NINA KUO EXHIBITS 2008 “All Hot & Bothered” Samuel Dorsky Museum

Total Page：16

File Type：pdf, Size：1020Kb

NINA KUO EXHIBITS 2008 “All Hot & Bothered” Samuel Dorsky Museum, New Paltz, NY 2008 Bowery Poetry Project, Intro-Bob Holman 2007 Asian Contemp. Art Fair, NYC- catalog-and notice on Artzinechina.com 2007 Solo -Cheryl McGinness Gallery, NYC, catalog essay by Eleanor Heartney 2006 “Between Two Worlds” Flushing Town Hall 2005 “Pierogi Flatﬁle” curator-Annie Heron, Univ. of Illinois 2004 Scope Art Fair, NYC 2002-3 ” Femininity in Asian Art” Lehman, Bard College, curator Pat Karetzy 2003 “Brush with Tradition” Newark Museum 2001-2 American Wing,“American Identities”, Brooklyn Mus. 2001-3 “Canal St.Banner Project”, Art in General 2001 “Chi Pao“Catskill Center Photo-Woodstock, NY 1998 “Manchu Pigtail and Mythical Muses”solo- China 2000, NYC 1996 “Sites of Chinatown”Mus Chinese-Americas, NYC, curator- Lydia Yee 1995 “Human/Nature,” New Museum 1994 “Bad Girls,” New Museum- curator- Marcia Tucker 1993 “Curio Shop,” Artist Space 1992 “Different Communities/Common Interests”- Art in Anchorage, Creative Time 1991 “Visual Narratives,” Wunsch Art Center, Glen Cove, NY curator- Thelma Golden 1991 “Art Against Racism,” The Clocktower Gallery 1988 “TransAtlantic Traditions,” Camerawork Gallery, London,UK VIDEO collaboration with Lorin Roser 2006 Hallwalls “Members Show” Buffalo, NY 2005 “Psionic Distortions”, Plum Blossoms Gallery, NYC and Super Deluxe, Tokyo GRANTS 2002 Asian Cultural - Travel Grant 1998, 2002 NYFA- Artist Grant 1999 Catskill Center for Photog. Artist Residency 1993 Arts International - travel grant to China 1999 Light Work, Artist Residency, Syracuse, NY 1990 Mus. of Chinese in Americas, Artist Residency 1986 Artmatters Grant PUBLISHED WORK 2008 “EnvisioningDiaspora- Asian Am-Visual Art Collectives”-Alexandra Chang, Timezone 8 Editions 2008 “Artist and Inﬂuence” Interview- Hatch Billops Coll. 1998 “Nueva Luz” En Foco Annual 1998 “Our Grandmothers” Stewart, Tabori and Chang 1997 “Lure of the Local,Senses of Place in Multicultural Society”, Lucy Lippard, New Press 1996 Photography Quarterly, Catskill Center for Photography, NY 1993 Daily News, NYC review -Mila Andre 1990 “Mixed Blessing, Art in a Multicultural America,” Lucy Lippard, Pantheon Press WORK NOTED 2007 Oct. Art in America review -Jonathan Goodman 2007 John Haber review 2003 May 14 New York Times – NJ edition- Benjamin Genocchio 2002 April 26 New York Times “Lehman College Show”- Holland Cotter 2001 March 23 New York Times “Arts of Asia,Armory Show”- Holland Cotter 1996 November 20 New York Times, NYC 1994 September Art Paper Atlanta, GA 1991 January 27 New York Times, (Long Island) 1988 October 25 Village Voice, NYC 1988 September 30 The Independent, London UK 2003 Asia Society- Studio Tour COLLECTIONS Brooklyn Museum, NYC, Library of Congress, Wash., DC, Bibliotheque Nationale, Franklin Furnace Archives, Mus. of Modern Art, NYC, Asian Artworks, Inc., Chicago Art Institute Library, Women’s Graphic Center, Los Angeles,CA, Samuel Dorsky Museum, Steven Kasher, Kellie Jones.

