Monthly Archives: November 2016

Application Deadline Extended l The Robert H. N. Ho Family Foundation Greater China Research Grant 2016

Application Deadline Extended l The Robert H. N. Ho Family Foundation Greater China Research Grant 2016

The application deadline has been extended to 30 November 2016, 6pm HKT.

Last call for proposals for Asia Art Archive’s (AAA) The Robert H. N. Ho Family Foundation Greater China Research Grant. With support from The Robert H. N. Ho Family Foundation, the grant offers one-year fellowships to up to three individuals to study the AAA collection and develop historical research projects on topics relating to contemporary art in Mainland China, Taiwan, Macau, and Hong Kong.

With a panel of judges, including curators and scholars in the field, AAA will assess applicants based on their knowledge of contemporary art in the Greater China region, relevant experience in the field, proposed methodology, and research feasibility.

APPLICATION GUIDELINES

Scope

Applicants are welcome to draw on AAA’s extensive collection of primary source documents from the Greater China region, and are encouraged to propose their own topics. Applicants can develop research proposals that explore specific periods of time, themes, or phenomena in contemporary art from a broad Chinese context.

Eligible Applicants

Postgraduates (including pre-doctoral fellows) with a research focus on contemporary art or Greater China studies, and independent scholars and writers with solid research and publication track records.

Project Completion

The selected project is expected to begin in Dec 2016 and to complete by Dec 2017.

The top grantee will be required to submit interim reports updating AAA on his or her progress. Upon completion, the top grantee must submit to AAA all documents and original materials collected during the course of the project, a written paper, a complete bibliography, and an inventory of collected materials. The project will conclude with two public presentations by the grantee in Jan–Feb 2018 (one at AAA, Hong Kong).

Runner(s)-up will be required to submit a final paper and give a public presentation in Hong Kong or their relevant city.

Applicants are required to provide tentative timelines for the project.

Budget

AAA will award US$15,000 (approx. HK$120,000) to the top grantee. Budgets should allow for a two-month residency in Hong Kong; research trips to Mainland China, Taiwan, and/or Macau during the AAA residency; and acquisition of new materials.

Up to two runners-up will be awarded US$5,000 (approx. HK$40,000) each for their research projects.

Applicants are required to provide line item budgets with their proposals.

Enquires & Proposal Submission

Please send enquiries and proposals to Asia Art Archive via email to research@aaa.org.hk with:

• CV (academic history, relevant past projects, and at least two references)
• Research project description (objectives, approach, and background)
• Tentative timeline
• Budget proposal

Applicants may be contacted for additional information.

Application Deadline:
30 Nov 2016, 6pm HKT

Asia Art Archive (AAA) is an independent non-profit organisation initiated in 2000 in response to the urgent need to document and make accessible the multiple recent histories of art in the region. With one of the most valuable collections of material on art freely available from its website and onsite library in Hong Kong, AAA builds tools and communities to collectively expand knowledge through research, residency, and educational programmes.

Asia Art Archive
11/F, Hollywood Centre, 233 Hollywood Road, Sheung Wan, Hong Kong
Tel: + 852 2844 1112 | Website: http://www.aaa.org.hk

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Download and read ADVA Journal online! New FALL 2016 issue Vol. 2 No. 3

Download and read ADVA Journal online! New FALL 2016 issue Vol. 2 No. 3 is out!

fall-2016-adva-cover

Authors Sharda Patasar on “The Ritual Art of the Ganesh Utsav in Trinidad,” Aaron Michael Kerner on “The Circulation of Post-Millennial Extreme Cinema,” and Shepherd Steiner on “Mirror on the Wall: Photography, Logos, and the Problem of Writing in Ken Lum.”

Also a Symposium Feature for “Home Ground: Canadian Perspectives” with Jamelie Hassan, Ruba Kana’an, Robert Houle, Dot Tuer, John Greyson, Luis Jacob, Swapnaa Tamhane, Zainub Verjee

Q&A Towards an Aesthetic of Excess:
A Conversation with Laura Kina and Việt Lê
And reviews by authors Jennifer Ho for “Undercover Asian: Multiracial Asian Americans in Visual Culture,” Douglas S. Ishii for “Indian Accents: Brown Voice and Racial Performance in American Television and Film,” Karen Kurczynski for “Yayoi Kusama: Inventing the Singular,” and Christine Bacareza Balance for “Islands of Empire: Pop Culture and U.S. Power”

Also!
Perspectives article “March Eleven: ‘What If…'”
by author Trinh T. Minh-ha

Go to:
http://www.brill.com/…/asian-diasporic-visual-cultures-and-…

Individuals are eligible for free access to Asian Diasporic Visual Cultures and the Americas until 31 December 2016, using access token ADVA4U.

