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Conclusions

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

Abstract

The final chapter illustrates the contemporary low-visibility of Asian American women artists in California, in contrast with high-profile contemporary East Asian art, especially Chinese male artists. The conclusion critiques the high-art cosmopolitan discourse, predicated upon the celebration of California’s multiple cultures and identities, as clashing with the rejection of the Asian female artist. Such a figure is too often reduced to a distant other, despite her local situatedness. The author argues that the dialectic tension between cosmopolitanism and a strong identity-based communitarianism permeating artistic discourses can be undone by embracing a transnational postcolonial, feminist approach in cultural policies implemented in California.

References

  1. Higa, Karin. 2002. What Is an Asian American Woman Artist? In Art/Women/California, 1950–2000: Parallels and Intersections, ed. Diana Burgess Fuller and Daniela Salvioni, 81–94. Berkeley: University of California Press.Google Scholar
  2. Kim, Elaine, Margo Machida, and Sharon Mizota, eds. 2003. Fresh Talk, Daring Gazes: Conversations on Asian American Art. Berkeley: University of California Press.Google Scholar
  3. Lowe, Lisa. 2015. The Intimacies of Four Continents. Durham: Duke University Press.Google Scholar
  4. Machida, Margo. 2008. Unsettled Visions. Contemporary Asian American Artists and the Social Imaginary. Durham: Duke University Press.Google Scholar
  5. Zhang, Xudong. 1997. Chinese Modernism in the Era of Reforms: Cultural Fever, Avant-garde Fiction, and the New Chinese Cinema. Durham: Duke University Press.Google Scholar

Copyright information

© The Author(s) 2018

Authors and Affiliations

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

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