Asian American Artists in California (1970S to Present)

UNIVERSITY OF CALIFORNIA Santa Barbara

Remapping Topographies of Race and Public Space: Asian American Artists in California (1970s to Present)

A dissertation submitted in partial satisfaction of the

requirements for the degree Doctor of Philosophy

in the History of Art and Architecture

Julianne P. Gavino

Committee in charge:

Professor E. Bruce Robertson, Chair

Professor Swati Chattopadhyay

Professor Miriam Wattles

Professor Celine Parreñas Shimizu

December 2018

The dissertation of Julianne P. Gavino is approved.

______Celine Parreñas Shimizu

______Miriam Wattles

______Swati Chattopadhyay

______E. Bruce Robertson, Committee Chair

December 2018

Remapping Topographies of Race and Public Space: Asian American Artists in California (1970s to 2000s)

Julianne P. Gavino

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ACKNOWLEDGEMENTS

This work would not have been possible without the generous support of University of California Santa Barbara, notably the Department of the History of Art and Architecture, Department of Asian American Studies, Graduate Division, Interdisciplinary Humanities Center, and Special Research Collections - UCSB Library. I would like to express my deepest gratitude to my Dissertation Chair Bruce Robertson for sharing considerable warmth, patience, and mentorship throughout my graduate work. I have grown in immeasurable ways—personal, academic, and professional—because of his firm commitment to my research, curatorial work, and digital projects. Likewise, my Dissertation Committee members each provided me with invaluable grounding and guidance. Swati Chattopadhyay dynamically instructed me through theoretical foundations of spatial thinking. Miriam Wattles gave conscientious attention to my reflexive process and fieldwork research. And, Celine Parreñas Shimizu tremendously broadened how I approach cultural inquiry and identity-based explorations.

I am also indebted to Nancy Hom, Bob Hsiang, and countless Kearny Street Workshop leaders and participants for demonstrating to me their enduring spirit of community-building and art activism. Amy Hau and The Noguchi Museum in addition to Dean Keesey and the Masumi Hayashi Foundation generously shared with me the importance of cultivating artistic legacies and committing to their stewardship.

To my colleagues of the 2012 National Endowment of Humanities Summer Institute “Re-envisioning Asian American Art History” and Diasporic Asian Art Network— notably Alexandra Chang, Margo Machida, and Krystal R. Hauseur—I am grateful for their support, encouragement, camaraderie, and collaboration.

My appreciation extends to my friends, family, and kindred spirits all along the West Coast, on the Big Island of Hawai`i, and beyond. I offer a full heart to Joshua and our kitties for cheering me on with much devotion and unabated humor. And, maraming salamat po to my parents and extended family who unquestionably shaped and supported my path.

Lastly, I offer a special dedication to the memory of my Lola Imang (1918-2012), who continues to nourish and guide me in my journey through imaginative worlds.

Mabuhay!

VITA OF JULIANNE P. GAVINO December 2018

EDUCATION

Bachelor of Arts in History of Art, University of California, Berkeley, May 1994 Master of Arts in Museum Studies, New York University, May 2006 Doctor of Philosophy in the History of Art and Architecture, University of California, Santa Barbara, December 2018 (expected)

PROFESSIONAL EMPLOYMENT

2013-2018: Lecturer, Art Program, California State University Channel Islands 2014: Lecturer, Department of Art & Art History, Loyola Marymount University 2011-2012: Curatorial Fellow, Art, Design & Architecture Museum, University of California, Santa Barbara 2007-2013: Teaching Associate/Teaching Assistant/Research Assistant, Department o