Copy Link

Recommended publications

En Foco / in Focus: Selected Works from the Permanent Collection
selected works from the permanent collection En Foco / In Focus: Selected Works from the Permanent Collection Published in conjunction with En Foco’s nationally traveling exhibition of the same title Curated by Elizabeth Ferrer En Foco, Inc. (Bronx, New York: 2012) Copyright © 2012 by En Foco, Inc. ISBN: 978-0-9888261-0-6 All rights reserved. No part of this publication may be reproduced or transmitted in any means, electronic or mechanical, without permission in writing from the publisher. Inquiries should be addressed to En Foco, Inc., 1738 Hone Avenue, Bronx, NY 10461. [email protected] www.enfoco.org En Foco’s mission is to support and nurture photographers of diverse cultures, primarily U.S. residents of Latino, African and Asian heritage, and Native Peoples of the Americas and the Pacific. En Foco makes their work visible to the art world while remaining accessible to under-serviced communities, using the photographic arts as a universal means to promote cultural equity, giving a more inclusive portrayal of the artistic contributions made by artists of color, and a supportive platform as they grow into different stages of their careers. Cover: © Louis Carlos Bernal, Dos mujeres, familia López (Two Women, the Lopez Family), 1978/2011 Editor: Miriam Romais Editorial Assistant /Copy Editor: Dani Cattan Book Design: Lisa Marie Perkins www.lisaperk.com Printing: Eastwood Litho, Inc. www.eastwoodlitho.com This book is dedicated to all the current and future photographers with work in the En Foco Permanent Collection. It is an honor to care for and preserve your mark on the world. “We entered the twentieth century generally believing that Americans had a definite shape and color.
[Show full text]
National Endowment for the Arts Annual Report 1993
L T 1 TO THE CONGRESS OF THE UNITED STATES: It is my special pleasure to transmit herewith the Annual Report of the National Endowment for the Arts for the fiscal year 1993. The National Endowment for the Arts has awarded over 100,000 grants since 1965 for arts projects that touch every community in the Nation. Through its grants to individual artists, the agency has helped to launch and sustain the voice and grace of a generation--such as the brilliance of Rita Dove, now the U.S. Poet Laureate, or the daring of dancer Arthur Mitchell. Through its grants to art organizations, it has helped invigorate community arts centers and museums, preserve our folk heritage, and advance the perform ing, literary, and visual arts. Since its inception, the Arts Endowment has believed that all children should have an education in the arts. Over the past few years, the agency has worked hard to include the arts in our national education reform movement. Today, the arts are helping to lead the way in renewing American schools. I have seen first-hand the success story of this small agency. In my home State of Arkansas, the National Endowment for the Arts worked in partnership with the State arts agency and the private sector to bring artists into our schools, to help cities revive downtown centers, and to support opera and jazz, literature and music. All across the United States, the Endowment invests in our cultural institutions and artists. People in communities small and large in every State have greater opportunities to participate and enjoy the arts.
