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Queer Memorialization, Counter REMAKING THE RAINBOW: QUEER MEMORIALIZATION, COUNTER- HISTORIES, KINSHIP, AND LOCAL TRADITION IN TAIPEI’S “SPECTROSYNTHESIS” by LANDRY ELIZABETH AUSTIN A THESIS Presented to the Department of the History of Art and Architecture and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts June 2019 THESIS APPROVAL PAGE Student: Landry Elizabeth Austin Title: Remaking the Rainbow: Queer Memorialization, Counter-Histories, Kinship, and Local Tradition in Taipei’s “Spectrosynthesis” This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the Department of the History of Art and Architecture by: Jenny Lin Chairperson Charles Lachman Member Charlene Liu Member and Janet Woodruff-Borden Vice Provost and Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2019 ii © 2019 Landry Elizabeth Austin iii THESIS ABSTRACT Landry Elizabeth Austin Master of Arts Department of the History of Art and Architecture June 2019 Title: Remaking the Rainbow: Queer Memorialization, Counter-Histories, Kinship, and Local Tradition in Taipei’s “Spectrosynthesis” While Taiwanese queer film and literature studies have flourished over the last few decades, virtually no English language scholarship on the history of LGBTQ art in Taiwan and Mainland China exists. Due to the contentious reception of LGBTQ relationships in Mainland China and furthermore, Taiwan, queer studies remained a largely underexplored topic until the last few decades. Until the last few years and the debut of the Museum of Contemporary Art, Taipei’s “Spectrosynthesis – Asian LGBTQ Issues and Art Now,” queer Taiwanese and Chinese art was virtually unheard of. My thesis focuses on three contributing artists including Chuang Chih-Wei, Wen Hsin, and Xiyadie, their utilization of distinctive methodologies and media, and uses their artworks as case studies to reveal the diverse approaches to queer art making that support the curatorial aims of “Spectrosynthesis,” and contributes to a non-binary, nuanced understanding of queer art in Sinophone cultures. iv CIRRICULUM VITAE NAME OF AUTHOR: Landry Elizabeth Austin GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon, Eugene University of Tennessee, Knoxville DEGREES AWARDED: Master of Arts, History of Art and Architecture, 2019, University of Oregon Bachelor of Arts, Religious Studies, 2017, University of Tennessee AREAS OF SPECIAL INTEREST: Queer Theory History of LGBTQ Art Contemporary Art of Taiwan and Mainland China PROFESSIONAL EXPERIENCE: Teaching assistant, Department of the History of Art and Architecture, University of Oregon, Eugene, 2017-2019 Research intern, Department of Undergraduate Research, University of Tennessee, Knoxville, 2015 GRANTS, AWARDS, AND HONORS: Travel Grant, Mr. and Mrs. Eric G. Clarke Scholarship, University of Oregon, 2018 Foreign Language and Area Studies Fellowship, University of Oregon, 2018 Graduate Teaching Fellowship, History of Art and Architecture, University of Oregon, 2017-2019 Asian Studies Award, Department of Religious Studies, University of Tennessee, 2017 Outstanding Graduate in Religious Studies, University of Tennessee Commencement, 2017 Joan Riedl Book Award, Department of Religious Studies, University of Tennessee, 2017 v ACKNOWLEDGMENTS I would like to take this opportunity to express my gratitude to Professor Jenny Lin for her patience, guidance, and insight that made the completion of this thesis possible. I am grateful for my committee members, Professor Charles Lachman and Professor Charlene Liu, for graciously spending their time and energy supporting this thesis project. This thesis was made by possible by the generous support of the department of the History of Art and Architecture and the Mr. and Mrs. Eric G. Clarke travel fund. Thank you to all of the department’s administrative staff for making navigating graduate school manageable. I owe my deepest gratitude to Tiffany Benefiel, who generously shared her kindness and advice from before I accepted my offer to the completion of my degree. I would also like to express my appreciation to Shaun Haskins and Lydia Griffin for providing their support and assistance. To my cohort, I would like to express my undying appreciation. I am privileged to know this group of promising scholars and dear friends. Thank you, Zoe Lalonde, Yinxue Chen, Liam Machado, Casey Curry, and Carolyn Hernandez, for all the much-needed lunch and coffee breaks, editing parties, and words of encouragement throughout the past two years. I would like to give my sincere appreciation to Liam Maher and Tannon Reckling whose friendship left me with a sense of belonging I will always carry with me. To my dear friends and loved ones, Michael Arpino, David Boatner, Hazel Wade, Vincent Espinoza, Sarah Merkle, and all of my friends and family, thank you for your never-ending love and support. vi To every LGBTQ person living unapologetically and those without the privilege to do so. vii TABLE OF CONTENTS Chapter Page I. INTRODUCTION ......................................................................................................... 