Activate your free access in 4 easy steps:
1. go to booksandjournals.brillonline.com
2. register to create your own user account
3. go to my account and click on add content
4. enter access token and manage your publication alerts

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Predicament of Contemporary Artists: Represent or Subdue Ethnicity? by Kyunghee Pyun, Ph.D at the Korean Cultural Center, NYC

AHL Public Lecture Series 2016
in Collaboration with the Korean Cultural Center NY
 
Predicament of Contemporary Artists:
Represent or Subdue Ethnicity?
by Kyunghee Pyun, Ph.D
 
Wednesday, November 30, 2016
6:30 PM – 8:00 PM
Korean Cultural Center
460 Park Avenue (57th Street), 6th Floor
Free admission; refreshments provided
 
As contemporary art seeks a global dimension in its ambition and scale, many artists from Asia now work and live in two or three different countries. Identifying roles of race and ethnicity in contemporary art and lecture has been prominent in the past decade in related disciplines of art history, art criticism, comparative literature, and ethnic studies. In visual art as much as in film or literature, experience of growing up in an ethnic context has been represented and commented by its practitioners. In fact many critics focus on an artist’s ethnic or racial background as a cause of celebration or considers it a crucial tool to interpret his/her artistic creations. This paper aims to problematize this trend by analyzing recent exhibitions held in commercial as well as institutional art settings. While the myth of “Western Art” and its universality has been challenged and overcome, art works with strong ethnic and racial background have been promoted. One may wonder how the future would shape the current categorizing of contemporary artists by its ethnic or racial affinities.
Dr. Kyunghee Pyun is an assistant professor of history of art at Fashion Institute of Technology in New York. She has written on Asian art as well as European medieval art. Her focus of Asian art is Asian-American visual culture and reception of Asian art in Europe and North America. “Collectors of Asian Crafts in North America: Passion for Porcelain.” Journal for the Korean Society of Art and Design [Johyung Design Yeongu] (Dec. 2015) is one of many on collectors of Asian art. Her other research interests include Global trade of decorative arts in premodern Eurasia and Americas; usage and reception of visual art in context of religious performance and liturgy; interplay of word and image; and history of art collections. Her experience of teaching a diverse range of cultural exchange between Europe and Asia has become an article, “A Journey through the Silk Road in a Cosmopolitan Classroom” in Teaching Medieval and Early-Modern Cross-Cultural Encounters Across Disciplines and Eras edited by Lynn Shutters and Karina Attar (Palgrave, 2014). She was a 2015 recipient of the Field Research Grant Korea Foundation and a 2016 recipient of the SUNY Innovative Instructional Technology Grant (IITG). She is currently editing a book on dress reform in Asian in the early 20th century.
 
The AHL Foundation is a 501(c)3 not-for-profit organization founded in 2003 to support and promote visual artists of Korean heritage working in the United States. AHL’s diverse educational outreach programs including art history classes, museum & gallery tours, studio visits, artist talks and public lectures for the general public. For addition inquiries please contact info@ahlfoundation.org.
 
This program is funded, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council and the generous support from the NY Nanum Foundation.

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“Yong Soon Min: AVM: After Venus (Mal)formation” and “Candice Lin: The mountain” at Commonwealth and Council

Yong Soon MinAVM: After Venus (Mal)formation

Candice LinThe mountain

November 19, 2016—January 7, 2017
New Reception Hours: Saturday, November 19, 5–7PM
Location: 3006 W 7TH ST STE 220 Los Angeles CA 90005
Exhibition Hours: WednesdaySaturday, 12–6PM and by appointment
Closed: Thursday, November 24; Saturday, December 24; and Saturday, December 31
Opening Day Parking: 2904 W 7TH ST

Yong Soon MinAVM: After Venus (Mal)formation
Arteriovenous Malformation (AVM) refers to an abnormal network of blood vessels in which arteries connect directly to veins instead of going through a bed of capillaries. In 2010, Yong Soon Min experienced a massive headache—triggered by the stress of a Korean language proficiency exam—that turned out to be a cerebral hemorrhage. The malformed blood vessels in the left hemisphere of her brain had ruptured, engulfing it in blood. Though AVM surgery removed the tiny abnormality, Min underwent a year-long process of therapy to rehabilitate her affected speech and memory. Even to this day, she confuses pronouns like ‘she’ and ‘he’ and often speaks one word when she means another, disrupting the relationship between the signifier and the signified.

