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Relevant bibliographies by topics / Diasporic artists

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Academic literature on the topic 'Diasporic artists'

Author: Grafiati

Published: 19 February 2023

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Journal articles on the topic "Diasporic artists"

1

Kyan, Winston. "The queer art of Yan Xing: Towards a global visual language of sex, desire and diaspora." Journal of Contemporary Chinese Art 9, no. 1 (July 1, 2022): 157–75. http://dx.doi.org/10.1386/jcca_00060_1.

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This article discusses the work of Yan Xing, who has established an international career as a Chinese diaspora artist. This transnational identity, however, raises certain questions, including how Yan Xing’s work changed from when he lived in China to when he became a US resident in 2015, and how these changes differ from the globalized art of earlier diasporic Chinese artists. Accordingly, this article first argues that overt references in Yan Xing’s earlier work to sex and sexuality shift to an exploration of desire, truth and fiction in his later work that aligns with discourses on queer diasporas and minor theories. Secondly, this article argues that the new generation of Chinese diaspora artists live and work in a different political climate from the earlier generation of Chinese diaspora artists; the new generation works in an art world in which they are not exoticized objects, but actively participates in the making of a global visual language.

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Barak, Noa Avron. "The National, the Diasporic, and the Canonical: The Place of Diasporic Imagery in the Canon of Israeli National Art." Arts 9, no. 2 (March 26, 2020): 42. http://dx.doi.org/10.3390/arts9020042.

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This article explores Jerusalem-based art practice from the 1930s to the 1960s, focusing particularly on the German immigrant artists that dominated this field in that period. I describe the distinct aesthetics of this art and explain its role in the Zionist nation-building project. Although Jerusalem’s art scene participated significantly in creating a Jewish–Israeli national identity, it has been accorded little or no place in the canon of national art. Adopting a historiographic approach, I focus on the artist Mordecai Ardon and the activities of the New Bezalel School and the Jerusalem Artists Society. Examining texts and artworks associated with these institutions through the prism of migratory aesthetics, I claim that the art made by Jerusalem’s artists was rooted in their diasporic identities as East or Central European Jews, some German-born, others having settled in Germany as children or young adults. These diasporic identities were formed through their everyday lives as members of a Jewish diaspora in a host country—whether that be the Russian Empire, Poland, or Germany. Under their arrival in Palestine, however, the diasporic Jewish identities of these immigrants (many of whom were not initially Zionists) clashed with the Zionist–Jewish identity that was hegemonic in the nascent field of Israeli art. Ultimately, this friction would exclude the immigrants’ art from being inducted into the national art canon. This is misrepresentative, for, in reality, these artists greatly influenced the Zionist nation-building project. Despite participating in a number of key Zionist endeavours—whether that of establishing practical professions or cementing the young nation’s collective consciousness through graphic propaganda—they were marginalized in the artistic field. This exclusion, I claim, is rooted in the dynamics of canon formation in modern Western art, the canon of Israeli national art being one instance of these wider trends. Diasporic imagery could not be admitted into the Israeli canon because that canon was intrinsically connected with modern nationalism.

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Pan, Gaojie. "Art practices of the Chinese women diaspora: On cultural identity and gender modernity." Journal of Contemporary Chinese Art 9, no. 1 (July 1, 2022): 45–68. http://dx.doi.org/10.1386/jcca_00055_1.

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Since the early twentieth century, Chinese women artists have emigrated to other countries. Their works are influenced and shaped by diaspora experiences, which vary across time phases. However, the world history of diasporic women is often lost in the larger historical narrative. As such, women diaspora artists also remain an under-represented segment in art realms, both within and outside of China. This is a case study of three Chinese diaspora women artists ‐ Pan Yuliang, Shen Yuan and Pixy Liao. Their works reveal engagement in cultural identity as well as gender identity through an autobiographical approach. For cultural identity, dynamic interaction between the culture of the artist’s homeland and that of her host country play a vital role throughout their art practices. Rather than using elements of typical Chinese cultural heritage, women artists tend to engage in cultural emblems, which connect to their personal-gendered experiences. Albeit confronting the double otherness on cultural and gender identity in a foreign country, the experience of diaspora pushes women artists to pursue independence, self-awakening and broader world-views. With modern conceptions of gender, their practices, particularly the family-theme, convey reflections on the conventional ideology of the family, as well as traditional gender roles.

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Zaarour, Meriem, Eman Mukattash, and Yousef Abu AwadAmrieh. "Coming of Age in the Arab Diasporic Künstlerroman: Sinan Antoon’s The Corpse Washer (2013) and Nada Awar Jarrar’s An Unsafe Haven (2016)." World Journal of English Language 13, no. 2 (January 13, 2023): 16. http://dx.doi.org/10.5430/wjel.v13n2p16.

