Greyson Hong
Curated Exhibition

Queer Horizons

The show insists on claiming liminal and hybrid spaces and lives, queer collectivity, and intersectional solidarity. Left: Greyson Hong, “Pool” (2010).

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curated exhibition

Queer Horizons

Queer Horizons features the work of Asian American and Asian diasporic artists whose work envisions a queer future that unsettles the past, disrupts the present, and imagines new worlds beyond the limits of the horizon.

 

We take inspiration from José Esteban Muñoz, the late queer studies scholar, and his conception of a “not yet here.” As he explains in Cruising Utopia, the “not yet here” is a phenomenon of queer futurity that “allows us to see and feel beyond the quagmire of the present.”

 

Within the last ten years in the US, we have celebrated the legal recognition of same-sex marriage, the end of “Don’t Ask, Don’t Tell” and the formal acceptance of gays in the military, and increased visibility of LGBTQ bodies and personalities in popular culture. In our present moment, however, LGBTQ rights, safety, and health care are increasingly under threat. Simultaneously, the current administration frames Asian American communities as “un-American,” the after tremors along old Yellow Peril fault lines. They are foreign, unassimilable, undocumented: Muslim “terrorists,” hordes of H1B visa techie taking over American jobs, or “model minority” students taking up too much space in classrooms.

 

However, the artists and works in Queer Horizons name a possibility beyond the "model minority”: as queer Asian American artists, they disrupt the model minority narrative defined by heteronormative notions of success. Each artist engages a non-linear temporality moving between pasts, presents, and futures, and each work gestures towards a queer history that we, as Queer Asian Americans, can excavate, (re)create, and (re)produce in our pasts, presents, and futures. For example, Greyson Hong's Costco photos, Việt Lê's productions of club scenes/ online performances, and Tina Takemoto's unconventional short film all tell of an alternative past to inform a queer alternative future. As we think of these experiences at the intersections with undocumented status, foreignness, and Islamophobia, their highly experimental and queer aesthetic in storytelling suggests further radical potential.

 

It is in this dangerous political climate that the artists in Queer Horizons insist on claiming liminal and hybrid spaces and lives, queer collectivity, and intersectional solidarity. Embracing failure, misbehavior, non-normativity, and defiant joyfulness thus becomes a radical form of resistance. This is the kind of utopian horizon that we call forward. In the spirit of artist Jeffrey Augustine Songco’s video, “Let’s Dance America!”

 

Queer Horizons appears in conjunction with the publication of Laura Kina and Jan Christian Bernabe’s book, Queering Contemporary Asian American Art (University of Washington Press, 2017). http://www.queeringcontemporaryasianamericanart.com/

 

Curated by Jan Christian Bernabe and Laura Kina

 

Curatorial Assistant: Mads Le

 

Contributors: Anida Yoeu Ali, Sita Kuratomi Bhaumik, Kim Anno, Wafaa Bilal, Greyson Hong, Kiam Marcelo Junio, Việt Lê, Maya Mackrandilal, Zavé Martohardjono, Jeffrey Augustine Songco, Tina Takemoto, and Saya Woolfalk.

 

Contributors’ works are published in staggered waves from late-June to late-July 2017, after which the whole exhibition are archived permanently on CA+T’s website.

 

Special thanks to the Andy Warhol Foundation and the California Institute of Contemporary Arts for fiscal support.

 

Summer 2017

Valley Curtain

Kim Anno

2017 Oil on wood 41" x 33" Courtesy of the artist

contributor

X

Kim Anno

b. 1958
image description
  • See All Works
  • visit website

Kim Anno is a painter, photographer, book artist, and filmmaker/video artist whose work has been exhibited by museums nationally and internationally. The San Francisco Museum of Modern Art, Brooklyn Museum, Honolulu Museum, Berkeley Art Museum, Crocker Museum, Oakland Museum, Getty Research Institute, Columbia University, University of Texas, Austin, Walker Museum, Koopman Collection, The Hague, and Newberry Library all include her work.