Installed above a printed flooring of Min’s personal library of books and mementos, a decagon-shaped table extends around a partition wall which divides the exhibition space into halves, like the two hemispheres of the brain. The ten sections are cut through with five corresponding pairs of words: pizza/pyramid; diaspora/diarrhea; womb/tomb; happiness/penis; and thank/spank. Across the surface, glass spheres flow along the grooves suggesting synaptic connection between each pair. The benches for the visitors to sit on are carved with phrases based on Min’s memory retrieval of five slogans, including one which she inherited from her parents: 남남북녀 (nam nam buk nyuh), a severe shorthand expression that means: ‘handsome South Korean men are best with beautiful North Korean women.’ In the two corners of the space, wall vinyl of a Vulcan greeting and air quotes connect like a Mobius strip suggesting that cognition is based on a foundation of constructs within which language can elaborate our thoughts, yet becomes susceptible to the slip of the tongue.

“Last Notes and Sketches, Min Tae Yong (1918-2001)” is an homage to Min’s father composed of folded panels in the style of Korean byung poong. The pages are displayed as swiveling windows to reveal marks on both sides. On disposable notepads, her father’s handwritings and diagrams combine complex and sophisticated ideas about physics, revealing an obsessive mind for order and latent cognitive strife. Written in Korean, the panels contain thirteen concepts of the multiverse that defy easy translation. In his “Cognitive Transitive Simulation To Achieve Communication” prose, Min Tae Yong writes about being in a ‘cosmic membrane’ composed of ‘cosmoans, galaxians, starmen,’ and all the anthropic entities whose spirits permeate the cosmos. He ends this page with a series of questions: “Is the spirit strong enough? Is the technology advanced enough? To be able to be on line with them?” This final draft bears the deliberate marks of his revision as he crossed out ‘the’ to replace it with ‘your.’

Candice LinThe mountain

There was a painting of a mountain that hung in the hallway of my childhood. Every evening it would berate me as I lay in my bed, like a cockroach, unable to rise. It called me a silly girl, a cupcake, a deformed puppy, a toenail, and a rock. It told me I was sick and lazy and that I masturbated the wrong way and too much. The painting depicted Humboldt’s mountain and it organized the strata of the world, the plants by their habitual altitude, and the ways that other mountains did or did not measure up.[i]

In the mythologies of the world, flawed superhumans or failed gods are torn apart in fits of rage or jealousy and the fragments of their bodies fall and fossilize, becoming landscape. In plate tectonics, mountains mark the areas where one surface pushes against another fragment of its lost self, a Platonic pansexual Pangeaic dream of earthquakes and never enough. Their grinding is fraught with a mineral desire to change one’s shape, to lose one’s temporary boundaries.

“The mountain” is the sediment—scar tissue built up in a slow accumulation of flesh wounds—pulling, pushing, and burying what was lost in the call and response. Its remnants of historical violence are arbitrary, relegated to the land of folk. This mythology is barely seen because, like skin, it surrounds us.

“The mountain” is a consideration of matter in four different stages: putrefaction, petrification, surface, and memory. Each stage is presented as a tableau of objects upon a reverse glass painting of various textures, mythological scenes collaged with historical and contemporary images. Many of the objects utilize living or natural processes, such as the mineralization of chemicals onto a taxidermied reptile (petrification) or the growth of edible mold on a tondo of resin-preserved mushrooms (putrefaction).

“The mountain” contains an ecosystem of entangled lives. There are silkworms weaving their cocoons which can be used to cleanse and whiten human faces (surface); their spit becomes a shroud to the familiar word “Father” written in George Psalmanazar’s made-up language—an 18th century foreigner who created an idea of the Orient.[ii] The surface is ever-changing.

ºººººººººººº

Memory 1: On one of the four tables, there are mushrooms used for cultivating memory-production. These are hydrated and kept alive by a fine mist of liquid distilled from our communal piss.[iii]
Memory 2: I came home late last night to find two bottles of urine in a brown paper bag slung over my dilapidated fence. It was bottled so beautifully I could not resist a sniff and then a taste. Don’t worry; I kept it for the communal pool, though I was tempted to drink it all. I would guess that the bottle containing less was a vegetable-eater; its flavor of salt was so punctuated by an herbaceousness that it opened my eyes wide. The other one was softer, more mellow and fragrant like metallic earth with a tinge of ocean.

Memory 3: Before you died, you lived for years with a hole cut into your throat and would pour your whisky into your beer to soften the burn. You said you liked mixing things into beer and once you pissed in a cup of beer and gave it to a collector who was annoying you. He didn’t notice the salty taste. But I did.
_____________________________________
[i] I am reminded of a story of a woman who came in really drunk to the tattoo parlor and revealed a tattoo of a giant penis marked as a measuring stick emblazoned on the length of her torso from the crotch up, with Old English Script written above it: “Measure Up.” She asked, “Can you turn this into the Scales of Justice? I’m a firm believer in the Truth.”