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This study explores the künstlerroman from an Arab diasporic viewpoint. It aims to illuminate the first years of the formative process that the Arab diasporic artist undergoes in The Corpse Washer (2013) by Sinan Antoon and An Unsafe Haven (2016) by Nada Awar Jarrar as Arab diasporic künstlerromans. The article traces the childhood of Antoon’s Jawad and Jarrar’s Anas as young aspiring Arab artists against the backdrop of the novels’ socio-political contexts, which include religion, family, and the political conditions in the protagonists’ countries. Since Arab diasporic writers relocate the genre into an Arab transnational setting, this study draws attention to the violence and suffering in the lives of artists as children and the fact that they are brought up in an Arab household that does not feature in the traditional genre plot. It as well explores the environment the characters grow up in like social class and religious milieu and expounds on the way each character has seeds of artistic sensibility from a young age. The Arab characters face the issue of generational conflict about art as a proper career choice. Their parents play a role in the suppression of their artistic aspirations since they assume that they have a better-planned future for their children. Due to family expectations, religion, and political unrest, the characters have their future planned for them by others. The article concludes that the Arab diasporic künstlerroman provides alternative coming-of-age stories where the artist of Arab descent faces more challenges than his counterpart in the traditional genre.

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Barkai, Sigal. "Neo-Diasporic Israeli Artists: Multiple Forms of Belonging." International Journal of Social, Political and Community Agendas in the Arts 16, no. 3 (2021): 1–15. http://dx.doi.org/10.18848/2326-9960/cgp/v16i03/1-15.

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Alleyne, Osei. "Dancehall City: Zongo Identity and Jamaican Rude Performance in Ghanaian Popular Culture." African Studies Review 65, no. 1 (March 2022): 211–33. http://dx.doi.org/10.1017/asr.2021.147.

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AbstractThe explosion of Ghanaian Reggae-Dancehall reflects the influence of Jamaican-inspired popular culture in Ghana today. This subculture is championed by local Rastafarians and by youth from the zongos (internal migrant, largely Islamic, unplanned neighborhoods). Suffering social alienation, many zongo artists have adopted postures similar to their Jamaican counterparts—mirroring Rasta and rude identities as counter-hegemonic resistance. Alleyne explores several artists variously located between the zongo, the Reggae diaspora, and the Ghanaian state, examining how subjects rework Jamaican tropes and voice their aspirations within a globalizing Ghana and rethinking the zongo as space of rousing diasporic consciousness.

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Muyumba, Walton. "Artists in Residence." liquid blackness 5, no. 2 (October 1, 2021): 21–37. http://dx.doi.org/10.1215/26923874-9272752.

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Abstract Mixing criticism and memoir, “Artists in Residence” offers a rumination on improvisation and collaboration in visual art-making and contemporary jazz performance. The author meditates on the 2017 Unite the Right rally and Ryan Kelly's award-winning photographs of the event and considers how artists offer models for resisting anti-Black racism and white supremacy through collaborative practices. The author analyzes the documentary films Looks of a Lot and RFK in the Land of Apartheid and reviews exhibitions by Roy DeCarava and Jason Moran, highlighting the points of intersection between jazz musicianship and visual artistry. Finally, the essay argues that artists like Kara Walker, William Kentridge, and Yusef Komunyakaa create works that express the pleasure and pain of Black Diasporic experience through practices such as blues idiom improvisation and collage. The author presents criticism as a mode of personal writing.

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Pierre, Alix. "Creating transnational, intercultural arts’ interactions: African diasporic dialogues." Cultural and Pedagogical Inquiry 11, no. 3 (December 18, 2019): 36–51. http://dx.doi.org/10.18733/cpi29502.

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Painted with broad as well as, highly nuanced brush strokes, this is a comprehensive essay. Initially, it traces and later weaves within the larger discussion, the influences of Marcus Garvey’s philosophy and his lasting contributions to Africans in the diaspora. As importantly, the essay highlights the exceptional works of two Jamaican-born artists who reside in the USA. Thirdly, the essay explores some of the Miami-based Diaspora Vibe Cultural Arts Incubator’s, (DVCAI’s) intercultural exchanges, in which artists challenge dominant Western perspectives. Fourthly, the essay summarizes key aspects of DVCAI’s international cultural exchange in Jamaica. The recent, transcultural arts’ exchanges exemplify, reciprocal dialogues between the DVCAI’s representatives and the Jamaican arts community, specifically, with artists who adopt a Freirean pedagogy and focus on significant social justice issues in a postcolonial country.

