Announcing our next Emerging Curators Program!

Asian American Women Artists Association's
Emerging Curators Program presents

Youthful Dreams
an art exhibition 
curated by Brian Ignacio
 

Call For Entries:
Please Respond By: Sunday, January 27th, 2013
 

Exhibition Premise:
AAWAA has developed the Emerging Curators Program as an opportunity for curators to develop their vision and curatorial expertise in Asian American Art.  AAWAA is pleased to announce Brian Ignacio as our next curator in this program.

 With Brian, artists will explore the concept of youth and how one's youth should not be determined by one’s age, but rather one's capacity to dream and stay imaginative, no matter one's age. The theme will showcase artists who are able to demonstrate a connection to the dreams of their youth and how it has affected their current perspective. In life, youth seems to be lost as your experiences develop and as you move through adulthood. The art that will be showcased in this show will serve as an inspiration to play, have fun and remind us of what youth means. For many Asian American women, youth seems to become a dream, or something lost along the way due to all the pressures of being an Asian Woman today. The artwork will hopefully serve as a reminder to stay positive in one’s capacity to imagine and dream which is the driving force to happiness and success in all aspects of your life.
 
 Eligibility:
Open to artists who are, or identify as, Asian American women.

Project:

• Venue: The Sequoias: Rotunda Gallery, 1400 Geary Blvd., San Francisco, CA 94109
• Media: 2 dimensional artwork only, maximum 4 ft. high, 8 in. deep. Please submit completed artworks only.
• You are encouraged to visit the venue. Please check in at the entry desk and mention this project.
• Exhibition dates: March 14th, 2013 - May 3rd, 2013

Instructions to Submit:

• Image index: (Excel spreadsheet preferred) Include info above plus price or if NFS(not for sale and  value of each piece for insurance purposes (even if not for sale)
• Resume and/or artist’s bio
• Up to 6 images of works for show. Jpeg size 1-2 mb files. Label each file with: Artist Name_Title of Work_medium_size.JPG

Send submission with images and measurements by email with the subject line, "Sequoias: [Your Name Here]" to EmergingCuratorsProgram@aawaa.net.

Important Dates:
 

• Application Deadline: Sunday, January 27th, 2013
• Notification by: Sunday, February 3rd, 2013
• Installation: Saturday, March 9th, 11am-5pm
• Opening Recption: Thursday, March 14th, 3:30pm-5pm
• Deinstallation: Saturday, May 4th, 11am-5pm

 
Publicity:
Artists’ information and images may be used for publicity by AAWAA.

Sales, Insurance, Delivery and Shipping:

• There is a 15% commission by the presenting organization on sales. 
• Works will be insured only after installation.
• Artist is responsible for transit of accepted works to and from the gallery. Drop-off/pick-up details TBD. No storage available.
• Shipped works must have return shipping prepaid and prearranged.
• $20 handling fee per box for shipped work.

About the Curator:

Brian Ignacio is a first generation Filipino American visual artist raised in the Bay Area. He is a recent graduate of San Francisco State University with a degree in Asian American Studies. The themes of self determination, agency and the power of community is one that he hopes to integrate into his current artistic narrative.

His art features monsters, maidens, and imagined landscapes, with the intent of juxtaposing the opposing dualities  of life and consolidating them in one cohesive piece. His inspiration mainly delves from comic books, Miyazaki films, and pirates. His hopes with his art is that it allows the viewer to escape into an alternate world, where in which they can form their own stories and ideas of what's going on in the art work.

Questions? Submit inquiries to EmergingCuratorsProgram@aawaa.net.


Asian American Women Artists Association (AAWAA): AAWAA is a nonprofit arts organization dedicated to ensuring the visibility and documentation of Asian American women in the arts. Through exhibitions, publications, and educational programs, we offer thought-provoking perspectives that challenge societal assumptions and promote dialogue. 

Emerging Curators Program: AAWAA’s Emerging Curators Program provides a platform for curators residing in the San Francisco Bay Area to develop their vision and encourage curatorial expertise in the Asian American Art. Support this project by donating to AAWAA
 

AAWAA Expanding Opportunities!

Poster by: Wendy Chen, Brynmawr Univ.

