Moved by High Tide’s recent (now closed) show “The crocus call,” Sarah Kim writes a thoughtful essay about how artists (like Roxana Azar and GM Keaton) reflect on changing social and environmental systems. We recommend this thought provoking read about queerness, technology, and collaboration!
Read MoreIn their thoughtful essay, Artblog contributor Sarah Kim reflects on their experience co-organizing and attending FORTUNE magazine’s recent celebration, “Lunar New Year Celebration: Year of the Rat,” which showcased a variety of queer femme Asian-Americans, representing a spectrum of musical and performance styles. The experience caused some deep thinking about identity and racism in America. It’s a very good essay.
Read MoreSarah Kim reviews “Rosewater”– an exhibition by the current artist-in-residence at The Clay Studio, Stephanie Kantor– which closes January 5, 2020.
Read MoreSarah Kim writes an enthusiastic review of “Feet First”, an interactive video, painting, and sculpture installation by Joseph Lazaro Rodriguez at Spillway Collective, closing on October 5th, 2019.
Read MorePart Two of this Q&A with the organizers of FORTUNE zine continues the discussion on the need for publications for and by queer Asian creatives.
Read MoreIn Part One of this conversation, Artblog contributor Sarah Kim speaks with Andrienne Palchick, Heidi Ratanavanich, and Connie Yu about their limited series zine: FORTUNE, a publication that centers works by queer Asian artists and writers.
Read MoreSarah Kim reviews Korean artist Do Ho Suh’s ghostly “The Perfect Home II,” (2003) a gauzy translucent stitched fabric recreation of his one-time apartment in Chelsea.
Read MoreSarah Kim visits the exhibit at the William Way Center and views art whose materials defiantly separate it from traditional mainstream art. Altars made with found materials; altered photo-portraiture; drawing installations and collage, made by six artists, the art is metaphorical and symbolic of the state of being in flux, in transition. Kim’s powerful writing leads you through the exhibit, adding insightful commentary and insights. After considering this show about fluid states of identity, Kim concludes that ultimately, selfhood is the experience itself, and art, which is based in objecthood, can point the way.
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