Extra-ordinary
Taiwan-US Women Artists
Luchia Meihua Lee
This topic is binary and binocular. I intend to peer through
a small aperture to see a spectacular world.
I choose as my subject that minority of a minority, Taiwanese woman artists
in New York, to observe the moving flow of this minimal art group. I look at their
progress residing in and interacting with their new community, and how this is reflected
in the subject matter and presentation of their art works. I make the
comparison between how different generations of these expatriate artists - the
old and the new settlers - adapt to various aspects to the new culture. The correspondence is also extended to Taiwanese
artists still rooted in their native land. Because different geopolitical
periods show at the same time distinct differences and commonality in creativity, it
has become necessary to mention their social role and background as overseas
artists, in contrasting historical and cultural features versus contemporary
expression. From the bi-axis
view, I inevitably must check the different creative modes used to express per se disparities between male and female artists [even
if males are conspicuous by their absence from this essay]. These
works might tend to express inner thought or to reflect the external
environment; therefore, one can glimpse traces of the expression of nourishment
from their own local motherland, as well as contemporary Western art trends.
Back to New York's Soho art district; this is where the
first generation of overseas female artists settled. Please note that their heyday
coincides with the acme of American abstract expressionism in the international
trend, and their creative distribution mostly stayed in the spirit of abstract painting not to challenge gender, political, or societal issues.
In addition, it is interesting that subsequent waves in the history of Western
art, such as Minimalism, Conceptual art, and Pop or Op art rarely were
reflected in the output of this group of the artists. In fact, we find that
these later trends in Western art were later adopted by some artists in Taiwan.
Their survival was based on the traditional strong support from
the family, and was only supplemented by the sale of their paintings. They cared
for the family while the creative drive was still in the heart; while the
second wave of artists from Taiwan faced greater economic and immigration difficulties.
In the subsequent rise of the Chinese market, some work used poetry or brush ink.
For artists of the last ten years or new students, geo-focused fixed residence
in the United States is not obvious, and the use of new media is indispensable;
their work is clearly more unusual and more challenging. Today, Taiwanese
female artists
in the United States still clearly form a minority of a minority. Visa
requirements for Taiwanese to visit Europe were abolished in 2010, and visa
requirements for Taiwanese to visit the United State were abolished in October
2012; predictably, the travel situation became much easier. This might affect the
international art language by leading to more homogenization, or equally it might
provoke a reactionary desire to preserve local artistic traditions.
Of the selected artists living in Taiwan, some
are bound to the land on which they stand, and thus to consequent norms of
culture, custom, and folk traditions; and this can be seen in the subjects
which they choose. For example, eating is still an important component of a
very recently rural society. Also, indigenous Taiwanese organized themselves
along matriarchal lines. In indigenous Taiwanese cultures, the ancestor spirit
voice is common evoked. However, in general, Taiwan contemporary women artists are
more courageous and outspoken in challenging gender issues and social issues,
reach out at a faster pace, they use new media, new performance looks more aggressive and avant-garde then either
Taiwanese or Chinese artists living in the New York metropolitan region.
Artists based in the United States find themselves awash
not only in the conflict between eastern and western, but also in the
cultural whirlpool that is urban America. Apparently the wider landscapes in
the United States provide more personal space, afford more mental freedom and foster
loftier visions, and at the same time bestow upon the individual the opportunity
to look inward in delicate retrospective, and an invitation to isolation. The
US is known for its pioneering spirit that has attracted elites from around the
world, thus heightening competition. The concentrated international media
deepened the myth of quick fame and riches, of a capitalist society wallowing in
luxury, comfort, and decadence. The consequent immigration from all corners of
the world led to diverse languages, hybrid cultures, and so of course idiosyncratic
art forms. A metropolitan life – especially in New
York - famously requires toughness and resiliency. At the same time metropolitan
artists absorb multicultural influences to enrich their inherited outlook. Taiwanese women artists living in New York
artists may be more sensitive to their own experience and the inner mind.
Taiwan is likewise a society built on absorbing and digesting a multitude
of different influences – in the case of Taiwan, specifically foreign
influences. So it may be that residence in one’s native country and language
enable an artist to better sift through various trends and create strong new
art. A native son or daughter can call
on the resources of family and a network of friends, and benefits from an
education in and life experiences of that society, as well as connections with
collectors. The subject such as cultural
context in daily life, the beauty of nature, and inner struggle follows
inevitably.
