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Journal articles on the topic 'Asian American women artists'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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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.

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2

Tran, Kim-Trang T. "The Blindness Series and Experimental Media Art of the 1990s." Asian Diasporic Visual Cultures and the Americas 9, no. 1-2 (2024): 61–78. http://dx.doi.org/10.1163/23523085-09010005.

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Abstract At the March 2022 College Art Association’s meeting, a roundtable convened by Liz Kim discussed the topic: Intersectionality and the Video Art of Asian American Women Artists. Kim-Trang T. Tran’s video kore (1994), part of her Blindness Series, was one of the featured works. The Blindness Series, consisting of eight short-format experimental videos, focused on physical blindness and its metaphors to address intersectional issues of race, gender, and sexuality. While the specific topics and approaches of the videos in the series were products of their time, revisiting them today, we ca

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3

김현주. "Representation of American History by Asian American Women Artists in the 1980s and '90s." Korean Bulletin of Art History ll, no. 47 (2016): 101–24. http://dx.doi.org/10.15819/rah.2016..47.101.

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4

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.

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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 compl

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5

Kim, Elaine H. ""Bad Women": Asian American Visual Artists Hanh Thi Pham, Hung Liu, and Yong Soon Min." Feminist Studies 22, no. 3 (1996): 573. http://dx.doi.org/10.2307/3178131.

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6

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

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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

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7

Son, Elizabeth W. "Transpacific Acts of Memory: The Afterlives of Hanako." Theatre Survey 57, no. 2 (2016): 264–74. http://dx.doi.org/10.1017/s0040557416000119.

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In producing Chungmi Kim's eponymous Hanako (1999), the first Asian American play on the topic of “comfort women,” East West Players (EWP) provided a critical space for addressing this devastating chapter of Asian history and showing its relevance to communities in the United States. It also inadvertently launched the play on a ten-year transpacific journey as Comfort Women (2004) in New York and as Nabi (2005–9) throughout South Korea and Canada. Hanako dramatizes the intergenerational bonds between a Korean American university student, her grandmother, and Korean “comfort women” survivors wh

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8

Ty, Kim Soun, Shirley Suet-ling Tang, Parmita Gurung, Ammany Ty, Nia Duong, and Peter Nien-chu Kiang. "Hira Makes a Sound: Nepali Diasporic Worldviewing through Asian American Studies Praxis during the COVID-19 Anti-Asian Hate Pandemics." Religions 14, no. 3 (2023): 422. http://dx.doi.org/10.3390/rel14030422.

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In this article, we offer a specific example from our programmatic research and teaching praxis during the COVID-19 anti-Asian hate pandemic period. We demonstrate how Asian American Studies community-centered knowledge coproduction and narrative generational wealth investment can address critical experiences of young learners from underrepresented, religiously-diverse populations through content that supports culturally sustaining child development and challenges disparately impactful realities of racism, misrepresentation, and systemic Western biases which undermine their health and wellbein

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9

Storti, Anna M. Moncada. "Racist Intimacies; or, The Femme Alter Ego and Her Retribution." differences 35, no. 1 (2024): 97–133. http://dx.doi.org/10.1215/10407391-11101348.

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Cultural depictions of Asian/white miscegenation have long been a source of fascination for scholars within Asian American and sexuality studies. Such a long-standing interest has not only provided key insights into the Orientalist structure of racialized sexuality, but it has also kept our sights set, perhaps too set, on deciphering the Asian woman both in the context of romance and as an object of desire. This essay recasts the narrative of Asian/white sexuality as one of minoritarian retribution, making the argument that insofar as Asian femininity forms the object of racist desires, it can

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10

Mahmoud, Jasmine. "Seattle’s Episodic Companies of Color." Theater 54, no. 2 (2024): 71–87. http://dx.doi.org/10.1215/01610775-11127546.

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Two early twenty-first century ensembles of color in Seattle—and their methods—anchor this article. The first: sis Productions, which started in 2000 as “Sex in Seattle,” an episodic and humorous theatrical series about the romantic relationships of Asian American women. Conceived of by theater artists Kathy Hsieh, Moi, Serin Ngai, and Amy Villarama Waschke, sis developed brainstorming and scripting methods to collectively storytell at Theatre Off Jackson, Annex Theatre, Nippon Kan Theatre, Center House Theatre, Bathhouse Theatre, and Hugo House, and other venues across Seattle. The second: th

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11

Abdali, Zainab. "Self-Rooted Belonging and “Pleasing Dislocations”." Religion and the Arts 27, no. 1-2 (2023): 132–56. http://dx.doi.org/10.1163/15685292-02701014.

