encourage the act of paying homage, not only
to one’s own ancestors but those of our neighbors, the ancestors of another
people. It paid tribute to all America’s forebears, whether they be Asian,
African, European, Latin American, or Native American.<span style="mso-spacerun: yes;"> </span>By focusing on two, Asian and African American
ancestors, it recognized that the rites and beliefs of diverse people permeate
society as a whole and that acts of homage are fundamental to the development
of the sense of community. <i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span></i></span></p>
<p class="MsoNormal"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman",serif;">“…we recognize the wealth of our
heritage as Americans and encourage the act of paying homage</span></i></p>
<p class="MsoNormal"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman",serif;"><span style="mso-spacerun: yes;"> </span>to all the Ancestors of this Land”</span></i></p>
<p class="MsoNormal" style="tab-stops: .5in 1.5in 3.0in 328.0pt;"><span style="font-family: "Times New Roman",serif;">Organized by Corrine Jennings &
Robert Lee </span></p>
<p class="MsoNormal" style="tab-stops: .5in 1.5in 3.0in 328.0pt;"><span style="font-family: "Times New Roman",serif;">Mounted at Kenkeleba House 214 East
2ed Street & at Asian American Arts Centre 26 Bowery</span></p>
<p class="MsoNormal" style="tab-stops: .5in 1.5in 3.0in 328.0pt;"><span style="font-family: "Times New Roman",serif;">Artists Participating: 24,
including several Afro-Asian artists and five Afro-Asian Collaborating artists.</span></p>
<div class="separator" style="clear: both; text-align: center;"><span style="color: black;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMu2pPAr1mM1QyQlzluwlG_cPQdrkTQLptpGO84fDOHt5Box_kWD8HwXzSIppwQAnHDINKy-UKxzfa-_CBnQAM_OEau5XGUylXlTN0cnGWzULlm9IluKQLDEueN8wkvq6NMN8q7S2BvlU/s2048/i+1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1295" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMu2pPAr1mM1QyQlzluwlG_cPQdrkTQLptpGO84fDOHt5Box_kWD8HwXzSIppwQAnHDINKy-UKxzfa-_CBnQAM_OEau5XGUylXlTN0cnGWzULlm9IluKQLDEueN8wkvq6NMN8q7S2BvlU/s320/i+1.jpg" width="320" /></a></span></div><p class="MsoNormal" style="tab-stops: .5in 1.5in 3.0in 328.0pt; text-align: left;"><span style="font-family: "Times New Roman",serif;">Exhibition Flyer for “<i style="mso-bidi-font-style: normal;">Ancestors,” </i>Asian American Arts Centre,
1995. </span></p>
<p class="MsoNormal" style="tab-stops: .5in 1.5in 3.0in 328.0pt;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman",serif;"> </span></i></p>
<p class="MsoNormal" style="tab-stops: .5in 1.5in 3.0in 328.0pt;"><span style="font-family: "Times New Roman",serif;">Participating artists in Ancestors:</span></p>
<p class="MsoNormal" style="tab-stops: .5in 1.5in 3.0in 328.0pt;"><span style="font-family: "Times New Roman",serif;">Camille Billops <span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span>Lotus
Do Brooks <span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal" style="tab-stops: .5in 1.5in 3.0in 328.0pt;"><span style="font-family: "Times New Roman",serif;">Roy Hiro Calloway <span style="mso-tab-count: 2;"> </span>Albert
V. Chong <span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal" style="tab-stops: .5in 1.5in 3.0in 328.0pt;"><span style="font-family: "Times New Roman",serif;">Simone Leigh <span style="mso-tab-count: 2;"> </span>Richard
Mafong </span></p>
<p class="MsoNormal" style="tab-stops: .5in 1.5in 3.0in 328.0pt;"><span style="font-family: "Times New Roman",serif;">Sana Musasama <span style="mso-tab-count: 2;"> </span>Helen
Oji</span></p>
<p class="MsoNormal" style="tab-stops: .5in 1.5in 3.0in 328.0pt;"><span style="font-family: "Times New Roman",serif;">Howardena Pindell<span style="mso-tab-count: 1;"> </span> <span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span>Yoland Skeete </span></p>
<p class="MsoNormal" style="tab-stops: .5in 1.5in 3.0in 328.0pt;"><span style="font-family: "Times New Roman",serif;">Thomas Vu Daniel<span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span>Anton
Wong </span></p>
<p class="MsoNormal" style="tab-stops: .5in 1.5in 3.0in 328.0pt;"><span style="font-family: "Times New Roman",serif;">Elaine Wong <span style="mso-tab-count: 1;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span>Lily Yeh </span></p>
<p class="MsoNormal" style="tab-stops: .5in 1.5in 3.0in 328.0pt;"><span style="font-family: "Times New Roman",serif;">Lui Lan Ding / Robert Craddock<span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span>Eunju
Kang <span style="mso-spacerun: yes;"> </span>/ Charles Burwell<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal" style="tab-stops: .5in 1.5in 3.0in 328.0pt;"><span style="font-family: "Times New Roman",serif;">David Higginbotham / Toshinori
Kuga<span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span>Hyon
Joo Kim / Prestone Jackson </span></p>
<p class="MsoNormal" style="tab-stops: .5in 1.5in 3.0in 328.0pt;"><span style="font-family: "Times New Roman",serif;">Lisa K. Yi<span style="mso-spacerun: yes;"> </span>/ Faith Ringgold<span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal" style="tab-stops: .5in 1.5in 3.0in 328.0pt;"><span style="font-family: "Times New Roman",serif;"> </span></p>
<div class="separator" style="clear: both; text-align: center;"><span style="color: black;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg3yYZzE9ib2IJJmKuWSXGKFAzeI87sKdEyCgmslT_btRrX36Vy0EHmgE6QB7pvGGO7wIrPbRpvC7EGEI1E9In7aPlLB95XNqdjjsM3_6GHWhxxa1p7jNpkuP0qqjqIR9nbIAoYpcdIiY/s725/image+2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="451" data-original-width="725" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg3yYZzE9ib2IJJmKuWSXGKFAzeI87sKdEyCgmslT_btRrX36Vy0EHmgE6QB7pvGGO7wIrPbRpvC7EGEI1E9In7aPlLB95XNqdjjsM3_6GHWhxxa1p7jNpkuP0qqjqIR9nbIAoYpcdIiY/s320/image+2.jpg" width="320" /></a></span></div><p class="MsoNormal" style="text-align: left;"><span style="font-family: "Times New Roman",serif;">Simone
Leigh </span></p>
<p class="MsoNormal" style="text-align: left;"><i style="mso-bidi-font-style: normal;"><span style="background: none 0% 0% repeat scroll white; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";">Untitled</span></i><span style="background: none 0% 0% repeat scroll white; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";">. Salt fired stoneware, 2006. Approximately 25 inches high.</span></p>
<p class="MsoNormal" style="tab-stops: .5in 1.5in 3.0in 328.0pt;"><span style="font-family: "Times New Roman",serif;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Times New Roman",serif;"><span style="mso-spacerun: yes;">
</span>*<span style="mso-spacerun: yes;">
</span>*<span style="mso-spacerun: yes;">
</span>*</span></p>
<p class="MsoNormal"><span style="font-family: "Times New Roman",serif;"><br /></span></p><p class="MsoNormal"><span style="font-family: "Times New Roman",serif;"> </span><span style="font-family: "Times New Roman", serif;">In 1987,
several African American artists participated in the four-part </span><i style="font-family: "Times New Roman", serif; mso-bidi-font-style: normal;">Mind’s I</i><span style="font-family: "Times New Roman", serif;"> exhibition.</span><span style="font-family: "Times New Roman", serif; mso-spacerun: yes;"> </span><span style="font-family: "Times New Roman", serif;">Robert Colescott, Alison Saar, Benny Andrews and
Albert Chong, an Afro-Asian artist, participated with several other diverse
artists. The accompanying essay noted: that the African American novelist
Richard Wright, wrote of psychological siege as a normal state for persons of
color.</span><span style="font-family: "Times New Roman", serif; mso-spacerun: yes;"> </span></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman",serif;"><span style="text-decoration: none;"> </span></span></u></b></p>
<div class="separator" style="clear: both; text-align: center;"><span style="color: black;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidxkMIfvJ163Hj1-Xk17PpGpQAObPSnlO-jRwwFZkqdaRgX_bL32IoKuufSEE1KMsV4wBZhNvF9glWG7bivwCQVsJYEyZfNCH7tOX3SSqiHte5xt5oiZB-K7kLRy4tOgpeMmIXCulyYhM/s800/i3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="622" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidxkMIfvJ163Hj1-Xk17PpGpQAObPSnlO-jRwwFZkqdaRgX_bL32IoKuufSEE1KMsV4wBZhNvF9glWG7bivwCQVsJYEyZfNCH7tOX3SSqiHte5xt5oiZB-K7kLRy4tOgpeMmIXCulyYhM/s320/i3.jpg" /></a></span></div><p class="MsoNormal" style="text-align: left;"><span style="font-family: "Times New Roman",serif;">Albert
Chong </span></p>
<p class="MsoNormal"><span style="font-family: "serif",serif; font-size: 13.5pt;">Aunt Winnie's Story </span><span style="background: none 0% 0% repeat scroll rgb(247, 246, 241); font-family: "Times New Roman",serif; font-size: 13.5pt;">30x20 inches 1995 </span><span style="font-family: "serif",serif; font-size: 13.5pt;">thermal transfer
print on canvas with incised copper metal </span></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "Times New Roman",serif;"><span style="text-decoration: none;"> </span></span></u></b></p>
<p class="MsoNormal"><span style="font-family: "Times New Roman",serif;"><span style="mso-spacerun: yes;">
</span>*<span style="mso-spacerun: yes;">
</span>*<span style="mso-spacerun: yes;">
</span><span style="mso-spacerun: yes;"> </span>*<span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal"><span style="font-family: "Times New Roman",serif;"><br /></span></p><p class="MsoNormal"><span style="font-family: "Times New Roman",serif;"> </span><span style="font-family: "Times New Roman", serif;">In </span><i style="font-family: "Times New Roman", serif; mso-bidi-font-style: normal;">“Betrayal/Empowerment I”</i><span style="font-family: "Times New Roman", serif;"> held at
Columbia University’s Teachers College in 1994 its written, “</span><i style="font-family: "Times New Roman", serif;">one of the
stories of Asians in America is a story of betrayal.<span style="mso-spacerun: yes;"> </span>Carlos Bulosan, a renowned Filipino novelist
wrote as early as 1938 of the condition of the pinoy (Filipino) as one of
betrayal</i><span style="font-family: "Times New Roman", serif;">. “</span><span style="font-family: "Times New Roman", serif; mso-spacerun: yes;"> </span><span style="font-family: "Times New Roman", serif;">This is suggestive of a
kinship between an African and Asian American sensibility.</span></p>
<p class="MsoNormal"><span style="font-family: "Times New Roman",serif;"> </span><b style="mso-bidi-font-weight: normal;"><u><span style="font-family: Palatino; font-size: 14pt;"><span style="text-decoration-line: none;"> </span></span></u></b></p>
<div class="separator" style="clear: both; text-align: center;"><span style="color: black;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSyQyfg0wZkYVAs_BpzlGaO979XwTjr6IZK07es-aWwQOjXM5BNESM4w8qrDR7hKfokgUGLOJ_KNhsZUhCEOa03jvp45b9bF40JjtidIPh7fRkNUiFk5SWYVh9VnBIKxQvxNS9_SDZI34/s1172/1+4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1172" data-original-width="800" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSyQyfg0wZkYVAs_BpzlGaO979XwTjr6IZK07es-aWwQOjXM5BNESM4w8qrDR7hKfokgUGLOJ_KNhsZUhCEOa03jvp45b9bF40JjtidIPh7fRkNUiFk5SWYVh9VnBIKxQvxNS9_SDZI34/s320/1+4.jpg" /></a></span></div><span style="font-family: "Times New Roman",serif;"> </span>
<p class="MsoNormal" style="text-align: left;"><span style="font-family: "Times New Roman",serif;">Joseph
Goto<span style="mso-tab-count: 4;"> </span>Untitled
#21 ,<span style="mso-spacerun: yes;"> </span>1979<span style="mso-spacerun: yes;"> </span>welded steel<span style="mso-spacerun: yes;">
</span></span></p>
<p class="MsoNormal"><span style="font-family: "Times New Roman",serif;"> </span><span style="font-family: "Times New Roman", serif;">Sui Kang
Zhao</span><span style="font-family: "Times New Roman", serif; mso-tab-count: 2;"> </span><span style="font-family: "Times New Roman", serif;">Fluorescent
Pamphlet </span><span style="font-family: "Times New Roman", serif; mso-tab-count: 1;"> </span><span style="font-family: "Times New Roman", serif;">1992</span><span style="font-family: "Times New Roman", serif; mso-spacerun: yes;"> </span><span style="font-family: "Times New Roman", serif;">Fluorescent light, pamphlet, transparencies</span></p>
<p class="MsoNormal"><span style="font-family: "Times New Roman",serif;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Times New Roman",serif;"><span style="mso-spacerun: yes;">
</span>*<span style="mso-spacerun: yes;">
</span>*<span style="mso-spacerun: yes;"> </span>*</span></p>
<p class="MsoNormal"><span style="font-family: "Times New Roman",serif;"><br /></span></p><p class="MsoNormal"><span style="font-family: "Times New Roman",serif;"> </span><i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman",serif;">In “We Count! The
State of Asian Pacific America” </span></i><span style="font-family: "Times New Roman",serif;">in
1993, held in the Court House, adjacent to City Hall the catalogue essay “<i style="mso-bidi-font-style: normal;">Towards an American Covenant With Difference</i>”
stated: …a national program should be implemented to promote a
cultural/artistic dialogue, such that the gaps in understanding and
communication between diverse peoples and traditions that has existed for so long
are overcome. Such a program would prioritize diverse organizations and
artists. It would be based upon major initiatives to reverse the racial
precepts and exclusionary policies of preceding decades. It would recognize an
American covenant with difference is an important precondition for
participation in an interdependent world.” <span style="mso-spacerun: yes;"> </span>http://artasiamerica.org/artist/detail/71</span></p>
<p class="MsoNormal" style="tab-stops: .5in 2.0in 4.0in;"><span style="font-family: "Times New Roman",serif;"> </span></p>
<br /><div class="separator" style="clear: both; text-align: center;"><span style="color: black;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ5p47jtBO1sv9DOY0yHaRBnphjFD4KC8DdlUi0jOJDokAkvtvhIJjsFg87Rgx0r6_qLj8tN2dykZ_pORZ25D4kV6mLfBlVgBEJgaqFhNrkvyM-TCISx-NDJ9GakCGs6tbO3ctvMhu5NY/s1179/i5.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ5p47jtBO1sv9DOY0yHaRBnphjFD4KC8DdlUi0jOJDokAkvtvhIJjsFg87Rgx0r6_qLj8tN2dykZ_pORZ25D4kV6mLfBlVgBEJgaqFhNrkvyM-TCISx-NDJ9GakCGs6tbO3ctvMhu5NY/s320/i5.jpg" width="320" /></a></span></div><p class="MsoNormal" style="text-align: left;"><span style="font-family: "Times",serif; font-size: 13.5pt;">Dolly Unithan</span></p>
<p class="MsoNormal" style="text-align: left;"><span style="font-family: "Times",serif; font-size: 13.5pt;">Banners of Martyrs (Victims of Police Violence)
348x40 inches 1993
site-specific installation</span></p>
<p class="MsoNormal"> </p>
<p class="MsoNormal"><span style="mso-spacerun: yes;">
</span>*<span style="mso-spacerun: yes;">
</span>*<span style="mso-spacerun: yes;">
</span>*</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal"><span style="mso-spacerun: yes;"> </span>The theme of
ancestors continued with The Reintegration of Tradition into Contemporary Art
in 1999 where it points to, “…what cultures share in their spirituality without
raising their separate characteristics. The three sectors that describe
American<i><span style="background: none 0% 0% repeat scroll white; mso-color-alt: windowtext; mso-fareast-font-family: "Times New Roman";"> life (the marketplace, deliberative
processes of democracy, and the civic sector) may have omitted their dependence
on the fourth. Their roles in the public arena cannot do their work
without a mindfulness of the ‘larger silence’, and the great diversity of
beliefs this republic has yet to encompass.”</span></i><span style="background: none 0% 0% repeat scroll white; mso-color-alt: windowtext; mso-fareast-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span>A material and secular society tends to
overlook the higher realm where spirituality and its silence tends to be drowned
out by the noise and commotion of the chaos endemic to modern political
processes.<span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><u><span style="background: none 0% 0% repeat scroll white; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"><span style="text-decoration: none;"> </span></span></u></b></p>
<div class="separator" style="clear: both; text-align: center;"><span style="color: black;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjChpfV93jKFnwcSAyMRjqvGqQIUAn4MABeHsYtnLgbUsUetgyB5QnzLeS_nqBUrkSloNg8Fiu2cPN3wRHx7PZidyg_kcw_4la3i1ogderPGZQJVWnakL-vALvnesSCeUhA_QhtI819eQ0/s1109/i6.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1109" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjChpfV93jKFnwcSAyMRjqvGqQIUAn4MABeHsYtnLgbUsUetgyB5QnzLeS_nqBUrkSloNg8Fiu2cPN3wRHx7PZidyg_kcw_4la3i1ogderPGZQJVWnakL-vALvnesSCeUhA_QhtI819eQ0/s320/i6.jpg" width="320" /></a></span></div><p class="MsoNormal" style="text-align: left;"><span style="font-family: "serif",serif; font-size: 13.5pt;">Hisako Hibi</span></p>
<p class="MsoNormal" style="text-align: left;"><span style="font-family: "serif",serif; font-size: 13.5pt;">Topaz </span><span style="font-family: "Times New Roman",serif; font-size: 13.5pt;">16x20
inches 1945 oil on
canvas Created in Topaz, UT</span></p>
<p class="MsoNormal"><span style="font-family: "Times New Roman",serif;"> </span><span style="font-family: "Times New Roman", serif;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"><span style="mso-spacerun: yes;">
</span>*<span style="mso-spacerun: yes;">
</span>*<span style="mso-spacerun: yes;">
</span>*</span></p>
<p class="MsoNormal"><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal"><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"> </span><span style="font-family: "Times New Roman", serif;">In 2007
the exhibition Mixed Skin was held with Kip Fulbeck, Dorothy Imaguire &
Toni Thomas and essays by Teresa Kim & Albert Chong, artists of mixed Asian
descent & mixed African roots made manifest proudly this question of mixed
identity.</span><span style="font-family: "Times New Roman", serif; mso-spacerun: yes;"> </span><span style="font-family: "Times New Roman", serif;">To celebrate the identity of
Hapa as a heart centered relationship, a basis for family, and for society’s diversity,
was something AAAC could do.</span></p>
<p class="MsoNormal"><span style="font-family: "Times New Roman",serif;"> </span></p>
<div class="separator" style="clear: both; text-align: center;"><span style="color: black;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiITfdNehuSe1vjqj6gRLza8FfGHNFqepyo05k-ztzW9adRRyGy-bsF7tst0S0XcujLyZbVfJkcjeDTupgJVPTPUfHLq9alrH32oI0TUjV1bYZRw3mfkRf4cY6nw-MdipTsawf2HkCSDAM/s593/i7.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="593" data-original-width="491" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiITfdNehuSe1vjqj6gRLza8FfGHNFqepyo05k-ztzW9adRRyGy-bsF7tst0S0XcujLyZbVfJkcjeDTupgJVPTPUfHLq9alrH32oI0TUjV1bYZRw3mfkRf4cY6nw-MdipTsawf2HkCSDAM/s320/i7.png" /></a></span></div><br /></div><div style="text-align: left;"><span style="font-family: "serif",serif; font-size: 13.5pt;">Dorothy Imaguire </span></div><p class="MsoNormal" style="text-align: left;"><span style="font-family: "Times New Roman",serif; font-size: 13.5pt;">Hapa, Sansei Project, 1992, Pastiche Kimonos, Mixed 3<sup>rd</sup> generation Japanese
American project creating kimono garments from fabrics representing an
individual’s ethnic heritage.</span></p>
<p class="MsoNormal"><span style="font-family: "Times New Roman",serif;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Times New Roman",serif;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Times New Roman",serif;"><span style="mso-spacerun: yes;"> </span>*<span style="mso-spacerun: yes;"> </span>*<span style="mso-spacerun: yes;"> </span>*<span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal"><span style="font-family: "Times New Roman",serif;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Times New Roman",serif;"> </span><span style="font-family: "Times New Roman", serif;">Yes, we were
celebrating Asian and African relations and cultural ties. We were recognizing
a similarity in the mental impact of oppression both faced. We
acknowledged the issue of skin and the hurdles it placed before us. We stated
policies back in 1993 government policy makers should commit to. Maybe now is
the time to revive the memory of those actions, to realize actions and
decisions that could indeed move toward the kind of changes that are
potentially viable today. </span></p>
<p class="MsoNormal"><span style="font-family: "Times New Roman",serif; font-size: 10pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal"><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "MS Mincho"; mso-fareast-theme-font: minor-fareast;">Many mistakes
were made, particularly in underestimating how a material and secular society
tends to close itself from the higher realms where spirituality resides, and
its silences tend to be drowned out by the noise of a competitive democracy. In
a fringe organization like AAAC we could take advantage of being an outsider,
saying things no one else was saying, pointing to cultural relationships that
were being ignored, but that did not move our actions to be adopted. We
could only raise for viewers these ideas expressing our concerns. What
audiences want and what the situation calls for is quite different today.</span></p>
<p class="MsoNormal"><span style="font-family: "Times New Roman",serif; font-size: 10pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal"><span style="background: none 0% 0% repeat scroll white; font-family: "Times New Roman",serif; mso-color-alt: windowtext; mso-fareast-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span>*<span style="mso-tab-count: 2;"> </span>*<span style="mso-tab-count: 2;"> </span>*<span style="mso-tab-count: 2;"> </span>*<span style="mso-tab-count: 2;"> </span>*</span></p>
<p class="MsoNormal"><span style="background: none 0% 0% repeat scroll white; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal">As a senior community arts organization we thank you and are
grateful for your support. We encourage you not to forget such elder
organizations.<span style="mso-spacerun: yes;"> </span>Even in the midst of all
that we are going through, we are going through this together, so please keep
us in mind.<span style="mso-spacerun: yes;"> </span>Your support<span style="mso-spacerun: yes;"> </span>and your donations are very much welcomed and
needed.<span style="mso-spacerun: yes;"> </span>Your skills and your time may be
of great value to us.<span style="mso-spacerun: yes;"> </span>Please do not
hesitate to contact us. In this regard we invite you to donate to Asian
American Arts Centre (see artspiral.org for donation link) or to one of the
three elder arts organizations of your choosing below.</p><p class="MsoNormal">These are dear friends that you may already know.<span style="mso-spacerun: yes;"> </span>Otherwise we invite you to get to know them. </p><p class="MsoNormal">Towards intergenerational and intercultural elan: </p><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p>
<p align="center" class="MsoNormal" style="text-align: center;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 22pt;">DONATE</span></b></p>
<p class="MsoNormal"><span style="font-family: "Times New Roman",serif; font-size: 10pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal"><span style="font-size: 11pt; mso-fareast-font-family: "Times New Roman";">Kenkeleba
House </span></p>
<p class="MsoNormal"><span style="font-size: 11pt; mso-fareast-font-family: "Times New Roman";">214
East 2nd Street, </span><span style="font-size: 11pt;">New
York, NY 10009</span><span style="font-size: 11pt; mso-spacerun: yes;"> </span><span style="font-size: 11pt;">(mail check to this
address)</span></p>
<p class="MsoNormal"><span style="font-size: 11pt; mso-fareast-font-family: "Times New Roman";">www.kenkeleba.org<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal"><span style="font-size: 11pt; mso-fareast-font-family: "Times New Roman";">Corrine
Jennings </span></p>
<p class="MsoNormal"><span style="font-size: 11pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal"><span style="font-size: 11pt; mso-fareast-font-family: "Times New Roman";">Great
Leap</span></p>
<p class="MsoNormal"><span style="font-size: 11pt; mso-fareast-font-family: "Times New Roman";"><a href="https://maps.google.com/maps?q=Suite%20300%201730%20W.%20Olympic%20Blvd%2C%20Los%20Angeles%2C%20CA%2090015&hl=en&authuser=0" target="_blank"><span color="windowtext" style="mso-fareast-font-family: "MS Mincho"; text-decoration: none; text-underline: none;">Suite 300 1730 W. Olympic Blvd </span><span color="windowtext" style="mso-fareast-font-family: "MS Mincho"; text-decoration: none; text-underline: none;">Los Angeles, CA 90015</span></a></span><span style="font-size: 11pt;"> </span></p>
<p class="MsoNormal"><span style="font-size: 11pt; mso-fareast-font-family: "Times New Roman";"><a href="http://www.greatleap.org/" target="_blank"><span color="windowtext" style="mso-fareast-font-family: "MS Mincho"; text-decoration: none; text-underline: none;">http://www.greatleap.org/</span></a></span><span style="font-size: 11pt;"> <span style="mso-spacerun: yes;"> </span>(see
link at end of website to donate)</span></p>
<p class="MsoNormal"><span style="font-size: 11pt; mso-fareast-font-family: "Times New Roman";">Nobuko
Miyamoto</span></p>
<p class="MsoNormal"><span style="font-size: 11pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal"><span style="font-size: 11pt; mso-fareast-font-family: "Times New Roman";">Brandywine
Workshop and Archives</span></p>
<p class="MsoNormal"><span style="font-size: 11pt; mso-fareast-font-family: "Times New Roman";">730
South Broad Street Philadelphia, PA, 19146</span></p>
<p class="MsoNormal"><span style="font-size: 11pt; mso-fareast-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"> </span></span><span style="color: black;"><a href="https://brandywineworkshopandarchives.org/"><span color="windowtext" style="font-size: 11pt; text-decoration: none; text-underline: none;">https://brandywineworkshopandarchives.org/</span></a><span style="font-size: 11pt;"><span style="mso-spacerun: yes;"> </span>(see website
to donate)</span></span></p>
<p class="MsoNormal"><span style="font-size: 11pt; mso-fareast-font-family: "Times New Roman";">Allan
Edmunds</span></p>
<p class="MsoNormal"><span style="font-family: "Times New Roman",serif; font-size: 10pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal"><span style="font-family: "Times New Roman",serif; font-size: 10pt; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal"><span style="font-family: "Times New Roman",serif; font-size: 10pt; mso-fareast-font-family: "Times New Roman";">With Kind Regards, </span></p>
<p class="MsoNormal"><span style="font-family: "Times New Roman",serif; font-size: 10pt; mso-fareast-font-family: "Times New Roman";">Bob Lee</span></p>
<p class="MsoNormal"><span style="font-family: "Times New Roman",serif;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Times New Roman",serif; font-size: 10pt; mso-fareast-font-family: "Times New Roman";">Artspiral.org<span style="mso-spacerun: yes;">
</span>Artasiamerica.org<span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal"><span style="font-family: "Times New Roman",serif;"> </span></p>
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<![endif]--><br />Asian American Arts Centrehttp://www.blogger.com/profile/10345950479257212004noreply@blogger.com3tag:blogger.com,1999:blog-8095004976727046060.post-62829807341228505432020-02-03T17:38:00.003-05:002020-02-10T18:08:44.411-05:00Historical Documents from AAAC<br />
<h4>
<span style="font-size: large;">Introduction: </span></h4>
<div class="MsoNormal" style="font-family: "Times New Roman"; margin: 0in 0in 0.0001pt;">
<span style="font-size: small;"><span style="font-family: "palatino";"><span style="font-family: "times" , "times new roman" , serif;"><span style="border: 1pt none; color: #555555; padding: 0in;">Below is a selection of articles, policy statements that set AAAC direction as it evolved. Never published before. These mark changes in AAAC work as well as relations to its funders. </span></span> </span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: "palatino";"><span style="font-size: small;"><span style="font-family: "palatino";">On the Basis for
Gallery Talks - </span>A one on one approach designed to awaken and engage
personal identities and culturally diverse sensibilities and integrate a
stronger sense of self into our highly systematized society. 2001</span> </span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: "palatino";">An Interpretive
Approach for the Traditional Arts -</span><b><span style="font-family: "palatino";"> </span></b><span style="font-family: "times roman";">The special value of traditional arts & master
folk artists in an Asian ethnic enclave is crucial to understand the </span><span style="font-family: "times roman";">"realpolitik"
of cultural survival in a NYC subculture. </span><span style="font-family: "times roman";">1996</span></span></div>
<span style="font-size: small;">
</span><br />
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<br /></div>
<span style="font-size: small;">
</span><br />
<div class="MsoNormal" style="font-family: "Times New Roman"; margin: 0in 0in 0.0001pt;">
<span style="font-size: small;">"The Gold Mountain Road” The Arts Centre proposes an American
ethos that encourages and stresses Color Consciousness and rather than Color
Blindness. Difference as bio-diversity can be regarded as an asset. 1999</span></div>
<span style="font-size: small;">
</span><br />
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<br /></div>
<span style="font-size: small;">
</span><br />
<span style="font-size: small;">
</span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: small;"><b><span style="border: 1pt none; color: #555555; padding: 0in;">ABOUT ASIAN AMERICAN ARTISTS –</span></b><b><span style="color: #555555;"> </span></b><span style="border: 1pt none; color: #555555; padding: 0in;">The
contrast between the mystical and the rational, the intangible and the
material, creates aesthetic issues that are in alignment with Asian
American artists own cultural dilemma. Their potential to bring creative
sparks to such questions as well as speak to the issues of their day
may enable them to play a central role in planting seeds for a new
society.</span><span style="border: 1pt none; color: #555555; padding: 0in;"> 1993</span></span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: "palatino"; line-height: 150%;">
</span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: small;"><b><span lang="EN-US" style="color: black;">Notes on the Archive: An Introduction </span></b><span lang="EN-US" style="color: black;">by Robert Lee. </span><span lang="EN-US" style="color: #555555;">In 2009 </span><span lang="EN-US"><a href="http://artasiamerica.org/" target="_blank"><span style="color: blue;">artasiamerica.org</span></a></span><span lang="EN-US" style="color: #555555;"> went public marking twenty seven years of
focusing on an annual exhibition program for Asian American artists. How to
unpack this digital encapsulation, tap the texture of this experience and why
it was undertaken is addressed here. </span></span></span><span lang="EN-US" style="color: black; font-family: "times new roman"; font-size: 13.5pt;"></span></div>
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<div style="text-align: center;">
<h3>
<b>On the Basis for Gallery Talks </b></h3>
</div>
<div style="text-align: center;">
Written for NYSCA Special Arts Services May 14, 2001</div>
<div style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG5Ue0ztafiNffw87oE5ZmBTEjQKkp2XHZ1e6oDXp11rNsDGEZtquF7XxDrz5K4ITdqVBV3klIGOTBaMxb2kRNdTT8k-z8Fleza0iIrciMB4E9_JDltVICPKgXWO0nItDmVcqAfCARRCw/s1600/NatSummitonHate93%2527flktour020.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="437" data-original-width="644" height="433" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG5Ue0ztafiNffw87oE5ZmBTEjQKkp2XHZ1e6oDXp11rNsDGEZtquF7XxDrz5K4ITdqVBV3klIGOTBaMxb2kRNdTT8k-z8Fleza0iIrciMB4E9_JDltVICPKgXWO0nItDmVcqAfCARRCw/s640/NatSummitonHate93%2527flktour020.jpg" width="640" /></a></div>
<br />
<br />
<span style="font-family: "georgia" , "times new roman" , serif;">Gallery talks were undertaken to test an approach designed to awaken and integrate culturally diverse sensibilities into a highly systematized society. A method of personal encounter with an art work in relation to one’s own background/ethnicity was developed. The goal was to open a viewer’s eyes, to becoming aware of their eyes and becoming conscious of what is learned intuitively subliminally mythically, combining this with cognitive faculties to shape meanings and conclusions. This is the nature of looking at art. Done well, art can re-establish its place in our daily lives in a culture that has lost its connection to this primordial ability. An arts institution such as AAAC premised on three pillars – art, community, and Asianness - unlike other institutions, aims to contribute what was lacking in the US before the 1960s - ethnic awareness, ethnic history, personal knowledge and shaping an ability to see a different future for how one may want to live one’s own life, and ultimately an ability to envision a future for this nation less dominated by materialism. As a facilitator, at other times, as an example of leadership, I have sought to open a perceptual door closed to most people. Doing this with young children has demonstrated how diversity and visual focusing games can be integrated seamlessly as a valid, enriching and fundamental addition to their education. In a statement on Multicultural Education drafted for the NYC Board of Education by AAAC in 1994 stated, “It is in the meeting of people who are different, not in a crowd but one on one, in a reliance on first hand primary sources, where personal identities and values are engaged that education comes alive. A book can only be secondary to the human encounter which needs to take place.”</span><br />
<br />
<br />
<br />
<div style="text-align: center;">
<b><br /></b>
<br />
<h3>
<span style="font-family: "times" , "times new roman" , serif;"><b>An Interpretive Approach for the Traditional Arts</b></span></h3>
</div>
<div style="text-align: center;">
<span style="font-family: "times" , "times new roman" , serif;">Written for NYSCA Folk Arts Program 1996</span></div>
<div style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVVDz9rawBgZA0qtqMKRFkc_HonZIBSWlnqCXp6U09ytpairfJLNAkX0Gl4eD4bHPNkzoCLgAK1GKU5hkwB1Xsr0hrsIOiFxYKyxJ66IrINbEebi41b0bId3xeI0UNCW3D4hkm35h_akc/s1600/yeXunFigAudience10+copy.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVVDz9rawBgZA0qtqMKRFkc_HonZIBSWlnqCXp6U09ytpairfJLNAkX0Gl4eD4bHPNkzoCLgAK1GKU5hkwB1Xsr0hrsIOiFxYKyxJ66IrINbEebi41b0bId3xeI0UNCW3D4hkm35h_akc/s400/yeXunFigAudience10+copy.JPG" width="400" /></a></div>
<br />
<span style="font-family: "times" , "times new roman" , serif;">The Arts Centre's Traditional Arts program aims to research and present the traditional arts as art practices with spiritual, ethical, health, and communal components. Far from naive, these folk art/life practices serve to maintain a satisfying balance in life. The Arts Centre is mindful of traditional art's potential to offer contemporary perceptions an equanimity that has eluded the stress of modern conceits and the pursuit of excellence.</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">Community organizations reflect the dynamics of their community. They retain their existence through an interlocking growth relationship with their community, preserving their history and reinventing their creative cultures. Community Arts organizations unlike major institutions, take their spark of life from the tumult, confusion and anguish of an unstable existence suppressed by a racial and cultural majority. Such organizations negotiate a relationship between the mainstream and their community's subculture. In seeking to institutionalize, they pass on their special outlook and characteristic procedures to the next generation of culture workers. Community arts organizations are a storehouse of racial and cultural knowledge unique to their context. The cultural work of diverse people provides an entry point, both for understanding this "real politic" dynamic, and for understanding the reality of difference. They are a gateway for artists, staff, interns, members, volunteers, and audience, a window to see and grasp art in a subculture. </span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">Traditional artists themselves have multiple orientations: they may simply remember fondly the past and continue their art practice within the context of their own social peers; they may find a way to adapt their traditional practices to their modern life; they may consciously resist modern ways; they may affirm traditional ways as a contribution to contemporary life; or their art form may embody a clear outlook and philosophy enriching contemporary diversity and ambiguity. </span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">The Art of traditional practices in a community context is inflected by the historical American struggle to legitimize and celebrate diversity. The Arts Centre's presentation of traditional art in a community context aims not at quality so much as truth. The Arts Centre seeks to maintain the integrity of its community's cultural transformation. The interpretation of traditional Asian arts within the context of the United States begins with this fundamental premise.</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
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<div style="text-align: center;">
<h3>
<span style="font-family: "times" , "times new roman" , serif;"><b>"The Gold Mountain Road"</b></span></h3>
</div>
<div style="text-align: center;">
<span style="font-family: "times" , "times new roman" , serif;">Written for NEA 1999</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrCSFPWICRN6kPui9wh6Bdgvd_93Rus13vYV1bzsqYaeI8seZZzrtIel_aQaTT_HLVllL_4-hPbuua8qNkyJ1XMKQNeP3GzD1wpcrN4VHgTM7KVo_T1Km74Q0tkfKheUikSGgz8nQpzeI/s1600/2020-01-07-0003.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="454" data-original-width="642" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrCSFPWICRN6kPui9wh6Bdgvd_93Rus13vYV1bzsqYaeI8seZZzrtIel_aQaTT_HLVllL_4-hPbuua8qNkyJ1XMKQNeP3GzD1wpcrN4VHgTM7KVo_T1Km74Q0tkfKheUikSGgz8nQpzeI/s400/2020-01-07-0003.jpg" width="400" /></a></div>
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<span style="font-family: "times" , "times new roman" , serif;"> AAAC annual Lunar New Year Folk Art Festival in 1989 with Kwok Mangho </span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
<span style="font-family: "times" , "times new roman" , serif;">The Arts Centre as a culturally specific organization, proposes a different American ethos. Its cultural stance is color consciousness, an awareness of self in the context of a cultural past. Once one accepts oneself as such, an individual of color has the basis to accept and embrace other individuals and cultures. Education can do much to further the establishment of this as a societal expectation. Color blindness, an American ethos based on merit and equality, dispenses with difference and the cultural heritages of other peoples. From the Art Centre’s view, this is no longer desirable nor viable and will become increasingly so given demographic patterns. Given this perspective, the phrase, 'culturally specific' is a misnomer since for such organizations, specific cultural roots serve as points of departure to see and embrace the whole. The multiple perspectives that now compose the American landscape and our global context can be accepted and recognized as a non-hieratic basis for cultural development, dialogue and co-operation. The assertion of cultural difference inflected by its oppositional posture of resistance, can be redirected to address the new millennium's international climate. Cultural difference as asset can overcome and embrace problems of ambiguity and friction given the new emphasis on ethics, civic culture, spirituality and meaning. Tolerance and difference arise together, as does globalism and localism. The Arts Centre's stance as part of the new millennium's diverse mainstream is ready to expand its programs and its audience beyond national and ethnic limits. In shedding its ‘oppositional’ past, the Arts Centre has come back to the ancient rule of the Golden Mean. The name guiding this position of affirmation of Asianness, a diverse</span><br />
<span style="font-family: "times" , "times new roman" , serif;">mainstream, and its new web site program is "The Gold Mountain Road".</span><br />
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<h3>
<b>ASIAN AMERICAN ARTS CENTRE ARTISTIC STATEMENT</b></h3>
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Written for NYSCA Oct. 1993</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilVqqq6c0bdBgVfE1S6ND8vhQ4fxy7mGrwfcxGxIVzj649qlakQQwS9VgZv-bIV2rlFZPHf5e6kGYbS8KQbGOm3hyphenhyphen2NEjNY_QZ50wyL-uxqfnepLrqNNRh5uT501slTOJIxEuzQmmnpz8/s1600/NyEvictionBlues.Open+%25281%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="476" data-original-width="717" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilVqqq6c0bdBgVfE1S6ND8vhQ4fxy7mGrwfcxGxIVzj649qlakQQwS9VgZv-bIV2rlFZPHf5e6kGYbS8KQbGOm3hyphenhyphen2NEjNY_QZ50wyL-uxqfnepLrqNNRh5uT501slTOJIxEuzQmmnpz8/s320/NyEvictionBlues.Open+%25281%2529.jpg" width="320" /></a></div>
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<span style="background-color: white; color: #222222; font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"> <span style="font-family: "times" , "times new roman" , serif;"> NY Eviction Blues, Open</span></span><span style="font-family: "times" , "times new roman" , serif;"><span style="background-color: white; color: #222222; font-size: x-small;"><span style="font-size: 13.3333px;"><b>ing Reception 2005</b></span></span></span></div>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">Asian artists in America are in a unique position to draw from asian, western and international sources. These artists are pioneers in breaking new ground of artistic exploration. Nurtured by the modern milieu and the individual freedoms that are integral to Western society, yet confronted by a heritage of spiritual and philosophical probity, Asian American artists have the opportunity to face a personal congruence between issues of identity, aesthetic sensibility and the crisis of western thought.</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">Asian American artists work however, ranges widely in intent and character. Asian elements and their</span><br />
<span style="font-family: "times" , "times new roman" , serif;">generative role are frequently reflected in this body of work. This art increasingly carries with it a</span><br />
<span style="font-family: "times" , "times new roman" , serif;">consciousness of racial and cultural identities, as well as the issues that plague our cities. A critical view of artists and their work according to racial and cultural connections reveals lines of interpretation of the contemporary context of change and fragmentation. The historical experience of Asians in America plays a key role in this interpretation. Examining traditional folk forms help to reinterpret continuity between the past and contemporary artists work. One of the Arts Centre's goals is to elucidate this critical viewpoint. A secondary goal is to implement an educational context in public schools based on this view point.</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">The work of Asian American artists enables people of Asian background to see authentic images of</span><br />
<span style="font-family: "times" , "times new roman" , serif;">themselves, to see their beliefs and values expressed in tangible forms, dispite the seamlessness of a mass media environment. Identity issues of an asian ethnic group, it should be emphasized, have not been the central goals of the Arts Centre. Artistic issues remain primary. This has been a strategic response to the defining issues of this century, ie. the conflict between East and West. (For some, this conflict has now been resituated as a northern/southern hemisphere issue.)</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">Artistic ideas and innovations cross fertilize one another through multiple connections. The Arts Centre supports the growth of a diverse cultural sensibility. The Arts Centre seeks to bring Asian artists and their communities together, to open these communities to the multiple cultures and creative energies that hold the seeds to a new society.</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">In 1974, when the Arts Centre began, very few Asian American artists had received more than token</span><br />
<span style="font-family: "times" , "times new roman" , serif;">attention. Now in 1990, Asian American artists are visible participants in the cultural life of many cities. The Arts Centre has played a role in the development of this change. For many years, both the Archive and the Exhibition program, focused on Asian American artists, were the only programs of its kind in the nation. Traditional Asian dance was rarely seen. Contemporary Asian dance was almost nonexistant. The ongoing mission, to establish Asian American artists, their historical presence and aesthetic contribution has had some fruitful results. Programs based on the Arts Centre has developed in other parts of the nation. Artists such as Ti Shan Hsu, Toshio Sasaki, Yong Soon Min, Arlan Huang, Tetsu Okuhara, Bing Lee, Ming Fay, Mel Chin, Margo Machida, Emily Cheng, Ming Mur Ray, Martin Wong, Lily Yeh, Zhang Hongtu, Ik Joong Kang, Byron Kim, Kip Fulbeck, Albert Chong, Dinh Le, Nuyen Long, Zarina, Tai Dang, Ken Chu, Xu Bing, Tomia Arai, Dorothy Imaguire, Li Lan, Ling Ling, Mo Bahc, Kazuko, Chihung Yang, Helen Oji, Charles Yuen, and many others had all been exhibited early in their careers at the Arts Centre.</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">Such performing artists as the following have all performed with or received grants through the Arts</span><br />
<span style="font-family: "times" , "times new roman" , serif;">Centre: Barbara Chang , Satoru Shimazaki, Sun Ok Lee, Saeko Ichinohe, Audrey Jung, Muna Tseng,</span><br />
<span style="font-family: "times" , "times new roman" , serif;">Junko Kikuchi, Naini Chen, Frank Lee, Kei Okada, East West Fusion, Swati Bhise, Kuang Yu Fong, Tomie Hahn, Fred Ho, Wu Shao Ping, Jo Humphrey, Janaki Patrik, Yung Yung Tsuai.</span><br />
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<b><span lang="EN-US" style="font-family: "times"; font-size: 13.5pt;">Notes
on the Archive: An Introduction </span></b><br />
<b><span lang="EN-US" style="font-family: "times"; font-size: 13.5pt;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: small;"><span lang="EN-US" style="color: black;">by Robert Lee</span></span></span> </span></b></div>
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<br />
<span style="color: #555555; font-family: "times";">Written under FAQ in About artasiamerica these remarks can be found.</span></div>
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<span lang="EN-US" style="color: black; font-family: "times"; mso-bidi-font-family: "Times New Roman"; mso-font-kerning: 0pt;"> This archive
is devoted to the practice of looking. Seeing requires the desire and impulse
to look, however such energy should not be channeled simply into an
intellectual pursuit. Other organs or aspects of the human body can take part
in the act of perception that do not function cognitively to coax a reciprocal
balance in the human person. AAAC’s Artists Archive was gathered by way of such
a practice of looking, a process that a viable non-for-profit infrastructure
could sustain and keep focused.</span><span lang="EN-US" style="font-family: "times new roman"; mso-font-kerning: 0pt;"></span></div>
<div align="left" class="MsoNormal" style="mso-pagination: widow-orphan; text-align: left;">
<span lang="EN-US" style="color: black; font-family: "times"; mso-bidi-font-family: "Times New Roman"; mso-font-kerning: 0pt;"> Exhibiting and
writing about artists for over twenty five years has lead to this archival
approach to the encounter of different cultures. It is designed to witness and
affirm artistic attainments that bridge the gap between two cultural
mentalities. In this sense, the Arts Centre’s interaction with artists helped
shape the themes that gradually formed the substance and the subject of Asian
American art. Artasiamerica.org, the digital archive, which covers to date
about 10% of AAAC’s Artists Archive, has focused on those artists who signaled
key themes and, in the context of AAAC, gave expression to them.</span><span lang="EN-US" style="font-family: "times new roman"; mso-font-kerning: 0pt;"></span></div>
<div align="left" class="MsoNormal" style="mso-pagination: widow-orphan; text-align: left;">
<span lang="EN-US"><a href="http://artasiamerica.org/"><span style="color: black; font-family: "times"; mso-bidi-font-family: "Times New Roman"; mso-font-kerning: 0pt;">
</span><span style="color: #522353; font-family: "times"; mso-bidi-font-family: "Times New Roman"; mso-font-kerning: 0pt;">artasiamerica.org</span></a></span><span lang="EN-US" style="color: black; font-family: "times"; mso-bidi-font-family: "Times New Roman"; mso-font-kerning: 0pt;"> is also a strange fruit of the tragedy of
9.11 and its impact on Lower Manhattan, particularly its devastating impact on
the economy of Chinatown. Support of the Lower Manhatan Development Corporation
(LMDC) was crucial for enabling </span><span lang="EN-US"><a href="http://artasiamerica.org/"><span style="color: #522353; font-family: "times"; mso-bidi-font-family: "Times New Roman"; mso-font-kerning: 0pt;">artasiamerica.org</span></a></span><span lang="EN-US" style="color: black; font-family: "times"; mso-bidi-font-family: "Times New Roman"; mso-font-kerning: 0pt;"> to see the light of day. AAAC recognizes
this support.</span><span lang="EN-US" style="font-family: "times new roman"; mso-font-kerning: 0pt;"></span></div>
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<span lang="EN-US" style="color: black; font-family: "times"; mso-bidi-font-family: "Times New Roman"; mso-font-kerning: 0pt;"> Technology too
by way of the internet has enabled access to this archive, but technology may
be taking away more than it gives. The drive to technical improvements
constantly getting better fuels the illusion of progress and a fervor for the
new. This seems to give us something concrete to do, and a measure of control.
