Relevant bibliographies by topics / Asian American artists

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Reports

Academic literature on the topic 'Asian American artists'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Asian American artists.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Asian American artists"

1

Schultz, Stacy E. "Asian American Women Artists: Performative Strategies Redefined." Journal of Asian American Studies 15, no. 1 (2012): 105–27. http://dx.doi.org/10.1353/jaas.2012.0000.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

De Lara, Marlo Jessica. "Reclaiming Filipino America through Performance and Film." JOMEC Journal, no. 11 (July 6, 2017): 41. http://dx.doi.org/10.18573/10.18573/j.2017.10142.

Full text
Abstract:
Filipino Americans are the fourth largest migrant group in America and the second largest Asian population in the United States. Migration from the Philippines is constant and has increased dramatically in the last sixty years. Filipino Americans participate as the ‘Asian American’ identity/race but the specificity of Philippine-U.S. relations and migration pathways make this inclusion a misfit. As a former territory and with complex shifting migration policies, Filipinos have been considered by the U.S. government an ambiguous population, falling just out of reach of national visibility. As the population has continued to grow, Filipino Americans have shared narratives and begun conversation to address the constant cultural negotiation and struggles within the social and racial structures of America. Since the 1980s, a Filipino American cultural and artistic movement or ‘moment’, has emerged with artists, dancers, performers, and filmmakers. These artists make critical interventions that disavow the American empire. The works make comment upon the ramifications of being an unrecognized Asian colony and the systemic challenges of immigration assimilation. An example of a work from this cultural moment is Jose Antonio Vargas’ autobiographical documentary Documented (2013). The film, intended as an up close and personal account of an undocumented migrant in the United States, also serves as an example of current Filipino American cultural productivity and visibilization. By studying this artistic movement, one can approach deeper understandings of citizenship and national belonging(s) in the current transnational climate and the border crossings that circumscribe the Filipino American diaspora.
APA, Harvard, Vancouver, ISO, and other styles
3

Vikram, Anuradha. "Spectres of orientalism: Patty Chang and Chinese American art in the pandemic." Journal of Contemporary Chinese Art 9, no. 3 (November 1, 2022): 353–85. http://dx.doi.org/10.1386/jcca_00071_1.

Full text
Abstract:
This article addresses the work of Chinese American interdisciplinary artist Patty Chang over a 25-year period that begins with her groundbreaking short form videos in the 1990s, and considers transitional works in the mid-2000s that led the artist to create two major bodies of work connecting identity issues with climate change since 2009. I discuss Chang’s influence on subsequent generations of Chinese American and Asian American artists, her prescient use of online aesthetics and her complex engagement with the political, social and ecological realities of mainland China and neighbouring Uzbekistan. After contextualizing Chang’s influence through the lens of her inclusion in the group exhibition Wonderland with nine other Chinese Diasporic artists, I consider the impact of COVID-19 and anti-Asian violence in the United States and globally on the direction of Chang’s work and discuss the experience of curating her recent project during the pandemic shutdown.
APA, Harvard, Vancouver, ISO, and other styles
4

Machida, Margo L. "Pacific Itineraries: Islands and Oceanic Imaginaries in Contemporary Asian American Art." Asian Diasporic Visual Cultures and the Americas 3, no. 1-2 (March 14, 2017): 9–34. http://dx.doi.org/10.1163/23523085-00302002.

Full text
Abstract:
This essay focuses on the Asia Pacific region and selected works by contemporaryus-based Asian American artists that engage shared themes of trans-Pacific journeys, circulation, conflict, and convergence between Asian diasporic, Indigenous, and other groups. The Pacific, with more islands than the world’s other oceans combined, is above all an island realm. Accordingly islands and associated oceanic imaginaries exert a powerful hold on works by artists who trace their ancestral origins to coastal East and Southeast Asia and Oceania. These artists’ endeavours underscore the idea of islands as multi-located historic and affective subjects within global systems of cross-cultural exchange. Through the different levels of focalization they provide, the featured artworks render insights into the formation of complex, multiple points of attachment as contemporary artists cross and re-cross borders: physical, temporal, and psychic.
APA, Harvard, Vancouver, ISO, and other styles
5

Mok, Christine. "East West Players and After: Acting and Activism." Theatre Survey 57, no. 2 (April 13, 2016): 253–63. http://dx.doi.org/10.1017/s0040557416000107.