Anno’s works include films and staged readings. Her documentary, A New World (2016), focuses on the education and triumph of young African American women at North Carolina’s Bennett College. In 2016, she directed Crisis, a live staged reading in collaboration with Brazilian composer Saulo Laudares, of her adaptation of Dante’s Purgatorio (Canto 32), as well as a live contemporary dance performance, Drought 1200, presented in San Francisco. Currently Anno is making two films in South Florida and Cuba. The first is 90 Miles from Paradise, a project staged in Havana, Key West, and Miami. The second film, ¡Quba!, is a documentary on the LGBTQI community in Cuba, and she recently licensed four original Cuban bands’ songs for the film. For the Oakland Asian Cultural Center’s 2017-18 season, Anno is producing a film/live music performance concert. Anno’s films have been screened internationally at festivals and venues including the Museum of Modern Art, Rio De Janeiro; the 14th Annual New Media Festival, Seoul, Korea; Goethe Institute, Johannesburg; Durban Municipal Gallery in the Don’t Panic Exhibition; San Francisco Asian Art Museum; Site Santa Fe Biennale; One Night Stand, New Mexico; the King’s Art Center; Kim Anno Retrospective; the Varnosi Museum, Hungary; DC Dusseldorf International Expo, Germany; Pulse, Miami; the Berkeley Art Museum; the Denison University Museum; and Noel Art Museum.

Her work is also featured in a number of exhibitions and magazines. She has a solo exhibition and screening in Atlanta, at Marcia Wood Gallery, and in 2018 she will have a solo exhibition at the University of Suffolk in England. Her work is featured in the June 2017 issue of Area Paris, an arts magazine. More of her work will be published in Saint Anne’s Review (Spring 2017).

Anno is the recipient of a number of awards and fellowships: the Wallace Alexander Gerbode Foundation Award, the Eureka Foundation’s Fleishhaker Fellowship (2003), the Zellerbach Foundation (2010-12), the Open Circle Foundation (2013), and a Sustainable Arts residency at Kala Art Institute. In fall 2014 Anno was a recipient of a Berkeley Film Foundation Award and published her second artist’s book with the poet Anne Carson, titled The Albertine Work Out. In 2015, she received the Kala Art Institute’s master artist award. She has published photography covers, photo essays, and Purgatorio text in Art Papers National Magazine (Fall 2016). She contributed to an essay on the artist David Hammons for Flash Art Magazine and to Queering Contemporary Asian Art (2017), edited by Laura Kina, and Jan Christian Bernabe. Anno also published a photograph in Harper’s Magazine in 2013.

Anno has been at work on an epic social practice filmmaking project: Men and Women in Water Cities, a longer term work made with local actors, citizens in coastal communities who are grappling with sea level rise. Recently, she founded the non-profit Wild Projects. Its mission is to “collaborate with communities world wide through fearless art, film, and performance productions that inspire resiliency in the face of adversity.”

You can also find her work at Marciawoodgallery.com.

location

X
  • Born: Los Angeles, CA, USA
  • Based: Berkeley, CA, USA

comments

X

Kyoto

Kim Anno

2013 Oil on wood and canvas 48" x 84" Courtesy of the artist

contributor

X

Kim Anno

b. 1958
image description
  • See All Works
  • visit website

Kim Anno is a painter, photographer, book artist, and filmmaker/video artist whose work has been exhibited by museums nationally and internationally. The San Francisco Museum of Modern Art, Brooklyn Museum, Honolulu Museum, Berkeley Art Museum, Crocker Museum, Oakland Museum, Getty Research Institute, Columbia University, University of Texas, Austin, Walker Museum, Koopman Collection, The Hague, and Newberry Library all include her work.

Anno’s works include films and staged readings. Her documentary, A New World (2016), focuses on the education and triumph of young African American women at North Carolina’s Bennett College. In 2016, she directed Crisis, a live staged reading in collaboration with Brazilian composer Saulo Laudares, of her adaptation of Dante’s Purgatorio (Canto 32), as well as a live contemporary dance performance, Drought 1200, presented in San Francisco. Currently Anno is making two films in South Florida and Cuba. The first is 90 Miles from Paradise, a project staged in Havana, Key West, and Miami. The second film, ¡Quba!, is a documentary on the LGBTQI community in Cuba, and she recently licensed four original Cuban bands’ songs for the film. For the Oakland Asian Cultural Center’s 2017-18 season, Anno is producing a film/live music performance concert. Anno’s films have been screened internationally at festivals and venues including the Museum of Modern Art, Rio De Janeiro; the 14th Annual New Media Festival, Seoul, Korea; Goethe Institute, Johannesburg; Durban Municipal Gallery in the Don’t Panic Exhibition; San Francisco Asian Art Museum; Site Santa Fe Biennale; One Night Stand, New Mexico; the King’s Art Center; Kim Anno Retrospective; the Varnosi Museum, Hungary; DC Dusseldorf International Expo, Germany; Pulse, Miami; the Berkeley Art Museum; the Denison University Museum; and Noel Art Museum.

