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, watercolour, or gouache, Kim’s living doodles dance about in negative space. The collection of animations hesitant fingers reaching for a cookie, washing machines spinning ad infinitum at a laundromat, or a sandcastle burning down—serve as documentation of Kim’s mental notes. If her micro-observations seem to

In: Asian Diasporic Visual Cultures and the Americas

Chair on the Japanese American Incarceration, Redress, and Community. Her publications include City Girls: The Nisei Social World in Los Angeles , and Farming the Home Place: A Japanese American Community in California . References Ahmed , Sara . Living a Feminist Life

In: Asian Diasporic Visual Cultures and the Americas

painting) and recording, I agree with this observation, in that I believe, experience and cultural production are mediated by the complex process of memory. This is important in understanding what we see and how to communicate to others. I have three reasons that motivated me to produce this series: 1) a

In: Asian Diasporic Visual Cultures and the Americas

diasporas informed much of the mapmaking across the Pacific, Latin America, North America, and the Caribbean. The map we designed does not represent a definitive answer, but rather a collective dream of what we could become. Distancing ourselves from any essentialism or universalism, we were motivated by

In: Asian Diasporic Visual Cultures and the Americas

to her right as she holds an ink brush above a scroll. Another woman behind her, elegantly styled in a pink and purple kimono, leans over to grip the arms of a small boy learning to walk. While the painting could initially be mistaken for a historic depiction of family life in Asia, a closer look

In: Asian Diasporic Visual Cultures and the Americas
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search of a new life. More than 46,000 individuals have died since 2000, and more than 40 million internally displaced people ( idp ) have been detained and interned in camps all over the world, some for committing only the offence of crossing—or trying to cross—a border without papers. 1 The

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In: Asian Diasporic Visual Cultures and the Americas

class and how it seemed as though moca was invested in the legacy of a working-class Chinatown history, and yet through recent policies and leadership changes, it seems to have really distanced itself from living working-class people. I don’t know whether there’s a recognition of the contradiction

In: Asian Diasporic Visual Cultures and the Americas
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to life living in the US.” Thus, artists deploy “critical strategies to survive in a society that refuses to give South Asian Americans visibility, political agency, and space to effectively participate in the public sphere.” 6 Challenging the narrative of assimilation, their work further shows

In: Asian Diasporic Visual Cultures and the Americas

political conditions in the Philippines. In the November 2005 issue, a page was used to display the English translation of lyrics to a Tagalog folk song, “ Awit Sa Bayani ” [Song of a Hero]. Nationalistic in tone, the lyrics were written for an activist who had lost his or her life. Using this song at that

In: Asian Diasporic Visual Cultures and the Americas
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self during the crossing which is symbolic of a deconstruction which leads to a reconstruction.” 16 Human-Animals/Animal-Humans The determined equation of human life, not only in terms of its “value” but its capability of violence and destructive harm, is further underlined in Notebook of No

In: Asian Diasporic Visual Cultures and the Americas