Danielle Wu
New York
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Articles by Danielle Wu
From the Archives: Ah, Yeah Beautiful Girls
Photo by Julian Myles This Insight essay was originally published on September 25, 2020. Van Halen frontman David Lee Roth jumped into my childhood as if doing Russian splits off the top of a speaker wall. As a kid, I first heard Van Halen on Detroit rock radio, but by 1984 I couldn’t escape their music videos. Roth strutted and soft shoed while guitarist Eddie Van Halen, drummer Alex Van Halen, and bassist Michael Anthony rocked out with joy. MTV played Van Halen’s “Jump” on heavy rotation.
From the Archives: House of Worship
This piece was originally published on January 14, 2020. The most consistent yet overlooked character of any horror is easily the haunted house. Rather than instill fear through antiquated design, recent artistic production in Bong Joon Ho’s Parasite (2019), where the affluent and elegant Park family mansion functions as a looming antagonist, reveals equal unease about modern style. Fluorescent-lit galleries and handsome sliding bookcases disguise a secret tucked deep inside a dark underbelly.
Four New York City Shows to See Right Now
The exhibitions this week show us how we shape ourselves in history’s image, and the other way around. Lotus L. Kang’s assemblages at 52 Walker draw from diasporic memory, yet her draped film sculptures form an ongoing document of the exhibition’s idiosyncrasies of light and movement. Meanwhile, Rashid Johnson’s survey at the Guggenheim Museum draws from a dense network of Black intellectual thought, offering in turn a contemporary visual vernacular.
Lotus L. Kang’s Hopeful Doom Scrolling
We are greeted by what appears to be a pair of metal drums suspended from the ceiling upon entering Lotus L. Kang’s exhibition Already at 52 Walker, curated by Ebony L. Haynes. Their musical potential, quieted for now, is instead visualized through sharp metal forms tumbling vertically downward.
Proteoglycans in Mechanobiology of Tissues and Organs: Normal Functions and Mechanopathology
Proteoglycan Research Mechanobiology, basement membranes, cancer, fibrosis, mechanoreceptors, tissue stiffness, wound healing Post-print Farach-Carson, Mary C; Wu, Danielle; and França, Cristiane Miranda, "Proteoglycans in Mechanobiology of Tissues and Organs: Normal Functions and Mechanopathology" (2024). Faculty, Staff and Student Publications. 64. https://digitalcommons.library.tmc.edu/uthdb_docs/64 yes
"Microfluidic Coaxial 3D Bioprinting of Cell-Laden Microfibers and Micr" by Yu Yin, Ephraim J Vázquez-Rosado et al.
Abstract Replacement therapy for the salivary gland (SG) remains an unmet clinical need. Xerostomia ("dry mouth") due to hyposalivation can result from injury or disease to the SG, such as salivary acinar death caused by radiation therapy (RT) for head and neck squamous cell carcinoma (HNSCC). Currently, only palliative treatments exist for xerostomia, and many patients endure deteriorated oral health and poor quality of life.
Human Minor Salivary Glands: A Readily Available Source of Salivary Stem/Progenitor Cells for Regenerative Applications
Resident stem/progenitor cells within the secretory salivary glands offer a potential therapeutic resource for use in the regeneration of salivary glands needed to restore saliva production in patients with chronic xerostomia, or dry mouth. Methods were developed previously to isolate human stem/progenitor cells (hS/PCs) from major salivary glands (parotid/submandibular).
Jennifer Tee on Tulips, Documenting Migration, and Living at the Margins of History
Dutch artist Jennifer Tee recently concluded her New York debut Ancestral Beginnings, Sessile Beings at Tina Kim Gallery. Known for her versatile practice that traverses research, performance, installation, textiles, collage, and sculpture, and investigates what it means to live near and between borders, Tee created an exhibition that is both personal and political.
Individual Collectivity: Scratching at the Moon at ICA Los Angeles
Parking my car between two abandoned Ford Econolines in a quiet street in Downtown Los Angeles’ Arts District, I made the rest of the way on foot towards the Institute of Contemporary Art (ICA). As I approached the exhibition, I was questioning the ICA’s motivation for putting on this show, asking myself why now?
