The caviar is served up on custom-made mother-of-pearl spatulas, to avoid tainting its taste. She watches the people coming through the door. There's Emmanuel Alt and Franck Durand. There's Mert and Marcus. There's Filippa Hamilton and Pierre has his arm around her, they are laughing, Pierre in his element, with his little in-jokes and finespun compliments.
She hides an elegant wad of caviar under her tongue the way you would acid strips and she remembers the first time she got high, in that club in NYC when she was nineteen and didn't know a word of English, she couldn't stop singing patriotic Chinese songs in the clear alto she'd been trained in, she was so embarrassed even as her world was exploding into slow stars with comet tails and everything was moving imperceptibly yet inevitably, like a revolving restaurant. They parted her hair and braided it down into two plaits and made her stand on a table, got her to strike a revolutionary pose.
She looks out the window. It is snowing out and she can see the Eiffel Tower. The Eiffel Tower is lit up. It is beautiful. Someone is passing around a copy of Jalouse and she can't recognise the girl on it. Her head is bent back such that she regards the camera down the line of her nose, her eyes are slit-like, her skin is pale, her mouth is painted a deep plum, her tits are showing under a thin luxury knit.
They are air-kissing her, to the left, to the right, to the left again, pointing at the cover, telling her how beautiful she is. She smiles at them, bisous , she's learned to stop pronouncing the "S" in most French words she comes across, bisous, she rolls the tiny black spheres of caviar in her mouth, bisous, she's doing well.
The Plaintiff herein, Lucie J. The Defendant herein, Miley Cyrus, is a popular American actress and recording artist. On the 10th day of February , the Defendant posed for a photograph wherein she pulled back her eyelids in a slant to look like a derogatory Asian caricature. As a result of the Defendant's global fame as a teen idol, the photograph went "viral" on the internet, catching the attention of millions around the world.
The Defendant's conduct contravenes a statutory provision contained in the California Business and Professions Code [BPC] which prohibits businesses from discriminating against people based on, inter alia, race, gender, and ethnicity. The Defendant knew or should have known that the photograph would be in the public eye.
The photograph was taken by an employee of celebrity news website TMZ, which is well known for publicizing such candid photos as part of their coverage of the lives of celebrities such as the Defendant. In addition, the Defendant knew or should have known that the photograph would be further promulgated via mass media channels such as the internet and local tabloid publications, which the Defendant knew took great interest in her personal life. The Defendant must, therefore, have recognized the risk that her conduct at that point in time would be seen by a large group of people and, in reckless disregard of that risk, struck a pose which amounted to a racial slur.
The image of slanted eyelids imitated by the Defendant has its lineage in a long and unfortunate history of people mocking and denigrating individuals of Asian descent. Not only have the Defendant and the other individuals in the photograph encouraged and legitimized the taunting and mocking of people of Asian descent, she has also insulted her many Asian-Pacific American fans. The inclusion of an Asian-Pacific American individual in the photograph does not in any way make it acceptable.
It is highly undesirable as a matter of social policy for blatant acts of racial discrimination, especially those committed by people who are in the public eye, to go unpunished. This will only serve to destabilize the delicate balance of our multi-racial community. By reason of the facts and circumstances stated above, the Defendant has violated a provision under the BPC.
Given the centrality of looking to this exhibition, it's also interesting to think about how the dynamics of the presentation will change with each city, and how it relates to the borderlessness alluded to in its title, No Country. But to answer your earlier question. I think there are numerous contemporary Asian artists whose work interrogates the "modern" Asian experience.
When Der Blaue Reiter riff off of African objets d'art or Chinese paintings, we say, how original; we consign them to the avant-garde. But when an Asian artist references Fauvism or uses a motif of Kandinsky's, we say, how derivative.
I believe that intelligent curatorial practice can contribute to how we look at cultures, how we interact with various cultures. At the same time, of course, curating is not a neutral exercise. Curating is my point of view, my interpretation of what is going on. When I started producing exhibitions for institutions that were not from my own country, I had to take on a different position.
They have big cheekbones, big mandible angle without double fold, and a low profile nose. They are seeking to have westernized face, high profile nose, slender nice cheekbone, and mandible bone.
Dr Kim believes in the global economy, investing in plastic surgery to slightly westernize the face will bring a return on the investment of times, through more confidence, a better job and obtaining a better marital partner. A global ideal doesn't stop at the face, says dental surgeon Jung Hak. Dr Jung says he's been fighting a trend. Korean mothers who have been bringing in their toddlers to have the muscle under the tongue that connects it to the bottom of the mouth surgically snipped.
The belief, explains Dr Jung, is that it will help a Korean speak English more clearly. But he calls the surgery, if it's only for pronunciation, misguided, and caused by the hyper-competitive drive in Korea. Mothers long for their kids to have better English pronunciation," says Dr Jung. Editor of Giant Robot magazine and Asian American commentator Martin Wong, sees these westernization surgeries as far more insidious than just simple procedures. He sees it as a form of "cultural imperialism.
They're not saying that they think they're inferior looking. They're not saying they're ugly, but that's the message that they're giving nonetheless. Message or not, for Min-kyong, the minute surgery has been well worth the cost and post-surgical discomfort. A few weeks later, she and her mother email to say she's happy with her new look. And when this year-old stares at herself dancing in the studio, she no longer just sees her eyes.
She sees a prettier girl. Instead, Blais has two alternative ideas. The second and more interesting theory, is that these strategies reflect general differences in the way that Westerners and East Asians view the world around them. For example, one group of Japanese and American researchers showed people two squares of different sizes , one of which had a line inside in.
They asked their volunteers to draw a line in the empty square that was either exactly the same length as the first line or proportionally as long, relative to the different sizes of the square. They found that Westerners were better at the first, more absolute task, while East Asians were more accurate at the second relative task. Does this apply here? When it comes to complex scenes, for example, Westerners focus on central objects but East Asians also flit their eyes across the backgrounds.
In this study, the East Asians were the ones who focused on the centre but Blais suggests that this could be because they were homing in on the area that gives them the best overall view of the entire face, namely the centre. It will be interesting to see if this is the case from birth, or whether people develop these varying strategies as they grow and pick up the habits of their countrymen.
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