[Show full text]
PERFORMANCE ARTISTS TALKING in the EIGHTIES Montano a B I-Xvi 001-538 10/30/00 16:09 Page Ii Montano a B I-Xvi 001-538 10/30/00 16:09 Page Iii
montano_a_b_i-xvi_001-538 10/30/00 16:09 Page a AHMANSON•MURPHY FINE ARTS IMPRINT has endowed this imprint to honor the memory of . who for half a century served arts and letters, beauty and learning, in equal measure by shaping with a brilliant devotion those institutions upon which they rely. montano_a_b_i-xvi_001-538 10/30/00 16:09 Page b The publisher gratefully acknowledges the generous contribution to this book provided by the Art Book Endowment of the University of California Press, which is supported by a major gift form the Ahmanson Foundation. montano_a_b_i-xvi_001-538 10/30/00 16:09 Page i PERFORMANCE ARTISTS TALKING IN THE EIGHTIES montano_a_b_i-xvi_001-538 10/30/00 16:09 Page ii montano_a_b_i-xvi_001-538 10/30/00 16:09 Page iii PERFORMANCE ARTISTS TALKING IN THE EIGHTIES athsexfoodmoney tual/deathfoodmo ey/fameritual/death xmoney/fameritua eathsexfoodmone fameritual /deathse COMPILED BY LINDA M. MONTANO University of California Press Berkeley Los Angeles London montano_a_b_i-xvi_001-538 10/30/00 16:09 Page iv Grateful acknowledgment is made for permission to reprint interviews with Nancy Barber, Alison Knowles, Leslie Labowitz, Suzanne Lacy, Susan Mogul, and Bonnie Sherk from “Food and Art,” High Performance , no. (winter ‒); Ana Mendieta from Sulfur (); Annie Sprinkle and Veronica Vera from “Summer Saint Camp ,” The Drama Review , no. (spring ); Karen Finley, Mierle Laderman Ukeles, and Helene Aylon from Binnewater Tides (published by the Women’s Studio Workshop) – (–); and Carolee Schneemann from Flue (published by Franklin Furnace) (). University of California Press Berkeley and Los Angeles, California University of California Press, Ltd.
[Show full text]
Primary & Secondary Sources
Primary & Secondary Sources Brands & Products Agencies & Clients Media & Content Influencers & Licensees Organizations & Associations Government & Education Research & Data Multicultural Media Forecast 2019: Primary & Secondary Sources COPYRIGHT U.S. Multicultural Media Forecast 2019 Exclusive market research & strategic intelligence from PQ Media – Intelligent data for smarter business decisions In partnership with the Alliance for Inclusive and Multicultural Marketing at the Association of National Advertisers Co-authored at PQM by: Patrick Quinn – President & CEO Leo Kivijarv, PhD – EVP & Research Director Editorial Support at AIMM by: Bill Duggan – Group Executive Vice President, ANA Claudine Waite – Director, Content Marketing, Committees & Conferences, ANA Carlos Santiago – President & Chief Strategist, Santiago Solutions Group Except by express prior written permission from PQ Media LLC or the Association of National Advertisers, no part of this work may be copied or publicly distributed, displayed or disseminated by any means of publication or communication now known or developed hereafter, including in or by any: (i) directory or compilation or other printed publication; (ii) information storage or retrieval system; (iii) electronic device, including any analog or digital visual or audiovisual device or product. PQ Media and the Alliance for Inclusive and Multicultural Marketing at the Association of National Advertisers will protect and defend their copyright and all their other rights in this publication, including under the laws of copyright, misappropriation, trade secrets and unfair competition. All information and data contained in this report is obtained by PQ Media from sources that PQ Media believes to be accurate and reliable. However, errors and omissions in this report may result from human error and malfunctions in electronic conversion and transmission of textual and numeric data.
[Show full text]
Program 4Pages JL9 19 17 Copy
Presented by: Chinese American Citizens Alliance of Greater New York st 1 SEPT 30‒OCT 1, 2017 mid 21 Pell Street, Chinatown Pre-Sale @ CACAGNY.org autumn $10 Single Screening - 20% Students & Seniors $35 1-Day Pass/Saturday $25 1-Day Pass/Sunday film $45 VIP Full-Festival Pass $30 Saturday Reception (8:30pm) All Sales Final / Non-Refundable If Purchase at Door, CASH Only festival 22 films • 8 features • 14 shorts films by or about interactive Q&A after each screening Chinese Americans Final program subject to change SATURDAY, SEPTEMBER 30, 2017 10:00 AM FESTIVAL OPENS (free) Welcome by CACAGNY President Short film: Chinese American Citizens Alliance of Greater New York Sneak Peak of select films, features and shorts CACAGNY Short Film produced by: Isabella Ding Isabella has produced promotional videos for New York Public Library’s Annual Community Gala and contributed to creating York Preparatory School’s online student research archives. She is currently working on an anthropological documentary on beauty while a first-year student at UCLA. 11:00 AM Making Social Impact with Film ($10) Presentation with Screening of 2 Short Films Award-winning producers Michael Tow and Teja Arboleda have made social impact films and videos seen by millions. Through several of their satirical and parody films, including Hawaii Five-Below and Defenders Irony Fist, they will discuss how media which had stereotyped Asian and Chinese Americans can now be used to rally, galvanize and change the perception of Asians in America. Michael Tow, actor and producer, has extensive credits including film appearances in Unfinished Business and RIPD; TV credits in Daredevil, Masters of None, Royal Pains and MacGyver; and theater credits in Chinglish, Warrior Class and Wild Swans.