Her work is also featured in a number of exhibitions and magazines. She has a solo exhibition and screening in Atlanta, at Marcia Wood Gallery, and in 2018 she will have a solo exhibition at the University of Suffolk in England. Her work is featured in the June 2017 issue of Area Paris, an arts magazine. More of her work will be published in Saint Anne’s Review (Spring 2017).

Anno is the recipient of a number of awards and fellowships: the Wallace Alexander Gerbode Foundation Award, the Eureka Foundation’s Fleishhaker Fellowship (2003), the Zellerbach Foundation (2010-12), the Open Circle Foundation (2013), and a Sustainable Arts residency at Kala Art Institute. In fall 2014 Anno was a recipient of a Berkeley Film Foundation Award and published her second artist’s book with the poet Anne Carson, titled The Albertine Work Out. In 2015, she received the Kala Art Institute’s master artist award. She has published photography covers, photo essays, and Purgatorio text in Art Papers National Magazine (Fall 2016). She contributed to an essay on the artist David Hammons for Flash Art Magazine and to Queering Contemporary Asian Art (2017), edited by Laura Kina, and Jan Christian Bernabe. Anno also published a photograph in Harper’s Magazine in 2013.

Anno has been at work on an epic social practice filmmaking project: Men and Women in Water Cities, a longer term work made with local actors, citizens in coastal communities who are grappling with sea level rise. Recently, she founded the non-profit Wild Projects. Its mission is to “collaborate with communities world wide through fearless art, film, and performance productions that inspire resiliency in the face of adversity.”

You can also find her work at Marciawoodgallery.com.

location

X
  • Born: Los Angeles, CA, USA
  • Based: Berkeley, CA, USA

comments

X

Horizon

Kim Anno

2014 Oil and silkscreen on aluminum 56" x 74" Courtesy of the artist

contributor

X

Kim Anno

b. 1958
image description
  • See All Works
  • visit website

Kim Anno is a painter, photographer, book artist, and filmmaker/video artist whose work has been exhibited by museums nationally and internationally. The San Francisco Museum of Modern Art, Brooklyn Museum, Honolulu Museum, Berkeley Art Museum, Crocker Museum, Oakland Museum, Getty Research Institute, Columbia University, University of Texas, Austin, Walker Museum, Koopman Collection, The Hague, and Newberry Library all include her work.

Anno’s works include films and staged readings. Her documentary, A New World (2016), focuses on the education and triumph of young African American women at North Carolina’s Bennett College. In 2016, she directed Crisis, a live staged reading in collaboration with Brazilian composer Saulo Laudares, of her adaptation of Dante’s Purgatorio (Canto 32), as well as a live contemporary dance performance, Drought 1200, presented in San Francisco. Currently Anno is making two films in South Florida and Cuba. The first is 90 Miles from Paradise, a project staged in Havana, Key West, and Miami. The second film, ¡Quba!, is a documentary on the LGBTQI community in Cuba, and she recently licensed four original Cuban bands’ songs for the film. For the Oakland Asian Cultural Center’s 2017-18 season, Anno is producing a film/live music performance concert. Anno’s films have been screened internationally at festivals and venues including the Museum of Modern Art, Rio De Janeiro; the 14th Annual New Media Festival, Seoul, Korea; Goethe Institute, Johannesburg; Durban Municipal Gallery in the Don’t Panic Exhibition; San Francisco Asian Art Museum; Site Santa Fe Biennale; One Night Stand, New Mexico; the King’s Art Center; Kim Anno Retrospective; the Varnosi Museum, Hungary; DC Dusseldorf International Expo, Germany; Pulse, Miami; the Berkeley Art Museum; the Denison University Museum; and Noel Art Museum.

Her work is also featured in a number of exhibitions and magazines. She has a solo exhibition and screening in Atlanta, at Marcia Wood Gallery, and in 2018 she will have a solo exhibition at the University of Suffolk in England. Her work is featured in the June 2017 issue of Area Paris, an arts magazine. More of her work will be published in Saint Anne’s Review (Spring 2017).