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Holton, Delaney Chieyen. "Negotiating disappearance: Protective abstraction in Simon Liu’s quasi-protest trilogy." Journal of Contemporary Chinese Art 9, no. 1 (July 1, 2022): 177–200. http://dx.doi.org/10.1386/jcca_00061_1.

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The simultaneous phenomena of the political upheaval in Hong Kong and Sinophobia in the United States produce a double bind for diasporic artists working about and between Hong Kong, China and the United States. Hong Kong diaspora filmmaker Simon Liu navigates this political landscape through experiments in abstract film as a medium for documenting protest and urban transformation sans spectacle. This article locates Liu’s work in the transnational matrix of Hong Kong’s post-colonial non-sovereignty and American Sino-diaspora politics to analyse the ways in which the filmmaker’s diasporic positioning necessitates abstraction and to demonstrate the potential of abstraction as an apparatus for geopolitically vulnerable subjects to continuously deconstruct and re-establish their subjectivity under political conditions that threaten their erasure. I posit that abstraction in Liu’s quasi-protest trilogy ‐ consisting of Signal 8, Happy Valley and Devil’s Peak ‐ offers a sensory orientation for finding blind spots between recognition and indecipherability, opening up new ways of documenting a crisis through the disarticulation of discrete events into atmospheric conditions.

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Ian Li, Emelia Ong, and Izmer Ahmad. "Hybridity as Expressions of a Diasporic Community: Selected Nanyang Artists." Malaysian Journal of Performing and Visual Arts 1, no. 1 (December 15, 2015): 52–70. http://dx.doi.org/10.22452/mjpva.vol1no1.4.

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Dissertations / Theses on the topic "Diasporic artists"

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Adley, Allyson Sarah. "Re-presenting diasporic difference, images of immigrant women by Canadian women artists, 1912-1935." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq39122.pdf.

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Alnahedh, Suha. "Borders of home and exile : four female artists from the Middle East and the trajectories of their diasporic experience." Thesis, King's College London (University of London), 2014. https://kclpure.kcl.ac.uk/portal/en/theses/borders-of-home-and-exile(8a749eec-4363-41e0-9f1f-08357621b621).html.

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This thesis critically evaluates the charting of ‘home’ and ‘exile’ in regards to four Diasporic female artists from the Middle East, specifically, Iraq and Palestine. The study employs a dual approach in the examination of Diaspora; a theoretical one that engages in the literature on Diaspora and a practical one founded on the author’s interviews with the artists. Thus a comparative analysis of their biographical narratives with the existing literature underpins the discussion of the various realities of home and exile. Moreover, the study links three broad themes in its analysis and is thereby divided thematically into six chapters, excluding the study’s introduction and conclusion. Providing a sociopolitical perspective, Chapters One and Two examine the modern histories of Iraq and Palestine, depicting the political climate of both countries in general but more specifically in regards to the personal and individual experiences of the artists in their homelands. This, essentially, is set up in a way to illustrate the physical locality from which their uprooting and Diasporic journeys were initiated. Chapters Three and Four offer a theoretical outlook in their analysis of the issues pertaining to Diaspora; Chapter Three examines the Diasporic memories of the artists and their sense of distance from, or attachment to, the homeland from their positions in exile. Through examining the artists’ relationship with the homeland this chapter sheds light on the relationality of place and thus conceptualizes their Diasporic consciousness. Subsequently, Chapter Four demonstrates how the Diasporic consciousness of the artists grounds their ascriptions of ‘home’ and ‘exile’ and the construction of their Diasporic identity. The concluding chapters, Five and Six, grant the artists’ Diasporic trajectories visual narratives through an exploration of their artwork. The chapters uncover personal links between their artwork and their Diasporic context, and therefore highlight their work’s Diasporic iconography and biographical significance. The imagery in these chapters thus offers unique insights into the turmoil of war, exile, and loss, and the complexities of the Diasporic experience. Overall, the study rethinks the concepts of ‘home’ and ‘exile’ as grounded in fixed geographical foundations, and upholds that fundamental to the complex mapping of such notions is its location within the geographies of the mind.

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Nall, Jack. "Les artistes germano-turcs en Allemagne de 1961 à nos jours : entre création d'une diaspora et création en diaspora." Paris 10, 2008. http://www.theses.fr/2008PA100182.

