An Interview with Artist Cece Carpio

by: Melanie Rose

image: instagram

Melanie Rose: How did you get started as an street artist/muralist?

Cece Carpio: I love to draw.  I grew up in the Philippines and English is my second language. In times when I couldn’t fully expressed myself in words, I drew pictures and images.  It was as if drawing has been my first language.  When I moved to the U.S., in the Mission District of San Francisco, I got exposed to the vibrant colors of the walls in the city.  I was in awe in amazement of how huge images can be drawn and how colorful they can be.  I wanted to do the same.  I taught myself how to paint.

In college, I took printmaking and bronze and metal sculpture and got myself familiarize with different mediums beyond drawing.  But as I got out of college, I didn’t have a studio to fully execute pieces, so I started to paint again.  It required less tools and equipment, and fell back in love with the medium.  But I still didn’t have a studio.  My brother and sister were “taggers”, so once in awhile I would go out “bombing” with them.  But I always knew I wanted more than just to tag my name on the street, I wanted to paint pictures.  The walls on the street became my studio.

image: Bae, courtesy of Cece Carpio

MR: Why murals? What do they mean to you/others?

CC: Murals occupy public space.  It’s an open gallery free for all to see.  It is as much for the artist as they are for audience who sees them.  Beyond Art, my other love is serving the people, murals allowed me to practice Art and tell stories, histories and messages of communities that we  partner with.  Murals allow us to claim a public space to share their stories visually, that many times are otherwise not told.

MR: What does art mean to you?

CC: That’s a big question, and always will be for an artist.  Art to me is a practice, a language by means to communicate and if you add in values, Art is an opportunity to create a world we envision.

MR: How do you intend to involve the community?

CC: Our mural making has always involved a collaborative process with the communities we partner with.  They are the ones that provide the stories and messages that we will visually depict.  We often act as visual translators to the communities we partner with.  We also provide a space to share our technical skills in painting that the members of the communities can be involved in.

image: Qathra Mural, courtesy of Cece Carpio

MR: What about the mural are you most excited about?

CC: I’m excited to hear the stories of the members and communities of AAWAA. I’m excited to learn from them the important issues that they are dealing with at this time.  I’m excited to meet the rest of AAWAA’s staff and communities and exchange stories, share our visions and execute a mural for all to see.

MR: What do you think this mural will do for the Asian American community, women artists, and/or the city San Francisco?

CC: I believe it will allow us to come together and exchange knowledge so that we can share what are the important issues that Asian American women in our communities to the rest of San Francisco and for everyone else who will see it.  I hope that this can inspire the young women artists to see what various possibilities they can access and for them to continue what they are doing.  I hope that they can be inspired to create work that involves the communities that they are part of. And I believe this mural will empower those who are involve in creating them and hope that it can inspire others to tell their own stories in whatever means that they can.

Want to know more about Mural Muses and see Cece’s work? Check out the campaign project page.

Featured Bay Area Asian American Food Businesses

by Melanie Rose

If there’s one thing that rings true about Asian Americans, it’s that we’re passionate about food. Whether it’s finding the most authentic dumpling recipe, the amount of Instagram photos we take of our food, or organizing pop-up restaurant fundraisers, we’re there. We’ve even done an exhibition focused on Asian American food and foodways called Eating Cultures. So it’s no surprise that Asian Americans are behind some of the up-and-coming food businesses here in the Bay Area.

Here are a few that Asian American Women Artists Association will be featuring during its Jubilee Celebration next week:

Didn’t think FIlipino food could be vegan? Think again. Here’s Astig Vegan’s sigig recipe.

Astig Vegan

With RG Enriquez at the front, Astig Vegan is the purveyor of both traditionally vegan and veganized Filipino food. Its mission is to prove that Filipino food can be vegan, healthy, and delicious without losing its soul.

For RG, “ ‘Astig’ is a Tagalog word for tough, unique, or gutsy. I look at vegan Filipino food as something “Astig”. Born and raised in Bacoor Cavite, Philippines, I grew up helping my mother cook traditional Filipino food for the family.  I continued my passion for Filipino cooking when my family and I migrated to the San Francisco Bay Area in 1998. A few years later, I decided to go vegan. Although I’ve stopped consuming animal products, I haven’t given up on the food I loved so much as a kid. Undeterred, I’ve resolved to go deeper in learning Filipino cuisine as well as sharing my discoveries along the way…”

Astig Vegan has been featured in Savor Filipino and on Adobo Nation, and you can even find Astig Vegan recipes on Youtube.

