Art Theory: BVA 313 - 22/09/2019 (Topic for art theory)
After watching the movie: The luck club and reading the book: The bonesetter's daughter from Amy Tan, my interest towards the generation gap of a family (especially those who are living as a minority in a country) gets stronger and stronger.
In these two production that Amy Tan has done relates to myself perfectly. She pictures each side; Mother and Daughter, fairly similar to what I have experienced in my house whole.
Myself:
Growing up as a 4th generation of Chinese Malaysian in a Chinese orientated family back in Malaysia, there are some differences of thoughts coming from my grandmother, mother and me.
Looking for terms:
Looking at myself as a minority makes me feel inferior and depressing, as its like nobody understand your situation. Uncovering this puzzle of mine make me realised there are people who thought the same as I did. While looking up information, this term 'Biculturalism" is suitable towards my research (Theoreticala and Final year project). Therefore, my final project will be discussing the positive attribution of biculturalism and theory will be discussing biculturalism in a family (Similar to Amy Tan).
New York Times:-
Art Review:
The Asia within us: Bicultural eyes and what they see.
Identity politics has choked the life out of much so-called minority art over the last few years, and continues to do so in some quarters.
ARTSPACE'S show ''Mythical Nation'' brings together the work of a dozen artists of Asian descent living in the northeastern United States.
Example of Artist:
An enchantment with Asian popular culture characterizes much of the work. For example, Larry Lee, who is Chinese-American, use yards of chain, gold leaf and cut-down closet poles to create giant, gilded nunchakus, a Japanese martial arts weapon; Chloe Atreya, an Indian-American, juxtaposes Eastern and Western board games; Shih-Chieh Huang, a Chinese-American, uses everyday electronics to create zany robots; while Laura Kina dresses up Japanese-American friends and family to create imitation soap opera and film posters. Depending on your sense of humor, these works will elicit anything from shrill laughter to a mild guffaw.
Larry Lee:
https://www.larryleechicago.com/statement-1
Asian American experience in general into stylized multimedia objects and images he facetiously terms “orientalia”.
My work remakes high/low culture as multimedia “orientalia”, stylized reproductions of cultural objects, images and actions that fit a stereotype, perspective or aesthetic often associated with anything Asian which explores how the production of culture and its byproducts constructs and typecasts the discourse of Self versus Other by reinventing or reinterpreting what is accepted cultural capital as private/public record with tongue firmly planted in cheek.
Laura Kina:
Representation elements from her artwork:
Dystopian Blue Hawaiʻi, is drawn based on Laura's family album of life living in Hawaii as a Japanese. These ghostly oil paintings employ distilled memories to investigate themes of distance, longing, and belonging.
My obsession with blue was inspired by the indigo-dyed kasuri kimonos repurposed by the Issei (first generation) “picture bride” immigrants for canefield work clothes, and colored by stories of hinotama (fireballs) shooting from the canefield cemetery into the night sky. Blue Hawaiʻi echoes the spirits of my ancestors and shared histories of labor migration.
Backstory: In 2009, I accompanied him back to his hometown community in Hawaiʻi to interview Nisei and Sansei, as well as my father, about their memories of plantation life. In 2012, my father and I travelled to Okinawa on a similar trip, collecting stories of heritage and history. I learned my grandmother and great aunts had been Kibei Nisei, i.e., sent to Japan for their education; that in the devastation of WWII and the Battle of Okinawa, four family members were killed; and, that my great-grandmother often sent care packages from Hawaiʻi to the family in Okinawa with money sewn into the hems of used clothing and hidden in the lids of mayonnaise jar packed with caramel candies.
In these two production that Amy Tan has done relates to myself perfectly. She pictures each side; Mother and Daughter, fairly similar to what I have experienced in my house whole.
Myself:
Growing up as a 4th generation of Chinese Malaysian in a Chinese orientated family back in Malaysia, there are some differences of thoughts coming from my grandmother, mother and me.
Looking for terms:
Looking at myself as a minority makes me feel inferior and depressing, as its like nobody understand your situation. Uncovering this puzzle of mine make me realised there are people who thought the same as I did. While looking up information, this term 'Biculturalism" is suitable towards my research (Theoreticala and Final year project). Therefore, my final project will be discussing the positive attribution of biculturalism and theory will be discussing biculturalism in a family (Similar to Amy Tan).
New York Times:-
Art Review:
The Asia within us: Bicultural eyes and what they see.
By
Identity politics has choked the life out of much so-called minority art over the last few years, and continues to do so in some quarters.
ARTSPACE'S show ''Mythical Nation'' brings together the work of a dozen artists of Asian descent living in the northeastern United States.
Example of Artist:
An enchantment with Asian popular culture characterizes much of the work. For example, Larry Lee, who is Chinese-American, use yards of chain, gold leaf and cut-down closet poles to create giant, gilded nunchakus, a Japanese martial arts weapon; Chloe Atreya, an Indian-American, juxtaposes Eastern and Western board games; Shih-Chieh Huang, a Chinese-American, uses everyday electronics to create zany robots; while Laura Kina dresses up Japanese-American friends and family to create imitation soap opera and film posters. Depending on your sense of humor, these works will elicit anything from shrill laughter to a mild guffaw.
Larry Lee:
https://www.larryleechicago.com/statement-1
Asian American experience in general into stylized multimedia objects and images he facetiously terms “orientalia”.
My work remakes high/low culture as multimedia “orientalia”, stylized reproductions of cultural objects, images and actions that fit a stereotype, perspective or aesthetic often associated with anything Asian which explores how the production of culture and its byproducts constructs and typecasts the discourse of Self versus Other by reinventing or reinterpreting what is accepted cultural capital as private/public record with tongue firmly planted in cheek.
Laura Kina:
Representation elements from her artwork:
Dystopian Blue Hawaiʻi, is drawn based on Laura's family album of life living in Hawaii as a Japanese. These ghostly oil paintings employ distilled memories to investigate themes of distance, longing, and belonging.
My obsession with blue was inspired by the indigo-dyed kasuri kimonos repurposed by the Issei (first generation) “picture bride” immigrants for canefield work clothes, and colored by stories of hinotama (fireballs) shooting from the canefield cemetery into the night sky. Blue Hawaiʻi echoes the spirits of my ancestors and shared histories of labor migration.
Backstory: In 2009, I accompanied him back to his hometown community in Hawaiʻi to interview Nisei and Sansei, as well as my father, about their memories of plantation life. In 2012, my father and I travelled to Okinawa on a similar trip, collecting stories of heritage and history. I learned my grandmother and great aunts had been Kibei Nisei, i.e., sent to Japan for their education; that in the devastation of WWII and the Battle of Okinawa, four family members were killed; and, that my great-grandmother often sent care packages from Hawaiʻi to the family in Okinawa with money sewn into the hems of used clothing and hidden in the lids of mayonnaise jar packed with caramel candies.
Your research into multi, and now, biculturism is very deep. Great work on providing annotation that ties everything in to your final project.
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