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The following is an excerpt from
Best! Letters from Asian Americans in the Arts, a new anthology from Paper Monument, n+1’s contemporary art imprint. The book is available in our store.
My dad seated on his mother’s lap, with his father and two older sisters, at their home in Shanghai, ca. 1936. The family portrait was taken with one of the many Leica cameras my grandfather, an amateur photographer, had acquired while traveling.
My dad and his older sister Margaret fleeing Shanghai on foot during the Sino-Japanese War, ca. 1944.
Dear H,
It would be an understatement to say that our time together in quarantine is a gift. You have, in many ways, saved me from self-destruction during this objectively stressful time. Yet this abeyance of normalcy is marked by the trauma of a global pandemic, national protests against systemic racism and police brutality, extreme fire and weather caused by climate change, the din of the 24/7 election-year news cycle, your
Right. Like, why was that cunt a cunt? As it’s usually put. As it’s usually put. So, to me, the social effects are let’s take your example, I do notice every time Cody comes up in conversation and what is said about him. We used to live in a quasi-polite society, so, like, whether those opinions get reflected back into action against this person, however slight, is always unclear. He doesn’t live here. Right, well, like,
before. But I do know, and I do think this is true, and this is, ha, unfortunately for him, doubly true for people who are in the arts, reputational issues rustle around you in a pretty intense way.
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On Thursday, February 25, as part of Printed Matter’s Virtual Art Book Fair, Paper Monument guest editors Daisy Nam and Christopher K. Ho spoke to contributors Mel Chin, Aruna D’Souza, Hyperlink Press, and Patrick Jaojoco about Paper Monument’s new anthology,
Best! Letters from Asian Americans in the Arts.
The Forgotten Irish American Artist of the Capitol Building Left: Architect of the Capitol employees take a selfie (note string in hand of individual all in white) while preserving the Statue of Freedom in 1913. Right: Thomas Crawford. By Geoffrey Cobb, Contributor
Geoffrey Cobb writes about Thomas Crawford, who sculpted the figure of Liberty and Freedom on top of the U.S. Capitol in Washington, DC.
Senate Pediment, marble, 1863, east front U.S. Capitol: “The Progress of Civilization” features figures that represent the early days of America along with the diversity of human endeavor. Click to enlarge. (Photo courtesy of the Architect of the Capitol)