Full text
Abstract:
“Where are all the Asian actors in mainstream New York theatre?” What began as a plaintive status update on Facebook launched a full-scale investigation by Asian American actors that culminated in a report titled “Ethnic Representation on New York City Stages” and the formation in the fall of 2011 of an advocacy group, the Asian American Performers Action Coalition (AAPAC). AAPAC's findings were disheartening. In the preceding five years, Asian Americans had received only 3 percent of all available roles in not-for-profit theatre and only 1.5 percent of all available roles on Broadway. The percentage of roles filled by African American and Latino actors, in contrast, had increased since 2009. According to the report, “Asian Americans were the only minority group to see their numbers go down from levels set five years ago.” The data AAPAC compiled were both surprising in their concreteness and unsurprising in their bleakness. The Facebook query sparked an active digital conversation that touched a collective sense of discord just below the surface for many Asian American theatre artists, especially actors. Ralph Peña, artistic director of Ma-Yi Theatre Company, invited key Facebook commenters to hold a more formal conversation about access, embodiment, and Asian American representation. This group, many of whom were artists in midcareer, trained at top conservatories, and fostered in New York City's vibrant Asian American theatre community, became the Steering Committee of AAPAC. The members of the Steering Committee channeled their frustration and anger into archive fever by researching and documenting ethnic representation on Broadway and in sixteen of the largest not-for-profit theatres in New York City over a five-year period. In front of an audience of three hundred, members of AAPAC presented their findings at a roundtable at Fordham University on 13 February 2012 that included prominent artistic directors, agents, directors, casting directors, and producers and was moderated by David Henry Hwang. With the report in hand, AAPAC members roused the New York theatre community with a series of town hall–style meetings and urged theatrical production gatekeepers to do, if not better, then, something.
APA, Harvard, Vancouver, ISO, and other styles
6

Kim, Rose M. "Unsettled visions: Contemporary Asian American artists and the social imaginary." Visual Studies 25, no. 2 (September 3, 2010): 194–95. http://dx.doi.org/10.1080/1472586x.2010.502679.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Lin, Jenny. "Poetics of Cross-Cultural Relation: Critical Performances by Artists kate-hers RHEE and Patty Chang." Konturen 12 (2022): 96–127. http://dx.doi.org/10.5399/uo/konturen.12.0.4917.

Full text
Abstract:
This article explores anti-racist, feminist performance and video art by kate-hers RHEE and Patty Chang. Parodic performances of awkward sexual encounters in works such as RHEE’s The Chocolate Kiss (2013) and Chang’s The Product Love (2009) embody and deconstruct identity formation within transnational German and Asian American contexts. I explore how RHEE and Chang distinctly challenge sexist and racist stereotypes and the objectification of Asian women, while problematizing cultural categorization through (mis)translations and poetic relations. The article illuminates how these artists complicate Asian American identities via variegated explorations of critical race theories and connected histories of cross-cultural representation.
APA, Harvard, Vancouver, ISO, and other styles
8

Desai, Dipti. "There Was So Much Silence Growing Up…: Artistic Interventions of Tomie Arai and Flo Oy Wong." Asian Diasporic Visual Cultures and the Americas 6, no. 3 (December 8, 2021): 217–37. http://dx.doi.org/10.1163/23523085-06030002.

Full text
Abstract:
Abstract This essay explores the specific artworks of Asian American artists Tomie Arai and Flo Oy Wong as complex articulations between culture, identity, history, and memory. Based on oral history interviews that were integral parts of their artistic processes, Arai and Wong created works that explored the family histories and memories of Asian immigrants and Asian Americans living in New York City’s Chinatown and California. Their artworks open up a space to explore memory as a way of knowing that is shaped not only by what is said, but more importantly by what is not said—by silences and secrets.
APA, Harvard, Vancouver, ISO, and other styles
9

Han, Chong-suk, and Edward Echtle. "From Merging Histories to Emerging Identities: An “Asian” Museum as a Site of Pan-ethnic Identity Promotion." AAPI Nexus Journal: Policy, Practice, and Community 5, no. 2 (2007): 33–54. http://dx.doi.org/10.36650/nexus5.2_33-54_hanetal.