Ghada Amer Refigures the Othered Woman
In the aftermath of the #MeToo movement and the revocation of Roe v. Wade, the idea of rescuing women through their visuality appears to have reached a critical fatigue – at least in leftist circles in the US. But French-Egyptian-American artist Ghada Amer remains determined to iterate the need for women to pursue liberation in the symbolic and psychic realms as well as in their lived experience.
Must Visit Exhibitions in New York During Frieze Week
Lizania Cruz PROXYCO 12 May–ongoing At PROXYCO Gallery, Lizania Cruz presents evidence from her extended investigation into how Caribbean history has been sanitized by centuries of anti-Black and anti-Haitian policies (Investigation of the Dominican Racial Imaginary,2019–ongoing). In Documentación Acción en Sevilla (Seville Action Documentation, 2022), for instance, Cruz dons a headscarf, blood-red lipstick and black shades and goes to a public plaza in Seville.
Two fashion labels unraveling Asian identity
“REFASHIONING” at the Japan Society in New York brings together two emerging fashion labels—Tokyo’s Wataru Tominaga and downtown Manhattan’s CFGNY—as Asian American cultural politics arrive at a critical juncture. Spikes in reported violence against Asians have tapped into a wellspring of mounting anger, tensions that often become assuaged with commercial ventures like fashion, art, and lifestyle.
Contemporary Exhibition Inspired by the Sacred – ALTER – Leaves One Changed - The Offing
You enter the space and your peripheral vision spies candles lit on either side, and you hear the soft murmur of a film, commentating at the back of the room, in meditation or chant. You find yourself standing amidst a secular and sacred artistic experiment. You are centered at the altar. This is ALTER, an exhibition of seven contemporary artists on view at Twelve Gates Arts in Old City, Philadelphia through October 12, 2022.
Everyone Carries a Shadow
We often use memory as a gateway to our past, we hold and store memories from our early childhood that help us understand who we are and where we have come from. Oftentimes, memories of the past that are held with negative emotions are usually kept hidden, from ourselves and others. Photographer Alison Dias explores her memories in the series ‘When you walk under the afternoon sun do you talk to your shadow?’ which discusses generational trauma through the lens of domestic abuse and love.
“Punchline” at Jane Lombard Gallery
New York Jane Lombard Gallery 58 White Street July 7–August 12, 2022 As a student of celebrated French clown Philippe Gaulier said, “Once you can handle the insults, something inside you cracks and you can begin.” If the best kind of humor is crafted from inward rage, “Punchline” delivers.
An Interview with Nanea Lum: Is aloha ‘āina a contemporary art?
Through labor-intensive ceremony and ritual within sacred water sites around Mānoa, Honolulu-based artist and educator Nanea Lum harvests kapa, a bark cloth from the wauke tree, as material for her work. Just as water and land systems–(‘ahupua’a) from rain, watersheds, estuaries, to valleys–are regarded as an inseparable whole in Hawaiian ecological conceptions.
The Miraculous Vivacity of Salman Toor
If you go to Salman Toor’s Instagram page and scroll mindlessly for a while, you’ll eventually come to a painting posted in May of 2019. It is just as heady and seductive as the rest of the ones that pepper his grid and depicts a young mustachioed man with his head cast back upon plush, billowing pillows. The soft, brown contours of his nude form are interrupted by coarse, dark hair that erupts from his armpits and the space between his thighs.
Mo Kong at Cuchifritos Gallery + Project Space
View of “Mo Kong: Lounge of a Prophet,” 2022. New York Cuchifritos Gallery + Project Space 88 Essex Street, No. 21 inside Essex Street Market March 25–May 21, 2022 Tucked between the intoxicating fumes of spiced tagines at Zerza Moroccan Kitchen and neat rows of dried Japanese goods at Ni Japanese Deli is Mo Kong’s presentation “Lounge of a Prophet” at Cuchifritos Gallery + Project Space.
Godzilla: Asian American Arts Network 1990-2001
“Godzilla: Asian American Arts Network 1990-2001″ ed. Howie Chen was published by Primary Information at the end of 2021. The book is a comprehensive anthology of writings, art projects, publications, correspondence, organizational documents, and other archival ephemera from the trailblazing Asian artist collective “Godzilla”. The following is a Q&A between Offing contributor Danielle Wu and Chen, who is a New York–based curator involved in collaborative art production and research.