Intern Opportunities!

As AAWAA continues its numerous projects and programs, we have been developing a way for students and scholars to gain valuable project coordination experience. 

Our Emerging Curators Program has not only given aspiring curators and artists an opportunity to learn how to produce an exhibition, but also given students and scholars the opportunity to gain experience with project planning, exhibition installation, and artist coordination in conjunction with a curator. 

Recently, AAWAA offered a six month internship to the Asian Pacific American Leaders United (APALU) organization at City College of San Francisco. Internship awardee soon to be announced!

What makes this internship valuable? AAWAA offers a professional experience in mounting an art exhibition

:

• selecting a concept
• securing a venue and site considerations
• managing artists, assisting curator create and c
  oordinate timelines to ensure attention to important dates, 
  
  
  
  
  

  venue compliance and adherence to AAWAA's mission statement
• producing reception and ensuring efficient installation and de-installation. 

The intern learns professional communication, leadership, and organizational skills while comprehending the Asian American Art genre.

Are you or someone you know looking for an internship to gain working knowledge and experience? Inquire with Khay@aawaa.net

photo: AAWAA installing at the APA Show, Fort Mason, San Francisco

Previous AAWAA Intern Writes about Asian American Artists

Wendy Chen, a recent intern with AAWAA has had a successful learning experience and wrote an essay about Asian American art!


A Place Of Her Own- Defining the Utopian Ideal      Wendy Chen, Brymar University

 In 1971, Linda Nochlin wrote a pioneering essay, “Why Have There Been No Great Women Artists?”. The essay addressed the severe disproportion of “great” female to male artists in art history. Nochlin answered this question by stating that, “art is not a free, autonomous activity of a super-endowed individual, ‘influenced’ by previous artists. And more vaguely and superficially, by ‘social forces’ but rather, that the total situation of art making, both in terms of the development of the art maker and in the nature and quality of the work of art itself, occur in a social situation, are integral elements of this social structure, and are mediated and determined by specific and definable social institutions, be they art academics, systems of patronage, mythologies of the divine creator, artist as he-man, or social outcast” (158 Nochlin).

Instead of attributing the lack of “great women artists” to individual limitations, Nochlin believes that the answer lies in institutional boundaries. Such hindrances to the development of successful artists were caused by the myth of the “genius” being commonly associated with the male artist.  The nineteenth century female artists’ lack of accessibility to nude models and the belief that the “real” work of women, should be to directly or indirectly, serve the family instead of engaging in a professional art career. Such societal assumptions left women artists restricted from many of the opportunities men had access to. Which is still true today. Rosa Bonheur was one of the few women who did succeed and was known for her detailed animal paintings of horses, which overtly projected her inner self-confidence. However she was only able to attain this magnitude of reputation by covertly adopting “masculine attributes” of single-mindedness, tenaciousness, and devotion to a professional art career. Linda Nochlin’s argument reflects how the absence of great women artists was due to the social institutions that were in place, which inhibited their visibility and potential. In art history the notions of “femininity” associated with women often put them at a disadvantage. This debilitating fixation on the differences between masculine and feminine is what obscured many of the nineteenth century artists from becoming visible in the art world. It makes you want to ask the same question about why there have been no great Asian American women artists in the United States. Not only are Asian Americans lacking a sense of self-identification and articulation but they are also underrepresented in mainstream visual arts and popular media. Therefore we should also examine the social forces and institutional boundaries that may be present and inhibiting their visibility.

I am arguing that the construction of identity demands critical re-examination and requires us to reform our ideas of gender, race and culture by stop dwelling on peripheral racial differences and start finding our commonalities. A major problem is the conception of identity as solely an ethnic, biological and cultural formation; people of Asian physiognomy are inherently marked as foreign.  The United States has never been a monoculture it has always been a collective cultural embodiment of memories and histories from both indigenous and immigrant communities. However Asian Americans are constantly perceived as perpetual guests because the majority of Caucasian Americans still accept the perceived imprints of racial and ethnic ancestry as natural markers of identity. As Asian Americans our identity can be viewed as instigators of change, as a testament to how identity is malleable, multidimensional and multicultural. Our multicultural identity is articulating something that is fundamental to what it means to be an American. It doesn’t matter if someone is Asian-American, Latin-American, African-Americans or European-American in essence we are all fundamentally the same. As individuals living in America we all desire a place that is founded on the ideals of being a liberal and democratic haven.

