Cantor Arts Center
328 Lomita Drive at Museum Way
Stanford, CA 94305-5060
On October 28-29, Stanford University will host IMU UR2: Art, Aesthetics, and Asian America. This two-day convening brings together artists, curators, and scholars to rethink and reimagine the histories and futures of artists of Asian descent.
Together with the exhibitions East of the Pacific: Making Histories of Asian American Art, The Faces of Ruth Asawa, and At Home/On Stage: Asian American Representation in Photography and Film at the Cantor Arts Center, IMU UR2 inaugurates the Asian American Art Initiative (AAAI). This event also serves as the public launch of the Martin Wong Catalogue Raisonné, a free online resource that is a collaboration between the AAAI, the Martin Wong Foundation, and Stanford Libraries.
IMU UR2 is a phrase coined by the artist Martin Wong, who lived and worked on the West and East Coasts. Phonetically reading “I am you, you are two/too/to” captures the imagination, playfulness, and conceptual depth of Wong’s work. Here, the self is not singular but made in relation to others, who are likewise made in relation to us. The phrase encapsulates the symposium’s aim of thinking through the myriad ways Asian Americans and the work they create are at once connected and distinctive.
Rather than a traditional symposium, the structure of this convening emphasizes dialogue, experimentation, and deep engagement with images. Each speaker was asked to prepare a ten-minute presentation about a single image that speaks to the theme of their panel, including “Global Intimacies,” “Race & Aesthetics,” “Art & Activisms,” “History & Memory,” “Gender & Sexuality,” and “Institutional Interventions.” A respondent will offer a ten-minute reflection, followed by thirty minutes of discussion and audience Q&A. The event will conclude with a keynote conversation between Cathy Park Hong and Jen Liu, moderated by Marci Kwon. The convening and keynote will be held in person and streamed live via Zoom.
Co-directed by Aleesa Pitchamarn Alexander, associate curator at the Cantor Arts Center, and Marci Kwon, assistant professor of art and art history, the Asian American Art Initiative is dedicated to the collection, preservation, research, teaching, and public presentation of Asian American/diaspora artists and makers. The AAAI is housed at the Cantor and collaborates with campus units, including the Asian American Studies Program and Stanford Libraries and Special Collections. Through a series of long-term installations, special exhibitions, research and education projects, the AAAI fosters in-depth scholarly and public engagement with artists and makers of Asian descent.
To organize the program, the Cantor Arts Center collaborated with the Institute for Diversity in the Arts, with funding from the Stanford Arts Incubator pilot program. This symposium is made possible through support from the Terra Foundation for American Art.
The conference is co-sponsored by the American Studies Program, Center for Asian Health Research and Education, Center for Comparative Studies in Race & Ethnicity, Center for East Asian Studies, Center for South Asia, Department of Art & Art History, Department of East Asian Languages and Cultures, Department of History, Stanford Medical Humanities and Arts Program, Stanford Program in Modern Thought and Literature, as well as Christine Chan and Bryant Lin.
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Aleesa Pitchamarn Alexander is the Robert M. and Ruth L. Halperin Associate Curator of Modern and Contemporary Art at the Cantor Arts Center. At the Cantor, she is responsible for acquiring works by Asian American and Asian diasporic artists. Alexander cultivates relationships with AAPI community members, donors, artist estates, and living artists to help build the Cantor’s growing collection of Asian American art. Since she assumed the position in 2018, Alexander has acquired works by Ruth Asawa, Bernice Bing, Sung-woo Chun, Dominique Fung, Hisako Hibi, Michael Jang, Chiura Obata, and Carlos Villa, among others, for the Cantor’s collection. She collaborates with the Cantor team to develop innovative exhibitions and campus programming surrounding the work of American artists.
Alexander has been invited to present her research and writing at the Harvard Art Museums, Metropolitan Museum of Art, American Folk Art Museum, Fabric Workshop Museum, Laband Art Gallery, and the Los Angeles County Museum of Art; her scholarship has been supported by the Center for Advanced Study in the Visual Arts, the Center for Craft, Creativity, and Design, and the American Craft Council. From 2017-2018 she was a Jane and Morgan Whitney Fellow at the Metropolitan Museum of Art.
Julie Ault is an artist, curator, editor, and writer focused on mobilizing materials and information to animate histories of activism in art. Her projects include exhibitions, publications, art writing, archiving, and historical chronicles. Ault has edited, authored, and collaborated on over twenty publications, most recently, Hidden in Plain Sight: Selected Writings of Karin Higa, edited by Julie Ault (Dancing Foxes Press, 2022), and DUETS: William Olander, Julie Ault and David Deitcher in Conversation on William Olander (Visual AIDS, 2021). Ault’s recent exhibitions include Down the Rabbit Hole: JB in JT, James Benning exhibition arranged with Martin Beck in collaboration with O-Town House, Los Angeles (2020), and Paper Mirror: Nancy Spero at the Museo Tamayo, and MoMA PS1 (2018–19). Ault co-founded the artists’ collaborative Group Material, active from 1979 to 1996. She has been a MacArthur Fellow since 2018.
Patty Chang is a Los Angeles based artist and educator who uses performance, video, installation and narrative forms when considering identity, gender, transnationalism, colonial legacies, the environment, large-scale infrastructural projects and impacted subjectivities. Her museum exhibition and book The Wandering Lake investigates the landscapes impacted by large scale human-engineered water projects such as the Soviet mission to irrigate the waters from the Aral Sea, as well as the longest aqueduct in the world, the North to South Water Diversion Project in China. Her most recent multichannel video project Milk Debt combines the act of lactation with people’s unspoken fears. Her work has been exhibited nationwide and internationally at such institutions as the Museum of Modern Art, New York; Guggenheim Museum, New York; New Museum, New York; M+ Museum, Hong Kong; BAK, Basis voor actuele Kunst, Utrecht; Hammer Museum, Los Angeles; Chinese Arts Centre, Manchester, England; the Museum of Contemporary Art, Chicago; San Francisco Museum of Modern Art; Times Museum in Guangzhou, China; and Moderna Museet in Stockholm, Sweden. She has received a United States Artist Fellowship, a Rockefeller Foundation Grant, a Creative Capital Fellowship, a Guna S. Mundheim Fellowship in the Visual Arts at the American Academy in Berlin, a John Simon Guggenheim Memorial Foundation Fellowship, and an Anonymous Was a Woman Grant. She teaches at the University of Southern California in Los Angeles, CA.
