Artist Lecture: Scott Tsuchitani is an interesting interventionist and quite humorous about his serious feelings on Asian culture portrayed in America. While watching his lecture, I couldn't help but notice how comfortable and comedic he is with a crowd and it shows up in his artworks too. I believe that he serves as a performer in his career of being an interventionist. I like how he presents a genre of appropriated artworks to convey his message of cultural illiteracy. His trademark of branding his works to look identical of the Asian Art Museum's brand was pure parody. Under the look alike brand is a slogan "Where Asian still means Oriental" and that alone resonated loudly and directed toward an audience to make them aware that this difference in culture has to be acknowledged. The common Asian and the Hollywood manifestation of what the common Asian is, happens to be a total hypocrisy and insults the Asian culture deeply. In his work, "Lord It's the Samurai: Myth + Militarism + Man-Boy Love", he throws Mickey Mouse ears on top of the supposed Samurai's helmet to achieve humor, easy public relation, and parody while again, throwing his signature appropriated Brand under the image to make his statement. Since the opening of the exhibit, "Lords of the Samurai", people went in viewing it as a remarkable piece of work about the life of Samurai, but truely it strayed so far away from the gruesome reality of the history of Samurai, which is what gave Scott his motivation to inform the public of reality undercover. Other works of his shed the same direct light on the imaginative traits that artists seem to conjure up such as Memoirs of a Sansei Geisha: Snapshots of Cultural Resistance and "Foreigners", a designed t-shirt. His works are very amusing and fulfilling in meaning. They are very political and sensible in presentation.
Artist(s) Exhibition: I visited the Justin Quinn and Dada Local collaborative exhibition and it is very interesting that they both explain and portray the history of "Dada" as a movement, but both parties had different intentions in doing so. Justin Quinn's transcription of Moby Dick was piece that grabbed my attention, not that it was directly in the entrance to the left of the exhibition, but because he chose the letter "E", capitalized, to transcribe it. My mind went totally off into deep curiosity of why he chose such a complex letter (compared to the rest of the alphabet capitalized) and why he created a series of them in moving patterns. There was absolutely no correlation of these choices, except the movement the letter in size and pattern, with the plot of the story. I am at a strong opinion of this piece being about language, loss of language, or a letter being the significance in place of the missing language. My eye moved through the piece and not chaotically on the entirety of it. His pieces were intended for the "Dada" movement, but as for "Dada Local", they were chosen artworks that were featured in the show for their unintended relevance to the "Dada" movement. These student works demonstrated traits of "Dada" through their collage (mixed media)-like construction, and lack of a significant subject/meaning. Their presentation of works were very organized and positively siteful.
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