Queering Contemporary Asian American Art takes Asian American differences as its point of departure, and brings together artists and scholars to challenge normative assumptions, essentialisms, and methodologies within Asian American art and visual culture. Taken together, these nine original artist interviews, cutting-edge visual artworks, and seven critical essays explore contemporary currents and experiences within Asian American art, including the multiple axes of race and identity, queer bodies and forms, kinship and affect, and digital identities and performances. Using the verb and critical lens of “queering” to capture transgressive cultural, social, and political engagement and practice, the contributors to this volume explore the connection points in Asian American experience and cultural production of surveillance states, decolonization and diaspora, transnational adoption, and transgender bodies and forms, as well as heteronormative respectability, the military, and war. The interdisciplinary and theoretically informed frameworks in the volume engage readers to understand global and historical processes through contemporary Asian American artistic production.

Fresh Talk/Daring Gazes chronicles the blossoming of Asian American art and anticipates the growing democratization of American art and culture. Pairing work by twenty-four contemporary Asian American visual artists with responses provocatively drawn from cultural critics, other artists, activists, and intellectuals, this book explores themes of geographical movement, the sexuality of Asian bodies, colonization, miscegenation, hybrid forms of immigrant cultures, the loss of home, war, history, and memory. Elaine H. Kim's historical introduction charts the trajectory of Asian American art from the nineteenth century to the present, offering a comprehensive account of artists, major artworks, and major events. Commentaries by writers, artists, and cultural activists examine the work of visual artists such as Pacita Abad, Albert Chong, Y. David Chung, Allan deSouza, Michael Joo, Hung Liu, Yong Soon Min, Manuel Ocampo, PipoNguyen-Duy, Roger Shimomura, Carlos Villa, and Martin Wong. Prominent artists and critics such as Homi K. Bhabha, Luis Camnitzer, Enrique Chagoya, Gina Dent, Ellen Gallagher, Arturo Lindsay, Kobena Mercer, Griselda Pollock, Jolene Rickard, Faith Ringgold, Ella Shohat, Lowery Stokes Sims, Jaune Quick-to-See Smith, and Hulleah Tsinhnahjinnie offer thought-provoking reflections on each artist. Sharon Mizota's extended captions further elucidate the paintings, graphics, photography, installations, and mixed-media constructions under discussion. As a set of dialogues, simultaneously visual and textual, Fresh Talk/Daring Gazes encourages the cross-cultural conversation that is shaping the emerging art of Asian Americans and of the United States in general. Alternately personal, intellectual, aesthetic, and political, these essays and the art they consider provide unique perspectives on both the past and the future of American art.

Contemporary Queer Chinese Art is the first English-language academic book that explores the intersections of queer culture and contemporary Chinese art from the mid-1980s to the present. This book brings together 15 internationally renowned artists, activists, curators and scholars to explore heterogeneous expressions of Chineseness and queerness in contemporary art from China and Chinese diasporas in Asia, Europe and North America. Examining contemporary visual art, performance and activism, this book offers a rich archive of queer Chinese artistic expressions. It provides valuable insights into the status quo and intersectional struggles of Chinese artists who identify themselves as queer and who have associated their work with queer positionalities and perspectives. By sharing personal experiences, art expressions and critical insights about what it means to be queer and Chinese in a transnational context, the book reveals multiple forms and potentialities of queer politics in the domains of art and activism.