Chino SF’s beef noodle soup. Yum!

Chino SF

Run by Ron Pei and Danny Louie, Chino SF is a new restaurant based in the Mission District described as being “infused with Chinese flavor”. With roots in food businesses, both Pei and Louie are Bay Area locals. Ron has worked at notable restaurants such as Blue Hill Stone Barns in New York, Komi in DC, as well as Salt House and Laïola here in the city. For him, it’s all about “marrying the Chinese food of his heritage with the ingredient-driven cooking he’d come to love.” Danny, who has learned his craft at Dosa and Alembic, is the resident mixologist and bar director at Chino SF – crafting classy cocktails but also boba slushies.

Cafe Gabriela is all about community as you can see folks rallying behind owner Penny Baldonado.

Cafe Gabriela

Owned and run by Penny Baldonado, Cafe Gabriela’s name comes from Gabriela Silang, a famous Filipina heroine, Cafe Gabriela strives to keep her courageous and independent spirit alive by making a conscious effort to support and promote local businesses in the East Bay. Branding Cafe Gabriela as “locally engaged” this business really is community-supported, and you will find local artists’ work adorning their walls. It’s no surprise that Cafe Gabriela has a cult following, especially with Penny’s friendly service and those pulled pork adobo sammies!

Soccola Chocolatier

“Soccola” is Vietnamese for chocolate. Sisters Wendy and Susan Lieu are behind the SoMa-based business. Their truffles feature high quality ingredients like Strauss Family Creamery products and E. Guittard chocolate but also offer unique flavor pairings such as sriracha, guava, Vietnamese coffee, and more. Wendy’s interest in chocolate making began as she often popped into See’s Candies as a teenager. Their parents were Vietnamese refugees who were also small business owners, so it’s no wonder the sisters have really taken off in the chocolate world.

Are your tastebuds watering yet? Well, you can sample some of these delicious offerings at the AAWAA Jubilee Celebration on Saturday, November 14 at the San Francisco Hilton Financial District. Tickets are now on sale. You can also get tickets and rewards by backing AAWAA’s Mural Muses project at the P(art)y People Level.

An Interview with Artist Erin Yoshi

by: Melanie Rose

image: instagram

Melanie Rose: How did you get started as an street artist/muralist?

Erin Yoshi: I have been creating art and painting since I was a child.  As I got older, I just wanted to paint bigger.  I grew up seeing the powerful mural movement in Los Angeles in the ’80s explode with huge pieces of artwork that showcased history, politics, culture, creativity and/or were just pretty to look at.  There were powerful women of color artists in and leading the movement including Judy Baca and Noni Olabisis, inspiring the next generation.  The graffiti movement was also booming with wildstyle pieces going up around the city.  As I started to travel, I was greatly influenced by the legendary Latino Muralist: Diego Rivera, Jose Orozco, David Siqueiros and my all time favorite Jorge Camarena.  The combination of these influences made me want to start painting on the streets for a public audience.

MR: Why murals? What do they mean to you/others?

EY: Murals, if uncensored, are billboards of the people.  They can carry messages of culture, history, politics and hope.  They can be a powerful tool of expression.  It’s a platform of expression that is between the artist and the landscape.  One can say whatever they think, feel or want to share.  One can express the sentiments of their generation.

image: Erin Yoshi paints the first mural series at Yerba Buena Center for the Arts.

MR: What does art mean to you?

EY: Art has the ability to convey feelings and experiences.  It breaks boundaries of time, location, and can appeal to a broader audience that those directly associated.  It lives outside the box and doesn’t have rules.  That is why I love and respect those who are called to create it.

MR: How do you intend to involve the community?

EY: This mural has two community involvement junctions.  The 1st is through the brainstorming process to create the content and theme of the mural.  Community members are asked to give input into the design of the mural.  The 2nd is, some community members will be invited to paint portions of the mural with our team.  The first is the most important because it allows for the exchange of ideas and for the mural to represent AAWAA as authentically and rich as possible.

image: Cuidela Mural, Los Angeles. Courtesy of The Estria Foundation.

What about the mural are you most excited about?

EY: I’m most excited about partnering with AAWAA.  I know that many glass ceilings have been broken because of their work for women and women of color.  That Asian American Women today can advance farther in the arts than before, due to the commitment of building camaraderie among allies who recognize our creative potency.