Full text
Abstract:
In this paper, we explore the significance of the Wing Luke Asian Museum (WLAM) in Seattle, Washington as a site where pan-ethnic Asian American identity can be promoted by analyzing the strategies employed by the staff and artists of the WLAM to promote, foster and disseminate a larger Asian Pacific Islander American pan-ethnic identity. We argue that museums are a significant site that can “provide a setting for persons of diverse Asian backgrounds to establish social ties and to discuss their common problems and experiences.”
APA, Harvard, Vancouver, ISO, and other styles
10

Philip, Leila. "Islands of Clay." Asian Diasporic Visual Cultures and the Americas 1, no. 1-2 (February 24, 2015): 131–54. http://dx.doi.org/10.1163/23523085-00101007.

Full text
Abstract:
Toshiko Takaezu (1922–2011) was an important postwar Asian-American artist from Hawai‘i. My exploration of Takaezu’s work is closely informed by scholarship on hybridity and performative identity, which examines artists with hyphenated identities that bridge multiple personal and cultural formations. Takaezu has occupied an ambiguous and fluid space between cultures, artistic traditions, and assigned gender roles as Asian and American, as potter and sculptor, and as a woman who paid deference to traditional Japanese female culture but was also a pioneer artist who consistently identified with male forms of power. The essential paradoxes of Takaezu’s life and her struggle to find ways to create and perform her ethnicity without becoming trapped within it make her a fascinating case study. Her work reflects the implications of transnational flows and circulations; her clay works speaks to a heritage of migration, dispersal and the need to recapture a sense of lost homeland.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Asian American artists"

1

Lee, Sharon Yih-Chih. "The career development of Asian American female visual artists." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/4869.

Full text
Abstract:
The Asian American population is one of the fastest growing racial groups within the United States, and will soon become a significant proportion of the nations' work force (Census, 2008). It is important for counselors and other helping professional to better understand the needs of this population in order to better prepare them for the nation's workforce. Given the limitations of the current knowledge pertaining to Asian American career development, researchers have called for additional studies examining the career development process for Asian Americans (Flores et al., 2006; Leong & Serifica, 1995). A notable gap in today's Asian American vocational literature is on the career development process for those who pursue underrepresented occupations, such as work in the humanities and arts. Researchers have noted that Asian American vocational research has predominantly focused on occupations in which there are more representation, such as Investigative or Enterprising fields (Escueta & O'brien, 1991), the unique career concerns of specific ethnic groups (Kim, 1993; Yang, 1991), familial involvement in career (Tang, Fouad, & Smith, 2004), or provides a broad conceptualization of career development of Asian Americans (Leong, 1986; Leong, 1991). However, there are no studies that examine the intersection of gender, race, and nontraditional career choices for Asian American women. This is especially true for occupational field that is often ignored in vocational research, such as the Artistic field (Ng, Lee, & Pack, 2007). Little is known regarding the why and how Asian American women choose to go into a field that is nontraditional and in which they are underrepresented. Further examination of this will allow helping professionals to gain a better understand the challenges and resiliency factors that influence Asian American women, especially those who choose to enter difficult field often not well regarded as an ideal career by family or society. The purpose of this study was to investigate the following questions: (1) What are unique aspects of the career development of early career Asian American female visual artists, (2) how do contextual factors in Asian American female visual artists' career development impact both their psychological and vocational well-being, and (3) what are the major supports and barriers for Asian Americans females in pursuing an Artistic career? Utilizing Consensual Qualitative Research (CQR) methodology (Hill, Thompson, & Williams, 1997), Asian American female early career visual artists were recruited, identified, and screened nationally through an online survey. Twelve East (n=10) and Southeast (n=2) Asian American female visual artists between the ages of 21 - 35 were interviewed utilizing a semi-structured interview protocol. Eight domains emerged from the analysis of the results: 1) Description of career path into the visual arts, (4) Ecological factors impacting overall career, (5) Financial influences on the career development, (6) Perceived additional skills and resources needed for career, (2) Influences on art work and artist identity, (3) Individual strengths contributing to career development, (7) Influences of support on career development, (8) Perceived barriers to career development. A detailed summary of these results, implications of these findings and recommendations for clinical work and future research will be provided.
APA, Harvard, Vancouver, ISO, and other styles
2

Ferraro, Tonya. "Letters from an interdisciplinary artist: Illuminating Korean adoptee identity through mentors and metal." ScholarWorks @ UVM, 2014. http://scholarworks.uvm.edu/graddis/5.