[Show full text]
Annual Report OCTOBER 1, 2018—SEPTEMBER 30, 2019 Letter from the 2019 Annual Report Archives of American Art 2 Interim Director
Annual Report OCTOBER 1, 2018—SEPTEMBER 30, 2019 Letter from the 2019 Annual Report Archives of American Art 2 Interim Director DEAR FRIENDS, In 1954, at a time when few universities offered of detailed online finding aids for the papers of courses in American art, Edgar P. Richardson Beverly Buchanan, Ruth Jett, and Senga Nengudi. A and Lawrence A. Fleischman envisioned a central new comprehensive guide to the papers of African repository of historical records dedicated to the American artists and related resources will soon be subject that would encourage and support further available online. research. Never could they have imagined that the Two engaging exhibitions in the Lawrence A. Archives of American Art would grow from their initial Fleischman Gallery this year inspired visitors to small collection of microfilmed records in Detroit, the Donald W. Reynolds Center to think differently Michigan, to a full-fledged Smithsonian research about archives. The fiscal year began with center dedicated to collecting, preserving, and Pushing the Envelope: Mail Art from the Archives providing access to primary sources that document of American Art, guest curated by Miriam Kienle, the history of the visual arts in the United States. assistant professor of contemporary art history at Over the years, the Archives has continued to the University of Kentucky, in collaboration with innovate, adopting and even creating best practices her students. Together, professor and students for making our more than 6,100 collections, including examined issues of collaboration, circulation, and 30 million items and nearly 2,500 oral history community within the robust artistic networks of interviews, freely available to the public.
[Show full text]
Commencement Book 2021
2021 Commencement Convocation “We are extending a distinguished tradition— one where we come together, as a community, to recognize our students and celebrate their tremendous academic growth and accomplishments.” Chancellor Patrick Gallagher #PittGrad21 @PittTweet @pittofficial A Message from Chancellor Patrick Gallagher Thank you for joining us in celebrating the University of Pittsburgh’s 2021 Commencement. We are extending a distinguished tradition—one where we come together, as a community, to recognize our students and celebrate their tremendous academic growth and accomplishments. This tradition persists—even during a pandemic—because a diverse group of family, friends, faculty and staff has once again challenged our students and championed their success. To those of you who have offered such vital support: Thank you. This year’s graduates will soon join an even bigger Pitt community—one that is more than 340,000 alumni strong and is defined by individuals who are living out our university’s mission of leveraging knowledge for society’s gain. To the members of our Class of 2021 who are making this transition: Congratulations! You are part of an elite group with a noble mission, and I am excited to watch you continue to lead lives of impact for years to come. Hail to Pitt! Patrick Gallagher Chancellor iii A Message from the Pitt Alumni Association Dear graduates, Congratulations! You’ve made it through a difficult and unusual year—one none of us will soon forget—and now you’re ready to step out into the world as newly minted graduates of the University of Pittsburgh. Today, you also become official members of the Pitt alumni family, one of more than 342,000 graduates living around the globe.