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Abstract This paper examines the interplay of religion, nationalism, and Muslim womanhood in the work of Pakistani-American artist Shahzia Sikander. Specifically, I examine how Sikander’s work grapples with the problem of home and belonging for South Asian Muslim women in the face of religious, cultural, and nationalist discourses. These discourses characterize women as perpetual outsiders to the nation and as potential threats to the religion, while also objectifying women as symbols of purity whose bodies and sexuality must be strictly policed. For Muslim women in diaspora, the rhetoric and

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12

Khaksar, Amin, and Zahra Rahimi. "Cultural Stereotypes and Sexual Perception; A Multifaceted Content Analysis of Gender, Race, and Interpretative Diversity in popular music videos." International Journal of Social Science Research and Review 7, no. 11 (2024): 141–58. http://dx.doi.org/10.47814/ijssrr.v7i11.2389.

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This study investigates the perceptions of graduate college women from a multicultural background regarding sexual content in pop music videos, categorizing them as Sex Object, Sex as Power, or Non-Sexual. The research aims to assess the consistency and predictability of participants' perceptions through a qualitative coding system, focusing on statistically significant levels of interrater agreement. Thirty graduated female college participants were recruited through an online method, with an average age of 24.5 years. The participants, primarily, African-American, Middle east, and European a

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13

Mittelman, Mary, and Amy Harris. "A Place for Us: A Unique Experience That Provides a Creative and Social Experience for People With Dementia." Innovation in Aging 4, Supplement_1 (2020): 676. http://dx.doi.org/10.1093/geroni/igaa057.2349.

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Abstract A Place for Us meets weekly in community locations for a half day and is run by a recreation therapist who is also an artist, offering an opportunity to connect with others through participation in creative projects. We have found that collaborating in creating a piece of art, such as a collage provides a context for socializing. Since the program began in 2017, we provided this opportunity to 83 caregivers. The program has broad appeal and has included both men (54%) and women (46%) and people from many racial and ethnic backgrounds: 62.3% white, 13 percent African American, 7% Latin

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14

Mallet, Julien. "Insularity and Musical Horizons in Madagascar. Local Networks, Global Connection and Vice Versa." Youth and Globalization 4, no. 2 (2023): 178–94. http://dx.doi.org/10.1163/25895745-04020010.

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Abstract In Madagascar, musical genres that were previously exclusively regional have been broadcast nationwide for a few years. One of the notable changes concerning representations lies in the transition from identity referents linked to regional and/or ethnic affiliations to referents (assigned by the capital’s media) belonging to a globalizing register: mafana music (“hot music”). Artists, taken in this category, have migrated to the capital and are building new musical forms combining regional or ethnic repertoires and international modern forms, in particular by affirming and claiming a

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15

Rubinstein, Charlotte Streifer, and Eleanor Munro. "Originals: American Women Artists." Woman's Art Journal 22, no. 2 (2001): 54. http://dx.doi.org/10.2307/1358908.

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16

Chan, Connie S. "Asian-American Women." Women & Therapy 6, no. 4 (1988): 33–38. http://dx.doi.org/10.1300/j015v06n04_05.

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17

Bussey, Nicole. "Deconstructing Desire: Criticism of Western Romantic Narratives in Mitski's "Your Best American Girl" Music Video." Nota Bene: Canadian Undergraduate Journal of Musicology 17, no. 1 (2024): 74–87. http://dx.doi.org/10.5206/notabene.v17i1.17194.

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Mitski Miyawaki, a Japanese American indie-rock artist professionally known as Mitski, wrote her 2016 song, “Your Best American Girl,” from the perspective of a woman who is unable to have a relationship with her love interest due to their different racial and cultural backgrounds. The accompanying music video engages with the song’s social message while adding nuance and complexity to it. Many of the lyrics portray Mitski’s feelings of isolation as an Asian American woman, especially through their employment of Japanese cultural symbols, while the music video uses parody, camera angles, and A

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18

Fahlman, Betsy, Gail Levin, Alessandra Comini, and Wanda M. Corn. "American Women Artists, 1830-1930." Woman's Art Journal 8, no. 2 (1987): 55. http://dx.doi.org/10.2307/1358170.

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19

Shankar, Lavina Dhingra, and Harold Bloom. "Asian-American Women Writers." MELUS 24, no. 4 (1999): 183. http://dx.doi.org/10.2307/468183.