Full text
Abstract:
Interdisciplinary integration and practice through meaning making and context can contribute to the reconsideration and revolution of research by supporting narrativesand creating space for public discourse. In researching my heritage as a Korean adoptee, I found that the literature has been predominantly from adoptive parents' perspective,focusing primarily on child and adolescent development. Lacking in the literature is the adult adoptee perspective, and specifically their experiential voices. This interdisciplinary thesis has three major purposes (1) to explore how transracial transnational Korean adoption affects identity formation, (2) to illustrate how mentoring relationships can be a means to address and reframe the theme of loss as experienced by an adoptee, and (3) to use interdisciplinary inquiry as a means of expression to make meaning and illuminate adoptee identity formation. Drawing from my personal experience as an adoptee, an artist, a researcher, and as an educational mentee I integrate past research findings, Scholarly Personal Narrative (SPN: storytelling), epistolary Scholarly Personal Narrative (eSPN: epistolary storytelling), and visual artistic research through jewelry/sculpture to describe constructing my adoptee identity. Images of the jewelry/sculpture are provided, while a public art opening displayed the series of work.
APA, Harvard, Vancouver, ISO, and other styles
3

Koh, Jinyoung. "Cross-Cultural Experiences, and Perceptions: A Selected Group of South Korean and Chinese Artists Who Received an MFA Degree in the United States." Thesis, 2019. https://doi.org/10.7916/d8-tzxc-hm51.

Full text
Abstract:
This narrative-based qualitative research investigated the distinct journeys of eight cross-cultural artists (four artists from South Korea and four artists from China). Utilizing a variety of theoretical frameworks surrounding cross-cultural research, this dissertation examined current discussions on cross-cultural challenges and their implications in the field of art education. Methods of data collection focused primarily on interviews and were examined through the lens of Bandura’s (1997) self-efficacy theory. Evaluating the lived experiences of artists illuminated nuances in cross-cultural environments, specifically, how socio-cultural transitions influenced their artwork and professional lives. The findings of this research correlate with previous literature surrounding current challenges in the lives of cross-cultural students. These challenges were discussed in the context of how art educators can best confront issues that emerge in the classroom. The analysis and discussion presented in this thesis seeks to provide insights into the experiences of cross-cultural artists, while highlighting the educational implications for both artists and educators.
APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Asian American artists"

1

Jeffrey, Wechsler, and Jane Voorhees Zimmerli Art Museum., eds. Asian traditions/modern expressions: Asian American artists and abstraction, 1945-1970. New York: H.N. Abrams in association with the Jane Voorhees Zimmerli Art Museum, Rutgers, the State University of New Jersey, 1997.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Gee, Zand, and Kearny Street Workshop, eds. Pursuing wild bamboo: Portraits of Asian American artists. San Francisco, Calif: Kearny Street Workshop Press, 1992.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Mayumi, Tsutakawa, Lau Alan Chong, Nakane Kazuko, Wing Luke Asian Museum (Seattle, Wash.), and Archives of American Art, eds. They painted from their hearts: Pioneer Asian American artists. Seattle: Wing Luke Asian Museum, 1994.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Asian Art Museum of San Francisco. and Kearny Street Workshop, eds. Resource guide of Asian and Asian American artists in the San Francisco Bay Area. San Francisco: Asian Art Museum, 1996.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Jane Voorhees Zimmerli Art Museum., ed. Asian traditions, modern expressions: American artists and abstraction 1945-1970. Taipei: Taipei Fine Arts Museum, 1998.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Museum, Solomon R. Guggenheim, ed. The third mind: American artists contemplate Asia, 1860-1989. New York: Guggenheim Museum, 2009.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

McNear, Sarah Anne. Honoring tradition: Perspectives of three Asian-American artists : Indira Freitas Johnson, Naoko Matsubara, Komelia Hongja Okim. Muncie, IN: Ball State University Museum of Art, 2004.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Chiu, A'misa. Rainbow Sludge. [Portland, Oregon]: Eyeball Burp Press, 2014.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Wong, Tyrus. Water to paper, paint to sky: The art of Tyrus Wong. San Francisco: The Walt Disney Family Foundation Press, LLC, 2013.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Lee, Kyung-Lim. Kyung-Lim Lee: The order of contemplation. Easton, Maryland: Academy Art Museum, 2012.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Asian American artists"