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La création artistique germano-turque débute officiellement avec la venue des premiers ouvriers turcs en Allemagne (le l'Ouest suite aux accords signés entre la Turquie et la R. F. A. Pour survivre à ces nouvelles conditions dans un pays étranger, certains ouvriers se sont réfugiés dans l'écriture et la peinture pour échapper à la dureté de leur réalité en diaspora. De quelle façon crée -t-on en diaspora ? C'est à la suite de différents traités, dont celui d'Ankara en 1963 que le recrutement allemand en main-d'ccuvre turque débute. Dès les années soixante, par l'écriture, le cinéma et la peinture les germano-turcs n'ont cessé d'exprimer leur vision personnelle de l'exil, du pays perdu, de la difficile adaptation à l'Allemagne, du sentiment aliénant de leur altérité. Les artistes germano-turcs de la seconde génération ont préféré une approche plus identitaire de leur oeuvre jusqu'à chercher à ne plus être perçus comme des artistes d'origine immigrée. Cependant, la scène artistique allemande était-elle prête à ce bouleversement et à cette confrontation qui remettait en cause certains fondements mêmes de la société allemande ? Ces artistes ont analysé ces changements des années du Mur à la réunification, répondant à leur manière à certains phénomènes inquiétants, comme la montée de la xénophobie née d''un très fort sentiment de frustration de la part des anciens allemands de l'Est qui s'estimaient floués. Les artistes germano-turcs ont apporté un second souffle -. La création nationale et internationale allemande, en contribuant à son rayonnement, même si à de nombreux égards, ce phénomène reste encore circonscrit à des milieux alternatifs. Ces artistes symbolisent néanmoins une nouvelle identité allemande et citoyenne, cosmopolite et soucieuse d'un enrichissement mutuel
Thé German 7-urkish artistic création offrcially starts ,rith thé seulement qf thé ffrsv irorkers in West German}', after commercial contracta ,rere signed behreen Turkey and Western Germany. Ta be able to bare their new conditions of living in a foreign connu), sonie ,rockers found confort through uritingt painting or lacer one making movies. /loir hegan thé nrrkish diaspora in Germany? w'hat are thé aspects of urlistic creation. ? offThé Treaty gPAnkara negociated in 1963. Reinforced thé German gouvernemental ambition to recruite turkish rockers. This treaty iciali_ed thé seulement of umkish ,rockers. In thé aiches, by ,rritingi making movies and painting, thé German-7brkish have not stopped expressing thé subjectivit}> of their own expérience: thé Peeling of exile. Thé ancestors country left behind, thé d fficulty to adapt ta Gerrmarry. Thé impression of aliénation due to their parucularity. At thé start German-Tarrkish art ,ras an art of revendication, but an évolution is to he nouced since thé artists of thé second génération concentrated themselves on their personnal identiry•. But chia art is not only an art of identiry, sonie of thé artists critici-e thé fact chat critiques and institutions considerate and classify, their art as immigrant art ,rock. But irere thé German artisuc institutions ready for such changes, chat had conseyuences on german sociery and gennan rnentalities? These artists have anal}sed thé progressiv metamorphosis of Germany during thé Wall years and after thé reunificalion, ans,rering in their oirn ,ray to an anguisihing phenanena, such as thé raising ofxenophobia. The Gerrnan Turkish artists have brought new birth to thé national institutions in Germany, giving although an other international image. Even though chia germent turkish creation is stil/ for a large aspect of if, an underground creation It'evertheless. Chia creation symbolises a rtew gernan identiry. Open to cultural exchange and avare of thé richness of such relation

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Chaffin, Jason Edward. "The Embedded American Artist." ScholarWorks@UNO, 2010. http://scholarworks.uno.edu/td/1162.

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As our world ramps up the speed of its connections, our identities merge with increasing speed and angles of confluence. Not only are new identities created, but also the more fringe social and cultural elements of our world are exposed to mainstream consciousness. My work is a product of my own fringe background (namely its sheer breadth of experiences not normally visited upon a single person's life). My aim is to add variables to our social and cultural speed of combination and new variety by creating work that is derived from my own experiences to speak to those who are of the newer combinations and newer social recognition. I am motivated to create this work both to perpetually define and redefine myself, and also to give ground to an ‘identity of no identity' on a global scale, to our artistic dialogue and catalog.

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Rakhsha, Layli. "Diaspora and home: contextualizing the idea of home in Australian contemporary art as visualised by selected Iranian artists." Thesis, Curtin University, 2018. http://hdl.handle.net/20.500.11937/74952.

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This practice-led research project investigates the impact of displacement on the idea of home in the new place. By focusing on some Iranian migrants who practice art in Australia and analysing their selected works, this project aims to discuss how memories from the past and imaginations can influence on the idea of home in the new place, and how home can be visualised based on experiences of migration and displacement. Considering the emotional impact of displacement on the idea of home, and Iranian collaborators’ responses to the definitions of home and homeland, as well as producing artworks, this studio based research project explores home can be defined within personal experiences, social and cultural relationships and attachments to a particular place.