War Baby / Love Child examines hybrid Asian American identity through a collection of essays, artworks, and interviews at the intersection of critical mixed race studies and contemporary art. The book pairs artwork and interviews with 19 emerging, mid-career, and established mixed race/mixed heritage Asian American artists, including Li-lan and Kip Fulbeck, with scholarly essays exploring such topics as Vietnamese Amerasians, Korean transracial adoptions, and multiethnic Hawai'i. As an increasingly ethnically ambiguous Asian American generation is coming of age in an era of "optional identity," this collection brings together first-person perspectives and a wider scholarly context to shed light on changing Asian American cultures. This multiauthor volume features a foreward by Kent A. Ono, a co-authored preface and introductory essay by the editors, 19 original artist interviews conducted by the editors, and original essays from Wei Ming Dariotis and the contributing authors: Camilla Fojas, Stuart Gaffney, Rudy Guevarra, Jr., Eleana J. Kim, Richard Lou, Margo Machida, Stephen Murphy-Shigematsu, Lori Pierce, Cathy J. Schlund-Vials, Ken Tanabe, and Wendy Thompson-Taiwo. Laura Kina is associate professor of art, media, and design at DePaul University. Wei Ming Dariotis is associate professor of Asian American studies at San Francisco State University. "War Baby / Love Child is an interesting, original, and innovative project that expands the field of Asian American studies by using visual art as a point of entry and analysis for the discipline." -Mark Johnson, editor of Asian American Art: A History, 1850-1970 "One of the strengths of this original volume is its holistic combination of interviews with premier fine artists along with the textual, historical, and scholarly context provided by established and emerging scholars in Asian American Studies." -Nitasha Sharma, author of Hip Hop Desis: South Americans, Blackness, and Global Race Consciousness

In Unsettled Visions, the activist, curator, and scholar Margo Machida presents a pioneering, in-depth exploration of contemporary Asian American visual art. Machida focuses on works produced during the watershed 1990s, when surging Asian immigration had significantly altered the demographic, cultural, and political contours of Asian America, and a renaissance in Asian American art and visual culture was well underway. Machida conducted extensive interviews with ten artists working during this transformative period: women and men of Chinese, Filipino, Indian, Vietnamese, Korean, and Japanese descent, most of whom migrated to the United States. In dialogue with the artists, Machida illuminates and contextualizes the origins of and intent behind bodies of their work. Unsettled Visions is an engrossing look at a vital art scene and a subtle account of the multiple, shifting meanings of “Asianness” in Asian American art. Analyses of the work of individual artists are grouped around three major themes that Asian American artists engaged with during the 1990s: representations of the Other; social memory and trauma; and migration, diaspora, and sense of place. Machida considers the work of the photographers Pipo Nguyen-duy and Hanh Thi Pham, the printmaker and sculptor Zarina Hashmi, and installations by the artists Tomie Arai, Ming Fay, and Yong Soon Min. She examines the work of Marlon Fuentes, whose films and photographs play with the stereotyping conventions of visual anthropology, and prints in which Allan deSouza addresses the persistence of Orientalism in American popular culture. Machida reflects on Kristine Aono’s museum installations embodying the multigenerational effects of the internment of Japanese Americans during World War II and on Y. David Chung’s representations of urban spaces transformed by migration in works ranging from large-scale charcoal drawings to multimedia installations and an “electronic rap opera.”

In Surface Relations Vivian L. Huang traces how Asian and Asian American artists have strategically reworked the pernicious stereotype of inscrutability as a dynamic antiracist, feminist, and queer form of resistance. Following inscrutability in literature, visual culture, and performance art since 1965, Huang articulates how Asian American artists take up the aesthetics of Asian inscrutability—such as invisibility, silence, unreliability, flatness, and withholding—to express Asian American life. Through analyses of diverse works by performance artists (Tehching Hsieh, Baseera Khan, Emma Sulkowicz, Tseng Kwong Chi), writers (Kim Fu, Kai Cheng Thom, Monique Truong), and video, multimedia, and conceptual artists (Laurel Nakadate, Yoko Ono, Mika Tajima), Huang challenges neoliberal narratives of assimilation that erase Asianness. By using sound, touch, and affect, these artists and writers create new frameworks for affirming Asianness as a source of political and social critique and innovative forms of life and creativity. Duke University Press Scholars of Color First Book Award recipient

This title sets out to write new transnational South Asian art histories - to make visible histories of artworks that remain marginalised within the discipline of art history. However, this is done through a deliberate 'productive failure' - specifically, by not upholding the strictly genealogical approach that is regularly assumed for South Asian art histories. For instance, one chapter explores the abstract work of Cy Twombly and Natvar Bhavsar. The author examines 'whiteness', the invisible ground upon which racialized art histories often pivot, as a fraught yet productive site for writing art history. This book also provides original commentary on how queer theory can deconstruct and provide new approaches for writing art history. Overall, this title provides methods for generating art history that acknowledge the complex web of factors within which art history is produced and the different forms of knowledge-production we might count as art history.