We should not make the mistake of thinking of life as a machine. Clearly, this
is not how human life – works.</span><span lang="EN-US" style="font-family: "times new roman"; mso-font-kerning: 0pt;"></span></div>
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<span lang="EN-US" style="color: black; font-family: "times"; mso-bidi-font-family: "Times New Roman"; mso-font-kerning: 0pt;"> Back in
the beginning of the Asian American Movement, like so many, I was neither Asian
nor American. With no place to be, not on this shore nor on that distant one, I
belonged no where. Exiled from self, I put together a shanty on the beach, so
to speak, looking out to that distant shore and used stilts to stay above the
ebb and flow. With the dawn I found I was not alone, a multitude had joined to
make a Shanty City. With this came the promise of change, a revolution. It
didn’t take long for that dream to pass too. This was the late 60s. This is how
it started.</span><span lang="EN-US" style="font-family: "times new roman"; mso-font-kerning: 0pt;"></span></div>
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<span lang="EN-US" style="color: black; font-family: "times"; mso-bidi-font-family: "Times New Roman"; mso-font-kerning: 0pt;"> In the early
80s in a Newsday or Daily News article I saw a headline on an inside page that
read, “Asianization of American Culture”. Recently at the Asian American
ComiCon event at MoCA I saw this term again. The announcement read,
“Asianization of American Pop Culture”. What does this term really mean?</span><span lang="EN-US" style="font-family: "times new roman"; mso-font-kerning: 0pt;"></span></div>
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<span lang="EN-US" style="color: black; font-family: "times"; mso-bidi-font-family: "Times New Roman"; mso-font-kerning: 0pt;"> The ‘Asian
American’ experience is vast, broad and diverse. My experience is likely
different from most. The perspectives this has given me have shaped this
Archive and what its value. To me Asian Americans are born of two cultures. As
a child I saw a film entitled “When Worlds Collide”. Recently it has come back
to me for the two worlds that were important for me were not in harmony. This
experience was like falling through the fabric of one time to glimpse another.
I could have forgotten this experience, let the contradictions and questions
that tumble over each other lay where they fell, but later I realized I could
come back to these questions through what artists do. They muse about and
reconstruct values, they heal and leaven contradictions. They helped me explore
the enigma of being Asian in America.</span><span lang="EN-US" style="font-family: "times new roman"; mso-font-kerning: 0pt;"></span></div>
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<span lang="EN-US" style="color: black; font-family: "times"; mso-bidi-font-family: "Times New Roman"; mso-font-kerning: 0pt;"> The film,
“When Worlds Collide” also helped me see when words become useless. The
meanings of words come out of a historical stream. They refer back to the
context of the culture they emerge. Once two cultures overlap and begin to
approach congruency, a kind of reconciliation process changes the whole
dynamic. New words in time will form once the tumult and confusion subsides.
The name of this digital archive is artasiamerica to indicate how our notions
are morphing. I would suggest, therefore, Don’t Get Caught Up In Names!
Identities are part of the story, but realize they will shift and slide with
time.</span><span lang="EN-US" style="font-family: "times new roman"; mso-font-kerning: 0pt;"></span></div>
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<span lang="EN-US" style="color: black; font-family: "times"; mso-bidi-font-family: "Times New Roman"; mso-font-kerning: 0pt;"> How to use
</span><span lang="EN-US"><a href="http://artasiamerica.org/"><span style="color: #522353; font-family: "times"; mso-bidi-font-family: "Times New Roman"; mso-font-kerning: 0pt;">artasiamerica.org</span></a></span><span lang="EN-US" style="color: black; font-family: "times"; mso-bidi-font-family: "Times New Roman"; mso-font-kerning: 0pt;">: I’m sure I don't have to tell art professionals and
researchers how to do this. However, for all the high school and college
students who we would like to explore this site I can say, an Archive is like a
dance alive, creating ripples. It's a lathe whose ooze can be gathered. Read
the work, listen to it, to the art. Find what turns you on, what inspires –
that's all you need.</span><span lang="EN-US" style="font-family: "times new roman"; mso-font-kerning: 0pt;"></span></div>
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<span lang="EN-US" style="color: black; font-family: "times"; mso-bidi-font-family: "Times New Roman"; mso-font-kerning: 0pt;"> The
Archive is more than one artist. It is many artists who over time and place
touch on a related set of questions. They give each other a context, a context
of a moment, a sequence of ‘now’ moments, which is what contemporary art is
suppose to be about. You can envision the Archive like a Time/Space Tree. On it
you can hang your own art and artists.</span><span lang="EN-US" style="font-family: "times new roman"; mso-font-kerning: 0pt;"></span></div>
<div align="left" class="MsoNormal" style="mso-pagination: widow-orphan; text-align: left;">
<span lang="EN-US" style="color: black; font-family: "times"; mso-bidi-font-family: "Times New Roman"; mso-font-kerning: 0pt;"> Have
you heard of Google’s new program, SIY? Search Inside Yourself. There are
parallels here to what this Archive can be about. But that's up to you.</span><span lang="EN-US" style="font-family: "times new roman"; mso-font-kerning: 0pt;"></span></div>
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<span lang="EN-US" style="color: black; font-family: "times"; mso-bidi-font-family: "Times New Roman"; mso-font-kerning: 0pt;">An Archive is not forever. It may last ten,
twenty years, enough to pass the torch. Then the next technology will come
along and make digital passé.</span><span lang="EN-US" style="font-family: "times new roman"; mso-font-kerning: 0pt;"></span></div>
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<span lang="EN-US" style="color: black; font-family: "times"; mso-bidi-font-family: "Times New Roman"; mso-font-kerning: 0pt;"> I
went to a wedding recently. The bride, the shy woman I knew was radiant, warm,
and in Charge, like a queen. Art like a vow, can do this. Archives can’t. An
Archive can only serve, awaiting discovery. An Archive can provide evidence,
but not more. Its collections are fragmented, pieces lifted out of a stream,
for someone else, missing pieces could tell another story. You have to come to
your own conclusion.</span><span lang="EN-US" style="font-family: "times new roman"; mso-font-kerning: 0pt;"></span></div>
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<span lang="EN-US" style="color: black; font-family: "times"; mso-bidi-font-family: "Times New Roman"; mso-font-kerning: 0pt;"> Forgive
the anecdotes but here’s another: One night I was leaving work very late. It
was almost dawn when I noticed someone crouching in the doorway of the
restaurant next door. He had a small alter and some candles he was trying to
lite. I asked him what he was doing. He said he had just renovated his
restaurant and the grand opening was tomorrow. So he was doing necessary
rituals to Kuan Kung, the red faced deity at the entrance doorway. I asked him
if he believed in such things. He said no. Then, I asked, why are you doing
this? He said, just in case! AAAC Artist Archive and </span><span lang="EN-US"><a href="http://artasiamerica.org/"><span style="color: #522353; font-family: "times"; mso-bidi-font-family: "Times New Roman"; mso-font-kerning: 0pt;">artasiamerica.org</span></a></span><span lang="EN-US" style="color: black; font-family: "times"; mso-bidi-font-family: "Times New Roman"; mso-font-kerning: 0pt;"> aims to be responsible, responsible to the
general public and to an Asian American audience. We live with so much
absurdity, so much that is out of sync, dreamland is an essential part of the
economy. How can we make sense, deep sense? And when it’s time, will we be
ready to let contradictions go?</span><span lang="EN-US" style="font-family: "times new roman"; mso-font-kerning: 0pt;"></span></div>
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<span lang="EN-US" style="color: black; font-family: "times"; mso-bidi-font-family: "Times New Roman"; mso-font-kerning: 0pt;"> On PBS
recently there was a documentary on the Trail of Tears. That's when in 1838 the
Cherokee were stripped of their rights and forced to move against their will on
'The Trail of Tears' by the US government. An archive was established and is
maintained by individual Cherokees. Their practice is to pray for everyone, not
just all those who died on the Trail, and not just for those who took part in
the slaughter, but for everyone.</span><span lang="EN-US" style="font-family: "times new roman"; mso-font-kerning: 0pt;"></span></div>
<div align="left" class="MsoNormal" style="mso-pagination: widow-orphan; text-align: left;">
<span lang="EN-US" style="color: black; font-family: "times"; mso-bidi-font-family: "Times New Roman"; mso-font-kerning: 0pt;"> What’s on
the horizon for us, for this civilization? The individuals who maintain this
archive, children of those survivors of the Trail, gave me the sense that a
whole other story is on the horizon, yet untold, a story that is not secular,
and perhaps not sacred, but very near it.</span><span lang="EN-US" style="font-family: "times new roman"; mso-font-kerning: 0pt;"></span></div>
<div align="left" class="MsoNormal" style="mso-pagination: widow-orphan; text-align: left;">
<span lang="EN-US" style="color: black; font-family: "times"; mso-bidi-font-family: "Times New Roman"; mso-font-kerning: 0pt;">Welcome to </span><span lang="EN-US"><a href="http://artasiamerica.org/"><span style="color: #522353; font-family: "times"; mso-bidi-font-family: "Times New Roman"; mso-font-kerning: 0pt;">artasiamerica.org</span></a></span><span lang="EN-US" style="font-family: "times new roman"; mso-font-kerning: 0pt;"></span></div>
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<br />Asian American Arts Centrehttp://www.blogger.com/profile/10345950479257212004noreply@blogger.com0tag:blogger.com,1999:blog-8095004976727046060.post-37268711405190354272020-02-03T17:29:00.001-05:002020-09-23T15:30:22.142-04:00Historical Essays from AAAC Exhibitions<br />
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">INTRODUCTION</span></b><span lang="EN-US">: </span></h4>
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<span style="font-size: small;"><span lang="EN-US">Some essays are more revealing than others. Here is a selection of essays that
accompanied seven art exhibitions of contemporary art at AAAC.</span></span></div>
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<span style="font-size: small;"><span lang="EN-US">The creative act is a self affirming act,
an act of self naming, creating forms that become synonymous with our history,
our traditions, and our outlook. This is how art serves Asia America. – </span><span lang="EN-US">A Covenant With Difference 1993</span></span></div>
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<span style="font-size: small;"><span lang="EN-US">Now that diverse peoples have embarked on
the path of empowerment, it is appropriate to ask, is that enough, will it
restore our sense of humanity?</span></span></div>
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<span style="font-size: small;"><span lang="EN-US">- “Betrayal/Empowerment</span><span lang="EN-US"> at </span><span lang="EN-US">Columbia
University’s Teachers College, 1994</span></span></div>
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<span style="font-size: small;"><span lang="EN-US">Does the flap of a butterfly wing in Tokyo
affect a thunder storm in New York? This kind of thinking has been termed the
non-linear character of the world, developing new theories of Chaos. </span><span lang="EN-US">1998</span></span></div>
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<span style="font-size: small;"><span lang="EN-US">The practice of meditation has brought
about a mindfulness of a larger silence and a consideration of the great
diversity of beliefs this republic has yet to encompass. </span></span></div>
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<span style="font-size: small;"><span lang="EN-US" style="letter-spacing: -0.5pt;">- The Reintegration of Tradition into Contemporary Art 1999</span><span lang="EN-US"> </span></span></div>
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<span style="font-size: small;"><span lang="EN-US">In the body of his art Yoshiki Araki’s
evolution can be seen the profound impact of Hiroshima on his psyche, where it
led him to produce the kind of haunting imagery that remains his legacy. - </span><span lang="EN-US" style="color: black; font-family: "palatino";">Yoshiki Araki:
Hiroshima Born 2006</span></span></div>
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<span style="font-size: small;"><span lang="EN-US">A story that has haunted me for years, is
the link between Asia and the West. After so many years, fragments remain
hopelessly scattered over vast stretches of history, a tale that has been
ignored and denied in the West for so long.
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<span style="font-size: small;"><span lang="EN-US">- Alternatives to the Story of Christopher
Columbus Today 1992</span></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 16pt;">Towards an American Covenant With Difference</span></b></h3>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcOb1wK3uVJ6NWDe1uafpiyrlYHM6zNg0j2-gjXBkifLoumzpIWbPg3o6Bfw_FumN_v4aA2HRe-r3RNVvW7HgBpxw32l8yrgVXjcTOLKkJkqUa60myJELWKtrUnkyYPbi9PH0kFJGdOIU/s1600/Tsuchiya_Toyo_UntitlGift_2003.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1233" data-original-width="1600" height="488" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcOb1wK3uVJ6NWDe1uafpiyrlYHM6zNg0j2-gjXBkifLoumzpIWbPg3o6Bfw_FumN_v4aA2HRe-r3RNVvW7HgBpxw32l8yrgVXjcTOLKkJkqUa60myJELWKtrUnkyYPbi9PH0kFJGdOIU/s640/Tsuchiya_Toyo_UntitlGift_2003.jpg" width="640" /></a></h3>
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<span style="font-weight: normal;">Tsuchiya Toyo, Untitled, 2003 </span></div>
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For Asian Pacific Americans as well as
other ethnic communities, the Arts play a crucial role in developing an
identity, in reconfiguring values appropriate to the American context. The Arts transform the way in which we
understand and identify ourselves and the way others see and understand
us. </div>
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<span style="font-size: small;"><span lang="EN-US">Asian Pacific communities continue to live
an existence largely marginal to the mainstream. Modes of behavior, sentiments and feelings
not to mention language, are still regarded as outside of the mainstream. Portrayed as alien, and thus not a legitimate
part of the "polis", the civic order, such enclaves are often
described as exotic and part of another world.
Most individuals are left to make independent compromises to integrate
and reconcile different and contradictory aspects of their lives. American civic norms have made half hearted
allowances for cultural differences.
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<span style="font-size: small;"><span lang="EN-US">The creative act is an act of self
naming. It de-legitimates stereotypes,
false names, and is a self affirming act.
To become aware of the excitement
inherent in the creative act is to recognize the act of faith that it embodies
in identifying and affirming values.
Asian Pacific Americans must recognize this asset and lay claim to those
artists who take on the challenge to create Art which address these
issues. Asian Pacific Americans can
identify those tangible shapes and forms that become synonymous with Asian
Pacifics, our history, our traditions, and our outlook. </span></span></div>
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<span style="font-size: small;"><span lang="EN-US">The Arts of Asian Pacifics and other
diverse communities are a rejuvenating presence, a new and vital part of the
mainstream. We represent another
generation's interpretation of this nation's principles. The culture of Asian Pacifics and other
diverse cultures contribute to the mainstream cultural landscape by support for
the integration of the Arts into the sustaining issues and concerns of our
economy and our society. Asian Pacific
Americans take part in shaping America's culturally diverse future. </span></span></div>
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<span style="font-size: small;"><span lang="EN-US">In this issue, national policy issues
projected to the year 2020 are discussed.
In the area of Arts policy, in preparation for this year 2020, when
culturally diverse populations will approach a majority of the population, a
national program should be implemented to promote a cultural/artistic dialogue,
such that the gaps in understanding and communication between diverse peoples
and traditions that has existed for so long are overcome. Such a program would
prioritize diverse organizations and artists.
It would be based upon major initiatives to reverse the racial precepts
and exclusionary policies of preceding decades. It would recognize an American
covenant with difference is an important precondition for participation in an
interdependent world. With such a policy
in place, a national dialogue through the arts can ensue, which will be
instrumental in preparing our country for the America of 2020.</span></span></div>
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<span style="font-size: small;"><span lang="EN-US">ArtSpiral 93’ Editorial by Robert Lee </span></span></div>
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<span lang="EN-US"><span style="font-size: small;">May 1993 Intro to the exhibition</span><span style="mso-spacerun: yes;"><span style="font-size: small;"> </span></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">WE
COUNT ! THE STATE OF ASIAN PACIFIC AMERICA</span></b></h3>
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<span lang="EN-US"><span style="color: black; font-family: "palatino"; font-size: 10pt;"><a href="http://artasiamerica.org/documents/1105/71">http://artasiamerica.org/documents/1105/71</a></span></span><br />
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<span lang="EN-US"><span style="color: black; font-family: "palatino"; font-size: 10pt;"> </span></span><span style="font-size: small;">In May 1993, in commemoration of Asian
American Heritage Month, Asian American Arts Centre and the Mayor’s Office for
Asian Affairs in New York City mounted an exhibition entitled, “We Count! The
State of Asian Pacific America.” It was
held on May 10 to May 31, 1993 at the Tweed Gallery adjacent to the City Hall.</span></div>
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<span style="font-size: small;"><span lang="EN-US">This exhibition of contemporary art works
were selected to correspond to a survey of major issues of the Asian Pacific
American population in the United States with particular emphasis on New York
City. The issues, based on the book, The
State of Asian Pacific America: Policy
Issues to the Year 2020, recently published by LEAP Asian Pacific American
Public Policy Institute, will have major repercussions on Asian Pacific
Americans and on the development of the nation as a whole, particularly in the
area of race relations. The topics include Population Growth, Education and
Higher Education, Health and Mental Health, Arts, Cultural Preservation,
Immigration, Labor, Civil Rights, South Asian Refugees, Politics, Race
Relations, Affirmative Action, Language Rights, Women, and Media.</span></span></div>
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<span style="font-size: small;"><span lang="EN-US">This exhibition was the first of Asian
Pacific American artists mounted by the City of New York. The exhibition
featured artists of diverse Asian background—Bangladesh, Chinese, Filipino,
Indian, Japanese, Korean, Malaysian, Pacific Islander, Pakistani, Vietnamese,
Hapa (mixed ancestry), as well as two artists of Brazilian and Caucasian
background whose work and participation represent a message of welcome to all
supporters of Asian Pacific America.</span></span></div>
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<span style="font-size: small;"><span lang="EN-US">Each artist’s work represented the
presence, character and concerns of a respective Asian nationality. The issues discussed were linked to the
issues of cultural sensibility and change demonstrated by each artist’s
work. The exhibition suggested a
cultural framework to integrate the complex issues and dimensions of an Asian
presence in American society. In this
way, the Arts became a vehicle for the dialogue on public policy addressing the
general public as well as elected officials and community leaders in the Asian
Pacific American community. </span></span></div>
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<span style="font-size: small;"><span lang="EN-US">The exhibition was curated by Robert Lee,
Executive Director of the Arts Centre.
Lorinda Chen, former Asian American Outreach Specialist for the US
Census Bureau and currently with the Health and Hospitals Corp., summarized the
main issues and wrote those materials giving special attention to New York City</span></span><span lang="EN-US" style="font-family: "comic sans ms"; font-size: small; mso-bidi-font-family: "Comic Sans MS";"></span></div>
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<span style="font-size: large;"><span style="font-family: "times" , "times new roman" , serif;"><b><span lang="EN-US">BETRAYAL/Empowerment I </span></b></span></span></h3>
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<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><span lang="EN-US">April 1994</span></span></span></div>
</div>
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<span style="font-size: x-small;"><span style="font-family: "times" , "times new roman" , serif;"><span lang="EN-US"><a href="http://artasiamerica.org/documents/1623/109"><span style="color: black;">http://artasiamerica.org/documents/1623/109</span></a></span><span lang="EN-US" style="color: black;"> flyer,
</span></span></span></div>
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<span style="font-size: x-small;"><span style="font-family: "times" , "times new roman" , serif;"><span lang="EN-US" style="color: black;"></span><span lang="EN-US"><a href="http://artasiamerica.org/documents/6150/109"><span style="color: black;">http://artasiamerica.org/documents/6150/109</span></a></span><span lang="EN-US" style="color: black;"> press release.</span></span></span></div>
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<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><span lang="EN-US" style="line-height: 150%;">Asian American Arts Centre
and Columbia University’s Teachers College, Office of Continuing Professional
Education, presents “Betrayal/Empowerment I” from April 18 to May 4, 1994. This exhibition seeks to raise issues on the
current phase of the struggle for empowerment by reflecting on the works of
selected Asian American artists. It
includes artists who began their careers in the 1950's, the 1960's, the 1970's,
and the 1980's. These artists are of
diverse Asian background: Chinese, Indian, Japanese, Korean, Vietnamese and
Pacific Islander. The artists are: Arun Bose, Joseph Goto, Sang Nam Lee, Quynh
Nguyen, Lily Yeh, Junko Yoda, Toshihisa Yoda, Charles Yuen, and Sui Kang
Zhao. Together they represent the
diversity and sensibility of Asian American artists from the 1950's through the
1980's. </span></span></span></div>
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<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><span lang="EN-US" style="line-height: 150%;">It has been said that one of
the stories of Asians in America is a story of betrayal. Carlos Bulosan, a renowned Filipino novelist
wrote as early as 1938 of the condition of the pinoy (Filipino) as one of
betrayal. Richard Wright, the African
American novelist wrote of psychological siege as a normal state for persons of color. The Mind’s I, Parts I - IV exhibition at the
Arts Centre in 1987 concluded on this note.
The demand for empowerment responds to this condition. Now that diverse peoples have embarked on the
path of empowerment, it is appropriate to ask, what will restore our humanity
beyond empowerment? If we have access to
the race for power and, perhaps, to win it, is this clearly our aim or is the
race for power itself limited, even flawed?
In seeking a humanity beyond empowerment, artists from each generation
can recall for us cultural memories that, as Amalia Mesa Bains has said, "....allows us to assert our sense of
continuity against all odds". </span></span></span></div>
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<div style="text-align: center;">
Yuen Charles, Device for the Collection of Tears1990</div>
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<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><span lang="EN-US" style="line-height: 150%;"><br /></span></span></span>
<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><span lang="EN-US" style="line-height: 150%;">Arun Bose began his career
in Calcutta, India in the late 50’s, studying in Paris with Stanley Hayter in
1962, before coming to New York to establish a prominent printmaking facility
at Lehman College. Joseph Goto came from
Hawaii to study sculpture at the Art Institute of Chicago. In 1951 Alfred Barr of MOMA acquired one of
his sculptures. Joseph won a Graham Fd.
Award in 1957 and received numerous grants throughout his career. In the 1970’s Sang Nam Lee was a professional
artist in Korea before coming to New York in the early 80’s where he has pursued an art with explicit
spiritual intentions and strategies.
Quynh Nguyen from Vietnam, former professor of art at Columbia University
has written and lectured on art and philosophy in both English and
Vietnamese. Quynh began his career in
the early 1970’s, exhibiting in Vietnam and Germany before coming to New York
in the 80’s. Lily Yeh from Taiwan
learned Chinese brush painting at an early age before studying contemporary
painting in Philadelphia in 1960’s. She
has since established a community organization that has helped to renew an
entire neighborhood in the African American community of North Philadelphia. Toshihisa Yoda came to New York in the mid 1960’s to develop his
minimalist mode of painting. Junko Yoda exhibited in Tokyo before coming
to New York where she developed her special form of paper knotted collage.
Charles Yuen from Hawaii came to study art at Rutgers in the 1980’s and has
developed a mode of painting related to Middle Eastern miniatures. Sui Kang Zhao studied and exhibited in
Shanghai in the early to mid 80’s before
coming to San Francisco and New York to get his MFA. In the last few years he has developed his
sculptural wall units to interface with technological and linguistic
counterparts. </span></span></span></div>
<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;">
</span></span><br />
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</span></span><br />
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<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><span lang="EN-US" style="line-height: 150%;">This exhibition is curated
by Robert Lee, Executive Director of Asian American Arts Centre, a community
based arts organization celebrating its twentieth anniversary this year, whose
programs include contemporary art, performance/media, Chinese folk arts, arts
in education and cultural research. It
is based, in part, on an ongoing research project begun in 1986 entitled, “Asian
American Artists and their Milieu: 1945-1965”, that is supported by the
Rockefeller Foundation. It is held in
conjunction with an exhibition at the Asian American Arts Centre on 26 Bowery
entitled, “Betrayal/Empowerment II” encompassing artists who began their
careers primarily in the 1990’s. It is
being held from March 18 to April 30, 1994.</span></span></span></div>
<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;">
</span></span><br />
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<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><span lang="EN-US"><br /></span></span></span>
<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><span lang="EN-US">Notes:</span></span></span></div>
<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;">
</span></span><br />
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<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><span lang="EN-US">Do you know what a Filipino feels in America? I mean one who is aware of the intricate
forces of chaos? He is the loneliest
thing on earth. There is much to be
appreciated all about him, beauty, wealth, power, grandeur. But is he a part of these luxuries? He looks, poor man, through the fingers of
his eyes. He is enchained, damnably to
his race, his heritage. He is betrayed,
my friend. </span></span></span></div>
<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;">
</span></span><br />
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<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><span lang="EN-US">Carlos Bulosan, May 2, 1938 from
Selected Letters</span></span></span></div>
<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;">
</span></span><br />
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<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;">
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<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><span lang="EN-US" style="line-height: 150%;">Robert Lee</span></span></span></div>
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<h3 class="MsoNormal" style="text-align: center;">
<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><b>The Day and Night Transparent the 8th Day and Night - an artists talk 1998</b></span></span></h3>
<h3>
<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;">
</span></span></h3>
<div class="MsoNormalCxSpMiddle">
<div style="text-align: center;">
<span style="font-size: x-small;"><span style="font-family: "times" , "times new roman" , serif;"><span lang="EN-US"><a href="http://artasiamerica.org/documents/2807/45"><span style="color: black;">http://artasiamerica.org/documents/2807/45</span></a></span><span lang="EN-US" style="color: black;"> flyer,</span></span></span></div>
</div>
<span style="font-size: x-small;"><span style="font-family: "times" , "times new roman" , serif;">
</span></span><br />
<div class="MsoNormalCxSpMiddle">
<div style="text-align: center;">
<span style="font-size: x-small;"><span style="font-family: "times" , "times new roman" , serif;"><span lang="EN-US"><a href="http://artasiamerica.org/documents/2808/45"><span style="color: black;">http://artasiamerica.org/documents/2808/45</span></a></span><span lang="EN-US" style="color: black;"> press release.</span></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6_MXLDZ5h189T_GoQHVEf6QAJKnbSS8fQ__JFJYmKNJMFyQKOIYy-vMFRf-CYYWjEQg9rWi4QgZqKkkNF4MWsXdsYR7Sj_yvVVDdOs8tvZKfPdbBtMMTxTSA7Bt_KBpx1UdDZWOS4BmA/s1600/Screen+Shot+2020-01-29+at+6.19.35+PM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="324" data-original-width="500" height="412" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6_MXLDZ5h189T_GoQHVEf6QAJKnbSS8fQ__JFJYmKNJMFyQKOIYy-vMFRf-CYYWjEQg9rWi4QgZqKkkNF4MWsXdsYR7Sj_yvVVDdOs8tvZKfPdbBtMMTxTSA7Bt_KBpx1UdDZWOS4BmA/s640/Screen+Shot+2020-01-29+at+6.19.35+PM.png" width="640" /></a></div>
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<br /></div>
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<span style="font-family: "times" , "times new roman" , serif;">Does the flap of a butterfly wing in Tokyo affect a tornado in
Texas, or a thunder storm in New York?
Edward Lorenz, meteorologist, said yes.
This kind of thinking has been termed the non-linear character of the
world, and it has begun to account for such phenomena with new theories of
Chaos. This is where very small fluctuations
in a system can expand in effect and change profoundly the entire structure of
a system. </span></div>
</div>
<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;">
</span></span><br />
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<br /></div>
<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;">
</span></span><br />
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<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;">I am not an expert on Chaos theory but I know this is what we have
always sought to do in placing our attention and focus on Asian American Art at
a time when the idea that art could actually be 'Asian American' did not exist. In earlier times (1966-72) they were called
'Forerunners' and 'Artists in Exile'. In
starting to focus on them as 'Asian American' a whole new set of questions were
raised. For example, "If your Asian
American, then are you not American?" or If your Asian American, what does
that mean about me, who am I?" </span></span></div>
<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;">
</span></span><br />
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<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8DdTacTtBPVVWbbikX9wY9CXNwVqclBykN__6SkC8EkZoTp7vpEOg4fZ5qOpC8jt-YR6dO_jzMGLbDYWCR9CEofHfZUePHt68F0mE60ADBn6mQumRot50vfSoMbnT-0ntTlMiOQvS9AE/s1600/Screen+Shot+2020-01-29+at+4.22.53+PM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="671" data-original-width="496" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8DdTacTtBPVVWbbikX9wY9CXNwVqclBykN__6SkC8EkZoTp7vpEOg4fZ5qOpC8jt-YR6dO_jzMGLbDYWCR9CEofHfZUePHt68F0mE60ADBn6mQumRot50vfSoMbnT-0ntTlMiOQvS9AE/s400/Screen+Shot+2020-01-29+at+4.22.53+PM.png" width="295" /></a></div>
<br />
<span style="font-family: "times" , "times new roman" , serif;"> Eung Ho Park, Sperm Spoons, 1995</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">Today we see major magazines and exhibitions on the new Asian art
inclusive of Asian American artists.