Anno is the recipient of a number of awards and fellowships: the Wallace Alexander Gerbode Foundation Award, the Eureka Foundation’s Fleishhaker Fellowship (2003), the Zellerbach Foundation (2010-12), the Open Circle Foundation (2013), and a Sustainable Arts residency at Kala Art Institute. In fall 2014 Anno was a recipient of a Berkeley Film Foundation Award and published her second artist’s book with the poet Anne Carson, titled The Albertine Work Out. In 2015, she received the Kala Art Institute’s master artist award. She has published photography covers, photo essays, and Purgatorio text in Art Papers National Magazine (Fall 2016). She contributed to an essay on the artist David Hammons for Flash Art Magazine and to Queering Contemporary Asian Art (2017), edited by Laura Kina, and Jan Christian Bernabe. Anno also published a photograph in Harper’s Magazine in 2013.

Anno has been at work on an epic social practice filmmaking project: Men and Women in Water Cities, a longer term work made with local actors, citizens in coastal communities who are grappling with sea level rise. Recently, she founded the non-profit Wild Projects. Its mission is to “collaborate with communities world wide through fearless art, film, and performance productions that inspire resiliency in the face of adversity.”

You can also find her work at Marciawoodgallery.com.

location

X
  • Born: Los Angeles, CA, USA
  • Based: Berkeley, CA, USA

comments

X

Pool

Greyson Hong

2010 Large scale floor to ceiling projection Duration: 6 min 14 sec (looped) Courtesy of the artist

contributor

X

Greyson Hong

b. 1982
image description
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Greyson Hong received her M.F.A. in film and video from Bard College (2014) and her B.F.A. in studio art from the School of the Art Institute of Chicago (2007). She was born in Chicago, IL, and lives in New Haven, CT, where she teaches video at the Educational Center for the Arts and Gateway Community College. She also studied at the Summer Studio Program at Oxbow School of Art (2004), with a concentration in Glass and Sculpture, and the United States Naval Academy (2002), with a concentration in Chemistry and Mathematics. She is currently the Artist-in-Residence at Artspace New Haven.

Greyson Hong is a new media and performance artist whose work explores memory, loss, personal histories, narrative form, displacement, and the body. Her work pulls from personal experiences to contemplate the choreographies of space, trained bodies, and the way we use non-verbal language to communicate via sound, light, and gesture. Her recent work attempts to imagine impossible realities of the queer gendered body. In Costco Photo Repair, she hires Costco to digitally re-gender her childhood photographs. The center photo of each triptych presents the in-between stage, introducing a third space beyond the gender binary.

location

X
  • Born: Chicago, IL, USA
  • Based: New Haven, CT, USA

comments

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Pool (screen capture)

Greyson Hong

2010 Screen capture of video performance Courtesy of the artist

contributor

X

Greyson Hong

b. 1982
image description
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Greyson Hong received her M.F.A. in film and video from Bard College (2014) and her B.F.A. in studio art from the School of the Art Institute of Chicago (2007). She was born in Chicago, IL, and lives in New Haven, CT, where she teaches video at the Educational Center for the Arts and Gateway Community College. She also studied at the Summer Studio Program at Oxbow School of Art (2004), with a concentration in Glass and Sculpture, and the United States Naval Academy (2002), with a concentration in Chemistry and Mathematics. She is currently the Artist-in-Residence at Artspace New Haven.

Greyson Hong is a new media and performance artist whose work explores memory, loss, personal histories, narrative form, displacement, and the body. Her work pulls from personal experiences to contemplate the choreographies of space, trained bodies, and the way we use non-verbal language to communicate via sound, light, and gesture. Her recent work attempts to imagine impossible realities of the queer gendered body. In Costco Photo Repair, she hires Costco to digitally re-gender her childhood photographs. The center photo of each triptych presents the in-between stage, introducing a third space beyond the gender binary.

location

X
  • Born: Chicago, IL, USA
  • Based: New Haven, CT, USA

comments

X

Salpuri

Greyson Hong

2012 Single channel video Duration: 10 min 30 sec (silent looped) Courtesy of the artist

contributor

X

Greyson Hong

b. 1982
image description
  • See All Works

Greyson Hong received her M.F.A. in film and video from Bard College (2014) and her B.F.A. in studio art from the School of the Art Institute of Chicago (2007). She was born in Chicago, IL, and lives in New Haven, CT, where she teaches video at the Educational Center for the Arts and Gateway Community College. She also studied at the Summer Studio Program at Oxbow School of Art (2004), with a concentration in Glass and Sculpture, and the United States Naval Academy (2002), with a concentration in Chemistry and Mathematics. She is currently the Artist-in-Residence at Artspace New Haven.