Alexandra Chang is the Interim Associate Director of the Clement A. Price Institute on Ethnicity, Culture and the Modern Experience and the Associate Director of the American Studies Program and advises the MA Public Humanities track. She is Associate Professor of Practice in the Art History program of the Department of Arts, Culture and Media, conducting research and teaching on Eco Art, Global Asias Art and Visual Cultures, Decolonizing Practices, Digital Humanities, and Web3. She is working with New Jersey urban gardening community partners including elders of the New Jersey Munsee Lunaape Nation and the Rutgers community to develop The Healing Garden at the Price Institute at RU-N. She is also organizing the Decolonizing Curatorial and Museum Studies and Public Humanities Project (DCMP), which includes a network of faculty across the campus and internationally. She is the co-founding editor of the Asian Diasporic Visual Cultures the Americas journal (ADVA) and director of the Virtual Asian American Art Museum (VAAAM). She is also a member of ArtTable, where she was awarded the New Leadership Award in 2019.
Recent exhibitions she curated include CYJO/Mixed (2019, co-curator with artist, NYU Kimmel Windows); Ming Fay: Beyond Nature (2019 Sapar Contemporary); Zarina: Dark Roads (2017-18, co-curator with artist, A/P/A Institute, NYU), (ex)CHANGE: History Place Presence (2018, Asian Arts Initiative); and Circles and Circuits: Chinese Caribbean Art (2017-2018, co-curated with Steven Wong, Getty PST II: LA/LA, Chinese American Museum and California African American Museum). The exhibition Imagining Justice: Asian American Art Movements is currently on view at the Mori Art Museum until November 6, 2022 (co-curated with Manabu Yahagi) and Books and Things: The Studiolo of kate-hers RHEE is on view at Paul Robeson Gallery in Express Newark at RU-N until December 22, 2022. She is working with her Global Asias Art and Visual Cultures class on an exhibition of the work of the Nori Morimoto collection opening November 17, 2022 at the Dana Library at Rutgers University-Newark.
Gordon H. Chang is a professor of History at Stanford University and the Olive H. Palmer Professor of Humanities. He is currently serving the University as the Senior Associate Vice Provost for Undergraduate Education and is the Stanford Alumni Association Fellow in Undergraduate Education. He is the former director of the Center for East Asian Studies and of the Asian American Studies Program. He has been on the Stanford faculty since 1991. In 2019, he published Ghosts of Gold Mountain: The Epic History of the Chinese Who Built the Transcontinental Railroad and, as co-editor, The Chinese and the Iron Road: Building the Transcontinental. These books draw from more than seven years of work conducted by the Chinese Railroad Workers in North America Project at Stanford, which he has co-directed. His other books include Friends and Enemies: The United States, China, and the Soviet Union, 1948-1972; Morning Glory, Evening Shadow: Yamato Ichihashi and His Internment Writings, 1942-1945; and Fateful Ties: A History of America’s Preoccupation with China. He teaches courses in American history, trans-Pacific history, U.S-China relations, and Asian American history.
Abby Chen is the Head of Contemporary Art and Senior Associate Curator at the Asian Art Museum in San Francisco. She started this role in 2019 to lead the museum’s groundbreaking Transformation project of 28,000 square feet of new space expanding across multiple levels. Her curatorial debut for the museum’s inaugural contemporary art department includes commissioning public art from Bay Area Asian American artists, such as Jas Charanjiva (Don't Mess With Me, 2020), Chanel Miller (I was, I am, I will be, 2020), Jenifer K Wofford (Pattern Recognition, 2020), as well as introducing artwork of international artists Jayashree Chakravarty and Lam Tung Pang in Asian Art Museum's collection. Under her leadership, she helped acquire the largest collection of Bernice Bing and it’s on view now till May 2023. Additional acquisition includes artworks by Theresa Hak Kyung Cha, Kay Sekimachi, Carlos Villa, Stephanie Syjuco, Michael Jang, Wesley Tongson, TT Takemoto, and many others. As part of the transformation, she established the collaborative model for global artist community building through After Hope, Videos of Resistance, co-curated by Padma D. Maitland. She also conceptualized and strategized the launch of the museum's Practice Institute, an innovative platform to expedite openness, accessibility, and experimental reform. On November 18th, her exhibition Kongkee: Warring States Cyberpunk on Asian futurism will open in the museum’s Yamazaki & Yang Pavillion.
Prior to taking on this position in 2019, she served for over a decade as the Curator and Artistic Director at the Chinese Culture Center and Foundation of San Francisco. Under her leadership, the Community-based organization was transformed into an open and process-driven platform for contemporary art. Multiple initiatives were established during her tenure, including the Xian Rui/Fresharp Artist Excellence Series since 2008, the first of its kind in the country supporting mid-career artists of Chinese descent in America. In 2010, she organized Gender Identity Symposium, a multi-city forum in Guangzhou, Beijing and Shanghai, followed by the 2011 international exhibition WOMEN我們 on feminism, gender equality and social engagement in China. A long-time advocate of artists' autonomy and telling untold stories, her focus on bringing art from and into marginalized communities broke barriers imposed on ethnic institutions and neighborhoods.
Howie Chen is the Curator of 80 Washington Square East Gallery at NYU. A founding director of Chen’s, a townhouse gallery in Brooklyn, and Dispatch, he has held curatorial roles at the Whitney Museum of American Art and MoMA PS1. His writings have been published by Primary Information and Badlands Unlimited and have appeared in magazines such as Artforum, Frieze, and Art in America. Chen is the editor of the anthology Godzilla: Asian American Arts Network 1990-2001 (Primary Information, 2021), a comprehensive collection of writings, art projects, publications, correspondence, organizational documents, and other archival ephemera from the trailblazing Asian American artist collective that sought to stimulate social change through art and advocacy.
Deborah Cullinan is one of the nation’s leading thinkers on the pivotal role artists and arts organizations can play in shaping our social and political landscape, and has spent years mobilizing communities through arts and culture. She joined Stanford University in early 2022 as the first full-time vice president for the arts. Previously, she was CEO of Yerba Buena Center for the Arts (YBCA), where she launched several bold new programs, engagement strategies, and civic coalitions. Prior to joining YBCA in 2013, she was the executive director of San Francisco’s Intersection for the Arts. She is a co-founder of CultureBank, and recently served as co-chair of the San Francisco Arts Alliance, vice chair of the Yerba Buena Gardens Conservancy, and secretary of the Community Arts Stabilization Trust. She was the inaugural National Field Leader in Residence at Arizona State University’s National Accelerator for Cultural Innovation and a former innovator-in-residence at the Kauffman Foundation. She served on Mayor London Breed’s San Francisco Economic Recovery Task Force and also on Governor Gavin Newsom’s Task Force on Business and Jobs Recovery. Her passion for using art and creativity to shift culture and advance equity and justice has made her a sought-after speaker at events and conferences around the world.
Binh Danh earned an MFA from Stanford University. His awards include a 2010 Eureka Fellowship and a 2019 Creative Work Fund. His work has been collected by the deYoung Museum; Museum of Fine Arts, Boston; National Gallery of Art; San Francisco Museum of Modern Art; among others. Danh’s first monograph, The Enigma of Belonging, is available at Radius Books. He teaches photography at San José State University.
