Contemporary Asian American Art

2020 ◽  
Author(s):  
Laura Kina
Keyword(s):  
World War Ii ◽  
Asian American ◽  
Race And Ethnicity ◽  
American Art ◽  
Video Art ◽  
War Trauma ◽  
Time Period ◽  
Wide Range ◽  
Identity Based ◽  
The 1960S

Contemporary Asian American art includes artworks created by artists of Asian heritage in the Americas as well as contemporary works that engage with Asian American or Asian diasporic communities, history, aesthetics, politics, theory, and popular culture. This includes Modern and Postmodern works created in the post-World War II era to the present. Asian American art is closely tied to the birth of the Asian American movement of the 1960s and 70s as well as a wide range of art movements of the same time period from minimalism, to community murals, to the birth of video art, to international conceptual movements such as Fluxus. “Asian American art” is associated with identity based works and began to be institutionalized during the multicultural era of the 1980–1990s. From the early 2000s onwards, Asian American art has shifted to more transnational framework but remains centered on issues of representation, recovery, reclaiming, recuperation, and decolonization of marginalized bodies, histories, and memories. Common themes in Asian American art include narratives of immigration, migration, war, trauma, labor, race and ethnicity, assimilation, dislocation, countering stereotypes, and interrogating histories of colonization and U.S. imperialism.

Asian American Experimental Theater and Solo Performance

2019 ◽  
Author(s):  
Dan Bacalzo
Keyword(s):  
United States ◽  
Asian American ◽  
The United States ◽  
Experimental Theater ◽  
Avant Garde ◽  
Wide Range ◽  
Racial Perceptions ◽  
And Performance ◽  
The 1960S ◽  
A Minor

Beginning in the 1960s and continuing into the present day, a wide range of performers and playwrights have contributed to Asian American experimental theater and performance. These works tend toward plot structures that break away from realist narratives or otherwise experiment with form and content. This includes avant-garde innovations, community-based initiatives that draw on the personal experiences of workshop participants, politicized performance art pieces, spoken word solos, multimedia works, and more. Many of these artistic categories overlap, even as the works produced may look extremely different from one another. There is likewise great ethnic and experiential diversity among the performing artists: some were born in the United States while others are immigrants, permanent residents, or Asian nationals who have produced substantial amounts of works in the United States. Several of these artists raise issues of race as a principal element in the creation of their performances, while for others it is a minor consideration, or perhaps not a consideration at all. Nevertheless, since all these artists are of Asian descent, racial perceptions still inform the production, reception, and interpretation of their work.

Andy Warhol's “Factory”: The Production Site, Its Context and Its Impact on the Work of Art

1991 ◽  
Vol 4 (1) ◽  
pp. 101-132 ◽  
Author(s):  
Caroline A. Jones
Keyword(s):  
World War Ii ◽  
Assembly Line ◽  
Social Space ◽  
American Art ◽  
World War ◽  
American Artist ◽  
Change In Practice ◽  
Studio Practices ◽  
The 1960S ◽  
Mode Of Production

The ArgumentIt is often observed by historians of postwar American art that painters and sculptors of the 1960s sought a more mechanized “look” for their art. I argue that the changes reflected in the art have their source in a deeper shift – a shift at the level of production, expressed in new studio practices as well as in the space of the artworks themselves.In the period immediately before, during, and after World War II, the dominant topos of the American artist was that of a solitary (male) genius, alone in his studio, sole witness to the miraculous creation of his art. I demonstrate that artists of the 1960s, against this backdrop of heroic modernism, engaged in a different rhetoric and practice, one based on the models of industry and business. The studio of Andy Warhol, named the “Factory,” is viewed as apodictic of this great change, with its rudimentary assembly line and highly social mode of production.The change in practice instantiated in Warhol's Factory is significant in and of itself, but I argue further that it expressed itself in the “place of knowledge” – the space within (or in front of) Warhol's paintings and objects, and the newly social space in which they signify. The context for that signification thus becomes crucial to our understanding of the “Warhol phenomenon” celebrated in popular and arthistorical texts. The ambivalencies embedded in Warhol's Factory, where the artist's role oscillated between manager and proletarian worker, are seen as a function of their context. Conflicting signals are also broadcast by the works of art, which speak in the dialect of mass production with the accent of the irreplaceably unique.

Fred Forest's Utopia

2017 ◽  
Author(s):  
Michael F. Leruth
Keyword(s):  
Contemporary Art ◽  
Second Life ◽  
Video Art ◽  
Art World ◽  
Marshall Mcluhan ◽  
Modus Operandi ◽  
Interactive Communication ◽  
Wide Range ◽  
Internet Art ◽  
The 1960S

This book introduces readers to the iconoclastic work of the French media artist Fred Forest. A pioneer in the fields of video art in the 1960s and internet art in the 1990s, and cofounder of the Sociological Art Collective (1974) and the Aesthetics of Communication International Group (1983), Forest is best known as an ironic media hijacker and tinkerer of unconventional interfaces and alternative platforms for interactive communication that are accessible to the general public outside the exclusive precincts of the art world. He has also made headlines as an outspoken critic of the French contemporary art establishment, most famously by suing the Centre Pompidou in 1994 over its opaque acquisitions practices. This book surveys Forest’s work from the late 1960s to the present with particular emphasis on his prankster modus operandi, his advocacy of an existentially relevant form of counter-contemporary art―or “invisible system-art”―based on the principle of metacommunication (i.e., tasked with exploring the “immanent realities” of the virtual territory in which modern electronic communication takes place), his innovative “social” and “relational” use of a wide range of media from newspapers to Second Life, his attention-grabbing public interventions, and the unusual utopian dimension of his work. Never a hot commodity in the art world, Forest’s work has nonetheless garnered the attention and appreciation of a wide range of prominent intellectuals, critics, curators, technology innovators, and fellow artists including Marshall McLuhan, Edgar Morin, Vilém Flusser, Abraham Moles, Jean Duvignaud, Paul Virilio, Pierre Lévy, Pierre Restany, Frank Popper, Harald Szeeman, Robert C. Morgan, Vinton Cerf, Roy Ascott, and Eduardo Kac.

Marketing as a response to paradox and norms in the 1960s and 1970s

2013 ◽  
Vol 5 (1) ◽  
pp. 47-70 ◽  
Author(s):  
Maureen A. Bourassa ◽  
Peggy H. Cunningham ◽  
Jay M. Handelman
Keyword(s):  
Social Norms ◽  
Marketing Strategy ◽  
Strategic Marketing ◽  
Chain Store ◽  
Content Type ◽  
Time Period ◽  
Wide Range ◽  
Strategic Behaviors ◽  
1960S And 1970S ◽  
The 1960S

PurposeThis study seeks to investigate the interaction between marketers' strategic behaviors, social norms, and societal stakeholders within a particular historical time period, the 1960s and 1970s.Design/methodology/approachThe study's findings are based on an analysis of two dominant retail industry trade publications, Chain Store Age and Progressive Grocer.FindingsThe analysis reveals an intriguing array of strategic marketing activity throughout these two decades not captured in considerations of marketing strategy at the time. The retailers examined engaged in two interesting behaviors. First, they responded to a wide range of stakeholder demands in a paradoxical fashion. Second, as retailers were confronted with social norms, instead of conforming to these norms they worked to help influence and shape them to their own advantage. This examination of retailers' behaviors over two decades has allowed the authors to present an intriguing new dimension to the understanding of marketing strategy.Originality/valueThe study found that throughout the 1960s and 1970s, marketers appeared to be actively engaged in a social dialogue. Through this dialogue, they not only responded to norms, but also attempted to shape the norms that came to define legitimate behavior for the marketers. This kind of strategic marketing endeavor was not accounted for in the managerial school of thought that dominated marketing thinking at the time.

Contemporary Asian American Dance

2020 ◽  
Author(s):  
Yutian Wong
Keyword(s):  
United States ◽  
World War Ii ◽  
20Th Century ◽  
San Francisco ◽  
Chinese Text ◽  
Asian American ◽  
The United States ◽  
The Body ◽  
Japanese American ◽  
Wide Range

Contemporary Asian American dance includes a wide range of choreographic approaches, movement vocabularies, aesthetic traditions, and philosophies toward the body. Referencing either time or genre, the “contemporary” in contemporary Asian American dance can refer to work that includes high-art concert productions that utilize modern and postmodern movement vocabularies, reworkings of traditional Asian movement practices, or popular dance practices. Contemporary Asian American dance also encompasses work that is created by Asian American choreographers, choreography that addresses Asian American experiences or history, or work that is performed by Asian American dancers. As a field of study, Asian American dance studies is concerned with an analysis of how the critical reception of choreography by Asian American choreographers is entangled with the history of Orientalism in both American modern dance history and the racialization of Asian Americans in US history. Beginning in the early 20th century, choreographer Michio Ito (1892–1961) navigated his training in German expressionist dance with public expectations of performing recognizable Japaneseness in the face of growing anti-Japanese sentiments on the West Coast of the United States in the years before the United States officially entered World War II. In the later half of the 20th century, Mel Wong (1938–2003) faced similar issues after leaving the Merce Cunningham Dance Company to pursue his own choreography. While Merce Cunningham’s adoption of the Chinese text the I-Ching was considered a choreographic breakthrough in the development of chance procedure that would revolutionize the definition of what is considered dance, Mel Wong faced critics and funding organizations who found Wong’s own use of ritual and Asian philosophy to be incomprehensible or inauthentic. The question of authenticity in relationship to the use of traditional Asian vocabularies runs the gamut from the performance of depoliticized folk dance forms such as those performed by the San Francisco Chinese Folkdance Association to the purposeful invention of Japanese American taiko repertory by organizations such as San Jose Taiko during the 1960s Asian American movement. In contrast, choreographers such as Eiko (1952–present), Koma (1948–present), and Shen Wei (1968–present) are not concerned with the question of Asian American authenticity and have been creating work that stakes a claim in universal themes of humanity and the environment or the relationship between movement and visual art. Understanding the work of choreographers such as Eiko & Koma and Shen Wei as contemporary Asian American dance is enabled by the transnational turn in Asian American studies to include work by choreographers whose work does not directly represent traditional understandings of the Asian American experience rooted in themes such as the trauma of immigration, intergenerational conflict, or national belonging.

scholarly journals To what extent does climate explain variations in reported malaria cases in early 20th century Uganda?

2016 ◽  
Vol 11 (1s) ◽  
Author(s):  
Adrian M. Tompkins ◽  
Laragh Larsen ◽  
Nicky McCreesh ◽  
David Taylor
Keyword(s):  
World War Ii ◽  
Land Development ◽  
Population Mobility ◽  
Annual Variations ◽  
Wide Range ◽  
Management Schemes ◽  
The 1960S ◽  
National Trends ◽  
Development And Management ◽  
The Impact

Malaria case statistics were analysed for the period 1926 to 1960 to identify inter-annual variations in malaria cases for the Uganda Protectorate. The analysis shows the mid-to-late 1930s to be a period of increased reported cases. After World War II, malaria cases trend down to a relative minimum in the early 1950s, before increasing rapidly after 1953 to the end of the decade. Data for the Western Province confirm these national trends, which at the time were attributed to a wide range of causes, including land development and management schemes, population mobility, interventions and misdiagnosis. Climate was occasionally proposed as a contributor to enhanced case numbers, and unusual precipitation patterns were held responsible; temperature was rarely, if ever, considered. In this study, a dynamical malaria model was driven with available precipitation and temperature data from the period for five stations located across a range of environments in Uganda. In line with the historical data, the simulations produced relatively enhanced transmission in the 1930s, although there is considerable variability between locations. In all locations, malaria transmission was low in the late 1940s and early 1950s, steeply increasing after 1954. Results indicate that past climate variability explains some of the variations in numbers of reported malaria cases. The impact of multiannual variability in temperature, while only on the order of 0.5°C, was sufficient to drive some of the trends observed in the statistics and thus the role of climate was likely underestimated in the contemporary reports. As the elimination campaigns of the 1960s followed this partly climate-driven increase in malaria, this emphasises the need to account for climate when planning and evaluating intervention strategies.

The Realpolitik of the Artificial: Strategic Design at Figgjo Fajanse Facing International Free Trade in the 1960s

2009 ◽  
Vol 10 (3) ◽  
pp. 559-589
Author(s):  
Kjetil Fallan
Keyword(s):  
World War Ii ◽  
Free Trade ◽  
Trade Association ◽  
Small Range ◽  
Product Portfolio ◽  
Third Way ◽  
Foreign Products ◽  
Wide Range ◽  
Market Situation ◽  
The 1960S

