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[1]

Not sure this person is important, feels penned by the subject. Not sure how to characterize this: want to help Wikipedia, not sure the right words.

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Kina's page lists some of her art work, but does not list her academic literature with the exception of a brief mention of "War Baby/Love Child: Mixed Race Asian American Art". I have found a few other works that would be worth noting under the heading "Critical Mixed Race Studies", her essay written for the Mixed Heritage Center, "Mixed Heritage Art"[2] would be a strong addition to the article. As I continue to find more of her literature, collaborations, and pertinent interviews it may be a possibility to create an entire list of these works similarly to how her art is listed on the page.19:27, 18 February 2015 (UTC) Bcrant (talk) 01:11, 24 February 2015 (UTC)[reply]

This looks great guys! I can tell you put in a lot of effort to get as much information as you could. Anshirle (talk) 23:18, 20 April 2015 (UTC)[reply]

—Kina's painting is representing different cultures in United States of America. Especially for the mixed race. [3] Emerging Paradigms in Critical Mixed Race Studies — Preceding unsigned comment added by IUB-jl73 (talk • contribs) 02:07, 24 February 2015 (UTC)[reply]

These new paintings about Okinawa, Hawaii, and family history should be updated to the page. 2012-2013 Paintings JiaciChen (talk) 02:13, 24 February 2015 (UTC)[reply]


There is more information about the meanings of her paintings and the type of work she does. More information on where she is living and what she is currently doing can be added from this source. --User:hayleymarks

[4]


I found [5] Amanirogers123 (talk) 01:34, 5 March 2015 (UTC)Amanirogers123[reply]

In this article I looked up it said that Laura Kina sugar paintings recall ghost stories and Japanese brides. Citation: Kina, Laura. "Exhibition essay and retrospective-" Laura Kina: A Many-Splendored Thing"." (2010). — Preceding unsigned comment added by Amanirogers123 (talk • contribs) 20:28, 11 March 2015 (UTC)[reply]

The information that I added in my sandbox comes from the essay on Laura Kina's website (citation below) and discusses more about where she draws her inspiration, her family background, and her resume. Cite error: A <ref> tag is missing the closing </ref> (see the help page).</ref> Breelanger9 (talk) 21:09, 11 March 2015 (UTC)[reply]

Peer Review for 4/1/2015

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The assignment for tomorrow requires us to peer review one another's writings. Can someone post what changes to the introduction they have made? Here is the updated "Art" article for someone to look over - I'm not sure if the references will be functional without me copying the entire article, so you can look at it on my sandbox as well. I would like to expand on the "New Work" series if someone could find more on it and add it.


Art

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Laura Kina creates art which relates to race, religion, class, family, and identity, more specifically Asian American and mixed race identity. Kina's work typically studies highly personal subjects such as her own family circle, friends, memories, and dreams. It is precisely the intimate relationship Kina has with her subjects that allows her to examine complex social and political issues with great care and detail. Her solo exhibitions include Blue Hawaii (2014), Sugar (2010), A Many-Splendored Thing (2010), Aloha Dreams (2007), Loving (2006), and Hapa Soap Operas (2003). She has exhibited at the Chicago Cultural Center, India Habitat Centre, Nehuru Art Centre, Okinawa Prefectural Art Museum, the Rose Art Museum, the Spertus Museum, the University of Memphis, and the Wing Luke Museum of the Asian Pacific American Experience. [6]