Articles saying Asian American art is about 'tension', or new culture
study books that multiculturalism has become a trick of the mainstream to avoid
the contradictions and ambiguities inherent in the term. Luckily, artists do not read or take these
remarks to heart and continue to spin their art out of their own
meditations. The audience, however, can
be left in a tither, bewildered as to what to think, which expert to believe or
which book is the most up to date. We
suggest, that if you try hard, you can see and enjoy the art work, letting your
questions spin in their most inimical way, and be more like the artists
themselves, leaving experts to their own arguments. </span></div>
<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;">
</span></span><br />
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<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;">
</span></span><br />
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<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;">Of course there are real questions that Asian American art raises
that need to be resolved, and </span></span><br />
<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;">some of these questions will be touched on here </span></span><br />
<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;">tonight. Have no fear, that with more
evenings like tonite, we will come to understand these questions, given a
gradual growth of perspective. And the
commodification of knowledge need not interfere with our joy of art. </span></span></div>
<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;">
</span></span><br />
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<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;">
</span></span><br />
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<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;">Welcome to the flap of a few butterflies in New York.</span></span></div>
<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;">
</span></span><br />
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<br /></div>
<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;">
</span></span><br />
<div class="MsoNormal">
<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><span lang="EN-US">Robert Lee</span></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 14pt; letter-spacing: -0.5pt;">7lb. 9oz. :<span style="mso-spacerun: yes;"> </span>The
Reintegration of Tradition into Contemporary Art</span></b></h3>
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<span lang="EN-US" style="letter-spacing: -0.5pt;">An Art Exhibition held on March 26,
1999<span style="mso-spacerun: yes;"> </span></span><b style="mso-bidi-font-weight: normal;"><u><span lang="EN-US"></span></u></b><span lang="EN-US" style="letter-spacing: -0.5pt;"></span></div>
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<span lang="EN-US" style="letter-spacing: -0.5pt;">http://artasiamerica.org/documents/5161/177</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEDZtxfXwEpKO0ZE7uomZvGqF8HbSIQP_JV5i_gOao9fCI-0nxx7_wbSHfhyphenhyphenrZZDtylvYloQJvwxUt1MP44vlJIezilyW2g3QzOvtQWPqhl2H2F4C4pIj7DHbjug-x657sQrNnfwdVNPI/s1600/Screen+Shot+2020-01-29+at+6.19.25+PM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="330" data-original-width="499" height="420" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEDZtxfXwEpKO0ZE7uomZvGqF8HbSIQP_JV5i_gOao9fCI-0nxx7_wbSHfhyphenhyphenrZZDtylvYloQJvwxUt1MP44vlJIezilyW2g3QzOvtQWPqhl2H2F4C4pIj7DHbjug-x657sQrNnfwdVNPI/s640/Screen+Shot+2020-01-29+at+6.19.25+PM.png" width="640" /></a></div>
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<span lang="EN-US" style="font-size: small; letter-spacing: -0.5pt;">This exhibition is of four artists, </span><span lang="EN-US" style="font-size: small;">Yeong Gill Kim, Chee Wang Ng, Osami Tanaka, all of New York, and
Hisako Hibi of San Francisco. These artists are for the most part young artists
representing three different approaches, with Hibi representing artists of an
earlier generation who took a similar direction. The subtitle of this exhibition is taken from
a 1997 exhibition at the Arts Centre in which four Americans were
included. What all these artists have in
common is Asia as their point of departure.
Of these, Kim, Ng, Tanaka and Hibi have resolved what for some diverse
artists in the US is the conundrum of identity, by a renewed confidence in the
vitality of their Asian traditions. The
unbridgeable gap born of two seemingly irreconcilable cultures is spanned by
centering in the roots of one's historical origins.</span></div>
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<span style="font-size: small;"><b><span lang="EN-US">Chee Wang Ng </span></b><span lang="EN-US">is an award
winning designer and artist. His large
computer generated photographs, drawn from the wood block prints of traditional
Chinese folk conventions, reassert their forms and purposes. Technology here, does more than update a
traditional recognizable message. Ng
uses the 'exactly repeatable visual image', as a Western artifact, to eclipse
the notion of rationality. He does this
by pointing, unabashedly, to an Asian civilization's perennial
observations. Shorn of folk art's
naiveté, Ng uses 'rebus', a way of expressing words with objects whose names
resemble those words, to invoke an entire Asian outlook - Nature, mysticism (as
an un-mediated grasp of the universe), the I Ching classic, folk religion,
family events & family ties.
Proverbial motifs are made spiffy, with a social savvy that aims to
achieve rapport across racial lines. In his hands ethnicity and difference
become an asset. Feature articles on his
graphic designs have appeared in books and magazines such as Progressive
Architecture. A graduate of Rhode Island of Design in Architecture, he is
trilingual, born and raised in the multiracial milieu of Malaysia. </span></span></div>
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<span style="font-size: small;"><b><span lang="EN-US">Yeong Gill Kim </span></b><span lang="EN-US">saw the transition in Korea from a feudal society to a modern
country and the confusion it brought to the people. By 1995 he had given up purely contemporary
idioms and returned to materials and ideas that had inspired so much of Asia's
painterly traditions. The complexity of
his brush work on muslin has attained a clarity and simplicity. He has found a freedom there, a capacity for
an openness that could encompass the ambiguity of the multiple dimensions of
our current cultural context. By growing
what Asia has and seeing how its ideas can apply in this context, he has come
to terms with contemporary times. For
Kim the past cannot be forgotten. It
cannot be dwarfed. He brings a trust and
faith to his work and asks us to do likewise.
He knows mind intuits itself in silent empty space. In taking a positive affirming stance, free
from generic definitive claims, he has enlarged an Asian artistic tradition and
made it spacious.</span></span></div>
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<span style="font-size: small;"><b><span lang="EN-US">Hisako Hibi </span></b><span lang="EN-US">was born in
Kyoto in 1907, and died in San Francisco in 1991. She came to the United States at the age of
thirteen, and studied art at the San Francisco Art Institute. She married Matsusaburo George Hibi, who was
also an artist, was interned with their children in the Topaz Internment Camp
during World War II, and when her husband died soon there after, she raised her
children herself. She moved her family
from New York to San Francisco where she lived until her passing. She developed a way of painting based on
landscape that was diffuse in space.
Like Xu Bing's Book from the Sky, she eliminated the underlying
structure of her landscapes and was left only with air. She believed strongly in her art, and her
compassion brought her to reflect that everything begins by changing yourself
first rather than the world. Hibi has
been included in this exhibition to exemplify the works of earlier generations
of artists, e.g. Wucius Wong, now in Hong Kong and Zao Wu Ki in France, who can
also be mentioned as taking this path.
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<span style="font-size: small;"><b><span lang="EN-US">Osami Tanaka </span></b><span lang="EN-US">came to New
York in 1981 after receiving a traditional Japanese carving education where he
even learned to make his own chisels and wood carving tools. He attended the New York Studio School and
received many exhibitions in New York, Maryland and Boston. Reviews of his work emphasize his minimalism
and his interest in the voice of the materials. However, his interest is not in
minimalism nor even in form per se. His
use of railroad ties lie or stand next to their duplicate in solid wax. Form does have its 'thereness', but it is its
weight that counts. One of them he made
to equal his exact weight. Another was
the weight of his son at birth. Others,
the weight of his friend's children. The
mundane character of this simple nearly invisible adjustment bespeaks a virtue
that in its own way, is not devoid of heroism. In avoiding all traces of
reification, even explicit traces of "art", he has found a way to be
Japanese within the United States. </span></span></div>
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Yeong Gill Kim, YG 0805 acrylic paint canvas</div>
<br />
<span style="font-size: small;">Ng, Kim, Hibi
and Tanaka assert the Asian presence of difference. Difference can be embraced, like the sun that
simply rises and radiates, ideally giving all life energy. Ethnicity is neither conservative, closed,
nor traditional, it is dynamically changing in the contemporary world and
capable of creating new forms. These
artists do not give themselves up to mass perceptions. They keep their distinctiveness.</span></div>
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<span style="font-size: small;"><span lang="EN-US">The motives for
contemporary art now come from other traditions, other contexts, and their
needs, what propels them are different from Western domestic fervors. These artists demonstrate that contemporary
art in America need not be founded on the historical experience of the West,
nor on claims of the predominance of global technology and democratic material
opportunity. Their art poses an enhanced
logic, informed by an affirming temper.
As such they suggest diverse people, including Asian Americans, put
aside superficial American mannerisms, put aside the loyal Left's limited
sensibility of resistance and assume the responsibility of a re-envisioned,
diverse center.</span></span></div>
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<span style="font-size: small;"><span lang="EN-US">Rather than the
ironies of appearance and identity, Ng, Kim, Hibi and Tanaka have chosen to
express the stability and coherence attainable by choosing an inner way of
seeing oneself. Tanaka points to it
tangibly in substance. Ng finds it in
the folk practices derived from folk religion.
Such knowledge comes from intuition, for Kim and Hibi, from silent empty
space. This is a notion that is at the
heart of every religion, at its primordial mystical core. The role of silence or, it could be termed,
the work of silence in the public arena, is part of a re-envisioned center. </span></span></div>
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<span style="font-size: small;"><span lang="EN-US">In early 1996,
before he left the Senate, Bill Bradley suggested that the ethics of three
sectors of American life were different and should not be confused. The frenetic competitive marketplace and the
fair deliberative processes of democracy should not forget their dependence on
the civic sector where a belief in cooperation and giving freely without
expectation of return is fundamental to society. A forth sector, of some value for diverse
people to recognize, is the process of silence.
Silence is not the best term to use, particularly for some diverse
groups, however, it points to what cultures share in their spirituality without
raising their separate characteristics.
The three sectors that describe American life may have omitted their
dependence on the forth. Their roles in
the public arena cannot do their work without a mindfulness of the larger
silence, and the great diversity of beliefs this republic has yet to
encompass. The three sectors of society
has just begun to debate the eclipse of the Enlightenment and the need to move
away from the belief in the myth of rational progress. Did not Joseph Campbell say we needed a new
myth? Incremental steps towards this in
America is not without its ethnic dimension.
This is where a re-envisioned center begins. </span></span></div>
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<span style="font-size: small;"><span lang="EN-US">The study of
Asian American art begins with the recognition of diverse people, clarifying
the cultural, ethical, and political issues at work. Here, the relationship between the public
sphere's civic responsibilities and the private/personal sphere points to the
significance of these artists' works in the development of diversity in
America. Ng, Kim, Hibi and Tanaka have
chosen this direction recently as young artists. Hibi took this direction in the post war
years. This is their choice, it has not
been inherited without question, and that has made all the difference. It is OK to be Asian in America. Said simply, this is the path they have
taken. It is not the choice every Asian
American artist will make, nor do I suggest it should be. However, it bears the blessings of the Asian past,
and there are some artists who want that. </span></span></div>
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<span style="font-size: small;"><span lang="EN-US">Artists make
this path accessible. It is within the
power of artists to do this. The West
has created so many objects to establish the assumption of their material
world, Asian Americans need their artists'
creations, concepts, and processes to establish a non-material dimension. Ng, Kim, Hibi and Tanaka's works are not
consumables, still through their circulation in society they will further the
economy as art, as practical evocation objects.
Asian art in America seeks to generate a new audience, a fashion for
rice and rebus, a new appreciation for the emptiness of vast landscapes to
meditate upon, and a sense for the weighty presence of formless form come to
the fore.</span></span></div>
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<span style="font-size: small;"><span lang="EN-US">Robert Lee</span></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: black; font-family: "palatino"; font-size: 11pt;"><span style="font-size: large;">Yoshiki Araki: Hiroshima Born</span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"></span></span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: black; font-family: "palatino"; font-size: 11pt;"></span></b></h3>
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<span lang="EN-US" style="color: black; font-family: "palatino"; font-size: 10pt;">July
7 – August 11, 2006</span></div>
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<span lang="EN-US"><a href="http://artasiamerica.org/documents/2428/75"><span style="color: black; font-family: "palatino"; font-size: 8pt;">http://artasiamerica.org/documents/2428/75</span></a></span><span lang="EN-US" style="color: black; font-family: "palatino"; font-size: 8pt;"> flyer,</span></div>
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<span lang="EN-US"><a href="http://artasiamerica.org/documents/2431/75"><span style="color: black; font-family: "palatino"; font-size: 8pt;">http://artasiamerica.org/documents/2431/75</span></a></span><span lang="EN-US" style="color: black; font-family: "palatino"; font-size: 8pt;"> review.</span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: black; font-family: "times new roman"; mso-fareast-font-family: Cambria;">Yoshiki Araki: Hiroshima Born</span></b></div>
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<span style="font-size: small;"><span lang="EN-US" style="font-family: "times new roman";">Yoshiki
Araki was born in March of 1950 in Hiroshima.
Raised by his mom in Kuri, he did not see his dad much, who had served
in the navy during the war, rising to the position of Rear Admiral in the
Defense Department. To nearby islands he
could swim to pick watermelons or see rocks dressed as people. Theirs was
similar to an old “Samurai” family. When
the bomb fell in Hiroshima his grandfather was there. The next day his mother, then a young girl,
went into what was left of the city to search through the devastation for
him. She never found him. </span></span></div>
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<span style="font-size: small;"><span lang="EN-US" style="color: black; font-family: "times new roman"; mso-fareast-font-family: Cambria;">As a young man Yoshiki studied
with a folk </span><span lang="EN-US" style="font-family: "times new roman"; mso-fareast-font-family: Cambria;">master of layered opaque watercolor
illustration for a few years in a small fishing village in Hokkaido. Wanting <span style="color: black;">to come to
the US of A</span> he saved for a year by<span style="color: black;"> working a
jackhammer in a mine. He then spent it
all in a month in fun. Yoshiki did make
it to New York in 1974 studying at the Art Students League, living on Amsterdam
Ave, in Harlem and later on Presidents Street in Brooklyn.</span></span><span lang="EN-US" style="font-family: "geneva"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: Cambria;"> </span><span lang="EN-US" style="font-family: "times new roman"; mso-fareast-font-family: Cambria;">This is
where he could lose himself in books, especially Japanese detective novels<span style="color: black;">. He performed in the </span>Tibetan Singing Bowl Ensemble
in the late 80s/early 90s, traveling with them to perform in Hiroshima. <span style="color: black;"></span></span></span></div>
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<span style="font-size: small;"><span lang="EN-US" style="font-family: "times new roman";">His
paintings became larger in the mid 80s, when he confronted his ties to
Hiroshima, and then his surfaces began to be covered by black tar. Cans, bones, cages and/or tree branches
could be taped there with eggs or lemons or sheet metal. Later paraffin wax became part of his work
with an exacting form of photo collage.
Finely constructed small flat boxes filled with wax surrounded a central
surface with a painted collage image.
Body parts in surreal configurations often populate this small stage painted
dark, at times with a horizon in yellow. Large standing railroad ties became
his sculpture, topped with wax and long protruding bones splayed. In the late 90’s Araki prepared to produce
hundreds of wax boxes, filling the basement below his large studio with
materials he had crafted ready to go. </span></span></div>
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</span><br />
<div class="MsoBodyText">
<br /></div>
<span style="font-size: small;">
</span><br />
<div class="MsoBodyText">
<span style="font-size: small;"><span lang="EN-US" style="font-family: "times new roman";">Then
in mid 2000 circumstances changed, forcing him from his home and studio. In his search for a place to live and work,
there was the possibility of having to leave NY after so years in the US. Under
the pressure of landlord harassment, the stress and tension of trying to find a
new space to accommodate so much that he had gathered and planned, these
factors had an impact on his health. Late that year Araki became ill and had to
be hospitalized. He died shortly thereafter. </span></span></div>
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<span style="font-size: small;">
</span><br />
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi11WjbpRYF2yTO7Ao7zKca4KrZH8ZUIUsual91XckMkFcKXxCRbSUxAZucbRF47XIPFyaPhmeNVpevabvx-oKhJjsNASXeI9A8M4hPoslwMrfEJNNPxBElxIwdsmaTX-vBz3DoeKysVhw/s1600/58.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="911" height="561" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi11WjbpRYF2yTO7Ao7zKca4KrZH8ZUIUsual91XckMkFcKXxCRbSUxAZucbRF47XIPFyaPhmeNVpevabvx-oKhJjsNASXeI9A8M4hPoslwMrfEJNNPxBElxIwdsmaTX-vBz3DoeKysVhw/s640/58.jpg" width="640" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: black; font-family: "times new roman";">Yoshiki Araki, Mother & Son, 1985</span></span></div>
<span style="font-size: small;"><span lang="EN-US" style="color: black; font-family: "times new roman"; mso-fareast-font-family: Cambria;"><br /></span></span>
<span style="font-size: small;"><span lang="EN-US" style="color: black; font-family: "times new roman"; mso-fareast-font-family: Cambria;">In the body of work that was saved
by his wife and friends, Araki’s evolution as an artist can be seen. The profound impact of Hiroshima on his
psyche, how this resolved for him and where it led him to produce the kind of
haunting imagery that remains his legacy to us.
Artists who have seen war, can go beyond the human form, violate it, no
longer afraid, as he seemed to do, slicing open his own torso, gathering the
grammar of his visual parts, cut clean, till bones emerge and a blossom
gut. A deep sea of translucent wax
protects us, the salve of ritual confines the enigma. </span></span></div>
<span style="font-size: small;">
</span><br />
<div class="MsoNormal">
<br /></div>
<span style="font-size: small;">
</span><br />
<div class="MsoNormal">
<span style="font-size: small;"><span lang="EN-US" style="font-family: "times new roman"; mso-fareast-font-family: Cambria;">We have been taught to tolerate violence, to
look past its pain, especially when its surgical and meant for positive
outcomes. The consequences of military
action is ‘good’, the collateral damage to people is to be ‘tolerated’, at
least until it can be put aside and forgotten.
Like a newspaper image. So many
realities are not faced because of this kind of skillful practice. The bomb is one of these. </span></span></div>
<span style="font-size: small;">
</span><br />
<div class="MsoNormal">
<br /></div>
<span style="font-size: small;">
</span><br />
<div class="MsoNormal">
<span style="font-size: small;"><span lang="EN-US" style="font-family: "times new roman"; mso-fareast-font-family: Cambria;">Araki chose a different path. His art and his life hold a logic contrary to
so much of what is current and acceptable.
His work reveals our subliminal attraction to violence. It connects us to past eras when the fantasy
fodder that cushion us today was not possible,</span></span></div>
<span style="font-size: small;">
</span><br />
<div class="MsoBodyText">
<span style="font-size: small;"><span color="windowtext" lang="EN-US" style="font-family: "times new roman";">was undreamt. Araki has made the undisclosed underbelly of
society into an art transparent. He
exposes social convention to its own undoing. Araki came to this turn in his
art, a mode of art making that took hold in the last ten years of his life. He knew, like others, a Kafka-esque world
lies just beneath the surface. To face
it is to live with what humanity is capable of, to re-consider our human
limits, as he did. Araki, however, was
on his way to coming out the other side, despite the pain, restored, a human
being. </span></span></div>
<span style="font-size: small;">
</span><br />
<div class="MsoNormal">
<br /></div>
<span style="font-size: small;">
</span><br />
<div class="MsoNormal">
<span style="font-size: small;"><span lang="EN-US" style="color: black; font-family: "times new roman"; mso-fareast-font-family: Cambria;">From Hiroshima a reconciliation
still awaits us, and may be possible, as Araki has shown, perhaps on terms
unexpected. </span></span></div>
<span style="font-size: small;">
</span><br />
<div class="MsoBodyText3">
<span style="font-size: small;"><span lang="EN-US" style="font-family: "times new roman";">Robert
Lee</span></span><br />
<br />
<br />
<br />
<br />
<div class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-size: 14pt;">AND HE WAS LOOKING FOR ASIA:</span></b><span lang="EN-US" style="font-size: 14pt;"><span style="mso-spacerun: yes;">
</span>Alternatives to the Story of Christopher Columbus Today</span></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaob75ND9xJBRguvqXpfnFMq0wv-TlU5G4syFr0VTtJUxllcw3QO7Jc6QiMVDo-EQfRO4XD-0zS4n8LkwOVqGBqHnx-MFntMiCmIVH1338cO-JlISQUtix8iPcHPQ39uYK0JsrBZjC3YU/s1600/Screen+Shot+2020-01-29+at+6.19.56+PM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="319" data-original-width="496" height="409" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaob75ND9xJBRguvqXpfnFMq0wv-TlU5G4syFr0VTtJUxllcw3QO7Jc6QiMVDo-EQfRO4XD-0zS4n8LkwOVqGBqHnx-MFntMiCmIVH1338cO-JlISQUtix8iPcHPQ39uYK0JsrBZjC3YU/s640/Screen+Shot+2020-01-29+at+6.19.56+PM.png" width="640" /></a></div>
<br />
<span style="font-size: small;"><span lang="EN-US" style="font-family: "times new roman";">
</span></span><br />
<div class="MsoBodyText">
<span style="font-size: small;"><span color="windowtext" lang="EN-US" style="font-family: "times new roman";">An exhibition exploring the Migration Period, a neglected era
in European history. September 1992</span></span><br />
<span style="font-size: small;"><span color="windowtext" lang="EN-US" style="font-family: "times new roman";"><br /></span></span></div>
<span style="font-size: small;">
</span><br />
<div class="MsoBodyText">
<span style="font-size: small;"><span color="windowtext" lang="EN-US" style="font-family: "times new roman";">A story that has haunted me for years, is the link between
Asia and the West. But it did not begin to come together for me until I learned
about the art of the so called 'Migration Peoples'. After so many years,
fragments remain hopelessly scattered over vast stretches of history and
language. Without the artifacts to meticulously piece these together, how can I
relate to you a story so fugitive? But I dare not delay further, to leave in
the hands of professional historians, a tale that has been ignored and denied
in the West for so long.</span></span><br />
<span style="font-size: small;"><span color="windowtext" lang="EN-US" style="font-family: "times new roman";"><br /></span></span></div>
<span style="font-size: small;">
</span><br />
<div class="MsoBodyText">
<span style="font-size: small;"><span color="windowtext" lang="EN-US" style="font-family: "times new roman";">Briefly: The master narrative of Western history, of European
history is missing a major component - the Migration Peoples who settled through
much of Europe, has remained central to its story. Who were these diverse
nomadic peoples….?</span></span><br />
<span style="font-size: small;"><span color="windowtext" lang="EN-US" style="font-family: "times new roman";"><br /></span></span></div>
<span style="font-size: small;">
</span><br />
<div class="MsoBodyText">
<span style="font-size: small;"><span color="windowtext" lang="EN-US" style="font-family: "times new roman";">In the so called Dark Ages - what historian Michael Wood on
PBS describes as the "barbarian becomes the Roman, forming the 'Barbarian
West'". Goths, Visigoths, Merovingians, Avars, Huns, migration peoples of
the 2ed to the 6th Century whose oral traditions and animism were suppressed by
the literary traditions and religion of the Mediterranian. Venerable Bead in
the 8th C. taught that the peoples of the Barbarian West were chosen Christian
heirs of the Roman Empire destined to lead humanity to the City of God.</span></span><br />
<span style="font-size: small;"><span color="windowtext" lang="EN-US" style="font-family: "times new roman";"><br /></span></span></div>
<span style="font-size: small;">
</span><br />
<div class="MsoBodyText">
<span style="font-size: small;"><span color="windowtext" lang="EN-US" style="font-family: "times new roman";">The art of polychrome fibula pins, the only remains today of
the original traditions of the migration peoples. Picasso's bull is identical
to migration peoples art. “Christopher Columbus wore a round fibula pin with
studded semi precious stones worked with interlacery”, ...perhaps, yes say
perhaps... </span></span><br />
<span style="font-size: small;"><span color="windowtext" lang="EN-US" style="font-family: "times new roman";"><br /></span></span></div>
<span style="font-size: small;">
</span><br />
<div class="MsoBodyText">
<span style="font-size: small;"><span color="windowtext" lang="EN-US" style="font-family: "times new roman";">In looking for Asia, the myths and perceptions of Asia were
foremost: the Tree of Life motif, the fountain of youth, El Dorado, Hawaii’s
paradise, Hitler's Valhalla, temple of racial purity. Midst all this how did
East-West become polar opposites? if in deep history there was contact and
interest in Asia then there are cultural ties we live with yet to be discovered,
their implications yet to be unraveled.</span></span></div>
<span style="font-size: small;">
</span><br />
<div class="MsoBodyText">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwgZRT5wJNzJTddHBgH0OyCI8FhvpDyIP-pR_aumFEAFwWNTdXfCYvcMV5bZ8gB4N7Dh2cSX2OzNGtb3h49T4Z34k_3HMb-u6hvokZu0ZLoiQBplwehKAFKGNFppoLrINq-PauRQ2regg/s1600/JorgeTacla_LookingForAsia.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="413" data-original-width="500" height="528" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwgZRT5wJNzJTddHBgH0OyCI8FhvpDyIP-pR_aumFEAFwWNTdXfCYvcMV5bZ8gB4N7Dh2cSX2OzNGtb3h49T4Z34k_3HMb-u6hvokZu0ZLoiQBplwehKAFKGNFppoLrINq-PauRQ2regg/s640/JorgeTacla_LookingForAsia.jpg" width="640" /></a></div>
<br />
<span style="font-family: "times new roman";"> Jorge Tacla, Study on One Transformation Oil on Jute 1991</span><br />
<span style="font-family: "times new roman";">
</span></div>
<div class="MsoBodyText">
<span style="font-family: "times new roman";"><br /></span></div>
<div class="MsoBodyText">
<span style="font-family: "times new roman"; font-size: small;">“To fight the good fight is all that ennobles us, and gives
us finally our triumph over this mortal coil.” How often have you heard Capt.
Kirk or Shakespeare say this? Are not the ethics and traditions of battle in
every moment of our Western lives, to push us beyond our limits. A key image of
our nomadic heritage: the open road. As the first former President Bush once
termed it, “We’re not done yet!”.</span></div>
<div class="MsoBodyText">
<span style="font-family: "times new roman"; font-size: small;"><br /></span></div>
<span style="font-size: small;">
</span><br />
<div class="MsoBodyText">
<span style="font-size: small;"><span color="windowtext" lang="EN-US" style="font-family: "times new roman";">Vaclav Havel, Feb. 4, 1992 in the NYT: "The fall of
Communism can be regarded as a sign that modern thought - based on the premise
that the world is objectively knowable, and that the knowledge so obtained can
be absolutely generalized - has come to a final crisis. We are looking for an
objective way out of the crisis of objectivity.... Things must once more be
given a chance to present themselves as they are, to be perceived in their
individuality. We must see the pluralism of the world, and not bind it by
seeking common denominators or reducing everything to a single common equation.
Soul, individual spirituality, first-hand personal insight into things; the
courage to be oneself and go the way one's conscience points, humility in the
face of the mysterious Order of Being, confidence in its natural direction and,
above all, trust in one's own subjectivity as the principal link with the
subjectivity of the world - these are the qualities that ...the future should
cultivate."</span></span><br />
<span style="font-size: small;"><span color="windowtext" lang="EN-US" style="font-family: "times new roman";"><br /></span></span></div>
<span style="font-size: small;">
</span><br />
<div class="MsoBodyText">
<span style="font-size: small;"><span color="windowtext" lang="EN-US" style="font-family: "times new roman";">“I suddenly realized that the molecules in my body, and the
molecules in the spacecraft and in my partners bodies were manufactured in …
the furnaces of stars. Suddenly those were my molecules, not intellectually but
viscerally.” (He points to his heart. Samadhi). <a href="https://ultraculture.org/blog/2014/06/02/astronauts-spiritual-experiences/" target="_blank"><span color="windowtext" style="text-decoration: none; text-underline: none;">The late Edgar Mitchell, astronaut.</span></a></span></span></div>
<span style="font-size: small;">
</span><br />
<div class="MsoBodyText">
<span style="font-size: small;"><span color="windowtext" lang="EN-US" style="font-family: "times new roman";">Robert Lee </span></span></div>
<span style="font-size: small;">
</span><span style="font-size: small;"><span lang="EN-US" style="font-family: "times new roman";"><style>
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{page:WordSection1;}</style>Asian American Arts Centrehttp://www.blogger.com/profile/10345950479257212004noreply@blogger.com3tag:blogger.com,1999:blog-8095004976727046060.post-5010610658095754172019-08-12T17:41:00.001-04:002019-08-13T15:19:37.777-04:00The Asian American Arts Centre: Its History 1974-2002<b><span style="font-family: "times" , "times new roman" , serif; font-size: large;">Setting the Context…</span></b><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><br /></span><span style="font-family: "times" , "times new roman" , serif;"></span><span style="font-family: "times" , "times new roman" , serif;">AAAC has decided this summer (of 2019) to revisit an essay by independent writer, Yo Park (Young Park) in June of 2002. It was written for the AAAC Story Exhibition (May 23- July 13, 2002) and NYU Conference - The Players: Asian American Arts, During this time, the Centre did not have the funding to hire an editor, and as a result this paper was put on hold. This paper mentions how the Centre was experiencing a cut in funding from our local community supporter. This was due to the Centre was becoming a citywide known organization after the media recognition of the CHINA: June 4, 1989 show and thus less eligible to receive the grant. </span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><br /></span><span style="font-family: "times" , "times new roman" , serif;">Since this paper was written, the LMDC (Lower Manhattan Development Corporation) grant came in 2007 to develop <a href="http://artasiamerica.org/home"><span style="color: #3d85c6;">artasiamerica</span></a>, AAAC’s free online archive. In 2009, the AAAC lost the struggle to keep its 26 Bowery space, our home, performance and gallery since 1976. Now, the AAAC has shifted its goal from becoming a museum into finding new homes for the permanent collection.</span> <span style="font-family: "times" , "times new roman" , serif;">This paper is important as it marks AAAC in 2002 and all that the Centre has accomplished; including its work in Folk Arts, in Asian American dance, in countless exhibitions and advocacy for community life. It was also the first to mention the relation of Godzilla to AAAC and how it emerged. While this paper has been put to the side, the Centre still holds value to all that is mentioned and thanks Yo Park for writing this back in 2002.</span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><br /></span><span style="font-family: "times" , "times new roman" , serif;">Following the paper will be a few images throughout the years including images taken after this paper was originally written. </span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"></span><span style="font-family: "times" , "times new roman" , serif;"></span><span style="font-family: "times" , "times new roman" , serif; font-size: large;">The Asian American Arts Centre: Its History 1974-2002</span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;"></span><span style="font-family: "times" , "times new roman" , serif; font-size: large;">by Young Park, 2002</span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;"></span><span style="font-family: "times" , "times new roman" , serif; font-size: large;">Edited by Maxine Bell</span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: large;"></span><span style="font-size: large;"><b>Introduction </b></span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><br /></span><span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: large;"><b></b></span><span style="font-size: large;"><b></b></span>After almost three decades of running an arts organization for the </span><span style="font-family: "times" , "times new roman" , serif;">Asian American community, a reflection of Robert Lee, Director of the Asian American Arts Centre, is, "Yes, it is okay to be an Asian-identified artist in America. It is not the choice every Asian American artist will make, nor do I suggest it should be. However, it bears the blessings of the Asian past, and there are many artists who want that." Lee’s reassuring spirit and the voice of confidence from which he speaks reveals that he has learned, through many the challenges and adversities, how to masterfully relinquish all the psychologically discouraging elements to move ahead with human dignity and integrity. As it celebrates its 28th anniversary, the Asian American Arts Centre’s struggles and triumphs offer lessons and inspiration, specifically for “minority” organizations, but no less for others whose place in the cultural fabric of America is a continuous process of careful re-weaving.</span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><b><br /></b></span><span style="font-family: "times" , "times new roman" , serif;"></span><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><b>Overview</b></span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><br /></span><span style="font-family: "times" , "times new roman" , serif;"></span><span style="font-family: "times" , "times new roman" , serif;">Since it was founded in 1974, the Asian American Arts Centre has existed in Chinatown as a community cultural site, introducing and presenting traditional arts and cultures through contemporary performance, hosting exhibitions, and engaging in public education, offering a rare synthesis of Western and Asian art forms. </span><span style="font-family: "times" , "times new roman" , serif;"></span><span style="font-family: "times" , "times new roman" , serif;">For more than two decades before the current multicultural and global era arrived, the AAAC focused on resisting the many barriers in place to neglect “ethnic” artists’ access to cultural and social opportunities. The Arts Centre embraced artists within the large Asian and Asian American diaspora, who were not able to find other ways to enter the art world in the United States, primarily by providing an exhibition space for them to release their artistic desire and aspiration. It was not an easy task to support and advocate for a minority art community for non-profit purposes, especially at a time when mainstream art organizations were structured for social, cultural, and economic systems that rarely allowed any accessibility for ethnic communities. </span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><br /></span><span style="font-family: "times" , "times new roman" , serif;"></span><span style="font-family: "times" , "times new roman" , serif;">In spite of such difficulties, in the years since its inception, the highly motivated spirit present at the beginning changed into a staunch regularity, and the struggle and anguished frustration was then transformed into an experienced readiness. Through all these changes, the Asian American Arts Centre never stopped focusing on advocating Asian American Art. </span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><br /></span><span style="font-family: "times" , "times new roman" , serif;"></span><span style="font-family: "times" , "times new roman" , serif;"></span><span style="font-family: "times" , "times new roman" , serif;">Being such a pioneering place for those of an Asian identity, the AAAC’s first two decades, was, in some ways, limited in that it had to mostly focus on helping Asian American artists express their anger and anguished confusion against the unfairness of the American cultural and social system. Since the mid 1990’s, however, as the international cultural climate towards ethnic cultures changed in a favorable direction, the recognition of cultural difference emerged as a new unifying ethos in American society as well as for the whole world. Along with this process, the programming direction of the Centre slowly changed from a one-sided critical and victimized stance, to a mutually encouraging and supporting position between all peoples, in order to aid the development of a better human perspective. </span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><br /></span><span style="font-family: "times" , "times new roman" , serif;"></span><span style="font-family: "times" , "times new roman" , serif;">Influenced by current theory regarding cultural diversity now prominent in the field of cultural studies, AAAC’s mission has developed from a general effort to promote Asian American cultural growth, to highlighting its historical and aesthetic linkage to other communities by specifically and strategically raising color consciousness among people as a public ethic. </span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><br /></span><span style="font-family: "times" , "times new roman" , serif;"></span><span style="font-family: "times" , "times new roman" , serif;">The AAAC’s work has brought to the Centre a number of ethnically Asian artists of a new generation, who exhibit a wide variety of different imaginations and creative capacities, which reflect changing global aesthetics. In this process, the existence of the Asian American Arts Centre and its contribution to the New York art world has begun to be recognized and covered by major news media. </span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><br /></span><span style="font-family: "times" , "times new roman" , serif;"></span><span style="font-family: "times" , "times new roman" , serif;">AAAC has emerged again at the forefront of Asian American art, pushing the issue of identity to a new level of inclusion and leading the way as a space that, in the words of Robert Lee, overcomes “a limited sensibility of resistance, and assumes the responsibility of a re-envisioned, diverse center.” It is out of strength that Asian art will find its place in our new global society.</span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: large;"><b><br /></b></span></span><span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: large;"><b></b></span><span style="font-size: large;"><b>The Early History of the Asian American Arts Centre: </b></span></span><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><b>The Asian American Dance Theater (AADT) and the Asian Arts Institute (AAI)</b></span><span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: large;"><b></b></span></span></span><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEvHB336dZtIS_P_O5nCAEIwwBXZNAssNwx1dRbg6th6LdGeA_RO7Nb4UDG4YBv6Y23QSTXi7zQzNYSY5FFY7OppHwaHW1injFX5RpZaPxyCAayQas8OchOukTPGI2R1lwRLRjQB49mFI/s1600/eleanordance.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="color: black; font-family: "times" , "times new roman" , serif;"><img border="0" data-original-height="1500" data-original-width="1173" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEvHB336dZtIS_P_O5nCAEIwwBXZNAssNwx1dRbg6th6LdGeA_RO7Nb4UDG4YBv6Y23QSTXi7zQzNYSY5FFY7OppHwaHW1injFX5RpZaPxyCAayQas8OchOukTPGI2R1lwRLRjQB49mFI/s400/eleanordance.jpeg" width="312" /></span></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px; text-align: center;"><span style="font-family: "times" , "times new roman" , serif;">Vivian Chen and Eleanor Yung performing at Identification is Progress #2 (ID2), 1977. Taken by Tom Yahashi. Choreographed by Eleanor Yung and brother Danny Yung. Both Eleanor and Danny were involved in performance before founding AADT. </span></td></tr>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: small;">It was not until 1987 that AAAC had its present name. Eleanor S. Yung, a performer, choreograp</span><span style="font-size: small;">her and educator, under the name of the Asian American Dance Theater, founded AAAC in 1974. AADT was a not-for-profit organization, which promoted Asian and Asian-influenced traditional and contemporary dance, expressing the variety of heritages from Asia and building on traditional dance forms. With a background in Chinese classical dance, western ballet, and American modern dance, Yung had pursued an ongoing program of cross-cultural art in contemporary life. Yung applied Asian traditional elements in form, story, rhythm and sensibility, synthesized with the sweep and structural rigor of American modern dance. The traditional dances of India, Bali, China, Indonesia, Korea, Japan and the Philippines were combined with contemporary dances inspired by Asian themes.</span></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><br /></span><span style="font-family: "times" , "times new roman" , serif;">AADT nurtured Asian and Asian American choreographers and performers extensively through presenting series in the United States in settings ranging from concert stages in colleges to outdoor festivals. It became a focal point for the majority of Asian dance masters who came to the dance capitol of New York. Around 1987, it was widely recognized that Yung was instrumental in bridging a traditional repertoire featuring folk and classical dances from Asia and a contemporary repertoire that evokes Asian forms and sensibilities. This small experimental group in New York’s Chinatown had become a nationally acclaimed group of young adults proclaiming their Asian cultures through traditional and contemporary dance. Yung’s signature piece “Passage” received high acclaim, and her choreography is collected on video at the Lincoln Center Library for the Performing Arts in New York City.</span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaPkoy-3E8stDSfLTTyND0CKjW5Ji17IgfCpu2E54h4NNFdOhgrCiOLmwBE0-PsQ8WhYpa-FXlAA8FUbVMm1APWroVzeHq7_sZCgJRfcFBQWLHbW-U7YEHjQMp9G-MFyTPG6TcbgudCD8/s1600/AADTs.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="color: black; font-family: "times" , "times new roman" , serif;"><img border="0" data-original-height="397" data-original-width="177" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaPkoy-3E8stDSfLTTyND0CKjW5Ji17IgfCpu2E54h4NNFdOhgrCiOLmwBE0-PsQ8WhYpa-FXlAA8FUbVMm1APWroVzeHq7_sZCgJRfcFBQWLHbW-U7YEHjQMp9G-MFyTPG6TcbgudCD8/s400/AADTs.jpg" width="177" /></span></a></td></tr>