Greyson Hong is a new media and performance artist whose work explores memory, loss, personal histories, narrative form, displacement, and the body. Her work pulls from personal experiences to contemplate the choreographies of space, trained bodies, and the way we use non-verbal language to communicate via sound, light, and gesture. Her recent work attempts to imagine impossible realities of the queer gendered body. In Costco Photo Repair, she hires Costco to digitally re-gender her childhood photographs. The center photo of each triptych presents the in-between stage, introducing a third space beyond the gender binary.

location

X
  • Born: Chicago, IL, USA
  • Based: New Haven, CT, USA

comments

X

Salpuri (screen capture)

Greyson Hong

2012 Screen capture of video performance Courtesy of the artist

contributor

X

Greyson Hong

b. 1982
image description
  • See All Works

Greyson Hong received her M.F.A. in film and video from Bard College (2014) and her B.F.A. in studio art from the School of the Art Institute of Chicago (2007). She was born in Chicago, IL, and lives in New Haven, CT, where she teaches video at the Educational Center for the Arts and Gateway Community College. She also studied at the Summer Studio Program at Oxbow School of Art (2004), with a concentration in Glass and Sculpture, and the United States Naval Academy (2002), with a concentration in Chemistry and Mathematics. She is currently the Artist-in-Residence at Artspace New Haven.

Greyson Hong is a new media and performance artist whose work explores memory, loss, personal histories, narrative form, displacement, and the body. Her work pulls from personal experiences to contemplate the choreographies of space, trained bodies, and the way we use non-verbal language to communicate via sound, light, and gesture. Her recent work attempts to imagine impossible realities of the queer gendered body. In Costco Photo Repair, she hires Costco to digitally re-gender her childhood photographs. The center photo of each triptych presents the in-between stage, introducing a third space beyond the gender binary.

location

X
  • Born: Chicago, IL, USA
  • Based: New Haven, CT, USA

comments

X

Lakshmi, Goddess of Wealth

Maya Mackrandilal

2015 Pigment print on bamboo paper with Flashe paint and collage 66 x 44 inches Courtesy of the artist From the "How to be a Monster" series

contributor

X

Maya Mackrandilal

b. 1985

Maya Mackrandilal is a transdisciplinary artist, writer, and arts administrator based in Los Angeles. She is a mixed-race woman of color with roots in the Caribbean, South America, South Asia, East Asia, and West Africa. Her artwork currently strives to imagine radical futures for women of color solidarity and liberation. Her writing focuses on issues of race, gender, and labor within the art world. She holds an M.F.A. from the School of the Art Institute of Chicago, where she was a recipient of a Jacob K. Javits Fellowship. She received her B.A. in Studio Art with a minor in English from the University of Virginia, where she was awarded an Auspaugh post-baccalaureate fellowship.

Her work has been shown nationally, including at the Chicago Artists Coalition, THE MISSION, and the South Side Arts Incubator in Chicago, as well as the Abrons Art Center and Smack Mellon in New York. She is a founding member of FEMelanin, a woman of color identified theater collective based in Chicago. She also has an ongoing collaborative project titled #NewGlobalMatriarchy with the Chicago-based artist Stephanie Graham.

Her critical essays have appeared in 60 Inches from Center and MICE Magazine. She collaborates with the poet and researcher Eunsong Kim for essays that have appeared in The New Inquiry and contemptorary, among others. Her creative writing has appeared in Skin Deep, Drunken Boat, and is forthcoming in a currently untitled collection of women authors and artists from Guyana reflecting on migration.

She is the Fine Arts Coordinator for the city of Buena Park, where she facilitates a variety of arts and cultural programming to engage diverse local communities.

