Exhibition

This exhibition showcases works by Asian diasporic artists that explore the process of unmaking and remaking the self. Focusing on art as a site of radical reimagination, the exhibition presents a cross-generational conversation about the liberatory possibilities inherent in the continuous, messy, and sometimes contradictory process of forming social identity.

This exhibition showcases experimental works of modern and contemporary calligraphic art, highlighting innovations in the art form. The exhibition explores the evolution of pictographs, the relationship between content and form, the development of new scripts, and the abstraction of the written word. It is accompanied by a scholarly exhibition catalogue.

Mark Bradford’s 150 Portrait Tone, a mural-size composition that contains elements of both abstraction and realism, is based on an idea for a work that the artist conceived after the fatal shooting of Philando Castile by a police officer in Saint Paul, Minnesota, in July 2016. Castile, a nutrition services supervisor at an elementary school, was shot after being pulled over in his car—an incident that was livestreamed on Facebook by Castile’s girlfriend, Diamond Reynolds, who was sitting in the passenger seat next to him.

The painting features excerpts of Reynolds’s dialogue from the video. The title, 150 Portrait Tone, refers to the name and color code of the pink acrylic used throughout the painting. Like the now-obsolete “flesh” crayon in the Crayola 64 box (renamed “peach” in 1962), the color “portrait tone” carries inherent assumptions about who, exactly, is being depicted. In the context of Bradford’s painting, the title presents a sobering commentary on power and representation.