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<span style="font-family: "times" , "times new roman" , serif;">Eleanor Yung performs "Sheng Sheng Man," 1977</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">based on a poem by Li Qing Zhao, recited by Xiao Fang Fang.</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small; text-indent: 0.5in;">As a result of its brilliant early hybrid cultural activities, AADT won numerous grants from such prestigious givers including the National Endowments for the Arts, the New York State Council on the Arts, and the New York City Department of Cultural Affairs. In a few short years, AADT grew from a small dance company to an organization with many other cultural programs, including a community arts school and a visual arts program.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;">In 1979, after studying with the sinologist George Weber, having participated in Basement Workshop and the Chinatown Street Fair, and managing the visual arts program of Manpower’s CETA project, Robert Lee joined Yung, changing AADT’s name to the Asian American Dance Theater/Asian Arts Institute (AAI). As the director of AAI, he began to vigorously support its visual arts programming by developing an annual series of contemporary art exhibitions, creating an archival resource on Asian American visual artists, and supporting a folk arts research and presentation project.</span><span style="text-indent: 0.5in;"> </span><span style="text-indent: 0.5in;">A political as well as aesthetic approach informed the Institute’s development at this early stage, as he shares in this recollection:</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif; font-size: small;">In the early 1970's, the disaffection with government policies, the Vietnam War, and the civil rights movement all contributed to the view that major institutions had left out a piece of American history and were not serving a distinct segment of the population. This demanded of people of color that they uncover for themselves their own story. The history of Asians in America was one of these. The Arts Centre chose to present and explore our community in the Lower East Side of New York. The concept of Asian American art is ethnic, cultural and political, a middle ground whose value awaits recognition. Asian American art is in the middle of a river, so to speak, of political, cultural, and artistic complexities. It is a way of looking at art that is not only Asian and not only American, nor simply artistic, but a combination of these. Its implications require the choice of a different ethical stance; we chose community action.<span style="font-size: large;"><o:p></o:p></span><span style="font-size: large;"></span></span><span style="font-size: medium;"><span style="font-family: "times" , "times new roman" , serif;"></span></span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJlpIiRd1WQdBXDQGoyEYQP0IcldHEzdeNWgD462UJWFCk6qwedix4iIAFUpt7TCmyZy-4IEq3YJvvt3ZnbJltNTQVmYpd5xHWHgmAno9VRlF_yrC7IAxCDQABAFALGPIZJm5rN7YATiM/s1600/Screen+Shot+2019-07-23+at+3.00.29+PM.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="color: black; font-family: "times" , "times new roman" , serif;"><img border="0" data-original-height="366" data-original-width="505" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJlpIiRd1WQdBXDQGoyEYQP0IcldHEzdeNWgD462UJWFCk6qwedix4iIAFUpt7TCmyZy-4IEq3YJvvt3ZnbJltNTQVmYpd5xHWHgmAno9VRlF_yrC7IAxCDQABAFALGPIZJm5rN7YATiM/s400/Screen+Shot+2019-07-23+at+3.00.29+PM.png" width="400" /></span></a></td></tr>
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<span style="font-family: "times" , "times new roman" , serif; font-size: small;">AAAC’s stance also drew from Edward Said's cultural theory of Orientalism, which details American culture's fascination with the mystique and exoticism of Asian cultures, and explains how it serves both to attract and appropriate what is desirable, and hide and deny what does not enhance and contribute to America's own self image, making this type of attention a double-edged sword. Lee explains: </span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;">Modern art, as it has evolved in the technologically oriented West, has often turned to Asia and its collective artistic ideas for new sources of inspiration. Along with the influence of technology and industrialization, the indigenous moral and ethical values of Asia are in this way uprooted, and historic patterns of meaning and symbolic systems degraded… And despite many efforts to do otherwise, the voice of artists and thinkers from Asia continues to be reinterpreted or modulated for Western ears. Assorted expectations, oppression of ethnic communities, nationalistic intentions, agendas based on disinformation as much as on confusion, continue to make it difficult to hear them.<o:p></o:p></span></span><span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"></span></span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif; font-size: small;"><span style="font-family: "times" , "times new roman" , serif;">In this context, the purpose of the organization became focused on having Asian Americans see the value and importance of their own heritage, in whatever capacity that may be, and revive it:</span><o:p></o:p></span><span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"></span></span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;">Asian artists in America, who have been nurtured by our modern milieu, are in a unique position to draw from both Eastern and Western sources. These artists are pioneers of a new art that has important implications for people in Asia.<o:p></o:p></span><span style="font-family: "times" , "times new roman" , serif;"></span></span><span style="font-family: "times" , "times new roman" , serif;"></span></span><span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"></span></span></span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;">For Asians who live in a Western context, the work of these artists is especially valuable. The Americans’ mass media environment makes it almost impossible for an Asian minority to see current images of themselves, to identify and know themselves, and to see their beliefs and values expressed in tangible forms. The work of Asian American artists must be acknowledged and supported, especially by Asians in leadership roles, to enable younger generations to retain meaningful connections with their Asian heritage. Eastern and Western experiences, street life and sounds of both cultures have always been available to them and are part of their store of memories. A rich resource, people who are bi-cultural have something special to offer.</span><span style="font-family: "times" , "times new roman" , serif;"></span></span><span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"></span></span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><span style="text-indent: 0.5in;"></span><span style="text-indent: 0.5in;">In 1987, AADT/AAI announced the new name of the organization, the Asian American Arts Centre (AAAC). Although the annual New York Dance Season, presented since the organization’s inception, continued to be a fixture, the change in name reflected a shift from the early focus on dance to one of visual arts. Visual arts classes, an exhibition series, artists’ slide Archives and the Artists-in-Residence program were begun and nurtured over the years. The AAAC’s publication, Artspiral, with its focus on visual art was launched in 1988.</span></span></span><span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><span style="text-indent: 0.5in;"></span></span></span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><span style="text-indent: 0.5in;">Lee recalls the beginning of AAAC’s Annual Series of Exhibitions, one of the most important and influential events of the center:</span><span style="text-indent: 0.5in;"></span></span><span style="text-indent: 0.5in;"></span></span><span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><span style="text-indent: 0.5in;"></span></span></span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><span style="background: white;">The Annual series of exhibitions began in 1985, as "Ten Chinatown: First Annual Open Studio Exhibition" with Ai Wei Wei's participation (when he was still unknown). The role of the Annuals/Open Studios in the Asian American Arts Centre's visual arts program was an opportunity to exhibit many artists, often quite diverse, eclectic and innovative. But we never lost sight of our mission: to bring attention to a particular kind of artist who we believed had been overlooked. AAAC always sought to raise the visibility of the presence of difference.</span><o:p></o:p></span><span style="font-family: "times" , "times new roman" , serif;"><span style="background: white;"></span></span></span><span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><span style="background: white;"></span></span></span></span><br />
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<span style="font-size: small;"><span style="font-family: "times" , "times new roman" , serif;"><span style="text-indent: 0.5in;">Panel discussions held in conjunction with each exhibition served to enhance the public’s understanding and involvement. Since the recreation of the program in 1982, hundreds of artists have participated in over eighty exhibitions. Critical exhibitions, which clearly reflected the organization’s programming direction and had great public impact included</span><i style="text-indent: 0.5in;">; Emily, Anna and Ti Shan: the First Generation (1985)</i><span style="text-indent: 0.5in;">; </span><i style="text-indent: 0.5in;">Dreams and Fantasies (1985)</i><span style="text-indent: 0.5in;">; </span><i style="text-indent: 0.5in;">Orientalism (1986); The Mind’s I, Part 1,2,3 & 4 (1987)</i><span style="text-indent: 0.5in;">; </span><i style="text-indent: 0.5in;">Public Art in Chinatown (1988)</i><span style="text-indent: 0.5in;">; </span><i style="text-indent: 0.5in;">Voilence of Victory (1991)</i><span style="text-indent: 0.5in;">; </span><i style="text-indent: 0.5in;">And He Was Looking For Asia</i><span style="text-indent: 0.5in;">: Alternatives to the Story of Christopher Columbus (1992); </span><i style="text-indent: 0.5in;">Betrayal/Empowerment Part I (1994)</i><span style="text-indent: 0.5in;">; and </span><i style="text-indent: 0.5in;">Ancestors: a Collaborative Project with Kenkeleba House (1995)</i><span style="text-indent: 0.5in;">.</span></span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibk78hCEOOGDPp1jIp4IIv_c978KrEqPAoSw_yoVM0-GX_mbWNmuSks9i9MOkaH0jRqMAFsUHueZHqfvNBVOsbZULAj60usYjz0FNRZASJUEu7arzbARk7bLlfPwBQ6HPhSRIC0DRoq2U/s1600/Screen+Shot+2019-07-31+at+4.36.52+PM.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" data-original-height="519" data-original-width="792" height="258" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibk78hCEOOGDPp1jIp4IIv_c978KrEqPAoSw_yoVM0-GX_mbWNmuSks9i9MOkaH0jRqMAFsUHueZHqfvNBVOsbZULAj60usYjz0FNRZASJUEu7arzbARk7bLlfPwBQ6HPhSRIC0DRoq2U/s400/Screen+Shot+2019-07-31+at+4.36.52+PM.png" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="font-family: "times" , "times new roman" , serif;">Taken at The Mind's I Part 1 opening (1987). Second from the right is artist, Albert Chong.</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMEj_GRwmJ4xK4gxks-Tyot9ZJMuQLcxDQTPnUOdir3FzsuC3B1JrCBI0154G5tWa7r7gRPvwA2-X6doW-wkV1hMBtMsIlhne_7xLrlsGCYhywaaXdZJnXjNHua_Ox4eUXQ4czbB5OWv8/s1600/IMG_4848.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" data-original-height="1125" data-original-width="1600" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMEj_GRwmJ4xK4gxks-Tyot9ZJMuQLcxDQTPnUOdir3FzsuC3B1JrCBI0154G5tWa7r7gRPvwA2-X6doW-wkV1hMBtMsIlhne_7xLrlsGCYhywaaXdZJnXjNHua_Ox4eUXQ4czbB5OWv8/s400/IMG_4848.jpg" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="font-family: "times" , "times new roman" , serif;">Artists Arlan Hwang and Martin Wong with Robert Lee at Mind's I Part 1 opening.</span></td></tr>
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<span style="font-family: "times" , "times new roman" , serif;">The artists’ slide archives, begun in 1982, was a pioneering effort to raise visibility. As the first Asian American slide archives in the United States, it has functioned as a registry of over 700 Asian American artists (1,700 in 2018) as well as a permanent historical record of their works and their development. As such, it has become a resource for national and international publishers, curators, art consultants and community organizations. The Centre also incorporated Chinese folk art into its programs in 1985. Recognizing the importance of tradition as a vital puzzle piece in identity. Lee describes traditional arts as:</span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;">Art practices with spiritual, ethical, health and communal components. Far from the stereotype of being a naive expression of limited value, these folk art/life practices serve as exemplars of a satisfying balance in life. The Arts Centre is mindful of traditional artists’ potential to display an equanimity that has eluded many of us through the stress of modern conceits and the pursuit of so-called sophisticated ideals of excellence.</span><o:p></o:p><span style="font-family: "times" , "times new roman" , serif;"></span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">With this value in folk arts in mind, the Chinese Folk Arts Presentation and Research program was begun, including the Annual Chinese New Year Folk Arts Festival, and the Chinese Folk Arts Video Documentation begun in 1989. Folk artist and farmer from Toisan County in the Pearl River Delta, Uncle Ng Sheung Chi won national recognition in 1991 after AAAC's documentary about him, </span><span style="font-family: "times" , "times new roman" , serif;">“Uncle Ng Comes to America”.</span><span style="font-family: "times" , "times new roman" , serif;"> </span><span style="font-family: "times" , "times new roman" , serif;">(His book, </span><a href="https://www.amazon.com/Uncle-Comes-America-Narrative-Immigration/dp/988152184X" style="font-family: times, "times new roman", serif;"><span style="color: #3d85c6;">“Uncle Ng Comes to America”</span></a><span style="font-family: "times" , "times new roman" , serif;"> was not published until 2014. More on this project can be seen <a href="http://artspiral.org/uncle-ng.php"><span style="color: #3d85c6;">here</span></a>.) </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqFtOgJfjQJasAI-3JuJIBqavgjBdWlkXOsQTwos4GkJ7bOSmvLqSSha_M2xn_toJJbvWTzIambtTpXyYubrLdLx1HltlEvY5egG_gXoZM0eZg1GTIusSfzKTkeTYq3LnHPwTXf1W_D7E/s1600/IMG_4844.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" data-original-height="1075" data-original-width="1600" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqFtOgJfjQJasAI-3JuJIBqavgjBdWlkXOsQTwos4GkJ7bOSmvLqSSha_M2xn_toJJbvWTzIambtTpXyYubrLdLx1HltlEvY5egG_gXoZM0eZg1GTIusSfzKTkeTYq3LnHPwTXf1W_D7E/s400/IMG_4844.jpg" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="font-family: "times" , "times new roman" , serif;">January 1989, Chinese Shadow Puppet expert, Jo Humphrey (pictured middle) with a shadow puppet in the first Sharing Folk Arts event at AAAC Gallery (woodblock prints are on the walls behind them).</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4zO0ul63bHbJDKXBHMqrOMWJaYA_pyhvYW0QBcj8LIQU06zmKGW8-CSNEA7G8qzESyhIcqF9cycQvLTsPl7ybGS8lNjoEuhFImhXRuohp4aMZsgNd13q0jJrdoarUzjy4LumoPIrO1vs/s1600/NgBok+%2526+Bob055.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1067" data-original-width="1600" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4zO0ul63bHbJDKXBHMqrOMWJaYA_pyhvYW0QBcj8LIQU06zmKGW8-CSNEA7G8qzESyhIcqF9cycQvLTsPl7ybGS8lNjoEuhFImhXRuohp4aMZsgNd13q0jJrdoarUzjy4LumoPIrO1vs/s400/NgBok+%2526+Bob055.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Robert Lee (left) and Uncle Ng (right). Uncle Ng was honored as one of the national awardees in Washington D.C. by President Bush in 1991. Uncle Ng became the first Chinese American to receive a National Heritage Fellowship after AAAC's video documentary about him.</td></tr>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><br />The Arts Centre has also continued the ongoing ‘Milieu’ project. Part I (1993) and II (1996) have already occurred, Part III (2000), which was recently funded by a National Endowment for the Arts grant, focuses on artists active in the two decades after the Second World War. The Milieu series is based on a national research project, ‘Asian American Artists and Their Milieu: 1945-1965,’ undertaken by the AAAC in 1987 with support from the New York State Council on the Arts and the Rockefeller Foundation. Similarly, Betrayal/Empowerment Part 1(1994) exhibited works by artists who began their careers in the 1950s and 60s. In addition, Three Generations: Towards an Asian American Art History (1997) also worked on a mentoring relationship that spans the post WWII era to the present, from San Francisco to Oberlin to New York.</span><o:p></o:p></span></div>
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<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="font-family: "times" , "times new roman" , serif;">North Wind, Matsumi Kanemitsu, 36x24.5, lithograph, 1977. </span></td></tr>
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<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="font-family: "times" , "times new roman" , serif;">Kanemitsu in the Tozai Times, 1988. Kanemitsu</span><br />
<span style="font-family: "times" , "times new roman" , serif;">was included in the Milieu Part II show in 1996</span></td></tr>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: large;"><b><br /></b></span><span style="font-size: large;"><b>AAAC and the Tiananmen Square Massacre </b></span></span><br />
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<span style="font-family: "times" , "times new roman" , serif;"> In the summer of 1989, AAAC kept a close watch on the student pro-democracy movement in China. After the tanks rolled into Beijing’s Tiananmen Square on June 4, 1989, Lee believed that Tiananmen was of cultural significance because it not only changed how people felt about China, but it was also connected to issues of basic human dignity. The Centre responded almost immediately to the June 4 attack by promoting an exhibit whose art would continue to nourish public protest against the Chinese government. 5000 flyers were sent around the country inviting artists and non-artists of all ages to submit visual art or poetry on the event, to be rotated, gathered, and documented. The art would be gathered to become part of a permanent collection.</span><br />
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<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="font-family: "times" , "times new roman" , serif;">"Deng," Untitled, Painting from Square.</span></td></tr>
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<span style="font-family: "times" , "times new roman" , serif;">CHINA: June 4, 1989 co-sponsored with P.S. 1, opened at the Blum Helman Warehouse in New York, and went on to tour to Mexic-Arte in Austin, Texas, Cleveland Institute of Art in Cleveland, Ohio, and Buckham Gallery in Flint, Michigan in 1994. Previously, a portion went to Hong Kong in 1990. It included photographs, sculptures, and conceptual pieces as well as a large-scale takeoff on Picasso’s Guernica by Asian American artist Ling Ling. The centerpiece of the show was a series of doors displaying artwork on both sides, joined together to be a new "Great Wall of China" - a wall of protest and sorrow. While the linking of panels suggested a tangible means of collaboration and hope for the future of China, the effort was a memorial, similar in some ways to the Names Project, the vast quilt made up of individual squares commemorating those who have died of AIDS. 74 doors were on view originally; eventually some 171 doors were on display. "Arts in America," a national arts magazine, mentioned it as one of the major exhibitions of the year.</span><br />
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<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="font-family: "times" , "times new roman" , serif;">CHINA: June 4, 1989 show at Buckham Gallery, Flint, Michigan in October 1994. Two high school students pictured in front of Lin Lin aka Billy Harlen's piece, Guernica (a local high school came and helped set up the gallery).</span></td></tr>
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<span style="font-family: "times" , "times new roman" , serif;">Tiananmen Square served ironically to educate AAAC about ongoing domestic roadblocks to artistic freedom. Asked to show CHINA, June 4, 1989 in Washington, D.C. at the Russell Rotunda on Capitol Hill in the summer of 1990, Lee was confronted with a request for the removal of three works. Both sponsors of the exhibition, the private, non-profit Congressional Human Rights Foundation and the office of Senator Ted Kennedy, Democrat of Massachusetts, objected to the paintings on moral and religious grounds. Faced with this demand for censorship, Lee withdrew the entire American portion of the show a week before the scheduled opening.</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">Believing that the meaning and the gravity of Tiananmen Square would have a long-term impact, Lee intended to organize the political and cultural community around this issue. He was disappointed, however, in a lack of press coverage after the show opened in Flint, Michigan. "It seemed like after Tiananmen Square was out of the media spotlight, it was treated like a dead issue." However, its impact would continue to influence the growth of Asian art in America. As Ming Mur-Ray, a Hong-Kong born artist who participated in the CHINA: June 4, 1989 exhibition, indicated that this exhibit was influential and showed the participating Asian artists that they could draw strength from their identity and that they could use it as a theme in their art. (In 2019, the Centre reflects on CHINA: June 4, 1989 in a <a href="http://artspiral.blogspot.com/2019/07/task-of-remembrance.html"><span style="color: #3d85c6;">new blog article</span></a> and <a href="https://www.youtube.com/watch?v=UdK18cHwuSs&t=3s"><span style="color: #3d85c6;">Youtube video</span></a>.)</span><br />
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<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="font-family: "times" , "times new roman" , serif;">CHINA: June 4, 1989 at BlumHelman Warehouse, NYC, October 1989.</span></td></tr>
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><b>AAAC and Godzilla </b></span><br />
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<span style="font-family: "times" , "times new roman" , serif;">In the early ‘90s, major institutions such as the New Museum and the Asia Society in New York City finally recognized the cultural movement in Asian American communities. When they organized exhibitions under the name of “art of identity”, they adopted the issues of the movement as their major theme or part of it. Other groups arose insisting on the recognition of the complexities and delicacies of the Asian American diaspora. One hundred to two hundred Asian American artists gathered in the early '90s, and an artistic network, known as Godzilla (1974), began holding monthly meetings to discuss identity and other related concerns.</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">Godzilla’s major leading members including, Margo Machida, Carol Sun, Yong Soon Min and Bing Lee were employees or Artists in Residence who made a lot of contribution to the development of the Asian American Arts Centre. The Centre’s effort to establish a place for Asian American artists and their work had played a tremendously important role in the emergence of Godzilla. AAAC had never stopped helping exert pressure on mainstream institutions to change and make the American public aware of cultural developments in Asian American communities. Unfortunately, the Asian American Arts Centre was denied proper credit by the group. Recognition between these organizations was a power struggle that lasted almost for a decade.</span><br />
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<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="font-family: "times" , "times new roman" , serif;">At AAAC's Eye to Eye panel. Robert Lee with panelists, Margo Machida (leading member of Godzilla), Lucy Lippard, and Kit Yin Snyder.</span></td></tr>
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<span style="font-family: "times" , "times new roman" , serif;">It was difficult to organize the arts community politically due to the lack of a unifying vision that encompassed all peoples. The story of ethnicity in the arts was easily labeled as ethnic separatism and was used as an excuse to downplay its validity as serious contemporary art. Funds were cut and supporters burned out or took other avenues. It began to be time for an alternative vision to replace the idea of art of identity as a sole focus.</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">If Godzilla and the Asian American Arts Centre had collaborated under an umbrella of one organization and been conscious of leaving their legacies to their post generations, the Asian American Art community could have been much more powerful and generated a stronger impact in the cultural field of the United States. Such a chance will come again to the Asian American community in the near future. The lesson between Godzilla and the Asian American Arts Centre would make their next generation vigilant and alert of their opportunities for forming a solid cultural unit of Asian American Art in the United States and contributing to our better world.</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">Lee recollects about this long period of retrenchment as follows:</span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;">We continued to plug away and do what we knew was right. We understood what had made it so necessary to us to focus purely on identity for so long.<span style="mso-spacerun: yes;"> </span>How to expand that vision and yet preserve our integrity?<span style="mso-spacerun: yes;"> </span>We were determined to preserve our community ethics and make frugality a value instrumental in effectively and persistently making Asian American art a permanent if microcosmic fixture on the fringe of the City…Without critical mass, and shedding the conventional ideas of what it means to make it in New York, we sought to amass a history, and a track record of the presence of Asian American art for later generations to build on.</span><o:p></o:p></span></div>
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<span style="font-family: "times" , "times new roman" , serif;">Despite the inevitable struggles for funding, the exhibitions at the AAAC proceeded with boldness, freshness and faith. Maximizing available resources, the Centre never stopped putting together two to four person exhibitions that served as visual conversations around unifying themes.</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: large;"><b><br /></b></span><span style="font-size: large;"><b>Important Exhibitions in the ‘90s</b></span></span><br />
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<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="font-family: "times" , "times new roman" , serif;">Mel Chin, The Opera of Silence, 1988, sculpture.</span></td></tr>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: large;"><b><br /></b></span>The important exhibitions at this time were Passion and Compassion (1996); Three Generations: Towards an Asian American Art History (1997); Inside One (1998); the Day and Night Transparent AAAC 8th Annual (1998); 7lb 9oz: The Reintegration of Tradition into Contemporary Art (1999); and Power Print (2001).</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">7lb 9oz:The Reintegration of Tradition into Contemporary Art reflected AAAC’s renewed assurance and different perspective. In the <a href="http://artasiamerica.org/documents/5161/177"><span style="color: #3d85c6;">exhibition brochure</span></a>, Lee wrote:</span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;">The artists in this exhibition... are for the most part young artists representing three different approaches, with Hisako Hibi representing artists of an earlier generation who took a similar direction. Although what all these artists have in common is Asia as their point of departure, Yeong Gill Kim, Chee Wang Ng, Osami Tanaka and Hisako Hibi, all can be regarded as artists who have resolved what for some artists of diversity in the United States is the conundrum of identity, by a renewed confidence in the vitality of their Asian traditions. The unbridgeable gap of two seemingly irreconcilable cultures is spanned by centering in the roots of one’s historical origins.</span><o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2aiI6TXuPrWzQV_omCQKR6tcTDkyr8SmCm-b73DR_bZNDkuTppqt9ExOyW6kv6_TGLBixJfJuRPhth_w8CnDz0lhpTrzysMZ9iEGXgS9Fyn4UQF6aTNk40CeayHWcNlI3zeKQgLOiSgI/s1600/Four_Seasons_of_Brilliance.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" data-original-height="1000" data-original-width="1000" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2aiI6TXuPrWzQV_omCQKR6tcTDkyr8SmCm-b73DR_bZNDkuTppqt9ExOyW6kv6_TGLBixJfJuRPhth_w8CnDz0lhpTrzysMZ9iEGXgS9Fyn4UQF6aTNk40CeayHWcNlI3zeKQgLOiSgI/s400/Four_Seasons_of_Brilliance.jpg" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="font-family: "times" , "times new roman" , serif;">Chee Wang Ng, Four Seasons of Brilliance, 1998, 48x48, digital c-print. Included in 7lb 9oz show.</span></td></tr>
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<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">According to Lee, they assert the Asian presence of difference. Ethnicity is neither conservative, closed, or traditional; it is dynamically changing in the contemporary world and capable of creating new forms:</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">These artists do not give themselves up to mass perceptions. They keep their distinctiveness. The motives for contemporary art now come from other traditions, other contexts, and their needs, what propels them are different from Western domestic fervors. These artists demonstrate that contemporary art in America need not be founded on the historical experience of the West… [They] assume the responsibility of a re-envisioned, diverse center. Rather than concentrate on the ironies of appearance and identity, Ng, Kim, Hibi and Tanaka have chosen to express the stability and coherence attainable by choosing an inner way of seeing oneself.</span></div>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">Lee concludes by saying that this is a notion at the heart of every religion, at its primordial mystical core:</span><br />
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<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;">The role of silence or, it could be termed, the work of silence in the public arena, is part of a re-envisioned center. (Referred to here is 1996 when Senator Bill Bradley ran for president suggested three sectors of American life, I suggested a forth sector or center, as seen in the <a href="http://artasiamerica.org/documents/5161/177"><span style="color: #3d85c6;">exhibition brochure</span></a>.) A value for diverse people to recognize is the process of this silence. Silence is not the best term to use, particularly for some diverse groups, however, it points to what cultures share in their spirituality without raising their separate characteristics. What has been used to describe American life may have omitted its dependence on this spiritual silence. (Senator Bradley’s three sectors – marketplace, deliberative government, & civic cooperation - did not include a forth sector for spirituality or silence. Art and culture may be seen as impractical but clearly they are the air, the foundation for everything. Our nation has yet to put the work into reconciling cultural differences). Incremental steps toward this in America are not without its ethnic dimensions. This is where a re-envisioned center begins.</span><o:p></o:p></span></div>
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">Art critic of the NYT, Holland Cutter, noticed AAAC’s confidence and renewed stability of direction. Cutter emphasized in his review that Lee had based his exhibition title, 7lb 9oz:The Reintegration of Tradition into Contemporary Art, on the weight of a newborn baby, a symbol of the rebirth and continuation of Asian traditions in art produced outside of Asia itself. It was the first coverage of the organization’s exhibition by the newspaper and since then, its exhibitions have continued to be reviewed.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH9jEahXMbCnvmYKriElehPCTZfJJKxwsrWT5OJNDx20nCJmeoI3aBCwNzokGcmpEfiq5nkYqb3TbJSKidWJsGxrzfREGwXAcmU0qtsMReuZx2VoVdvVpiYh7Uc-Vq_DixQfJi3BOjeSk/s1600/IMG_4664.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" data-original-height="1053" data-original-width="1504" height="448" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH9jEahXMbCnvmYKriElehPCTZfJJKxwsrWT5OJNDx20nCJmeoI3aBCwNzokGcmpEfiq5nkYqb3TbJSKidWJsGxrzfREGwXAcmU0qtsMReuZx2VoVdvVpiYh7Uc-Vq_DixQfJi3BOjeSk/s640/IMG_4664.jpg" width="640" /></span></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="font-family: "times" , "times new roman" , serif;">Gallery Crowd at 7lb 9oz reception, March, 1999.</span></td></tr>
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<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">The windfall of a group of young artists, whose refreshing creative ideas and sensitivities followed this significant breakthrough, awakened Lee’s colorful and radiant sensibility, which had been in hibernation for a long period of time. Works created ranged from conceptual video exploring ideas such as the inside and the outside, death and life, and examining social constructs, to multi-media installations reclaiming both ordinary and discarded industrial materials such as cardboard boxes. The subjects and the mediums they dealt with were abundant. These artists proved that they didn’t have to depend on their Asian identity to create their works. As Holland Cutter said, "there’s nothing necessarily ‘Asian’ about their works."</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">The dilemma of difference, however, still remained for the Centre as long as powerful elements in America refused to hear other modalities, insisting on a national identity and a hierarchy that does not give credence to multiculturalism as an important if not defining description of the US. Lee believes in the absolute necessity of a voice from those who live on the fringe and know well what it means to be neutralized and manipulated.</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">In light of this continuing struggle, Lee now proposes a different American ethos. It is an awareness-of-self in the context of a cultural past. For once one accepts oneself as such, an individual of color has the basis to accept and embrace other individuals and cultures. The multiple perspectives that now compose the American landscape and the global context can be accepted and recognized as a non-hierarchical basis for dialogue and cultural development. Given this perspective, the phrase, 'culturally specific organizations' is a misnomer since for in such organizations, specific cultural roots serve as points of departure to see and embrace the whole.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh64N4HYCayvEpMhXGok5LYEbTFV-mgS31EF9B1DXQ6JEucdJ6O00mOMvBYx2tyZFH_hkUBYQ2U5kI8So14RUe1ZpiR4QAz4qBnta7qkJ0qKB04AVGek_HIbPwFHgLZr4JjZaJ_4FVNBSM/s1600/Untitled1.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" data-original-height="230" data-original-width="307" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh64N4HYCayvEpMhXGok5LYEbTFV-mgS31EF9B1DXQ6JEucdJ6O00mOMvBYx2tyZFH_hkUBYQ2U5kI8So14RUe1ZpiR4QAz4qBnta7qkJ0qKB04AVGek_HIbPwFHgLZr4JjZaJ_4FVNBSM/s400/Untitled1.png" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;"><div style="text-align: center;">
<span style="font-family: "times" , "times new roman" , serif;">AAAC's Farewell to 26 Bowery Party held Sunday, October 25, 2009. </span><br />
<span style="font-family: "times" , "times new roman" , serif;">From left, Zhang Hongtu, Eleanor Yung, and Robert Lee.</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><b>Conclusion</b></span><br />
<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif; font-size: large;"><b><br /></b></span>The Asian American Arts Centre has successfully matured, maintaining a symbiotic collaboration with its ethnic community and becoming a role model of community cultural organization. Located in Chinatown, it has been a focal point for cultural and artistic activities of both community members and artists. With long years and difficult stages of passing through of its development, the Centre’s perspective and management skills have matured and refined to the extent that its exhibitions are often evaluated parallel to quality exhibitions of major mainstream organizations. Thus, expanding the accepted definition of a community arts organization.</span><br />
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<span style="font-family: "times" , "times new roman" , serif;">Even though our globalized economy and politics require us to recognize and accept cultural diversity and the differences of our world, White supremacy still prevails. The orthodox cultural and racial standard of White America runs on cultural oppression.</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">Color consciousness is the critical effort to open the mind and heart to acknowledge differences in cultures, treatment, privileges, and experiences. Cultural critics in the mainstream academic field have labored long and hard to educate the public on how color and physical disability have unfairly influenced life opportunities. Considering its long history of dealing with the issue of cultural difference, experiencing all the obstacles of being neglected and struggling as well as ultimately regaining its dignity and vitality, it is not hard to believe the Asian American Arts Centre will continue to add dimension to this movement.</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">Ideally, when the cultural and political policy of the mainstream critical field and the mission of community cultural organizations go hand in hand, the community groups will then have a closer connection and valid role within mainstream culture. However, this is not the reality. The government agency the AAAC depends on for grants now believes that the Centre can no longer be considered eligible as a local community organization due to the attention the Centre received from major news media.</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span>
<span style="font-family: "times" , "times new roman" , serif;">It is time, however, to redefine the role of ethnic community organizations. The Asian American Arts Centre needs to exist and be supported as a community based arts organization. Their longstanding role of educating and supporting their ethnic community needs to be generously expanded to include their mediating and negotiating role between the community and the mainstream. Their purpose is not complete until the mainstream society reflects the reality of this county’s makeup. The Centre should be encouraged to work towards harmony, continuously creating a chain of vibrantly multi-cultural products filled with excitement, empowerment, and communication.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipXctwDvAFmdQU8kgJocrtSQVY_0QRmyp8S1X9NbGgh8NTzE7xXJ_rlOzFXcfuKAgdU0w5odGacd2BJSaMzQjJDktWQy-3fGyp305DN23JwPid8aIwYdW0MnewI3y74ALUd4MkEcrXKbk/s1600/scanDannyReception051+copy+%25281%2529.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" data-original-height="548" data-original-width="1335" height="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipXctwDvAFmdQU8kgJocrtSQVY_0QRmyp8S1X9NbGgh8NTzE7xXJ_rlOzFXcfuKAgdU0w5odGacd2BJSaMzQjJDktWQy-3fGyp305DN23JwPid8aIwYdW0MnewI3y74ALUd4MkEcrXKbk/s640/scanDannyReception051+copy+%25281%2529.jpg" width="640" /></span></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="font-family: "times" , "times new roman" , serif;">Reception at AAAC for Danny Yung in 2009 with many of his friends from NYC and beyond. Well known for his work in Hong Kong with Zuni Icosahedron and the cultural advocacy he has done for contemporary arts in East Asia, as well as for his Blank Boy Canvas- Tian Tian Xiang Shang (TTXS). However, he is not well known for having founded Basement Workshop. In 1969-70 in the midst of this tumultuous era, Basement became the seminal non-profit on the East Coast from which so many non-profit cultural organizations arose including Asiancinevision, Bridge Magazine, MoCA, Children's Underground, and AAAC. AAAC has ben the continuous caretaker of Basement Workshop and Danny's papers which will be passed onto Tamiment Library.</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFdTjhU0soBfg9aBSWVQVHEVyzAb8m1zC35UyUOvsJxvSRhm35aKuy1KjTU-6UlSk3voTFJBoBct2WA95iCiYL7Haza4cRszClC0MNSOWXjIAMRc3JZahEf9Ha1jVq6ir-Ltmw9_Jw9jg/s1600/Attachment-3.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" data-original-height="1600" data-original-width="1110" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFdTjhU0soBfg9aBSWVQVHEVyzAb8m1zC35UyUOvsJxvSRhm35aKuy1KjTU-6UlSk3voTFJBoBct2WA95iCiYL7Haza4cRszClC0MNSOWXjIAMRc3JZahEf9Ha1jVq6ir-Ltmw9_Jw9jg/s400/Attachment-3.jpeg" width="276" /></span></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="font-family: "times" , "times new roman" , serif;">John Liu attending 2003 exhibition, Below the Canal: After 9/11.</span><br />
<span style="font-family: "times" , "times new roman" , serif;"> Liu stands in front of Naoto Nakagawa painting, </span><br />
<span style="font-family: "times" , "times new roman" , serif;">Stars of the Forest: Elegy for 9/11, which is currently in the collection of</span><br />
<span style="font-family: "times" , "times new roman" , serif;"> the September 11 Memorial & Museum.</span><br />
<span style="font-family: "times" , "times new roman" , serif;"><br /></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_a9H9x-frxjdkyZtnT_xMzeNnVHMPZpo2szPitpp6T9mvchtuUPAUBpJ0dcx2SVME3W1UXrFcBtcXi-japKR-pBcpMfWOH0UVzv-US8c_OG9xYKgOppCOoNfIELGRdtwpS0PLQYVVbSo/s1600/IMG_4887.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" data-original-height="1011" data-original-width="1486" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_a9H9x-frxjdkyZtnT_xMzeNnVHMPZpo2szPitpp6T9mvchtuUPAUBpJ0dcx2SVME3W1UXrFcBtcXi-japKR-pBcpMfWOH0UVzv-US8c_OG9xYKgOppCOoNfIELGRdtwpS0PLQYVVbSo/s400/IMG_4887.jpg" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="font-family: "times" , "times new roman" , serif;">Sculptor, Toshio Sasaki at the 1989, Uptown/Downtown opening reception.</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4EThabUNa0fkrT3Eo_LJttND09b7M1gMVK91u9z31Byrw8ajir-Jc6PwU8ciXvgqs_DVAYiJz0l090D9dysWn6x8n41gW3Tm1DZoGxj7kknEjLBCoD2ApUB-stPE1275bBrCjsH3npXk/s1600/DETAINED+%25281%2529.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "times" , "times new roman" , serif;"><img border="0" data-original-height="1008" data-original-width="1470" height="434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4EThabUNa0fkrT3Eo_LJttND09b7M1gMVK91u9z31Byrw8ajir-Jc6PwU8ciXvgqs_DVAYiJz0l090D9dysWn6x8n41gW3Tm1DZoGxj7kknEjLBCoD2ApUB-stPE1275bBrCjsH3npXk/s640/DETAINED+%25281%2529.jpg" width="640" /></span></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="font-family: "times" , "times new roman" , serif;">DETAINED, Spring 2006. An Arab American & Asian American exhibition aimed to bring two communities together around issues of race, exclusion, and spirituality. Chaplain James Yee (center), born and raised in New Jersey, graduate of West Point, chose to convert to Islam after serving in the US Army during the Gulf War. Later he was secretly arrested while serving at Camp Delta in Guantanamo Bay, Cuba, on allegations of espionage. Yee was detained for 76 days before all criminal charges were dropped. Participating artists: Wafaa Bilal, Chitra Ganesh, Mariam Ghani, Dorothy Imagire, Pia Lindman, Trong Nguyen, Line Pallotta, Jenny Polak, Dread Scott, Rene Yung, and <a href="http://disappearedinamerica.org/"><span style="color: #3d85c6;">Visible Collective</span></a> (VC's photographs are featured in this image).</span></td></tr>
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<br />Asian American Arts Centrehttp://www.blogger.com/profile/10345950479257212004noreply@blogger.com0tag:blogger.com,1999:blog-8095004976727046060.post-34824492605404001662019-08-06T15:23:00.000-04:002019-08-06T15:45:43.547-04:00Public Art in NYC Chinatown: the Gateways<b>In 2017 DOT (Department of Transportation) issued an RFP (Request for Proposal) which stated: </b><br />
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The New York City Department of Transportation, in collaboration with the Chinatown Partnership and Van Alen Institute, is initiating Gateways to Chinatown, a design initiative seeking innovative proposals to plan, design and construct a symbolic and functional landmark at the nexus of Manhattan’s Chinatown and the southern entrance to Little Italy’s historic Mulberry and Mott streets. The overarching goal of the project is to provide a new marker for Chinatown, Little Italy, and the surrounding neighborhoods in Lower Manhattan to engender pride of place, foster connectivity and cultural and social identity, and stimulate economic development. This iconic new structure and public space will be located on a triangular traffic island at a key pedestrian node bounded by Canal Street, Baxter Street and Walker Street. ( June 19, 2017 “Proposal Due Date”)<br />
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The effort builds on numerous previous plans, such as the community-consensus building meetings supporting the 1974 “Chinatown Street Revitalization Study” organized by the NYC Department of City Planning, “America’s Chinatown: A Community Plan” completed in 2004 by Asian Americans for Equality, the Chinese Consolidated Benevolent Association’s 2007 proposal for a gateway at Canal Street, and a 2012-13 collaboration with students of the Urban Design Studio at the New York City College of Technology.<br />
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<b>July 19, 2019 AAAC sent the following open letter to DOT after a CB#1 hearing to discuss the RFP results. </b><br />
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Dear Anthony Notaro (Department of Transportation),<br />
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At the Chinatown Gateway meeting I raised the issue of the absence of community input in this process. This has been a historical pattern. This is an opportunity to write you and document some of what this community has experienced including my organization Asian American Arts Centre (AAAC).<br />
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AAAC, founded in 1974, began its visual art exhibition program in 1983, and its Public Art in Chinatown in 1988 towards a contemporary image for Chinatown and Asian Americans. Mel Chin was in that exhibition – now so prominent, he also submitted a proposal to this Gateway project through AAAC in 2017 but somehow he was disqualified.<br />
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Several community people are here for this meeting even though news of it we only a few days ago, For years there has been little if any effort to speak to community. Govt agencies for decades have sustained a pattern of city state and federal actions to push through projects regardless of community.<br />
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It was mentioned how twelve years ago planning for this triangle began. The five nfp (not-for-profit) arts organizations were promised how the marketing of our cultural offerings would be promoted by the kiosk built there. Though we met with the designer of the map that is used by so many visitors there he could not change the map nor include any of the other nfp groups. Only MoCA was included. The kiosk mostly promotes Broadway plays and even the young people staffing it are resistant to including local cultural event flyers.<br />
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Twelve years ago CPLDC (Chinatown Partnership Local Development Corporation) sought 5 gate options be considered but could never get past NYC Arts Commission and their bias against anything traditional. Unlike San Francisco and many other American cities where traditional architectural forms are welcome. The gate proposed for Canal St was not allowed and thus restricted to the triangle off Baxter St.<br />
