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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Noah Randolph;

    At the entrance to City Park in New Orleans, Louisiana, a monument to Confederate general P.G.T. Beauregard rose twenty-seven feet over the citizens of New Orleans until 2017, when the sculpture was removed from its pedestal. Following the removal, Mayor Mitch Landrieu asked: “why there are no slave ship monuments, no prominent markers on public land to remember the lynchings or the slave blocks; nothing to remember this long chapter of our lives; the pain, the sacrifice, the shame… all of it happening on the soil of New Orleans.” This landscape of empty pedestals was confronted by Paula Wilson that fall. Rather than erect a material monument that would directly replace the fallen General Beauregard, Wilson turned to her own body. Before the sun rose early one morning, she climbed atop the empty pedestal and began dancing in a performance titled “Living Monument.” This paper analyzes Wilson’s performance and its documentation as radical acts of refusing the logics of monumentality. In examining this work, I consider how performance as a mode of memorialization completely destabilizes the monumental presentation of a static history, thus offering a new grammar by which to think through modes of revolution and redress in the symbolic landscape.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Artsarrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Arts
    Article . 2024 . Peer-reviewed
    License: CC BY
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Artsarrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      Article . 2024 . Peer-reviewed
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      Article . 2024
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Sarah Louise Cowan;

    Modernist propositions long have been understood as atemporal—somehow outside of time—or insistently hailing the future. This temporal framework suppresses the contributions of those excluded from modernist canons, particularly Black women. In this article, visual and material analysis of sculptural works produced in the 1970s and 1980s by U.S. Black women artists Beverly Buchanan, Senga Nengudi, and Betye Saar reveal how Black feminists have engaged with modernist protocols in order to redress cultural erasures of Black women. These practices exemplify Black feminist modernisms, or creative practices that unsettle the racist and sexist logics of dominant cultural institutions. Each of these artists utilizes haptic surfaces as a method for defying institutional modernism’s obfuscation of the past. The analysis focuses on Buchanan’s defiance of memorial erasures, Nengudi’s reenactment of labor, including in its historical forms, and Saar’s adaptation of generational memory-making processes. Ultimately, these artists’ rejection of a “timeless” modernism demands that viewers understand the present moment in relationship to a still-evolving past. In this way, Buchanan, Nengudi, and Saar position the present as an accumulation, rather than transcendence, of historical occurrences.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Artsarrow_drop_down
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    Arts
    Article . 2024 . Peer-reviewed
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Artsarrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      Article . 2024 . Peer-reviewed
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      Article . 2024
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Benjamin Ruilin Fong;

    This article proposes a new paradigm, Sino-American film, that is centered on Chinese language in American films. Sino-American films comprise two generations. The First Generation includes Pushing Hands (1993), Take Out (2004), and Saving Face (2004) and is characterized by independent production, limited distribution, and creation during a period when Asian Americans were rarely represented on film. The Second Generation includes The Farewell (2019), Tigertail (2019), Shang-Chi and the Legend of Ten Rings (2021), and Everything Everywhere All at Once (2022) and is characterized by a Hollywood production model, widespread distribution across streaming services, and creation during a period of growing Asian American cultural representation. Sino-American films negotiate both Chinese-language film and Hollywood by focusing on overlooked characters— Chinese-language-speaking Americans. This article contributes to conversations in Chinese film studies and Asian American studies by bringing Asian American film into exchanges with three Chinese film studies paradigms: transnational cinema, Chinese-language film, and Sinophone film. This cross pollination uncovers new areas for further study. Sino-American film demonstrates the importance of Sino-American language, ethnicity, and culture within the subsuming category of Asian American film. Furthermore, pairing Sino-American films with Chinese film studies uncovers a new category of Chinese-language film outside assumed contexts and paradigms.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ eScholarship - Unive...arrow_drop_down
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Arts
    Article . 2024
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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    Article . 2024 . Peer-reviewed
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ eScholarship - Unive...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      Arts
      Article . 2024
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      Arts
      Article . 2024 . Peer-reviewed
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Elise Archias;

