Text
AS AUTHOR
2023
Packaged and Sold: Food and Identity in Art: Christine Miller’s Syrup on Watermelon, at the Portland Art Museum and Others
Available in noon: a publication of The Ford Family Foundation's Critical Conversations Program, published by Center for Art Research at the University of Oregon.
2022
In 2022, I was a Cliff Notes columnist alongside Angella d'Avignon, Jasmine Jamillah Mahmoud, and Theadora Walsh. View the archives here.
Asian Futures, With Asians: Astria Suparak and Everything Everywhere All at Once
“The cinema has long been a tool of white supremacy’s meaning-making machine. It has told the masses who to alienate and dehumanize, who to award, and why. What Suparak has mapped—through the miscategorizing, misclassifying, the white fantasy of the Other—is the algorithm flourishing. The fantasy of Asianness in science fiction is designating marginalization and racism.”
This essay was produced as part of the inaugural Stelo + Variable West Arts Writing Residency, funded with generous support from Stelo.
“The cinema has long been a tool of white supremacy’s meaning-making machine. It has told the masses who to alienate and dehumanize, who to award, and why. What Suparak has mapped—through the miscategorizing, misclassifying, the white fantasy of the Other—is the algorithm flourishing. The fantasy of Asianness in science fiction is designating marginalization and racism.”
This essay was produced as part of the inaugural Stelo + Variable West Arts Writing Residency, funded with generous support from Stelo.
Art of Glass: Emily Endo Interviewed
“There seems to be two balancing elements in Endo’s work: scientific discoveries and mysticism. Things like casting glass, dying fibers, and making olfactory components require a certain meticulousness and knowledge of chemistry. And patience—lots of patience. What really intrigued me, though, were the playful, pastel imageries that emerged, such as fungi, earth crytals, marine biology—even self-reproducing seahorses—and Endo’s approach to them from a queer perspective.”
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“There seems to be two balancing elements in Endo’s work: scientific discoveries and mysticism. Things like casting glass, dying fibers, and making olfactory components require a certain meticulousness and knowledge of chemistry. And patience—lots of patience. What really intrigued me, though, were the playful, pastel imageries that emerged, such as fungi, earth crytals, marine biology—even self-reproducing seahorses—and Endo’s approach to them from a queer perspective.”
Reclaiming Sexualized Asian Women Through Art, Cold Tea Collective Magazine (Sept 2021)
Tutoring the Kingpin, Beyond the Margins Magazine, Oregon Humanities (Oct 2020)
How to Watch a Thai Ghost Movie, Tricycle Magazine (Oct 2018)
COOL READS*
“BARAMEE: THAI RELATIONAL ART AND THE ETHICS OF WITHDRAWAL.” Thai Art: Currencies of the Contemporary, by DAVID TEH, The MIT Press, CAMBRIDGE, MASSACHUSETTS; LONDON, ENGLAND, 2017, pp. 109–144. JSTOR, www.jstor.org/stable/j.ctt1nxqpvn.10
Maravillas, Francis. “The Unexpected Guest: Food and Hospitality in Contemporary Asian Art.” Contemporary Asian Art and Exhibitions: Connectivities and World-Making, by Michelle Antoinette and Caroline Turner, ANU Press, 2014, pp. 159–178, www.jstor.org/stable/j.ctt13wwv81.12
Sunny Woan, White Sexual Imperialism: A Theory of Asian Feminist Jurisprudence, 14 Wash. & Lee J. Civ. Rts. & Soc. Just. 275 (2008).
https://scholarlycommons.law.wlu.edu/crsj/vol14/iss2/5
*cite this w/ better format for me