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Asian American Arts Centre
The Asian American Arts Centre (AAAC) is a non-profit organization located in the Chinatown neighborhood of Manhattan in New York City. Founded in 1974, it's one of the earliest Asian American community organizations in the United States. The Arts Centre presents the ongoing developments between contemporary Asian & Asian American art forms and Western art forms through the presentation of performance, exhibitions, and public education. AAAC's permanent collection, which it has accumulated since 1989, contains hundreds of contemporary Asian American art works and traditional/folk art pieces. The organization also has an Artists Archive which documents, preserves, and promotes the presence of Asian American visual culture in the United States since 1945. This includes the East Coast, especially the greater New York area; the West Coast; and some artists in Canada, Hawaii, and overseas. The artists include Asian Americans producing art, Asian artists who are active in the United States, and other Americans who are significantly influenced by Asia. Pan-Asian in outlook, the Arts Centre's understanding of 'Asia' encompasses traditions and influences with sources ranging from Afghanistan to Hawaii.
The mission of the Asian American Arts Centre is to affirm and promote the preservation and creative vitality of Asian American cultural growth through the arts, and its historical and aesthetic linkage to other communities. AAAC accomplishes this by utilizing art, performances, new media, and public education. Aiming to engage other communities and concerns in a creative encounter, the Arts Centre brings cultural events in contemporary visual art to the general public. AAAC has come to see the arts in terms of their historical and spiritual relationship to diverse neighborhoods.
The Asian American Arts Centre was founded in 1974 in New York as the Asian American Dance Theatre (AADT), a not-for-profit community arts organization. It is one of the older community arts organizations in Chinatown, Manhattan, beginning with the start of the Asian American movement and growing out of Basement Workshop with other Asian American cultural and political organizations in New York.
In 1974, the organization operated out of the New York Public Library to offer dance classes and dance presentations to the community. It obtained its original location on the third floor of 26 Bowery Street as an Artist-In-Residence (AIR) tenant in 1976; the education programs were expanded into a Saturday Community School on-site, which included dance and later art classes for children and adults. The organization started its Arts-in-Education program in 1978, conducting workshops and lectures in citywide public schools.
In 1982, the organization created the Asian American Artists' Slide Archive (the first public archive for Asian American artists in the United States), started an annual nine-month Artists-in-Residence program, and organized its first exhibition, Eye to Eye. This exhibition, which featured a panel with John Yau, David Diao, Margo Machida, Lucy Lippard, Lydia Okumura, Kit Yin Snyder, and John Woo, was the first of its kind to bring together Asian American visual artists on the East Coast.
The Eye to Eye exhibition initiated a series of visual art exhibitions as part of a new program within the AADT called the Asian Arts Institute, consisting of three to five contemporary visual art exhibitions and one folk art exhibition each year. The Traditional Arts Presentation and Documentation program began in 1985. The organization adopted its current name, the Asian American Arts Centre (AAAC), in 1987 to encompass both the dance company (AADT) and the visual arts program.
In addition to regular exhibitions at the Bowery location in Chinatown, AAAC held many of its programs at other sites and locations in the country. In 1989, the Arts Centre organized its most ambitious exhibition, CHINA: June 4, 1989, in response to the Tiananmen Square student massacre. Accumulating contributions from over 300 artists over the next several months, CHINA: June 4, 1989 was exhibited at the Blum Helman Gallery and PS1 (now MoMA PS1) in 1990, and travelled to Austin, Texas, Cleveland, Ohio, and later to Flint, Michigan in 1994. In conjunction with the CHINA: June 4, 1989 visual art exhibition, the dance company mounted a program of performances in 1990 titled A Memorial Performance of Music, Poetry and Dance which featured Zuni Icosahedron's U.S. debut of "Deep Structure…" among other performances by contributing artists. A smaller selection of artworks from this exhibition, including art by Martin Wong, was exhibited in Hong Kong in 1990 for the first memorial of the protests. The Arts Centre was contracted to curate an exhibition in the U.S. Senate's Russell Rotunda in Washington, D.C. upon the escape of Chai Ling and Wang Dan, two former leaders of the student demonstrations, from China. However, upon the rejection of two proposed artworks by Byron Kim and Zhang Hongtu for the exhibition by Senate sponsors, AAAC refused to participate and withdrew the artworks it had planned to exhibit shortly before the show's debut.
The Asian American Dance Theatre continued to perform under the artistic direction of Eleanor Yung in New York and around the United States until 1992, and was structured around four areas of programming: (1) its annual New York Dance Season, (2) touring and special performances, (3) Arts-in-Education programs, and (4) the Community School. AADT held its own New York Season in contemporary dance every year from 1976 to 1990. The dance company's total repertoire, however, encompassed contemporary dance and traditional Asian folk/classical dance from countries such as China, Japan, Korea, India, the Philippines, Indonesia, Bali, and the Pacific Islands. For its touring performances, AADT's programs usually consisted of traditional dances and sometimes contemporary dances. AADT also organized special programs such as the D'Asia Vu Performance Series, which ran from the late 1980s to early 1990s. The Arts-in-Education programs and Community School were continued from earlier programming begun in the late 1970s.
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Asian American Arts Centre
The Asian American Arts Centre (AAAC) is a non-profit organization located in the Chinatown neighborhood of Manhattan in New York City. Founded in 1974, it's one of the earliest Asian American community organizations in the United States. The Arts Centre presents the ongoing developments between contemporary Asian & Asian American art forms and Western art forms through the presentation of performance, exhibitions, and public education. AAAC's permanent collection, which it has accumulated since 1989, contains hundreds of contemporary Asian American art works and traditional/folk art pieces. The organization also has an Artists Archive which documents, preserves, and promotes the presence of Asian American visual culture in the United States since 1945. This includes the East Coast, especially the greater New York area; the West Coast; and some artists in Canada, Hawaii, and overseas. The artists include Asian Americans producing art, Asian artists who are active in the United States, and other Americans who are significantly influenced by Asia. Pan-Asian in outlook, the Arts Centre's understanding of 'Asia' encompasses traditions and influences with sources ranging from Afghanistan to Hawaii.
The mission of the Asian American Arts Centre is to affirm and promote the preservation and creative vitality of Asian American cultural growth through the arts, and its historical and aesthetic linkage to other communities. AAAC accomplishes this by utilizing art, performances, new media, and public education. Aiming to engage other communities and concerns in a creative encounter, the Arts Centre brings cultural events in contemporary visual art to the general public. AAAC has come to see the arts in terms of their historical and spiritual relationship to diverse neighborhoods.
The Asian American Arts Centre was founded in 1974 in New York as the Asian American Dance Theatre (AADT), a not-for-profit community arts organization. It is one of the older community arts organizations in Chinatown, Manhattan, beginning with the start of the Asian American movement and growing out of Basement Workshop with other Asian American cultural and political organizations in New York.
In 1974, the organization operated out of the New York Public Library to offer dance classes and dance presentations to the community. It obtained its original location on the third floor of 26 Bowery Street as an Artist-In-Residence (AIR) tenant in 1976; the education programs were expanded into a Saturday Community School on-site, which included dance and later art classes for children and adults. The organization started its Arts-in-Education program in 1978, conducting workshops and lectures in citywide public schools.
In 1982, the organization created the Asian American Artists' Slide Archive (the first public archive for Asian American artists in the United States), started an annual nine-month Artists-in-Residence program, and organized its first exhibition, Eye to Eye. This exhibition, which featured a panel with John Yau, David Diao, Margo Machida, Lucy Lippard, Lydia Okumura, Kit Yin Snyder, and John Woo, was the first of its kind to bring together Asian American visual artists on the East Coast.
The Eye to Eye exhibition initiated a series of visual art exhibitions as part of a new program within the AADT called the Asian Arts Institute, consisting of three to five contemporary visual art exhibitions and one folk art exhibition each year. The Traditional Arts Presentation and Documentation program began in 1985. The organization adopted its current name, the Asian American Arts Centre (AAAC), in 1987 to encompass both the dance company (AADT) and the visual arts program.
In addition to regular exhibitions at the Bowery location in Chinatown, AAAC held many of its programs at other sites and locations in the country. In 1989, the Arts Centre organized its most ambitious exhibition, CHINA: June 4, 1989, in response to the Tiananmen Square student massacre. Accumulating contributions from over 300 artists over the next several months, CHINA: June 4, 1989 was exhibited at the Blum Helman Gallery and PS1 (now MoMA PS1) in 1990, and travelled to Austin, Texas, Cleveland, Ohio, and later to Flint, Michigan in 1994. In conjunction with the CHINA: June 4, 1989 visual art exhibition, the dance company mounted a program of performances in 1990 titled A Memorial Performance of Music, Poetry and Dance which featured Zuni Icosahedron's U.S. debut of "Deep Structure…" among other performances by contributing artists. A smaller selection of artworks from this exhibition, including art by Martin Wong, was exhibited in Hong Kong in 1990 for the first memorial of the protests. The Arts Centre was contracted to curate an exhibition in the U.S. Senate's Russell Rotunda in Washington, D.C. upon the escape of Chai Ling and Wang Dan, two former leaders of the student demonstrations, from China. However, upon the rejection of two proposed artworks by Byron Kim and Zhang Hongtu for the exhibition by Senate sponsors, AAAC refused to participate and withdrew the artworks it had planned to exhibit shortly before the show's debut.
The Asian American Dance Theatre continued to perform under the artistic direction of Eleanor Yung in New York and around the United States until 1992, and was structured around four areas of programming: (1) its annual New York Dance Season, (2) touring and special performances, (3) Arts-in-Education programs, and (4) the Community School. AADT held its own New York Season in contemporary dance every year from 1976 to 1990. The dance company's total repertoire, however, encompassed contemporary dance and traditional Asian folk/classical dance from countries such as China, Japan, Korea, India, the Philippines, Indonesia, Bali, and the Pacific Islands. For its touring performances, AADT's programs usually consisted of traditional dances and sometimes contemporary dances. AADT also organized special programs such as the D'Asia Vu Performance Series, which ran from the late 1980s to early 1990s. The Arts-in-Education programs and Community School were continued from earlier programming begun in the late 1970s.
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