A revelatory compendium of writings, art and ephemera on the ’90s New York collective that fostered a social space for diasporic Asian artists
A New York Times critics' pick | Best Art Books 2021
This anthology gathers writings, documentation and ephemera from Godzilla: Asian American Arts Network, a collective based in New York from 1990 to 2001, which was formed to provide a support structure for Asian American artists, writers and curators to stimulate visibility and critical discourse for their work. Edited by curator Howie Chen, the book gathers archival material from the group’s wide-ranging activities, which included producing exhibitions and forums to social change advocacy surrounding institutional racism, the politics of representation, Western imperialism, the AIDS crisis and violence against Asian Americans. Godzilla created a social space for diasporic Asian artists and art professionals, including members Tomie Arai, Karin Higa, Byron Kim, Paul Pfeiffer, Eugenie Tsai, Lynne Yamamoto and Alice Yang, among others. Founded by artists Ken Chu, Bing Lee and Margo Machida in New York and eventually expanding into a national network, Godzilla’s aim was to “function as a support group interested in social change through art, bringing together art and advocacy” and “to contribute to changing the limited ways Asian Pacific Americans participate and are represented in broad social context—in the artworld and beyond.” This comprehensive chronicle of Godzilla: Asian American Arts Network assembles art projects, critical writing, correspondences, exhibition and meeting documentation, media clippings and other archival ephemera to convey the political and cultural stakes of the time.
Featured spread is from 'Godzilla: Asian American Arts Network.'
PRAISE AND REVIEWS
Art In America
Diana Seo Hyung Lee
Throughout the book are multiple astute voices worthy, as the preface suggests, of some “future companion publication.” But their brilliance is always laced with a tenderness for their friends and community.
4Columns
Geeta Dayal
Until now, Godzilla’s legendary newsletters and other materials, many of them produced before the advent of the World Wide Web, have been relatively difficult to find. An inspiring new book released by Primary Information, Godzilla: Asian American Arts Network 1990–2001, compiles the organization’s work into a 550-page volume … [A] massive compendium.
Bookforum
Simon Wu
Ultimately, Godzilla: Asian American Arts Network 1990–2001 reads as a cross between an art object, a manual, and a case study on radical institution building.
New York Times
Holland Cotter
The result is a how-to in advocacy politics, a study in the complexities of identity politics, and a chorale of treasurable voices.
Brooklyn Rail
Louis Block
Flipping through the book’s xerox-aesthetic pages provides a view into the humble roots of community organizing—potlucks, fundraising asks—as well as a galvanizing account of Godzilla’s struggles and successes.
Brooklyn Rail
Lucy Lippard
An extraordinary compendium of meeting notes, announcements, protest letters to institutions, other miscellany, and most notably some meaty essays tracking the evolution of Asian American identity and beyond.
Art Asia Pacific
Alex Jen
Paging through the volume is like digging through boxes in an archive, not knowing what you’re going to find. The book design, by Ella, is unobtrusive but encouraging. In lieu of a table of contents, there are yearly intertitles; readers can flip in order or dig into the collective’s history at any juncture.
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FORMAT: Pbk, 8.5 x 11 in. / 448 pgs. LIST PRICE: U.S. $30.00 LIST PRICE: CANADA $40 ISBN: 9781736534625 PUBLISHER: Primary Information AVAILABLE: 11/16/2021 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: NA ASIA
Published by Primary Information. Edited by Howie Chen.
A revelatory compendium of writings, art and ephemera on the ’90s New York collective that fostered a social space for diasporic Asian artists
A New York Times critics' pick | Best Art Books 2021
This anthology gathers writings, documentation and ephemera from Godzilla: Asian American Arts Network, a collective based in New York from 1990 to 2001, which was formed to provide a support structure for Asian American artists, writers and curators to stimulate visibility and critical discourse for their work. Edited by curator Howie Chen, the book gathers archival material from the group’s wide-ranging activities, which included producing exhibitions and forums to social change advocacy surrounding institutional racism, the politics of representation, Western imperialism, the AIDS crisis and violence against Asian Americans. Godzilla created a social space for diasporic Asian artists and art professionals, including members Tomie Arai, Karin Higa, Byron Kim, Paul Pfeiffer, Eugenie Tsai, Lynne Yamamoto and Alice Yang, among others.
Founded by artists Ken Chu, Bing Lee and Margo Machida in New York and eventually expanding into a national network, Godzilla’s aim was to “function as a support group interested in social change through art, bringing together art and advocacy” and “to contribute to changing the limited ways Asian Pacific Americans participate and are represented in broad social context—in the artworld and beyond.” This comprehensive chronicle of Godzilla: Asian American Arts Network assembles art projects, critical writing, correspondences, exhibition and meeting documentation, media clippings and other archival ephemera to convey the political and cultural stakes of the time.