    Melvin Edwards made his first abstract sculptures at the beginning of the contemporary period in the early 1960s, but the ways he held on formally to a modern notion of “interiority” in his Lynch Fragments series provide us with an underexamined aesthetic position in contemporary art. Edwards offered nuanced relationships between interior and exterior at a moment when concepts of “interiority” and “self” were under the most strain in contemporary art practice. If we consider this turn away from interiority—and toward surface, emptiness, system, and dematerialization—to be, in part, a symptom of the pressure exerted by the commodity form on art viewers’ sensibilities after 1955, then the stakes of Edwards’ choice not only to use found metal objects, but to compose them around an active rather than empty center, feel higher. By comparing the sculpture Mojo for 1404 (1964) with the Bichos (1960–1965) of Lygia Clark, the distinctiveness of Edwards’ project emerges even more strongly. Clark responded to the crisis of interiority with shiny metal sculptures whose interiors were constantly being flipped inside-out. By contrast, Edwards’ art was motivated by the struggle for racial justice, and it persistently spoke its desire for grounded, scarred personhood in an aesthetic language that required viewers to recall their own interiority.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Artsarrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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    Article . 2023
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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    Article . 2023 . Peer-reviewed
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Artsarrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      Article . 2023
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      Article . 2023 . Peer-reviewed
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Amelia G. Jones;

    The fantasized artist-as-origin began as the quintessential figure manifesting Enlightenment European concepts of individual autonomy and sovereign subjectivity—and thus of identity and meaning as these come to define and situate human expression as well as securing educated, middle-class, European white male hegemony in the Euro-American context. While we think of this conventional figure of the straight white male artist as old-fashioned, as having been relentlessly critiqued since the mid-twentieth century by artists, often from a feminist, queer, anti-racist, or decolonial perspective, this article asserts that the artistic author still drives much of the discourse as well as underlying the money and status attached to visual art today. Citing key works by a range of contemporary artists who have challenged these value systems—Cassils, rafa esparza, James Luna, Guillermo Gómez-Peña, and Susan Silton—this article foregrounds the critique of whiteness and masculinity and the interrogation of capitalism and neoliberalism necessary to interrogating these structures of value attached to artistic authorship.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Artsarrow_drop_down
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    Article . 2023 . Peer-reviewed
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Artsarrow_drop_down
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      Article . 2023 . Peer-reviewed
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      Article . 2023
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    Authors: Jenny Lin;

    This article explores how diasporic Chinese video artists present familial histories and tales of cross-cultural exchange in the context of an exhibition I am curating, Another Beautiful Country: Moving Images by Chinese American Artists, at the University of Southern California (USC) Pacific Asia Museum. I discuss projects by featured artists Richard Fung and Patty Chang. These artists’ experimental documentaries and performative videos foster deep personal discoveries that defy the late-capitalist obsession with the new as defined by youth, novelty, and the next trend, providing revelatory insights through recuperative engagements with what has come before. In analyzing artworks by Fung and Chang, I also reference related texts by/about artists and historical figures including Walter Benjamin, Anna May Wong, and Zhang Ailing, who emigrated from the People’s Republic of China to the United States in the 1950s and whose special collections in the USC Libraries helped inform the exhibition’s programming. I also interweave my own related familial histories and share some (not-so-new) curatorial ideas for immersing audiences in intercultural art and reflection.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Artsarrow_drop_down
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    Article . 2023
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    Article . 2023 . Peer-reviewed
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Artsarrow_drop_down
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      Article . 2023
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      Article . 2023 . Peer-reviewed
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: J. Cabelle Ahn;

    On 8 September 2022, the American artist Frank Stella launched a series of twenty-two digital art works minted as Non-Fungible Tokens (NFTs) in collaboration with Arsnl, the in-house platform by the Artist Rights Society (ARS). Titled Geometries, each “package,” included the NFT that would affirm ownership and the corresponding geometric model designed by Stella in JPG (image), MP4 (video), SLS (3D printing), GLB (virtual reality and model manipulation), and USDZ (augmented reality). This range of digital formats alludes to two of Stella’s innovations in this space: the license to remix and manipulate his models, and the ability to 3D print Geometries at any color, scale, and material. Taking Stella’s foray into the NFT-space as a starting point, my article focuses on an emergent trend by artists engaging with Web3: the effort to bridge the physical and the digital by giving tangible form to NFT artworks and what this suggests for the future of digital materiality. The paper at its core seeks to examine the relationship between the physical referents to NFTs at the very moment when new media returns to historical forms.

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    Authors: Alana J. Coates;

    This article examines the work of multidisciplinary artist José Villalobos through a queer Latinx lens using the theory of “disidentification” as put forth by José Esteban Muñoz and argues that Villalobos makes space for queer visibility and representation within Tejano norteño culture by subverting culturally specific objects that often perpetuate, sometimes violently, traditional Mexican and Mexican-American gender norms. By critically analyzing two artworks, Soledad (loneliness) (2022), a mixed-media triptych that takes the form of an ex-voto, and a performance, A Las Escondidas (Hide-and-Seek) (2019), this study demonstrates how Villalobos challenges gender-normative thinking in border culture through his artworks by incorporating the body and its adornments. Villalobos utilizes his body in his performances and the implied body in his installations and assemblages to critique and subvert homophobia. By doing so, he grafts queer identity onto norteño iconography to carve out space for representation and inclusion for himself and other members of the queer community.