I did not choose all Asian women as my theme. While this would have been a larger pool, however,
great differences that exist between various Asian countries. While during the
height of the Tang dynasty, approximately the 7th century, these
countries shared a culture; but like Darwin’s finches they have had many years
in which to evolve and speciate. Different languages, different histories, different
political systems, different experiences with colonization – all these have
lead to different national characters.
On the contrary, as a Taiwanese, I prefer to anchor my own learning,
experience, and observation. I would also like to relate the issues back to female
subjectivity. Of course, the bulk of individual differences are based on individual
family backgrounds. Most women, regardless of their marital status, want to
break through the limit of their individuality. They are like take the role of
a planner or curator, to manage all manner of issues, to make event organization
more compact.
Today in talking about the issues of women in advanced countries – in
particular, the United States – it must be noted that feminism is not the
burning issue it was a few decades ago, or been thought a belated efforts. To
be fair, however, one might ask if a balance has been struck despite the
surface atmosphere. For many people, women's issues are no longer worth the
fight, while Taiwanese women artists may be regarded as represent as one of the
small minority who might not merit international attention. But in this case,
Taiwanese women artists in the United States may reasonably ask for a stage on
which their voices may be heard.
As illustrated by Judy Chicago’s pioneering work The Dinner Party, feminism has had a dramatic influence on all
areas of most societies worldwide, and of course art is more sensitive to such
changes than many other human activities. Not only has feminist art birthed an
explosion in the subject matter and method of artistic expression, but also it
has lent new urgency to concerns about social issues and the environment.
Although in Taiwan, feminist art developed later than in the
United States, the nation boasts many women artists that use different media to
express themselves. Some depict male or female bodies, bizarre sexual
situations, and other shocking images to call attention to gender
discrimination But on the whole, female artists have not confined themselves to
feminist issues, and their participation in the Taiwanese art scene has led to
a balanced treatment of societal issues.
As a group, Taiwanese women artists have brought a greater sense of
social responsibility, blood ties, and empathy to an art scene previously consumed
with philosophical and political issues. These women have even brought an
important perspective to political issues – namely the feeling for the
motherland and the environment.
The word “extraordinary” is used here to express the
remarkable temperament of women. The
ordinary image of women is as followers - dependent, sentimental, and
inconsistent. On the contrary, for example,
Taiwanese women, as islanders, in general must and do possess such traits as
endurance and tenacity. The fortitude described above is not necessarily
explicitly found in their creative work. However, these inner strengthening
spirits always reveal themselves to a careful reading of the art in question.
An “extra” word that supports and leads the “ordinary,” therefore, is
appropriate on many levels.
Many people may be confused about the traditional role of
women in Chinese history. For example Confucius called for a hierarchical
society which relegates women to a supporting role. Arguably, this led to traditional
female images such as footbinding, keeping women in the back garden, and maintaining
concubines. While Taiwan inherited the Chinese tradition, these islanders,
as opposed to continental artists, focus on cultivating that which has the
greatest utility. Women in Taiwan played a larger role in creating the society
and maintaining its health. Women in Taiwan also had a better position because they
were not pawns in royal politics because of the absence of an emperor or
nobility.
In fact, far from ignoring the Confucian tradition, several Taiwanese women
artists have appropriated traditional Chinese literati as a subject and use an
ink brush to create their works.
As former IBM researcher Geert Hofstede found “Americans (and also
Canadians, French people, Australians, and many other westerners) come from
cultures where social roles are more strongly gendered than in Taiwan. A
moment's reflection will show the paradox of Taiwan's more patriarchal society
which nevertheless has more women in positions of power than the US.”(Note 1) Also, as a relatively small country,
Taiwan can be easily swayed by an individual – especially when promoted by
modern media – such as folk hero Chen Shu-chu, a vegetable vendor in Taidong,
Taiwan has also recently had a female presidential candidate, something which
has not happened as of this writing in the United States.
I would like to use the division by subject and the
space layout not only to make a statement about feminist art, but also to
celebrate each individual artist. Thus each artist will be distinguished and
have a platform for her unique voice. Through internet
participation I would like to invite people from all over the world to
nominate and suggest women of unexampled achievement who have not hitherto been
widely known. Thus, I hope from a group subject to express individual temperament
and creativity.
I do not intend in this essay to pursue any stereotype
regarding gender issues, feminism, fetishes, eroticism, or woman rights, nor to
challenge masculinity, male hegemony, or other sacred cows. Rather I would like
to delve deeper than political issues and initiate deeper research into the
conditions of art produced by women - the medium, the subject, as well as the method
used. Also, it will be successful if it in some part provides motivation to the
silent and ignored workers that are more generally women from all corners of
the world, and encourages more research on issues of relevance to women.
(to be continued)