What do you think this mural will do for the Asian American community, women artists, and/or the city San Francisco?

EY: I believe this mural is a landmark for breaking stereotypes and represents the power of building collectively.  The hope is to represent the legacy of AAWA while providing inspiration for the goals that are still trying to be achieved.  Women and Asian American Women are a recognizable force in the arts.  We have worked incredible hard for not only a seat at the table, but through collective organizing have slowly shifted the racial dynamics and male-dominated model to created new tables to sit at.  Today there are many women leaders in the arts, and some of them are Asian.  All that said, there is still much work to be done.

There’s still 3 more days to back Mural Muses and celebrate Asian American women in the arts! Check out the campaign page.

Wondering what to wear to AAWAA’s Jubilee Celebration?  Get some fashion inspiration from the vintage looks of some of the most prolific Asian women!

By: Elisa Gyotoku

images: pinterest.com and nancy-kwan.com

Pioneering actress NANCY KWAN first gained stardom starring in the film

The World of Suzie Wong, with William Holden in 1960.  An instant hit, the film catapulted her to movie star status and she soon found herself as a fashion icon.  Even her haircut in the film spawned it’s own nickname, “The Kwan” and found its way into the pages of American and British Vogue magazine.  Born in 1939 in Hong Kong to a Cantonese father and English and Scottish mother, Kwan’s family escaped from Hong Kong to China due to the fear of Japanese invasion during World War II.  While studying ballet in London, Kwan submitted an application to play the character of Suzie Wong and shortly thereafter, she travelled to the U.S. to begin preparing for the role.  After Suzie Wong, Kwan starred in numerous films and television shows including Flower Drum Song, Hawaii Five-O and Hollywood Chinese, a well-known documentary film focusing on the depiction of Chinese in mainstream Hollywood.  Kwan has left an impenetrable mark in Hollywood, some considered her role of Suzie to be the most significant since those of Anna May Wong, and her eloquent style still strikes a pose today.

images: queensofvintage.com, redlist.com, and tcm.com

ANNA MAY WONG has many affiliations; the first Chinese American movie star, the first Asian American actress to gain international stardom and perhaps the first Asian American badass of film.  Born in Los Angeles in 1905, her infatuation with movies started at a very young age.  She began acting in silent films in the 1920s and starred in one of the first movies made in color, The Toll of the Sea (1922).  After starring in The Thief of Baghdad in 1924 with Douglas Fairbanks, Wong quickly became a fashion icon.  With her signature bangs and classic style, she was a natural choice for modeling and photographers fawned over her.  Fed up with the typecasting in Hollywood, she moved to Europe in 1928 and cemented her image as an international star.  During her career, she helped to “humanize” Asian Americans to white film audiences during a period of blatant racism and discrimination.  Anna May wong is perhaps the most notable Asian American actress to ever live and has inspired generations of performers.

images: pinterest.com and dailymotion.com

Japanese actress and singer MEIKO KAJI is mostly known for acting in in Japanese western films in the 1970s.  Fans were fascinated with her mysterious looks and her rebellious characters and she became a beauty and fashion icon in Japan.  In some of the 100 plus films she has appeared in, she also sang the title songs, encouraging a solo music career.  Her early music reappeared and regained its popularity in 2003 when it was featured in Quentin Tarantino’s cult film Kill Bill Vol.1.  Tarantino also featured her music in Kill Bill Vol. 2 (2004)which prompted numerous Hollywood roles being offered to Kaji.  She turned down all opportunities saying she could not give a good performance in any other language than in her native Japanese.

image: pinterest.com and imdb.com

Born in France in 1939, Vietnamese-French model and actress, FRANCE NUYEN was discovered by a photographer while working as a seamstress in 1955.  She was featured on the cover of Life in 1958 and thus began her career as a model. Revered for her beauty and sense of style, Nuyen found major success in fashion modeling, which eventually led to eventually led to an acting career spanding over 30 years.  Her credits include South Pacific (1958), Diamond Head (1963) and Battle of the Planet of the Apes (1973).  Her most notable role came in the 1993 adaptation of the Amy Tan novel,

The Joy Luck Club, in which she portrayed “Ying-Ying St. Clair”.  One of the most successful Asian American novels and films, The Joy Luck Club grossed over $32 million at the box office and was praised for representing Asian Americans outside of stereotypes and its stars, including Nuyen, have paved the way for future Asian American artists and projects.

