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Ornamentalism
Focusing on the cultural and philosophic conflation between the "oriental" and the "ornamental," Ornamentalism offers an original and sustained theory about Asiatic femininity in western culture. This study pushes our vocabulary about the woman of color past the usual platitudes about objectification and past the critique of Orientalism in order to formulate a fresher and sharper understanding of the representation, circulation, and ontology of Asiatic femininity. This book alters the foundational terms of racialized femininity by allowing us to conceptualize race and gender without being solely beholden to flesh or skin. Tracing a direct link between the making of Asiatic femininity and a t...
Ornamentalism
Focusing on the cultural and philosophic conflation between the "oriental" and the "ornamental," Ornamentalism offers an original and sustained theory about Asiatic femininity in western culture. This study pushes our vocabulary about the woman of color past the usual platitudes about objectification and past the critique of Orientalism in order to formulate a fresher and sharper understanding of the representation, circulation, and ontology of Asiatic femininity. This book alters the foundational terms of racialized femininity by allowing us to conceptualize race and gender without being solely beholden to flesh or skin. Tracing a direct link between the making of Asiatic femininity and a t...
Anne Cheng
None
The Melancholy of Race
Cheng proposes that racial identification is itself already a melancholic act--a social category that is imaginatively supported through a dynamic of loss and compensation, by which the racial other is at once rejected and retained. Using psychoanalytic theories on mourning and melancholia as inroads into her subject, Cheng offers a closely observed and carefully reasoned account of the minority experience as expressed in works of art by, and about, Asian-Americans and African-Americans. She argues that the racial minority and dominant American culture both suffer from racial melancholia and that this insight is crucial to a productive reimagining of progressive politics.
Second Skin
"What does a black burlesque star have to do with some of the most enduring and passionate ideas in modern aesthetic theory? Josephine Baker emerges in this untold story as a principal figure in the drama behind the making of Euro-American Modernism. Instead of seeing her nude performances as a Primitivist given, Cheng argues that Baker's skin was central to debates about and desire for "pure surface" that crystalized at the convergence of modern art, architecture, machinery, and philosophy. Taking the reader across the Atlantic - through real stages and imagined houses; banana plantations and ocean lines; metallic bodies and radiant cities-this study tracks the ardent and protean conversa-tion between the making of a Modernist style and the staging of a new black visuality. In this account, Baker and the Modernists known to have adored and objectified her in fact share a common dream: the fantasy of remaking and wearing the skin of the other"--
Twilight Land
Want to spend some time in the hazy, dreamy space between the real world and fantasy? Dig into Howard Pyle's Twilight Land, an enchanting collection of fairy tales that are cleverly woven together into a book-long narrative. You won't want to break the spell that these delightful stories cast.
Ghost in the Ghost
Catalogue for a group exhibition curated by Danielle Wu at Tiger Strikes Asteroid that brings together artists who engage with the strange and synthetic life of Asiatic "yellow" flesh: Charlotte Greene, Tenaya Izu, Candice Lin, Tiffany Jaeyeon Shin, Juana Valdes, and Elliott Jun Wright. Featured artists confront the fraught history of how Asiatic femininity in the Western imagination has been repeatedly evoked through the perfected, manufactured, and assembled material, from anime (Charlotte Greene, Tenaya Izu) and porcelain (Candice Lin, Tiffany Jaeyeon Shin, Juana Valdes) to K-beauty products (Elliott Jun Wright). Anne Anlin Cheng describes this violent and deeply psychological process as "Ornamentalism," or "the forging of the sense of personness through artificial and prosthetic extensions." As Asiatic flesh continues to provide an ornamental, technological shell for the crisis of Euro-American personhood, Cheng asks, "What is inside the machine? The yellow woman: the ghost within the ghost."
Second Skin
Through the figure of Josephine Baker, Second Skin tells the story of an unexpected yet enduring intimacy between the invention of a modernist style and the theatricalization of black skin at the turn of the twentieth century. Stepping outside of the platitudes surrounding this iconic figure, Anne A. Cheng argues that Baker's famous nakedness must be understood within larger philosophic and aesthetic debates about, and desire for, 'pure surface' that crystallized at the convergence of modern art, architecture, machinery, and philosophy. Through Cheng's analysis, Baker emerges as a central artist whose work engages with and impacts various modes of modernist display such as film, photography, art, and even the modern house.