Plant People - Momus
What is it about the threat of impending death that drives us into the arms of Mother Nature? In 2020, there was a curious correlation between surging transmissions of a new contagion, the decimation of the white-collar workforce, and a sudden romanticism of pastoral life. The New York Times published a story on how to grow edible plants on a windowsill (dubbed the “Victory Sill”) and then later reported on the exploding floral industry.
Danielle Wu, Author at Momus
What is it about the threat of impending death that drives us into the arms of Mother Nature? In 2020, there was a curious… Read More
Stop DiscriminAsian Aims to End a Long Legacy of Anti-Asian Hatred in the Art World
As a wave of anti-Asian hate crimes swelled around the beginning of the coronavirus pandemic, a number of questions arose: Why had the art world, despite the abundance of Asians and Asian Americans working in its ranks, remained largely silent? There had not been an active Asian American arts network since Godzilla disbanded in the early 2000s, so who could reprise their role to brandish the political potential of artists?
Christina Yuna Ko at Selenas Mountain
View of “Christina Yuna Ko: Bathing in Public,” 2021–22. New York Selenas Mountain 63 Woodward Avenue #6321, Queens November 7, 2021–January 8, 2022 Christina Yuna Ko’s solo exhibition here, “Bathing in Public,” is a portal into gauzy childhood memories of escaping into digital screens. Ko deftly demonstrates that not much is needed to evoke the dreamy bathhouse setting that often appears in her favorite Korean soap operas and variety shows.
Noguchi: Useless Architecture turns structure into useful sculpture
Noguchi: Useless Architecture Noguchi Museum Long Island City, Queens Open through May 8, 2022 In 1962, Isamu Noguchi created Floor Frame, a minimalist bronze sculpture that appears to sink into the ground. It resurfaced in the public eye in late 2020, deep into the pandemic, when the Trump administration installed it in the White House Rose Garden.
Q&A with Gabrielle Civil, author of ( ghost gestures )
Excerpts from ( g h o s t g e s t u r e s ) by Gabrielle Civil were published in The Offing on July 30, 2021. This interview has been edited for clarity and pace. I’m at Chinatown’s Poetic Research Bureau in Los Angeles. As we wait for Gabrielle Civil to begin, I notice a fish swimming in a bowl on the podium.
Best! Collects Candid Letters from Asian American Art Workers
Skip to main content optional screen reader Home Art in America Reviews May 18, 2021 10:01am Ajay Kurian: American Tulpa 2, 2018, fan, LEDs, wire, dimensions variable. Courtesy the artist, 47 Canal, and Martos Gallery. Photo Charles Benton Coined in the era of Black Lives Matter, the mantra Stop Asian Hate inevitably raises conflicting questions: Can Asian Americans be trusted as moral stewards for racial solidarity?
Godzilla, the Asian American Arts Network, Teaches Us That Critique Is Essential
Art Danielle Wu Portrait of Godzilla: Asian American Arts Network members, 1990. Photo by Tom Finkelpearl. Courtesy of Tomie Arai. Godzilla, the fictional Japanese beast that emerged from the Pacific waters to rage against humanity, became a fitting moniker for a group of Asian American artists who assembled to storm the oppressive whiteness of the American art landscape. The idea struck during a casual conversation among friends.
Ghostface Dumplings
I wrote this piece in December of last year, in the midst of the surge of attacks on the AAPI community, attacks which have disproportionately targeted women and the elderly. Unfortunately, the violent race and gender-based murders in Atlanta were not surprising to those that have been paying attention, with many in the AAPI community begging America and the media to help before something like the Atlanta shootings could happen.
Doing Business - Consumer Sector
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House of Worship
The most consistent yet overlooked character of any horror is easily the haunted house. Rather than instill fear through antiquated design, recent artistic production in Bong Joon Ho’s Parasite (2019), where the affluent and elegant Park family mansion functions as a looming antagonist, reveals equal unease about modern style. Fluorescent-lit galleries and handsome sliding bookcases disguise a secret tucked deep inside a dark underbelly.
