Opacities: Local Venues, Cosmopolitan Imaginaries

  • Laura Fantone
Part of the Critical Studies in Gender, Sexuality, and Culture book series (CSGSC)


This chapter analyzes the work of emerging Asian American artists from California in the 2000s, especially Michelle Dizon. The Filipina American artist based in Los Angeles, positions her work transnationally and embraces a postcolonial poetics, outside of strictly national frames, while maintaining a strong de-colonial political critique of othering, commodification and economic effects of globalization. The author examines Dizon’s work offering a cultural critique of the shift from Asian Americanness to global, transnational issues, detailing how various recent shows have expressed a new sensibility.

Artists as migrants are not ghettoized according to national, racial and ethnic boundaries as in the 1990s.


  1. 56th International Art Exhibition, La Biennale di Venezia, 2015. All the World’s Futures.Google Scholar
  2. Burke, Sarah. Memories Adrift. East Bay Express. July 29–August 4, 2015.
  3. Dávila, Arlene M. 2010. Latino Spin: Public Image and the Whitewashing of Race. New York: New York University Press.Google Scholar
  4. ———. 2012. Culture Works: Space, Value, and Mobility across the Neoliberal Americas. New York: New York University Press.Google Scholar
  5. Deleuze, Gilles, and Félix Guattari. 1994. What Is Philosophy? New York: Columbia University Press.Google Scholar
  6. Dizon, Michelle. 2009/10. Civil Society. Exhibition booklet. New York: Cue Art Foundation.Google Scholar
  7. Dizon, Michelle. 2012. Perpetual Peace. Video installation.Google Scholar
  8. Enwezor, Okwui. 2008. Mega-Exhibitions: The Antinomies of a Transnational Global Form. In Other Cities, Other Worlds: Urban Imaginaries in a Globalizing Age, ed. Andreas Huyssen, 147–180. Durham: Duke University Press.CrossRefGoogle Scholar
  9. ———. 2009. Artists in Contemporary Societies – National or Global Citizenships? In UNESCO World Report: Investigating in Cultural Diversity and Intercultural Dialogue. Paris: UNESCO Publishing.Google Scholar
  10. Home F(R)ictions. Unsigned “Synopsis” Perpetual Peace: Michelle Dizon.
  11. Joignot, Frédéric. 2011. Pour l’écrivain Édouard Glissant, la créolisation du monde est “irreversible” interview with Édouard Glissant, Le Monde, Paris: February 2, 2011.
  12. Rivas, Pilar Tompkins. 2012. The Balikbayan Box. Artbound, July 16, 2012.
  13. Trinh, T. Minh-ha. 1989. Woman, Native, Other: Writing Postcoloniality and Feminism. Bloomington: Indiana University Press.Google Scholar
  14. ———. 1991. When the Moon Waxes Red: Representation, Gender, and Cultural Politics. New York: Routledge.Google Scholar
  15. Tu, Thuy Linh Nguyen. 2003. Good Politics, Great Porn: Untangling Race, Sex, and Technology in Asian American Cultural Productions. In Asian America.Net: Ethnicity, Nationalism, and Cyberspace, ed. Rachel C. Lee and Sau-ling Cynthia Wong, 267–280. New York: Routledge.Google Scholar
  16. Yau, John. 1993. In the Realm of Appearances: The Art of Andy Warhol. Hopewell: Ecco Press.Google Scholar
  17. Zepke, Stephen. 2005. Art as Abstract Machine: Ontology and Aesthetics in Deleuze and Guattari. New York: Routledge.Google Scholar

Copyright information

© The Author(s) 2018

Authors and Affiliations

  • Laura Fantone
    • 1
  1. 1.Gender and Women’s StudiesUniversity of CaliforniaBerkeleyUSA

Personalised recommendations