What does "Asian American art" mean to you?
Is there a type of art that is Asian American in nature? Does a pan Asian American sensibility exist? Whatever your discipline, do you consider the work that you produce to be Asian American in some way? If so, is it more a statement of belonging or is it about creating within a style?
Tags: Asian American, Asian art, pan-Asian
Replies to This Discussion
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Permalink Reply by Susan L. Yung on -
Puritanical Bohemian Blues
Draw some pretty flowrs
Draw some handsome portrait
Draw some cute kids
Photo the pretty clothes
Photo the cute guy
OR NOT
by Susan L. Yung
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Permalink Reply by Christina Chow on -
When it comes to categorizations, I am always a bit cautious and suspicious. The ancient Chinese philosopher Chuang Tze said a few thousand years ago that any attempt to categorize, discriminate, or group together is what human beings would always want to do, and yet it is doomed to failure and waste of energy because it is against the human nature. He may be right or he may be wrong. I don't know. But one thing I do understand, from experience, and that is: being Asian or American is just a state of being, it is not the being per se, and therefore, the art produced by a person in that state of being is not perpetual and cannot be named. Having said this, I am not denying the existence of such state of being, therefore, being Asian, being American and being an artist is a reality without all the connotations that have been placed upon this state. As a conclusion, I would like to think myself as Asian (I was born Chinese), American (I was raised in South America and have been living in New York for a long time), and artist (which is what I do), but I am also a lot of many other things.
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Permalink Reply by Tomie Arai on -
As Americans, or as Asians in America, I think we are constantly asked to accept, reject or embrace categorizations. I agree that as human beings, we all find ourselves shifting between multiple identities. The question is: do we choose to embrace our identities as Asian Americans and if so, is our art, by default Asian American art? I identify myself as an Asian American artist because it helps me imagine that I belong to a greater community of artists with similar concerns. And at this point in my life, belonging gives me a sense of purpose. But I am an older artist with a worldview shaped by 70’s identity politics, so I know I have a very different perspective than younger artists. (I actually spend time thinking about whether or not there is such a thing as Asian American art!) Labels based on race or gender don’t bother me in the least but I’m aware that younger artists are incensed by what they perceive as a ghetto-ization of their work if they are labeled in this way. I wonder, however, if artists of color really have any control of how they are perceived in the artworld; if we aren’t all in one big art ghetto? Art historian Margo Machida believes that Asian American art is rooted in cultural activism; clearly, a different way to define an art movement. Regardless of whether you can agree on a definition of Asian American art or a pan Asian aesthetic, it would be hard to deny the existence an enormous body of work, --an art movement if you will, --that is informed by the shared histories of Asians in America. Whatever the outcome, I’m encouraged by this discussion. Perhaps we will be able to construct, through the filter of our own experiences, new ways of understanding and defining the work we do.
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Permalink Reply by Susan L. Yung on
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Every member of Asian Arts Alliance is looking for an audience to prove their popularity but I find it futile to get an audience from such groups and enjoy what I think is a reflection of my art. This might be totally confusing if you hadn't tried the "unknown" path.
I think it is completely a mental case of exclusion when so many Asians are so skilled. Many had been parroting the same definitions since its inception of ID crises of the 70s just to preset their agendas for others to emulate. It seems to be limiting one's self and not explore other avenues.
The chameleons who can travel learn languages, be good artists, left the city of "corruption", and return to all the "racist institutions" to attend their “free” events.
Have you noticed how there are "Museo del Barrio" "Studio Museum of Harlem", "MOCA", "Taller Boricua", "A Gathering of the Tribes" "Nuyorican Poets Cafe", "Bowery Poetry Cafe", Asian American Writer's group, CAAAV (Chinese American Against Anti-Violence), AFEE (Asians for Equal Employment) etc. Most of these Asian non-profit orgs. are setup for "immigrant class" peoples while other generations have to ameliorate into mainstream society with it’s “youth cultures”, their needs to expose their nakednesses (check out Tribes’ art exhibits who presently exhibit illustrative eroticism as taught by art schools); nudity with cleavages prevails and still be puritanical. These groups are very limiting and as usual must organize as a group to reflect/retaliate mainstream society’s insecurities. So far, it has been an entrapment and it’s another form of conforming by utilizing middle class standards to poorer artists while hyping their “pretty” art.
To many others after giving many years of support, volunteerism, donations, etc my art still cannot be conformed by the newly set up "Asian" American communities. Yes, I can claim myself a musician since Soh Taiko (first Chinese American member b4 Teddy or Margaret Chin participation) claims to be only for amateur musicians, yes, I am a videographer because I document the realities of how “whites” can take over a third world intended org. as their territory. As an artist, because my social commentaries are banned from publications in Asian community who preferred me locked up, mentally or physically.
See Lawrence Ferlinghetti’s “Pity the Nation” on You Tube:
http://www.youtube.com/watch?v=lKCblAJtzgE
I had seen America’s demise when homelessness had increased in the 80s. It just only took time for things to catch-up. So we can pretend to be “lost”, on a “life journey” recording our own inner visions as oppose to selling out.
For now, I have to leave and help a friend buy food for her 4 year old son.