[Show full text]
Femininity.Pdf
FEMININITY IN coNTEMPORARY ASIAN ART IF TH E SHOE FITS AND VERNAL VISIONS exhibited at LehmanCollege Art Gallery City Collegeof New York Fisher Art Building, Bard College,Annandale New York 2002-2003 curated by PatriciaEichenbaum Karetzky Seventeen Asian women have contributed to this exhibition of contemporary art. The group is quite varied, comprising Chinese, Japanese,Korean and Indian ancestry, some live in the United States; others are abroad. Some of the artists are middle aged; others are quite young. The artists' work utilizes a number of media and mate- rials: painting, drawing. sculpture, photography, ceramics, textile, video and installation art. Central to the exhibition are the issues of both Western feminine identity and Asian notions of femininity. Several of these women chose to illustrate the "sexy ideal" of native movie stars of Shanghai, Hong Kong or Mumbai (Bollywood); others portray women as young contemporaries in modern day (MTV) attire. Some use multi-ethnic representations of women to illustrate their belief in the universality of their situation. Many artists use the foot or shoe as a primary focus of personal iden- tity in their art. It is curious that the sexual fixation with alluring footwear that temporarily empowers women and results in the defor- mation of the foot is present in both the East (the bound foot) and the West (the torturous high heel). Enhancedsexual allure leads to being crippled. Ironically drinking champagne/ wine from a high-heeled shoe (Marilyn Monroe) or a tiny brocade slipper for a "lotus foot" (as in the novel Ching Pei Ming) is deemed highly erotic.
[Show full text]
Bad Girls Graspcord Andpu[[ .Fromwrapper
Bad Girls Graspcord andpu[[ .fromwrapper The New Museum of Contemporary Art, New York, New York The MIT Press, Cambridge, Massachusetts; London England Bad Girls Introduction and Acknowledgments 4 Bad Girls Marcia Tucker An exhibition organized by Marcia Tucker at The New Museum of Contemporary Art, New York. Part I: January 14 - February 27, 1994 Preface and Acknowledgments 10 Part II: March 5 -April 10, 1994 Marcia Tanner Bad Girls West Attack of the Giant Ninja Mutant Barbies 14 An independent sister exhibition organized by guest curator Marcia Tanner Marcia Tucker forthe UCLA Wight Art Gallery, Los Angeles. January 25 - March 20, 1994 Mother Laughed: The Bad Girls' Avant-Garde 47 Catalogue ©1994 The New Museum of Contemporary Art, New York Marcia Tanner "All That She Wants" ©1994 Linda Goode Bryant "All That She Wants": All rights reserved. No part of this book may be reproduced in any form by electronic or Transgressions, Appropriations, and Art 96 mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher. Linda Goode B1yant Library of Congress Catalog Card Number: 93-87805 Possessed 109 ISBN 0-262-70053-0 Cheryl Dunye This catalogue has been organized by Mimi Young and Melissa Goldstein; edited by Tim Yohn; designed by Susan Evans and Brian Sisco, Sisco & Evans, New York; and printed by Mercantile Checklists 114 Printing Company, Inc., Worcester, Massachusetts. Bad Girls Exhibitions Compendium 126 Bad Girls is made possible by a major grant from The Henry Luce Foundation, Inc. Generous support was also provided by the New York State Council on the Arts, Penny McCall, and by members of the Director's Council of The New Museum of Contemporary Art.
[Show full text]