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Santos, Caetano Maschio. "Ayisyen kite lakay (Haitianos deixam suas casas) : um estudo etnomusicológico do musicar de artistas imigrantes haitianos no estado do Rio Grande do Sul." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2018. http://hdl.handle.net/10183/178892.

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A presente dissertação constitui um estudo etnomusicológico do musicar de artistas imigrantes haitianos no estado do Rio Grande do Sul. O trabalho etnográfico contemplou a observação-participante de eventos do grupo diaspórico haitiano, apresentações musicais, sessões de gravação, entrevistas e apresentações de programas de rádio feitas por e/ou com diversos artistas haitianos. A pesquisa foi fundamentada em trabalho colaborativo e participativo, no qual exerci uma função de mediação e tornei-me ator social dentro do próprio fenômeno, e incluiu trabalho netnográfico em redes sociais e de comunicação. Através de um olhar voltado à autonomia da migração, o objetivo do trabalho foi analisar na produção e atuação musical de artistas imigrantes haitianos as dimensões e fluxos transnacionais, as questões de cosmopolitismo inerentes à condição diaspórica de haitianos enquanto imigrantes negros no Brasil, a manutenção e reposicionamento de identidades socioculturais assim como tensões ligadas à religião e a processos de construção de alteridade racial.
The present thesis constitutes an ethnomusicological study of the musicking of Haitian immigrant artists in the state of Rio Grande do Sul. The ethnographic work consisted in participant-observation conducted in events of the Haitian diasporic group, musical performances, recording sessions, interviews and radio broadcasting, done with/by various Haitian artists. The research was based in a collaborative and participative work ethos, in which I exercised the role of mediator and social actor within the actual phenomenon studied, and included virtual fieldwork in social and communication networks. By means of an autonomy of migration gaze, the purpose of this work was to analyze, through the music of Haitian immigrant artists: transnational flows and dimensions, issues of cosmopolitanism inherent to the Haitian condition as black migrants in Brazil, the maintenance and repositioning of sociocultural identities, as well as anxieties regarding religion and processes of racial othering.

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Getty, Karen Berisford. "Searching for the Transatlantic Freedom: The Art of Valerie Maynard." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/847.

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This thesis focuses on an African-American female artist, Valerie Maynard, examining how she synthesizes African and American elements in her works. It provides detailed formal and iconographical analyses, revealing concealed meanings and paying special attention to those works with which the artist mirrors the Black experience in the United States and Africa on the other side of the Atlantic. In the process, the thesis sheds new light on the significance of Valerie Maynard's work and how she has used some of them to embody the Black quest for freedom and social justice during the Civil Rights struggle of the 1960s and 1970s and beyond.

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Bernard, Marie-Hélène. "Les compositeurs chinois au regard de la mondialisation artistique : Résider-Résonner-Résister." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040156.

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Après la Révolution culturelle, toute une génération de compositeurs de Chine continentale a émergé sur la scène internationale. Ce mouvement est indissociable de la mondialisation artistique, puisque beaucoup de ces compositeurs se sont dispersés dans le monde pour se construire hors de leur contexte culturel d’origine. C’est à Chen Zhen, un plasticien chinois de la même génération, que nous avons emprunté les trois concepts de « résidence, résonance et résistance », pour éclairer leurs trajectoires. 1 Résidence Comment relier par cette notion des compositeurs qui vivent aux États-Unis, en Europe, et même … en Chine ? Ce n’est pas dans la géographie qu’il faut chercher un ancrage commun, mais plutôt dans l’histoire. Dix années de Révolution culturelle, suivies de dix années d’ouverture, ont façonné très fortement cette génération.2 Résonance Dans la délicate alchimie à opérer entre techniques occidentales et traditions musicales chinoises, on repère une sorte de circulation entre différentes couches de mémoire. L’étude des œuvres permet de voir combien les influences s’enchevêtrent.3 Résistance On note chez nombre de compositeurs chinois une volonté de se démarquer de la musique contemporaine occidentale : univers incontournable pour être reconnu, elle semble avoir opéré à la manière d’une sorte de « surmoi ». On peut y voir la résurgence de l’idéal esthétique chinois ancien du naturel (ziran), mais aussi un accommodement aux lois du marché
After the Cultural Revolution, a whole generation of Chinese composers arrived on the international music scene. It is not possible to dissociate this movement from the artistic globalisation, since almost all of these composers are spread out over the different continents and are working outside of their original cultural context. To clarify the paths taken by these composers, we shall use the categories (“residence, resonance and resistance”) elaborated by Chen Zhen, a Chinese visual artist of the same generation1. ResidenceHow can we possibly group together under this term composers living in the United States, Europe and even … in China? We cannot look to geography to find a common basis but rather to history. Ten years of the Cultural Revolution followed by another ten where China had opened to the West have had a very strong impact on this generation of composers.2. ResonanceIn the delicate alchemy that takes place between Western technique and Chinese musical tradition, we can see a certain inter-penetration of different layers of memory. Studying the works of these composers, we can see how much these influences become entangled.3. ResistanceWe can notice with many of these Chinese composers a growing tendency to take distance from Western contemporary music, a world essential to be part of, if one wants recognition, acting as a kind of Super-Ego. We can see this phenomenon like the resurgence of very old Chinese aesthetic concept, the ideal of the “natural” (ziran) or like a compromise with the market power