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This was not the first time public art has been proposed on this site. I recall being asked for a written piece many years ago on a proposal for work quite similar to what stands by Seward Park on Essex and East Broadway. It is a dark reddish monumental shape. Phallic stone fountains across Asia look very similar. The one proposed for Baxter St was white marble.<br />
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If I had to speak to the image of the proposed public art project I would refer back to this history. This time it's a phallic shape in denial, thus it is sliced up into cylinders and punctured with holes.<br />
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How to account for such a disconnect between government agencies and the communities they are to serve? The last comment from CB 1 in reviewing the proposal and hearing community comments was, “The procurement process is flawed!”. I felt the comments from the board members were quite fair and insightful in describing the image and experience if the proposed piece were installed. Particularly the final comment seemed to take into account the whole track record of this project.<br />
<br />
In the community we can recall the public art of Marshall Lin that stands in Chatham Square. When it was installed it had several plaques with statements about the history, why Marshall Lin was being honored having fought against the British in the Opium War and was the first to say 'No" to drugs. About a year later the Arts Commission removed all to clean but would not return those plaques.<br />
<br />
Last year a book was published in Hawaii called Abstract Expressionism: Looking East from the Far West - in which it was noted, now widely accepted how Clement Greenberg, the advocate for abstract expressionism in the 60s, claimed only for political motives 'Action Painting' had nothing to do with the Asian tradition of calligraphic brush work. And recently the art critic John Yau commented there were still some critics of his ilk in NYC. The resistance to an Asian cultural presence in New York's cultural circles is something to contend with. Unfortunately the local community is more deeply impacted by this bias than most realize.<br />
<br />
Lawrence Ferlinghetti wrote in one of his poem that the city fathers allow the Chinese dragon out to dance through San Francisco Chinatown once a year only to lock it back up into a basement hovel.<br />
<br />
When will the time come when cultural diversity, particularly with the cultures of Asia, be regarded as a asset, not just for museum walls.<br />
<br />
Bob Lee<br />
<br />
AAAC catalogue: <a href="http://artasiamerica.org/documents/8898/60"><span style="color: #3d85c6;">Public Art in Chinatown 1988</span></a><br />
<br />
<br />
<br />
<b>A letter written to DOT and Gateway applicants in June, 2017 </b><br />
<br />
Dear Potential Gateways to Chinatown Applicants,<br />
<br />
Asian American Arts Centre as an visual arts organization that has specialized on Asian American artists, offers insights into the sensibility of many such artists during this opportunity to apply for Canal Street “Gate” RFP. These selected artists' images may serve as an introduction or as a compliment to your knowledge and experience.<br />
<br />
<b>Local prominence</b><br />
<br />
<br />
<a href="http://artasiamerica.org/works/548/74"><span style="color: #3d85c6;">Tomie Arai </span></a><br />
<br />
<a href="http://artasiamerica.org/works/3403/200"><span style="color: #3d85c6;">Corky Lee</span></a><br />
<br />
<br />
<b>Relay to public art </b><br />
<br />
<br />
<a href="http://artasiamerica.org/works/440/60"><span style="color: #3d85c6;">Mel Chin</span></a><br />
<br />
<a href="http://artasiamerica.org/works/3744/144"><span style="color: #3d85c6;">Ming Fay</span></a><br />
<br />
<a href="http://artasiamerica.org/works/113/27"><span style="color: #3d85c6;">Mei Ling Hom (1)</span></a> <a href="http://artasiamerica.org/works/96/27"><span style="color: #3d85c6;">(2)</span></a><a href="http://artasiamerica.org/works/96/27"> </a><br />
<br />
<a href="http://artasiamerica.org/works/7265/498"><span style="color: #3d85c6;">Soon Im Kim</span></a><br />
<br />
<a href="http://artasiamerica.org/works/4780/174"><span style="color: #3d85c6;">Mikyung Kim</span></a><br />
<br />
<a href="http://artasiamerica.org/works/4553/190"><span style="color: #3d85c6;">Toshinori Kuga</span></a><br />
<br />
<a href="http://artasiamerica.org/works/123/29"><span style="color: #3d85c6;">Yin Peet</span></a><br />
<br />
<br />
<b>Unlike mainstream</b><br />
<br />
<a href="http://artasiamerica.org/works/840/115"><span style="color: #3d85c6;">Sung Ho Choi</span></a><br />
<br />
<a href="http://artasiamerica.org/works/1228/52"><span style="color: #3d85c6;">Ken Fukushima</span></a><br />
<br />
<a href="http://artasiamerica.org/works/5139/162"><span style="color: #3d85c6;">Eunjung Hwang</span></a><br />
<br />
<a href="http://artasiamerica.org/works/3258/173"><span style="color: #3d85c6;">Heejung Kim (1)</span></a> <a href="http://artasiamerica.org/works/3256/173"><span style="color: #3d85c6;"> (2) </span></a><br />
<br />
<br />
<b>Reinvented Asian sensibility</b><br />
<br />
<a href="http://artasiamerica.org/works/873/50"><span style="color: #3d85c6;">Chao Chung-Hsiang</span></a><br />
<br />
<a href="http://artasiamerica.org/works/680/113"><span style="color: #3d85c6;">Emily Cheng</span></a><br />
<br />
<a href="http://artasiamerica.org/works/3296/145"><span style="color: #3d85c6;">Columbia Fiero</span></a><br />
<br />
<a href="http://artasiamerica.org/works/4170/146"><span style="color: #3d85c6;">John Yoyogi Fortes</span></a><br />
<br />
<a href="http://artasiamerica.org/works/8309/521"><span style="color: #3d85c6;">Colette Fu</span></a><br />
<br />
<a href="http://artasiamerica.org/works/5851/152"><span style="color: #3d85c6;">Hisako Hibi</span></a><br />
<br />
<a href="http://artasiamerica.org/works/7629/514"><span style="color: #3d85c6;">Sin-ying Ho</span></a><br />
<br />
<a href="http://artasiamerica.org/works/4802/202"><span style="color: #3d85c6;">Yun Fei Ji</span></a><br />
<br />
<a href="http://artasiamerica.org/works/503/169"><span style="color: #3d85c6;">Mike Kanemitsu</span></a><br />
<br />
<a href="http://artasiamerica.org/works/7408/119"><span style="color: #3d85c6;">Jung Hyang Kim</span></a><br />
<br />
<a href="http://artasiamerica.org/works/6830/116"><span style="color: #3d85c6;">Amy Kao</span></a><br />
<br />
<br />
<b>Community motifs</b><br />
<br />
<br />
<a href="http://artasiamerica.org/works/842/115"><span style="color: #3d85c6;">Sung Ho Choi</span></a><br />
<br />
<a href="http://artasiamerica.org/works/4347/148"><span style="color: #3d85c6;">Fung Ming Chip</span></a><br />
<br />
<a href="http://artasiamerica.org/works/8201/342"><span style="color: #3d85c6;">Nancy Hom</span></a><br />
<br />
<a href="http://artasiamerica.org/works/8357/523"><span style="color: #3d85c6;">Teh Ching Hsieh</span></a><br />
<br />
<a href="http://artasiamerica.org/works/3718/144"><span style="color: #3d85c6;">Ming Fay</span></a><br />
<br />
<br />
<b>Racial perceptions </b><br />
<br />
<span style="color: blue;"><a href="http://artasiamerica.org/works/1937/112"><span style="color: #3d85c6;">Wei In Chen</span></a> </span><br />
<br />
<a href="http://artasiamerica.org/works/5951/176"><span style="color: #3d85c6;">Kazuko Miyamoto</span></a><br />
<br />
<a href="http://artasiamerica.org/works/6133/184"><span style="color: #3d85c6;">Roger Shimomura</span></a><br />
<br />
<a href="http://artasiamerica.org/works/745/69"><span style="color: #3d85c6;">Tseng Kwong Chi</span></a><br />
<br />
<a href="http://artasiamerica.org/works/237/25"><span style="color: #3d85c6;">Charles Yuen</span></a><br />
<br />
<br />
<b>Famous</b><br />
<br />
<br />
<a href="http://artasiamerica.org/works/8351/523"><span style="color: #3d85c6;">Teh Ching Hsieh</span></a><br />
<br />
<span style="color: blue;"><a href="http://artasiamerica.org/works/7873/60"><span style="color: #3d85c6;">Mel Chin</span></a> </span><br />
<br />
<br />
<b>Aesthetic ‘expansion arts’</b><br />
<br />
<span style="color: blue;"><span style="color: #3d85c6;"><br />
<a href="http://artasiamerica.org/works/7259/498"><span style="color: #3d85c6;">Soon Im Kim</span></a></span></span><br />
<span style="color: #3d85c6;"><br />
</span> <span style="color: #3d85c6;"><a href="http://artasiamerica.org/works/4571/192"><span style="color: #3d85c6;">James Kuo</span></a> </span><br />
<span style="color: #3d85c6;"><br />
</span> <a href="http://artasiamerica.org/works/663/62"><span style="color: #3d85c6;">Amy Loewan</span></a><br />
<br />
If you wish I can give a brief intro to any of these artists you chose.<br />
<br />
<br />
With Kind Regards,<br />
<br />
BobAsian American Arts Centrehttp://www.blogger.com/profile/10345950479257212004noreply@blogger.com0tag:blogger.com,1999:blog-8095004976727046060.post-8207087844819377132019-07-18T15:11:00.000-04:002019-07-18T15:25:36.257-04:00The Power of Remembrance<i>Maxine Bell, an intern for the summer of 2019 who studies both Studio Art and American Studies with a focus on Asian American Studies, writes the following piece.</i><br />
<u><br /></u>
<u>The Power of Remembrance</u><br />
<br />
At the AAAC we have been looking through <a href="https://www.flickr.com/photos/asianamericanartscentre/albums/72157645294053044"><span style="color: blue;">pictures</span></a> from the 2014, <i>CHINA: June 4, 1989</i> exhibit. Looking at images of the gallery without a crowd, the space feels loudly heavy. Click after click, images of uneasy hands, blocks of bold and bloody red, and text confront me. They ask for my eyes as they inform me of their perspectives, gifting me with insight and new understandings.
<br />
<br />
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<span style="font-size: x-small;"><i style="mso-bidi-font-style: normal;">CHINA: June 4, 1989</i>
gallery image from AAAC Flickr album, “June 4, 1989 Exhibition” <o:p></o:p></span></div>
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<i>CHINA: June 4, 1989,</i> originally exhibited in 1989 then again in 2014, crafted a space to value the voices of a diverse group of artists that submitted their work in response to the events of June 4, 1989. Response art, especially from Asian American artists, carries such strength in voice that viewers can look at and make meaning of in the context of both the artists’ present and the viewers’ present. Not only does the preservation and showcase of <i>CHINA: June 4, 1989 </i>in 2014 serve the art historian perspective as a piece of understanding history and how it can relate to the present, but it empowers Asian American youth. <br />
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Growing up, I never saw Asian American art in the spotlight let alone anywhere. Since I didn’t see it, I believed it didn’t exist. It’s still taking me a lot of unlearning to reclaim an Asian American art history (much of which I am researching on my own). The collected works from 1989 show me that artists of the large Asian American diaspora that I also exist in have and had so much to say. These artists resisted a time of silenced perspectives, restricted media, polar opinions, and the heightened devaluation of artists of color through their art. <i>CHINA: June 4, 1989 </i>also highlights how the AAAC values these artists enough to protect their art for 30 years now. The AAAC’s prolonged validation of these works embodies the power of remembrance.<br />
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We see these works as pieces of the past and the present that people can view and decide what they next want to do with this information. We understand these works as valuable mark-making moments as well as a challenge to the narrative of Asian Americans as the model minority. Contrary to the belief that we are a quiet group, we have and we continue to speak up through our voices, art, and writing. The existence of <i>CHINA: June 4, 1989</i> and the foundation of the AAAC challenge the museums that strategically tuck Asian American artworks in the corners of their Asian Art halls, which erase them from the American narrative.<br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9vAmDmh3cZSFHCOzP2iADqVIFVUtw_tnF-24-SBKLuSylK0T7xVhdCtWG2faPE45dyMhDL2k2WArwIU-aj0hu5JpuMRZWYcSTbbIEKv4xJW4rFJ5QmiUrb4OoI9L3M-d0ohZ7a0ep__k/s1600/thumbnail_26_LotusDoBrooks_edit.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1280" data-original-width="553" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9vAmDmh3cZSFHCOzP2iADqVIFVUtw_tnF-24-SBKLuSylK0T7xVhdCtWG2faPE45dyMhDL2k2WArwIU-aj0hu5JpuMRZWYcSTbbIEKv4xJW4rFJ5QmiUrb4OoI9L3M-d0ohZ7a0ep__k/s400/thumbnail_26_LotusDoBrooks_edit.jpg" width="170" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Lotus Do Brooks, <i>Death's Door</i>, door.</td></tr>
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Recently, the AAAC has assigned many of the works from the collection to Humanitarian China (HC). We hope our values align with them in protecting these artworks and giving them the attention and care they deserve. HC plans to conduct a traveling exhibition of these works to major cities in the US and to create a June 4th museum including these artworks. With the help of HC, these works will reach a broader audience than ever before. I hope other Asian American students can see them and take away something valuable: the name of an Asian American artist to further research, the energy of a vocal community, the power of our voice as a collective or in oneself, or the power of art. Regardless, these students will yearn for more: more Asian American Art, community building, counter narratives, and/or more Asian American representation. <br />
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These artists, their works, and those who display them engage with the power of remembrance. They share diverse narratives through diverse forms of expression to resist the common narrative. We hope the AAAC remains recognized as a place that values these voices, for the AAAC has held onto these works for over 30 years, always knowing their infinite worth.<br />
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<i>By Maxine Bell, AAAC Intern 2019</i><br />
<br />Asian American Arts Centrehttp://www.blogger.com/profile/10345950479257212004noreply@blogger.com1tag:blogger.com,1999:blog-8095004976727046060.post-58330936143466187552019-07-18T12:49:00.000-04:002019-07-29T17:31:52.286-04:00Looking at Asian American Artists in the Tiananmen Square Exhibition<br />
In San Francisco AAAC participated in the Chinese Cultural Foundations exhibition "Task of Remembrance" in April 2019 where our exhibition, CHINA: June 4, 1989 was featured. This raised the issue of how to look back, how to remember, but it also raised the issue of how this exhibition furthered the goal and purpose of AAAC, that is to focus on Asian American art.<br />
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If one looks at the work of Zhang Hongtu, Martin Wong, Mel Chin, Mo Bahc, Rumiko Tsuda, Kunio Izuka, Yoshiki Araki, Lotus Do Brooks, Dolly Unithan, Jerald Lee, or any of the other Asian American artists in this exhibition one can see an important artwork, a substantial work that contributes to that artist career as well as to the field of Asian American art (see images on <a href="https://www.instagram.com/asianamericanartscentre/"><span style="color: blue;">AAAC Instagram</span></a>). In addition, as Asian Americans, this exhibition has connected us back to Asia, to China, to the recent overseas Chinese American community impacted by Tiananmen Square and its international implications. Not only has AAAC has devoted many years to preserving the artworks from this major exhibition for its political content, but for the cultural value that it acquires. Looking back one can see its artistic and cultural importance is woven into the issues of that time, and still into the issues that continue to affect us.
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<br />
As Asian Americans our cultural direction/s are complex. In the visual arts what needs to be done is to recognize the voices of the broad spectrum of Asian American artists and offer a context, a point of departure to help grasp what may be new before our eyes. In this sense 6.4.89 manifests for us the polar opposites which pull at us where we stand. Two political systems, two ways of perceiving, two ways of perceiving ourselves and the range of perspectives and instincts each of us may have. Do they make sense of your feelings, thoughts, and experiences? Do they help to manifest how others might feel, how other Asian Americans might feel?
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAuHnjU8-k7oPciFcMNL1Lq80vDi76PDiGDCQGBhBwZuSz2wqbav-lVttRfXueNlHbI9YaCGoLq_9SiO8oZsHxGAgofDD1wf8oeZq_fXIE4_o7XQ538YGgAZ0reBRe7idYrhypeA1y2IQ/s1600/6_ZhangHongtu_LastBanquet_edit.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="581" data-original-width="1600" height="232" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAuHnjU8-k7oPciFcMNL1Lq80vDi76PDiGDCQGBhBwZuSz2wqbav-lVttRfXueNlHbI9YaCGoLq_9SiO8oZsHxGAgofDD1wf8oeZq_fXIE4_o7XQ538YGgAZ0reBRe7idYrhypeA1y2IQ/s640/6_ZhangHongtu_LastBanquet_edit.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Zhang Hongtu, <i>Last Banquet</i>, painting</td></tr>
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Look at the artworks in the Tiananmen Square exhibition. Each image is different, each perspective has its own emphasis, of Asian and non Asian artists, they all offer us a moment, a refuge for the beings that we are. This moment may become memorable, uncover an instinct only glimpsed, one work may stand out for you, or support you in expressing how you feel. The artworks are posted in <a href="https://www.flickr.com/photos/asianamericanartscentre/albums/72157709069518157"><span style="color: blue;">AAAC’s Flickr</span></a> for you, take this moment.
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<br />
With Kind Regards,<br />
Robert Lee<br />
July 2019
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">Mel Chin, <i>Forgetting Tiananmen, Kent State, Tlatelolco</i>, hydrostone, steel, organic material.</td></tr>
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<div>
<a href="https://www.youtube.com/watch?v=UdK18cHwuSs"><span style="color: blue;">Youtube Video from "Task of Remembrance" in April 2019.</span></a></div>
Asian American Arts Centrehttp://www.blogger.com/profile/10345950479257212004noreply@blogger.com0tag:blogger.com,1999:blog-8095004976727046060.post-83996050565417266652019-07-17T15:42:00.001-04:002019-07-17T15:48:43.794-04:00Humanitarian China & the Tiananmen Square ExhibitionFor the 30th Anniversary of Tiananmen Square, AAAC announces the transfer of hundreds of artworks to the California based Humanitarian China organization. The purpose of the original goal will continue. Humanitarian China (HC) is going to carry on AAAC’s goal, the task of remembrance, by exhibiting, promoting, and preserving these artworks, to educate the public, to ensure that “China, June 4, 1989” as a primary reflection of an important historical movement, will not be forgotten.<br />
<br />
Humanitarian China, a non-profit organization incorporated in California, by Fengsuo Zhou, Zhao Jing and Gang Xu, all student leaders from the Tiananmen movement, joins together with AAAC to renew the purpose and vitality of this effort. HC is dedicated to provide humanitarian care for political prisoners and Tiananmen Mothers in China, to preserve the history of China’s democracy movement and to educate the general public. Liberty Sculpture Park near Los Angeles, has become the new home of these precious artworks.
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJkknFGlQRF8quMKAqEV7GoCisp6VhQ2zo4CSmTO_2tXpQhGZlDqo9XKhDzr882WkRy-oHvuMbs_rF9jz3nsKYuTUsSx9LMU04UJvPgaqHq4_9uUwHZ6FnmHGLcUvT7zKpCE70qeTt9yY/s1600/LibertySculpturePark+LA.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1201" data-original-width="1600" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJkknFGlQRF8quMKAqEV7GoCisp6VhQ2zo4CSmTO_2tXpQhGZlDqo9XKhDzr882WkRy-oHvuMbs_rF9jz3nsKYuTUsSx9LMU04UJvPgaqHq4_9uUwHZ6FnmHGLcUvT7zKpCE70qeTt9yY/s640/LibertySculpturePark+LA.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Arrival of the CHINA: June 4,1989 exhibition to Liberty Sculpture Park near LA</td></tr>
</tbody></table>
<br />
In assigning its care of the CHINA: June 4, 1989 exhibition to HC, the artworks created in the grip of that moment will keep vivid what was felt and link us to what is felt in the present - the meaning of Tiananmen Square today, enabling each generation to reflect upon the diversity of perspectives from many, many artists.<br />
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These artworks will become the centerpiece of a larger collection that will gather with time and become the first permanent June 4th museum committed to preserving this history and the struggle for freedom. This museum will collect and display other artist’s historical objects and artworks opposing censorship and forced amnesia.<br />
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Our sincere appreciation goes to all of the artists – some from Europe, Japan & China - who contributed their artworks to make this endeavor possible.<br />
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AAAC’s promise in the 1990s was to enable the people of China to see this art, see the support of people elsewhere for the people of China. With passing decades this vision faded. Along with another – the vision of a soldier in a small painting holding an empty milk bottle above a crying baby, painted in the Square in 1989 - its question is now answered. China has prospered. However, the portrait of that soldier, the ugly face of political control has brought to prominence the cost, the trade off China has made for material wealth. The crushing of political dissent, the spectacle and voices of Tiananmen Square are with us, even more now given the specter of fascism growing internationally, even here in the US of A. Reminders on how deeply eugenics was to a clearly American historical outlook remind us of the dangers at risk and the vigilance required. May the people of China and America not forget Tiananmen Square as together our human voyage unfolds.
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<br />
-AAACAsian American Arts Centrehttp://www.blogger.com/profile/10345950479257212004noreply@blogger.com0tag:blogger.com,1999:blog-8095004976727046060.post-36142454531700299802018-08-15T11:13:00.000-04:002019-07-12T14:55:33.669-04:00Hiroshima Bound: Placing Yoshiki Araki's Errant Art in an Atomic Era<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img height="272" src="https://lh5.googleusercontent.com/xm3ohmEIFY5YKkMFV9rUH1FSef5B5-CZEN9h2ZCKNw27HrUVCe1anBD-r7g-wpI-B5VL08V-OIm02d-SKi2-q3xDPig4qMHg1t2eGREAtigvdQ0U5bjbsYHac1ze5lfI6N7bwmf1" style="border: none; margin-left: auto; margin-right: auto; transform: rotate(0rad);" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Detail from Yoshiki Araki, <i>Mother & Son </i>(1985), oil and straw on canvas, photo by Bob Lee, edited by Jeremiah Kim</td></tr>
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Five years after the United States detonated the world’s first nuclear bomb above a half-asleep port city on the southwestern tip of Japan’s main island, Yoshiki Araki was born in Hiroshima.</span></div>
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">An itinerant artist who traversed multiple disciplines and continents, Araki spent the 50-year sum of his life searching for those elusive figures and landscapes whose sight and memory had been blotted out of existence on the morning of August 6, 1945, in the city of his childhood and early youth.</span></div>
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Starting his journey in the fishing village of Hokkaido as a young student of traditional Japanese watercolor techniques, Araki soon migrated to New York City at the age of 24, where he expanded his repertoire with the </span><a href="https://www.theartstudentsleague.org/" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Art Students League</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">. Throwing himself into creative profusion of New York’s vibrant communities and neighborhoods, he joined the </span><a href="https://player.vimeo.com/video/97399528#t=3m31s" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Tibetan Singing Bowl Ensemble</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> and traveled with them to perform in Hiroshima in the mid-1980s.</span></div>
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Upon returning to Hiroshima 40 years after the bomb dropped, Araki no doubt witnessed the enduring devastation wrought by the </span><a href="https://www.theatlantic.com/photo/2016/05/hiroshima-before-and-after-the-atomic-bombing/482526/" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">sheer leveling force of the initial explosion</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> and the </span><a href="http://v/" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">horrific intergenerational effects of radiation poisoning</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">. Coinciding with his homecoming, Araki’s art began to reflect an uncanny sensitivity to the bomb’s ghastly after-life as it haunted the city and his own psyche. Thematically, Araki assembled scenes that unmistakably expressed sensations and situations of alienation, disfigurement, flesh, death, war and torment—all visceral registers of experience billowing out of Araki’s status as a marked child of Hiroshima. At the same time, his practice developed towards multi-paneled oil paintings incorporating heterodox elements like wax, tar, tree branches, straw, bones, and cage wire. Assuming a Neo-expressionist style, Araki laid his brush thick and heavy on the canvas to produce streaks of irradiated color that imbued his figures and landscapes with a raw, burning energy.</span></div>
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<tr><td class="tr-caption" style="text-align: center;">Yoshiki Araki, <i>Adam and Eve </i>(1986), oil and straw on canvas, photo by Bob Lee</td></tr>
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Into the 1990s, Araki continued to push the envelope of his experimentation with different mediums and deviant subject matter. Fragments of photographs began to enter his assemblages—most commonly he spliced disembodied nudes together, creating impossibly tangled figures held together by unbearably taut contortions of skin and sinew. This unfolding collision of haunted memory and erotic imagination was cut short, however, by tragedy: eking out a precarious existence as a relatively unknown artist in New York City’s unforgiving concrete climate, Araki was driven to the point of hospitalization under the pressure of repeated landlord harassment and shortly died from health complications in 2000.</span></div>
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<tr><td class="tr-caption" style="text-align: center;">Yoshiki Araki, Untitled (1996), mixed media, photo by Bob Lee</td></tr>
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">In 2006, six years after his death, the Asian American Arts Centre exhibited a career-spanning selection of Araki’s artworks in a solo exhibition titled </span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Yoshiki Araki: Hiroshima Born</span><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">. The opening passage describing the direct proximity of Araki’s family to Little Boy’s blast radius is an excerpt from the </span><a href="http://artasiamerica.org/documents/2428" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">four-page postcard</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> used to promote the exhibition and its panel discussion.</span></div>
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Araki’s posthumous solo exhibition at AAAC presented 35 works spanning his artistic output from the mid-1980s to late 1990s. In a </span><a href="http://artasiamerica.org/documents/2431/75" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">2007 review of the exhibition</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> published in the magazine </span><a href="https://www.artinamericamagazine.com/" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Art in America</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">, art critic Elisa Decker grouped the curated selection into “three distinct bodies of work”: eight large-scale oil and mixed media paintings (1985-88), seven smaller panels combining painting with found objects (late 1980s-early 1990s), and 20 surrealist photo-collage paintings (1996-99).</span></div>
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">In her review of </span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Hiroshima Born</span><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">, Decker devotes lengthy, detailed paragraphs to the exhibition’s standout pieces. In Araki’s 1985 painting </span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Mother & Son</span><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">, Decker</span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;"> </span><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">finds “four figures set in a stormy landscape [who] have a story to tell,” and declares the work to be “one of Araki’s most powerful paintings.” Though her analysis goes deep—a hovering male nude with a diagonal patch of straw for a head in </span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Mother & Son </span><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">might be “a reference to T. S. Eliot’s poem ‘The Hollow Men,’” she speculates—conspicuously absent from Decker’s reading of the exhibition is any acknowledgment of the most basic, foundational element driving Araki’s art: the atomic bomb in Hiroshima.</span></div>
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<tr><td class="tr-caption" style="text-align: center;">Yoshiki Araki, <i>Mother & Son </i>(1985), oil and straw on canvas, photo by Bob Lee</td></tr>
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">As evidenced by the Art Centre’s postcard, the bomb and its aftermath were central themes to be confronted in both the art exhibition and panel (titled </span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Hiroshima Legacy: The Art of Yoshiki Araki</span><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">, the panel featured a collection of socially conscious artists and anti-war activists, along with a video on Hiroshima bomb survivors known in Japan as </span><a href="http://v/" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">hibakusha</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">). Writes AAAC Director Bob Lee in the postcard, <span id="docs-internal-guid-7bd25c9c-7fff-7184-c99c-eee24160fe2b"><a href="http://www.artasiamerica.org/images/Exhibition_flyer_for_Yoshiki_Araki_Hiroshima_Born_Asian_American_Arts_Centre_2006303/Hiroshima_Born_flyer_pg_3.jpg" style="text-decoration-line: none;"><span style="color: #1155cc; font-size: 11pt; vertical-align: baseline;">introducing audiences</span></a></span> to the significance of Araki’s work: </span></div>
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">“We have been taught to tolerate violence, to look past its pain… The consequences of military action [are] ‘good’, the collateral damage to people is to be ‘tolerated’, at least until it can be put aside and forgotten… So many realities are not faced because of this kind of skillful practice. The bomb is one of these.</span></div>
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Araki chose a different path. His art and his life hold a logic contrary to so much of what is current and acceptable… Araki has made the undisclosed underbelly of society into an art transparent. He exposes social convention to its own undoing.”</span></div>
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Powerful as they might be when viewed from the formalist perspective of an educated critic like Elisa Decker, artworks like </span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Mother & Son </span><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">and </span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Physical Memory </span><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">gain a much deeper meaning when perceived through the prism of their creator’s mind-and-flesh experience as a victim of atomic warfare. The anguish writ plain on the faces of the two dominant figures in </span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Mother & Son</span><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> registers with an emotional clarity that is only enhanced by our awareness of Araki’s own dislocated family lineage. Likewise, the stomach-turning dread that arises from our apprehension of </span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Physical Memory </span><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">strikes us with an ever more piercing edge when we place its vulnerable figure, frozen mid-fall, alongside a mental silhouette of the Little Boy bomb making its silent, downward plunge towards Hiroshima.</span></div>
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<tr><td class="tr-caption" style="text-align: center;">Yoshiki Araki, <i>Physical Memory (Hiroshima) </i>(date unknown), oil and wood on canvas, photo by Bob Lee</td></tr>
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">We can ascribe a dual quality of </span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">errancy </span><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">to Araki’s art: On one hand, his unsubdued eroticism and pained expressionism arrive as an affront to our euphemized sensibilities. On the other, his unerring orbit around and through Hiroshima points our hearts toward a more real plane where no trick of the light can obscure the toxic </span><a href="http://artasiamerica.org/documents/2427/75" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">“scene of the crime”</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">, or prevent us from gazing straight at our transgressions, face-to-face.</span></div>
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">For we know that there are many kinds of violence, and many faces to war. As Black Panther Party founder Huey P. Newton once wrote, “The system, in fact, destroys us through neglect much more often than by the police revolver. The gun is only the </span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">coup de grâce</span><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">, the enforcer. To wipe out the conditions leading up to the </span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">coup de grâce</span><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">, that [is] our goal.” If the atomic bombings of Hiroshima and Nagasaki were a final death blow (and a patently </span><a href="https://www.thenation.com/article/why-the-us-really-bombed-hiroshima/" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">unjustifiable one</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> at that), they were also, paradoxically, the opening volley in a more massive assault that has persisted well into the new millennium. In this nuclear era, we must consider the afflicted zones encircling and outlasting the first blast crater as embattled fronts in a totalizing war that is being waged by the ruling classes of our own country.</span><br />
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Suffice to say that, surveying the tremendous distance between the kind of nuanced analysis developed by revolutionary thinkers like Newton versus our society’s pervading lack of awareness about its own endemic violences at-present, there are a number of harsh realities which remain to be confronted at the level of this country’s national consciousness. Most of us have not confronted, for instance, the reality that the United States has </span><a href="https://en.wikipedia.org/wiki/Nuclear_weapons_of_the_United_States" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">6,800 nuclear warheads</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">; or the reality that the United States maintains </span><a href="https://www.thenation.com/article/the-us-has-military-bases-in-172-countries-all-of-them-must-close/" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">800 military bases in 80 countries</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">; or the reality that the United States military is the </span><a href="https://www.ecowatch.com/military-largest-polluter-2408760609.html" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">biggest polluter in the world</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">; or the reality that the United States has sponsored </span><a href="https://www.salon.com/2014/03/08/35_countries_the_u_s_has_backed_international_crime_partner/" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">fascists, drug lords, and terrorists in 35 countries</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">, and executed at least </span><a href="https://www.nytimes.com/2018/02/17/sunday-review/russia-isnt-the-only-one-meddling-in-elections-we-do-it-too.html" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">81 attempted regime changes</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> since World War II.</span><br />
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<span style="font-family: "arial"; font-size: 11pt; white-space: pre-wrap;">In its quest for ruthless expansion, the United States has exported its conflicts abroad via limited proxy wars that fit right in between breaking news of Kanye West’s latest freakout and corporatized #Resistance ad campaigns on our social media feeds. The American system of indirect control over the resources and labor of less powerful nations has been implemented, more often than not, by shameless methods of war and debilitation—but we remain blissfully uninformed about the price of our domestic development, believing we live in a civil, free, and equal society.</span><br />
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">We have yet to confront the reality that, at this moment, there are </span><a href="https://en.wikipedia.org/wiki/List_of_ongoing_armed_conflicts" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">18 wars taking place</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> around the world, all of which bear the prolific mark of American empire in some shape or fashion. That Yemen is currently embroiled in a civil war </span><a href="https://www.rollingstone.com/politics/politics-news/yemen-war-united-states-704187/" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">because of U.S. intervention</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> is an indisputable fact. That the U.S. government bankrolled a </span><a href="https://www.nytimes.com/2017/08/02/world/middleeast/cia-syria-rebel-arm-train-trump.html" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">$1 billion CIA program</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> to exacerbate the Syrian Civil War is another indisputable fact. That any one of the present or future U.S.-backed “foreign” conflicts could spill out into a world-engulfing nuclear war with mutual destruction guaranteed for all humankind is the reality we live in, whether we want to face it or not.</span><br />
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<span style="font-family: "arial"; font-size: 11pt; white-space: pre-wrap;">We have not confronted, lastly, the reality that Yoshiki Araki was one of millions to have been killed in the global war between people and private, profitable property—and this, only five decades after being born to a city destroyed under those disastrous pretenses of civilization, freedom, and equality.</span><br />
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<span style="font-family: "arial"; font-size: 11pt; white-space: pre-wrap;">To elide the troubling vision of artists like Yoshiki Araki is to ratify our society’s moral degradation and the inevitability of our collective ruin. To err on the side of the confrontation, however—to probe fearlessly, as Araki did, into the anatomy of America’s unspoken conventions—is to join the rest of humanity in its ongoing struggle towards building a new paradigm of peace that will last for generations to come.</span></div>
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<span style="font-family: "arial"; font-size: 11pt; white-space: pre-wrap;">– Written by Jeremiah Kim, AAAC Summer 2018 Intern</span></div>
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<span style="font-family: "arial"; font-size: 11pt; white-space: pre-wrap;">***</span></div>
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<span style="font-family: "arial"; font-size: 11pt; white-space: pre-wrap;">Disclaimer: “AAAC wants to give its interns the opportunity to express themselves. However, in doing so at times views are expressed that are very explicit and may be frowned upon coming from a community nfp organization. AAAC would like to make an exception in this case and not attach here any sort of disclaimer, remaining sensitive to any comments and feedback from those who chose to comment or disagree. </span></div>
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<span style="font-family: "arial"; font-size: 11pt; white-space: pre-wrap;">The kind of humanity that permitted/acquiesced or stood by silently when the bomb was dropped, this kind of humanity I believe, is what Yoshiki Araki sought to make us aware. Moral and ethical limits that have yet to be discussed on a wide if not global scale, towards the day when such can be realized and adopted, this has yet to happen. May this article elevate our awareness of what peace may bring.”</span></div>
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<span style="font-family: "arial"; font-size: 11pt; white-space: pre-wrap;">– R. Lee for AAAC</span></div>
</span><span id="docs-internal-guid-1af3c14b-7fff-b8fc-9091-333bebe9154f"><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"></span></span>Asian American Arts Centrehttp://www.blogger.com/profile/10345950479257212004noreply@blogger.com1tag:blogger.com,1999:blog-8095004976727046060.post-52078310038877148852018-07-31T17:34:00.001-04:002019-07-12T12:56:07.071-04:00A Critical History: AAAC in Reviews<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
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<span style="background-color: transparent; color: black; font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">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.</span><br />
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<span style="font-family: "arial"; font-size: 11pt; white-space: pre-wrap;">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. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhanJt6j-2uQlgCeOI6MmABi2uzi-1q7_4CnFAXf7wM-zXKsEVvyfi6_Mnzjk25TATcRyfDvzxLSq4_v9xza3lT_I5XzeDV-pf5_t0LMrwGhwkQmtobA9PmNopC8EW1R3xGFy42cjsisco/s1600/4229534582_51976239bc_o.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="color: black;"><img border="0" data-original-height="1233" data-original-width="1600" height="307" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhanJt6j-2uQlgCeOI6MmABi2uzi-1q7_4CnFAXf7wM-zXKsEVvyfi6_Mnzjk25TATcRyfDvzxLSq4_v9xza3lT_I5XzeDV-pf5_t0LMrwGhwkQmtobA9PmNopC8EW1R3xGFy42cjsisco/s400/4229534582_51976239bc_o.jpg" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Reception for <i>China: June 4, 1989 </i>at Blum Helman Warehouse, Oct. 1989. Photo courtesy of AAAC.</td></tr>
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<span style="background-color: transparent; font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">In his </span><a href="https://www.nytimes.com/2002/11/15/arts/art-review-where-witty-meets-gritty.html" style="text-decoration: none;"><span style="background-color: transparent; font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;">2001 article</span></a><span style="background-color: transparent; font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> on art in the Lower East Side, Cotter describes AAAC as “a hard-working, meagerly financed grass-roots institution that caters to community needs but has an internationalist perspective broader than that of most galleries in the mainstream,” adding that “under the direction of Robert Lee, this nonprofit space has given many Asian-American artists, young and old, exposure impossible to find elsewhere.” On the 1999 exhibition </span><a href="https://www.nytimes.com/1999/04/30/arts/art-in-review-7-lb-9-oz-the-reintegration-of-tradition-in-contemporary-art.html" style="text-decoration: none;"><span style="background-color: transparent; font-family: "arial"; font-size: 11pt; font-style: italic; font-weight: 400; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;">7 lb. 9 oz.: The Reintegration of Tradition in Contemporary Art</span><span style="background-color: transparent; font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;">,</span></a><span style="background-color: transparent; font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> Cotter writes that AAAC “was founded long before multiculturalism was so much as a glint in the mainstream art world’s eye” and praises AAAC’s “very smart tabloid-format magazine” </span><span style="background-color: transparent; font-family: "arial"; font-size: 11pt; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">ArtSpiral</span><span style="background-color: transparent; font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">. </span><br />
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Cotter has reviewed other AAAC exhibitions including </span><a href="https://www.nytimes.com/2001/03/23/arts/art-review-when-east-goes-west-the-twain-meet-here.html" style="text-decoration: none;"><span style="font-family: "arial"; font-size: 11pt; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;">Colin Lee's solo show</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> for the Sixth International Asian Art Fair (2001), </span><a href="https://www.nytimes.com/1999/06/18/arts/art-in-review-toyo-tsuchiya-six-o-clock-observed.html" style="text-decoration: none;"><span style="font-family: "arial"; font-size: 11pt; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;">Toyo Tsuchiya’s </span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;">Six O’Clock Observed</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> (1999), </span><a href="https://www.nytimes.com/2000/10/27/arts/art-in-review-2-far-2-close.html" style="text-decoration: none;"><span style="font-family: "arial"; font-size: 11pt; font-style: italic; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;">2 Far 2 Close</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> (2000), </span><a href="https://www.nytimes.com/2002/04/19/arts/art-in-review-zheng-lianjie.html" style="text-decoration: none;"><span style="font-family: "arial"; font-size: 11pt; font-style: italic; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;">Zheng Lianjie</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> (2002), and </span><a href="https://www.nytimes.com/2003/12/26/arts/art-in-review-dream-so-much-2.html" style="text-decoration: none;"><span style="font-family: "arial"; font-size: 11pt; font-style: italic; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;">Dream So Much 2</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> (2003).</span></div>