Binh Danh emerged as an artist of national importance with work that investigates his Vietnamese heritage and our collective memory of war – work that deals with “mortality, memory, history, landscape, justice, evidence, and spirituality.” His technique incorporates his invention of the chlorophyll printing process, in which photographic images appear embedded in leaves through the action of photosynthesis. His newer body of work focuses on nineteenth-century photographic processes, applying them in an investigation of battlefield landscapes and contemporary memorials. A recent series of daguerreotypes celebrated the United States National Park system during its anniversary year. His work is in the permanent collections of the National Gallery of Art, the San Francisco Museum of Modern Art, The DeYoung Museum, the Philadelphia Museum of Art, the George Eastman Museum, and many others. In 2012 he was a featured artist at the 18th Biennale of Sydney in Australia. He teaches photography at San José State University.
Patrick Flores is Professor of Art Studies at the Department of Art Studies at the University of the Philippines and Curator of the Vargas Museum in Manila. He is the Director of the Philippine Contemporary Art Network. He was one of the curators of Under Construction: New Dimensions of Asian Art in 2001-2003 and the Gwangju Biennale (Position Papers) in 2008. He was a Visiting Fellow at the National Gallery of Art in Washington, D.C. in 1999. Among his publications are Painting History: Revisions in Philippine Colonial Art (1999); Past Peripheral: Curation in Southeast Asia (2008); Art After War: 1948-1969 (2015); and Raymundo Albano: Texts (2017). He was a Guest Scholar of the Getty Research Institute in Los Angeles in 2014. He was the Artistic Director of Singapore Biennale 2019 and Convener of the Forums for the Taiwan Pavilion at the Venice Biennale in 2022.
Chitra Ganesh’s drawing based practice brings to light narrative representations of femininity, sexuality, and power typically absent from canons of literature and art. Her drawings, prints, comics, installations and animations often take historical and mythic texts as inspiration and points of departure to complicate received ideas of iconic female forms. Her work has been the subject of solo presentations at The Brooklyn Museum, The Warhol Museum, Gothenburg Kunsthalle, The Kitchen NYC, Rubin Museum, and PS 1/MOMA among others. She is the recipient of numerous other residencies and grants, including a Guggenheim Fellowship, a Pollock-Krasner Foundation grant, and an Anonymous Was A Woman award in 2020. Ganesh's works are held in prominent public collections such as the Philadelphia Museum of Art, San Jose Museum of Art, Baltimore Museum, the Museum of Modern Art, and the Whitney Museum.
Melissa Ho is the Smithsonian American Art Museum’s Curator of Twentieth-Century Art; she joined the museum’s staff in September 2016. Ho is responsible for research, acquisitions and exhibitions related to the museum’s collections focusing on art since 1945. She also leads the museum’s Asian American art collecting initiative. Ho’s exhibitions include “Artists Respond: American Art and the Vietnam War, 1965-1975” (2019), “Artist to Artist” (2021-ongoing) and the forthcoming “Composing Color: The Paintings of Alma Thomas” (2023).
Nancy Hom is an artist, writer, curator, and arts consultant. Born in Toisan, China and raised in New York City, she has been an influential leader in the SF Bay Area art scene since 1974. Over the years, she has created many iconic images for community cultural events as well as political and social causes. Through her posters, poetry, illustrations, installations, and curatorial work, Nancy has used the arts to affirm the histories, struggles, and contributions of communities of color. Since 2012, her large floor mandalas have evolved from personal expressions to educational stories and spiritual contemplations that involve direct community input. As a vehicle for healing, they offer reflections on change, interdependence, and common purpose.
In addition to pushing artistic boundaries, Nancy has also nurtured the creative and organizational growth of over a dozen Bay Area arts organizations. In her long involvement with Kearny Street Workshop, an Asian American arts organization, Nancy served as its Executive Director from 1995 to 2003. She is a Gerbode Fellow (1998) and KQED Local Hero (2003), as well as a grant recipient. Her recent awards include the Joan Mitchell Foundation Painters and Sculptors grant (2012) and the San Francisco Foundation Community Leadership Award (2013), plus two grants in 2018 by the SF Arts Commission and the California Arts Council, given to Asian Pacific Islander Cultural Center to support her retrospective, which took place in March 2019.
Cathy Park Hong’s New York Times bestselling book of creative nonfiction, Minor Feelings: An Asian American Reckoning, was published in Spring 2020 by One World/Random House and Profile Books (UK). Minor Feelings was a Pulitzer Prize finalist, won the National Book Critics Circle Award for autobiography, and earned her recognition on TIME’s 100 Most Influential People of 2021 list. She is also the author of poetry collections Engine Empire, published in 2012 by W.W. Norton, Dance Dance Revolution, chosen by Adrienne Rich for the Barnard Women Poets Prize, and Translating Mo'um. Hong is the recipient of the Windham-Campbell Prize, the Guggenheim Fellowship, and a National Endowment for the Arts Fellowship. Her prose and poetry have been published in the New York Times, New Republic, the Guardian, Paris Review, Poetry, and elsewhere. She is a full professor at Rutgers-Newark University.
Arlan Huang was born in Bangor, Maine (1948), raised in San Francisco, and currently resides in New York City. As an artist he has traveled two paths, a community art path and a mainstream path. The fundamental philosophy of community can be traced back to his involvement with Basement Workshop (1971) and his position as co-coordinator of Yellow Pearl, a collection of art, music and writing of young Asian Americans across America. The publication was anchored by the music and lyrics of Nobuko Miyamoto, Chris Iijima and “Charlie” Chin. In 1973 Huang provided the drawings and with Karl Matsuda designed the album jacket for A Grain of Sand, now at the Smithsonian. The lyrics, “we don’t want a piece of your pie, we want a piece of our own” became his mantra for the next 15 years. Beginning with the first Chinatown mural, History of Chinese Immigration to the United States (1972), public art in the form of community murals became a Summer mainstay with Cityarts Workshop for six years. Political activist art continued until Huang decided to return to oil painting in the mid 80s. Participating in Basement Workshop’s Catherine Gallery, he began meeting a new generation of Asian American artists. In 1990 Huang was invited to be one of the original members of Godzilla: Asian American Arts Network. A bold and vociferous group, it forged a new path into mainstream art and their institutions. It was an intriguing group divided by different ambitions and united as Asian Americans. That same year, Huang received a residency at the New York Experimental Glass Workshop (Urban Glass) that changed the course of his art. With renewed breadth he designed public works of art in blown glass. For the NYC Board of Education he created American Origins (1996), a glass wall installation at PS 152 in Brooklyn that addresses the issues of immigration and migration as reflected in the New York City public school system. He installed 100 Smooth Stones for Grandfather for the Chinatown History Project (Museum of Chinese in the Americas). A seminal installation, it was described by critic Samuel Fromartz as “meteors of uncommon beauty.” He also designed works for Percent for Art, Baron Capital, Manhattan Community College, Jacobi Medical Center and the Women’s Residence in Setagaya, Japan. For a San Francisco Art Commission project he blew large glass rondels as wayfinding markers for Laguna Honda Hospital and Rehabilitation Center. Huang’s work has been shown at the Museum of Modern Art, the Brooklyn Museum of Art, Trestle Gallery, Walter Randel Gallery, Bowery Poetry Club, EXIT Art, Art in General, and Flatfile/Slash, Japan. Huang’s favorite place to show is Pearl River, NYC. Huang was a 2014 recipient of the Joan Mitchell Creating a Living Legacy award, and was the first of the CALL artists to be featured in a CALL/VoCA Talk in October 2015. In 2019 he interviewed artist Ted Kurahara for Voices in Contemporary Art. He attended San Francisco Art Institute and City College of San Francisco, and received his BFA from Pratt Institute.
