Asian Diasporic Visual Cultures and the Americas (ADVA) is a peer-reviewed journal featuring multidisciplinary scholarship on intersections between visual cultural studies and the study of Asian diasporas across the Americas. Distinct from existing periodicals in Asian Studies or Asian American Studies, ADVA emphasizes the significant role visual cultures play in producing, locating, and relating diasporic subjectivities in all of their historical complexities.
Now in its seventh year of publication, ADVA provides an intellectual forum for researchers and educators to showcase, engage, and be in dialogue with the emerging epistemological and creative challenges facing the study of Asian diasporic visual cultures. The journal conceptualizes the Americas broadly to encompass perspectives on and from North, Central, and South America as well as the Pacific Islands and the Caribbean. This hemispheric, transnational, and transcultural model enables the critical examination of historically under-represented intersections between and within Asian Canadian Studies, Asian American Studies, Asian Latin American Studies, Asian Caribbean Studies, and Pacific Island Studies and encourages a more dynamic concept of multiple Americas with diverse Indigenous and diasporic populations. ADVA further explores visual culture in all its multifaceted forms, including, but not limited to, visual arts, craft, cinema, film, performing arts, public art, architecture, design, fashion, media, sound, food, networked practices, and popular culture. The journal recognizes not just the significance of images and representation about and from diaspora, but more broadly seeks to investigate the conditions under which new visualities are produced and the discrete ways in which they continue to shape and embed meaning within and about culturally specific, socio-political, and ideological contexts.
ADVA invites submissions of manuscripts by scholars, students, and arts practitioners that advance the study of visual cultural production by and about Asian diasporic communities in the Americas. Especially as we continue to face the realities of living in an increasingly isolated and precarious contemporary moment—one brought on in part by overlapping global pandemics of COVID-19, anti-Asian racism, capitalism and climate change—the journal is interested in scholarship that contests and transforms existing models and frameworks of knowledge production. Along with academic articles, issues of ADVA feature reviews of a wide range of visual cultural production, including books, films, and exhibitions, as well as full colour artist pages, interviews, roundtable discussions, and spotlights features. The journal welcomes transnational and transhistorical as well as site-based scholarly critique engaging with current discussions on race, ethnicity, gender, sexuality, dis/ability and class as well as aesthetics, ethics, epistemologies, and technologies of visuality. Transcultural areas of investigation in the humanities, including Asian-Indigenous collaborations, historical formulations of Afro-Asian connections, and studies on transnational subjects of mixed race heritage, are welcome. In this way, the journal recognizes the critical project of challenging not only the assumed pan-ethnicity of cultural groupings but also the varying degrees of racialized experiences that have been freighted by cultural stereotypes or based on regional identifications, geographical proximity and fixed temporalities.
Essays (between 5,000-6,500 words) and reviews (between 800-1,000 words) should be prepared according to MLA (for humanities) or APA (for social sciences) style and submitted electronically. Proposed artist pages (up to 6 pages) will also be considered. More detailed instructions for authors can be found at brill.com. Authors’ names should not appear on manuscripts; instead, please include a separate document with the author’s name and address and the title of the article with your electronic submission. Authors should not refer to themselves in the first person in the submitted text or notes if such references would identify them; any necessary references to the author’s previous work, for example, should be in the third person. Please send queries or submissions to: ADVAedit@gmail.com.
Asian Diasporic Visual Cultures and the Americas is published by Brill in affiliation with the Asian/Pacific/American Institute, New York University (New York) and the Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art, Concordia University (Montréal).
Congratulations to Tao Leigh Goffe for receiving The Association for the Study of the Worldwide African Diaspora (ASWAD) for Outstanding Article Prize
A Big Congratulations to Tao Leigh Goffe for receiving The Association for the Study of the Worldwide African Diaspora (ASWAD) for Outstanding Article Prize for her article published in ADVA Journal, "Sugarwork: The Gastropoetics of Afro-Asia After the Plantation" on Black women and mixed media art as a way of un/making history!
Read the article here!
We want to congratulate ADVA's Editorial Board Member, Margo Machida, for winning the College Art Association's Award in Excellence in Diversity this year!
From College Art Association's website:
The Excellence in Diversity Award, established in 2017, recognizes outstanding efforts in arts programming, projects, and/or scholarship to advance diversity, equity, and inclusion. The award may be made to either an institution or individual for demonstrated and significant advancement of diversity in non-profit institutions such as colleges or universities, museums or galleries, foundations, and/or cultural agencies, especially in areas related to including, embracing, and/or enhancing opportunities for people of all ages, cultures, ethnicities, religions/faiths, genders, differing abilities, and/or sexual orientations.
Margo Machida, professor emerita in art history at the University of Connecticut, is a pioneering art critic and curator who, since the late 1970s, has contributed to the research, writing, and teaching of highly varied and diverse artistic practices in Asian America. In New York City—to which she moved from her native Hawai‘i for college in 1968—she encountered the explosive energy of the civil rights, Black Power, and third world liberation movements, which shaped her cross-ethnic and intercultural intellectual identity. The year 1990 marked a pivotal moment: Machida designed and taught one of the first college-level courses on Asian American art history. Meanwhile, she contributed a catalog essay to the legendary multi-institutional collaboration exhibition project The Decade Show: Frameworks of Identity in the 1980s. She also cofounded Godzilla: Asian American Art Network, a loose-knit group of artists, curators, and arts practitioners, both American and foreign-born. Throughout the Culture Wars, multiculturalism backlash, and continuing racialization of Asian Americans in light of shifting US demographics, Machida guest-curated the first contemporary Asian American art exhibition, Asia/America: Identities in Contemporary Asian American Art (1994). During this time, Machida also coedited the seminal book Fresh Talk, Daring Gazes: Conversations on Asian American Art (University of California Press, 2003). More recently Machida has employed her worldly orientation toward transpacific island modernism across the Pacific Ocean, where the histories of diaspora and legacies of modern warfares unsettle our vision of diversity. There is neither a singular story nor a singular aesthetic of Asian America, as Machida addressed in her award-winning book Unsettled Visions: Contemporary Asian American Artists and the Social Imaginary (Duke University Press, 2009). However, there is certainly a vibrant community arts movement that challenges mainstream perceptions of American art, Asian diaspora, global migration, and contemporary visual culture. Machida is at its center, an advocate, participant observant, and critical theorist driven by the imperatives of both ethics and aesthetics.
Jury: Sohl Lee, SUNY Stony Brook; Kelly Murdoch-Kitt, University of Michigan; Carmenita Higginbotham; and Jonathan Katz, University of Pennsylvania.