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    Authors: Liisa-Helena Lumberg-Paramonova;

    This article analyzes Baltic German religious art based on examples from Estonia in the first half of the nineteenth century, focusing on artistic networks and the reclamation of a Renaissance classical ideal. Baltic German artists such as Friedrich Ludwig von Maydell, Gustav Adolf Hippius, and Otto Friedrich Ignatius were in contact with the Nazarenes, whose ideals were inspired by Raphael’s attempt to merge art and religion. The Nazarenes influence can be seen in Baltic German religious art, which favored idealized forms and followed on from the works of the Renaissance masters. In addition to presenting religious scenes, in the Baltic context, these artworks acted as mediators of European artistic heritage. The classical ideal was thus perpetuated by a tightly connected network in which Baltic German artists joined others in re-establishing the power of the European canon of art history.

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    Authors: Ellen Larson;

    In her 2022 video installation, Blast Furnace No. 2, artist Su Yu Hsin explores the history of the German factory, Henrichshütte Ironworks. Namely, the artist focuses on Henrichshütte’s former blast furnace, which was bought by a Chinese steel mill in September 1989 and moved to China, where it operated until 2015. Now a state-owned museum, this former factory, located in Hattingen, Germany, is a snapshot of the past—a memorial of sorts for the region’s bygone industrial prosperity. The history and intercontinental movement of this blast furnace inspires Su’s affinities towards spaces located in-between shifting temporalities, identities, and changing environmental conditions within Hattingen and beyond. Su weaves archival materials, documentary film, and interview excerpts into a speculative narrative that connects the years 1989, 2022, and 2050. Blurring reality and imagination, the video follows the fictionalized trail of Lin, a Chinese translator who accompanied the dismantling of the blast furnace over thirty years ago. According to the narrative, Lin left behind an unfinished science fiction novel, which takes place in 2022. In Lin’s novel, the protagonist develops a utopian machine in the form of a blast furnace. With this apparatus, she sends herself into space with the goal of finding an alternative energy source to replace coal. Blast Furnace No. 2 constellates temporal spaces of socio-political and environmental nostalgia, predicated upon both remembered and imagined understandings of the past, present, and future. The work emphasizes contradictory gaps in between socially driven ideological systems and their afterlives, determined to memorialize what most would just as soon forget.

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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Noah Randolph;

    At the entrance to City Park in New Orleans, Louisiana, a monument to Confederate general P.G.T. Beauregard rose twenty-seven feet over the citizens of New Orleans until 2017, when the sculpture was removed from its pedestal. Following the removal, Mayor Mitch Landrieu asked: “why there are no slave ship monuments, no prominent markers on public land to remember the lynchings or the slave blocks; nothing to remember this long chapter of our lives; the pain, the sacrifice, the shame… all of it happening on the soil of New Orleans.” This landscape of empty pedestals was confronted by Paula Wilson that fall. Rather than erect a material monument that would directly replace the fallen General Beauregard, Wilson turned to her own body. Before the sun rose early one morning, she climbed atop the empty pedestal and began dancing in a performance titled “Living Monument.” This paper analyzes Wilson’s performance and its documentation as radical acts of refusing the logics of monumentality. In examining this work, I consider how performance as a mode of memorialization completely destabilizes the monumental presentation of a static history, thus offering a new grammar by which to think through modes of revolution and redress in the symbolic landscape.

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    Authors: Sarah Louise Cowan;

    Modernist propositions long have been understood as atemporal—somehow outside of time—or insistently hailing the future. This temporal framework suppresses the contributions of those excluded from modernist canons, particularly Black women. In this article, visual and material analysis of sculptural works produced in the 1970s and 1980s by U.S. Black women artists Beverly Buchanan, Senga Nengudi, and Betye Saar reveal how Black feminists have engaged with modernist protocols in order to redress cultural erasures of Black women. These practices exemplify Black feminist modernisms, or creative practices that unsettle the racist and sexist logics of dominant cultural institutions. Each of these artists utilizes haptic surfaces as a method for defying institutional modernism’s obfuscation of the past. The analysis focuses on Buchanan’s defiance of memorial erasures, Nengudi’s reenactment of labor, including in its historical forms, and Saar’s adaptation of generational memory-making processes. Ultimately, these artists’ rejection of a “timeless” modernism demands that viewers understand the present moment in relationship to a still-evolving past. In this way, Buchanan, Nengudi, and Saar position the present as an accumulation, rather than transcendence, of historical occurrences.