Dr. Usha Iyer is Assistant Professor of Film and Media Studies, Department of Art and Art History, Stanford University. They are the author of Dancing Women: Choreographing Corporeal Histories of Hindi Cinema (Oxford UP) which examines constructions of gender, stardom, sexuality, and spectacle in Hindi cinema through women's labor, collaborative networks, and gestural genealogies. Their current project studies the affective engagements of Caribbean spectators with Indian cinema and the impact of Caribbean performance forms on Indian film industries.
Mark Dean Johnson is Professor Emeritus of Art at San Francisco State University. From 2002-2008, he was the Co-Director of the Asian American Art Project at Stanford University, and earlier served as Associate Dean of the San Francisco Art Institute and earlier still was Associate Professor of Art at Humboldt State University.
Johnson is also co-curator/co-author of Carlos Villa: Worlds in Collision (2021: University of California Press) which premiered at the Newark Museum of Art before traveling to the Asian Art Museum and other venues in San Francisco. He is also co-editor/co-author of the online Martin Wong Catalogue Raisonné developed by Stanford University Library, appearing in 2022. He was co-curator/co-editor of Changing and Unchanging Things: Noguchi and Hasegawa in Postwar Japan (2019: University of California Press) that was developed by the Noguchi Museum and opened at the Yokohama Art Museum, and co-editor of the related Saburo Hasegawa Reader (2019: University of California Press). In 2019, he was also co-curator/co-editor of From Heart to Hand: Chang Dai-chien in California for San Francisco’s Asian Art Museum, and the traveling exhibition When I Remember I See Red: American Indian Art and Activism in California that opened at the Crocker Art Museum (2019: University of California Press). He is the Principal Editor and a Co-Author of the anthology and biographical directory Asian American Art: A History, 1850-1970 (2008: Stanford University Press) and was also the Principal Guest Curator for the survey exhibition at San Francisco’s de Young Museum, Asian/American/Modern Art: Shifting Currents, 1900-1970 and co-editor and co-author of the related catalog (2008: University of California Press). He has curated five exhibitions for Sweden’s Nordiska Akvarellmuseet including China’s Changing Landscape (2014) and Japan: Spirits of Nature (2017), both with bi-lingual catalogs. For the Chinese Historical Society of America he curated Martin Wong’s Utopia (2003, with catalog) and co-curated Dong Kingman’s San Francisco (2000, with catalog). At San Francisco State University, he organized With New Eyes: Toward an Asian American Art History (1995), and Chang Dai-chien in California (1999), both with catalogs.
Johnson has also written book chapters and articles for several internationally based journals about Asian American artists including Fifth Moon Group painter Fong Chung-ray (2015: Yishu Contemporary Chinese Art, Vancouver), Filipino artist/activist Carlos Villa (2015: Asian Diasporic Visual Culture of the Americas, New York and Montreal), and Chinese American Martin Wong (2014: Para/Site, Hong Kong). He has lectured widely in China in cities including Shanghai, Hong Kong, Neijiang, and Chengdu, as well as in Scandinavia. He has also lectured widely in the United States, including at UCLA, Stanford, the Smithsonian American Art Museum, the Noguchi Museum, and participated in several projects at NYU. He delivered the keynote lecture for the NEH Summer Institute Re-Envisioning American Art: Asian American Art, Research and Teaching – for which he was among the Principal Faculty – hosted at NYU. He participated in a panel organized by the Asian Art Archives at the China Institute in 2013.
He has personally worked with many Asian American artists in America. These include Ruth Asawa, Xu Bing, Cai Guo-jiang, Zhang Hongtu, Li Huayi, Zheng Chongbin, Tseng Yuho, Dong Kingman, Frederick Wong, Chen Chi-kwan, Jade Snow Wong, Fu Chuang-fu, Hao Beiren, Hung Liu, Harry Tsuchidana, Carlos Villa, Martin Wong and Wucius Wong – and the families of many earlier artists including Chang Dai-chien, Yun Gee, Hisako and Matsusaburo Hibi, Chiura Obata, Zhang Shuqi, and others.
Joan Kee is professor of art history at the University of Michigan in Ann Arbor and an inaugural Ford Foundation Scholar in Residence at the Museum of Modern Art. She is the author of The Geometries of Afro Asia: Art beyond Solidarity (forthcoming from the University of California Press, 2023), Models of Integrity: Art and Law in Post-Sixties America (University of California Press, 2019) and Contemporary Korean Art: Tansaekhwa and the Urgency of Method (University of Minnesota Press, 2013), Kee is also co-editor of To Scale (Art History, 2016) with Emanuele Lugli and Contemporaneity and Art in Southeast Asia (Third Text, 2011) with Patrick Flores. She is a contributing editor at Artforum and on the advisory boards of Art History, Oxford Art Journal, and Art Margins. In spring 2021 Kee served as Clark Professor in the Williams Graduate Program in the History of Art in spring 2021.
Appointed in January 2022, Christine Y. Kim is Britton Family Curator-at-Large of North American Art at Tate Modern, London. As Curator of Contemporary Art at LACMA (2009-21), she organized “Julie Mehretu” (2019-22), “Isaac Julien: Playtime” (2019), “James Turrell: A Retrospective” (2013-14), and “Human Nature: Contemporary Art from the Collection'' (2011), among numerous other exhibitions. Kim is co-founder of nonprofits and community organizations such as Los Angeles Nomadic Division (LAND) (2009-), GYOPO (2017-), and Stop DiscriminAsian (2020-), and is on advisory boards of Denniston Hill, Museums Moving Forward (MMF) and LAXART. Kim has contributed to multiple publications and guest-curated international exhibitions including “The Ends: The Politics of Participation in the Post-Internet Age” (2018) 12th Gwangju Biennial, S Korea. Before joining LACMA, Kim was a curator at the Studio Museum in Harlem (2000 - 08), where she co-curated “Freestyle” (2001) with Thelma Golden, launching the groundbreaking “F” series of exhibitions followed by “Frequency” (2005) and “Flow” (2008), among other exhibitions.
