Huang Examines Asian and Queer Identities Through Photographer’s Self-Portraits
Vivian Huang visited Wesleyan to communicate with photographer Tseng Kwong Chi and his portrayal of Asian queer identity via self-pictures. Her speak became backed using the University’s Department of Feminist, Gender, and Sexuality Studies. Huang, an Assistant Professor of Women’s, Gender, and Sexuality Studies at Williams, changed into delivered to campus as a part of the Asian American Student Collective and Shakti’s joint annual identity month, which celebrates Asian Americans and Asians in America.
Huang shared findings from her upcoming book, “Feeling Otherwise: Inscrutability, Asian American Performance, & Queer Sociality,” in which she addresses Tseng’s grayscale self-portrait series, “East Meets West.” Tseng’s series is made out of pictures as he traveled across the United States and Europe inside the overdue ’70s through the ’80s with his assistant and boyfriend, Christopher Haynes.
“In his images, Tseng embraces his racialization as an inscrutable Chinese different and insists upon creating a feeling of distance—from the viewer and his history,” Huang informed the target market. “More descriptively, I’m inquisitive about the gap performed within the photos as a queer diasporic effect…one who reviews heteronormative underpinnings of the state, in addition to white, Euro-centric norms of sociality.”
Tseng, who changed into being born in Hong Kong in 1950, immigrated to Vancouver, Canada, with his dad and mom in 1966. He completed his artwork training in Paris in 1975 before shifting to New York in 1978. He labored as a photojournalist for a huge variety of magazines, including GQ and Vanity Fair.
Huang defined that Tseng’s innovative persona for those snapshots stems returned to 1978, whilst he visited the Windows at the World restaurant on the pinnacle of the World Trade Center. As the eating place’s dress code required men to wear fits, he determined to put on a Zhongshan suit, famously worn through Chairman of the People’s Republic of China Mao Zedong, that he offered at the thrift shop in Montreal. Because of his outfit, the restaurant workforce notion that he and his own family have been Chinese dignitaries, and Tseng chose not to correct them.
“Today, I want to discuss his pix that allows you to conceptualize how it’s miles that regular reviews of racialization, just like the one featured on this starting anecdote, may be stated and redeployed in performance and visual arts,” Huang said. In Tseng’s photos, he’s pictured wearing a Zhongshan suit, together with reflected shades and an ID badge connected to his breast pocket. With a few exceptions, Tseng’s face is clean and impassive, and he is the handiest person in the snapshots. While the pictures are appreciably serious, Huang referred to that the back of the ID badge read “Slut for Art.”
“My images are social research and social comments on Western society and its courting with the East,” a quote from Tseng’s website reads. “[I pose] as a Chinese traveler in the front of monuments of Europe, America and elsewhere.” After showing the target market some of his photos and alluring them to express their preliminary thoughts approximately Tseng’s paintings, Huang moved into a discussion of the academic idea surrounding Asian American performance, in addition to the queer diasporic effect.
“Legally, politically, and traditionally, this distance has accompanied and been dependent round rules of Asian exclusion, anti-miscegenation acts, deportation, incarceration, exertions exploitation, and other varieties of social and legal alienation,” she stated. “I argue this performance of distance through self-portraiture is an Asian American, and also a queer diasporic, historiographic practice.” When asked by using a pupil how she defined queerness in her studies, Huang explained that she became no longer taking into consideration the term “queer” as something entirely carried out to sexuality.
“When I’m considering queerness, I’m considering queerness now not most effective within the experience that he was homosexual, so no longer simplest queerness in phrases of identity…however additionally in phrases of queerness as a critique of the heteronormative phrases of belonging,” Huang defined. “There’s something queer to me, politically, approximately refusing the racist and genocidal logic of imperialist country constructing.”
Huang concluded her talk with a discussion about the sector of Asian American Studies. Last semester, Huang changed into a part of a college and scholar committee that wrote a record featuring the creation of an Asian American Studies software at Williams. She explained that Tseng’s work is an instance of why it’s far a crucial instructional discipline. She noted that, for example, Tseng labored along well-known artists, including Andy Warhol, but stays quite difficult to understand.
“Part of the want to advise for Asian American Studies on campuses is that Asian American teenagers, and people of us that work with Asian American youth, understand how difficult it’s far to feel unseen [and] unacknowledged,” Huang stated. Wesleyan University currently does no longer provide Asian American Studies software.