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What does Shu-mei Shih mean by “feminist transnationality”? How does Hung Liu’s artwork exhibit a kind of feminist transnationality? What are the feminist politics of each identity fragment that Shih proposes? What do you learn about feminism or transnationality through the assemblage of these fragments together? Do you agree that the works Shih interprets can be read along a single vector of antagonism? How does Hung Liu use assemblage within individual artworks?
What does the bottari form (the bundle of old clothes wrapped in a traditional Korean bedcover) in Kimsooja’s work represent? What is the relationship between bottari, textiles, and sewing and her video/performance work in pieces like Needle Woman? How would you compare the body and performance politics of Needle Woman with, for example, those in Yoko Ono’s Cut Piece? How does place, as well as transnational movement, figure in Kimsooja’s work? Does her artwork represent a different kind of feminist transnationality than Hung Liu’s body of work?
T 05.26
Shu-mei Shih, Visuality and Identity, “A Feminist Transnationality”
Joann Moser, “A Conversation with Hung Liu,” American Art
Th 05.28
Daina Augaitis and Kimsooja, “Kim Sooja: Ways of Being” in Kimsooja Unfolding
David Morgan, “Kimsooja and the Art of Place” in Kimsooja Unfolding
Group Work: In-class curatorial project practice and troubleshooting session (second 50 min.)