Marci Kwon is Assistant Professor of Art History at Stanford University. She is the author of Enchantments: Joseph Cornell and American Modernism (Princeton, 2021). Her work has appeared in Third Text, Modernism/Modernity Print +, and edited volumes on social art history, self-taught art, and the early history of the Museum of Modern Art.
At Stanford, Kwon serves as a faculty affiliate of the Center for Comparative Studies in Race and Ethnicity, Asian American Studies, African and African American Studies, American Studies, the Center for East Asia, and Feminist and Gender Studies, and the steering committee of Modern Thought and Literature. She is the recipient of the Asian American Studies Faculty Prize, the Center for Comparative Studies in Race and Ethnicity Teaching Award, and the Phi Beta Kappa Teaching Award.
Việt Lê is an Associate Professor (History of Art and Visual Culture | Visual & Critical Studies) at California College of the Arts. An academic, artist, writer, and curator, Lê's work centers on spiritualities, trauma, healing, and sexualities with a focus on Southeast Asia and its diasporas. Dr. Lê is the author of Return Engagements: Contemporary Art’s Traumas of Modernity and History in Sài Gòn and Phnom Penh (Duke University Press, 2021). The art book White Gaze is a collaboration with Latipa, 2021 CCSRE Mellon Arts Fellow (Candor Arts + Memory and Resistance Laboratory + Sming Sming Books, 2nd Edition, 2019).
Lê has presented their work throughout the world including at The Banff Centre, Bangkok Art & Cultural Center, Shanghai Biennale, Rio Gay Film Festival, the Smithsonian, among other venues. Lê curated Charlie Don’t Surf! (Centre A, Vancouver, BC, 2005); and co curated humor us (with Leta Ming and Yong Soon Min, Los Angeles Municipal Art Gallery, CA, 2008), among others.
Lê's currently a CCSRE Mellon Arts Fellow at Stanford University, working on an experimental film/ installation; critical/ creative book project that centers Southeast Asian queer and transgender spirit mediums and visionaries by first focusing on Cao Đài, a syncretic, egalitarian Vietnamese indigenous religion. It is Việt Nam’s third largest religion, currently with 6 million devotees in Cambodia, the United States, Việt Nam, Australia, and Europe. Linking indigenous shamanistic practices across the continents, the film centers artists, activists, scholars, and scientists as visionaries. Through interviews, music, and performance, this project aims to shift Western medical discourses of pathology toward comparative metaphysical empowerment.
Summer Kim Lee is an Assistant Professor of English at UCLA. Her writing can be found in academic journals like Social Text, ASAP/Journal, Women & Performance: a journal of feminist theory, Asian Diasporic Visual Cultures and the Americas, Post45, and GLQ as well as in publications such as The New York Times Magazine, The Nation, and Artforum.
Yinshi Lerman-Tan is the Bradford and Christine Mishler Associate Curator of American Art at the Huntington. She received her Ph.D. in Art History from Stanford University and B.A. in American Studies from Yale University. Prior to joining the Huntington in 2021, she was a curator at the San Antonio Museum of Art, where she mounted exhibitions of American, Latin American, and modern and contemporary art. She has also held positions at the Cantor Arts Center at Stanford, the Yale Center for British Art, and the Smithsonian American Art Museum. Her work has been supported by the Douglass Foundation, the Andrew W. Mellon Foundation, and the Coates Foundation.
Jen Liu is a New York-based visual artist working in video, installation, dance performance, and painting, on topics of national identity, economy, and the re-motivating of archival artifacts. She is a recipient of the Creative Capital Grant, the LACMA Art + Technology Lab grant, the Guggenheim Fellowship in Film/Video, the \Art Award from Cornel Tech, the NYSCA/NYFA Fellowship in Digital/Electronic Art, and the Pollock-Krasner Award, among others. She has presented work at MoMA, The Whitney Museum, and The New Museum, New York; Royal Academy and ICA in London; Kunsthaus Zurich; Kunsthalle Wien; the Aspen Museum of Art; Henry Art Gallery, Seattle; MUSAC, Leon; the Times Museum Guangzhou, Today Art Museum Beijing, and Shanghai Biennale, China; and the Singapore Biennial. She has also received multiple grants and residencies, including Akademie Schloss Solitude, Stuttgart, Germany; Para Site, Hong Kong; Surf Point, Maine; Pioneer Works, ISCP and LMCC in New York; Sommerakademie, Bern, Switzerland; and de ateliers, Amsterdam, NL.
Her current body of work, Pink Slime Caesar Shift, builds from a speculative proposal to build a secret information network for labor activism – parallel with the possibility of art as an alternative for political discourse outside the news media cycle and its spectacularized suffering. Asian and Asian diaspora-centered colonial biopolitics and feminist mutation are overall themes; fictional solutions to impossible economic and ecological problems are the modus operandi, requiring evasive, slippery techniques – as field strategy, as artistic sensibility. In hybrid videos, industrial texts and corporate sales brochures are cut together with firsthand accounts of labor activists and social media posts of factory workers, while simple animations amplify but also interrupt historical narratives.
Margo Machida, Ph.D. is Professor Emerita of Art History and Asian American Studies at the University of Connecticut. Born and raised in Hawai‘i, she is a scholar, independent curator, and cultural critic specializing in Asian American art and visual culture. She has lectured widely on her research both nationally and internationally, and served as a curatorial advisor for the inaugural 2017 Honolulu Biennial. Her book, Unsettled Visions: Contemporary Asian American Artists and the Social Imaginary (Duke University Press, 2009) received the Cultural Studies Book Award from the Association for Asian American Studies. She is an Associate Editor of the journal, Asian Diasporic Visual Cultures and the Americas (Brill). Publications include: “Transcultural Sampling: The Reimagined Worlds of Carlos Villa” in Carlos Villa: Worlds in Collision (University of California Press, 2022); “A Conversation with Shinpei Takeda” in Moral Fantasy/Fantasia Moral (Tijuana Cultural Center, Tijuana, Mexico, 2021); “XianRui: Asian America as a Transnational Nexus,” in XianRui: Ten Years (Chinese Culture Center of San Francisco, 2018); “Pacific Itineraries: Islands and Oceanic Imaginaries in Contemporary Asian American Art” (ADVA Journal, 2017); “Trans-Pacific Sitings: The Roving Imagery of Lynne Yamamoto” (Third Text, 2014); “Devouring Hawai‘i: Food, Consumption, and Contemporary Art” in Eating Asian America: A Food Studies Reader (NYU Press, 2013); “Diaspora, Memory, and the Culturalist Imagination,” in Carlos Villa and the Integrity of Spaces (Meritage Press, 2012); “Convergent Conversations – The Nexus of Asian American Art” in A Companion to Asian Art and Architecture (Wiley-Blackwell, 2011); and “Art and Social Consciousness: Asian American and Pacific Islander Artists in San Francisco 1965-1980” in Asian American Art: A History, 1850-1970 (Stanford University Press, 2008). Margo Machida received the 2021 College Art Association Excellence in Diversity Award, and is a co-founder of GODZILLA: Asian American Art Network (1990-2001).
