UWashingtonPress on Youtube)
(Troubling Borders book trailer by
Alone and used,
I find strength to bear the storm that will come and cleanse my land,
Replenish my trampled soil.
And when they come again,
I will welcome them with tides and storms of thunder and lightning.
And they will never set foot on my sacred land again.
- Yer Yang, “Virgin Land, Virgin Body” Continue reading
California College of the Arts)
(From Youtube by
The escalating prices for apartments in San Francisco has caused renters and artists moved to outskirt of the city. However, San Francisco’s loss has been Oakland’s gain. This artistic diaspora can be fully experienced at Art Murmur in downtown Oakland every first Friday.
Oakland Art Murmur events
by Ce Tsai)
(from Youtube” Lin Pey Chwen-Eve Clone Series”
The round figures wrapped in layers in reddish orange, violet, yellowish green lines were circulating around the space. This was Lin Pey-Chwen’s “The Image of Life” series in colorful abstract oil paintings showing at an alternative space Apt. 2 in Taipei in 1993. The elliptical pupa image was complex but elegant, hinting imprisonment but invitation in colors. Their spherical structures suggested continuous movements, while the oval shapes reminded me intuitively about eggs, the very private female experience. No matter how innovative progress in Lin Pey-Chwen’s art, those colorful pupas have vividly stayed in my memories for 20 years – retaining my first impression, as an oracle image revealed women art in my early career toward to art critic.
Sitting on the chair, Miki Yui faced to the mixer on the table and concentrated adjusting the sounds with both hands. The sound was from the mixer and from the surroundings, from toy-instruments and found objects which were set up by Rie Nakajima. Yui was so focused on composing the small sounds as if she was weaving fabrics. The experimental music from the environment she was “weaving,” however, intriguingly with the dynamics as Noh, although she managed the sounds simply with digital and analogue equipment. This live performance was composed with different ideas and artistic core of Yui and of Nakajima. The performance A-O-I-E-U however worked as a dialogue between both artists and the surroundings and generated something new, at Experimental Intermedia in New York in 2012. Continue reading
(Excerpt from Accompaniment for A-O-I-E-U by Cardero Gala through Youtube)
The right of free expression, as well as free speech, is human right. No matter women or men. Here is CNN’s Mallika Kapur interviewed Malina Suliman, an Afghan woman graffiti artist who, despite social threats, pushes for free expression. (“The Taliban Have A Plan For Me… “from Wrath0fKhan on Youtube)
kabulatworktv on Youtube)
(“# 038 – WHO IS THE GRAFFITI ARTIST? “From
The San Francisco Women’s Building commissioned this mural to inspire women with images of our history and collective wisdom.
t3hpyro on Youtube)
(Women’s Building Mural by
The mural Maestrapeace which covers two of the exterior walls was painted in 1994 by seven women artists and many helpers: Juana Alicia, Miranda Bergman, Edythe Boone, Susan Kelk Cervantes, Meera Desai, Yvonne Littleton and Irene Perez. Continue reading
2013 International Museum of Women’s flagship online exhibition, MUSLIMA: Muslim Women Art & Voice, which is featuring the art, voices, and stories of Muslim women around the globe.
intlmuseumofwomen on Youtube)
(Women’s Empowerment, Arab Style by
“A lot of my works have been about the unexpected…” — Kara Walker at Art21, 2003.
( by Art21 on Youtube)
Karen Walker, Darkytown Rebellion 2001, cut paper and projection on wall, 14 x 37 ft. (4.3 x 11.3 m), Collection Musee d’Art Moderne Grand-Duc Jean, Luxembourg
I really love Kara Walker’s works. Especially her light projection and video, film, and performance. Like her wall-sized murals and cyclorama, Kara Walker employs light projection to cast shadows and create all-encompassing environments for viewers. In Darkytown Rebellion Walker applies paper-cut silhouettes to the wall and then washes them with vibrant light from colored transparencies on several overhead projects placed on the floor of the gallery. Viewers are further involved with this installation as their shadows are also cast onto the wall as they walk through the space. In this way, visitors literally enter the narrative and the history it suggests through their own silhouettes. Continue reading