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Cassar, Manwel. "Mixed hues on the palette: reflections of the diasporic artist painting across two landscapes." Thesis, 2014. https://vuir.vu.edu.au/25415/.

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Mixed Hues on the Palette: Reflections of the Diasporic Artist Painting Across Two Landscapes deals with the experiences of Maltese-Australian artists in diaspora that, willingly or otherwise, affects them in working across two different cultural landscapes. More specifically, the study explores: how does diasporic existence shape the artistic performance?

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(9874106), AJ Ash. "A local analysis of contemporary Chinese/- Australian art by Guan Wei, Wang Zhiyuan and Ah Xian using a global aesthetic." Thesis, 2005. https://figshare.com/articles/thesis/A_local_analysis_of_contemporary_Chinese_-_Australian_art_by_Guan_Wei_Wang_Zhiyuan_and_Ah_Xian_using_a_global_aesthetic/13422644.

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Study examines "the contemporary art practice of three diasporic artists: Guan Wei, Wang Zhiyuan, and Ah Xian and documents their practice and analyses their work using contextual methods".. This project sheds light on Australian art that reflects an emerging global aesthetic. I map the historically oriented relations of artistic exchange in the Asia-Australia region with a focus on contemporary hybrid art created by diasporic artists. I am primarily concerned with the mobile and adaptive cultural exchanges between cultures in response to globalisation. Globalisation is seen as the tension between the global and the local where each informs the other. The underlying processes of globalisation are used to develop an aesthetic that underpins contemporary hybrid art practice located on the interstice between the global and local. I outline a new aesthetics to engage with such transformational art based on multiaxiality, dispersion, transience, unassimilabilty, translation and hybridity. Through case study, I address the contemporary art practice of three diasporic artists: Guan Wei, Wang Zhiyuan, and Ah Xian using a global aesthetic. Taking the artwork of these artists, I document their practice and analyse their work using contextual methods. Finally, I detail the outcomes and syntheses of the research emerging from history, place, theory and most importantly art practice informed by globalisation. The study has implications for artists, theorists, historians, and critics concerning specifically Chinese/-Australian art and contemporary hybrid art in Australia and Asia.

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Books on the topic "Diasporic artists"

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Kintanar, Thelma B. Filipina artists in diaspora. Manila: Published and exclusively distributed by Anvil Pub., 2011.

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Arirang kkotssi: Korean diaspora artists in Asia. Sŏul: K'ŏlch'ŏ Puksŭ, 2009.

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Dabrowski, Leszek, ed. BIGOS: artists of Polish origin. Sandomierz, Poland: Biuro Wystaw Artystycznych w Sandomierzu, 1989.

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L'arte della migrazione: Memorie africane tra diaspora, arte e musei. Torino: Trauben, 2005.

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Kwok, Ying, ed. 21: Discussions with artists of Chinese descent in the UK. Manchester: Chinese Arts Centre, 2008.

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Rizal, José, and Edwin Agustín Lozada. Remembering Rizal: Voices from the diaspora. San Francisco: Philippine American Writers and Artists, 2011.

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Postcolonial artists and global aesthetics. Bloomington: Indiana University Press, 2011.

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Geoffrey, Batchen, Keaney Magda, and National Portrait Gallery (Australia), eds. Love it and leave it: Australia's creative diaspora. Sydney: T & G Pub. with assistance of the National Portrait Gallery, 2007.

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Ann, Farrell Laurie, Byvanck Valentijn, DeSouza Allan 1958-, Museum for African Art (New York, N.Y.), Peabody Essex Museum, Cranbrook Art Museum, and Museu Calouste Gulbenkian, eds. Looking both ways: Art of the contemporary African diaspora. New York: Museum for African Art, 2003.