Susette Min is an Associate Professor at UC Davis where she teaches Asian American studies, cultural studies and art history. She is the author of Unnamable Encounters: The Ends of Asian American Art (NYU Press, 2018) and recently co-wrote an article with Bakirathi Mani on photography and anti-Asian Violence for Verge: Studies in Global Asias. Formerly a Curator of Contemporary Art at The Drawing Center in New York City, she is now an independent curator. Recent exhibitions include Welcome? at the Manetti Shrem Museum at UC Davis. Min is also the Arts Editor for Social Text, the co-editor of Event Reviews for American Quarterly, and is one of several Associate Editors for Asian Diasporic Visual Cultures and the Americas (ADVA).
Asma Naeem is the Interim Co-Director and the Eddie C. and C. Sylvia Brown Chief Curator at the Baltimore Museum of Art, where she has organized exhibitions on the work of such artists as Candice Breitz, Isaac Julien, and Valerie Maynard. Her exhibition Salman Toor: No Ordinary Love is on view at the BMA now through October 2022, when it will travel to three additional museum venues across the country. Prior to the BMA, she held curatorial positions at the Smithsonian’s National Portrait Gallery, where she presented, among other shows, an early career retrospective of the work of Titus Kaphar, and an historical and contemporary exploration of the silhouette through the lens of gender, race, and technology. She has written widely on American art, contemporary art, critical race theory, the South Asian diaspora, and museum studies. Her book, “Out of Earshot: Sound, Technology, and Power in American Art, 1847–1897” was published by University of California Press in 2020.
She is currently organizing a sweeping social and art history of the hip hop movement both as an American and global phenomenon (forthcoming, 2023), and a transatlantic, multigenerational exploration of the Partition of British India in terms of trauma, dignity, and futurity (TBA). Naeem holds a B.A. in art history and political science from the Johns Hopkins University, and a Ph.D. in art history from the University of Maryland.
Catalina Ouyang engages object-making, interdisciplinary environments, and time-based projects to indicate counter narratives around representation and self-definition. Through fragmentation, expansion, and abstraction, their work proposes the body as a politicized landscape subject to partition. Working gnostically with materials ranging from hand-carved wood and stone to appropriated literature and historic artifacts, Ouyang also attends to critical reimaging of historical formation wherein monstrosity, animality, and toxicity act as ciphers for the psycho-affective alienation of the minor subject. Ouyang's work has been the subject of solo and group presentations at Night Gallery (LA), HOUSING (NYC), SculptureCenter (NYC), the Aldrich Museum (Ridgefield, CT), Jeffrey Deitch Gallery (NYC and LA), Asia Art Center (Taipei), and others. Ouyang received an MFA from Yale University and lives and works in New York City.
Veronica Roberts assumed the position of John and Jill Freidenrich Director of the Cantor Arts Center on July 5. She had served as the curator of modern and contemporary art at the Blanton Museum of Art at The University of Texas at Austin since 2013. At the Blanton, she curated nationally touring exhibitions Nina Katchadourian: Curiouser and Converging Lines: Eva Hesse and Sol LeWitt, and presented projects with Ed Ruscha, Lenka Clayton, Vincent Valdez, Donald Moffett, Susan Philipsz, and Diedrick Brackens. She worked closely with Ellsworth Kelly to help realize the artist’s only building, Austin, a contemplative, chapel-like space with three monumental stained glass windows that opened on the Blanton grounds in early 2018. Previously, she held curatorial positions at MoMA, the Indianapolis Museum of Art, and the Whitney Museum, and served as director of research for the Sol LeWitt Wall Drawing Catalogue Raisonné.
Veronica is a San Francisco native. She was a 2021 fellow of the Center for Curatorial Leadership. She received her MA from UC Santa Barbara and her BA in art history from Williams College.
Erika Chong Shuch (she/ her) is a choreographer, director, and performance maker interested in expanding the way performance is created and shared. Shuch’s work spans devised experimental performance and social practice, and produces unexpected forms of audience engagement. Shuch co-founded For You, a performance group that creates original, participatory performances that bring strangers together for intimate encounters. For You projects range from one-to-one performances to large-scale, evening-length theatrical works. Each performance is grounded in the lived experiences of participant-collaborators. Their works include First Things First (2019-20, the Momentary), Artists and Elders (2020-current, online), Dr. G.’s Bingo Extravaganza (2022, Oregon Shakespeare Festival), and The Welcoming (forthcoming).
Shuch has worked as a choreographer for theaters across the country including The Arena, Roundhouse Theater/ Getty Villa, Theater for a New Audience, Hudson Valley Shakespeare, Pittsburg Public, Portland Center Stage, American Conservatory Theater, Folger Theater, Oregon Shakespeare Festival, and Kennedy Center. Directing credits include Iron Shoes with Kitka Vocal Ensemble and Lily’s Revenge, Love Act by Taylor Mac at the Magic Theatre. Erika’s work has been supported by Creative Capital, New England Foundation for the Arts, among others. Erika is a Bay Area Fellow at Headlands Center for the Arts.
Tiffany Sia (b. 1988, Hong Kong) is an artist, filmmaker and writer. Her films have screened at MoMA Documentary Fortnight, New York Film Festival, Toronto International Film Festival, Open City Documentary Film Festival and elsewhere. She is the recipient of the George C. Lin Emerging Filmmaker Award in 2021. On the occasion of the release of her artist book Too Salty Too Wet 更咸更濕, Sia debuted works across video, sculpture and print in her first institutional exhibition at Artists Space in 2021, titled Slippery When Wet. Her artworks have been exhibited at Kunstverein für die Rheinlande und Westfalen (Düsseldorf, Germany), Seoul Museum of Art (Seoul, South Korea), The Douglas Hyde Gallery (Dublin, Ireland), Blindspot Gallery (Hong Kong), and elsewhere. Grounded in a writing and research practice, Sia is interested in bringing tensions through multidisciplinary forms to unsettle stubborn notions of geography, genre and time. Materializing across film/video and print, her recent work explores the politics and relations of media circulation and the discrete histories of port cities. Her writing has appeared in October, Film Quarterly, LUX Moving Image and elsewhere. She currently lives and works in New York.
