Sentences with phrase «asian identity art»

PARA / SITE ASIAN IDENTITY ART The Problem of Asia, an exhibition presented 30 April — 22 May, 2010 at Chalk Horse Sydney in partnership with Hong Kong's Para / Site Art Space, deals with an array of issues, not all of which are politically correct.

Not exact matches

Against this backdrop, a new generation of black and Asian artists, writers and curators began to respond to the political, social and sexual issues of the day, getting together to create exhibitions and develop subversive strategies, and to produce art, film and literature that reflected their diverse identities and experiences.

Art Stage Singapore aims to separate itself from other art fairs in Asia by not copying a Western show, but showing an own strong (Asian) identiArt Stage Singapore aims to separate itself from other art fairs in Asia by not copying a Western show, but showing an own strong (Asian) identiart fairs in Asia by not copying a Western show, but showing an own strong (Asian) identity.

She also co-curated the exhibition Fatal Love: South Asian American Contemporary Art Now, as well as coordinated two editions of Corona Plaza: Center of Everywhere, which commissioned eight artists to develop public art works that engage local residents on issues of neighborhood history and identity as well as tensions around its various transformatioArt Now, as well as coordinated two editions of Corona Plaza: Center of Everywhere, which commissioned eight artists to develop public art works that engage local residents on issues of neighborhood history and identity as well as tensions around its various transformatioart works that engage local residents on issues of neighborhood history and identity as well as tensions around its various transformations.

SELECTED GROUP SHOWS: 2018 Open SpacesKansas City, MO 2018 Color of the Year Presented by Pantone and X-RiteUrban Institute for Contemporary Art, Grand Rapids, MI 2017 Solar Flair: Celestial Bodies in MotionAlbrecht Kemper Museum of Art, St. Joseph, MO 2017Light and ShadowMildred M. Cox Gallery Kemper Center for the Arts William Woods University, Fulton, MO 2017The 19th Annual National Juried Competition,: «Works of Paper» 2017Long Beach Foundation of the Arts & Sciences, Long Beach Island, NJ 2017 - 2018 Teardrops That Wound: the Absurdity of War, George Tsutakawa Art Gallery, Wing Luke Museum of the Asian and Pacific American Experience, Commission Work «Break Into Blossom», In collaboration with Phong Nguyen and Justin Shaw 2016 Vision: An Artist's Perspective, Gutfeund Cornett Art Kaleid Gallery San Jose, CA 2016 Novus Conceptum, Hannah Bacol Busch Gallery Bellaire, TX 2015 Generations: Forty Hues Between Black and White, OCCCA (Orange County Center for Contemporary Art), Santa Ana, CA 2015 Somewhere Between Black and White, Fiber Art Network, Arizona State University, Tempe, AZ 2015 Old Enough To Know Better, Cranes Art Gallery 105, Philadelphia, PA 2014 The 2nd Annual Juried Artist's Book Exhibition, WoCA Projects, Fort Worth, Texas 2014 The Living Mark Verum Ultimum Art Gallery, Portland OR 2014 Subconscious, Flow Art Gallery, St Louis MO 2014 A Dream and a Memory, St. Louis Artist Guild, St. Louis MO 2013 Missouri 50, Fine Art Building Sedalia, MO 2013 Art / Identity, Gallery 263, Cambridge, MA 2013 26th Annual Women's Work, Old Court House, Woodstock, IL 2012 Contemporary Women Artists XVI, Saint Louis University Art Museum, St. Louis MO 2012 UCM Faculty Show, UCM Gallery of Art and Design, Warrensburg, MO 2012 Color!

In a guide to intriguing art exhibitions nationwide, Judith Dobrzynski features the High Museum of Art's «Walker Evans: Depth of Field», a major international retrospective of Evans» work, including images taken of the American South during the Great Depression; the Denver Art Museum's «Women of Abstract Expression», celebrating the contributions of female artists who helped shape the movement in the 1940s and 1950s; the Met Breuer's «Unfinished: Thoughts Left Visible», the Museum's inaugural exhibition examining works that were never finished by the artists from the 15th century to today; the Asian Art Museum's «Emperors» Treasures: Chinese Art From the National Palace Museum, Taipei», and the Bowdoin College Museum of Art's «This Is a Portrait if I Say So: Identity in American Art, 1912 to Today.&raqart exhibitions nationwide, Judith Dobrzynski features the High Museum of Art's «Walker Evans: Depth of Field», a major international retrospective of Evans» work, including images taken of the American South during the Great Depression; the Denver Art Museum's «Women of Abstract Expression», celebrating the contributions of female artists who helped shape the movement in the 1940s and 1950s; the Met Breuer's «Unfinished: Thoughts Left Visible», the Museum's inaugural exhibition examining works that were never finished by the artists from the 15th century to today; the Asian Art Museum's «Emperors» Treasures: Chinese Art From the National Palace Museum, Taipei», and the Bowdoin College Museum of Art's «This Is a Portrait if I Say So: Identity in American Art, 1912 to Today.&raqArt's «Walker Evans: Depth of Field», a major international retrospective of Evans» work, including images taken of the American South during the Great Depression; the Denver Art Museum's «Women of Abstract Expression», celebrating the contributions of female artists who helped shape the movement in the 1940s and 1950s; the Met Breuer's «Unfinished: Thoughts Left Visible», the Museum's inaugural exhibition examining works that were never finished by the artists from the 15th century to today; the Asian Art Museum's «Emperors» Treasures: Chinese Art From the National Palace Museum, Taipei», and the Bowdoin College Museum of Art's «This Is a Portrait if I Say So: Identity in American Art, 1912 to Today.&raqArt Museum's «Women of Abstract Expression», celebrating the contributions of female artists who helped shape the movement in the 1940s and 1950s; the Met Breuer's «Unfinished: Thoughts Left Visible», the Museum's inaugural exhibition examining works that were never finished by the artists from the 15th century to today; the Asian Art Museum's «Emperors» Treasures: Chinese Art From the National Palace Museum, Taipei», and the Bowdoin College Museum of Art's «This Is a Portrait if I Say So: Identity in American Art, 1912 to Today.&raqArt Museum's «Emperors» Treasures: Chinese Art From the National Palace Museum, Taipei», and the Bowdoin College Museum of Art's «This Is a Portrait if I Say So: Identity in American Art, 1912 to Today.&raqArt From the National Palace Museum, Taipei», and the Bowdoin College Museum of Art's «This Is a Portrait if I Say So: Identity in American Art, 1912 to Today.&raqArt's «This Is a Portrait if I Say So: Identity in American Art, 1912 to Today.&raqArt, 1912 to Today.»