But like many minority groups expressing their identity, Asian American art has often been criticized for its association with “politics of victimization”. Identity politics is sometimes perceived to further legitimize and encourage self-marginalization. In 1993 Whitney Biennial featured a national show for new artistic talent of marginalized communities including African Americans, Latinos, homosexuals and Asians. This exhibition was organized by the Whitney Museum of American Art in New York, and received negative responses by reviewers who complained of feeling “battered by condescension” due to moralizing tones of social work or therapy when reducing the contemporary social issues to a battle between victims and oppressors. Three other exhibitions revolving around identity titled “Black Male: Representations of Masculinity in Contemporary American Art,” “Bad Girls,” and “Asia/America: Identities in Contemporary Asian American Art,” were also publicly denounced for perpetuating stereotypes and rhetorics of victimization.

Instead of formulating a cultural discourse through stories of diasporic pain and suffering which may further racialize oriental imagery. What needs to be done is that the stereotypes of inassimilable, culturally “backward” notions of Asians need to be proactively challenged. Stereotypes are markers of difference. Stereotypes are an example of how society uses oversimplified, widely held arbitrary ideas to distinguish between racial and gender groups by creating a narrative of “otherness”. People need to start realizing that skin color and ethnicity are merely a peripheral quality of an individual and the first step is to start breaking stereotypes. Asian American Women Artists Association (AAWAA) is an important and necessary organization that questions the social forces and institutional structures that may prevent Asian American Women Artists from articulating their conceptions of identity and communal consciousness.

Art is the perfect narrative for exposing lives, as well as consciousness of communities and individuals. In addition to the re-formation of ethnicity, social norms of gender need to be reformed by countering the controlling images of Asian female stereotypes that are institutionally hampering their visibility,  their credibility and their important works . The modern identity is increasingly becoming more “fluid” and “the phenomenon of globalization has shifted Asian American studies and cultural criticism away from the U.S environment to focus on wider regional and international realms” (Machida 41).

By simply doing a comparison between the Asian American artists exhibited in “A Place Of Her Own” (curated by Cynthia Tom), and a photograph by a Chinese contemporary artist named Chen Lingyang, titled 25:00 (No 1), I was already able to see the similarities of in their artistic pursuits. What I noticed was that female artists in the United States and in China are both exhibiting a growing awareness of the debilitating nature of regulatory gender and social norms, and are presenting a concurrent desire for an idealistic gender reality. Despite coming from different national origins, Asian American artists and Chinese contemporary artists both present their longing for emancipation in a utopian form. They are creating or claiming a space where they can feel visible and unrestrained by social boundaries. Similar to how Chen Lingyang depicts a fictitious time of day where she can fulfill her fantasy of being “large” and be “as large as [she’d like], and do whatever [she] wants”. I see a reoccurring theme in female Asian American Artists, where they are looking for a place to feel liberated, to be unrestrained, to be visible and to matter. A Place of Her Own is successfully working towards the common cause of empowerment, feminism, self acceptance and social justice for all women that transcends the boundaries of nations and ethnic origins.

The burgeoning of the information technology age is actively bridging the gaps between cultures and societies and eroding national and cultural boundaries. In AAWAA’s most recent exhibition, Flying Fish, curated by Mido Lee and Li Ma, was about multiculturalism and the influence of technology in changing cultural paradigms. The exhibit was based on the metaphor of how Asian American artists were like a fish swimming through the confines of darkness, but eventually acquiring the ability to soar and fly like a bird, projecting into the sky. Not only did this exhibit present a theme of multiculturalism with optimistic undertones but it also united artists who were born and raised in the United States with the artists who were born in China and immigrated to the United States. This was another example of how artists from different backgrounds can be united as Asian American Artists based on their idealistic pursuits. Artist Bing Zhang’s paintings show how digital technology is impacting private and public lives from a global standpoint. Many of her paintings depict interracial interactions of Asians and Caucasians equally occupying a canvas space. It begins to reflect the possibilities of how cultures can intersect. That Asian Americans are an example of a community not defined by conceptions of geography and nationality.