[ii] George Psalmanazar was a European who lived in London in the early 1700s within an invented persona as a “Formosan.” He wrote an ethnographic text about his life, culture, language, and religion, and survived for many years on the proceeds and hospitality of hosts who found him exotic and charming.

[iii] Thank you to friends and members of the Commonwealth and Council community for the generous donation of your urine, including Julie Tolentino, Pigpen, Gala Porras-Kim, Ashley Hunt, Jeanine Oleson, Clara López Menéndez, Patrick Staff, Joel Freeman, Jennifer Moon, laub, David Bell, Cirilo Domine, Patricia Fernández, Eduardo Consuegra, Elana Mann, Tala Mateo, Yong Soon Min, Benjamin Love, Danielle Dean, Young Joon Kwak, Marvin Astorga, Kang Seung Lee, Geoffrey Wall, Jen Smith, Olga Koumoundouros, Michael Ned Holte, and Alice Könitz. Our collective urine will be distilled into a fluid resembling water, but retaining a high mineral content and any pharmaceutical or hormonal properties ingested by the contributors.
LAMOA DS#3 presents podKelly AkashiAnne Cousineau, and Danielle Dean organized by laub

November 19, 2016—March 4, 2017

As we inject our future into the materiality of things, where is our bodily focus? Who are we within our constructed reality? In Jane Bennett’s Vibrant Matters, we are introduced to our not so stranger, discarded selves—stacked within the homes of hoarders, swirled into plastic islands in oceans and clogged inside storm drains. What Bennett encourages is a conversation with the thingness that surrounds us. Similar to Karen Barad’s idea of intra-action, which can be described as “the mangling of people and things and other stuff’s ability to act” from within the relationship rather than from outside of it. Our porous bodies are enmeshed with the thingness of our industrialized, formalized, and consumerized, product-driven, global warming selves. It is amidst this seemingly apocalyptic time that we begin to understand what this entanglement entails for the future of life as we know it.
Kelly Akashi, as artist as alchemist, explores materials that melt, harden, shape and reshape invoking unseen essences of what an object is, was, and is to become. Anne Cousineau works with organic materials that decay and transform, queering notions of permanence, stability, and time. Danielle Dean’s video, BioWhite, materializes social constructs of racism by paralleling Louis Kahn’s excessive use of concrete with the burgeoning of skin lightening enterprises.

Kelly Akashi lives and works in Los Angeles, and has studied at the University of Southern California, Los Angeles (MFA); Städelschule, Frankfurt am Main; and Otis College of Art and Design, Los Angeles (BFA). Her work has recently been shown at the Hammer Museum (Made in L.A. 2016: a, the, though, only); David Roberts Art Foundation, London; Astrup Fearnley Museum of Modern Art, Oslo; The Jewish Museum, New York; Shanaynay, Paris; White Flag Projects, Saint Louis; Tomorrow Gallery, New York (solo); Michael Jon & Alan, Miami (solo); Midway Contemporary Art, Minneapolis; and Château Shatto, Los Angeles. Akashi’s solo exhibition, Being as a Thing, is currently on view at Ghebaly Gallery in Los Angeles until December 23, 2016.

Anne Cousineau is an artist living and working in Los Angeles. Through material investigations, Anne entangles cultural notions of the synthetic and organic to consider questions of the body within nature. They received a BFA in Painting from The Rhode Island School of Design and are currently a MFA candidate at The Milton Avery Graduate School of the Arts, Bard College.

Danielle Dean’s work draws from her multi-national background of being English, American, and Nigerian. Her work explores the colonialism of mind and body—the interpellation of the subject by power structures working through digital media, news, and advertising. She focuses on target-marketing practices that reinscribe markers such as race, gender, age, etc. She is interested in subverting such processes toward a non-essentialized space of being. Solo exhibitions include: Focus, The Studio Museum in Harlem, New York; and Hexafluorosilicic, Commonwealth and Council, Los Angeles. Group exhibitions include: Shifters, Art in General, New York; It Can Howl, Atlanta Contemporary Art Center, Atlanta; What Shall We Do Next, Diverse Works, Houston; and Made in L.A. 2014, the Hammer Museum, Los Angeles. Her video work was recently screened at MOMA PS1, New York. Residencies include: The Whitney’s Independent Study Program, New York; and The Core Program, Houston. Dean is a Rema Hort Mann Foundation and Creative Capital awardee, and received her MFA from California Institute of the Arts and BFA from Central St Martins.
Commonwealth and Council
3006 W 7TH ST STE 220
Los Angeles CA 90005
213 703 9077
www.commonwealthandcouncil.com