images: youtube.com, kjhk.com, and khmermusic.thecoleranch.com

ROS SEREY SOTHEA was a quite possibly the greatest female figure in the Cambodian music scene of the 1960s and early 1970s.  Born in 1948 in Cambodia, she expressed a vocal talent as a child and listened extensively to early Cambodian singers.  After winning a regional singing contest in 1963, she began to catch people’s attention this leading to national music career.  She became a regular singing partner of Sinn Sisamouth, the most popular singer of this era.  She instantly became an icon during this prolific period of music in Cambodia and she quickly influenced the style and culture of the time.  Sadly, during the Fall of Phnom Penh and the upheaval by the

Khmer Rouge in 1975, many high profile artists such as Serey Sothea were killed due to fear of uprising.  Her legacy and influence has reemerged and has been making its way to the U.S. with Los Angeles based band, Dengue Fever, who have covered some of her famous songs and the documentary, Don’t Think I’ve Forgotten: Cambodia’s Lost Rock and Roll, highlighting Cambodian musical history and its relationship to the past and present society.

Rock your classiest threads at AAWAA’s 25th year Jubilee tomorrow, November 14th at the Chinese Culture Center San Francisco! 25 years of the arts and of commemorating the organization’s vibrant legacy!

Join us for an evening of delicious bites featuring local Asian American pop-up stands, silent art auction, music, and entertainment! It’s the last day to get presale tickets, so visit aawaajubilee.bpt.me for more info!

CALL FOR ENTRIES

We are now accepting submissions for our 25th anniversary member exhibition, Transformation: 25 Years of Asian American Women Artists! Open to all current AAWAA Artist Members.

IF YOU HAD A PLACE OF YOUR OWN, WHAT WOULD IT BE?

A group visual art exhibition featuring 20 assemblage artworks that showcase the vibrant dreams and hopes of 15 women, curated by Cynthia Tom. Presented by the Asian Pacific Islander Cultural Center as part of the 19th annual United States of Asian America Festival.

SEEDS & SPROUTS FUNDRAISER DINNER

AAWAA will be hosting a special intimate seasonal four-course meal prepared lovingly by staff and resident chefs, Melanie Elvena (Dumpling Wars Audience Choice 2013) and Michelle A. Lee (Angelica Kitchen, forageSF).

EATING FOR ARTISTS FUNDRAISER

AAWAA is partnering with Burmese Kitchen to do a fundraiser for its programs this summer. They have agreed to donate back 15% of what diners spend. Join us for dinner!

Curated by Kelsay Meyers, fellow of the Emerging Curators Program. Sponsored by the Asian Pacific Islander Cultural Center as part of the 19th annual United States of Asian America Festival.

May 4 - June 25. Sequoias Rotunda Gallery.

Curated by Erina C. Alejo and Diana Li, fellows of the Emerging Curators Program. Sponsored by East West Bank.

May 28 - July 9. Pacific Heritage Museum.

An Interview with Curator Kelsay Meyers

by: Melanie Rose

Melanie Rose: How did you get into curatorial work? And in your opinion, what is the main role of the curator?

Kelsay Meyers: I first became interested in curatorial work by watching my arts mentor, Cynthia Tom, curate an arts & healing exhibition called, A PLACE OF HER OWN. Seeing how she is able to bring all kinds of talented women artists together as a community and celebrate their creativity inspired me to do something similar. I also admire her ability to bring her visions into reality–something I’m hoping to be able to do myself.

MR: If you could describe your curatorial style in three words, what would they be?

KM: I would say my curatorial style is similar to my teaching style: very ad hoc, trial & error and hands-on. I like to learn as I go, and I’m still very much in the learning stages of many things in my life, but I think my determination, adaptability and passion for the arts is what carries me through the chaos.

MR: What is the title of your exhibition? Tell us a little bit about the theme and how you developed your concept.

KM: My exhibition is called AESTHETIC BLITZ. The title came to me when I was 19 years old and on a college trip to the Osaka-Kansai region of Japan. I saw a painting in an art museum there and bought a postcard where I scribbled the words: aesthetic blitz on the back. Something about the images made those words come to me, and over the years, I couldn’t get them out of my head. They became the title of my first essay collection, as well. I see identity as an aesthetic blitzkrieg–a bombardment of cultural and artistic words and images that amount to who we are. That’s the approach I used to construct my own identity without knowing anything solid about my origins as a Korean adoptee, and I thought others might be able to relate, so I asked several, largely Asian American, women artists and writers that I knew to share some of their work that represents their own idea of female identity in our society.