Victoria Sung is associate curator of visual arts at the Walker Art Center, Minneapolis, where she works with artists to create exhibitions, publications, and public programs. Recent projects include Siah Armajani: Follow This Line (2018; traveled to the Met Breuer); Theaster Gates: Assembly Hall (2019); Rayyane Tabet: Deep Blues (2021); Candice Lin: Seeping, Rotting, Resting, Weeping (2021; traveled to the Carpenter Center for the Visual Arts and the Berkeley Art Museum and Pacific Film Archive); Shen Xin: Brine Lake, A New Body (2021); and Pao Houa Her: Paj qaum ntuj / Flowers of the Sky (2022). She is currently organizing the first-ever retrospective on the Filipina American artist Pacita Abad, which will tour nationally starting in spring 2023.
Stephanie Syjuco works in photography, sculpture, and installation, moving from handmade and craft-inspired mediums to digital editing and archive excavations. Using critical wit and collaborative co-creation, her projects leverage open-source systems, shareware logic, and flows of capital, in order to investigate issues of economies and empire. Recently, she has focused on how photography and image-based processes are implicated in the construction of racialized, exclusionary narratives of history and citizenship. She was a Smithsonian Artist Research Fellow at the National Museum of American History in Washington DC in 2019/2020. She is featured in Season 9 of the acclaimed PBS documentary series Art21: Art in the Twenty-First Century. Recent exhibitions include "Being: New Photography" at the Museum of Modern Art, New York; "Public Knowledge," at the San Francisco Museum of Modern Art; "Stephanie Syjuco: Rogue States," at the Contemporary Art Museum St. Louis; and "Disrupting Craft: the 2018 Renwick Invitational" at the Smithsonian American Art Museum.
Born in the Philippines in 1974, Syjuco received her MFA from Stanford University and BFA from the San Francisco Art Institute. She is the recipient of a 2014 Guggenheim Fellowship Award, a 2009 Joan Mitchell Painters and Sculptors Award, and a 2020 Tiffany Foundation Award. Her work has been exhibited widely, including at MoMA/P.S.1, the Whitney Museum of American Art, The San Francisco Museum of Modern Art, ZKM Center for Art and Technology, the California Biennial at the Orange County Museum of Art, The 12th Havana Bienal, The 2015 Asian Art Biennial (Taiwan), among others. A long-time educator, she is an Associate Professor in Sculpture at the University of California, Berkeley. She lives in Oakland, California.
Ryan Tacata is a performance maker and writer based in Vancouver, BC. He is a co-founder of the performance group For You, with Erika Chong Shuch and Rowena Richie. His collaborative art practice is situated between live art and social practice, and engages in ordinary acts and gift-giving. More recent works include a minor repair. (2019), an archive-based response commissioned by the City of Chicago for the exhibition goat island archive—we have discovered the performance by making it; Lolas (2017), a performance installation in honor of Filipino grandmothers (Asian Art Museum, SF); and dancing in Doggie Hamlet (2015–) by Ann Carlson, a site-specific dance with four human performers, sheep herding dogs, and 30+ sheep. His performance work has been presented at the Asian Art Museum, Stanford University, the City of Chicago, Court Theatre, Oregon Shakespeare Festival, Museum of Performance + Design, and The Momentary. His writing has appeared in Performa, TDR, Performance Research and SFMoMA's OpenSpace. He is currently Assistant Professor of Performance at the School for the Contemporary Arts, Simon Fraser University.
With an openness to personal relationships and fortuitous encounters, Vo’s projects emerge via objects and images that have accrued meaning in the world, whether through their former ownership, their proximity to specific events, or their currency as universal icons. His work becomes an expanding and diversifying series of experiments, questioning what happens if he brings one set of elements together, then another, and another. Rather than creating a pluralist landscape for its own sake, this approach is driven by a profound desire to sift through the layers that inform our present. Power, history, eroticism, personal biography, imperial dissolution and globalist expansion are all in play. The Vo family escaped Vietnam to Denmark in 1979, and the artist’s work embodies the shifting and precarious nature of contemporary life. Vo imagines a world for the artist unbound by obligations to state institutions, social norms and grand humanist projects.
Danh Vo studied at KADK-The Royal Danish Academy of Fine Arts in Denmark and at the Städelschule in Frankfurt, Germany. He’s been awarded with the Hugo Boss Prize in 2012 and the Blauorange Kunstpreis by the Deutsche Volksbanken und Raiffeisenbanken in 2007; 2009 he was nominated for the Preis der Nationalgalerie für junge Kunst in Germany.
His most important exhibitions include: Danh Vo, Isamu Noguchi and Park Seo-Bo, Querini Stampalia Venice (2022); Isamu Noguchi / Danh Vo – a cloud and flowers, Mudam Luxembourg (2021-2022); Danh Vo, Secession Vienna (2021); Danh Vo, National Gallery of Osaka, Japan (2020); Danh Vo, South London Gallery, London (2019); Danh Vo: The Mudam Collection and Pinault Collection in Dialogue, Mudam Luxembourg (2019); Noguchi for Danh Vo: Counterpoint, M+, Hong Kong (2018); Danh Vo: Garden with Pigeons in Flight, Casa Luis Barragán, Mexico City (2018); Danh Vo, CAPC, Bordeaux (2018); Danh Vo: Take My Breath Away, Guggenheim Museum, New York and SMK, Copenhagen, (2018); Ng Teng Fong Roof Garden Commission series: Danh Vo, National Gallery Singapore (2016-17); Banish the Faceless / Reward your Grace, Palacio de Cristal del Retiro, Madrid (2015); Ydob eht ni mraw si ti, Museum Ludwig, Cologne (2015); Danh Vo: Wād al-ḥaŷara, Museo Jumex, Mexico City (2014/2015); Danh Vo: We The People (detail), Faurschou Foundation, Beijing (2014); We The People, commissioned by Public Art Fund for the Brooklyn Bridge Park, New York (2014); I M U U R 2 (Hugo Boss Prize), Guggenheim Museum, New York (2013); Chung ga opla, Villa Medici, Rome (2013); Fabulous Muscles, Museion, Bolzano (2013); Go Mo Ni Ma Da, Musée de l’Art Moderne de la Ville de Paris (2013); We The People (detail) 2010-2013, Art Institute of Chicago (2012); Vō Danh, Kunsthaus Bregenz (2012); JULY, IV, MDCCLXXVI, Kunsthalle Fridericianum, Kassel (2011); Hip Hip Hurra, SMK, Copenhagen (2010); Les fleurs d'intérieur, KADIST, Paris (2009); Danh Vo: Where the Lions Are, Kunsthalle Basel (2009); Package Tour, Stedelijk Museum, Amsterdam (2008).