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Deadline extended to Dec. 16th! AAWAA and APICC’s Shifting Movements call for entries

 

DEADLINE EXTENDED: Friday, December 16th, 201611:59PM

“More than anyone, I believe Yuri understood the transformative power of culture, and embraced the ways art could unite and sustain us in times like these. She invited the artists in all of us to step up and express who we are
and what we stand for.”   – Tomie Arai, Artist

**Artists of ALL genders and ethnicities encouraged to apply.**
Works-in-progress accepted.

Co-Presented by: Asian American Women Artists Association (AAWAA)
and API Cultural Center (APICC)

Exhibition Dates: May 4 – 25th, 2017
Venue: SOMArts Cultural Center, 934 Brannan St. San Francisco, CA 94103

Shifting Movements: Art Inspired by Life and Activism of Yuri Kochiyama (1921-2014) is a multimedia exhibition, organized by the Asian American Women Artists Association (AAWAA), illuminating the legacy of intersectional revolutionary activist Yuri Kochiyama.

Artists of all mediums are invited to submit artworks that embody the key values, themes and milestones from Kochiyama’s prolific and galvanizing life – and how it relates to our contemporary context. Artwork need not reference Kochiyama explicitly, and artists need not have previous knowledge of Yuri Kochiyama’s biography to apply.
Some Key Themes Include:

  • Intersectional understanding and approach to civil rights struggles and the importance of intercultural solidarity and cooperation
  • Defying stereotypes of Asian American women and occupying spaces that transgress boundaries
  • Connecting and Community building through radical hospitality and sharing
  • Commitment to the unrecognized and unglamourous work necessary to support movements, and repeating small gestures that accumulate to create significant change
  • Supporting Political Prisoners and fighting against the Prison Industrial Complex
  • Standing against U.S. and global military aggression

Jurors:
Melorra Green, Curator and Artivist
Margaret Rhee, Artist, Writer, and Scholar (University of Oregon)

Curator:
Michelle A. Lee (Eating Cultures, Hungry Ghosts)

Participating Artists:
Tomie Arai
Sigi Arnejo
People’s Kitchen Collective

Exhibition Partners:

ELIGIBILITY: Open to all artists of any gender identification in the United States, 18 years and older.

ENTRY FEE: All non-AAWAA member artists must submit an entry fee of $35 with their application in order to be eligible. AAWAA member fee is $25.

DEADLINE: Friday, December 16th, 2016 11:59PM PST

For more information about the exhibition, application, and Yuri Kochiyama Primer, please visit our website. Read More >>

APPLY NOW

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Khánh H. Lê: Making Memories While We Wait at Gallery d’Arte

Gallery d’Arte 548 West 28th Street, Suite 328, New York, NY 10001
FOR IMMEDIATE RELEASE:

Gallery d’Arte, 548 West 28th Street, Suite 328, New York City proudly presents NARS Foundation’s fifth annual juried solo exhibition Khánh H. Lê: Making Memories While We Wait. The show will run from November 17th through December 3rd, 2016 with an Opening Reception on Thursday, November 17th from 6-8PM.

NARS Foundation is proud to present its fifth annual juried solo exhibition: Making Memories While We Wait, a show featuring the work of Khánh H. Lê. Probing his personal and familial histories in an attempt to carve out a cultural identity for himself, Vietnamese-born Lê mixes cultural signifiers with abstraction and popular culture to create new work that can be seen as either pure abstraction, identity-based art or both. Lê was selected by juror, Marshall N. Price, Nancy Hanks Curator of Modern and Contemporary Art, Nasher Museum of Art at Duke University, for his series that “provides a framework for understanding how immigrant communities are part of the larger fabric of this country, yet can remain relatively invisible to the greater public.” The exhibition, generously hosted by Gallery d’Arte, in Chelsea, will open on November 17th, 6-8pm.

Lê graduated with his BFA from Southern Illinois University at Edwardsville and his MFA from Syracuse University. His work has been exhibited at the Hunterdon Art Museum (Clinton, NJ), Visual Arts at Chautauqua Institution (Chautauqua, NY), Corcoran Gallery of Art (Washington, DC), Vox Populi (Philadelphia, PA), Delaware Center for the Contemporary Arts (Wilmington, DE), Arlington Arts Center (Arlington, VA), Honfleur Gallery (Washington, DC), DC Arts Center (Washington, DC), Washington Project for the Arts (Washington, DC), and Transformer (Washington, DC). The DC Commission on the Arts and Humanities awarded Lê the Artist Fellowship for the Visual Arts in 2016. Lê continues to live and work in Washington, DC, where he actively explores and questions the notion of identities through the lenses of culture and memories.