Refrigerator Portraits 2001
"The Rosenfelds"
Acrylic on Canvas
  • Refrigerator Portrait Series (2001) - in this series Kina comments on class, family, and identity, by creating trompe-l’oeil depictions of household refrigerators. The refrigerators are titled after their owners, all members of Kina's extended family. The paintings convey something about their owners' identities through magnets, drawings, and other items appearing on their doors. This series deals with the ever-blurring boundaries between race, religion, and national identity. One of the paintings, titled "The Rosenfelds", depicts a high end Sub-Zero refrigerator made of shining steel and surrounded by custom wood cabinetry. Unlike the other works in this series, this refrigerator’s surface is unadorned. In its stark simplicity, its formal presence invokes the work of Mark Rothko and Barnett Newman.[7][8] “While the variety of adornments on the Kina-Aronson fridge indicates a multiplicity of identities, the interiors of the refrigerators, and, by extension, the inner lives of their owners, remain closed to the viewer”.[9]
  • Hapa Soap Operas (2002–2005) - the term Hapa is Hawaiian and literally means “half”; it has been used colloquially to describe mixed race Asian and Pacific Islander Americans. Kina grew up describing herself as hapa although the term has since come to be contested.[10][11] The series consists of paintings based on photographs the artist took of mixed race Asian Americans from across the country. Some of the paintings are larger-than-life oil paintings, while others appear as actual movie posters that were installed in flashing movie poster marquees.[12]
  • Mishpoche (2005–2007) - the name "Mishpoche" refers to the Yiddish word for family. The artist relates her personal experiences as she examines her own complex identity. This series' main installation is a 12' by 12' quilt-like area created using 60 smaller paintings (enamel on wood), each depicting a sliver of the artist's identity. These paintings constitute a platform which the viewer is invited to walk on after donning a pair of beach flip flops which line the sides of the installation. This feature enhances the viewer's intimacy with the subject, allowing a closer reflection on the patterns and subjects portrayed. Among the panels are depictions of fabric patterns, a Talith, and a Challah cover.[13]
  • Loving (2006) - the series was inspired by the landmark U.S. Supreme Court decision Loving v. Virginia, which declared race-based legal restrictions on marriage unconstitutional. The artist uses the genre of Portrait to examine mixed race issues. In the words of the artist, "these life-size charcoal portraits of myself along with other mixed race friends surround the viewer in a meditative half circle that simultaneously embraces and confronts the viewer".[12]
  • Aloha Dreams (2006–2008) - the series comments on issues of immigration/migration, heritage, and orientalist fantasies, through the exploration of color, pattern figuration, and abstraction.[12][11] Kina utilizes Pop Art images, textile design, as well as works of Gaugin, compelling the viewer "to think of the history of Hawai'i and ultimately of the layering of myths and perceptions of place and subject within the painting".[13][14]
  • Devon Avenue Sampler (2009-2011) - Devon Avenue Sampler features vintage and contemporary street signs and imagery from my West Roger’s Park Chicago immigrant neighborhood where Orthodox Jews, Hindus, Muslims and Christians all live.[12]
  • Sugar (2010-Present) - Set during the 1920’s-1940’s, Laura Kina’s SUGAR paintings recall obake ghost stories and feature Japanese and Okinawan picture brides turned machete carrying sugar cane plantation field laborers on the Big Island of Hawaii. Drawing on oral history and family photographs from Nisei (2nd generation) and Sansei (3rd generation) from Peepekeo, Pi’ihonua, and Hakalau plantation community members as well as historic images, Kina’s paintings take us into a beautiful yet grueling world of manual labor, cane field fires and flumes.[12]
  • Blue Hawaii (2012-2013) - New paintings about Okinawa, Hawaii, and family history.[12]

Bcrant (talk) 00:14, 1 April 2015 (UTC)[reply]

I am going to look up and add a picture for one of the new series. Mike, did you have any luck uploading her picture for the Infobox? If so, how, and do you think we'll need to contact her again to use one of the pictures on her website? I was thinking one from the "Sugar" series. IUB-jl73 (talk) 00:15, 1 April 2015 (UTC)[reply]

I agree with what was changed Amanirogers123 (talk) 21:08, 1 April 2015 (UTC)Amanirogers123[reply]

This looks really great. Thanks for collaborating everything! The box looks great, Mike. Breelanger9 (talk) 21:10, 1 April 2015 (UTC)[reply]

Working on getting approval for the license of the picture, could take up to 60 days. I will try and get the picture uploaded while we are waiting for approval. The new paintings descriptions look good. Should we add that they are called Blue Hawaii? There is also a longer description of her Blue Hawaii works on my sandbox if you think that will help.Mike.DiMaggio (talk) 21:14, 1 April 2015 (UTC)[reply]

It's looking good!JiaciChen (talk) 21:16, 1 April 2015 (UTC)[reply]

Cool, I have moved all of that to her page. I will check out your sandbox for the longer description Mike Bcrant (talk) 14:22, 7 April 2015 (UTC)[reply]

This needs to be peer reviewed and or synthesized so we can add it to "Blue Hawaii" (taken from Mike's Sandbox)Bcrant (talk) 22:11, 7 April 2015 (UTC)[reply]

"You won’t find Elvis or surfboards or funny umbrella-topped cocktails in Laura Kina’s dystopic Blue Hawaiʻi. Drawn from family albums, oral history and community archives from Hawaii and Okinawa, these ghostly oil paintings employ distilled memories to investigate themes of distance, longing, and belonging.