Doing Business in Singapore: Consumer Sector | JD Supra
Updated: May 25, 2018: JD Supra is a legal publishing service that connects experts and their content with broader audiences of professionals, journalists and associations.
Doing Business in Singapore: Consumer Sector 2020 | Lexology
Singapore
January 7 2020 In 2019, Singapore was ranked no. 2 for “Best Country in the World to do business” by the World Bank. Singapore is seen as a gateway to the Asian markets, where spending by 3.2 billion middle-class consumers could hit US$55 trillion by 2030.
Dark Stars | The Offing
The artist Nancy Holt brought the sky down to earth, composing her pieces of equal parts concrete and constellation. Most often categorized as land art, her pieces were immense—sculptures and earthworks to be walked through—but this designation misses half the equation. Holt’s work also distilled images of the sky. Holt’s best-known piece, Sun Tunnels, is comprised of four large concrete tubes arranged in an X-formation deep in the desert of Utah.
To Go Without Saying
“Have you noticed that America doesn’t like Asian singers?” This observation, made by a colleague years ago, has stuck with me without resolution. Although anger over erasure is merited, it is much harder to take another look at those Asian singers and musical creatives who are afforded generous visibility and, in our dismissal of them, reach a different kind of disappearance.
Art Archives - The Offing
Was she taken? Did she vanish into the sky? Don't look now, Mark, but has The Woman Who Wouldn't Die just come in? Yeah I know you've stuff you really need to bounce off me but that IS her over there at ten past two. Don't look yet! I mean my ten past two anyway. I'm the twelve, not you. My old friend and I stopped talking, and it's largely my fault. That's why I named the show after something that is virtually impossible.
How Capitalist Power Compensates for Racial Oppression in Crazy Rich Asians
When was the last time a generic romantic comedy faced such scrutiny? I am chagrined to pen any self-serious, heavy-handed opinion that treats Crazy Rich Asians as anything other than the lighthearted joyride it attempts to be. Indeed, a critique at this point might only signify misplaced expectation.
Awkward Still Lifes Convey the Alienation of the Asian American Experience
Walking through the doors of a button-making shop on Mott Street, precariously part of both Chinatown and Little Italy, will lead you to Crys Yin’s latest solo exhibition, If You Were Home, You’d Be Here By Now, at Amy Li Projects. The title plays on the colloquial phrase “If you lived here, you’d be home by now” to convey the sensation of being culturally unsettled.
How Asian-American Artists Made a Mark on Abstract Expressionism
HONOLULU, HI — The vast region traditionally referred to in the West as “the East,” which includes countries like Japan and China, has a long history as a source of fascination for Western artists, from James Whistler to John Cage. Looking East for inspiration becomes an insidious form of Orientalism when the practice results in denigration or in the sense of an exclusive claim to cultural superiority for the West.
Artist Omer Fast's Take on Chinatown Angers Community Organizations
If time travel were to exist in the future, what would happen if the owners of such powerful technology were white? Omer Fast’s new exhibition at the Chinatown branch of James Cohan Gallery, August, revels in the power of the Western imagination to utilize non-white cultures as a way to role play and “time travel” into playgrounds for voyeuristic pleasure-seeking that reinforce Western modernity’s sense of superiority.
Filthy Dreams’s Guide To The Art World Ken Dolls
As some of you dearest Filthy Dreams readers may know, Mattel, this week, released its new updated line of Ken Dolls. Besides looking like they all came straight out of The Cock (dirty boys!), these Kens seemed vaguely familiar. Beholden to ill-fated fashion and hairstyle choices (I mean, a man-bun? Really?), we swear we’ve seen these Kens at gallery dinners, art fairs, openings, museum press previews, and “transgressive” performances in Gowanus art spaces.
I Cared, But What Did It Do?: Juliana Huxtable’s ‘A Split During Laughter At The Rally’
Juliana Huxtable just gets it. It’s the last day to view Huxtable’s solo exhibition A Split During Laughter at the Rally at Reena Spaulings Fine Art. The utter contemporaneity of the works is owed to how well she captures the humorously chaotic contradictions in today’s political climate, where the urgency to outwardly appear activist has co-opted identities, spaces, and developed its own predictable aesthetic.