These imagined utopias show how cultures can coexist without the need to exert dominance over the other. Society will benefit by becoming more “colorblind” and finding more similarities, rather than differences, between gender, race, and culture. By challenging these ideas of “Asia” as an imposed geopolitical fiction we will realize that many of our “markers” of difference are social processes designed to create “otherness”. As Americans we all share some form of history of diaspora. Amy K. Bell captured it well in her artist statement when she said that “Americans are excellent dreamers. [Their] ability to imagine new worlds and new ways of life has its roots. It is nurtured by a history of defending Democracy”. As long as Asian American artists continue to defend and fight for their rightful place in the world of art, one day these imagined utopias will finally transform into realities.

Welcome 2013!! and AAWAA's year-End Review!

Farewell 2012!! Welcome 2013!!

Please give generously today to support some of AAWAA’s most important work to date:

1. Asian American Art Archives accessible through our new website to be launched in 2013
2. Emerging Curators Program to develop expertise in Asian American art

Your past support has enabled AAWAA to support and promote contemporary Asian American women artists for more than 20 years. Your investment will grow our critical projects - all uniquely undertaken by AAWAA -

• Presenting and documenting the work of Asian American women artists - see 2012 in Review below
• Archiving oral histories, digital images, video, and scholarly research accessible to everyone, including students, teachers, researchers and curators on an international scale
• Professional and personal development and support for artists

Donate online today or mail your donation to:
AAWAA, 1890 Bryant St. #302, San Francisco, CA 94110.
 
Thank you for your end of the year donation. Your support and encouragement go further than just the dollars!

With much appreciation,
Cynthia, Lesley, Pallavi and Shari

Board of Directors
Cynthia Tom, Lesley Chou, Pallavi Sharma, and Shari Arai DeBoer

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AAWAA is a 501(c)(3) nonprofit organization. Tax ID# 20-4544106.

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The Asian American Women Artists Association (AAWAA) is a nonprofit arts organization dedicated to ensuring the visibility and documentation of Asian American women in the arts. Through exhibitions, publications, and educational programs, we offer thought-provoking perspectives that challenge societal assumptions and promote dialogue.

For more information contact AAWAA at info@aawaa.net and (415) 722-4296.

Like us on Facebook  

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AAWAA's 2012 Year in Review

February_______________________________________

Arts of Pacific Asia Show
Fort Mason, San Francisco
AAWAA was highlighted as the Contemporary Asian American Art representative

Asian Americans at College Art Association
Annual Conference, Los Angeles
AAWAA presented a scholarly panel on
Asian American Art.
Chair: Lydia Nakashima Degarrod. Panelists: Jen Banta, Margo Machida, Suzette Min, and Pallavi Sharma

photo l to r:
Cynthia Tom, Jen Banta, Lydia Nakashima Degarrod, Pallavi Sharma, Margo Machida
Inson Choy, Kay Kang, Shizue Seigel

February - May_______________________________________

Literary and Performing Arts

The LP Series featured Asian American women artists performing in variety of media including film/video, music, spoken word, and multimedia collaboration.

1. LP Series: A Joining of Rivers
Curated by Nancy Hom
International Museum of Women, San Francisco
Performers: Evelie Delfino Sales Posch, Genny Lim, Nancy Hom, Yuko Tamura Biala, Arlene Biala, Ellen Reiko Bepp

2. LP Series: The Enchanted Loom: Writers, Artists and the Brain
Curated by Pireeni Sundaralingam
Thoreau Center for Sustainability, San Francisco
Artists & Performers: Samantha Chanse, Anne Duk Hee Jordan, Claire Light, Jai Arun Ravine, Sandya Sood, Quynh Vantu, Debbie Yee

3. LP Series: Body Maps
Curated by Margaret Rhee
La Pena Cultural Center, Berkeley
Performers: Bonnie Kwong, Barbara Jane Reyes, Leah Lakshimi Piepzna-Samarasinha, Celeste Chan, Jezebel Delilah X, Jai Arun Ravine, Monica Ong Reed, Rona Luo, Kim Tran, HaeTae, Jean Vengua, Debbie Yee, Yaya

4. LP Series: Tales of Pangu: Lifting Up the Sky
Curated by Nancy Wang
CounterPULSE, San Francisco
Performers: Nancy Wang, Robert Kikuchi-Yngojo, GAPA Men's Chorus, Kenji Oshima

See a short video of the series!

May and  August_______________________________________


Emerging Curators Program exhibitions
AAWAA's Emerging Curators Program provides a platform for curators to develop their vision and curatorial expertise in Asian American Art.

The Hungry Ghost: Yearning For Fulfillment
Curated by Lisa Chiu
Thoreau Center for Sustainability, San Francisco




Flying Fish
Curated by Mido Lee & Li Ma 
Co-sponsored by Kearny Street Workshop
Arc Gallery, San Francisco

Workshop: Self-Defense for Women & Artists
Coordinated by Khay Hembrador and Julie Soo
Karate USA, San Francisco


Guest Artist Salon: Glamourbaby Diaries,
video screening and discussion at AAWAA Studios
Guest Speaker: Ruby Veridiano, founder of Glamourbaby Diaries

October_______________________________________

REFRESH! AAWAA's Signature Fundraiser
At our 3rd annual Silent Auction, guests were invited to participate in makeovers, photo shoots and enjoy lovely food courtesy of Jitlada Thai.
We are already looking for interesting items for the next auction. Shiz Seigel won the accommodations in Italy.

Thanks to Sue Tom for arranging for the lovely venue in

The Sequoia's Atrium, 1400 Geary, San Francisco.


Year Round_______________________________________

Asian American Art
Speakers' Bureau
AAWAA provides trained speakers, artists and arts advocates for the classroom and events. Let us know if your organization needs a lecture on Asian American Art or if you would like to receive training yourself.

November_______________________________________


Asia Society to partner with AAWAA 

Asia Society and AAWAA are forging a future partnership to increase attention on Asian American Art. Thanks to Nancy Hom for connecting us with this vitally important organization.

Asia Society Robert Bullock, Director of Programs, Wendy Soone-Broder, Director of Global Corporate Development

Open Call for Emerging Curators!!

Emerging Curators Program: 
Call for Curatorial Proposals


APPLICATION DEADLINE: Sunday, January 6th, 2013

photo credit (L-R): Nicole C. Roldan, Nicole C. Roldan, Jennifer Lau

AAWAA has developed the Emerging Curators Program as an opportunity for curators to develop their vision and curatorial expertise in Asian American Art. As curator you will be responsible for concept, planning, coordination, co-installation, hosting and partnering with AAWAA’s curatorial team.

Eligibility:
Open to proposals focusing solely on Asian American women in the arts.

Project:

• Venue: The Sequoias Gallery, 1400 Geary Blvd., San Francisco, CA 94109
• Media: 2 dimensional artwork only, maximum 4 ft. high, 8 in. deep. Length of 3 walls are approximately 10 feet each and the 4th wall is approximately 5 feet. You are encouraged to visit the venue. Please check in at the entry desk and mention this project.
• Exhibition dates: March 14th, 2013 - May 3rd, 2013

Submission Requirements:

      1.  Curatorial Intent: Why do you want to participate in this project?
            (appoximately 250 words) 
      2.  Curatorial Proposal (max 1 page, 12 pt. font, single space)
                a.  Concept
                b.  Workplan (How will you implement your proposal?) including:
                        i.  Artist selection process, list of proposed artists
                       ii.  Timeline
                      iii.  Optional: low resolution jpg images
                c.  Resume

Instructions to Apply:
Send submission requirements by email with the subject line, "Sequoias: [Your Name Here]" to EmergingCuratorsProgram@aawaa.net.

Important Dates:

• Application Deadline: Sunday, January 6th, 2013
• Notification by: Sunday, January 13th, 2013
• Installation: Saturday, March 9th, 11am-5pm
• Opening Recption: Thursday, March 14th, 3:30pm-5pm
• Deinstallation: Saturday, May 4th, 11am-5pm

Curator Responsibilities:

• Scheduled check-ins with AAWAA
• Select Asian American women artists, invitation only
• Curator statement
• Artists statement, bios
• Price list including info for labels and insurance
• Content for publicity
• Coordinate delivery and pickup
• Communications with artists

AAWAA Responsibilities:

• Venue liaison
• Curatorial advice
• Publicity: social media, postcard, aawaa newsletter, press release
• Labels
• Reception, including refreshments

Questions? Submit inquiries to EmergingCuratorsProgram@aawaa.net.

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Call for Artists! "underCurrents" show

Call for Entries 

Asian American Women Artist Association and
Asian Pacific Islander Cultural Center
present

“underCurrents & the Quest for Space”
a multidisciplinary arts exhibition

GUEST JURORS:
Jay Xu, Ph.D., Director, Asian Art Museum of San Francisco
Mary-Ann Milford, Ph.D., Professor of Art History, Mills College

 Submission Deadline EXTENDED: January 27, 2013

Exhibition premise:
underCurrents & the Quest for Space is a multidisciplinary arts exhibition and discussion investigating the space occupied by Asian America, socially, artistically and physically.

Asian American artists are encouraged to submit works that detonate a discourse on the under-discussed issues impacting Asian Americans, interrogate the myth of model minority, and acknowledge the multiple ways contemporary Asian American communities address and subvert stereotypes, discrimination and invisibility. This multi-media, multi-disciplinary arts exhibition aims to identify and contemplate the political implications of what lies below the surface, while exploring possibilities to move beyond, reinventing history and artistically predicting an unrestrained future.

Exhibition & Venue: “underCurrents” will be featured as part of Asian Pacific Islander Cultural Center's  (APICC) 16th Annual United States of Asian America Festival at SOMArts Cultural Center Main Gallery, 934 Brannan Street, San Francisco, California. www.somarts.org

Date of exhibition: May 2013

Eligibility: Open to Asian American artists, men and women, 18 years and older.

Submission deadline: January 20, 2013, 11:59pm PST

Submission information:

• All visual art genres will be considered
• Proposals and works in progress will be considered with attached explanations
• Collaborative works will also be considered
• All submissions must be received by the deadline

Submission requirements:

• Up to 6 images of works for show. Jpeg size 1-2 mb files. Label each file with: Artist Name_Title of Work_medium_size.JPG
• Image index: (Excel spreadsheet preferred) Include info above plus price or if NFS(not for sale and  value of each piece for insurance purposes (even if not for sale)
• Resume and/or artist’s bio
• 200 words of why this exhibition is of interest to you, include complete contact information, email, phone and address.

Entry fee: $12. Pay through paypal here or mail a check payable to AAWAA, 1890 Bryant St., #302, San Francisco, CA 94110

Email your submissions to: exhibitions.aawaa@gmail.com

Guest Jurors: Jay Xu, Ph.D., Director, Asian Art Museum of San Francisco
Mary-Ann Milford, Ph.D., Professor of Art History, Mills College

Curators: Linda Inson Choy, independent curator, AAWAA and APICC curatorial team

Sales, Insurance, Delivery and Shipping

• There is a 35% commission by the gallery and presenting organizations on sales.  
• Works will be insured only after installation.
• Artist is responsible for transit of accepted works to and from the gallery. Drop-off/pick-up details TBD. No storage available.
• Shipped works must have return shipping prepaid and prearranged.
• $20 handling fee per box for shipped work.

Publicity
Artists’ information and images may be used for publicity by AAWAA and APICC.

Calendar
Submission deadline: Sunday, January 20, 2013
Notification of juror's selection: February 7, 2013
Delivery of artwork: tentatively Sunday, April 28
Exhibition dates: May 2013, exact dates to be confirmed
Opening reception: Thursday, May 2, to be confirmed
Pick up artwork: To be determined

Presenting Organizations:
Asian American Women Artists Association (AAWAA) is a nonprofit arts organization dedicated to ensuring the visibility and documentation of Asian American women in the arts. Through exhibitions, publications, and educational programs, we offer thought-provoking perspectives that challenge societal assumptions and promote dialogue.
www.aawaa.net

Asian Pacific Islander Cultural Center (APICC) supports and produces multi-disciplinary art reflective of the unique experiences of Asian Pacific Islanders living in the United States.
www.apiculturalcenter.org
 
Send questions to: exhibitions.aawaa@gmail.com, or 415-722-4296

Please forward this Call for Entries to artists who may be interested in participating. We look forward to your submissions!

AHSC Poster Design Contest

Win $500 and Fame! Enter the AHSC Poster Contest Now!

Posted on: December 19th, 2012 by Angela Pang

SAN FRANCISCO, CA - The Asian Heritage Street Celebration (AHSC) is hosting its annual poster contest in partnership with the Asian American Women Artists Association, Asian Art Museum, Center for Asian American Media, and Kearny Street Workshop. Graphic artists are sought to create an exciting image to become part of the personality for the 9th Annual Asian Heritage Street Celebration to be held on Saturday, May 18, 2013 in front of the Asian Art Museum, leading up to the Little Saigon District in San Francisco. 

The 8th Annual AHSC winning design by Klaudiusz Madej was featured citywide on Muni buses and billboards. Photo courtesy of the Asian Heritage Street Celebration.

The winning artwork will be featured in a wide-scale multi-media marketing campaign in both the mainstream and Asian Pacific markets in a combination of posters, postcards, Muni bus ads, newspaper ads and in a TV commercial. The winner will also earn a $500 grand prize.
The Asian Heritage Street Celebration gathers all communities among Asian Pacific Islanders in the San Francisco Bay Area, and enables cross cultural interaction through sharing of cultures, promoting Asian inspired arts and crafts vendors, creation of innovative programs and entertaining activities for visitors and participants.
“The poster contest is a fantastic chance for any artist to have their work showcased in a major multi-media promotional campaign,” said Joyce Juan Manalo, Kearny Street Workshop’s Administrative Manager. “We encourage everyone to enter!”
“We are extremely proud to be one of the only street fairs in the nation to host an annual poster contest to represent our event,” said Ted Fang, of the AsianWeek Foundation and founder of the Asian Heritage Street Celebration. “The submissions over the years have been astounding and we are looking forward to seeing what the community will come up with!”
Deadline for submissions is Friday, January 25, 2013 at 5 p.m.

Entries should be submitted online here:
http://asianfairsf.com/poster-contest-entry-form/
For rules visit:
http://asianfairsf.com/features/poster-design-contest/

For more information contact ahscposter@gmail.com or (415) 373-4002.

    

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About the AsianWeek Foundation 

The Asian Heritage Street Celebration is organized by the AsianWeek Foundation, a non-profit 501(c)(3), in cooperation with over 250 organizations in the local and Asian American community. It is held the 3^rd Saturday of every May in San Francisco. AsianWeek Foundation encourages the sharing of differences and appreciation of diversity across culture, language, generation and ethnicity, working to strengthen relations among Asian Pacific Islander communities and between Asians and non-Asians. www.asianfairsf.com 

   

About the Asian American Women Artists Association

AAWAA is a nonprofit arts organization dedicated to ensuring the visibility and documentation of Asian American women in the arts. Through exhibitions, publications, and educational programs, they offer thought-provoking perspectives that challenge societal assumptions and promote dialogue. www.aawaa.net

About Asian Art Museum
The Asian Art Museum of San Francisco is one of the largest museums in the Western world devoted exclusively to Asian Art, with a collection of over 17,000 artworks spanning 6,000 years of history. The museum is a public institution whose mission is to lead a diverse global audience in discovering the unique material, aesthetic, and intellectual achievements of Asian art and culture.
www.asianart.org/
  
About Center for Asian American Media

The Center for Asian American Media (CAAM) is a non-profit organization dedicated to presenting stories that convey the richness and diversity of Asian American experiences to the broadest audience possible. CAAM does this by funding, producing, distributing and exhibiting works in film, television and digital media. www.asianamericanmedia.org

About Kearny Street Workshop

KSW, a non-profit, community-based organization whose mission is to produce, present and promote art that empowers Asian Pacific American artists and communities. KSW serves the community as an information resource and through our four areas of arts programming: adult arts education, next generation arts support and training, multidisciplinary arts presentations, and publications. www.kearnystreet.org