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Szegő, György, Levente Thury, and Róbert B. Turán. Diaszpóra (és) művészet: Magyar Zsidó Múzeum, 1997 március-1998 március. Budapest: Magyar Zsidó Múzeum, 1997.

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Book chapters on the topic "Diasporic artists"

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Balmes, Christine. "16. Kapisanan: Resignifying Diasporic Post/colonial Art and Artists." In Filipinos in Canada, 341–59. Toronto: University of Toronto Press, 2012. http://dx.doi.org/10.3138/9781442662728-023.

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Dixon, Carol Ann. "Four women, for women: Caribbean diaspora artists reimag(in)ing the fine art canon." In African-Caribbean Women Interrogating Diaspora/Post-Diaspora, 35–50. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003155560-4.

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Tchouaffe, Olivier J. "From Saartjie to Queen Bey: Black Female Artists and the Global Cultural Industry." In Art, Creativity, and Politics in Africa and the Diaspora, 281–98. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91310-0_14.

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Goldstein, Ilana Seltzer, and Beatriz Caiuby Labate. "From the forest to the museum: Notes on the artistic and spiritual collaboration between Ernesto Neto and the Huni Kuin people 1." In The Expanding World Ayahuasca Diaspora, 76–94. New York : Routledge, 2018. | Series: Vitality of indigenous religions: Routledge, 2018. http://dx.doi.org/10.4324/9781315227955-5.

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Ramírez, Dixa. "Dominican Women’s Refracted African Diasporas." In Colonial Phantoms, 153–80. NYU Press, 2018. http://dx.doi.org/10.18574/nyu/9781479850457.003.0005.

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This chapter engages the creative and anti-hegemonic apertures that become possible from a diasporic space and imaginary by analyzing the cultural expressions, including literature, music, and performance, of several diasporic Dominican women. Building on black diasporic feminist theory, the chapter explores how diasporic Dominicans engage with, adopt, or refuse definitions of blackness as they predominate in the U.S. through the writings of Chiqui Vicioso and the performances of musical artists Amara la Negra and Maluca Mala. Because they all resist to some extent the white supremacist and patriarchal ideologies that govern dominant paradigms throughout the hemisphere, the chapter locates improper behavior as the primary vehicle in which these artists invert and/or refuse the gendered, classed, and raced scripts expected from Dominican women. Together, these diasporic subjects (in the sense of the Dominican and the African diaspora) evince the prismatic nature of the African Diaspora.

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Fraunhar, Alison. "Conclusion." In Mulata Nation, 214–16. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496814432.003.0007.

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Returning to Antonio Benitez Rojo’s notion of the sea as the force that continually shapes and reshapes the islands and their people, the conclusion turns to Cuban diasporic artists, particularly those relocated in the US, to look at ideas of nation, exile, and identity. Exile is no longer the one–way turnstile it was in the past, especially for artists; many artists come and go, to and from the island, and participate in marquee events like the Havana Biennial, the world international famous art exhibit. Through the analysis of key artworks produced by diasporic artists and artists of Cuban descent in the diaspora, the conclusion considers the further deployment of stereotypes, prominently that of the mulata. These artists typically use familiar imagery to interrogate and contest the conventional interpretations they bear. The conclusion concludes by suggesting that as images of mulatas and the performance of mulataje have undergone continual shifts, they continue to do so, on the island and in the diaspora.

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Trandafoiu, Ruxandra. "Dislocation and Creative Citizenship: Romanian Diasporic Artists in Europe." In Postcolonial Publics: Art and Citizen Media in Europe. Venice: Fondazione Università Ca’ Foscari, 2023. http://dx.doi.org/10.30687/978-88-6969-677-0/009.

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This chapter evaluates the role of spatial, historical and ideological dislocations in the creative citizenship performed by Romanian diasporic artists working from the perspective of post-colonial subjectivity. Dan Perjovschi, Mircea Cantor, Mădălina Zaharia and Ileana Pașcalău reclaim public and digital spaces to provide a new regime of visibility and a reflexive, critical and performative re-examination of history, memory and the tension between the individual and the collective.

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Serrano-Franklin, William. "Kankouran West African Dance Company, Washington, D.C." In Hot Feet and Social Change, 104–13. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042959.003.0007.

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Amaniyea Payne, dancer/choreographer and Artistic Director of Muntu Dance Theatre, offers her reflections on Muntu’s more than four decades in Chicago, Illinois. There, in mid-west U.S.A., Muntu shines a bright and powerful light on African dance, due in major part to its artistic and educational vision, which has been influenced by Payne’s artistic research and global dance connections. Her research and artistic experiences display the seminal connections among Diaspora dance artists, highlighting their similar concerns regarding education of African, diasporic, and non-African peoples. Payne and Muntu exemplify the characteristic duality of professional African-based dance companies in the U.S.: on the one hand, she and the company develop and present fascinating, contemporary choreographies using traditional African vocabularies and on the other hand, they are enmeshed in educational projects and neighborhood and community development through dance.