New York Art Residency and Studios Foundation is a non-profit arts organization committed to supporting emerging and underrepresented artists and curators. The annual Juried Solo Exhibition Program provides visual artists who have a strong body of work with the opportunity to present their work to a wider audience. The program aims to nurture creative inspiration and foster innovative cross-pollination of ideas by presenting the most thought provoking and visually compelling artwork being produced today.

NARS programs are made possible in part through the generous support from Con Edison and with public funds from the New York State Council on the Arts, administrated by the Brooklyn Arts Council.

 

 

For further information


201 46th Street, 4th Floor, Brooklyn, New York 11220 
www.narsfoundation.org /info@narsfoundation.org /718-768-2765

or

Gallery d’Arte, 548 West 28th Street, Suite 328, New York, NY 10001
gallerydarte@gmail.compariskoh@gmail.com or call 917.675.7243
Gallery Hours: Tues-Fri:12-6pm Sat:12-3pm, Sun & Mon: Closed

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Tenure Track Faculty Member in Sculpture Job opportunity at University of Hawai’i at Manoa

Job opportunity at University of Hawai’i at Manoa!
Direct link is at
——————–
University of Hawai‘i at Manoa just launched a search for a full-time, tenure-track faculty member in sculpture. Seeking your help in distributing it to the APA network because we are in particular seeking someone with a specific interest in teaching and practicing sculpture relevant to the context of Hawai‘i and the Asia Pacific. The ideal applicant has a fluid practice that incorporates both the material and conceptual languages of contemporary sculpture. The applicant also ideally has a vision for the future of sculpture and art in general.
 
——————–
 
Dear friends and colleagues,
 
The Department of Art and Art History at the University of Hawai‘i at Manoa (UHM) is conducting a search for a full-time, tenure-track faculty member in the specialization of sculpture. The position description is posted here. I am sending this to you, as I am hoping that you will circulate this opportunity among those who may be interested in applying.
 
OVERVIEW
 
UHM is Research I liberal arts public university located in Honolulu on the island of O‘ahu. Our campus has approximately 19,000 students and is the flagship of the ten-campus University of Hawai‘i system.
 
The UHM Department of Art and Art History supports a broad vision of artistic and sculptural practice. The sculpture area is one among many studios dedicated to thinking about art and creative practice as an intellectually and materially rich method of inquiry.
 
We are one of the largest departments at UH Manoa, serving over 300 majors, and the only master’s degree granting program in the visual arts in the State of Hawai‘i. In addition to serving our majors who are from Hawai‘i, the continental U.S., and around world, each semester students from other disciplines enroll in our art studio and art history classes to fulfill their university requirements, for the pleasure of exploring a creative medium, and/or learning the richness of global artistic traditions.
 
The department offers degree programs in the disciplines of Studio Art and Art History. We award a BA in each; BFA and MFA in Studio Art; and MA in Art History. The BFA and MFA include concentrations in ceramics, drawing/painting, electronic art, fiber, glass, graphic design, print media (digital imaging, photography, printmaking), and sculpture. The Art History area is unique in the US for its emphasis on Asia, the Pacific and modern/contemporary.
 
Our building is centrally located on the campus. It includes two galleries, a visiting artist/scholar program, and the John Young Museum of Art in Krauss Hall. The museum showcases John Young’s collection of historical objects from Asia and the Pacific in rotation, and is also a learning laboratory that serves our Art History program and the university’s Museum Studies program. Additional information about the department and faculty may be found at hawaii.edu/art.
 
Thank you for sharing this information. Questions can be directed to Professor Mary Babcock, Search Committee Chair.

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Witness to Wartime: Takuichi Fujii at Boise Art Museum, Curated by Barbara Johns, PhD

WITNESS TO WARTIME
TAKUICHI FUJII

CURATED BY BARBARA JOHNS, PhD

Minidoka, montage with fence and landmarks

Minidoka, montage with fence and landmarks

Witness to Wartime: Takuichi Fujii introduces an artist whose work opens a window to historical events, issues, and ideas far greater than the individual. Takuichi Fujii (1891 – 1964) bore witness to his life in America and, most especially, to his experience during World War II. Fujii left a remarkably comprehensive visual record of this important time in American history, and offers a unique perspective on his generation. This stunning body of work sheds light on events that most Americans did not experience, but whose lessons remain salient today.