MR: What is the most valuable lesson you have learned so far while producing this exhibition exhibition?

KM: How to let go of your grand, original concepts and work with what you actually have!

MR: Do you have any advice for other emerging curators of color?

KM: I would urge anyone who has a vision or a concept that they’d like to bring into the world, to go do it because it’s rewarding and freeing in itself.

Kelsay is a fellow of Asian American Women Artists Association’s Emerging Curators Program. AESTHETIC BLITZ opens May 4 at the Sequoias Rotunda Gallery. Visit the AESTHETIC BLITZ page for more info about the exhibition.

An Interview with Co-Curators Erina C. Alejo & Diana Li

by: Melanie Rose

Melanie Rose: How did you get into curatorial work? And in your opinion, what is the main role of the curator?

Diana Li: Erina asked me if I wanted to do a show together with our friends Ren Ebel and Tanner Cook as third years in the Visual Arts Media (Video) program at UC San Diego. The show was called RERUN.

Erina C. Alejo: RERUN helped us get our first arts grant. Using that, we built a suburban family home in the campus gallery and bought disposable cameras for audiences to take pictures of the show’s domestic anxieties and our performance as a family.

DL: RERUN helped all four of us learn to make installations from our video-based practices. It was fun to sleep in the gallery every night as a “family”, but we won’t be doing that anymore for a long time.

ECA: Yep.

DL: Erina and I did another show the following year.

ECA: That’s when our work started being more cohesive and focused on alternative narratives (at least in our school).

DL: We’ve been collaborating on projects ever since. As for the curator’s main role… Well, like [Erina] said, alternative perspectives.

ECA: That, and valuing and practicing collectivism– which are also sources of conflict as curators. Our fellowship is teaching us the need to create a diffusive barrier between ourselves as artists and curators. It could be as tangible as withholding information from the artists so that we reveal it at a specific time.

DL: It’s all a matter of strategic communication so that there is understanding at different levels of work.

ECA: As curators, we’re also doing a lot of backend work, like press, seeking food donors… a lot of grassroots work.

MR: If you could describe your curatorial style in three words, what would they be?

ECA to DL: Do you consider yourself as an artivist?

DL: I think so, but I’ve also been reflecting on the word activism. I feel more like a community organizer than an activist. But they also go hand-in-hand.

ECA: Recently, I’ve been using the term community-engaged scholarship to describe my post-grad work.

DL: That’s nice. Those are three words!

ECA: But what does that mean to you? To me, that means bridging the intellectual gap between grassroots work and the ivory tower. I believe they have different ideologies and praxes of organizing people. As someone who wants to do work in both worlds, I want to connect them – even if that means oscillating between the two, if not being right in the middle.

DL: The first that I think of, in terms of three words to describe a curatorial style, is collaboration. But also collaboration with the artist. Because, what’s an art show without the artist? In terms of the community-engaged scholarship that’s happening with our show on multiple levels. We’re curating as well as hashing out ideas and figuring out how to install with the artists.

ECA: Back to the main role of the curator, Diana and I were both community organizers and exhibiting artists in college. We held student leadership positions that facilitated both our organizing capacities and artistic expressions. I value how nonhierarchical my art collaborations have been, but now as curator, understand the need for validation of the curator’s role in overseeing the whole forest while tending to the individual trees. We’re the park rangers!

DL: Those are only two words, though. So, we’ll stick to “community-engaged scholarship”.

MR: What is the title of your exhibition? Tell us a little bit about the theme and how you developed your concept.

DL: It’s called Appendix.

ECA: It started from one of [Diana’s] pieces at SFAI.

DL: I wasn’t thinking about that when preparing the show, although it was a precursor. [Explaining to the viewers] in my “Appendage” video piece, I cut my hair and called the cut hair an appendage. The title, Appendix, developed as we were contacting local artists we knew if they had any pieces relating to intergenerational trauma when we were applying for ECP [Emerging Curators Program]. When we received all the works, I noticed some of them were pretty visceral. I thought, what if I related this [visceral reaction] to a body part? I thought of the appendix, an evolutionarily forgotten human structure–same inside a book. But then, an appendix could also attack back at an unexpected moment. I feel like this is how trauma and intergenerational memories work. We remember them, but they come back as triggers or cycles. We don’t really know when they will happen.

