I Live in This Dress: Materiality and Identity in Visual Art Performance

2019 ◽  
Vol 60 (2) ◽  
pp. 175
Author(s):  
Carpenter
Keyword(s):  
Visual Art ◽  
Art Performance

Christo's Umbrellas: Visual Art/Performance/Ritual/Real Life on a Grand Scale

1993 ◽  
Vol 37 (1) ◽  
pp. 74
Author(s):  
Robert Findlay ◽  
Ellen Walterscheid
Keyword(s):  
Visual Art ◽  
Real Life ◽  
Art Performance

scholarly journals Photo Essay: “Vietnamese Here Contemporary Art and Refections” Art Exhibition, Melbourne, Australia, May 2017

2019 ◽  
Vol 4 (1) ◽  
pp. 133-139
Author(s):  
Anh Nguyen
Keyword(s):  
Contemporary Art ◽  
Performance Art ◽  
Visual Art ◽  
Art Exhibition ◽  
History And Memory ◽  
Art Performance ◽  
Photo Essay

Anh Nguyen was co-curator, with Nadia Rhook, of the “Vietnamese Here Contemporary Art and Refections” exhibition about Vietnamese migrants in Melbourne, Australia, May 4–26, 2017. Phuong Ngo’s work, the basis of this photo essay, was part of the exhibition, which featured visual art, performance art, and readings refecting on Vietnamese heritage, history, and memory in the diaspora. The exhibition was sponsored by the Australian Research Council’s Kathleen Fitzpatrick Laureate Fellowship, of which Anh Nguyen is a researcher.

Visuality, Sonicity and Corporeality in Installation Art: A Conversation with Jun Nguyen-Hatsushiba

2021 ◽  
Vol 46 (2) ◽  
pp. 200-208
Author(s):  
PRARTHANA PURKAYASTHA
Keyword(s):  
Cultural Memory ◽  
Visual Art ◽  
Installation Art ◽  
Forced Migration ◽  
Breath Sound ◽  
Vietnamese American ◽  
Art Performance ◽  
Art Production

This conversation paper examines the visual, sonic and corporeal entanglements that inform the work of the Vietnamese-American-Japanese artist Jun Nguyen-Hatsushiba. It explores the corporeal and aural qualities that are central to an understanding and sensorial experience of the artist's installations and visual practice. In paying attention to breath, sound and motion in visual art production, Jun Nguyen-Hatsushiba's works reveal how corporeality and sonicity can dismantle the ocular-centrism of visual art. The discussions between Jun and Prarthana map the varied traumatic histories of racial colonialism, war and forced migration that haunt Vietnam's present, and bring to the surface the artist's aesthetic and political concerns around art, performance and cultural memory.

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