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Elafros, Athena. "Michie Mee." In Scattered Musics, 109–30. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496832368.003.0006.

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This chapter analyses the formation, maintenance, and transformation of the Caribbean diaspora in the formation of rap music in Toronto, Ontario, Canada. It discusses the marginalization of rap music and people of color within the music industry in Toronto. The author focuses especially on the way artists use rap music to challenge racist and racialized conceptions of Canadian identity and, at the same time, help redefine Canadian identity in ways that emphasize the importance of diasporic identities.

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Eccarius-Kelly, Vera. "‘Do I Even Exist?’ Kurdish Diaspora Artists Reflect on Imaginary Exhibits in a Kurdistan Museum." In The Art of Minorities, 241–67. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474443760.003.0012.

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In the MENA region state-sponsored cultural institutions such as museums often advanced a unified story of nationhood rather than to account for diverse ethno-linguistic and religious communities such as the Kurds. Visiting museums, Kurds have encountered deep silences, distortions and complete omissions of their lives. During the Baathist regime in Iraq, which controlled the country after 1968, national museums served to enhance the state’s legitimacy. Modern Turkish museums perpetuate a nationalistic narrative that discriminates against ethnic Kurds. To counter colonial and repressive narratives, diaspora Kurdish artists now articulate the need for alternative knowledge production. In this chapter, ethnographic interviews focused on curating Kurdish museum exhibits offer insights into how diaspora Kurdish participants frame their identities. The planned Kurdistan Museum in Erbil is at the center of Kurdish diasporic critique. Cultural activism among Kurdish diaspora artists, not unlike political consciousness-raising, represents a form of resistance to the way in which Kurdish experiences have been manipulated by hostile power structures.

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Conference papers on the topic "Diasporic artists"

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Arantes, Priscila, and Cynthia Nunes. "Into the decolonial encruzilhada: the Afrofuturistic collages of Luiz Gustavo Nostalgia as the artistic materialization of cruzo." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.88.

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The task of reviewing the silences present in hegemonic histories emerges at the beginning of the 20th century, seeking to provide a more amplified way of understanding the history of peoples and nations subjected to colonial subjugation. Rufino (2019) considers that this space of decolonization presents itself under the name of “encruzilhada” (crossroads) and understands the potentialities of the orixá Exu, of Yoruba spirituality: the orixá of communication, of the paths and the guardian of axé (vital energy). Exu disarray what exist to reconstruct— therefore, since the encruzilhada is Exu’s place, it is a space that allows the crossing of knowledge produced as deviations from colonial impositions on so-called official knowledge, a process which the author names “cruzo” (cross): the encruzilhada is a refusal to everything put as absolute; Exu is the movement of that encruzilhada. In addition to the positivization of the knowledge and ways of living of peoples who have suffered, over the centuries, from numerous processes of inferiority, it is necessary to insert this knowledge in the cultural elements of the present— and in the conceptions about the future. It is in this context that, regarding the experience of Afro-diasporic peoples, a global aesthetic movement that encompasses arts, literature, audiovisual and academic research emerges: Afrofuturism (YASZEK, 2013). Afrofuturism goal is to connect the dilemmas of the African diaspora to technological innovations, commonly unavailable to the descendants of the enslaved, and it aims to establish possible future scenarios— scenarios that contemplate the presence and, furthermore, the protagonism of black people (YASZEK, 2013). To this end, the movement breaks with the Western linear chronology and starts to consider time in a cyclic way, interweaving past, present and future in a single composition: in the same way that Exu, in the Yoruba cosmology, killed a bird yesterday with a stone that has only been thrown today, Afrofuturism weaves a web of historical and cultural retaking of African memory with questions that arise from the reflection of the problems faced by black people in the present, in order to think about a positive and possible future, once a dystopian scenario is already weighing on the shoulders of them. In the frontier of visual arts and design, Luiz Gustavo Nostalgia, a creator based on Rio de Janeiro, dismantles existing images and rearranges them through collages to create a new intention of meaning. His work evokes the cruzo on the principle of rearranging— central to collages— with the widespread rearrangement of our ways of living and understanding society— based on an Afrofuturistic conception of world— by celebrating African motifs, culture and spirituality, allied to the already acquainted aesthetics of “future” (such as the galaxy, bright lights and robotic elements). Through your creation, the artist is capable of presenting a future where black people do exist as protagonists and have their culture, past and roots celebrated.

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