Why is ‘The Asian’ so white? Receipts for Today’s NY Times Article

NY Times Article

This came out in today’s NY Times: Asian Art Museum to Remove Bust of Patron. That’s Just a Start, by Carol Pogash.

The Times’ article takes the Asian Art Museum’s bust of Nazi sympathizer Avery Brundage as a point of departure to explore the museum’s checkered past in light of their director’s recently initiated #BLM PR campaign. The museum was originally founded around white supremacist Brundage’s largely unprovenanced collection.

 

 

A Compelling Response

Please see “Hoodless and Institutionalized” by artist Chiraag Bhakta, aka Pardon My Hindi.  Bhakta’s work has been featured on this blog twice previously.

Correction to the Times:  Brundage Tortilla Art (2012)

We’d like to offer one correction:  In the Times, Director Jay Xu claims to only have become aware of Brundage’s white supremacist history as recently as 2016.  However, longtime subscribers to this blog might recall that back in 2012, we created edible tortilla art featuring a graphic of Brundage as severed Buddha head (left) that was distributed to museum-goers along with the informational flyer below.

Flyers were distributed discreetly to AAMSF visitors throughout a Matcha event in 2012

We also blogged in 2015 about how Brundage’s racist roots can be traced back to his presidency of an Aryan fraternity in his college days. 

Who was Avery Brundage?

Receipts for the White Gaze

Since one of us is quoted several times in the article, we’d like to provide a few receipts.

“Historically, at this institution, there’s been a white gaze defining what ‘Asia’ means,” said Scott Tsuchitani, an Asian-American artist.

Mr. Tsuchitani, the artist, objected to the racial impact of the culture of the museum. He said that over many years, the museum has exhibited “a pattern of repeatedly exoticizing, hypersexualizing, playing dress up with Asian cultures.”

Receipts linked below:  (just a sampling)

• Exoticizing
• Hypersexualizing
• Playing “Dress-Up” with Asian Cultures
  • Maharajah
  • Yoga:  WhitePeopleDoingChanting
  • Samurai:  1, 2
• Not to mention:  Exhibiting Stolen Goods while Censoring Where They Came From

Why is ‘The Asian’ So White:  a problem of positionality

If the Asian Art Museum

• was founded by white people around the mostly unprovenanced collection of a white supremacist, and
• white people have remained in key positions of power on both board and management throughout its history, and
• in 2020, white staff outnumber Asians by roughly 2:1, Latinx by 4:1, and Blacks by 7:1,

then what steps can we expect the museum to take as it scrambles to declare support for Black Lives Matter and professes to reckon with a history so fraught with whiteness?

We as an institution have not done enough. We must take action and become the change we wish to see in the world.

While the museum has begun to denounce Brundage’s racism, it has not accounted for its own cultural capitalization of the racist’s ill-gotten collection.  If the collection at the heart of “The Asian” is a product of U.S. imperial violence in Asia, then what is the nature of the museum’s positional relationship to Asia and local Asian American communities?

If a white institution is knowingly in possession of goods stolen from Asia, then what is the obvious action that must be taken to “become the change we wish to see in the world”? Relocating the imperialist’s bust or removing his name from museum initiatives offers nothing in the way of either restitution or meaningful corrective action at a structural level.

Welcome to “The Caucasian”

The same racial logic that would capitalize on a racist’s collection of stolen goods  underwrites, for example, the transformation of the relatively innocuous “Arts of Japan: The John C. Weber Collection” into a hypersexualized “Seduction” opening, complete with performers (and staff?) in yellowface.  Over time, practices such as these have repeatedly served to center whiteness by racializing Asians as foreign Others, in effect functioning as a Caucasian Art Museum that extracts racial capital from Asian cultures and bodies.

This pattern of symbolic violence implicitly shares an underlying racial logic in common with that of the late Nazi sympathizer himself.  It will take more than public forums and incremental hires to fundamentally change an operational common sense that continues, even now, to defend its history of whiteness in the face of criticism from Asian American voices.

Talk is cheap and implicit bias trainings are limited, so here’s a proposition.  What can we learn from the dramatic transformation unfolding all around us? Rather than framing this through a lens of liberal reform, how might we apply the radical logics of abolition and decolonization to remake this institution in a way that centers the needs, voices, and perspectives of the very communities whose cultures are on display?

In closing, we return to Bhakta’s “Hoodless and Institutionalized“:

If the museum wants change, the change needs to be radical, and the structure can’t remain. To start, the current leadership needs to step down. White people in high positions in the education, curatorial, PR, and other departments need to step down. White people on the board should step down…

Ecuadorian Artist takes 1″ off the top of England’s Highest Mountain and they want it back

Artist Oscar Santillan removed a 1″ rock from the summit of Scafell Pike, England’s highest peak, and placed it on a plinth in a London gallery to create an artwork called “The Intruder,” but locals accuse him of vandalism and want their mountain back.

Via the Telegraph: Oscar Santillan placed the stone on a plinth to create an artwork called ‘The Intruder’ (Cascade)

Santillan describes his work:

What I have done is a small suggestive gesture that reflects on the way in which humans have imposed their cultural categories over nature.

The description of the work at Copperfield Gallery:

The artist has taken the uppermost inch of the highest mountain in England.

An entire nation’s height is modified and its landscape redefined by means of a single precise action. The artist explores the way in which human categories are imposed on nature: the largest, the tallest, the most powerful.

Just curious:  How is it that when a white male American gorges a 1500 foot trench into the side of a natural canyon and dumps the 244,000 tons of removed rock into the canyon, it is called “Land Art,” but when a Latin American artist removes a 1-inch rock from the top of a reportedly odiferous 3,200 foot peak (Mt. Diablo is 640 feet taller, and much cleaner, by comparison), it is vandalism?

In the same way that a white male German pilot can deliberately crash a plane, killing 150 people, and it is anything but terrorism as he’s pictured smiling in front of the Golden Gate Bridge, and yet by contrast, as Zak Cheney-Rice points out, “black victims — like Michael Brown, who never killed anyone at all — are presented as scowling, threatening ‘thugs.'”

By the same logic, it makes sense then that Englanders would get upset when a Latin American artist removes a 1″ rock, while the British Museum—one of the largest repositories of art looted from around the globe during imperial and colonial rule—refuses to repatriate any of its massive collection of stolen goods (because there would essentially be nothing left in the museum).