ECA: You’ve explained it! Ready to write an academic article and put it on JSTOR.

DL: [Whispers] This could be my thesis for grad school.

MR: What is the most valuable lesson you have learned so far while producing this exhibition?

DL: We’ve already talked about some: figuring out communication with the artists, so that they are clear in what they need to do–not overloading anyone with information they don’t need and filtering that with different people.  That was a huge aspect to learn from our ECP workshops.

ECA: Also, learning how to work with institutions.

DL: Yes.

ECA: Our venue is at the Pacific Heritage Museum. Its heyday was reputably in the 70s. To continue its operations, the museum has now partnered up with a prominent bank. This partnership has shaped the kind of art works that have been exhibited there, historically. We as curators are learning how to negotiate and make compromises with the museum directors towards mutually beneficial decisions. And so, being strategic in communicating with the artists but also with our community partners. Our exhibition establishes the first partnership between Asian American Women Artists Association and the Pacific Heritage Museum. We’re setting the path for future artists and curators in AAWAA to continue working with the Pacific Heritage Museum. We’re learning professionalism and transparency in our process.

DL: Definitely. Especially about professionalism. Setting up meetings is just one aspect–emails, setting up exhibition layouts to present, discussing the artworks, more emails. But another fun fact, to go back to the concept of Appendix: in the end, we were really happy that our show is at the Pacific Heritage Museum. That site is its own appendix because it has this forgotten past that a lot of people in San Francisco aren’t aware of. It’s a historical landmark of San Francisco and California as one of the first U.S. Bank Mints in SF!

ECA: When you visit our show, go talk to Roy about the museum’s history and his involvement. Bring a chair, too!

MR: Do you have any advice for other emerging curators of color?

ECA: For me, realizing that sometimes, there won’t be a designated space for your vision. So, you must create that space. Don’t be apologetic about taking up that space. Also, learn, too, the importance of working with different communities and community organizations. We are realizing the vision for Appendix together with our communities. As for working with artists, connect with folks from your past, present and future. For Appendix, we are working with artists with whom we’ve never collaborated with; some, we knew as artists but hadn’t worked with in the past. Look back to different friendships and partnerships significant to you in the past and bring them out in the present. For instance, I went to highschool with some of our artists– back then, we didn’t even realize we were going to collaborate as artists! But also, holding onto already fruitful partnerships: so, my friendship with Diana and our curatorial work together.

DL: And even making those primary initial contacts with whatever resources that are out there. Go see what AAWAA is, Kearny Street Workshop, Asian Pacific Islander Cultural Center. There are so many resources out there. And it’s not just in the Asian American community of course. Reach out to those and see what they offer. Apply and see what you can get – any fellowships or programs that they have.  And if you can’t find what you need, start it on your own and find the support from others!

ECA: Also, document your work. Archive it. So important.

DL: Another thing, is to pay attention to self care throughout the process. Before this interview, Erina and I were talking about how this curatorial process has been digitally exhausting. When we meet, we are always on our laptops.

EA: We’ve been technically meeting every Saturday since the start of our fellowship in late February.

DL: In order to stay committed, make sure that you make time to check in with each other about things like your personal lives, too – if you’re collaborating. But also check in with yourself if you’re doing your projects by yourself, but make sure you have that support network.

ECA: On that note, feel free to connect with us – email, check out the Appendix social media updates – we’re looking forward to seeing you at our show’s opening reception.

DL: May 28th, from 1-4PM. Memorial Day weekend.

ECA: Good food, good company, new and familiar faces.

DL & ECA: See you there!

Both Erina and Diana are fellows of Asian American Women Artists Association’s Emerging Curators Program. APPENDIX opens May 28 at the Pacific Heritage Museum. Visit the APPENDIX page for more info about the exhibition.

Reflecting on Women’s Representation in the Arts

by: Sigi Arnejo

I have just returned from vacation in Spain and Portugal and had a wonderful time. During which, I had a chance to see some beautiful landscapes, historical architecture, and world renowned museums.  It was truly a life changing experience for me, one that I will never forget.