1

Jack, James. "The (im)Possibilities of Cultural Collectivity: American Artist in Setouchi." In American Art in Asia, 89–104. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003130284-8.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Fendler, Ute. "African American and African Artists in South Korean Popular Culture." In Asia-Afria- Multifaceted Engagement in the Contemporary World, 243–70. Singapore: Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-97-0696-9_12.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Burris, Jennifer. "Buying and Selling American Taste: Pop Art and the Inscription of Violence as Artistic Strategy in Colombia." In American Art in Asia, 185–206. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003130284-16.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Hård, Mikael. "Building Missionary Stations in Southeast Asia: Nias Islanders Deploy Adzes." In Microhistories of Technology, 15–42. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-22813-1_2.

Full text
Abstract:
AbstractIn their determination to proselytize, Christian missionaries from Europe and North America built outposts in many parts of the world. Based on sources from the islands of Nias and Sumatra in today’s Indonesia, Chap. 2 demonstrates that the construction of missionary stations in the decades around 1900 relied on locally available expertise, labor, and building materials, just as daily life at the stations relied on a locally available labor force and locally produced foodstuff. Although missionaries brought with them to the islands drawing and tools (e.g., saws), indigenous carpenters often preferred their own tools (e.g., adzes); they used architectural solutions indigenous to the islands and incorporated local style elements in their structures. During construction, missionaries and local artisans exchanged technical knowledge and skills, turning the missionary station into a low-tech “trading zone.”
APA, Harvard, Vancouver, ISO, and other styles
5

Yoshihara, Mari. "Visualizing Orientalism : Women Artists’ “Asian” Prints." In Embracing the East, 45–74. Oxford University PressNew York, NY, 2002. http://dx.doi.org/10.1093/oso/9780195145335.003.0003.

Full text
Abstract:
Abstract White women’s relationships to Asian objects were vividly portrayed in a series of paintings by William McGregor Paxton, a turn-of-the-century American Impressionist. Just as Edith Wharton’s novels recall the morals, protocols, and women’s place in Old New York, Paxton’s paintings depict the physical, social, and mental space in which women lived in turn-of-the-century America. Whether they be kitchen maids or socialites in shimmering gowns, Paxton’s female figures are part of the domestic land- scape, the nature of their existence defined by the visual objects and physical space surrounding them.
APA, Harvard, Vancouver, ISO, and other styles
6

Hayashi, Brian Masaru. "Morale Operations and Talking Their Way Into Japan." In Asian American Spies, 93–111. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780195338850.003.0005.

Full text
Abstract:
The Morale Operations section of the OSS recruited Asian Americans with the requisite skills in media communications. They hired individuals to help with propaganda materials aimed at two targets. One was to the Chinese public, to help stiffen their resolve to resist the Imperial Japanese forces. The other was aimed at the Japanese public and Imperial Japanese military personnel, to weaken their morale and willingness to continue with the war. The means of communication was in print or over the radio. For the former, some were graphic artists and employed to design cartoons and other pictorial representations for those not sufficiently literate in the Chinese language. Others were experienced typesetters and printers. Still others were writers who produced propaganda leaflets that Morale Operations distributed throughout the countryside in China.
APA, Harvard, Vancouver, ISO, and other styles
7

Takezawa, Yasuko. "Negotiating Categories and Transgressing (Mixed-) Race Identities." In Trans-Pacific Japanese American Studies. University of Hawai'i Press, 2016. http://dx.doi.org/10.21313/hawaii/9780824847586.003.0004.

Full text
Abstract:
A rapidly growing population of multiracial Japanese Americans are often portrayed either as a visual symbol of the disappearing of race or the romanticized “Happy Hapa.” Are there alternative ways that individuals are transcending binary options and resisting stereotypes? In what context, the collective categories of “Japanese American,” “Asian American,” and “hapa” can be mobilized for what purposes? Based on anthropological in-depth interviews, this chapter addresses these questions by examining the works and narratives of three artists with Japanese American background, two of whom have mixed roots: Roger Shimomura, Laura Kina, and Shizu Saldamando. This chapter will illuminate these artists’ individual ways of struggles expressed in artworks to fight against “stereotypes”, including one of rejecting social categories while at the same time resisting racism and white-centered norms.
APA, Harvard, Vancouver, ISO, and other styles
8

Milton Ducusin, Marc. "White Desirability and the Violent Radicalization of Andrew Cunanan." In Sexual Racism and Social Justice, 98–115. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197605509.003.0006.