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    Authors: Benjamin Ruilin Fong;

    This article proposes a new paradigm, Sino-American film, that is centered on Chinese language in American films. Sino-American films comprise two generations. The First Generation includes Pushing Hands (1993), Take Out (2004), and Saving Face (2004) and is characterized by independent production, limited distribution, and creation during a period when Asian Americans were rarely represented on film. The Second Generation includes The Farewell (2019), Tigertail (2019), Shang-Chi and the Legend of Ten Rings (2021), and Everything Everywhere All at Once (2022) and is characterized by a Hollywood production model, widespread distribution across streaming services, and creation during a period of growing Asian American cultural representation. Sino-American films negotiate both Chinese-language film and Hollywood by focusing on overlooked characters— Chinese-language-speaking Americans. This article contributes to conversations in Chinese film studies and Asian American studies by bringing Asian American film into exchanges with three Chinese film studies paradigms: transnational cinema, Chinese-language film, and Sinophone film. This cross pollination uncovers new areas for further study. Sino-American film demonstrates the importance of Sino-American language, ethnicity, and culture within the subsuming category of Asian American film. Furthermore, pairing Sino-American films with Chinese film studies uncovers a new category of Chinese-language film outside assumed contexts and paradigms.

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    Authors: Elise Archias;

    Melvin Edwards made his first abstract sculptures at the beginning of the contemporary period in the early 1960s, but the ways he held on formally to a modern notion of “interiority” in his Lynch Fragments series provide us with an underexamined aesthetic position in contemporary art. Edwards offered nuanced relationships between interior and exterior at a moment when concepts of “interiority” and “self” were under the most strain in contemporary art practice. If we consider this turn away from interiority—and toward surface, emptiness, system, and dematerialization—to be, in part, a symptom of the pressure exerted by the commodity form on art viewers’ sensibilities after 1955, then the stakes of Edwards’ choice not only to use found metal objects, but to compose them around an active rather than empty center, feel higher. By comparing the sculpture Mojo for 1404 (1964) with the Bichos (1960–1965) of Lygia Clark, the distinctiveness of Edwards’ project emerges even more strongly. Clark responded to the crisis of interiority with shiny metal sculptures whose interiors were constantly being flipped inside-out. By contrast, Edwards’ art was motivated by the struggle for racial justice, and it persistently spoke its desire for grounded, scarred personhood in an aesthetic language that required viewers to recall their own interiority.

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    Authors: Amelia G. Jones;

    The fantasized artist-as-origin began as the quintessential figure manifesting Enlightenment European concepts of individual autonomy and sovereign subjectivity—and thus of identity and meaning as these come to define and situate human expression as well as securing educated, middle-class, European white male hegemony in the Euro-American context. While we think of this conventional figure of the straight white male artist as old-fashioned, as having been relentlessly critiqued since the mid-twentieth century by artists, often from a feminist, queer, anti-racist, or decolonial perspective, this article asserts that the artistic author still drives much of the discourse as well as underlying the money and status attached to visual art today. Citing key works by a range of contemporary artists who have challenged these value systems—Cassils, rafa esparza, James Luna, Guillermo Gómez-Peña, and Susan Silton—this article foregrounds the critique of whiteness and masculinity and the interrogation of capitalism and neoliberalism necessary to interrogating these structures of value attached to artistic authorship.

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    Authors: Jenny Lin;

    This article explores how diasporic Chinese video artists present familial histories and tales of cross-cultural exchange in the context of an exhibition I am curating, Another Beautiful Country: Moving Images by Chinese American Artists, at the University of Southern California (USC) Pacific Asia Museum. I discuss projects by featured artists Richard Fung and Patty Chang. These artists’ experimental documentaries and performative videos foster deep personal discoveries that defy the late-capitalist obsession with the new as defined by youth, novelty, and the next trend, providing revelatory insights through recuperative engagements with what has come before. In analyzing artworks by Fung and Chang, I also reference related texts by/about artists and historical figures including Walter Benjamin, Anna May Wong, and Zhang Ailing, who emigrated from the People’s Republic of China to the United States in the 1950s and whose special collections in the USC Libraries helped inform the exhibition’s programming. I also interweave my own related familial histories and share some (not-so-new) curatorial ideas for immersing audiences in intercultural art and reflection.