She tweets about art, politics, and culture @femme_couteau. Her internet art persona, the Goddess Lakshmi, is on Twitter, Instagram, and Facebook as @globalmatriarch http://mayamackrandilal.com

In my recent work on projects such as How to be a Monster, Bedtime Stories of White Supremacy, and #NewGlobalMatriarchy, I have harnessed my research interests (women of color feminist perspectives, black studies, post-colonialism, queer theory, etc.) to create work that infiltrates our cultural vernacular with radical imaginations of the future. The catalyst for this new work was How to be a Monster, where I performed as a series of Hindu goddesses who had become incarnated in our present culture. There is a long history of imagining the “other” as a monster, from medieval European accounts of South Asian art as “monstrous” up to Darren Wilson describing Michael Brown as looking like a “monster” in his grand jury testimony. Often, queer, female, and mixed-race bodies are viewed through the lens of monstrosity.

The goddesses inhabit this space of monstrosity (the realm of the outcast, the foreign, the abject, the criminal), inhabiting the imagination of the dominant culture (capitalist, white supremacist, cis-hetero-patriarchal), but queering that imagination, using the position of the monster as a place of power and agency, bringing the sublimated fears of the dominant culture to the surface so that its power might be undermined and ultimately dismantled. The images produced are a collapse of history, where traditional South Asian painting styles collide with signifiers of race, class, and popular culture. Like the common and inexpensive prints of goddesses that these images reference, they are bright and immediately legible, but that immediacy quickly dissolves into a network of references and allusions that open up questions about power and identity.

The project continues with Bedtime Stories of White Supremacy and #NewGlobalMatriarchy where the Goddesses exit the imaginative space of the works on paper and out into the world, making friends and allies along the way, causing trouble and rethinking revolution.

location

X
  • Born: Washington, DC, USA
  • Based: Los Angeles, CA, USA

comments

X

The Goddess Kali as Pietà

Maya Mackrandilal

2015 Pigment print on bamboo paper with Flashe paint and collage 66 x 44 inches Courtesy of the artist From the "How to be a Monster" series

contributor

X

Maya Mackrandilal

b. 1985

Maya Mackrandilal is a transdisciplinary artist, writer, and arts administrator based in Los Angeles. She is a mixed-race woman of color with roots in the Caribbean, South America, South Asia, East Asia, and West Africa. Her artwork currently strives to imagine radical futures for women of color solidarity and liberation. Her writing focuses on issues of race, gender, and labor within the art world. She holds an M.F.A. from the School of the Art Institute of Chicago, where she was a recipient of a Jacob K. Javits Fellowship. She received her B.A. in Studio Art with a minor in English from the University of Virginia, where she was awarded an Auspaugh post-baccalaureate fellowship.

Her work has been shown nationally, including at the Chicago Artists Coalition, THE MISSION, and the South Side Arts Incubator in Chicago, as well as the Abrons Art Center and Smack Mellon in New York. She is a founding member of FEMelanin, a woman of color identified theater collective based in Chicago. She also has an ongoing collaborative project titled #NewGlobalMatriarchy with the Chicago-based artist Stephanie Graham.

Her critical essays have appeared in 60 Inches from Center and MICE Magazine. She collaborates with the poet and researcher Eunsong Kim for essays that have appeared in The New Inquiry and contemptorary, among others. Her creative writing has appeared in Skin Deep, Drunken Boat, and is forthcoming in a currently untitled collection of women authors and artists from Guyana reflecting on migration.

She is the Fine Arts Coordinator for the city of Buena Park, where she facilitates a variety of arts and cultural programming to engage diverse local communities.

She tweets about art, politics, and culture @femme_couteau. Her internet art persona, the Goddess Lakshmi, is on Twitter, Instagram, and Facebook as @globalmatriarch http://mayamackrandilal.com

In my recent work on projects such as How to be a Monster, Bedtime Stories of White Supremacy, and #NewGlobalMatriarchy, I have harnessed my research interests (women of color feminist perspectives, black studies, post-colonialism, queer theory, etc.) to create work that infiltrates our cultural vernacular with radical imaginations of the future. The catalyst for this new work was How to be a Monster, where I performed as a series of Hindu goddesses who had become incarnated in our present culture. There is a long history of imagining the “other” as a monster, from medieval European accounts of South Asian art as “monstrous” up to Darren Wilson describing Michael Brown as looking like a “monster” in his grand jury testimony. Often, queer, female, and mixed-race bodies are viewed through the lens of monstrosity.