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<tr><td class="tr-caption" style="text-align: center;">Installation view of <i>China: June 4, 1989, </i>remounted in 2014. Photo courtesy of AAAC.</td></tr>
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<span style="background-color: transparent; font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">To note some additional press AAAC has received, renowned art historian Thomas McEvilley (1939-2013) wrote several articles for AAAC’s exhibitions and catalogues. One such article from 2000, </span><a href="http://artspiral.blogspot.com/2018/07/thomas-mcevilley-asian-american-art.html" style="text-decoration: none;"><span style="background-color: transparent; font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;">“Asian American Art: The Transitional Generation”</span></a><span style="background-color: transparent; font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, was rediscovered and posted to the blog earlier this summer; a 1996 article, </span><a href="http://artspiral.org/artspiral.php" style="text-decoration: none;"><span style="background-color: transparent; font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;">“Negotiating Modernisms: Contemporary Asian Art and the West,”</span></a><span style="background-color: transparent; font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> is available on our website. </span><br />
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<span style="font-family: "arial"; font-size: 11pt; font-style: italic; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;"><a href="http://artspiral.org/june4.php" style="text-decoration: none;">China: June 4, 1989</a></span><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">, 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 </span><a href="http://artspiral.org/june4-materials.php" style="text-decoration: none;"><span style="font-family: "arial"; font-size: 11pt; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;">significant critical attention</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">. Art in America magazine at the end of 1989 chose China: June 4 as one of the most significant exhibition for the year. </span><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">In 1992 Douglas Utter wrote in the </span><a href="http://www.artspiral.org/past_exhibitions/june4/pdfs/review_art_examiner.pdf" style="text-decoration: none;"><span style="font-family: "arial"; font-size: 11pt; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;">New Art Examiner</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">, "</span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">China: June 4, 1989</span><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> 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 </span><a href="http://whiteboxnyc.org/exhibit/china-june-4-1989/" style="text-decoration: none;"><span style="font-family: "arial"; font-size: 11pt; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;">Whitebox Art Center</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> in 2014 on the 25th anniversary of the incident, and was reviewed in </span><a href="https://www.manhattandigest.com/2014/05/20/art-china/" style="text-decoration: none;"><span style="font-family: "arial"; font-size: 11pt; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;">Manhattan Digest</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> and </span><a href="http://www.beyondchinatown.com/2014/12/09/china-june-4-1989-exhibition-review-2/" style="text-decoration: none;"><span style="font-family: "arial"; font-size: 11pt; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;">Beyond Chinatown</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">.</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><i>Eye to Eye </i>panel, 1983. Photo courtesy of AAAC.</td></tr>
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<span style="background-color: transparent; font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Recently Ryan Wong paid special attention to AAAC’s role in creating a space for Asian Americans in the arts in his 2017 </span><a href="https://hyperallergic.com/330442/a-brief-history-of-the-art-collectives-of-nycs-chinatown/" style="text-decoration: none;"><span style="background-color: transparent; font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;">Hyperallergic</span></a><span style="background-color: transparent; font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> article “A Brief History of the Art Collectives of NYC’s Chinatown,” where he describes our 1982 panel and exhibition </span><span style="background-color: transparent; font-family: "arial"; font-size: 11pt; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Eye to Eye </span><span style="background-color: transparent; font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">on the definition of Asian American art as well as the </span><span style="background-color: transparent; font-family: "arial"; font-size: 11pt; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">China: June 4, 1989</span><span style="background-color: transparent; font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> exhibition. AAAC was also mentioned in a </span><a href="https://www.nytimes.com/2018/04/12/t-magazine/asian-american-art-martin-wong-tseng-kwong-chi.html" style="text-decoration: none;"><span style="background-color: transparent; font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;">New York Times</span></a><span style="background-color: transparent; font-family: "arial"; font-size: 11pt; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> article by Nikil Saval on Tseng Kwong Chi and Martin Wong, whom we exhibited in 1985 along with Ai Weiwei. </span><br />
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<span style="font-family: "arial"; font-size: 11pt; white-space: pre-wrap;">AAAC continues to be grateful for your recognition and support.</span></div>
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<span style="font-family: "arial"; font-size: x-small;"><span style="white-space: pre-wrap;">–Written by intern Amy Hong</span></span></div>
<br class="Apple-interchange-newline" />Asian American Arts Centrehttp://www.blogger.com/profile/10345950479257212004noreply@blogger.com1tag:blogger.com,1999:blog-8095004976727046060.post-8949367849626987642018-07-03T15:15:00.000-04:002019-07-12T14:19:01.648-04:00‘Detained’ in America: Immigration, Incarceration, and Imperialism in Diasporic Art<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7BxQBYDZrwT95FjonBbNh2jU87InzKSg90QG7mf1v5gn6N_RWDIyAgx2RRrpi0uFoXi75_Dn89IhY9XbzdMv7t0V7ZniAQ9qM_uIAO8Qpf7EV-5ECHRjEuk3M_WZMi3PZXYquYZnbQ3U/s1600/detained.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="580" data-original-width="920" height="402" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7BxQBYDZrwT95FjonBbNh2jU87InzKSg90QG7mf1v5gn6N_RWDIyAgx2RRrpi0uFoXi75_Dn89IhY9XbzdMv7t0V7ZniAQ9qM_uIAO8Qpf7EV-5ECHRjEuk3M_WZMi3PZXYquYZnbQ3U/s640/detained.jpg" width="640" /></a></div>
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">On June 27, the U.S. Supreme Court </span><a href="https://www.nytimes.com/2018/06/26/us/politics/supreme-court-trump-travel-ban.html" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">ruled 5 to 4</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> in favor of upholding President Trump’s travel ban against Iran, Libya, Somalia, Syria, and Yemen. Although the official majority position written by Chief Justice John Roberts shies away from an explicit alignment with anti-Muslim bias, the fact remains that imposing a prohibition on migrants and visitors from five Muslim-majority countries enacts a vicious ideology of nativism against Muslims and other communities that do not fit the criteria of white, Christian, English-speaking, Western educated, upper-class, able-bodied, documented citizen. The same logic can be applied to the Department of Justice’s </span><a href="https://www.vox.com/2018/6/30/17520820/families-together-detention-separate-camp-military" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">announcement</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> on June 29 that it would, after intense public outcry, keep immigrant families together—in indefinite detention.</span></div>
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">These decisions, far from being exceptions to the rule of </span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">American values</span><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">, merely continue a long tradition in the country’s history of criminalizing the migrations and movements of people of color in the name of “security”, “merit”, and “legality”.</span></div>
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">As the American people are confronted with the compounding moral crises of unchecked ICE raids, immigrant concentration camps, </span><a href="https://www.theguardian.com/us-news/2018/jun/27/pittsburgh-police-officer-charged-in-shooting-death-of-unarmed-black-teen" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">anti-black police brutality</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">, </span><a href="https://www.vox.com/cards/israel-palestine/united-states" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">complicity</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> in Israel’s </span><a href="https://www.aljazeera.com/indepth/inpictures/israeli-forces-kill-40-palestinians-gaza-180514123818573.html" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">ethnic cleansing</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> of Palestine, </span><a href="https://www.nytimes.com/2018/06/27/us/politics/supreme-court-unions-organized-labor.html" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">federal-level assaults</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> on the labor movement, and Islamophobic travel bans, they would do well to look to the past for clues concerning the cause and consequence of their country’s shameful behavior both within and beyond its borders. This behavior—all of it transpiring under the failed leadership of the U.S. political establishment—has evaded justice and public apprehension for decades, if not centuries.</span></div>
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">In this context, the Asian American Arts Centre looks back to 2006, when the Centre organized </span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Detained</span><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">, an exhibition and panel discussion that approached questions of incarceration, racial profiling, immigration, visibility, interconnectedness, public memory, and injustice through the art and activism of Asian and Arab Americans situated amidst multiple diasporas. Responding in large part to the targeting of Muslim, Arab, and South Asian communities in the post-9/11 era, </span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Detained </span><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">exhibited a cross-cultural, multi-disciplinary selection of artists including </span><a href="http://wafaabilal.com/html/domesticTension.html" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Wafaa Bilal</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">, </span><a href="http://artasiamerica.org/artist/detail/526" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Chitra Ganesh</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">, Mariam Ghani, </span><a href="http://artasiamerica.org/artist/detail/32" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Dorothy Imagire</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">, </span><a href="http://www.pialindman.com/" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Pia Lindman</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">, </span><a href="http://cameandwent.com/tgn.html" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Trong Nguyen</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">, Lina Pallotta, </span><a href="http://www.jennypolak.com/" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Jenny Pollack</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">, </span><a href="http://www.dreadscott.net/" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Dread Scott</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">, and </span><a href="http://artasiamerica.org/artist/detail/126" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Rene Yung</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">. The accompanying panel featured five activists whose work converged on fighting detention under the U.S. military-prison-industrial complex: Palestinian rights campaigner Konrad Aderer, Monami Malek of Desis Rising Up and Moving (</span><a href="http://www.drumnyc.org/" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">DRUM</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">), Adem Carroll of the </span><a href="http://www.icna.org/" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Islamic Circle of North America</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">, Tushar Sheth of the Asian American Legal Defense and Education Fund (</span><a href="http://aaldef.org/" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">AALDEF</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">), and </span><a href="http://disappearedinamerica.org/" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Visible Collective</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">.</span></div>
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<tr><td style="text-align: center;"><img src="http://www.artasiamerica.org/images/Exhibition_flyer_for_Detained_Asian_American_Arts_Centre_2006386/Detained_flyer_pg_4.jpg" height="286" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">AAAC, Exhibition postcard for 'Detained' (2006)</td></tr>
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">In addition to the panel and exhibition, </span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Detained </span><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">also featured a talk by </span><a href="https://www.theguardian.com/world/2004/mar/30/usa.guantanamo" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">James Yee</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">, a former chaplain for the U.S. Army stationed at Guantanamo Bay who was arrested on unsubstantiated espionage charges and detained in solitary confinement for 76 days in 2003. Yee, a New Jersey-born Chinese American who converted to Islam, spoke out against the torture and unjust incarceration of Guantanamo’s Muslim detainees to whom he had been assigned to administer spiritual aid—and was tortured by his own country in return.</span></div>
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Turning to the artists, we witness parallels that run across (but do not negate) lines of race, time, gender, location, medium, and gesture. From the unsettling photographic/performance/video art of Wafaa Bilal’s </span><a href="http://wafaabilal.com/the-human-condition/#&panel1-4" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">“The Human Condition”</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">, Trong Nguyen’s </span><a href="http://cameandwent.com/guantanamo.html" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">“Messages from Guantanamo”</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">, and Jenny Polak & Dread Scott’s </span><a href="http://www.jennypolak.com/welcome-to-america/" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">“Welcome to America”</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">, to the archivalist re-creations of Chitra Ganesh and Mariam Ghani’s </span><a href="http://www.chitraganesh.com/index-of-the-disapperaed/" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">“Index of the Disappeared”</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> and Dorothy Imagire’s </span><a href="http://artasiamerica.org/works/146/32" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">“Japanese American Concentration Camp”</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">, there runs a common ethos of making visible that which has been concealed from view in American culture. Much like Ganesh and Ghani’s interactive </span><a href="http://kabul-reconstructions.net/index/gtmo/home.html" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">“Guantanamo Effect”</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">, we can thread an incriminating red line linking out-of-sight, out-of-mind incarceration centers like</span><a href="https://www.newyorker.com/books/page-turner/the-lost-poetry-of-the-angel-island-detention-center" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> Angel Island</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">, </span><a href="https://www.history.com/news/how-boarding-schools-tried-to-kill-the-indian-through-assimilation" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Carlisle boarding school</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">, </span><a href="https://nypost.com/2016/08/20/the-true-story-of-the-attica-prison-riot/" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Attica</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">, </span><a href="http://www.newsweek.com/2017/02/24/manzanar-japanese-internment-camp-trump-extreme-vetting-556944.html" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Manzanar</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">, Guantanamo Bay, </span><a href="https://www.nytimes.com/2015/06/09/nyregion/kalief-browder-held-at-rikers-island-for-3-years-without-trial-commits-suicide.html" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Rikers Island</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">, and </span><a href="https://www.nytimes.com/2018/06/14/us/family-separation-migrant-children-detention.html" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Brownsville</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> together: an unthinkable genealogy of grotesque relations.</span></div>
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<tr><td style="text-align: center;"><img src="http://www.chitraganesh.com/wp-content/uploads/2016/10/1.-Guantanamo-Effect-Main-page-shot-copycomp.jpg" height="217" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Chitra Ganesh & Mariam Ghani, "Guantanamo Effect" (2013), digital catalogue. All credit goes to the artists</td></tr>
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">In that vein, Wafaa Bilal’s watershed 2007 exhibition</span><a href="http://wafaabilal.com/html/domesticTension.html" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> “Domestic Tension”</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">, though it was not featured in </span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Detained</span><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">, exposes the contradictions of U.S. imperialism in creating climates of total war and total indifference that simultaneously co-constitute and slip past each other—holding some in thrall so that the rest might be “free”. For 31 days, Bilal confined himself to a solitary room and placed his body at the mercy of a paintball rifle whose trigger could be pulled via an open-access chat room trafficked by thousands of visitors by the end of the month. The ceaseless </span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">rat-tat-tat </span><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">of the rifle, the large splotches of yellow paint plastering the room, and Bilal’s vulnerable, fugitive figure are </span><a href="https://www.amazon.com/Shoot-Iraqi-Life-Resistance-Under/dp/087286491X/ref=sr_1_1?s=books&ie=UTF8&qid=1530568120&sr=1-1&keywords=wafaa+bilal" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">testaments</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> to the faceless, nameless precision violence which the artist experienced firsthand as an Iraqi refugee who lost his brother to an unmanned U.S. drone strike in 2005.</span></div>
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<tr><td class="tr-caption" style="text-align: center;">Wafaa Bilal, "Domestic Tension" (2007), photograph.<i> </i>All credit goes to the artist</td></tr>
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">So let’s expand our frame of reference: as Wafaa Bilal’s art shows us, detention, violence, and containment are issues that cannot be limited to sites existing within the mapped borders of the United States. All the different waves of migrants and refugees from Latin America, Africa, the Middle East, and Asia who have flocked to North America within the past hundred years—where are they coming from? And I don’t mean this in the </span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">No, where are you </span><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">really </span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">from? </span><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">sense. What I am asking is: what are the contexts, the conditions, the circumstances out of which certain groups of people have been compelled to take flight—and then get detained?</span></div>
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">To try to answer that question, we need to start asking a larger set of questions: How many wars has the United States, whether by direct invasion or proxy campaign, started in the rest of the world? How many military bases have we—and I say </span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">we </span><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">because most of us have consented to this peculiar government and its perplexing history—installed in countries that we have no conceivable right to occupy? How many </span><a href="https://www.dailykos.com/stories/2018/6/20/1773818/-So-we-re-gonna-pretend-these-refugees-aren-t-a-result-of-our-actions-in-Central-America" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">violent coups</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> and </span><a href="https://medium.com/s/story/timeline-us-intervention-central-america-a9bea9ebc148" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">capitalist regimes</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> have we financed in Central and South America? How many bombs have we dropped on Southeast, Central, and East Asia? How many tons of oil, rubber, cocoa, gold, salt, diamonds, ivory, and wood have we extracted from Africa—and for how much profit?</span></div>
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Interchange the recipients in each of the questions above and you’ll get directly variable results. However, the underlying function—U.S. imperialism—remains the same. At every link in the chain of the many diasporas implicated in the </span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Detained </span><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">exhibition, the myth of American benevolence crumples and collapses under the weight of its own deafening hypocrisy. People come to this country because this country has undermined and maimed their countries; we detain people from those countries because we believe they will undermine and maim this country. This empire.</span></div>
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<span style="font-family: "arial"; font-size: 11pt; white-space: pre-wrap;">Without losing sight of what is unfolding right before us—American state and corporate interests culling working class families and children for indefinite detention in euphemized concentration camps—we push forward through the veils of anonymity, indifference, and misinformation obscuring our view of the larger picture. No longer able to fool ourselves, art pushes us to confront the reality of the kind of people we really are—and the possibilities of who we might become.</span></div>
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<span style="font-family: "arial"; font-size: 11pt; white-space: pre-wrap;"><i>Written by AAAC Summer intern Jeremiah Kim.</i></span></div>
Asian American Arts Centrehttp://www.blogger.com/profile/10345950479257212004noreply@blogger.com0tag:blogger.com,1999:blog-8095004976727046060.post-33538320168108078772018-07-03T13:03:00.000-04:002019-07-08T17:10:57.336-04:00Thomas McEvilley | Asian American Art: The Transitional Generation<div class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;">
AAAC recently rediscovered an unpublished article written by late art historian Thomas McEvilley (1939-2013). McEvilley was an esteemed art history professor at Rice University, a contributing editor for Artforum and a senior advisor for Trans. He also contributed to the catalogue accompanying Contemporary Art in Asia: Tradition/Tensions. Another of McEvilley's articles, <a href="http://artspiral.org/artspiral.php" target="_blank"><span style="color: blue;">"Negotiating Modernisms: Contemporary Asian Art and the West"</span></a> from the 1996 issue of ArtSpiral, is available on our website.</div>
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"Asian American Art: The Transitional Generation" was written on the occasion of AAAC's 2000 exhibition "Milieu III: Color," featuring the work of <a href="http://artasiamerica.org/artist/detail/48" target="_blank"><span style="color: blue;">Natvar Bhavsar</span></a>, <a href="http://artasiamerica.org/works/7522/163" target="_blank"><span style="color: blue;">Venancio C. Igarta</span></a>, <a href="http://artasiamerica.org/artist/detail/192" target="_blank"><span style="color: blue;">James Kuo</span></a>, <a href="http://artasiamerica.org/artist/detail/193" target="_blank"><span style="color: blue;">Ted Kurahara</span></a>, and <a href="http://artasiamerica.org/artist/detail/63" target="_blank"><span style="color: blue;">Seong Moy</span></a>. McEvilley discusses an earlier variation of this lineup, in which Yun Gee and <a href="http://artspiral.blogspot.com/2018/06/miyoko-ito-search-for-place.html" target="_blank"><span style="color: blue;">Miyoko Ito</span></a> were included instead of Kuo and Moy (Ito could not be exhibited due to issues with shipping). "Milieu III" was the third in a series of exhibitions, "Asian Americans and Their Milieu 1945-65," curated by Robert Lee. Due to lack of funding, the "Milieu III" catalogue, with McEvilley's accompanying essay, was never published. We present the essay in its entirety here, along with several images of relevant artwork.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk5kdo2Ni2PcmE9tDfPMDQugcDnoPXK-M8FZwvbX7qutOkl_1cxGEY9dbfQTqe2GlZwgm7CVPgLgJr1rMzwx6NE0oucI_i1hmuGGUNw9DdPND5crgQ1TCe5wbIL-oB5QxmAp5RYlEZbyA/s1600/Akshyaa.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="800" data-original-width="1076" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk5kdo2Ni2PcmE9tDfPMDQugcDnoPXK-M8FZwvbX7qutOkl_1cxGEY9dbfQTqe2GlZwgm7CVPgLgJr1rMzwx6NE0oucI_i1hmuGGUNw9DdPND5crgQ1TCe5wbIL-oB5QxmAp5RYlEZbyA/s400/Akshyaa.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Natvar Bhavsar, Akshyaa, 1992. Photo courtesy of Asian American Arts Centre</td></tr>
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<span style="font-size: large;">ASIAN AMERICAN ART: THE TRANSITIONAL GENERATION <o:p></o:p></span></div>
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<span style="font-size: large;">Thomas McEvilley </span><o:p></o:p></div>
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1.<o:p></o:p></div>
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The theme of this exhibition, “Color,” refers directly to the confrontation of Asian artists, who often come from a black-and-white emphasizing visual tradition, with the emphasis in western Late Modernism--from Fauvism to Color Field painting--on expanses of bright saturated color. It refers indirectly to the racial theme underlying the situation these artists have lived in most their adult lives. <o:p></o:p></div>
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The artists in this exhibition--all in various ways “artists of color”--came to the United States during the period of Modernism, and their works are being exhibited here now in the period of post-Modernism. This situation is very different from that of artists who arrived in this country in the nineteenth or early twentieth centuries, and again from that of younger artists who have arrived since the revision of immigration laws in 1966 shifted preference away from Europe. Before the founding of the League of Nations at the end of World War I there was little opportunity for a non-western immigrant to enter the activity and discourse of Modernism, which was seen as a specifically western phenomenon not necessarily susceptible to being transplanted elsewhere. The nineteenth century linkage of blood and soil meant that it could not be appropriate to an immigrant population either. <o:p></o:p></div>
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In that era the Hegelian view of culture and history still held sway; each nation was said to have a national character which determined, and was revealed in its art and culture as well as in its politics and social structure. Both national character and cultural tendency were regarded as linked to ethnicity, so each artist was regarded as irremediably fixed in his tradition; any move to get outside it would seem like a kind of betrayal of himself as well as of his national compeers. As Sartre said in his introduction to Franz Fanon’s Wretched of the Earth, a member of a colonized culture who took a position sympathetic to the colonizers had nothing left, neither the identity he was born and raised with nor the identity he sought to acquire through imitation. Neither will have him, and he enters a kind of no-man’s land. This was the hard fact: a member of a colonized culture could enter Modernism only through an act of betraying himself, his family, and his inherited community values. The idea of a national identity which should be puristically maintained collaborated with the closely associated quality of race to create unbridgeable gaps between the world cultures and peoples. A Chinese artist might come to America and begin making art there, but it would have to be his traditional or inherited artistic direction that he followed. Virtually no non-white people were recognized as validly entering and practicing Modernism. <o:p></o:p></div>
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This situation changed in the early twentieth century. The League of Nations was one reason and the breakdown of intercultural barriers by the foundational discoveries of modern physics--such as Einstein’s theory of relativity, which unfolded from 1905 to 1915--was another. Both these developments promoted a sense of the universality of the human situation rather than its separation into parochial enclaves. At the same time the period of “primitivism” was occurring, when Picasso, Braque, Klee and other prominent western artists awakened to the aesthetic presence of non-western art in their midst and received its imprint. As African, Oceanic and Asian art demonstrably influenced European artistic Modernism, the sense of the universality of human selfhood increasingly took the place of the old insistence on national character and identity. <o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">James Kuo, Composition #1, 1993. Photo courtesy of AAAC.</td></tr>
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From that time until the end of colonialism in the generation after World War II, it was possible for persons of other cultures to enter Modernism and take on the supposedly universalized identity of the Modernist westerner--but the cost was high. One might not bear the stigmata of a betrayer, but still a certain abandonment, even a tacit renunciation, of one’s inherited cultural identity seemed involved. One would have to turn ones back on one’s own education and begin all over again, learning the art history and the discourse and values surrounding it, and attempting to generate enthusiasm for them as one’s own. In this period the great examples are the Bombay Progressives, who in 1947 renounced the Indian heritage in favor of adopting European Modernist approaches to art making, on the assumption that such approaches were not ethnocentrically European but were somehow universal, like the western science that applied in the same way everywhere and the western capitalism which, in the immediate post-war era, seemed about to do the same. The individual artist was still supposed to be puristic in his cultural makeup, but now it was an alien or adopted purism. As the Indian or Chinese artist had been supposed to be puristically Indian or Chinese, so now, becoming a westerner, he was to be puristically western. <o:p></o:p><br />
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Hiddenly, such an artist must have perceived himself to be a hybrid, aware of an almost secret level of earlier conditioning lying beneath the surface veneer of westernization. Only recently did this hybridity come out of hiding and announce itself as a new approach to the idea of an inclusive and universal society. With the end of colonialism in the years between 1947 and 1976 it was no longer possible for the West to pretend that it was the only cultural presence in a world of strangely silent aliens. Indeed, as post-colonialism produced its inevitable byproduct of postmodernist multiculturalism, the situation of hybridity became elevated to a new idea of the cosmopolitan; only he who has nomadically made his way from culture to culture, acquiring layers that were not hidden but indexed on the surface, could claim to be, as Diogenes called himself, a Citizen of the World. Hybridism, nomadism, decentering, and pastiche became the ideals of a new age of humanity. Now it was possible for the artist to merge the styles of various cultures retaining the one into which he or she was born as the foundation on which the nomadic superstructure of a variety of relativized points of view was erected.</div>
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In many parts of the world which have not yet entered Modernism this program may seem out-of-synch. As W.J.T. Mitchell has remarked, the western postmodernist might be advocating decentering to one who is still seeking a center, offering postmodernism to one who still longs for the charisma of Modernism. For those of a generation that remembers the truth of yesterday, the Modernist benediction may still seem meaningful. <o:p></o:p></div>
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Hegel declared both Africa and Asia ahistorical; they had not yet entered history, it seemed to him, because history meant progress and progress meant a conscious use of one’s life to work toward the shared human goal of a universal civilization. Since Africans and Asians, in his view, did not contribute to the constructive work of progress, they did not share in the creation of the meaning of history--which was virtually the same as not even existing at all. Like the birds and animals, none of whom participated in the historical work of Progress, they were a part of that pointless and endless cyclicity of sameness that Hegel called Madness. Like the insane in general, they had no legitimate self or identity. <o:p></o:p><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYdBWh2BVv_48wftdyY77KhkY5ejgPLdBoKwpDVlh5b7YLOiS0qfEqVudFHdw-VQMwH3zaJI-qkg8WdveQ5_ry9qpf6Z4Kg3JHpSZdEuU_LOVmPROkZTV9XlxjE7t3WZIPBVfeAptY2Z4/s1600/Title_Unknown.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1136" data-original-width="1542" height="293" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYdBWh2BVv_48wftdyY77KhkY5ejgPLdBoKwpDVlh5b7YLOiS0qfEqVudFHdw-VQMwH3zaJI-qkg8WdveQ5_ry9qpf6Z4Kg3JHpSZdEuU_LOVmPROkZTV9XlxjE7t3WZIPBVfeAptY2Z4/s400/Title_Unknown.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">V. C. Igarta, Title Unknown, 1983. Photo courtesy of AAAC.</td></tr>
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The artists in “Color” came to the United States in the second phase--after the League of Nations but before the end of colonialism. For immigrants of their generation the acquisition of Modernism as a new foundation for self-expression was a matter of pride; it not only offered economic success but also success as a person--entry into a community dedicated to the project of history and supposedly in tune with it. Each underwent a series of reshapings and redirectings in making the adjustment, and selected the elements of the contemporary western tradition that seemed most useful in terms of his or her past conditioning and the need to modify it. <o:p></o:p></div>
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The oldest artist in the group, Yun Gee (1906 1963), exhibited between 1925 and 1939. He overlapped the pre-Modern and the Modernist phases, and enthusiastically and affirmatively plunged himself and his work into the Modern. His works from the 1920s and 30s show a precise and accurate sense of the aesthetic underlying the Modernism of his time. Hints of Cubism share the surface with the perspectival illusion of deep space. Though the paints “holds the surface” it still is supple enough to open deep graceful holes into the space behind. In Park Bench II (1927) the dark thicket in the background is distanced by the bright and happy glitter of the yellow roadway; the fractalized or cubized bodies of the figures blend into and stand out from the interlocking paint meshes. The ages of Cezanne, Robert Delaunay, Leger and Picasso are blended with smoothness and sweetness. The pictorial surface is resplendent with difference--in tonality and distance--while clinging together as tightly as the skin of a peach. In Street Scene (1926) humans carry on their daily activities beneath a sublime chaos of sky that seems almost El Greco-like in its implication of an unknown presence hanging over human life. Though Yun Gee learned watercolor in China as a child, there is not much of Chinese tradition to be seen here. He has magically put off one selfhood like a robe and put on another to wear it with supreme comfort. <o:p></o:p></div>
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Filipino by birth, V.C. Igarta began to exhibit his Magic Realist paintings in New York in 1938. Featuring moody young women--either white- or dark-skinned--seeming to concentrate their selfhood before a backdrop of natural forms, they verged on sentimental evocation of the non-western world as both lower than culture--that is, natural--and higher than it--that is, transcendent. The non-western woman as a symbol of nature and the unconscious rightness of things is a Modernist cliche. Igarta’s later work evolved into geometric abstraction of high quality, though it appeared after the moment when geometric abstraction seemed brought about by an inner necessity of art history. The paintings combine push-pull effects that gesture toward Hans Hoffman’s influence with a subtle look of color-mixing after the style of Joseph Albers in the semi-transparent overlays. The planes are centered round the area where they interlock, pulling apart yet held together, with a balance of gentle but strong forces. <o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">Ted Kurahara, Triple Light Blue, 1984. Photo courtesy of AAAC </td></tr>
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Ted Kurahara most directly addresses the theme of color which is a unifying subtext of the exhibition. Coming from a culture where economy of color-means was valued as one of the signs of artistic maturity, Kurahara, of all these artists, yields himself most fully to the late Modernist sense of the transcendent unity of saturated monochrome color. The most successful works in these terms are the triptychs combining abstract expressionist thematics with those of Color Field and Minimalism, and based in their elegant edge -framing on Jo Baer’s work of the early 1970s. Triple Mars Black (1982-83) and Triple Light Blue (1984-85) combine Baer’s elegant minimalism with suggestions of Barnett Newman’s hieratic iconicity of color. Like such African American artists as Joe Overstreet, Sam Gilliam and Frank Bowling, Kurahara continues making abstractions with an inner drift toward the monochrome after the mainstream of white western art history has left it as a milestone marking a turning of art’s path. The triptychs, with their threeness in oneness, gesture theologically toward the western idea of the Trinity, and toward such Modernist landmarks as Yves Klein’s Louisiana Museum triptych representing the trinity in Rosicrucian blue, red and gold.<o:p></o:p></div>
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Miyoko Ito (1918-1983) might be described as luxuriating in a restrained sense of color. Her compositions, mostly based on the still life, have a powerful sense of illustration or design, as if she wanted to reveal her sense of the underlying harmony of things. Like other artists of Asian extraction in her age group she was attracted to Cubism for the way it fitted everything together like facets of complex jewels, to Hoffman for the same quality as well as for his lack of fear of bright saturated colors, and to such soft Impressionist avatars as Dufy and Bonnard, for the intimate serenity of their view of life. The prepared ground seems to exude the forms upon it, and to hold them together as a substrate lying beneath and unifying them. Her works achieved a high resolution in the mid-1950s in paintings such as Act II in the Dusk (1955) and several Untitleds in which gouache-thickened grey-greens and browns mesh like pieces of collage in an homage to the richness of evening’s muted colors.<o:p></o:p></div>
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Natvar Bhavsar (b. 1936) began exhibiting his work in the mid-1960s, when post-Modernism was just beginning in this country or just about to begin. His work is rooted in late Modernism, especially in the poured Color Field paintings of Morris Louis. Nevertheless, perhaps because of the beginning of multiculturalism in the United States with the Beat Zen movement of the late 1950s and the counterculture of the early 1960s, he also incorporated references to his Indian heritage, as a postmodernist nomadic artist might do. Straining powdered pigment through a screen onto a canvas heavily soaked with binder, he creates what Irving Sandler has called “cloud like . . . continuums of color in which there are no recognizable subjects or discrete forms.” The technique refers on the one hand to Indian cult practices involving the application of pure powdered pigment to various natural surfaces and on the other to the western Modernist worship of pure color as a vehicle of transcendent feeling. Yves Klein--whose influence from Japanese artists such as the Gutai Group in the mid-1950s may have positioned him as a sympathetic figure to Asian sensibilities--had pioneered the practice in the late 1950s. More recently, Indian-born Anish Kapoor and American Lita Albuquerque have applied unmodulated powdered pigment to sculptural forms that suggest an organic sublime. But closest in spirit to Bhavsar’s practice is the remark attributed to the Color Field painter Jules Olitski that what he sought in his paintings was an effect as of powdered pigment flung into the air and filling the space evenly yet airily before it began to float downward. Chinese and Japanese ideas of the Void and the Indefinite seem to create a link with the transcendentalism of Modernist abstraction.<o:p></o:p><br />
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<tr><td class="tr-caption" style="text-align: center;">Seong Moy, The Little "500", 1958. Color woodcut. Photo courtesy of AAAC</td></tr>
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The Chinese, Japanese, and Indian traditions have all produced magnificent schools of abstraction, both hard-edged and painterly, yet it is not their own traditions that these artists rooted themselves in for their drive toward the universal. Western abstraction had its own claim to universality, which had two foundations. One was the theosophical tradition of the mystical value of “pure color” which supposedly addressed only “higher” faculties. This view underlay much of the formalist criticism of Greenberg, Fried and others, but was brought most glaringly into the open by Sheldon Nodelman. For artists whose early conditioning was Asian, this transcendentalism merged with elements of Taoism, Hinduism, and Eastern Buddhism. In addition, the point of abstraction, in terms of Modernist thinking about particularity and universality, was that one supposedly could not identify an artist’s ethnicity or gender by contemplating his or her abstract painting. The abstractness of the work pointed toward the fundamental building blocks of nature which--like Plato’s “five regular solids” in the Timaeus--are prior to ethnic identity. So universalistic abstraction functioned as a medium of exchange and recombination through which Modernism sought to go beyond ethnicity into an idealized or dreamed-up realm of superpersons who transcended particularity. These superpersons were blank in terms of the differentia of culture and the body--but in being blank they were also closer to being white people than anything else. In projecting outward its idea of universality, the West had projected outward its idea of itself, only slightly hidden. <o:p></o:p></div>
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This was why Modernist idealism had an enormously dangerous potential that does not even need to be specified--it underlies many of the disasters of our century. Still it possessed a certain nobility in its desire to go beyond difference. The problem is that this desire was unclear, so its nobility went astray. Even logic might show this. The path beyond difference might more fruitfully be sought in the pastiche of different traditions than in the elevation of one to the status of a universal blank. This proposed elevation was to be a form of the Hegelian miracle of Aufhebung or sublation, whereby something incorporates its opposite yet manages to become thereby even more purely itself.<o:p></o:p></div>
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Young Chinese artist Huang Yong Ping, who now lives in New York, once put a volume of western art history and a volume of Chinese art history in a washing machine; through the little window they could be observed coming apart and mixing and finally blending into a kind of pasty grey matter; now it all looked the same, though nothing had been removed or denied on either side. In this simple exemplum, the project of attaining a position beyond ethnic differences is not pursued by directly denying them. First they are affirmed, then confronted with one another in an intercourse which in time blends them. Nothing became more purely itself, because nothing else was denied its selfhood. This blending of particular differentia is a down-to-earth or nominalist approach as compared with the transcendentalist positing of a blankness that is not inwardly defiled by a admixture. The transcendent blank of a mystical white canvas (“one white as one god,” as Rauschenberg said of his white paintings in 1951) is based on a denial of difference and an exclusion of it, whereas the indistinguishable mass of things blended together is based on the affirmation of difference--which it includes in an embrace so ample as to include its opposite too. <o:p></o:p></div>