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    Authors: J. Cabelle Ahn;

    On 8 September 2022, the American artist Frank Stella launched a series of twenty-two digital art works minted as Non-Fungible Tokens (NFTs) in collaboration with Arsnl, the in-house platform by the Artist Rights Society (ARS). Titled Geometries, each “package,” included the NFT that would affirm ownership and the corresponding geometric model designed by Stella in JPG (image), MP4 (video), SLS (3D printing), GLB (virtual reality and model manipulation), and USDZ (augmented reality). This range of digital formats alludes to two of Stella’s innovations in this space: the license to remix and manipulate his models, and the ability to 3D print Geometries at any color, scale, and material. Taking Stella’s foray into the NFT-space as a starting point, my article focuses on an emergent trend by artists engaging with Web3: the effort to bridge the physical and the digital by giving tangible form to NFT artworks and what this suggests for the future of digital materiality. The paper at its core seeks to examine the relationship between the physical referents to NFTs at the very moment when new media returns to historical forms.

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    Authors: Alana J. Coates;

    This article examines the work of multidisciplinary artist José Villalobos through a queer Latinx lens using the theory of “disidentification” as put forth by José Esteban Muñoz and argues that Villalobos makes space for queer visibility and representation within Tejano norteño culture by subverting culturally specific objects that often perpetuate, sometimes violently, traditional Mexican and Mexican-American gender norms. By critically analyzing two artworks, Soledad (loneliness) (2022), a mixed-media triptych that takes the form of an ex-voto, and a performance, A Las Escondidas (Hide-and-Seek) (2019), this study demonstrates how Villalobos challenges gender-normative thinking in border culture through his artworks by incorporating the body and its adornments. Villalobos utilizes his body in his performances and the implied body in his installations and assemblages to critique and subvert homophobia. By doing so, he grafts queer identity onto norteño iconography to carve out space for representation and inclusion for himself and other members of the queer community.

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    Authors: Liisa-Helena Lumberg-Paramonova;

    This article analyzes Baltic German religious art based on examples from Estonia in the first half of the nineteenth century, focusing on artistic networks and the reclamation of a Renaissance classical ideal. Baltic German artists such as Friedrich Ludwig von Maydell, Gustav Adolf Hippius, and Otto Friedrich Ignatius were in contact with the Nazarenes, whose ideals were inspired by Raphael’s attempt to merge art and religion. The Nazarenes influence can be seen in Baltic German religious art, which favored idealized forms and followed on from the works of the Renaissance masters. In addition to presenting religious scenes, in the Baltic context, these artworks acted as mediators of European artistic heritage. The classical ideal was thus perpetuated by a tightly connected network in which Baltic German artists joined others in re-establishing the power of the European canon of art history.

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    Authors: Ellen Larson;

    In her 2022 video installation, Blast Furnace No. 2, artist Su Yu Hsin explores the history of the German factory, Henrichshütte Ironworks. Namely, the artist focuses on Henrichshütte’s former blast furnace, which was bought by a Chinese steel mill in September 1989 and moved to China, where it operated until 2015. Now a state-owned museum, this former factory, located in Hattingen, Germany, is a snapshot of the past—a memorial of sorts for the region’s bygone industrial prosperity. The history and intercontinental movement of this blast furnace inspires Su’s affinities towards spaces located in-between shifting temporalities, identities, and changing environmental conditions within Hattingen and beyond. Su weaves archival materials, documentary film, and interview excerpts into a speculative narrative that connects the years 1989, 2022, and 2050. Blurring reality and imagination, the video follows the fictionalized trail of Lin, a Chinese translator who accompanied the dismantling of the blast furnace over thirty years ago. According to the narrative, Lin left behind an unfinished science fiction novel, which takes place in 2022. In Lin’s novel, the protagonist develops a utopian machine in the form of a blast furnace. With this apparatus, she sends herself into space with the goal of finding an alternative energy source to replace coal. Blast Furnace No. 2 constellates temporal spaces of socio-political and environmental nostalgia, predicated upon both remembered and imagined understandings of the past, present, and future. The work emphasizes contradictory gaps in between socially driven ideological systems and their afterlives, determined to memorialize what most would just as soon forget.

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    Article . 2023
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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    Article . 2023 . Peer-reviewed
    License: CC BY
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Artsarrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      Arts
      Article . 2023
      Data sources: DOAJ
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      Arts
      Article . 2023 . Peer-reviewed
      License: CC BY
      Data sources: Crossref