Though, as I marveled at the beauty of Spain and Portugal I was saddened by how women were rarely represented. Few in the arts and none in architecture. At the Prado, the Reina Sofia,  and the Contemporary Museum in Spain, just a few women artists were exhibited. It was almost as if there were no women in art.

Why is that? Why are we not celebrated as our male counterparts, exhibited in the mainstream as the men, paid the same as the male artist? Are we less of artists, not as good? What is the reason we are not treated as equal?

The reason is irrelevant – it’s unfair and it is time to change the way society thinks about women artists, period.

I have to applaud actress and director Robin Wright for standing up and demanding equal pay for her work on House of Cards to her male counterpart, Kevin Spacey. She should get compensated for her work. After all, Wright not only acts as his “partner” but has been known to direct a few episodes.  She is a talented, intelligent women that deserves to be treated as such.

More of us women in the arts need to stand up for ourselves, make noise about their accomplishments, share our experiences and talent.

As Asian American women artists, it is assumed that we do calligraphy, watercolor, and textile art. And we do! But society has pigeon-holed us into the unrealistic stereotypical role of being quiet and submissive artists tucked away from the world. We are contemporary artists in every medium and our work is vibrant, thought-provoking, and relevant.  It speaks volumes of who we are and what we want for generations to come.

At Asian American Women Artists Association (AAWAA) we are working hard to ensure Asian American women artists have the opportunity to work and be recognized as major players in the art world.  Making sure that women are being seen, heard, and compensated equally for their work is part of our mission.

Through art, we are telling stories of social injustice, sharing our struggles with diversity, as well as revealing our passion for life, love, and family. We have to show our communities, our cities, and the world that we are a valuable asset to Art History.

As an AAWAA board member it is very important for me to keep our artists in the spotlight and to celebrate and support each member. As this year winds down, we are looking to the future for ways to make our artists’ careers flourish by holding professional development workshops, educational lectures, and peer-led art gatherings. Building a strong membership community will show government agencies that we are an important institution ensuring the visibility and well-being of Asian women in the arts, and that as a leading organization, we must be funded to further strengthen our cause.

I know all too well that calls for fundraising is uncomfortable for some, but we cannot survive without it. When you see AAWAA’s call for support, act in a deep and meaningful way! Update your membership, encourage your friends and family to become members, go to a fundraiser, or give what you can because our future depends on now. Either way, be a part of the change we are enacting in the world.

Want to support Asian American women in the arts? Check out our Eating For Artists and Seeds & Sprouts fundraising events this June.

July 30-September 3

Co-Presented by Asian American Women Artist Association and Asian Pacific Islander Cultural Center (APICC), Shifting Movements: Art Inspired by the Life and Activism of Yuri Kochiyama (1921-2014) is a multimedia exhibition illuminating the legacy of intersectional revolutionary activist Yuri Kochiyama.

Occuring May 2017 at SOMArts Cultural Center. Accepting submission from now until December 16.

Speak From Your Strengths provides the opportunity to practice powerful public speaking strategies in a safe setting. Learn important professional development with facilitator Susan Almazol, who has coached executives in public speak for 30+ years.

April 22, AAWAA's Studio

Introducing AAWAA’s New Executive Director

by: Melanie Rose

It is with great pleasure that we announce the newest addition to AAWAA as Executive Director, Susie Kagami. The staff have been working very closely with her as a development coordinator for Shifting Movements since March. With her already many contributions to our efforts, we are very excited to see Susie flourish with us and the kind of future she will create and build for AAWAA’s community!

Susie Kagami comes to AAWAA with a fresh perspective, a mind for strategic and organizational planning, and great enthusiasm for AAWAA. Her deep appreciation for her Japanese, Hawaiian and Chinese heritage keeps her connected to her ancestral roots and traditional arts, and she looks forward to building community and outreaching to her network of supporters to help AAWAA grow.

With her 25-year career as an entrepreneur, corporate manager and small business owner in management, music/event production, and retail sectors, she has honed her skills in discovering possibilities, organizing priorities, budgeting, fundraising, branding and marketing, bringing creative projects to life. Her recent work includes the Japanese Cultural and Community Center of Northern California, the Oakland Asian Cultural Center, and co-chairing the non-profit parent organization of the Japanese Bilingual Bicultural Program at Rosa Parks Elementary School where Susie found a passion for helping small non-profit organizations grow community, recognition and funding.

Please join us in welcoming Susie to the AAWAA family as we embark on a new chapter for our organization!