Re-envisioning American Art History: Asian American Art, Research, and Teaching
The Asian/Pacific/American Institute at New York University announces it is convening an NEH Summer Institute from July 9-28, 2012, entitled “Re-envisioning American Art History: Asian American Art, Research, and Teaching.” The Summer Institute for twenty-five college and university teachers will deepen participants’ understanding of pivotal developments and critical issues in Asian American art history and visual culture studies, while providing access to specialized archives and collections that will enhance their research and teaching in the humanities.
Summer Institute faculty will include nationally prominent experts in the fields of art history, history, Asian American Studies, art education, curatorial and museum work, and library and information science. The Institute will cover key periods in Asian American art history beginning in the last century and continuing through the present, focusing upon important artists and art historical moments as well as the intersection of Asian American visual cultures, diaspora, and transnationalism. Participating core faculty and lecturers will lead seminars and special talks at A/P/A Institute, at NYU’s Fales Library & Special Collections, and at selected archives, museums, and artists’ studios throughout New York City.
For more information on the Summer Institute and how to apply, please visit:http://www.apa.nyu.edu/arts_research/NEH/
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![Unintentionally Eating the Other
Fashion’s depoliticization of ethnicity and race rely on and reproduce what Nirmal Puwar calls “the amnesia of celebration.”
The problem is that the violent racist abuse meted out to Asian women who have worn these items has no place in the recent donning of these items… “Do you remember when you thought we were ugly and disgusting when we wore these items?”
[…]
That Renn is able to feel “transformed” through and by this cosmetic trick of racial drag – one she equates with other tricks like fake moles and freckles – underscores the capacity of white bodies to play with race without bearing its burdens, without having to even acknowledge the existence of these burdens. Thus, the transformation Renn experiences and achieves is conditioned by her whiteness and the privileges that accrue to her racially unmarked body. At the same time, her transformation is possible only because of her proximation and consumption of otherness. The function of Otherness – even one that is unacknowledged by her – is reduced to the servicing of white women’s transformation.
[…]
[I]t suggests that practices of yellowfacing and blackfacing (like, redfacing and brownfacing) take modeling jobs away from nonwhite models. This logic assumes that these acts of racial drag are meant to represent an actual racial body. Let me be clear: yellowfacing is not a practice of racial passing, of a white model passing as Asian. Photographers, magazines, and designers know Asian models exist and know how to hire them. But they don’t hire them for these jobs because yellowfacing is not about tricking audiences into believing that the body in view is actually Asian.
via Minh-Ha T. Pham @ Threadbared](http://24.media.tumblr.com/tumblr_lrex6y8KcV1qzd6edo1_500.jpg)