The goddesses inhabit this space of monstrosity (the realm of the outcast, the foreign, the abject, the criminal), inhabiting the imagination of the dominant culture (capitalist, white supremacist, cis-hetero-patriarchal), but queering that imagination, using the position of the monster as a place of power and agency, bringing the sublimated fears of the dominant culture to the surface so that its power might be undermined and ultimately dismantled. The images produced are a collapse of history, where traditional South Asian painting styles collide with signifiers of race, class, and popular culture. Like the common and inexpensive prints of goddesses that these images reference, they are bright and immediately legible, but that immediacy quickly dissolves into a network of references and allusions that open up questions about power and identity.

The project continues with Bedtime Stories of White Supremacy and #NewGlobalMatriarchy where the Goddesses exit the imaginative space of the works on paper and out into the world, making friends and allies along the way, causing trouble and rethinking revolution.

location

X
  • Born: Washington, DC, USA
  • Based: Los Angeles, CA, USA

comments

X

The Goddess Durga as Phoolan Devi

Maya Mackrandilal

2015 Pigment print on bamboo paper with Flashe paint and collage 66 x 44 inches Courtesy of the artist From the "How to be a Monster" series

contributor

X

Maya Mackrandilal

b. 1985

Maya Mackrandilal is a transdisciplinary artist, writer, and arts administrator based in Los Angeles. She is a mixed-race woman of color with roots in the Caribbean, South America, South Asia, East Asia, and West Africa. Her artwork currently strives to imagine radical futures for women of color solidarity and liberation. Her writing focuses on issues of race, gender, and labor within the art world. She holds an M.F.A. from the School of the Art Institute of Chicago, where she was a recipient of a Jacob K. Javits Fellowship. She received her B.A. in Studio Art with a minor in English from the University of Virginia, where she was awarded an Auspaugh post-baccalaureate fellowship.

Her work has been shown nationally, including at the Chicago Artists Coalition, THE MISSION, and the South Side Arts Incubator in Chicago, as well as the Abrons Art Center and Smack Mellon in New York. She is a founding member of FEMelanin, a woman of color identified theater collective based in Chicago. She also has an ongoing collaborative project titled #NewGlobalMatriarchy with the Chicago-based artist Stephanie Graham.

Her critical essays have appeared in 60 Inches from Center and MICE Magazine. She collaborates with the poet and researcher Eunsong Kim for essays that have appeared in The New Inquiry and contemptorary, among others. Her creative writing has appeared in Skin Deep, Drunken Boat, and is forthcoming in a currently untitled collection of women authors and artists from Guyana reflecting on migration.

She is the Fine Arts Coordinator for the city of Buena Park, where she facilitates a variety of arts and cultural programming to engage diverse local communities.

She tweets about art, politics, and culture @femme_couteau. Her internet art persona, the Goddess Lakshmi, is on Twitter, Instagram, and Facebook as @globalmatriarch http://mayamackrandilal.com

In my recent work on projects such as How to be a Monster, Bedtime Stories of White Supremacy, and #NewGlobalMatriarchy, I have harnessed my research interests (women of color feminist perspectives, black studies, post-colonialism, queer theory, etc.) to create work that infiltrates our cultural vernacular with radical imaginations of the future. The catalyst for this new work was How to be a Monster, where I performed as a series of Hindu goddesses who had become incarnated in our present culture. There is a long history of imagining the “other” as a monster, from medieval European accounts of South Asian art as “monstrous” up to Darren Wilson describing Michael Brown as looking like a “monster” in his grand jury testimony. Often, queer, female, and mixed-race bodies are viewed through the lens of monstrosity.

The goddesses inhabit this space of monstrosity (the realm of the outcast, the foreign, the abject, the criminal), inhabiting the imagination of the dominant culture (capitalist, white supremacist, cis-hetero-patriarchal), but queering that imagination, using the position of the monster as a place of power and agency, bringing the sublimated fears of the dominant culture to the surface so that its power might be undermined and ultimately dismantled. The images produced are a collapse of history, where traditional South Asian painting styles collide with signifiers of race, class, and popular culture. Like the common and inexpensive prints of goddesses that these images reference, they are bright and immediately legible, but that immediacy quickly dissolves into a network of references and allusions that open up questions about power and identity.

The project continues with Bedtime Stories of White Supremacy and #NewGlobalMatriarchy where the Goddesses exit the imaginative space of the works on paper and out into the world, making friends and allies along the way, causing trouble and rethinking revolution.

location

X
  • Born: Washington, DC, USA
  • Based: Los Angeles, CA, USA

comments

X