Asian-American artists engaged deeply and creatively with Abstract Expressionism, counter to historical views of the movement as a New York monolith.
SALEM, Mass. — The Dutch East India Company wrested control of the Asian spice trade from the Spanish and Portuguese, went on to own virtually all of Indonesia, and monopolized trade with Japan for 200 years.
Sometime in the mid-20th century, one of the Metropolitan Museum of Art’s most ornate galleries disappeared.
MÉRIDA, MEXICO — Over the past two years planet art has born witness to a drastic metamorphosis. The mental apparition of “Asian Art,” inhabiting its blanket concept, was once as innocuous as Casper the friendly ghost. Westerners were at leisure to muse and amuse themselves with its mysteries and exoticisms, with the fleeting attentions of a visitor into another lord’s cabinet of curiosities.
Today our imaginations and anticipations have fed it to megalithic proportions. And the economic boom of contemporary art in the 21st Century continues to relentlessly close the gap between the world’s cultures of expression, to the point where the bedsheets of West and East have begun to rub up against one another — sometimes roughly. There is even talk of the voracious appetite of the Yellow Peril of Asian Art, positioning its markets and state-ordained “cultural industries” to consume planet art altogether.