His work has also been included in group exhibitions at institutions such as: Neon Foundation, Athens (2021); Triennale di Milano, Milan (2020); MOCA, Montpellier (2019); Hammer Museum, Los Angeles (2018); National Museum of Art, Osaka (2018); Walker Art Center, Minneapolis (2017); Frank F. Yang Art and Education Foundation | YOU Space, Shenzhen (2017); Art Gallery of South Australia, Adelaide (2017); Deutsches Hygiene-Museum, Dresden (2017); Centre Pompidou, Paris (2016); Aishti Foundation, Beirut (2016); The Menil Collection, Houston (2015); Barbican Centre, London (2015); Kunstmuseum Basel (2013); New Museum, New York, (2012); Kunsthaus Bregenz (2011); Galleria d'Arte Moderna e Contemporane, Turin (2011); Kunsthalle Basel (2010); Witte de With Center for Contemporary Art, Rotterdam (2009); Hamburger Bahnhof, Berlin (2009); Kunstverein, Munich (2008); Stedelijk Museum, Amsterdam (2008); CCA Wattis Institute for Contemporary Arts, San Francisco (2007), among others.
Danh Vo participated in the International Art Exhibition at the 55th Venice Biennial (2013), 58th Venice Biennial (2019) and represented Denmark at the 56th Venice Biennial (2015) with the exhibition Mothertongue.
Danh Vo (1975 -) was born in Vietnam and currently lives in Mexico City and Berlin. Since 2017, Vo also works on a farm-housing project outside of Berlin in Güldenhof.
Dorothy Wang is Professor of American Studies at Williams College and the author of Thinking Its Presence: Form, Race, and Subjectivity in Contemporary Asian American Poetry (Stanford, 2013), which won the Association for Asian American Studies' 2016 award for best book of literary criticism and was included in The New Yorker magazine's year-end list "The Books We Loved in 2016." She also conceived of and co-founded Race and Poetry and Poetics in the UK (RAPAPUK), an initiative that opened up discussions of race and colonialism in UK poetry. Wang has contributed essays to The Cambridge Companion to Twenty-First Century American Poetry, The Cambridge History of Asian American Literature, Poetry Review (UK), Boston Review, and the Journal of the Association for the Study of Australian Literature, among other publications. She is the recipient of an ACLS Frederick Burkhardt Fellowship.
Winnie Wong is a historian of modern and contemporary art and visual culture, with a special interest in fakes, forgeries, frauds, copies, counterfeits, and other non-art challenges to authorship and originality. Her research is based in the southern Chinese cities of Hong Kong, Guangzhou and Shenzhen, and her writing engages with Chinese and Western aesthetics, anthropology, intellectual property law, and popular culture. She is the author of Van Gogh on Demand: China and the Readymade (University of Chicago Press, 2014), which was awarded the Joseph Levenson Book Prize in 2015. Her articles have appeared in positions: asia critiques, the Journal of Visual Culture, Yishu: Journal of Contemporary Chinese Art, and she has written for Omagiu, Third Text Asia, and Artforum. Her work has been translated into Portuguese, Romanian, and Japanese. Her research has been supported with grants from the ACLS, SSRC, CLIR, Harvard Milton Fund, and Radcliffe Institute for Advanced Study. Winnie was a Senior Fellow at Dartmouth College, and received her SMArchS and PhD in History, Theory and Criticism from MIT. She was elected a Junior Fellow of the Harvard Society of Fellows (2010-2013). She is currently associate professor of Rhetoric and History of Art at the University of California, Berkeley.
Shen Xin practices empowering alternative histories, relations, and potentials between individuals and nation-states. Their interests lie in understanding culture on its own terms. Seeing it as an active commitment to the learning, teaching and engaging with relating to places as land, it opens up to inhabiting the multitudes of the selves through the lens of time. Engaged with moving image, video installation, public event and collective process, Shen Xin imagines and creates affirmative spaces of belonging that embrace polyphonic narratives and identities. Their solo presentations include ས་གཞི་སྔོན་པོ་འགྱུར། (The Earth Turned Green) (Swiss Institute, New York, 2022), Brine Lake (A New Body) (Walker Art Center, Minneapolis, 2021), Double Feature (Schirn Kunsthalle Frankfurt, 2019), Synthetic Types (Stedelijk Museum, 2019), To Satiate (MadeIn Gallery, Shanghai, 2019), Warm Spell (ICA, London, 2018), and half-sung, half-spoken (Serpentine Galleries, London, 2017). Their group exhibitions include Language is a River (MUMA, Melbourne, 2021), Minds Rising, Spirits Tuning (Gwangju Biennale, 2021), Sigg Prize (M+ Museum, Hong Kong, 2019), Afterimage (Lisson Gallery, London, 2019), and Songs for Sabotage (New Museum Triennial, New York, 2018). They received the BALTIC Artists’ Award (2017) and held the Rijksakademie residency in Amsterdam (2018-19). Shen Xin practices on Miní Sóta Makhóčhe, the land of the Dakhóta Oyáte, as well as on Lënapehòkink (New York City), the land of the Lenape peoples.
Hentyle Yapp is associate professor of Performance Studies in the Department of Theatre + Dance at UC San Diego. Yapp previously taught at New York University, Pomona College, and San Francisco State University.
He is the author of Minor China: Method, Materialisms, and the Aesthetic (Duke University Press). The book traces how contemporary China circulates in transnational discourse. In particular, Yapp attends to cross-medial art practices and the global art market in order to produce more nuanced understandings of history, state power, and notions of the subject. He is also the co-editor with C. Riley Snorton of Saturation: Race, Art, and the Circulation of Value (MIT Press), which is on race and the art world. His essays have appeared in American Quarterly, GLQ: A Journal of Lesbian and Gay Studies, Verge: Studies in Global Asia, Women and Performance: A Journal of Feminist Theory, Journal of Literary & Cultural Disability Studies, and Journal of Visual Culture, amongst other venues. He is also a member of the Social Text editorial collective. His next book analyzes how disability has been understood not only within the law, but also across the arts and humanities.
He received his PhD from UC Berkeley, JD from UCLA Law, and BA from Brown University. In addition to his academic work, Yapp is an artist. Having danced professionally for experimental and contemporary companies in New York and Taipei, he continues to choreograph and perform. He was most recently in a reperformance of THEM, a collaborative work by Dennis Cooper, Chris Cochrane, and Ishmael Houston-Jones.
John Yau is a poet, art critic, publisher, and curator. He has authored as well as contributed to numerous monographs, including Joe Brainard: The Art of the Personal, Ruth Asawa: All is Possible, Richard Hunt, and Anton van Dalen: Community of Many (all 2022). His most recent book of poems is Genghis Chan on Drums (Omnidawn 2022). A book of poems, Tell It Slant, and a selection of essays, Please Wait by the Coat: Reconsidering Race and Identity in American Art are due out in 2023. He is the 2017 recipient of the Jackson Prize in Poetry and a 2021 recipient of a Rabkin Prize for art criticism. He teaches at the Mason Gross School of the Arts at Rutgers University, writes regularly for the online magazine, Hyperallergic, and lives in New York.