Full text
Abstract:
Abstract Diverse media representations of gay, biracial spree killer Andrew Cunanan situate him within overlapping cultural understandings of queer violence, male sex work, and Asian-American identity. Infamous for the 1997 murder of Gianni Versace, Cunanan exerts a fraught fascination for scholars and artists of color. While his mixed-race identity embodied the mestizo physical ideal privileged in Filipino culture, his victimization of white men violently overturned the power dynamics through which white American culture and gay communities marginalize queer Asian bodies. The racist specter of white desirability thus haunts his tragic crimes in ways little explored in pop cultural depictions, news coverage, and academic studies. Through a mix of intersectional cultural analysis, close reading, and personal reflections, this chapter interrogates the social realities of sexual racism in the much-scrutinized media narrative of one of modern pop culture’s most notorious Asian-American figures.
APA, Harvard, Vancouver, ISO, and other styles
9

"Tipis and Domes." In Earth Diplomacy, 162–216. Duke University Press, 2024. http://dx.doi.org/10.1215/9781478059493-005.

Full text
Abstract:
Chapter 4 centers on the Crow lodge, a painted tipi by Blackfeet artist Darryl Blackman that was commissioned by the US Information Agency for the US Pavilion at Expo 70 in Japan. Garnering a record-breaking sixty-four million visitors, the first Asian exposition was charged with simulating a “city of the future” in an era of whole earth images, dome mega-architecture, and dystopian accounts of Western progress. During this period, Plains tipis circulated internationally alongside domes as icons of environmental holism and countercultural resistance. Yet comparatively little attention has been paid to tipis as a dynamic ecopolitical architecture in their own right. This chapter positions the Crow lodge within a longer history of exhibiting Native American architectural models in colonial exhibitions. The author demonstrates that Cold War World Fairs could became stages for Indigenous futurisms in which artists materialize ancient gifts from the earth to expand a circle of reciprocity.
APA, Harvard, Vancouver, ISO, and other styles
10

Lautz, Terry. "Jerome and Joan Cohen." In Americans in China, 137–62. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197512838.003.0007.

Full text
Abstract:
Jerome and Joan Cohen were pioneers in the fields of Chinese law and contemporary Chinese art, respectively. Their encounters with law and art raised basic questions about human values and freedom of expression in the PRC. They lived in Beijing during a period of economic and cultural ferment in the early 1980s, in the aftermath of Mao’s destructive Cultural Revolution. Jerry Cohen, who was a professor at Harvard, practiced corporate law with a US law firm when the PRC’s legal system was being reconstructed. After returning to New York, he fostered legal educational exchange and advocated for dissidents and human rights in China. Joan Cohen, who had taught Asian art at the Boston Museum of Fine Arts, lectured to Chinese audiences on modern Western art and introduced a number of avant-garde Chinese artists to the American public.
APA, Harvard, Vancouver, ISO, and other styles

Reports on the topic "Asian American artists"

1

Artful Diplomacy: Art as Latin America's Ambassador in ton, D.C. Inter-American Development Bank, January 2008. http://dx.doi.org/10.18235/0006398.

Full text
Abstract:
This exhibition gathers a number of artworks belonging to a diverse group of Latin American embassies and diplomats and their delegations and organizations in Washington, D.C. For a city that boasts such a wealth of artistic institutions on the National Mall, representing art from all corners of the world (the National Museum of African Art, the Freer and Sackler Galleries for Asian arts, and the National Gallery of Art with its impressive collection of European art from the Middle Ages to the present, to name a few), the absence - for whatever reason- of a major institution in the nation¿s capital representing the arts of Latin America is, in itself, a rather negative statement of sorts. This fact, combined with the proclivity of the press to report on the usually not-so-positive aspects of the social, political, and economic realities of the region, tends to indiscriminately put the prestige of Latin American countries at risk, and creates an unappreciative feeling among the public toward a region that, despite its inconsistencies, has excelled culturally for centuries.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Asian American artists' for particular source types:
Journal articles Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography