Shit Be Tight

2015 ◽  
Vol 1 (1-2) ◽  
pp. 15-39
Author(s):  
Mark Dean Johnson
Keyword(s):  
San Francisco ◽  
Filipino American ◽  
American Artist ◽  
Studio Practice ◽  
Private Studio ◽  
Transformative Impact ◽  
Ongoing Dialogue

Carlos Villa was a highly original Filipino American artist and visionary organizer who has been very influential in San Francisco but is still little recognized internationally. This essay situates Villa’s achievement as an ongoing dialogue between his private studio practice and public actions. It argues for the appreciation of the interaction of Villa’s modernist aesthetic with more socially engaged inspirations and expressions as central to the artist’s significance and the transformative impact of his career.

Wood, Beatrice (1893–1998)

2018 ◽  
Author(s):  
Thelma Rohrer
Keyword(s):  
New York ◽  
New York City ◽  
San Francisco ◽  
York City ◽  
Smithsonian Institution ◽  
Native State ◽  
Marcel Duchamp ◽  
Avant Garde ◽  
American Artist ◽  
New York Dada

An American potter known for luster-glaze chalices and whimsical ceramic figures, Beatrice Wood was once named the "Mama of Dada." Born on 3 March 1893 into a wealthy family in San Francisco, California, raised in New York City, and a student at the Académie Julian in Paris, Wood rebelled from her traditional upbringing by 1912. Seeking a more bohemian life, she joined avant-garde art circles, became friends with Marcel Duchamp and Henri-Pierre Roché, and was influential in the New York Dada movement. During the 1930s, her early successes in ceramics provided independent income and, by 1948, she settled in Ojai, California, to continue her interest in theosophy. She established a studio developing embedded luster glazes with radiant colors and continued this work for over thirty years. Wood was recognized as a "California Living Treasure" by her native state, named an "Esteemed American Artist" by the Smithsonian Institution, and partly inspired the character "Rose" in the 1997 film Titanic. She died on 12 March 1998 at the age of 105.

Conclusion

2017 ◽  
Author(s):  
Sarita Echavez See
Keyword(s):  
Social Media ◽  
Filipino American ◽  
Digital Era ◽  
The Social ◽  
American Artist ◽  
Per Se

This concluding chapter returns to the work of the Filipino American artist Stephanie Syjuco in order to focus on the potentialities and limitations of the artist’s process of accumulating knowledge in the digital era. By focusing on the social media dimensions of Syjuco’s artistic and textile craft practices, the book concludes by moving out of the museum per se in order to consider the ramifications of the contemporary resurgence of crafting, DIY, and making practices, which challenge capitalist accumulation even as they are part of an era increasingly defined by the rise of so-called sharing and platform economies that mimic and appropriate these alternative anti-accumulative ecologies.

Margaret Bourke-White and the Communist Witch Hunt

1985 ◽  
Vol 19 (1) ◽  
pp. 5-25 ◽  
Author(s):  
Robert E. Snyder
Keyword(s):  
Advertising Agencies ◽  
Capitalist System ◽  
Steel Mills ◽  
Gothic Cathedral ◽  
Henry Luce ◽  
Studio Practice ◽  
Private Studio ◽  
Auto Plants ◽  
Witch Hunt ◽  
Outstanding Quality

Margaret Bourke-White (1904–1971) has been called “the most famous woman photographer” and “the finest woman photographer of our times.” Indeed, in a photographic career that spanned nearly five decades, Bourke-White demonstrated great professional versatility, registered many photographic firsts, and in a male-dominated field set standards by which others were measured. During the 1920s, Bourke-White carved out her first reputation in architectural and industrial photography. Her pictures of steel mills, shipyards, packing houses, logging camps, quarries, auto plants, skyscrapers, banks, and terminals captured the atmosphere of the industry and the dynamics of the capitalist system. Her industrial photography was of such outstanding quality that, as one critic observed, it “transformed the American factory into a Gothic cathedral.”Henry Luce was so impressed by her early work that he hired her as the first photographer for his business magazine Fortune. Under a unique arrangement she was allowed six months out of the year to pursue her own private studio practice for advertising agencies and corporations. When Henry Luce added the pictorial magazine Life to his growing publishing empire in the 1930s, he selected Margaret Bourke-White to become one of the four original staff photographers. At Life she established the tradition of negatives printed full frame and proved by black borders, and pioneered the synchronized multiple flash picture. Bourke-White revealed the range of her photographic talents in photo essays, murals, and documentary travelogues. “As a result of her twelve- and fourteen-page essays,” Carl Mydans noted, “her monumental work became known throughout the world — beyond that of any other photographer.”

scholarly journals FLIPPING ACROSS THE OCEAN: NOSTALGIA, MATCHMAKING AND DISPLACEMENT IN FILIPINO AMERICAN NARRATIVE

2017 ◽  
Author(s):  
Begoña Simal González
Keyword(s):  
Short Stories ◽  
San Francisco ◽  
Focal Point ◽  
Social Reality ◽  
The Other ◽  
Literary Texts ◽  
Filipino American ◽  
Green Card ◽  
Other Hand

The article addresses the nomadic nature of Filipino American social reality and how that is conveyed through a literature imbued with a peculiarly Filipino mexilic sensibilityn. The literary texts chosen to illustrate this hypothesis are Bienvenido Santosrs What The Hell For You Left Your Heart In San Francisco (1987), as well as several short stories: N.V.M. Gonzálezrs mThe Tomato Gamen (1993), Bienvenido Santosrs mImmigration Bluesn (1979), Linda Ty-Casperrs mHills, Sky, Longingn (1990), and Jessica Hagedornrs mThe Blossoming of Bong Bongn (1990). The fiction of Bienvenido Santos, N.V.M. González, and Ty-Casper, portray the nostalgia for an idealized homeland, especially through the oldtimersr and old peoplers perspective. Both Santos and González also tackle the question of green-card marriages between young Filipinas and oldtimers. On the other hand, Hagedornrs story and Santosrs novel choose a young immigrant as the focal point who does not echo the eldersr feeling of homesickness, displacement and exile.

Truitt, Anne (1921–2004)

2018 ◽  
Author(s):  
Miguel de Baca
Keyword(s):  
Three Dimensional ◽  
Two Dimensional ◽  
Painted Surface ◽  
American Artist ◽  
Minimal Art ◽  
Clement Greenberg ◽  
Studio Practice

Anne Truitt is an American artist most closely identified with Minimalism. Truitt’s art consists of wooden boxes, planks, and columnar works industrially fabricated and painted by hand, which were among the first examples of Minimal art. Because of the evocative colors and literary titles of her works, she is often distinguished from her contemporaries, who argued against expressivity in art. Truitt’s principal critical ally was Clement Greenberg. Despite viewing other minimalists’ works with contempt, Greenberg admired Truitt’s formal references to painters Ad Reinhardt and Barnett Newman, and understood her sculptures as three-dimensional articulations of a two-dimensional painted surface. Elsewhere, the language Greenberg used in defence of Truitt made her gender a conspicuous issue, contributing to the feminizing of her practice in ensuing discourse. Truitt had a remarkably long, productive, and diverse studio practice, producing sculpture, drawings, and paintings until her death in 2004.

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