The South Asian Women's Creative Collective was founded by the artist Jaishri Abichandani in New York City in 1997, when identity politics was in the air, but artists from much of the Asian diaspora were still being given the cold shoulder by the art world here.

New Art Exchange is the largest dedicated facility for contemporary visual arts outside of London and offers stimulating new perspectives about diversity in art and society, focusing specifically on African, Caribbean, South Asian identities and culturally diverse expressioArt Exchange is the largest dedicated facility for contemporary visual arts outside of London and offers stimulating new perspectives about diversity in art and society, focusing specifically on African, Caribbean, South Asian identities and culturally diverse expressioart and society, focusing specifically on African, Caribbean, South Asian identities and culturally diverse expressions.

Her work also appeared in numerous group exhibitions including: Beyond the Border: Art by Recent Immigrants, Bronx Museum; Asia / America: Identities in Contemporary Asian American Art, Asia Society, New York; Olympiad of Art (in conjunction with the 24th Olympics), National Museum of Contemporary Art in Seoul, Korea; 2nd Asian Art Show, Fukuoka Art Museum, Japan; La Bienal de la Habana, Museo Nacional de Bellas Artes, Habana, Cuba; Art for Africa, traveling exhibition to Oslo, Cologne, Algiers, London and Rome; UNESCO: 40 Years, 40 Countries, 40 Artists, traveling exhibition to 15 museums around the world; Filipino Artists Abroad, Metropolitan Museum of Manila; and At Home and Abroad: 21 Contemporary Filipino Artists, traveling exhibition to the Asian Art Museum of San Francisco, the Contemporary Arts Museum, Houston and the Metropolitan Museum of Manila, among others.

This paper explores issues of identity and difference in art and its institutions through a historiographic study of two landmark exhibitions, «The Other Story: Afro - Asian Artists in Post-War Britain» (1989) and the 1993 Whitney Biennial.

Hybrid Identities», Art in America, v. 82, no. 9, September, p. 47 - 51 C. Schwartzman, «Michael Joo,» New Art Examiner, no. 27, September, p. 55 - 57 L. Nesbitt, «Michael Joo: Nordanstad Gallery, Petzel / Borgmann Gallery,» Artforum, v. 33, no. 1, September K. F. Magnan, «Michael Joo at Nordanstad / Petzel - Borgmann», Asian Art News, v. 4, no. 4, July / August, pp. 89 - 90 A.Wilson, «Out of Control», Art Monthly, no. 177, June, p. 3 - 9 A.Choon, «Openings....»

A historian of South Asian and Himalayan art, with secondary areas of interest relating to issues of gender and identity in South Asian contemporary art and film, her interests are in the early modern period focus on the ritual and ideological functions of Buddhist art in South Asia, including theories of ritual performance and politics of identity.

Even though this vision consists of a nebulous collection of words that, on their own, are theoretical concepts and linguistic connectors to a wider dialogue on art and its shared values, the lack of a more precisely crafted statement also presents the discursive slippages in which the collaborative team of curators can operate more fluidly as they seek to represent the varied cultures and identities of the Southeast Asian nations.

Perceiving critical dialogue to be a crucial component toward meeting their mission, the organization funded the ACAC Writing Fellowship for Art Practical, which creates a platform for emerging writers and aims to encourage critical thinking and writing on Asian contemporary art practices in the Bay Area.6 The inaugural fellow is Ellen Yoshi Tani, a graduate student at Stanford University, whose research centers on «work of transnational artists, attending to how they activate sites of difference or sameness, using race and / or identity as medium rather than positioning it as subject.&raqArt Practical, which creates a platform for emerging writers and aims to encourage critical thinking and writing on Asian contemporary art practices in the Bay Area.6 The inaugural fellow is Ellen Yoshi Tani, a graduate student at Stanford University, whose research centers on «work of transnational artists, attending to how they activate sites of difference or sameness, using race and / or identity as medium rather than positioning it as subject.&raqart practices in the Bay Area.6 The inaugural fellow is Ellen Yoshi Tani, a graduate student at Stanford University, whose research centers on «work of transnational artists, attending to how they activate sites of difference or sameness, using race and / or identity as medium rather than positioning it as subject.»

The fall series, which features a number of participants in the Center for the Arts at Yerba Buena Gardens exhibition «ASIA / AMERICA: Identities in Contemporary Asian American Art» (Oct. 11 through Dec. 10), kicks off Wednesday with a conversation between painter Masami Teraoka and Lynda Hess.