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20

Kitano, Margie K. "Gifted Asian American Women." Journal for the Education of the Gifted 21, no. 1 (1997): 3–37. http://dx.doi.org/10.1177/016235329702100102.

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This article presents an analysis of personal, socialization, and structural factors affecting the life-span achievement of 15 Asian American women identified as gifted through a national retrospective study of highly achieving women from African American, Asian American, Latina, and White backgrounds. Interpreted within a cultural-ecological framework, findings support earlier research suggesting that Asian American parents' experiences of discrimination in this country encourage an intense focus on educational achievement and hard work as a way to ensure success. Teachers and schools, which

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21

Kim, Hye Won. "Performing Asian/American Women." TDR: The Drama Review 67, no. 3 (2023): 151–72. http://dx.doi.org/10.1017/s1054204323000308.

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The transnational circulation of persistent racial types that are attached to Asian/American women have shaped Asian-focused narratives and roles on Broadway. The King and I (2015) and KPOP (2022) exemplify Asian/American women’s performative labor and the tensions embedded in and disruptive of the contested political arena of Broadway musical theatre.

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22

Mishra, Neha. "Asian Americans: Eurogamy by Asian Women." American Behavioral Scientist 62, no. 14 (2018): 1988–2006. http://dx.doi.org/10.1177/0002764218810740.

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In the diverse American population, racial prejudice still remains a disturbing actuality. With the ever-increasing rate of Asians in the United States having better jobs, better income, and better education, Asian American women have never been at a better bargaining point to move their social standing in the society at a higher rank and aspire toward true assimilation. Intermarriage via selective desired traits that can help the Asian American woman trump their racial limitations, hence disadvantages. Okamoto’s theoretical perspective to develop a boundary approach to the conventional winnow

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23

Tufts, Eleanor. "American Women Artists, Past and Present." Woman's Art Journal 7, no. 1 (1986): 51. http://dx.doi.org/10.2307/1358242.

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24

Hinish, Heidi, Geraldine P. Biller, Belgica Rodriguez, Edward J. Sullivan, and Marina Perez de Mendiola. "Latin American Women Artists, 1915-1995." Woman's Art Journal 18, no. 1 (1997): 54. http://dx.doi.org/10.2307/1358685.

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25

Cheng, Hsiu-Lan. "Disordered Eating Among Asian/Asian American Women." Counseling Psychologist 42, no. 6 (2014): 821–51. http://dx.doi.org/10.1177/0011000014535472.

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26

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 (2017): 9–34. http://dx.doi.org/10.1163/23523085-00302002.

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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 m

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27

Tung, Wei-Chen. "Osteoporosis Among Asian American Women." Home Health Care Management & Practice 24, no. 4 (2012): 205–7. http://dx.doi.org/10.1177/1084822312441702.

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28

Kawahara, Debra M., and Oliva M. Espfn. "Asian American Women in Therapy." Women & Therapy 30, no. 3-4 (2007): 1–5. http://dx.doi.org/10.1300/j015v30n03_01.

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29

Noh, Eliza. "Asian American Women and Suicide." Women & Therapy 30, no. 3-4 (2007): 87–107. http://dx.doi.org/10.1300/j015v30n03_08.

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30

Kawahara, Debra. "Asian American Women in Therapy:." Women & Therapy 30, no. 3/4 (2007): 1–5. http://dx.doi.org/10.1300/j015v30n04_01.

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31

Noh, Eliza. "Asian American Women and Suicide:." Women & Therapy 30, no. 3/4 (2007): 87–107. http://dx.doi.org/10.1300/j015v30n04_08.

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32

Leung, Amy, and Caroline S. Turner. "Asian American women leading transformatively." New Directions for Community Colleges 2023, no. 202 (2023): 63–75. http://dx.doi.org/10.1002/cc.20569.

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33

Kwan, Sansan. "An Aesthetics of Passivity: Gifting, Deference, and Indecipherability in Asian American Performance." ASAP/Journal 9, no. 3 (2024): 437–61. https://doi.org/10.1353/asa.2024.a957247.

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ABSTRACT: Passivity is a well-worn Asian stereotype. This article explores the paradoxically political possibilities of passivity. Can we see passivity as a particularly Asian American aesthetic, especially in the face of Western values that privilege action? What is "activism" that is passive? I am interested in how Asian American artists find alternative forms of sovereignty in their work: by being generous instead of extractive, deferential instead of egoistic, indeterminate instead of didactic. I understand these impulses as "passive" not because they do not involve effort, but because the

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34

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.