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<span style="font-size: x-small;">1. G.W.F. Hegel. The Philosophy of History, English translation by J. Sibree (Buffalo, New–York: Prometheus Books, 1991), passim.</span></div>
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<span style="font-size: x-small;">2. Jean Paul Sartre, Preface, in Franz Fanon, The Wretched of the Earth, English translation by <span lang="KO" style="font-family: "ms gothic";"> </span>Constance Farrington Harmondsworth, England, and New York: Penguin, 1967).<o:p></o:p></span></div>
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<span style="font-size: x-small;">3. See William Rubin, ed., Primitivism in Twentieth Century Art: Affinity of the Tribal and the Modern, 2 vols. (New York: The Museum of Modern Art, 1984) and see also letters sections, Artforum magazine, November 1984, February and May 1985.</span></div>
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<span style="font-size: x-small;">4. See Thomas McEvilley, The Postmodern Transformation of Art, in Michael Kelly, ed., </span><span style="font-size: x-small;">Encyclopedia of Aesthetics (Oxford: Oxford University Press, 19), 4 vols. 1, pp. 433-439.</span></div>
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<span style="font-size: x-small;">5. W.J.T. Mitchell, Postcolonial culture, Post-Imperial Criticism. In Bill Ashcroft, Gareth </span><span style="font-size: x-small;">Griffiths and Helen Tiffin, ed., The Post Colonial Studies Reader</span><span style="font-size: x-small;"> </span><span style="font-size: x-small;"> (London and New York: Routledge, 1995), p. 477</span></div>
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<span style="font-size: x-small;">6. Irving Sandler, Natvar Bhavsar: Painting and the Reality of Color (Sydney: Craftsmen House in association with G + B Arts International, 1998), p.8.</span></div>
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<span style="font-size: x-small;">7. See Thomas McEvilley, Seeking the Absolute through Paint: The Monochrome Icon, in The Exiles return: Toward a Redefinition of Painting for the Post Modern Era (New York: Cambridge University Press, 1993, p. 9-56. </span></div>
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Asian American Arts Centrehttp://www.blogger.com/profile/10345950479257212004noreply@blogger.com0tag:blogger.com,1999:blog-8095004976727046060.post-7798586558736009392018-06-29T17:48:00.000-04:002019-07-08T17:35:08.415-04:00Recognizing Tradition in Modernity: Recap of Yun-Fei Ji Panel Discussion with John Yau and Robert Lee<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">John Yau, Yun-Fei Ji, and Robert Lee at the panel at James Cohan Gallery</td></tr>
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><span id="docs-internal-guid-412b399c-4d83-cce6-c0dd-92dff0ef223c"><span style="font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">In celebration of artist Yun-Fei Ji’s recent solo exhibition “Rumors, Ridicules, and Retributions” at the James Cohan Gallery on 291 Grand Street, the Asian American Arts Centre organized a panel discussion at James Cohan on Saturday, June 9 that featured Yun-Fei Ji, art critic John Yau, and AAAC Executive Director Robert Lee.</span></span></span></div>
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><span style="font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"><br /></span></span></div>
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><span style="font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">To kick off the conversation, Yau interviewed Ji about his early life growing up in China and the development of his artistic and thematic sensibilities as Ji moved between various contexts on different continents over the course of his career. As Ji recounted his personal journey navigating childhood ghost stories, China’s political landscape, a master’s program at the University of Arkansas, and the New York City art scene, he corroborated the stark analysis posed by John Yau in the opening paragraph of his </span><a href="https://hyperallergic.com/442145/yun-fei-ji-rumors-ridicules-and-retributions-james-cohan-gallery-2018/" style="text-decoration-line: none;"><span style="color: #1155cc; font-size: 11pt; vertical-align: baseline;">recent article</span></a><span style="font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"> in </span><span style="font-size: 11pt; font-style: italic; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">Hyperallergic</span><span style="font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">: “[Ji] is a Chinese artist who isn’t just a Chinese artist, an American artist who isn’t just an American artist. When a curator at an American museum told him he couldn’t show his work because he is Chinese, he replied: ‘I am as American as Willem de Kooning.’</span><span style="font-size: 11pt;">... In the age of globalization and migration, both voluntary and forced, Ji is an artist who doesn’t quite fit comfortably into China or America.</span><span style="font-size: 11pt;">”</span></span></div>
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">As AAAC intern Amy Hong noted in a previous </span><a href="http://artspiral.blogspot.com/2018/06/rumors-ridicules-and-retributions-yun.html" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Artspiral blog article</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> previewing Yun-Fei Ji’s exhibition and panel at James Cohan, the Arts Centre has supported Ji since the early days of his career by exhibiting his work on two separate occasions in the 1996 and ‘99—well before Ji became an internationally acclaimed artist. Reflecting on the question of identity, AAAC Director Robert Lee has emphasized that the Arts Centre considered Ji an Asian American artist back then and continues to see him in that light today. Lee maintains that Ji is an artist who “inherits the heritage of two or more major traditions, and understands the contradictions, paradoxes, and dilemmas of straddling multiple cultures as generative for renewal and social change.”</span></div>
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<span style="font-family: "arial"; font-size: 11pt; white-space: pre-wrap;">In the latter half of the 20th century, multiple generations of Chinese artists in China and the United States struggled with the issue of inhabiting an uneasy space between two cultures. Many of these artists looked upon China’s immense, rich artistic heritage as a burden; they resolved to become modern by rejecting centuries-old Chinese techniques and embracing wholly American styles of abstract expressionism, conceptual art, and minimalism. It is only within the past 20 years that a new generation of Chinese artists including Yun-Fei Ji has taken on the mantle of tradition once again, breaking new ground on ancient soil.</span></div>
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">During the panel, Lee acknowledged these historical trends by raising the question of tradition and modernity in Ji’s work: </span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">How is it so easy for Ji to see himself as a modern artist although he uses traditional Chinese tools and methods? </span><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Rather than elucidate his internal mindset, Ji responded in a fashion that was as specular as his art: he reflected the question back at Lee, leaving the answer to the asker’s own interpretation. To Lee, then, Yun-Fei Ji’s art might be considered akin to a period film—in other words, Ji adopts a historical setting as a stage by which to address contemporary issues like gentrification and displacement.</span></div>
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">In that vein, one audience member asked during the Q&A whether Yun-Fei Ji’s exhibition had been organized as a response to the </span><a href="https://hyperallergic.com/405812/james-cohan-gallery-omer-fast-racism/" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">controversy and community outrage</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> surrounding James Cohan’s exhibition of Israeli-German-American artist Omer Fast’s solo installation </span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">August</span><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> eight months ago. A representative of James Cohan Gallery clarified that Ji’s exhibition had already been scheduled months in advance of Fast’s exhibition.</span></div>
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Although neither Yun-Fei Ji nor Robert Lee weighed in on the question at the time, it goes without saying that the panel itself—which touched on Ji’s ability to connect themes of displacement and haunting across multiple cultures and social configurations—occupied a definitive space </span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">in relation to</span><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> the issues highlighted by the Chinatown community’s reaction to Fast’s installation. By making a concerted effort to welcome Ji back to Chinatown and draw in community members for the event, the Arts Centre aimed to emphasize the value of the James Cohan Gallery as a contemporary art institution that can genuinely invigorate the cultural life of the community. Artists like Yun-Fei Ji whose works can span centuries and speak to a myriad of audiences are crucial to the AAAC’s mission of cultivating Asian American art and making it accessible to the world-at-large.</span></div>
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<span style="font-family: "arial";"><span style="font-size: 14.6667px; white-space: pre-wrap;">– Written by AAAC intern Jeremiah Kim</span></span></div>
Asian American Arts Centrehttp://www.blogger.com/profile/10345950479257212004noreply@blogger.com0tag:blogger.com,1999:blog-8095004976727046060.post-25968507196037296052018-06-15T15:38:00.000-04:002019-07-12T13:57:21.091-04:00Remembering 'Public Art in Chinatown': 40 Years of Community-Centered Art at AAAC<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">In the summer of 1988, the Asian American Arts Centre launched an innovative exhibition titled </span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Public Art in Chinatown</span><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">. Curated by the Centre’s Executive Director Bob Lee and accompanied by essays from prominent Asian American critics and scholars such as John Yau, Peter Kwong, and Kyong Park, </span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Public Art in Chinatown</span><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> comprised a selection of sculptures, models, drawings, and site plans for specific locations in the Chinatown community by 14 artists. “The aim of the exhibition,” Lee explained in an issue of the Hong Kong-based art magazine </span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Artention International</span><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">, was “to present a new image for Chinatown, not only to its Asian inhabitants, but to all Americans.”</span></div>
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<span style="font-family: "arial"; font-size: 11pt; white-space: pre-wrap;">Among the 14 artists who contributed to the project, Mel Chin drafted a proposal for a community park in a small, triangular patch of grass enclosed by the Manhattan Bridge, Forsyth Street, and Canal Street. The park, which he called “The Garden Where the Wild Grass Obscures the True Pearl,” would be infused with the Chinese philosophical and metaphysical tradition of Feng Shui in order to “amplify and circulate the cultural breath essential to revitalize the spirit of self” for Chinatown’s increasingly diverse array of residents in the late 1980s. Chin planned to build and deposit a religious reliquary at a specific location within the park that would channel cosmic energy between Chinatown’s communities and the worlds they straddled. According to Bob Lee, Chin consulted—with AAAC’s assistance—a local Daoist shaman to visit the site and pinpoint the exact location where this reliquary should be laid.</span></div>
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Although the proposal for Chin’s park was never realized, his vision for rejuvenating an unnoticed, unremarkable plot of land in Chinatown speaks to the Asian American Arts Centre’s primary goals in curating </span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Public Art in Chinatown</span><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> in 1988 and ensuing exhibitions over the past four decades: to diminish the divide between the arts and the general public, and to continuously cultivate the Asian American artistic tradition in our local, national, and international context.</span></div>
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Today, we witness echoes of Mel Chin’s public art proposal for the entrance to Manhattan Bridge taking on a new shape only a few blocks away. In April 2017 the New York City Department of Transportation, in conjunction with the Van Alen Institute and Chinatown Partnership, </span><a href="http://www.nyc.gov/html/dot/html/pr2017/pr17-chinatown.shtml" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">announced</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> its </span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Gateways to Chinatown </span><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">project, calling for proposals to “plan, design, and construct an iconic contemporary neighborhood marker” at the intersection of Chinatown and Little Italy—an island of land enclosed by Baxter, Walker, and Canal streets, commonly known as the Canal Street Triangle. This design competition, funded by local government and NYC-based non-profits, promises a budget of $900,000 for the winning team to erect its design, with construction planned to commence this year. </span></div>
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Beneath the gleaming facade of the project’s </span><a href="http://gatewaysto.chinatown.nyc/" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">website</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> and the </span><a href="https://www.6sqft.com/odas-proposed-chinatown-dragon-gate-pavilion-interweaves-tradition-and-modernity/" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">proposals</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> from various architecture and design firms, however, lies an unaddressed problem: in order to build the </span><a href="https://voicesofny.org/2016/08/what-next-for-the-canal-street-triangle/" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">information kiosk</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> which paved the way for the anticipated </span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Gateways to Chinatown</span><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> landmark, the city first had to </span><a href="https://www.nytimes.com/2008/02/27/nyregion/27chinatown.html" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">forcibly expel</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> 32 vendors of “counterfeit merchandise” from the Canal Street Triangle in 2008. While undoubtedly a complex issue, at the heart of then-Mayor Michael Bloomberg’s crackdown on Chinatown’s informal street economy was an attempt to protect the profits of multi-billion dollar fashion companies like Prada, Dolce & Gabbana, and Rolex. Ten years down the pipeline, as the NYC DOT aims to “stimulate economic development” through </span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Gateways to Chinatown</span><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">, one cannot help but wonder whose interests will be </span><a href="https://www.nytimes.com/2018/05/16/style/canal-street-fashion.html" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">served</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> by this “development”—and who will be shoved to the curb.</span></div>
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Although some of the proposals for the </span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Gateways to Chinatown</span><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> competition are at least culturally and aesthetically tasteful—one </span><a href="http://www.cloudsao.com/GATEWAY-TO-CHINATOWN" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">submission</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> by Clouds Architecture Office, a stark-white ovalesque arch, evokes the elevated annular form of </span><a href="http://artasiamerica.org/artist/detail/65" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">Toshio Sasaki’s</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> otherworldly “Sun Gate” monument proposal next to the Manhattan Bridge Gate for </span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Public Art in Chinatown </span><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">in 1988—others are downright tone-deaf. One of the more extravagant (and therefore, lucrative) proposals by architecture firm ODA New York reveals the distance between upscale contractors for public projects and the communities they are supposed to serve. ODA’s </span><a href="https://www.6sqft.com/odas-proposed-chinatown-dragon-gate-pavilion-interweaves-tradition-and-modernity/" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">“Dragon Gate”</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> pavilion design suspends a pixelated red dragon within a boxy steel lattice structure whose copper-painted bars double as a bamboo facsimile. Though it purports to “delicately blend traditional [Chinese] cultural heritage with modern materials and construction,” this design makes an elementary blunder: the dragon, an unrestrainable figure of power, prosperity, and heavenly authority in Chinese culture, is effectively trapped inside a flimsy cage for all the world to see. Given that members of the Chinatown community have already expressed their ire at the exact same problem appearing in the Triangle’s new information kiosk (in this case, a gold dragon </span><a href="http://www.nychinatown.org/storefronts/canal/infobooth.html" style="text-decoration-line: none;"><span style="color: #1155cc; font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">meekly peeks</span></a><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"> its head out from under the kiosk’s roof), the outrage will likely be ten times as loud if ODA’s proposal is chosen by the city.</span></div>
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<span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">The commoditizing, corporatist undertones of this new public art project in Chinatown stand in stark contrast to Mel Chin’s proposal in 1988. Whereas the monument that will soon tower over Canal Street’s teeming thoroughfare has its foundations in the criminalization of poor and working-class residents, Chin took conscious steps to “incorporate...rather than ignore” the concerns of the homeless who occupied his proposed site. Taking stock of the </span><span style="font-family: "arial"; font-size: 11pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Public Art in Chinatown </span><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;">exhibition, John Yau assessed that Chin’s work “transcend[ed] the cultural diversity that currently exist[ed] within the [Chinatown] community by reaching back to the deepest past...an archaic origin,” while also addressing “the deepening gulfs separating the various social strata of contemporary society.”</span></div>
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<span style="font-family: "arial"; font-size: 11pt; white-space: pre-wrap;">The title of Yau’s essay—“To Propose, To Provoke”—reminds us of art’s role in relation to the community in which it is situated, whether that be Manhattan’s Chinatown or the larger collectivity of Asian Americans and diasporic Asians scattered across the globe. As our society continues to evolve and grapple with its own contradictions, we must keep a watchful eye to the artists who make us “aware of the changing ingredients of reality.” By the same token, we must remain vigilant to forces which seek to conceal those very contradictions under the mask of art and culture. As AAAC looks back from 2018 to 1988, we recognize what has changed in the circumstances and values guiding our work—and what hasn’t.</span><br />
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<span style="font-family: "arial"; font-size: 11pt; white-space: pre-wrap;"><i>— Written by Jeremiah Kim (2018 Summer Intern)</i></span></div>
Asian American Arts Centrehttp://www.blogger.com/profile/10345950479257212004noreply@blogger.com0tag:blogger.com,1999:blog-8095004976727046060.post-49947459016695342042018-06-13T17:03:00.001-04:002019-07-08T17:25:00.724-04:00Miyoko Ito: A Search for Place<!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Artists Space’s recent exhibition of Asian American artist Miyoko Ito, <a href="http://artistsspace.org/exhibitions/miyoko-ito"><span style="color: blue;">“Heart of Hearts” (April 7 - May 6, 2018)</span>,</a> presents oil paintings from the 1970s until her death in 1983. Ito was active from the mid-40s to early 80s. This important early Asian American artist should be recognized for her unique manner of visual expression that mediated questions of heritage and modernity.</span><br />
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<tr><td class="tr-caption" style="text-align: center;">Miyoko Ito, <i>Island in the Sun </i>(1978), oil on canvas. Photo by Bob Lee</td></tr>
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<span style="color: #454545; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The Asian American Arts Centre attempted to exhibit Ito with other Asian American artists in 2000 for the exhibition “Milieu Part III: Color.” This show was the third in a series entitled “Asian Americans and Their Milieu 1945-65,” curated by Robert Lee. We wish we could have exhibited Ito in 2000 as we intended. However, due to complications that arose during the shipping process, her work could not be included in the show. It instead opened with the five remaining artists’ work (Natvar Bhavsar, Venancio C. Igarta, James Kuo, Ted Kurahara, and Seon</span><span style="color: #454545; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="color: #454545;">g Moy). Among these artists, Ito’s use of color is distinct; her use of extremely vivid hues, analogous colors, and subtle contrasts is fresh and highly evolved. These sumptuous color schemes, in conjunction with her surreal compositions, contribute to the strange allure of her work. In a</span><span style="color: #454545;"> </span><a href="http://artspiral.blogspot.com/2018/07/thomas-mcevilley-asian-american-art.html" style="color: #454545;" target="_blank"><span style="color: blue;">recently rediscovered article written on "Milieu III"</span></a><span style="color: #454545;"> </span><span style="color: #454545;">by established art critic Thomas McEvilley, never published for lack of funding, McEvilley </span></span><span style="color: #454545; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">writes:</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">"Miyoko Ito (1918-1983) might be described as luxuriating in a restrained sense of color. </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Her compositions, mostly based on the still life, have a powerful sense of illustration or design, as if she wanted to reveal her sense of the underlying harmony of things.</span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Like other artists of Asian extraction in her age group she was attracted to Cubism for the way it fitted everything together like facets of complex jewels, to Hoffman for the same quality as well as for his lack of fear of bright saturated colors, and to such soft Impressionist avatars as Dufy and Bonnard, for the intimate serenity of their view of life.</span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The prepared ground seems to exude the forms upon it, and to hold them together as a substrate lying beneath and unifying them.</span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Her works achieved a high resolution in the mid-1950s in paintings such as </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; text-decoration: underline;">Act II in the Dusk</span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> (1955) and several </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; text-decoration: underline;">Untitleds</span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> in which gouache-thickened grey-greens and browns mesh like pieces of collage in an homage to the richness of evening’s muted colors."</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Miyoko Ito, <i>Gorodiva </i>(1968), oil on canvas. Photo by Bob Lee</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Miyoko Ito was born in 1918 in Berkeley, California to Japanese parents. As a young child, her family moved to Japan, where she excelled at calligraphy and traditional landscape painting. In a 1978 <a href="https://www.aaa.si.edu/collections/interviews/oral-history-interview-miyoko-ito-11656#transcript" target="_blank"><span style="color: blue;">interview with Dennis Barrie</span></a>, Ito states, “Those five years [in Japan] are the root of what I am now,” indicating the continuing significance of Japanese tradition in her work. After returning to Be</span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">rkeley at age ten, a decision made by the family due to her ill health, she struggled to learn English; in order to do so, she resolved to suppress her knowledge of Japanese. Although she continued to read in Japanese, she refused to speak it. Ito cites her troubled relationship with language as a factor in her development as a visual artist.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">In 1942 Ito was sent to an internment camp south of San Francisco, the <a href="http://encyclopedia.densho.org/Tanforan_%28detention_facility%29/" target="_blank"><span style="color: blue;">Tanforan Assembly Center</span></a>, with her husband who was later sent to the <a href="http://encyclopedia.densho.org/Topaz/" target="_blank"><span style="color: blue;">Topaz Relocation Center</span></a> in Utah; both internment camps held approximately 8,000 Japanese Americans. She received her diploma from UC Berkeley in the mail while at Tanforan. While it is difficult to directly relate her experience in the camps to her later work’s imagery and style, it likely had a profound impact. After a brief stint at Smith College, she moved to Chicago in 1944 to study at the School of the Art Institute of Chicago. She remained there until her death in 1983.</span></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="color: #454545;">Ito’s work is marked by a precise use of color and extremely subtle tonal variations that are both soothing and disorienting. These abstract oil paintings feature ambiguous curved and geo</span>metric shapes that </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">multiply evoke landscape, architecture, and the body. The frames of the canvases seem to open into various alternate interior spaces that simultaneously flatten themselves. In <a href="http://www.artnews.com/2018/04/25/miyoko-ito-artists-space-new-york/#jp-carousel-92030"><span style="color: blue;"><i>Tabled Presence </i>(1971)</span></a> the viewer looks into the interior of a box-like structure in the upper portion of the canvas, yet its contours do not logically correspond to the space inside; two tubes project from a wall only to transition into flat shapes, breaking the illusion of space. The entire structure, general<span style="color: #454545;">ly planar but unrecognizable, can also read as a kind of bust or portrait. This allusive, elusive imagery is hypnotic and mysterious; ultimately, her works resist easy description.</span></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Miyoko Ito, <i>Mandarin, or the Red Empress </i>(1977), oil on canvas. Photo by Bob Lee</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Her brightly saturated palettes, fusion of the geometric and the organic, ambiguous imagery recall Western movements such as Cubism, Surrealism, and Abstract Expressionism; in fact, Ito cites Hans Hofmann and Picasso as two major influences on her work. Perhaps her training in Japanese calligraphy and landscape painting can be seen in her extrem</span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">ely fine, carefully layered application of paint. It is also possible to read in her shifting indications of space a search for place, a reflection of the instability and geographical dislocations of her youth and early adulthood.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">An excerpt from the 2000 press release for “Milieu III” reads:</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">“Asian American artists’ work reflects the struggle to respond to these conditions and their dual cultural heritage. Asian American artists faced a choice. They chose to affirm or revise, reconcile or ignore, embrace or deny these cultural sources. Each of the artists in this exhibition carried forward various artistic goals. When seen as a spectrum of Asian adaptations reflecting the processes of diversity and hybridity, they betray, often inadvertently, a spacious geometry of a multicultural universe.”</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Miyoko Ito’s work too can be read as a mediation of differing cultures and traditions that resulted in a unique hybrid of Asian American art. Despite Ito’s renown in Chicago, she did not achieve during her lifetime the broader recognition she deserves. Perhaps "Heart of Hearts" and <a href="https://bampfa.org/program/miyoko-ito-matrix-267"><span style="color: blue;">BAMPFA's exhibition of Ito's work</span></a> earlier this year signify the approach of a critical reappraisal of her work.</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: x-small;"><span style="background-color: transparent; color: black; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"></span>Written by summer 2018 intern Amy Hong</span><span style="background-color: transparent; color: black; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;"></span></div>
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<span style="font-size: x-small;">For more information on Miyoko Ito: <a href="https://brooklynrail.org/2006/05/artseen/miyoko-ito">https://brooklynrail.org/2006/05/artseen/miyoko-ito</a></span></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: x-small;">For installation views of "Heart of Hearts" at Artists Space</span><span style="font-size: x-small;">: <a href="http://www.artnews.com/2018/04/25/miyoko-ito-artists-space-new-york/">http://www.artnews.com/2018/04/25/miyoko-ito-artists-space-new-york/</a></span></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: x-small;">For more information on Miyoko Ito: MATRIX 267 at the Berkeley Art Museum and Pacific Film Archive: </span><span style="font-size: x-small;"><a href="http://theseenjournal.org/art-seen-national/looking-westward-chicago-artist-returns-home/">http://theseenjournal.org/art-seen-national/looking-westward-chicago-artist-returns-home/</a></span></span><br />
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Asian American Arts Centrehttp://www.blogger.com/profile/10345950479257212004noreply@blogger.com1tag:blogger.com,1999:blog-8095004976727046060.post-22047265277400540112018-06-05T16:54:00.001-04:002019-07-12T14:02:05.245-04:00"Rumors, Ridicules, and Retributions": Yun-Fei Ji Returns to Chinatown<div class="MsoNormal">
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<span style="background-color: white; font-family: "arial" , sans-serif; font-size: large;">Asian American Arts Centre helps promote Yun-Fei Ji’s recent exhibition</span></h2>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvYNg4AyYzIAVdz6RtENkqlmOq-K3fvyIzgnXLnV4KpRY7SVzZ5N3yXfBCc5GxKvOmh1NF4nF7UWQUin8-qYJAfCKHyqzkpX51-j8FuLsyWFFSG8LxPPgZiAK-eeTC2fbSY6khAVmXC2U/s1600/YunFei_lastdaysdetail+copy.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="color: black;"><img border="0" data-original-height="586" data-original-width="904" height="412" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvYNg4AyYzIAVdz6RtENkqlmOq-K3fvyIzgnXLnV4KpRY7SVzZ5N3yXfBCc5GxKvOmh1NF4nF7UWQUin8-qYJAfCKHyqzkpX51-j8FuLsyWFFSG8LxPPgZiAK-eeTC2fbSY6khAVmXC2U/s640/YunFei_lastdaysdetail+copy.jpg" width="640" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Yun-Fei Ji, <i>Last Days of Village Wen </i>(detail), 2011</td></tr>
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<span style="background-color: white; color: black; font-family: "arial" , sans-serif;">Yun-Fei
Ji’s “Rumors, Ridicules, and Retributions” is on view at the James Cohan
Gallery at 291 Grand St through June 17. Ji’s previous work addressed the
effects of the Three Gorges Dam on community displacement. Much of his new work
addresses a similar project, the Nan Shui Bei Diao, or South-North Water
Division, which plans to divert water from rural areas to rapidly growing urban
centers. The resulting displacement of rural Chinese communities can be viewed
parallel to the displacement of Asian American communities in Chinatown due to
gentrification, as well as broader discourse on immigration in the US and
abroad; the implications of Ji’s work extend to various global populations and
ideological debates. Ji’s usage of traditional Chinese painting techniques to
represent these scenes of industrial disaster and political and cultural
history is subtle, subversive, and immensely relevant.<o:p></o:p></span></div>
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<span style="background-color: white; color: black; font-family: "arial" , sans-serif;">Yun-Fei
Ji is one of many artists who were supported by the Asian American Arts Centre
in the early stages of their careers before achieving international fame. His
return to Chinatown is significant as he continues to pose questions important
to Asian American activism and situate Asian issues in the contemporary art
world, breaking down the concept of “Asian” as “other.” Through exhibitions
such as Ji’s, AAAC aims to break down the isolation of the Asian
American/Chinatown community so its culture becomes as well-known as its
cuisine, and Asian American art becomes integrated within an international and city-wide
context. Yun-Fei Ji’s exhibition can be situated in the context of Chinatown,
China, and other displaced communities and environmental discourses, making his
work and his presence vital to AAAC’s mission. <o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCGdG1iF8bKxGixKp8paUKvQj54IKhAN1Vxr91iPLFgWwpko3otbKn3miYb6KXkUhDgF_k828MVOo950UsZB7meUZhifHTEckien_F0HWfhVcfQdM3-Pzcahqv8h-OV8-DmqkdAsH_4Y0/s1600/YFJi_Mistake%2540otherforGhosts07.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="color: black;"><img border="0" data-original-height="408" data-original-width="767" height="339" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCGdG1iF8bKxGixKp8paUKvQj54IKhAN1Vxr91iPLFgWwpko3otbKn3miYb6KXkUhDgF_k828MVOo950UsZB7meUZhifHTEckien_F0HWfhVcfQdM3-Pzcahqv8h-OV8-DmqkdAsH_4Y0/s640/YFJi_Mistake%2540otherforGhosts07.jpg" width="640" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Yun-Fei Ji, <i>Mistaking Each Other For Ghosts, </i>2007</td></tr>
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<span style="background-color: white; color: black; font-family: "arial" , sans-serif;">AAAC
brought together and worked with local artists and cultural activists to
explore and develop a positive approach to promoting this exhibition. Community
cultural perspectives and viewpoints from China helped to inform the following
statement released by AAAC:</span></div>
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<blockquote>
<i><span style="background: white; color: black; font-family: "arial" , sans-serif; font-size: 9.5pt;">“Yun
Fei Ji is coming to Chinatown. Such a prominent artist who is internationally
recognized has asked that his next exhibition in NYC opening on April 28th be
in this community.<span style="mso-spacerun: yes;"> </span>The last time he was
here was in 96’ and 99’ when I had the chance to exhibit him at AAAC – Asian
American Arts Centre. At that time he was an emerging artist.<span style="mso-spacerun: yes;"> </span>Long before his work was featured in ‘Displacement:
the Three Gorges Dam and Contemporary Chinese Art’ in 2008 where reports of the
flooding of the Yangtze River were based on his own interviews, research and
observations, that revealed the impact on the Chinese people and their
environment became an international story.</span></i> </blockquote>
<blockquote>
<i><span style="background: white; color: black; font-family: "arial" , sans-serif; font-size: 9.5pt;">“As an
American citizen he has seen other disasters, Hurricane Katrina, the financial
crisis. His work has been about China, his quotes – ‘What do you do when so
much control and power is concentrated in the hands of a few?’ ‘I saw…how the
people who put in all the work paid the price, and the people who benefited from
all the work paid no price.’ these are about China too, but their meaning has
implications everywhere. This will be his sixth exhibition at the James Cohan
Gallery over several years, some at their gallery in Shanghai.<span style="mso-spacerun: yes;"> </span>This is the first however, on 291 Grand St.</span></i> <i><span style="background-color: white; font-family: "arial" , sans-serif; font-size: 9.5pt;"> </span></i></blockquote>
<blockquote>
<i><span style="background: white; color: black; font-family: "arial" , sans-serif; font-size: 9.5pt;">“ ‘I
try to mimic the method that underlies …early Chinese characters: I invent
forms that are like words to describe the world’ – Yun Fei Ji offers us as
Chinese a way to describe the world, even the world of New York City.</span></i> </blockquote>
<blockquote>
<i><span style="background: white; color: black; font-family: "arial" , sans-serif; font-size: 9.5pt;">“I have
had the chance to exhibit several artists who are well known today, Ai Wei Wei,
Mel Chin, Martin Wong, Xu Bing, and Zhang Hongtu among them, but all before
they became so prominent. This may be the first time I will have the chance to
welcome such an important artist back to this community. More of us going to
the opening night would make this a wonderful occasion.<span style="mso-spacerun: yes;"> </span>Artists like these can give us and Chinatown
itself a new image, can give us a sense of who we are today.”</span></i></blockquote>
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<span style="background-color: white; color: black; font-family: "arial" , sans-serif;">James
Cohan Gallery has represented Asian American artists for over ten years and we
thank them for their support. AAAC also thanks Bill Weinberg and Rong Xiaoqing,
who have written insightful articles on Yun-Fei Ji’s exhibition at <a href="http://thevillager.com/2018/05/31/of-dams-displacement-and-the-ripple-effects/" target="_blank">Village Voice</a> and <a href="https://www.singtaousa.com/ny/436-%E7%B4%90%E7%B4%84/619359-%E8%8F%AF%E8%A3%94%E8%97%9D%E8%A1%93%E5%AE%B6%E5%AD%A3%E9%9B%B2%E9%A3%9B+%E3%80%8C%E6%88%91%E7%9A%84%E4%BD%9C%E5%93%81%E5%BE%88%E7%BE%8E%E5%9C%8B%E3%80%8D/" target="_blank">Sing Tao Daily</a>. AAAC additionally thanks John Yau, poet and art
critic, for his participation in the discussion with Yun-Fei Ji and Bob Lee of
AAAC on Saturday, June 9 – 4pm to 6pm at James Cohan Gallery. John was in the
first panel talk AAAC sponsored in 1983 so it is most appropriate he joins us
for this event.<span style="font-size: 9.5pt;"><o:p></o:p></span></span></div>
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Asian American Arts Centrehttp://www.blogger.com/profile/10345950479257212004noreply@blogger.com0tag:blogger.com,1999:blog-8095004976727046060.post-15781033721509013482017-09-21T20:39:00.000-04:002019-07-12T14:17:02.728-04:00AAAC Testimony on the Cultural Plan for NYC<div class="MsoNormal">
<b>AAAC Testimony at a City Hall Hearing on the completed Cultural Plan for NYC </b></div>
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<o:p></o:p></div>
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Sept 20, 2017</div>
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<o:p></o:p></div>
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<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">Int.
No. 419 stated in 2014 in its opening statement,<span style="mso-spacerun: yes;"> </span>“It is important to understand the scope of
cultural services throughout the City, where these services are lacking and how
cultural service gaps may be filled.” Many sought to seize the opportunity
afforded by this visionary effort to address the problem of cultural equity in
NYC. After decades of a history of benign neglect, racism, and discrimination
suffered by the POC artistic and cultural community, a resolution to this
problem was sought through listening to the needs and concerns of all those
affected. Even the CIG started to worry publicly their funds might be shifted
to POC orgs, reversing 40yrs of documented inequity. With the completion of
CreateNYC that promise has now died.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkeNIDV2hqCJ7aMox96jlBWO-1KF1SEt5fewVdmeHhl-F6GeEu83_-4jHEoqu6i4m-NU8F3xkkjfWk2H3I2wImg36-0rYMONsrb2FdzTMjJY_95MEuT4afS3HREWQzaYMZ45Y3rEBKQEE/s1600/HearingRmNYCultPlan9.20.452+copy.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="784" data-original-width="1255" height="393" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkeNIDV2hqCJ7aMox96jlBWO-1KF1SEt5fewVdmeHhl-F6GeEu83_-4jHEoqu6i4m-NU8F3xkkjfWk2H3I2wImg36-0rYMONsrb2FdzTMjJY_95MEuT4afS3HREWQzaYMZ45Y3rEBKQEE/s640/HearingRmNYCultPlan9.20.452+copy.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Commissioner Tom Finkelpearl testifies at the Hearing. City Councilman Peter Koo are among those listening.<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">Asian
American Arts Centre was one of those who saw in this an opportunity that had
been impossible for forty years. After nearly two years of listening to New Yorkers
and the publication of an extensive record of such interactions, the city has
demonstrated it fails to listen where listening counts. AAAC and a thousand
other arts organizations and the communities and boroughs they serve, our
voices go unrecognized. Instead the lions share of funding to CIG has been re-inscribed,
their funds assured, 67% of NYC as people of color their homes and their
neighborhoods, are left to the real estate developers. Opportunity in America
reigns - for developers, as the people get priced out of their homes and their
neighborhoods. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">At
the Cultural Equity Conference held in April of 2015 sponsored by the Cultural Equity
Group of which I am a member, I stated the need to recognize the value of
multiple cultures, especially traditional “wisdom bearers” who should be
honored, and recognized, as well as the elder nonprofit cultural organizations
many of these begun in the Civil Rights era whose community infrastructure has
grown priceless in their value to the city of New York as a roadmap to cultural
transition. <o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">At
a New York Community Trust gathering held at Museo del Barrio In November of
last year I spoke again of these elder community organizations how their need
for succession funding was crucial for their continued survival. City officials
including Tom Finkelpearl were present at both these events. <span style="mso-spacerun: yes;"> </span>The city listens, however it listens
selectively. Now today three of these elder POC organizations are dying as our
Mayor fiddles with the numbers of people of color on the staff of CIG
institutions. <o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3irWAER7jsjWjEzSDACKNeOMNBLsCHIvu5jU9Zjr4x3MJ9w5WMJTeIxBGoIO8X1GhGlyABJ7M2WuI_zPHKnWEMBxXutGKo_ypW8Q0v6kUXvxdv8xGs4NiFjANoAMjQYvq7R9cPljzho0/s1600/HearingNYCulturalPlanVB9.20.463+copy.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="658" data-original-width="1227" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3irWAER7jsjWjEzSDACKNeOMNBLsCHIvu5jU9Zjr4x3MJ9w5WMJTeIxBGoIO8X1GhGlyABJ7M2WuI_zPHKnWEMBxXutGKo_ypW8Q0v6kUXvxdv8xGs4NiFjANoAMjQYvq7R9cPljzho0/s400/HearingNYCulturalPlanVB9.20.463+copy.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">CityCouncilman VanBramer, sponsor of the <span style="font-size: 14.666666984558105px; text-align: start;">Int. No. 419 and chair of the Cultural Committee listens to all who testify at the Hearing </span></td></tr>
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<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span>Clearly this is just a ruse, the return of the
New Audiences program of the 90s in another guise.<span style="mso-spacerun: yes;"> </span>This was when the work of artists of color
became so prominent, funding was given to established institutions to ‘grow
their audiences’ instead of the POC organizations where these artists were
developed. <span style="mso-spacerun: yes;"> </span>Our Mayor cant seem to give
resources to organizations where POC are on staff and also in control of their
institutions. <o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">Will
the CreateNYC plan fill cultural service gaps, or offer even a few glimmers, in
the next three to five and more years? Yes, however the challenge of a cultural
plan for NYC, meaningful to race and cultural relations in NYC will have been
lost. The question then becomes, how will 60-70% of NYC population deal with
the continuing tradition of cultural neglect, denial, tokenism,
misrepresentation, and suppression?<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">Perhaps
it should be no surprise that our Mayor, and all those to chose this time to
address cultural equity, could not rewrite a cultural policy that has been in
place for generations, consistent with domestic and international policies
going back to before the ideas of Manifest Destiny if not to slavery itself. <o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0DR0l8hSQNLMH7-yrIrfo0UqOcieTB68iOMlEYOCriVJK76NlBIrNfd0j0tkLxsUAWu2f0zEspeCuwyMp2J31SYzhIdx974t6yKSVWADAbESuxahj2mpmI1Gtx2uVGFJS69UXyl8vBng/s1600/HearingNYCultPlanMarta9.20.467+copy.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="670" data-original-width="1273" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0DR0l8hSQNLMH7-yrIrfo0UqOcieTB68iOMlEYOCriVJK76NlBIrNfd0j0tkLxsUAWu2f0zEspeCuwyMp2J31SYzhIdx974t6yKSVWADAbESuxahj2mpmI1Gtx2uVGFJS69UXyl8vBng/s400/HearingNYCultPlanMarta9.20.467+copy.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Marta Vega (far left, of the Caribbean Cultural Center) testifies pointing out flaws in the language, definitions that affect the validity of the whole plan.</td></tr>
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<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">The
record of the history of this nation, of the many streams that constitutes its
mainstream, the entitlements it has endowed to itself, to empire, and to its
dream machine, does help us to see the diverse forces fighting for its soul.
Technology may open vistas to an incredible future, but our limits, the
delusions within our ambitions, our human foibles, may give us pause before
indulging in dreams that may be better left as dreams. <o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">Waves
of immigrants have dreamed bringing their energy to these shores. The price
extracted, that their descendants pay is to leave behind who they were - a
truncated memory. The price we may all pay for this is a society rooted in
materialism, in dollars.<span style="mso-spacerun: yes;"> </span>Seeing the CIG
in this light, their role in maintaining <span style="mso-spacerun: yes;"> </span>NYC and the USA as head and shoulders above
all others, it is conceivable though not necessarily laudable why our Mayor has
chosen to re-entrenched them. <o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">He
may claim New York as a sanctuary city, but there are limits to what our Mayor
means by it. POC can take greater clarity as to the reality of our status, our
difference, and those who dream can be forewarned - the social consequences
generated, regardless the rewards it offers, how they may be used.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">In
speaking with artists who live in countries where limits to artistic freedom is
explicit, some council that their situation is not so bad, once as artists you
accept your role, and that desperate times require desperate measures.<o:p></o:p></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuE7G_zBd8PTUtH_M5Q9sJnV5SythlJb2vbRP1emKups58pZsl6xFbt1EGniS42S3zFKdU_M4bE327nQKPgIkpLfdmcdHyCJwJ2T3ugfdPbaiGp1tD-BBBwea75Jz-1vJ5t8Wz9xPZYas/s1600/Thuan+Uyen+Lediagram139+copy.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="880" data-original-width="1320" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuE7G_zBd8PTUtH_M5Q9sJnV5SythlJb2vbRP1emKups58pZsl6xFbt1EGniS42S3zFKdU_M4bE327nQKPgIkpLfdmcdHyCJwJ2T3ugfdPbaiGp1tD-BBBwea75Jz-1vJ5t8Wz9xPZYas/s400/Thuan+Uyen+Lediagram139+copy.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Thuan Uyen Le recently spoke in Brooklyn on the censorship artists have learned to live with in Vietnam.</td></tr>
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<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">This
is about insight, the vision of the arts and artists – their gifts given to us.
It is oddly from this room, this hall, that it is inappropriate to speak of art
as art, to even see or recognize such a horizon exists. Arts voice is where the
horizon speaks.<span style="mso-spacerun: yes;"> </span>For those of us who are
listening deeply, and there are many, this legislative process is quite
antiquated. <o:p></o:p></span></div>
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<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">The
issue of a multicultural America under whatever revised terms it becomes known
by, will remain a question beyond my generation and perhaps for many
generations. It is likely to become increasingly central to what shapes this
country and the people who reside in it. <o:p></o:p></span></div>
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Asian American Arts Centrehttp://www.blogger.com/profile/10345950479257212004noreply@blogger.com0tag:blogger.com,1999:blog-8095004976727046060.post-2068092095778033052017-08-13T16:49:00.000-04:002019-06-28T15:06:40.791-04:00Mo Bahc Painting from 1989<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<span style="color: #1a1a1a; font-family: "arial"; mso-bidi-font-family: Arial; mso-bidi-font-size: 13.0pt;">August 2017<span style="mso-spacerun: yes;"> </span>After so many years a painting of the late artist Mo
Bahc, known now are Yiso Bahc has been found. The painting/collage from 1989,
originally painted for AAAC’s CHINA: June 4th exhibition marking the massacre
of students in Tiananmen Square, is titled, People+Army=PeoplesArmy. About 24” in
width, framed and sealed, the clever wit yet strongly felt image ties together
what happened in China 1989 and what is happening today with Pres. Trump threat
to unleash “<a href="http://www.huffingtonpost.com/entry/donald-trump-north-korea-threat_us_598a12afe4b0d793738ad5ee?ncid=inblnkushpmg00000009"><span style="text-decoration: none;">fire and fury</span></a>” against
North Korea could repeat the dark logic of that time and bring us again to the
edge of disaster. The Tiananmen Sq. exhibition itself, originally retained to
exhibit in China, seeks a permanent home where its historical and artistic
significance will be appreciated. Consisting of over a hundred artworks,
interested parties please contact AAAC for details.<span style="color: #1a1a1a;"><o:p></o:p></span></span></div>
</div>
</td></tr>
</tbody></table>
Asian American Arts Centrehttp://www.blogger.com/profile/10345950479257212004noreply@blogger.com0tag:blogger.com,1999:blog-8095004976727046060.post-31849210631130417042017-08-13T14:21:00.000-04:002019-07-08T15:38:19.422-04:00Godzilla and Asian American Arts Centre<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: arial; font-size: 10pt;">“So many I’ve had
the chance to support, to see them all together, recognizing what they
achieved, I feel fulfilled. How many years its been, regardless of how it
happened -</span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "arial"; font-size: 10.0pt;">I just want to
congratulate each one, such a wonderful event marking a historic moment.
Having </span><a href="https://www.facebook.com/ANOTHERNY/?fref=mentions"><u style="text-underline: #103CC0;"><span style="font-family: "arial"; font-size: 10.0pt; text-decoration: none;">An/other NY</span></u></a><span style="font-family: "arial"; font-size: 10.0pt;">, a young new group pay tribute to them, and seeing how
the cultural situation is morphing, its clear what I did in the 80s and
Godzilla did in the 90s has established Asian/Asian American art’s presence on
the American landscape, laying a foundation for the future. As a second
generation Asian American my concern for establishing a home on these American
shores – a cultural acceptance – for people of Asian decent is no longer. We
have a cultural voice, and its Asian inflections hold no small significance. We
have a vital place in the discourse on visual arts and in the institutions
where the public can access them, and in the contested spaces where cultural
confrontations reinvent us anew. I didn’t know I would ever see this day
when I started. Amazingly its here. Thanks to all who made it happen.”
Written after the Godzilla event at Gallery Korea on May 23</span><sup><span style="font-family: "arial"; font-size: 10.0pt;">rd</span></sup><span style="font-family: "arial"; font-size: 10.0pt;">2017 by Bob
Lee, Asian American Arts Centre.<o:p></o:p></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiMcjmr6XaH5X18OuoN1s__P_4PVWUS2MutULJIT4E8SOwKqpy5NBr1xLjyfkTUJTCvBOxhtskJI3dZ4k_EmpgML0L11uk_is-G2Ei1hUMO890ov1scKsyMp7fNBk1pVpndwdRIzG1JAo/s1600/GozillaKoreaGroup936c.jpg" imageanchor="1"><span style="color: black;"><img border="0" data-original-height="636" data-original-width="1318" height="307" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiMcjmr6XaH5X18OuoN1s__P_4PVWUS2MutULJIT4E8SOwKqpy5NBr1xLjyfkTUJTCvBOxhtskJI3dZ4k_EmpgML0L11uk_is-G2Ei1hUMO890ov1scKsyMp7fNBk1pVpndwdRIzG1JAo/s640/GozillaKoreaGroup936c.jpg" width="640" /></span></a></div>
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<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "arial"; font-size: 10.0pt;">From Godzilla’s
Wikipedia page:<o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "arial"; font-size: 10.0pt;">“Godzilla Asian
American Arts Network was an arts collective and support network started in
1990 for Asian Americans. Founded on the premise that they did not have a suitable
organization to promote, support and encourage their visual arts, Godzilla's
founding members sought to fill this void.”<o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "arial"; font-size: 10.0pt;">In the three
interviews of the founders of Godzilla conducted by Alexandra Chang, see
- </span><a href="http://as-ap.org/content/godzilla-0"><u style="text-underline: #103CC0;"><span style="font-family: "arial"; font-size: 10.0pt; text-decoration: none;">http://as-ap.org/content/godzilla-0</span></u></a><span style="font-family: "arial"; font-size: 10.0pt;"> - it is clear they were working at or with
the Asian American Arts Centre at that time. </span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "arial"; font-size: 10.0pt;"><br /></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "arial"; font-size: 10.0pt;">How many years we had been working
together nor how the split occurred will not be written here. </span><i><span style="font-family: "arial"; font-size: 10.0pt;">.</span></i><span style="font-family: "arial"; font-size: 10.0pt;">Suffice it
to say their split from AAAC affected operations severely, the impact lasted
for too many years,,, I too buried it at the advise of my board thinking that
the AAAC archive is the best place to leave this story for those who want to
know how change in grassroots activism really takes place within the context of
late capitalism.* Now it’s clear that such things will not be unearthed, old
wounds will not be allowed to heal with myths too popular to fade, and another
revival is about to take place on August 10th. Only by choosing no longer to
suppress them, to bring them into the light after so many years, will
reconciliation be felt by those most effected. It’s good to know many Godzilla
artists had no notion of what happened at the start and the work they did came
from a positive place.</span><span style="font-family: "arial"; font-size: 13.0pt;"><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "arial"; font-size: 10.0pt;">About a year or so
later while working with TAAC, The Association of American Cultures, I came to
visit Karamu House </span><span style="font-family: "arial"; font-size: 10.0pt;">in
Cleveland, Ohio, the oldest African-American theater in the US. In speaking
with the director she shared with me their experience. Gathering African
American artists together they developed a program to train them for the larger
art world and when completed, ushered them out into this world. They met with
such rejection that the artists returned and attempted to shut down Karamu
House. When I heard this I remembered my own experience, how it felt like
an embargo around Cuba, those years were hard. That's when I realized this was
not a phenomena affecting only my organization nor only Asian Americans. The
larger dynamics of the mainstream is not to allow an ethnic community to have
strong leadership or any effective infrastructure other than in its own
enclave. This is not the place to argue such questions. What became clear <span style="mso-bidi-font-weight: bold;">for me</span> was such disputes within
people of color communities and families were that people became merely pawns
in a larger political/cultural <span style="mso-bidi-font-weight: bold;">contest</span>. </span><span style="font-family: "arial"; font-size: 10.0pt;"><o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghqVFVdAScolJMPuX-a7pLfqeiI9rHHA_RL8jlSBVzUmOlby3LecAHepoK5zHXZMgI4m7EcgUFW9pO9ea2hm9ueTgP69aplFpsIs7agEbHf9TmVP3AO23Th6OsoAtnPWpRP2CzlA2fhHM/s1600/GozillaKoreaGgroup919c.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="716" data-original-width="1283" height="355" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghqVFVdAScolJMPuX-a7pLfqeiI9rHHA_RL8jlSBVzUmOlby3LecAHepoK5zHXZMgI4m7EcgUFW9pO9ea2hm9ueTgP69aplFpsIs7agEbHf9TmVP3AO23Th6OsoAtnPWpRP2CzlA2fhHM/s640/GozillaKoreaGgroup919c.jpg" width="640" /></a></td></tr>
</tbody></table>
</span></div>
<div class="MsoNormal">
<span style="background: white; font-family: "arial"; font-size: 10.0pt;">From
left: John Allen, Nina Kuo, </span><span style="font-family: "arial"; font-size: 10.0pt;">Lynne Yamamoto, Tomie <o:p></o:p></span><span style="font-family: "arial"; font-size: 13px; text-align: center;">Arai, Ryan Wong, Charles Yuen, Helen Oji, Herb Tam, Arlan Huang, Eugenie Tsai, Zhang Hongtu, (Sung Ho Choi not pictured).</span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "arial"; font-size: 10.0pt;"><o:p></o:p></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<span style="font-family: "arial"; font-size: 10.0pt;">Much is made of
economic opportunity but in an ethnic community, particularly for Asians, we
have to break our ethics of modesty, learn to be self promoting if not
aggressive, exploit our own people to advance in a context where money means
everything. Thus the idea of poverty pimps came to apply to non profits. When my
generation were all volunteers at Basement Workshop in the early 70s and
government grants were offered us, we knew what had to be done <span style="mso-bidi-font-weight: bold;">if we wanted</span> to continue our
work. When most of the volunteers left Basement years later it was because the
way funding was allotted in the support of staff <span style="mso-bidi-font-weight: bold;">who had to have a way to live.</span> Thus when actions were
taken for our community or for artists, our motives were seen as tainted,
even corrupted. The ethics of self gain as fundamental to society led in
an ethnic enclave to tolerating this as a secular sin such that the natural
tendency to gratitude was undermined. <span style="mso-bidi-font-weight: bold;">These and other factors may help to shed light on how to understand an
ethnic community and the split with AAAC.</span></span><span style="font-family: "arial"; font-size: 10.0pt;"><o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
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<span style="font-family: "arial"; font-size: 10.0pt;">When artists as
sensitive beings, had to fight for their identity, their humanity, to survive
the streets of NY, our culture could only make a place for this as a fight for
recognition, for status. (Asian American Art: A Community Based Perspective March
1997 </span><a href="https://www.blogger.com/u/5/blogger.g?blogID=8095004976727046060" name="_GoBack"><span style="font-family: "arial"; font-size: 10.0pt;">in a Brandywine Workshop<span style="color: #141414;"> </span></span></a><span style="font-family: "arial"; font-size: 10.0pt;">catalogue – Impressions: Contemporary Asian Artists Prints) It
was called identity<span style="mso-bidi-font-weight: bold;"> politics.</span> Bumping
into one another in a crowded subway even can be taken personally, a
misunderstanding can be construed as a betrayal. Aside from the melodrama of
betrayal that sells so many films, in NYC betrayal as a human perception has
become a norm. <span style="mso-bidi-font-weight: bold;">Yet this is how I
felt.</span><o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "arial"; font-size: 10.0pt;">Whether it was my
personality or my training as a historian, apparently I could not realize my
goal as stated in 1983 at the Eye to Eye artist panel talk of enabling all to
share and work together. As a curator I did what curators do in organizing
exhibitions. So much for applying a historical approach to a contemporary
context. </span><span style="font-family: "arial"; font-size: 10.0pt;"><o:p></o:p></span></div>
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<!--StartFragment--><span style="font-family: "arial"; font-size: 10.0pt;">Helen Oji with Charles Yuen & Herb Tam</span><!--EndFragment--> </td></tr>
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<span style="font-family: "arial"; font-size: 10.0pt;">The tactic I
evolved of an annual continuum of thematic Asian American art exhibition
programs - repetition of the same refrain, a seemingly innocuous norm when
there was no such thing on a societal level as Asian American art
though there was Black art and Hispanic art - came about as a survival
tactic</span><span style="font-family: "arial"; font-size: 10.0pt;"><o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "arial"; font-size: 10.0pt;">--- given the
context of the 60s assassinations including Bruce Lee & his son, FBI
Chinatown deportation raids in the 50s & IWK (I Wor Kuen where I was cadre)
surveillance in early 70s, in 1969 asserting our cultural difference as
Asian-Americans within the mainstream of Lower Manhattan at Basement, police
violence in Newark in 68’ where I was raised, & decimation of the Black
Panthers in 60s/70s, gang repression of IWK and AAAC in the 90s (see the New
Yorker Magazine June 17, 1991 Gwen Kinkead pp56-84), the closing of Park Row by
NYC Police Dept., being ignored and blackballed by pro Taiwan forces for anyone
pro mainland China, being blackballed by the NYC press for several months based
on quality, not race, as the only acceptable basis for exhibitions, and
beginnings of Patient Rights at Gouverneur Hospital in early 70s with Chinese
language rights being finally vouchsafed by the HHC (Health & Hospitals
Corporation). Aside from barely survivable funding, a minimum was structured as
visual events that open the door for cultural growth.</span><span style="font-family: "arial"; font-size: 10.0pt;"><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial"; font-size: 10pt;">Godzilla
artists I supported before 1990 worked together to achieve what AAAC saw as its
mission. From 83’ to 90’ AAAC exhibited over forty Godzilla artists in twenty
two exhibitions. AAAC continued support of several Godzilla artists throughout
the 90s and beyond, ie., Charles Yuen, Arlan Huang, Colin Lee, Sung Ho Choi, Tomie
Arai, Bing Lee, etc. The initial break with AAAC however hostile, freed
Godzilla from the tone I had set, historical and serious to social and media
savvy. The sensibility of a youthful, rebellious generation will out.</span></div>
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<!--StartFragment--><span style="font-size: 10pt;">Zhang Hongtu with Eugenie Tsai & Sung Ho
Choi </span><!--EndFragment--> </td></tr>
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<o:p></o:p></span></div>
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<span style="font-family: "arial"; font-size: 10.0pt;">Hidden in
silence for twenty plus years, this story was mentioned in an essay of Young
Park that was never published. Written in 2002 for the AAAC Story exhibition
titled AAAC: its History of Reintegration, she wrote on page 9 of 15 pages
"...</span><span style="font-family: "arial"; font-size: 10.0pt;">Asian American Art community could have been
much more powerful and generated strong impact ... I believe that the lesson
between Godzilla and the Asian American Arts Centre would make their next
generation vigilant and alert of their opportunities for forming a solid
cultural unit of Asian American Art in the United States...</span><span style="font-family: "arial"; font-size: 10.0pt;">" – maybe, but AAAC continued, key important exhibitions
happened and continue to this day, issues of identity have found their place
among many issues that give shape to art.<span style="mso-spacerun: yes;">
</span>Thus from the vantage of this moment, Asian American art has established
itself as a historical phenomena at minimum among many contemporary art
circles. Public exhibitions as actions with printed cards documenting for its
audience a message and action on a regular basis, even with minimal publish reviews,
impacts consciousness, awakens others to action, and becomes part of the flow
of the art community.</span><span style="font-family: "arial"; font-size: 10.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "arial"; font-size: 10.0pt;">Lillian Cho,
formerly of the Asian American Arts Alliance speaks from the audience</span></div>
</td></tr>
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<span style="font-family: "arial"; font-size: 10.0pt;">In
1994 the sudden news of Chinese contemporary artists signaled a shift of
the art market, the next wave transformed perceptions of contemporary Asia
through its art. That this signal was delivered by Asia Society indicates how
well orchestrated is the American public's news about who Asia is becoming.
This also indicates the significance of Asian American art is far beyond domestic
borders. After 911 the wars of South East Asia move to the Middle
East, Muslims become the next racial target, OWS responded to the 2008
international financial crisis but it could not maintain the pressure, and now
the Alt/Rt. presents us with alternative truths – another media driven
perception. The media itself has transformed our attention and become part of
the art culture that has merged Asian/Asian American art with the international
Asian art spectacle (as in </span><span style="font-family: "helvetica"; font-size: 10.0pt;">Field Meeting:<i>Thinking
Practice)</i>.</span><span style="font-family: "arial"; font-size: 10.0pt;"> The particular
sensibility that Asian American domestic concerns bring has overlapped with art
in Asia, and are yet raised in the public arena by Black Lives Matter,
gentrification, immigration, and re-zonings, and they have become embedded in
the art of local, regional, market and ethnic communities. The world is an
aesthetic place, yes, and as we make a case for a multiplicity inclusive of
Asia in each city’s tumultuous urban bubble our choices need to make space for
what Gordon Hempton calls “One Square Inch of Silence”.</span><span style="font-family: "arial"; font-size: 10.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "arial"; font-size: 10.0pt;"> </span><span style="font-family: "arial"; font-size: 10pt;"> </span></div>
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<span style="font-family: "arial"; font-size: 10.0pt;">For every non
profit who was not appreciated for what they gave, Margo Machida's, not my
own arrogance and shortcomings, are listed here: <o:p></o:p></span></div>
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<span style="font-family: "arial"; font-size: 10.0pt;">
</span><span style="font-family: "arial"; font-size: 10.0pt;">She benefits from AAAC actions at the
following events:<o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "arial"; font-size: 10.0pt;"> Panelist on Eye To Eye with Lucy
Lippard, John Yau, etc 1983 ; Artists-in-Residence - a nine month residency
1984-85 ; AIR organizer, participating artist & speaker in a Symposium on
Contemporary Asian American Art - May 1, 1985 ; Two Person
exhibition with Charles Yuen entitled “Orientalism” April / May 1986 ; Artists
Selection Committee & Wrote Exhibition Introduction for Roots to Reality
II: Alternative Visions Oct / Nov 1986 ; Chosen for a three person
exhibition entitled “The Mind’s I, Part 2 with Luis Cruz Azaceta and Robert
Colescott March / April 1986 ; Guest Curator for Invented
Selves December 1988 ; Conference participant - Independent
Curator/Cultural Critic “The Players: Asian American
Art” A conference co-sponsored by AAAC &
Asian/Pacific/American Studies Program & Institute at NYU) with the
AAAC Story exhibition June 1, 2002 ; selection panelist for 12th Annual
Exhibition: Contrary Equilibriums (A collaboration with The Korea
Society) Sept / Nov 2002 </span><span style="font-family: "arial"; font-size: 10.0pt;">(This and
more can be found at </span><a href="http://www.artspiral.org/exhibitions-timeline.php"><u style="text-underline: #103CC0;"><span style="font-family: "arial"; font-size: 10.0pt; text-decoration: none;">http://www.artspiral.org/exhibitions-timeline.php</span></u></a><span style="font-family: "arial"; font-size: 10.0pt;">
)</span><span style="font-family: "arial"; font-size: 10.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "arial"; font-size: 10.0pt;">John Allen, Arlan
Huang, & Colin Lee<o:p></o:p></span></div>
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<span style="font-family: "arial"; font-size: 10.0pt;"> </span><span style="font-family: "arial"; font-size: 10.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "arial"; font-size: 10.0pt;">Allexandra Chang’s
book: In the exhibition at the New Museum organized by Gregory Sholette in
1998 entitled Urban Encounters, six NYC art collectives were presented
including Godzilla. Installed on the wall at the opening there was a large
panel with the name of Basement Workshop on the top. On the bottom row was the
name of Godzilla: Asian American Arts Network. In the middle was the name Asian
American Arts Centre indicating the sequence how Godzilla evolved. In
Alexandra Chang’s book Envisioning Diaspora, Asian American Visual Arts
Collectives: From Godzilla, Godzookie, to the Barnstormers on page 82-83 she displays
a timeline poster, From Basement to Godzilla: The Legacy of Asian American
Activism in the Arts. This timeline obscures the relationship between AAAC and
Godzilla that the New Museum wall panel presented. It did however hint at
the relation between AAAC and Basement which Alexandra knows well since she was
once staff with AAAC and was hired also to video document an AAAC event (Nov.03’)
held upon the return of one of the seminal founders of Basement, Danny NT Yung
where many of his friends were invited. </span><span style="font-family: "arial"; font-size: 8.0pt;">(Dannys papers from those years are available to serious
researchers through AAAC.)</span><span style="font-family: "arial"; font-size: 8.0pt;"><o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
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<span style="font-family: "arial"; font-size: 10.0pt;">Aside from a note
on the New Museum’s exhibition I should mention a bit more about media. It is
not lost to me that this effort at resolution is initiated and implemented on
Steve Jobs computer. The last thing he gave to all his friends was Yogananda’s
book, the book that aided in his realization of intuition as his greatest gift.
Yogananda himself completed his autobiography just after a nuclear weapon fell
on Hiroshima. A recent film on his life indicates he returned to the US, despite
the racism which drove him away to counter this global trend. The American
astronaut Edgar Mitchell would have agreed with his intuitions given what he
saw from his capsule's bubble. I would not be surprised if several Godzilla
artists would agree also. Let then intuition have the final say on this matter.
And let intuition guide us through our own tangled paths to the art and world
we seek. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "arial"; font-size: 10.0pt;">Bob </span><span style="background: white; font-family: "arial"; font-size: 10.0pt;"> Lee<o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "arial"; font-size: 10.0pt;">* We are not free from the vanities and egoism that is common in
a culture dependent on competition, just as no one is free of racism, of bias
when it is so prevalent everywhere. We can be critical of biases and
point to them with righteous indignation, but that does not mean we ourselves
are free of them. In the 80s at CAPA's Annual Heritage Festival, with
nearly fifty tables spread across Lincoln Center plaza, the cultural area was filled,
each table a different Asian American organization, and each had their own
T-shirt for sale. I remember how those on the next table looked so loathingly
at our T-shirts. It was natural. Not Nature. Its capitalism. The worsening of
these sentiments is what I refer to as Late Capitalism. That's what has
come to a crisis now touching on everything, including NYC Cultural Plan
(peoplesculturalplan.org) - unequal power dynamics and the struggle for equity
and the pretense of justice.<o:p></o:p></span></i></div>
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<span style="font-family: "arial"; font-size: 10.0pt;">Art Slam at AAAC
jointly sponsored with Godzookie Nov. 15, 2003<o:p></o:p></span></div>
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Asian American Arts Centrehttp://www.blogger.com/profile/10345950479257212004noreply@blogger.com0tag:blogger.com,1999:blog-8095004976727046060.post-11162005824327159782017-07-20T17:24:00.002-04:002019-07-10T12:54:01.787-04:00Fatal Love; Lucid Dreams and Distant Visions<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: white; color: black; font-family: "arial"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">This summer the Queens Museum in conjunction with the Asia Society’s </span><span style="background-color: white; color: black; font-family: "arial"; font-size: 12pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Lucid Dreams and Distant Visions: South Asian Art in the Diaspora</span><span style="background-color: white; color: black; font-family: "arial"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> hosted a three-day event that brought together renown South Asian American artists, academics, and curators. The symposium, titled </span><span style="background-color: white; color: black; font-family: "arial"; font-size: 12pt; font-style: italic; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Fatal Love: Where are We Now?</span><span style="background-color: white; color: black; font-family: "arial"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, celebrated contemporary South Asian American art and explored issues concerning the South Asian American diaspora. </span></div>
<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: white; color: black; font-family: "arial"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBKZypE2KARSVSKmS0RiINuMD6RAhJWv1dBnvxqy7UturwA0lEb3qxOx_IgwMNapkGiWokRNXjPMQaV7Juy1EouH7NdxkUfNcNDTwSXmMpd9rdABEvzAoxeNvipDSp_k0F38QsCtMlyCU/s1600/DSC02008.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="color: black;"><img border="0" data-original-height="714" data-original-width="1071" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBKZypE2KARSVSKmS0RiINuMD6RAhJWv1dBnvxqy7UturwA0lEb3qxOx_IgwMNapkGiWokRNXjPMQaV7Juy1EouH7NdxkUfNcNDTwSXmMpd9rdABEvzAoxeNvipDSp_k0F38QsCtMlyCU/s320/DSC02008.JPG" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo by Bob Lee</td></tr>
</tbody></table>
<span style="background-color: white; color: black; font-family: "arial"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">This event was not the first the Queens Museum hosted. Back in 2005, the museum hosted a very similar event, called </span><span style="background-color: white; color: black; font-family: "arial"; font-size: 12pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Fatal Love: South Asian American Art Now</span><span style="background-color: white; color: black; font-family: "arial"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">. This symposium was created and curated as a response to the increased policing of South Asians in the post-9/11 era and the growing South Asian American artistic community. Since then, there have been significant changes in the South Asian American community and art world. </span><span style="background-color: white; color: black; font-family: "arial"; font-size: 12pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Fatal Love: Where are We Now?</span><span style="background-color: white; color: black; font-family: "arial"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">, as its title indicates, asks and answers where the South Asian American artistic community is now, twelves years later. It is a sequel to the first </span><span style="background-color: white; color: black; font-family: "arial"; font-size: 12pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Fatal Love</span><span style="background-color: white; color: black; font-family: "arial"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;">, yet also the first of its kind: delving into new, interesting topics. </span><br />
<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: white; color: black; font-family: "arial"; font-size: 12pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe2MxnVKcnx-P1Q3M5cDm1tQqSZAfx_SR3v2587-2TMnxIEG_fyqUI9HiA3mEx2OeC_ZayVKOaeLyES7mMhBePpDnq375ZrpZ0n3HuOOUwwt7w3K9HYss5h9Gdgxq2XolXloWDPhk50js/s1600/DSC02048.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="color: black;"><img border="0" data-original-height="952" data-original-width="1428" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe2MxnVKcnx-P1Q3M5cDm1tQqSZAfx_SR3v2587-2TMnxIEG_fyqUI9HiA3mEx2OeC_ZayVKOaeLyES7mMhBePpDnq375ZrpZ0n3HuOOUwwt7w3K9HYss5h9Gdgxq2XolXloWDPhk50js/s320/DSC02048.JPG" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo by Bob Lee</td></tr>
</tbody></table>
<br />
<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: white; font-family: "arial"; font-size: 12pt; text-indent: 36pt; vertical-align: baseline; white-space: pre-wrap;">This year’s three day event held back-to-back performances, panels, and lectures, all of which were recorded and can be viewed on the Queens Museum’s YouTube page. Day 1, which was held at the Asia Society, included an introductory speech by those who made this even possible a panel discussion called </span><span style="background-color: white; font-family: "arial"; font-size: 12pt; font-style: italic; text-indent: 36pt; vertical-align: baseline; white-space: pre-wrap;">Double Duty: Agency and Cultural Production</span><span style="background-color: white; font-family: "arial"; font-size: 12pt; text-indent: 36pt; vertical-align: baseline; white-space: pre-wrap;">. The following two days were held at the Queens Museums and included panels discussions from sculpture and photography to public art and queer theory. These panels were not only about the art pieces, but larger issues at hand. </span></div>
<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: white; font-family: "arial"; font-size: 12pt; text-indent: 36pt; white-space: pre-wrap;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjOVMkB_QBLZpk4OUBLXJLZsperLfFAnIBvK75nc9_Muy4gXpnxnqGzQx4T9pChAQuMDHl9LBaj4lXcxgm_D_iplhX73DAcMfpiKHEEywrazp7_i_azJusLk2IT9-QQfzvIYvxcnDmWLQ/s1600/DSC01995.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="color: black;"><img border="0" data-original-height="714" data-original-width="1071" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjOVMkB_QBLZpk4OUBLXJLZsperLfFAnIBvK75nc9_Muy4gXpnxnqGzQx4T9pChAQuMDHl9LBaj4lXcxgm_D_iplhX73DAcMfpiKHEEywrazp7_i_azJusLk2IT9-QQfzvIYvxcnDmWLQ/s320/DSC01995.JPG" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo by Bob Lee</td></tr>
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<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: white; font-family: "arial"; font-size: 12pt; text-indent: 36pt; white-space: pre-wrap;">In addition to these panels and performances, the open exhibit included works by Shahxia Sikander, Kanishka Raja, and Jaret Vadera and many more. Furthermore, AAAC has exhibited various artists from this exhibit including Chitra Ganesh, Mariam Ghani, Vandana Jain, Naeem Mohaiemen, and Zarina. These artists used different mediums and engaged in different dialogues. </span><br />
<span style="background-color: white; font-family: "arial"; font-size: 12pt; text-indent: 36pt; white-space: pre-wrap;"><br /></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFrvYjUcBvOLUyf58FIyNmwDqjr2bzAhhUtY69N9Xhnwfpzcgzt1TyA_XewCDd6ZHwy_AXmiKvZeo3kEshbKMbSMfpzu-UyHtMZ2eowqfOHowOZhdRM2qNmwpUECVZLM__7aEKmGG5Vsk/s1600/DSC01955.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="color: black;"><img border="0" data-original-height="1600" data-original-width="1067" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFrvYjUcBvOLUyf58FIyNmwDqjr2bzAhhUtY69N9Xhnwfpzcgzt1TyA_XewCDd6ZHwy_AXmiKvZeo3kEshbKMbSMfpzu-UyHtMZ2eowqfOHowOZhdRM2qNmwpUECVZLM__7aEKmGG5Vsk/s320/DSC01955.JPG" width="212" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Shahzia Sikander, Eye-i-ing Those Amorial Bearings, 1989-97, vegetable, dry pigment, tea on wasli paper.<br />
<br /></td></tr>
</tbody></table>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUPl0fXGeAggOVG4KHxxhSexJkJmHem2NEVyr8S4wtSh6W5P32Kctyzei0xohD32YEiHi-ND9_x_uDDDT9GDjaJFUjTfNkg6J8Y0SoZXDnY2ttQxNOnmgsecKhe_ennGD14tTCb92Q_IY/s1600/DSC01981.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1067" data-original-width="1600" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUPl0fXGeAggOVG4KHxxhSexJkJmHem2NEVyr8S4wtSh6W5P32Kctyzei0xohD32YEiHi-ND9_x_uDDDT9GDjaJFUjTfNkg6J8Y0SoZXDnY2ttQxNOnmgsecKhe_ennGD14tTCb92Q_IY/s320/DSC01981.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Add caption Kanisha Raja<i>, I and I (TRANSLATE); SW1</i>, 2015-16, handwoven cotton thread, hand embroidered silk, acrylic pain, and UV-cured solvent-based inks on cotton.<br /></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsGaQougFyo0ydUIZ5CP67ohbFmYtdQVj384guEaVlLm-4JljR2KCF6-4H86vGzpCwcjAlnHm7l5TFdwsIPCX56jsE7P5h7UurECSn_154pwn5h_L3_tK03yFcLf0k3DUAOLZLlS4Fqgg/s1600/DSC02005.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="color: black;"><img border="0" data-original-height="1428" data-original-width="952" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsGaQougFyo0ydUIZ5CP67ohbFmYtdQVj384guEaVlLm-4JljR2KCF6-4H86vGzpCwcjAlnHm7l5TFdwsIPCX56jsE7P5h7UurECSn_154pwn5h_L3_tK03yFcLf0k3DUAOLZLlS4Fqgg/s320/DSC02005.JPG" width="212" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jaret Vardera, Emperor of No Country, 2016, print on fabric. </td></tr>
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<span style="background-color: white; font-family: "arial"; font-size: 12pt; font-style: italic; vertical-align: baseline; white-space: pre-wrap;">Fatal Love</span><span style="background-color: white; font-family: "arial"; font-size: 12pt; vertical-align: baseline; white-space: pre-wrap;"> accomplished -- most spectacularly -- in bringing together artists, curators, academics, and the public to have a rich and engaging dialogue about the issues confronting the South Asian American community, particularly in light of the recent 2016 presidential election. It is an event the Queens Museum should continue to host in the coming years, as they should continue to ask: Where are We Now? </span>Asian American Arts Centrehttp://www.blogger.com/profile/10345950479257212004noreply@blogger.com0tag:blogger.com,1999:blog-8095004976727046060.post-17445791452503435702017-07-20T16:51:00.001-04:002019-07-11T14:44:38.587-04:00A Tribute to Toshio Sasaki This year marks 10th year since world-renown sculptor and architect, Toshio Sasaki (1946 - 2007), passed away. He was one of the main artists AAAC worked with during his long career. By the end, he vied to bring his aesthetic ideas to the World Trade Center memorial and came close to achieving it. To commemorate him and his work, this summer the OSSAM Gallery in Brooklyn hosted a memorial exhibition that included his works, as well as works by well-known artist, Osamu Shimoda (1924 - 2000). These two extraordinary artists, born in Japan and later based in the United States, bridged the gap between the East and the West. Sasaki, in particular, fused the East and West in his creative and illuminating sculptural and architectural designs. <br />
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Born in Kyoto, Japan in 1947, Toshio Sasaki studied art and architecture at the Aichi University of Fine Arts. He later moved into New York City in 1974, creating fantastic works in public spaces. In 1988, he exhibited <i>Sun Gate</i>, a drawing, for AAAC’s Exhibit for Public Art in Chinatown and it was later included in AAAC’s catalogue. <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc_lFu8-_E48_6VF5Ksa-iO2qMpaV2IOvuJAOfWMlsb0HQlL9yblAL8oc7IFjGpRA1TBaIEFYrDFrta_KKlA_M61vjIqM3qHntmIaV60VVdNXAVB4qP-y-oOuq7ESS-eeZtgIwWKJMkhE/s1600/Toshio+Sasaki_artention_01+copy.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="447" data-original-width="321" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc_lFu8-_E48_6VF5Ksa-iO2qMpaV2IOvuJAOfWMlsb0HQlL9yblAL8oc7IFjGpRA1TBaIEFYrDFrta_KKlA_M61vjIqM3qHntmIaV60VVdNXAVB4qP-y-oOuq7ESS-eeZtgIwWKJMkhE/s320/Toshio+Sasaki_artention_01+copy.jpg" width="229" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Sun Gate</i> by Toshio Sasaki, 1988 </td></tr>
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<br />The piece is a sketch of the Manhattan Bridge and an idea for a monument to its entrance. According to Sasaki, “I hope the Gate will impart a new ‘time’ irradiation to the old society, and traditional meanings. I think of this Sun Gate rising like a phoenix from the ashes of its own urban past.” Although the gate was never constructed, it shows Sasaki’s understanding of complex geometric forms and principles, as well as his knowledge of the neighborhood and its history.
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Sasaki’s interest and creativity in designing monuments was translated in his submission for the World Trade Center Site Memorial Competition in 2003. His memorial entry, titled <i>Inversion of Light</i>, was a moving creation that sought to incorporate the four universal elements: light, water, air, and earth. For Sasaki, each element represented a different aspect of being and living. The memorial, which included a wall of names, a street-level park, and a reflection pool, was to be a serene, peaceful place for remembrance and contemplation. Sasaki emphasized that his memorial was to be a “living memorial,” one dedicated to peace, truth, and posterity. While Sasaki’s proposal was ultimately not selected, like the Sun Gate, this entry pushed the boundaries of memorial architecture. To learn more about and see Sasaki’s design, please visit this link: <a href="http://www.world-memorial.org/Tribute/NY/Inversion/inversion.html">http://www.world-memorial.org/Tribute/NY/Inversion/inversion.html</a>.<br />
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Back in the fall of 2012, AAAC visited Sasaki’s studio, maintained by his wife, Miyo Sasaki. She works to support young Japanese artists, providing them with studio space and general support. While the studio is a space for this new up-and-coming artists, it is still home to Toshio’s work. To learn more about and see Toshio Sasaki’s studio, please read the 2012 article: <a href="http://artspiral.blogspot.com/2012/12/toshio-sasakis-studio.html">http://artspiral.blogspot.com/2012/12/toshio-sasakis-studio.html</a>.
More recently, Miyo has created and completed a video about her husband. This short video, not currently available for public viewing, was a retrospective, documenting Sasaki’s great accomplishments throughout his life. Please reach out to AAAC or Miyo Sasaki to learn more about this video.<br />
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Although it has been 10 years since Sasaki’s passing, his ingenuity and artistic talent continue to live on in the art communities he was a part of. As an accomplished artist, sculptor, and architect, Sasaki had a profound effect on the aesthetic and artistic concepts of geometry, space, and time. He is a pioneer in the Asian and Asian American arts world.
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<br />Asian American Arts Centrehttp://www.blogger.com/profile/10345950479257212004noreply@blogger.com0tag:blogger.com,1999:blog-8095004976727046060.post-72217319563383607682017-05-11T15:48:00.002-04:002019-07-10T15:37:39.395-04:00A Tales of Two Islands: Reporting Back from the Banda Islands<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;"><i style="text-align: start;">Rhunhattan: A Tale of Two Islands</i></td></tr>
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On May 4th, Beatrice Glow presented her work <i>Rhunhattan: A Tale of Two Islands</i>. The project " explores a pivotal moment during the birth of globalization when the Dutch and the British were locked in a stalemate during the Spice Wars."<br />
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<tr><td class="tr-caption" style="text-align: center;">Beatrice Glow </td></tr>
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<span style="font-size: x-small;">For more information about <i>Rhunhattan: A Tale of Two Islands</i> and Beatrice Glow<i>: </i><a href="http://beatriceglow.org/rhunhattan/">http://beatriceglow.org/rhunhattan/</a></span>Asian American Arts Centrehttp://www.blogger.com/profile/10345950479257212004noreply@blogger.com0