1 Legal and Political Context ......................................................................................... 4 Double Margins ........................................................................................................... 5 Before “Spectrosynthesis:” Histories of Same-Sex Desires ........................................ 8 “Spectrosynthesis:” A Timeline of LGBTQ Histories and Identities in Taiwan ................................................................................................................... 13 Creating Language for Desire: Before and After “Spectrosynthesis” ....................... 16 II. CREATING A COUNTER-HISTORY: RELECTION AND SUBVERSION IN CHUANG CHIH-WEI’S RAINBOW IN THE DARKNESS ..................................................................................................................... 21 New Park, Crystal Boys, and Rainbow in the Darkness: Private/Public Divide ... 24 III. WEN HSIN’S HALF SERIES: PORTRAITURE, GENDER, AND KINSHIP IN “SPECTROSYNTHESIS” ........................................................................ 31 A Timeline of Queer Portraiture: Portraits by Wen Hsin and Shiy De-Jinn in “Spectrosynthesis” .................................................................... 32 IV. ART OF XIYADIE: CALLING UPON TRADITION IN “SPECTROSYNTHESIS” .............................................................................................. 40 Traditional Shaanxi Style Paper-Cutting in Contemporary Art ................................ 42 Rural and Queer Identities ......................................................................................... 44 The Queerness of Craft and Reclaiming Folk Art in “Spectrosynthesis” ................. 46 IV. CONCLUSION: LOOKING TOWARDS THE FUTURE ........................................ 49 APPENDIX: FIGURES .................................................................................................. 51 viii Chapter Page REFERENCES CITED ................................................................................................... 71 ix LIST OF FIGURES Figure Page 1. Chuang Chih-Wei, Rainbow in the Darkness (ca. 2017), Black Paint, Laminated Glass, LED, Metal. Museum of Contemporary Art, Taipei. ............................................ 51 2. CHUANG Chih-Wei, Rainbow in the Darkness (ca. 2017) .................................. 52 3. Chuang Chih-Wei, Rainbow in the Darkness (ca. 2017), ...................................... 53 4. Spectrosynthesis Entry (2017), Museum of Contemporary Art, Taipei ................ 54 5. “Spectrosynthesis” Timeline (2017), Museum of Contemporary Art, Taipei. ..... 55 6. WEN Hsin, Half-Hao (ca. 2013), Digital Print. Museum of Contemporary Art, Taipei. .......................................................................................................................... 56 7. WEN Hsin, Half-Blue (ca. 2013) ........................................................................... 57 8. WEN Hsin, Half-Yellow (ca. 2013) ....................................................................... 58 9. WEN Hsin, Half-Pin (ca. 2013) ............................................................................. 59 10. WEN Hsin, Half Series (ca. 2013) ......................................................................... 60 11. SHIY De-Jinn, Young Girl (ca. 1960), Oil on Canvas. Museum of Contemporary Art, Taipei…………………………………………………………………………………. 61 12. SHIY De-Jinn, Male Youth in Yellow Shirt (ca. 1967), Oil on Canvas. Museum of Contemporary Art, Taipei ............................................................................................ 62 13. SHIY De-Jinn, Male Youth in Yellow Shirt and Young Girl (1967 & 1960) ......... 63 14. Xiyadie, Running Away From Home (n.d.), Paper ................................................ 64 15. Xiyadie, Gardening (n.d.) ...................................................................................... 65 16. Xiyadie, Sneaking Around (n.d.)............................................................................ 66 17. Xiyadie, Door Indoor Outdoor (2017) .................................................................. 67 x Figure Page 18. Xiyadie, (2017) .....................................................................................................
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