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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.”

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35

jespersen, t. christopher. "Asian and American Women in Sino-American Relations." Diplomatic History 30, no. 5 (2006): 919–22. http://dx.doi.org/10.1111/j.1467-7709.2006.00584.x.

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36

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

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37

Wadhwa, Hena K., Neesha Daulat, and Christine O’Brien. "Masala and Misogyny: A Qualitative Study of South Asian American Women’s Ethnic-Racial Identity." Journal of Ethnic and Cultural Studies 12, no. 5 (2025): 86–106. https://doi.org/10.29333/ejecs/2202.

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The present study explores the lived experiences of South Asian American women and what elements shape their ethnic-racial identity (ERI). Particularly, it discovers what push and pull factors encourage South Asian American women to lean towards or away from their ERI. This qualitative study used an open-ended survey to gather responses from 38 South Asian American women. Our qualitative study findings suggest that there are diverse elements of South Asian culture that encourage South Asian American women to embrace and/or reject parts of their ERI. Data analysis revealed that cultural aspects

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38

Mok, Teresa A. "Compositional Subjects: Enfiguring Asian/American Women." Comparative Literature Studies 43, no. 1-2 (2006): 194–97. http://dx.doi.org/10.2307/25659518.

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39

Tseng, Marilyn, and Carolyn Fang. "SCREENING MAMMOGRAPHY IN ASIAN AMERICAN WOMEN." American Journal of Public Health 93, no. 9 (2003): 1378. http://dx.doi.org/10.2105/ajph.93.9.1378.

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40

Mok, Teresa A. "Compositional Subjects: Enfiguring Asian/American Women." Comparative Literature Studies 43, no. 1-2 (2006): 194–97. http://dx.doi.org/10.2307/complitstudies.43.1-2.0194.

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41

True, Reiko Homma. "Feminist Therapy for Asian American Women?" Psychology of Women Quarterly 32, no. 2 (2008): 219–20. http://dx.doi.org/10.1111/j.1471-6402.2008.00426_1.x.

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42

WONG, CINDY. "Compositional Subjects: Enfiguring Asian/American Women." American Anthropologist 107, no. 3 (2005): 532–33. http://dx.doi.org/10.1525/aa.2005.107.3.532.

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43

Pyke, Karen D., and Denise L. Johnson. "Asian American Women And Racialized Femininities." Gender & Society 17, no. 1 (2003): 33–53. http://dx.doi.org/10.1177/0891243202238977.

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44

Kim, Grace Ji-Sun. "Hybridity, Postcolonialism and Asian American Women." Feminist Theology 24, no. 3 (2016): 260–74. http://dx.doi.org/10.1177/0966735015627969.

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45

Ting, Julia Y., and Wei-Chin Hwang. "Eating Disorders in Asian American Women." Women & Therapy 30, no. 3-4 (2007): 145–60. http://dx.doi.org/10.1300/j015v30n03_11.

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46

Liu, Yuli, Yuying Tsong, and Diane Hayashino. "Group Counseling with Asian American Women." Women & Therapy 30, no. 3-4 (2007): 193–208. http://dx.doi.org/10.1300/j015v30n03_14.

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47

Ting, Julia. "Eating Disorders in Asian American Women:." Women & Therapy 30, no. 3/4 (2007): 145–60. http://dx.doi.org/10.1300/j015v30n04_11.

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48

Liu, Yuli. "Group Counseling with Asian American Women:." Women & Therapy 30, no. 3/4 (2007): 193–208. http://dx.doi.org/10.1300/j015v30n04_14.

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49

True, Reiko Homma. "Psychotherapeutic issues with Asian American women." Sex Roles 22, no. 7-8 (1990): 477–86. http://dx.doi.org/10.1007/bf00288165.

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50

Appel, H., A. Ai, and B. Huang. "Behavioral, chronic and mental health in minority women: results from the national Latino Asian American study." European Psychiatry 26, S2 (2011): 1655. http://dx.doi.org/10.1016/s0924-9338(11)73359-4.

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IntroductionAsian Americans and Latino women underutilize mental health services.Studies show Asian American women have higher depression scores and less physical activity than their male counterparts. Ethnic minorities are deterred from seeking mental health care in a timely manner or from following appropriate treatment guidelines. Asian American women are less likely to seek mental health services compared to Latina and white women. Mental health issues in Asian and Latina women may be masked by psychosomatic complaints. Data from the National Latino Asian American Study, the first comprehe

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