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Permalink Reply by Christina Chow on
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Perhaps the question is, do we need to create another new movement of like-minded people experiencing similar challenges? Or, we can look at the reality of today, when all activist efforts have already been done and bloomed in all different manifestations, and yet have failed to meet the expected outcome, and now we have technology such as internet, blogs, cell phones, etc. that has made communication much more efficiently, perhaps we can think of a different way of dealing with the same issue, the existential issue of the individual self. Perhaps, it is not about trying to change culture in order to cultivate the culture within, and it is rather the other way round...perhaps, it is more about reviewing our own perception of our own truth (well, such an outdated word, and yet still an updated reality) ... I don't know, what do you guys think?
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Permalink Reply by Susan L. Yung on
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Did it, done it & got censored by Nico. You are young and could do the same repetitive efforts for 35 years plus until you may realize opposite rules & other barriers are set up like yr S. American quote. I'm getting too old to continue a lifetime battle. Recently, so many friends in the arts has passed away that now their works are emerging posthumously.
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Permalink Reply by Christina Chow on
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I am not young; I am not naive; and I do not believe in battles. It is not about fighting. It is about coming together. I do not believe in the victory of the dialectics, as well as the defeat of uniformity. I do not believe in the power of either of these extremes.
I just read today an essay written by the Argentine author Ernesto Sabato in the 70s, called "Education and the Crisis of Man". He urged that countries could achieve "a category of humanity, not an abstract humanity, as postulated by certain genre of rationalist humanism, but rather a humanity that is built by the co-existence of nations of different colors, credo, and condition: it is not about an abstract identity, but rather a dialectic integration, in the same way that different musical instruments form an orchestra precisely because they are different". Asians as well as Asians grown up and living outside their country should be able to talk to each other and build something together that's constructive to both of them.
I may sound idealistic, but I have also experienced the pain, and I have experienced enough pain as to understand that it can also be used for something greater than just pain. So what, if we were caught in the midst of terrible historical despair for a long time! We got to learn a way to assemble together and make the music, yeah, in the end, it is just about making the music, it's not about whose music, or whether or not it has been accepted or that it has even enjoyed a huge audience. It's just about making the music. And if that's the most important thing, then who cares about censorship? Even censorship can be welcomed and used to make the ultimate music. Who cares about cultural stigma? Even that can be used to make the ultimate music. The final triumph is always personal, although it is its vibes that would shake the collective.
Being an artist is a tough thing, because we are the target, because we must create. Creation is always the target for destruction. But let us not forget the power of creation. If we fall into despair and lose our faith in our own creation or the power to create, then destructive forces would set in and we would lose our true self, our true identity, and we may become the agents of destruction. This is not something we have set out to do or be in the first place.
In Sabato's essay, he was worried about a crisis faced by the modern man (70s), which was a dialectic condition, or contradiction, that had permeated in every stratus of society, and that this contradiction had managed to sever our hearts from concepts and dogmas, manipulated and imposed by society. We could almost say that the modern man is a severed man: what he wants is separated from what he is, and what he looks for is separated from what his heart really desires. I mean, his, hers or its... Perhaps the time has come for us to stop this crazy race for separation. Something gets us together today for us to blog, to talk, and we must respect this something, and avoid separation... at least in my case, in spite of my diverse background, I simply refuse to be a severed woman...
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Permalink Reply by Susan L. Yung on
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You should look around NYC and see how many female musicians are out there and how many women dominate the writing domain in NYC's ethnic groups. Examine how English becomes distorted in each group and which is acceptable realities, Hollywood stories or foreign movies? Intellectually, ideals can be written down; stories retold into mythological legends; points of views misinterpreted as every other person's Napoleanic egos can supercede your goals or ego. I had been silenced for many, many years and apathy is NYC's norm. I invite you to attend a multi-diverse non-profit A Gathering of the Tribes, go to their art openings, see what is out there and why AAAA is insulated from mainstream society. At Tribes, there is a Blind Black man, Steve Cannon, formerly a professor @ Medgar Evers who is its director. He needs a person to read to him. Why don't you volunteer? There, you can practice Sabato's writings since Steve might know about his writings. Steve is a graduate of England's Oxford via New Orleans. For a 74 year old his memory is well intact. Find out how he treats women. I spent 15 years documenting/videoing (on my own expense) Tribes progress.
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Permalink Reply by Christina Chow on
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Since you have spent 15 years documenting/videoing (on your expenses) Tribes progress, how do you think you could contribute to the Asian American community with what you have learned, digested or experienced?
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Permalink Reply by Christina Chow on
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By the way, you don't need to go to Oxford to know Ernesto Sabato. He is a very popular author, and I am not really interested in any tribe.
Just thought that you might have something to share... take much care of yourself in this wild, wild world -
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Permalink Reply by Susan L. Yung on
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I'm sorry, I don't have time to answer such questions ... call up Steve Cannon (212) 674 8262 'cause he has all the time in world, bein blind & all that.
I had been busy looking for an occupation or a job in the past 50 years and unfortunately work has been inconsistent due to imposed homelessnesses, helping other homeless artists and friends, fending off potential rapists, robbers, making hospital visits, doing charity works, arguing with jealous men & wives; liars and customers; attending open mikes; art openings and panel discussions; help babysit; take some classes?; making court appearances; filing lawsuits; dealing with domestic violence and getting depressed by such young obnoxious non-productive upstarts.
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Permalink Reply by Susan L. Yung on
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I'm a social realist which rarely means anything these days. To belong in a category that is undefined makes no sense and creating "in what style" has its moments. Learning a style can take a lifetime to make a clear definition of his/her vision or not. A connundrum that is in "opus morandi". Creating in a "style" is defined by whom? The artist or the critic?
What is the Asian American Arts Alliance?
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