Featuring new works and a selection from her ongoing Sugar series (2009-present), the setting is Kina’s father’s Okinawan sugarcane field plantation community, Piʻihonua, on the Big Island of Hawaiʻi near Hilo. Her obsession with blue was inspired by the indigo-dyed kasuri kimonos repurposed by the Issei (first generation) “picture bride” immigrants for canefield work clothes, and colored by stories of hinotama (fireballs) shooting from the canefield cemetery into the night sky. Blue Hawaiʻi echoes the spirits of Kina’s ancestors and shared histories of labor migration."

[15]

Hey guys! You could add a picture of Laura Kina, and perhaps one of those boxes that you see on Wikipedia pages. Here is a link for a photo: http://offices.depaul.edu/svdpp/Members/Pages/Laura-Kina.aspx and here is a link on how to do that: https://en.wikipedia.org/wiki/Template:Infobox_person Kkblank (talk) 17:49, 15 April 2015 (UTC)[reply]

Here is the addition/expansion that I wrote for Blue Hawaii-- all this information comes from the same source already listed. Blue Hawaii (2012-2013) - This work exhibits themes of distance, longing, and belonging as Kina tries to reclaim the Okinawan stories lost in translation by her Japanese ancestry about her family heritage, history, and life on the sugar field plantation. The setting of these paintings is her father’s Okinawan sugarcane field plantation community in Pi’ihonua. Kina's paintings are based off the sites that she saw here, as well as old photos and stories that she heard. This series is slightly different from her "pop art" genre, consisting of oil paintings mostly shades of blue with red accents. The blue is inspired by the indigo-dyed kasuri kimonos that canefield workers wore, and the red is inspired by fireballs shooting up from the canefield cemeteries (hinotana) which contrasted the blue sky. Breelanger9 (talk) 20:53, 15 April 2015 (UTC)[reply]

Thanks Bree, I added this to her page and included the citation to the PDFBcrant (talk) 21:02, 15 April 2015 (UTC)[reply]

looking good guys, looks like we are almost done, is there anything that we need to add?JiaciChen (talk) 21:07, 15 April 2015 (UTC)[reply]

Hey all, I think there is a reference that is not linked properly. I will investigate and see if it is relevant.Mike.DiMaggio (talk) 21:09, 15 April 2015 (UTC)[reply]

I am going to add several more sentences under the title of Art, and so far, our group has done great. IUB-jl73 (talk) 21:15, 15 April 2015 (UTC)[reply]

References

  1. ^ http://mixedrootsstories.com/laura-kina-blue-hawaii/. Retrieved 5 March 2015. {{cite web}}: Missing or empty |title= (help)
  2. ^ http://works.bepress.com/laura_kina/17/
  3. ^ https://escholarship.org/uc/item/2db5652b#page-6
  4. ^ Lee, Larry. ""Laura Kina: A Many-Splendored Thing"". Foundation for Asian American Independent Media. Foundation for Asian American Independent Media. Retrieved 23 February 2015.
  5. ^ Kina, Laura. "Exhibition catalogue essay and artwork-" Half Yella: Embracing Ethno-racial Ambiguity"." Embracing Ambiguities: Faces of the Future (2010).
  6. ^ http://www.nyu-apastudies.org/research/DAAN/?p=967
  7. ^ Cite error: The named reference boris was invoked but never defined (see the help page).
  8. ^ [1] Article- "Cultural Evolution- What Exactly is "Post-Jewish" Art?"
  9. ^ Geller-Nelson, Sarah. The New Authentics, Exhibition Catalog
  10. ^ Cite error: The named reference personal was invoked but never defined (see the help page).
  11. ^ a b [2] Article- Elkjer, April. "Hapa Visual Artist Explores Culture and Identity" NichiBei Times, Jun. 2008
  12. ^ a b c d e f Cite error: The named reference lk was invoked but never defined (see the help page).
  13. ^ a b [3] Interview- "Painting Paradise. Artist Laura Kina's Aloha Dreams", Asiance Magazine.
  14. ^ Cite error: The named reference dl was invoked but never defined (see the help page).
  15. ^ "Laura Kina: Blue Hawaii". www.mixedrootstories.com. Retrieved 24 February 2015.

comments

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I like the page everthing looks great and there is good information I would only suggest maybe adding photos of works from each collection or adding links to view her collectionsEricelia1 (talk) 02:12, 21 April 2015 (UTC)[reply]

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