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Laura Kina (born 1973) is an artist, academic and important contributor to the emergent field of Critical Mixed Race Studies. Kina was born in Riverside, California. and raised in Poulsbo, Washington. She moved to Chicago, Illinois in 1991 to attend the School of the Art Institute of Chicago, where she studied with Michiko Itatani and Ray Yoshida, earning her B.F.A. in 1994. Moreover, in 2001, Kina received her M.F.A. from the University of Illinois at Chicago (UIC) where she studied under noted painters Kerry James Marshall and Phyllis Bramson.〔() Laura Kina- Artist's Website〕 Drawing inspiration from popular culture, art history, textile design, historic photographs and family photos, Kina's works focus on the fluidity of cultural difference and the slipperiness of identity. Asian American history and mixed race representations are subjects that run through her work. Colorful pattern fields combined with figurative elements and subtle narratives characterize her paintings.〔〔Personal interview with the artist.〕 Kina is mixed race Asian American. On her father’s side, she is a descendant of Okinawan sugar cane plantation workers from Piihonua on the Big Island of Hawai'i. Her maternal grandmother was Spanish/Basque from Vallejo, California, and her maternal grandfather was French, English, Irish, and Dutch from Waco, Texas.〔 Laura Kina is Associate Professor of Art, Media, and Design at DePaul University, Vincent DePaul Distinguished Professor, and Director of Asian American Studies. She helped found DePaul’s Asian American Studies program in 2005.〔() DePaul University Department of Asian American Studies〕〔() The DePaul University Asian American Studies' Wiki Site〕 Kina is a 2009-2010 DePaul University Humanities Fellow. Her work is represented by Diana Lowenstein Fine Arts in Miami, Florida.〔() Diana Lowenstein Fine Arts〕 She currently lives and works in Chicago, Illinois with her husband, Mitch, daughter, Midori, and stepdaughter, Ariel.〔 Kina’s work was included in The New Authentics: Artists of the Post-Jewish Generation at the Spertus Institute for Jewish Learning and Leadership, Chicago, IL in 2007-2008 and the Rose Art Museum in Waltham, MA in 2008.〔() Vider, Stephen. "Cultural Evolution- What Exactly is "Post-Jewish" Art?", www.nextbook.org. Jul. 2008〕〔Boris, Staci. The New Authentics: Artists of the Post-Jewish Generation. Spertus Press, Chicago 2007. pp. 40-2, 92-5.〕 == Art == Laura Kina creates art, which relates to race, religion, class, family, and identity, more specifically focusing on Asian American and mixed race identity. Kina's work typically studies highly personal subjects, such as her own family circle, friends, memories, and dreams. It is precisely the intimate relationship Kina has with her subjects that allows her to examine complex social and political issues with great care and detail. * Refrigerator Portrait Series (2001) - In this series Kina comments on class, family, and identity, by creating trompe-l’oeil depictions of household refrigerators. The refrigerators are titled after their owners, all members of Kina's extended family. The paintings convey something about their owners' identities through magnets, drawings, and other items appearing on their doors. This series deals with the ever-blurring boundaries between race, religion, and national identity. One of the paintings, titled "The Rosenfelds," depicts a high end Sub-Zero refrigerator made of shining steel and surrounded by custom wood cabinetry. Unlike the other works in this series, this refrigerator’s surface is unadorned. In its stark simplicity, its formal presence invokes the work of Mark Rothko and Barnett Newman.〔〔() Article- "Cultural Evolution- What Exactly is "Post-Jewish" Art?"〕 “While the variety of adornments on the Kina-Aronson fridge indicates a multiplicity of identities, the interiors of the refrigerators, and, by extension, the inner lives of their owners, remain closed to the viewer”.〔Geller-Nelson, Sarah. The New Authentics, Exhibition Catalog〕 * Hapa Soap Operas (2002–2005) - The term Hapa is Hawaiian and literally means “half”; it has been used colloquially to describe mixed race Asian and Pacific Islander Americans. Kina grew up describing herself as hapa although the term has since come to be contested.〔〔 The series consists of paintings based on photographs the artist took of mixed race Asian Americans from across the country. Some of the paintings are larger-than-life oil paintings, while others appear as actual movie posters that were installed in flashing movie poster marquees.〔 * Mishpoche (2005–2007) - The name "Mishpoche" refers to the Yiddish word for family. The artist relates her personal experiences as she examines her own complex identity. This series' main installation is a 12' by 12' quilt-like area created using 60 smaller paintings (enamel on wood), each depicting a sliver of the artist's identity. These paintings constitute a platform which the viewer is invited to walk on after donning a pair of beach flip flops which line the sides of the installation. This feature enhances the viewer's intimacy with the subject, allowing a closer reflection on the patterns and subjects portrayed. Among the panels are depictions of fabric patterns, a Talith, and a Challah cover.〔 * Loving (2006) - The series was inspired by the landmark U.S. Supreme Court decision Loving v. Virginia, which declared race-based legal restrictions on marriage unconstitutional. The artist uses the genre of Portrait to examine mixed race issues. In the words of the artist, "these life-size charcoal portraits of myself along with other mixed race friends surround the viewer in a meditative half circle that simultaneously embraces and confronts the viewer".〔 * Aloha Dreams (2006–2008) - The series comments on issues of immigration/migration, heritage, and orientalist fantasies, through the exploration of color, pattern figuration, and abstraction.〔〔() Article- Elkjer, April. "Hapa Visual Artist Explores Culture and Identity" NichiBei Times, Jun. 2008〕 Kina utilizes Pop Art images, textile design, as well as works of Gaugin, compelling the viewer "to think of the history of Hawai'i and ultimately of the layering of myths and perceptions of place and subject within the painting".〔〔() Interview- "Painting Paradise. Artist Laura Kina's Aloha Dreams", Asiance Magazine.〕 * Devon Avenue Sampler (2009-2011) - Devon Avenue Sampler features vintage and contemporary street signs and imagery from my West Roger’s Park Chicago immigrant neighborhood where Orthodox Jews, Hindus, Muslims and Christians all live.〔 * Sugar (2010–Present) - Set during the 1920s-1940’s, Laura Kina’s SUGAR paintings recall obake ghost stories and feature Japanese and Okinawan picture brides turned machete carrying sugar cane plantation field laborers on the Big Island of Hawaii. Drawing on oral history and family photographs from Nisei (2nd generation) and Sansei (3rd generation) from Peepekeo, Pi’ihonua, and Hakalau plantation community members as well as historic images, Kina’s paintings take us into a beautiful yet grueling world of manual labor, cane field fires and flumes.〔 * Blue Hawaii (2012-2013) - This work exhibits themes of distance, longing, and belonging as Kina tries to reclaim the Okinawan stories lost in translation by her Japanese ancestry about her family heritage, history, and life on the sugar field plantation. The setting of these paintings is her father’s Okinawan sugarcane field plantation community in Pi’ihonua. Kina's paintings are based off the sites that she saw here, as well as old photos and stories that she heard. This series is slightly different from her "pop art" genre, consisting of oil paintings mostly shades of blue with red accents. The blue is inspired by the indigo-dyed kasuri kimonos that canefield workers wore, and the red is inspired by fireballs shooting up from the canefield cemeteries (hinotana) which contrasted the blue sky.〔http://www.laurakina.com/BlueHawaii-Catalog.pdf〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Laura Kina」の詳細全文を読む スポンサード リンク
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