2018 ANNUAL REPORT a Letter of Introduction WELCOME!!!
Photo: Into the Forest by Alice Guareschi Photo: Into the Forest by ALLIED PRODUCTIONS, INC 2018 ANNUAL REPORT A letter of introduction WELCOME!!! Allied Productions,Inc.from was foundedJack in 1981 to facilitate& & support Peter people engaged in common artis- tic endeavors and pursuits. We never imagined it would survive and thrive this long! You may know Allied Productions, Inc. through our primary project Le Petit Versailles (LPV), the Greenthumb garden that fosters the cultural legacy of our home base on the Lower East Side of New York City. Be a gar- dener! Fill out the LPV membership Application Form. For almost 25 years, Le Petit Versailles had been powered by a single outlet from the Allied Home Of- fice three stories above. In 2014, a sudden fire at the home office threatened the home of our direc- tors, and the whole events season. The fire forced us to address some infrastructure updates to LPV, located in the lot adjacent to Allied’s office. On July 2018, after 4 years of research, fundraising, and acquiring permits from various agencies, we successfully connected to the CON ED grid, and are now powered independently! Special thanks for everyone who made the new electrical system possible! Thanks to contributors to our Garden Power Indiegogo campaign, service donations from New Moon Construction, A&S Electric, Inc., the office of NYC City Council Woman Carlina Rivera, and the NYC Dept of Parks, and the Greenthumb program. But all this infrastructural progress comes at a cost. Installing the hardware cost about $9K, the yearly insurance we must now purchase each year costs $3K, and the monthly electric bill will likely run about $500 per season.
[Show full text]
AAA CETA Presentation Final
https://youtu.be/bn1VqaTtJTM 1 Nearly everyone has heard of the WPA and its employment of artists in the 1930s, but few have heard about CETA, the Comprehensive Employment and Training Act, of the 1970s. At least 10,000 artists — visual artists, actors, musicians, dancers and poets — were employed under this federal program. In addition, CETA provided funds for security guards, administrative positions and other support staff that benefited cultural institutions, performing venues and arts groups. 2 CETA was signed into law on December 23, 1973 by Richard Nixon. It was conceived of as a broad jobs program and it consolidated a number of already existing government programs. It was a bipartisan endeavor. Republicans were able to support the legislation because of its structure: block grants to states that redistributed the funds to regions and municipalities. Use of the funds was then decided primarily on the local level. CETA was designed to be a temporary response to a deep recession and high unemployment. Initially conceived as a training program for unskilled workers, it was amended to include new sections, called “titles,” for trained workers in professions suffering from chronic un-and-under-employment. Photo courtesy of National Archives 3 CETA was not designed with the employment of artists in mind. Unlike the WPA, there were no dedicated arts, theatre or music projects included in the legislation. But this man, John Kreidler, devised a way in which CETA funds could be used to employ artists. RIght after college, he spent five years working in various government positions in Washington, DC, and helped draft the original CETA legislation.
[Show full text]
Transnationalism, Mobility and Identity: the Making of Place in Flushing, New York City Shaolu Yu [email protected]
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 7-29-2015 Transnationalism, Mobility and Identity: the Making of Place in Flushing, New York City Shaolu Yu [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Yu, Shaolu, "Transnationalism, Mobility and Identity: the Making of Place in Flushing, New York City" (2015). Doctoral Dissertations. 826. https://opencommons.uconn.edu/dissertations/826 Transnationalism, Mobility and Identity: the Making of Place in Flushing, New York City Shaolu Yu, Ph.D. 2015 ABSTRACT Drawing upon studies on mobility, transnationalism, migration and ethnic community, this dissertation examines the paradox of transnational mobilities at the cross-national scale and (im)mobilities at the local scale of Chinese (im)migrants1 in Flushing, New York City, which is currently the largest Chinese community on the East Coast. The project investigates how the paradox is embedded within individual Chinese (im)migrants‘ everyday routine and rhythm of life, and how it forms their imaginative geographies and impacts their identities and senses of place. I utilize a mixed method approach including: census and immigration data analysis, ethnography, interviews, mental mapping and GIS. The findings suggest that transnational and local mobile practices are simultaneously embedded in the everyday life of Chinese (im)migrants in Flushing. The urban local mobilities, limited by the socioeconomic, linguistic, and spatial-temporal constraints, intersect with and are compensated by the transnational practices, simplify their geographic perceptions of the urban space, enhance their 1 This dissertation uses (im)migrants to refer to both immigrants and temporary migrants living in Flushing.
[Show full text]