The 1960 establishment of the European Free Trade Association (EFTA) represented a watershed to Norwegian consumer goods industry. Since the end of World War II domestic manufacturers had been thriving on a small but lucrative home market characterized by an unparalleled demand, effectively protected from foreign competition by strict import regulations and tariffs barriers. The onset of international free trade would dramatically change this market situation, allowing cheap foreign products access to the Norwegian market while at the same time offering export opportunities to an industry traditionally geared to the domestic market. Operating in an industry where appearance is anything but superficial, the crockery manufacturer Figgjo Fajanse realized that product design would be a crucial tool in the reorganization of its operations when adapting to this ‘brave, new world’ of international free trade. Devising a flexible basis for a rational product differentiation, Figgjo made severe cuts in an oversized product portfolio and developed a small range of new models that could accommodate a wide range of decorative patterns of highly different styles. This strategy required elaborate and creative negotiations on the part of the company's designers, creating a ‘third way’—a moderate modern design carved out in the space demarcated by the industrially rational, the commercially viable, and the aesthetically ethical.

III. From Single-Stranded to Braided Histories of Race and Ethnicity in the Southern California Quarterly

2019 ◽  
Vol 101 (1) ◽  
pp. 34-44
Author(s):  
Yesenia Navarrete Hunter
Keyword(s):  
Social History ◽  
Asian American ◽  
Race And Ethnicity ◽  
Southern California ◽  
Racial Groups ◽  
Cultural Groups ◽  
Power Structures ◽  
Racial Identities ◽  
American Experience ◽  
The 1960S

This article finds an emphasis on “foreignness” in early SCQ articles on the Asian American experience. Early twentieth-century authors explored changing racial identities. By the 1960s, articles in the Southern California Quarterly were comparing the evolving racial identities of various racial groups and exploring the transnational stigmatization of immigrant race and culture. The “new” social history shifted focus to the powerless and the analysis of racial power structures. By the 1990s authors were utilizing a relational analysis of multiple racial and cultural groups’ experience. Recent scholarship has examined oppressed communities taking agency and challenging power structures in multilayered contexts, pointing the way to the braided interactions of racialized groups.

Tramps vs. Sweethearts: Changing Images of Arab and American Women in Hollywood Films

2011 ◽  
Vol 4 (2) ◽  
pp. 225-243 ◽  
Author(s):  
Alia Yunis ◽  
Gaelle Picherit-Duthler
Keyword(s):  
World War Ii ◽  
Women Characters ◽  
International Relations ◽  
Arab Women ◽  
World War ◽  
American Women ◽  
Hollywood Films ◽  
Time Period ◽  
Hollywood Movies ◽  
The 1960S

AbstractThe portrayal of Arab women in Hollywood from the silent movies to today stands in sharp contrast to the portrayal of American women over the same time period and can be defined by off screen politics. By examining important American films over nearly 100 years, this article describes Arab and American women characters through five political-historical phases of US international relations that define their Hollywood images: 1) pre-World War II, 2) from World War II to the 1960s, 3) the 1970s, 4) the 1980s to 11 September 2001 and 5) post-9/11. The analysis reveals a variety of archetypes for both Arab and American women, but the main finding suggests a limited role for American women and the near absence of Arab women in Hollywood movies. Independent filmmakers and upcoming Arab-American movie makers may yet be able to fill this void.

From Century of the Common Man to Yellow Peril

2018 ◽  
Vol 87 (3) ◽  
pp. 405-438 ◽  
Author(s):  
Kevin Y. Kim
Keyword(s):  
World War Ii ◽  
Cold War ◽  
Korean War ◽  
International System ◽  
Vice President ◽  
The United States ◽  
The Pacific ◽  
Wide Range ◽  
The Korean War ◽  
The 1960S

This article examines U.S. Vice President Henry A. Wallace’s Cold War dissent as a window into racial geopolitics in a post–World War II era of decolonization and U.S. global power. Focused on Wallace and the United States, the article uses a wide range of published and archival sources to argue that Wallace and U.S. anticolonial liberal elites saw anti-racist egalitarian pressures in the post-1945 international system as not only a threat, as existing scholarship suggests, but also an opportunity for U.S. global expansion—particularly in the Pacific Rim. By the 1960s, Wallace and postwar anti-racist activists diminished in influence amid global Cold War pressures reviving racial restrictions and Cold War militarization after the Korean War. Nonetheless, Wallace’s anti-racist diplomacy, stemming from long-running U.S. and global liberal debates and political struggles over race and empire, suggests the wider role of anti-racist geopolitics and the paradoxical persistence of race as a global cultural concept in the postwar era.

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