Performance Artists Probe East Asian Identity and Power Dynamics
The annual nine-day Itinerant Performance Art Festival, first held in 2010 and organized by Hector Canonge, wrapped late May in Flushing Meadows Park but still remains on our minds as one of the city’s more diverse performance art events.
Drag Them To Filth: Ideal Women, Liberal Guilt, Art Critic Nervous Breakdown Edition
Hello, faithful Filthy Dreams readers, and welcome back to Drag Them To Filth. What’s that noise? Is that your blood boiling? Ours too. It’s time for this month’s wrap-up of the most extensive sigh-inducing arts-related reading on the Internet. So grab a cocktail or five and let’s start hate-reading: 1.
Confronting Our Existential Dilemmas in a Live-Simulated Fantasy World
What empathetic connections can be found in virtual reality, as a new realm to exercise the imagination? This was the primary question I found posed when viewing Ian Cheng’s entrancing solo exhibition Emissaries at MoMA Ps1. For this exhibition, Cheng designed three live simulations, or self-playing video games, that take place on a fictitious volcanic island. There are three “chapters,” each a different era in the island’s history, that each occupy a different screen in the galleries.
Same, Girl: Vibing with Amy Feldman’s ‘Nerve Reserve’ | Filthy Dreams on WordPress.com
There is something comforting about seeing proof that someone else feels the same way you do, a tactile representation of emotional exhaustion and bleak pessimism given everything *gestures* going on. Amy Feldman, I feel you. Feldman’s Nerve Reserve at James Cohan Gallery touches upon the artist’s own personal history with anxiety, and the inner turmoil embroiled within.
Beckies and Betties: Confronting White Womanhood | Filthy Dreams on WordPress.com
“The white girl learns that whiteness is dignity and respectability.” — Marilyn Frye, Willful Virgin Betty Tompkins’s solo exhibition Virgins at P.P.O.W. Gallery arrives at an apt time of increasing mainstream attention to whiteness as a distinctive ethnicity. Currently, there lacks critical attention to the whiteness of imagery that Tompkins depicts, instead framing Tompkins’s represented sexual liberation in the context of all women.
Drag Them To Filth: Ideal Male Bodies, Language Police And Long Haired Queer Activism Edition | Filthy Dreams on WordPress.com
Well, hello there dearest Filthy Dreams readers! What’s that? Are you ready to fume? Us too. Why, we find ourselves so horrified, enraged and just a bit amused by the nonsense editors dare publish these days that we’re starting a new series here on Filthy Dreams–Drag Them To Filth. Here we’ll provide a monthly wrap-up of the most ridiculous, eye roll-inducing, tone deaf art-related writing on the Internet. So grab a cocktail or five and let’s get to hate-reading: 1.
Paul Chan’s Rhi Anima: Full Of Hot Air | Filthy Dreams on WordPress.com
The first thing that hits you upon entering the cavernous space of Greene Naftali is the droning white noise of a dozen industrial grade fans — a noise that, while seemingly neutral and indifferent, could just as easily not register as a consequential sound at all. This mechanically hummed nonsense, which blows hot air into meticulously fashioned clownish “breathers,” encapsulates what I deduced from Paul Chan’s latest solo exhibition Rhi Anima.
Filthy Dreams’s Guide To Every Response You’ll Ever Need For The Dana Schutz-Storm | Filthy Dreams on WordPress.com
Despite being hailed as the most “diverse” Whitney Biennal yet, the most famous works to captivate the nation’s attention managed to continue to be white artists and their struggle. We’re speaking, of course, about Jordan Wolfson’s Real Violence (2017) and Dana Schutz’s Open Casket (2016)–two shocking portrayals of sensationalized violence that centralized white suffering in their own *ahem* special ways.
Like Long-Held Echoes: On Two Projects Made Possible by the Waste Stream
PHILADELPHIA — The Philadelphia Museum of Art (PMA), with its Greek Revival architecture, is perhaps the most iconic symbol of the art establishment in the city. Completed in 1928, the museum sits at the end of Benjamin Franklin Parkway, where a majority of the city’s prestigious museums are located.
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