Takuichi Fujii was fifty years old when war broke out between the United States and Japan. In a climate of increasing fear and racist propaganda, he became one of 120,000 people of Japanese ancestry on the West Coast forced to leave their homes and live in geographically isolated incarceration camps. He and his family, together with most ethnic Japanese from Seattle, were sent first to the Puyallup temporary detention camp on the Washington State Fairgrounds, and in August 1942 were transferred to the Minidoka Relocation Center in southern Idaho.

Confronting such circumstances, Fujii began an illustrated diary that spans the years from his forced removal in May 1942 to the closing of Minidoka in October 1945. In nearly 250 ink drawings ranging from public to intimate views, the diary depicts detailed images of the incarceration camps, and the inmates’ daily routines and pastimes. Several times Fujii depicts himself in the act of drawing, a witness to the experience of confinement. He also produced over 130 watercolors that reiterate and expand upon the diary, augmenting those scenes with many new views, as well as other aesthetic and formal considerations of painting. Additionally the wartime work includes several oil paintings and sculptures, notably a carved double portrait of Fujii and his wife.

Minidoka, grieving women

Minidoka, grieving women

After the war Fujii moved to Chicago, which had become home to a large Japanese American community under the government’s resettlement program. He continued to paint, experimenting broadly in abstraction, and toward the end of his life produced a series of boldly gestural black-and-white abstract expressionist paintings. These, and his American realist paintings of the 1930s, frame the wartime work that is his singular legacy and remains relevant today.

Selections from this powerful exhibition will be featured at the Boise Art Museum, Boise, ID,  in the exhibition, Minidoka: Artist as Witness (October 8, 2016 – January 15, 2017).

 

AVAILABLE NOW FOR TRAVEL

Minidoka, INS officers

Minidoka, INS officers

Highlights from the prospectus and website:


FEE
$15,000 per 8 week period, plus prorated shipping

NUMBER OF OBJECTS
82 (oil paintings, watercolors, ink drawings, books, sculpture, and a digitized visual diary)

SPACE REQUIREMENTS
250 to 300 linear feet (76.2 x 91.4 linear meters)

PUBLICATION
Barbara Johns, The Hope of Another Spring
(Seattle: University of Washington Press, 2017)

LECTURE
Curator available

BOOKING
Laura Sumser, Exhibitions Manager
laura@curatorial.org | 626.577.0044

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DAAN NOVEMBER 2016 NEWSLETTER

Diasporic Asian Art Network

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Hello DAAN Members,
Please take the time to see the opportunities and exhibitions in November. 

Thank you!
Diasporic Asian Art Network


EVENTS

Roski Talks: Yong Soon Min
Lecture: A Body of Work
University of Southern California
Graduate fine Arts Building, Los Angeles, CA, U.S.
November 15, 6-8pm

Michiko Itatani Artist Talk with Jason Foumberg
Zhou B Art Center, Chicago, IL, U.S.
November 18, 7:30 – 8:30pm

OPPORTUNITIES

Art Asia Archive seeks Head of Research
Full-time, Hong Kong-based

Association of Art Historians Call for Papers:
Art History as Créolité/Creolising Art History

Paper proposal deadline November 7, 2016

Call for Artists
Shifting Movements: Art Inspired by the Life & Activism of Yuri Kochiyama (1921-2014)

Deadline November 14, 2016

Amerasia Journal Special Issue Call for Papers: Exhibiting Race and Culture
Paper submission deadline November 15, 2016

EXHIBITIONS FOR LOAN

A is for Arab: Stereotypes in U.S. Popular Culture
A/P/A Institute at NYU

Beyond Bollywood: Indian Americans Shape the Nation
Smithsonian Institution Traveling Exhibition Service
EXHIBITIONS
Aram Han Sifunetes: Official Unofficial Voting Station
The discontented and disenfranchised can cast unsanctioned ballots and other Official Unofficial Voting Stations across the country and in Mexico. Ballots cast at these voting stations will be counted and contribute to an installation at the museum.
Jane Addams Hull-House Museum, Chicago, IL, U.S.
September 8, 2016 – March 5, 2017


Focusing (Vol. II)
Alejandro T. Acierto explores the breath through the colonial history of Filipino involvement in the 1904 World’s Fair. The history touches on the representation of savagery vs. civilization, control and freedom, adaptation and displacement and how Filipinos, through the direction of an African American musician Walter E. Loving, sought their own liberation.
Corner, Chicago, IL, U.S.
October 1 – November 15, 2016

Kay Sekimachi: Student, Teacher, Artist
de Young Museum, San Francisco, CA, U.S.
Through November 6, 2016


TOTAL PROOF: The GALA Committee 1995 – 1997
In 1995, artist Mel Chin organized a group of artists to form the GALA Committee, which created conceptual artworks to be used as props on the popular primetime television show Melrose Place from 1995-97. This is the first comprehensive New York exposure of the GALA Committee’s work.
Red Bull Studios New York, NY, U.S.
September 30 – November 27, 2016


Far From Indochine
Guest curated by Chương-Đài Võ
Pitzer College Art Galleries, Claremont, CA, U.S.
September 10 – December 9, 2016


Tseng Kwong Chi: Performing for the Camera
This is the first major solo museum exhibition of the photographer’s works, which have long sparked the imaginations of younger artists. The exhibition features over 80 photographs that address issues of popular culture, politics, cosmopolitanism, and cultural diversity.
Block Museum of Art, Northwestern University, Evanston, IL, U.S.
September 17, 2016 – December 11, 2016

The Wayfinding Project — with artist Beatrice Glow
A/P/A Institute at NYU, New York, NY, U.S.
Through December 21, 2016


Intersections: Contemporary Art and Tradition

Works by eight contemporary artists – Sven Drühl, Jia, Naoko Matsubara, Ônishi Hiroshi, Rhee Jae Yong, kate-hers RHEE, Luzia Simons and Aiko Tezuka – are juxtaposed with traditional artworks from the East Asian collection in the permanent exhibition space. The resulting dialogues challenge ways of seeing and thinking, cast a new light on familiar objects and provide surprising insights and perspectives.
Museum für Asiatische Kunst, Berlin, Germany
Through January 8, 2017


No Limits: Zao Wou-Ki
The first retrospective of the work of Zao Wou-Ki (1920 – 2013) in the United States. The Chinese-French artist melded eastern and western aesthetic sensibilities in his paintings as a key figure within post-World War II abstraction.
Asia Society Museum, New York, NY, U.S.
September 9, 2016 – January 8, 2017

Enacting Stillness
This exhibition considers the political potential of slowing down and stopping as forms of resistance, protest, and refusal. The international group of artists in the exhibition includes Yoko Inoue, Kimsooja, Rehan Ansari, and others.
The Shelley & Donald Rubin Foundation, New York, NY, U.S.
September 21, 2016 – January 13, 2017


Kay Sekimachi: Simple Complexity

A survey of the work of pioneering fiber artist Kay Sekimachi from the 1960s to today drawn from the collection of Forrest L. Merrill. With an economic approach to the use of color and pattern, Sekimachi’s sculptural forms highlight the structure of her pieces and emphasize the natural properties of the materials she uses.
Craft & Folk Art Museum, Los Angeles, CA, U.S.
September 25, 2016 – January 8, 2017


Hi-Point Contact: Michiko Itatani Solo Exhibition
“Hi-Point Contact” is an engineering term describing a momentary touching of two elements. Throughout this retrospective exhibition, Itatani expands its meaning as an ongoing question about human existence.
Zhou B Art Center, Chicago, IL, U.S.
October 17, 2016 – December 30, 2016

Kimsooja: Archive of Mind
This exhibition presents a major performative installation, an ongoing film series, and a series of recent works by artist Kimsooja, acclaimed for her works that explore Korean identity. The exhibition is the third installation of the MMCA Hyundai Motor Series.
National Museum of Modern and Contemporary Art, Seoul, Korea
Through February 5, 2017


Temporal Turn: Art and Speculation in Contemporary Asia

Temporal Turn speculates on varied manifestations of time, history, and memory. While many artists in the exhibition approach temporal imagination by adapting scientific methodds, others deploy a range of strategies grounded in deep-rooted cultural perspectives.
Spencer Museum of Art, University of Kansas, Lawrence, KS, U.S>
November 10, 2016 – March 12, 2017


From Generation to Generation: Inherited Memory and Contemporary Art
The artists in this exhibition search, question, and reflect on the representation of truths related to ancestral and collective memory, ultimately attempting to make sense of their own past. The artists include Binh Danh, Yong Soon Min and Chikako Yamashiro.
The Contemporary Jewish Museum, San Francisco, CA, U.S.
November 25, 2016 – April 2, 2017

Everything Has Been Material for Scissors to Shape
Wing Luke Museum, Seattle, WA, U.S.
Through April 16, 2017

ONGOING ONLINE
Asian American Art Oral History Project
AS-AP Project: Godzilla Oral History
Art Asia America
Asian/Pacific/American Archives Survey Project
Asian Diasporic Visual Cultures and the Americas journal
The Artistic Journey of Yasuo Kuniyoshi
Racecraft online at the Center for Art and Thought
H1-B online at the Smithsonian Asian Pacific American Center

 


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