Upcoming Exhibitions

Movements: Battles and Solidarity by Tran, T. Kim-Trang
Late spring 2021

Movements: Battles and Solidarity is a large-scale three-channel video installation on handmade screens that will be presented at USC PAM in spring 2021. The triptych looks at significant events in the years 1972-74 regarding fashion, race, and class, particularly the Civil Rights movement in high fashion, labor unrest in the garment industry during the long 70s, and the Vietnam War. The work explores shared political and physical “movements” made manifest in the catwalk, the run, and the march.

Artist / Tran, T. Kim-Trang was born in Vietnam and emigrated to the U.S. in 1975. She received her MFA from the California Institute of the Arts and has been producing experimental videos since the early 1990’s. Her work has been exhibited internationally in solo and group screenings in venues such as the Museum of Modern Art, the Whitney Biennial, and the Robert Flaherty Film Seminar. Her Blindness Series, eight experimental video shorts investigating blindness and its metaphors, was completed in 2006. Tran is the recipient of numerous grants and awards, including a Creative Capital grant, a Getty Mid-Career Fellowship, and a Rockefeller Film/Video/Multimedia Fellowship, which has enabled her to develop a screenplay based on the life of her mother titled Call Me Sugar, which she hopes to direct as a feature film project.

In 2010 Tran exhibited a three-channel video installation titled Landless in Second Life, where she created an Afterlife for her mother as a way to explore notions of immigrants and immigration in the online, virtual world Second Life. In 2016 she produced a born-digital book of critical essays on The Blindness Series and completed a casual game titled Arizona 9 about a girl’s murder that led to the demise of the border-watch movement. In 2020 she will debut Movements: Battles and Solidarity, a large-scale video installation on the shared movements in fashion, the Vietnam War and women in the garment industry from 1972-74.

Tran is a Professor of Art and Media Studies at Scripps College.

Divine Immersion: The Experiential Art of Nick Dong
Summer 2021

In recognition of the COVID-19 pandemic and the massive loss of life and systematic degradation of Asian American belonging, artist Nick Dong leverages the power of experiential art grounded in Buddhist spirituality as a vehicle to nurture healing and engender connection to oneself and others.

Crossroads: Exploring the Silk Road
Summer 2021

Join us in exploring the historic Silk Road in this newly renovated, interactive permanent gallery. Presented as a journey through Dunhuang, an ancient oasis connecting peoples and cultures, along the southern Silk Road route, this gallery engages an intergenerational audience through play and discovery. The sights and sounds of the ancient city come to life through stories and music, dress up, tactile objects, an interactive discovery map, and highlights from the museum’s collection. With enhanced accessibility and innovative design features, Crossroads aims to inspire curiosity, build empathy and catalyze connection by immersing visitors in the stories of intercultural exchange along the Silk Road.

INTERVENTION: Perspectives for a New PAM
Fall 2021

In 2021, the USC Pacific Asia Museum will celebrate our 50th anniversary with an exhibition that amplifies the voices of invited Asian American artists and scholars who will create artworks, essays, public lectures and performances that engage USC PAM’s collection and history. With this effort, USC PAM begins a new chapter of community engagement. Bringing contemporary art into conversation with historical work and lifting up community narratives, this exhibition aims to generate transformative dialog about developing new methodologies to better engage the past to discover meaning in the present. In creating this exhibition, we remind the public that museums function as a place to propel our thinking about who we are to one another and why representation matters.
Intervention provides a unique opportunity for members of a community to voice what they see as relevant; to ask questions about what historic collections can say about the present; and to forge a new exhibition model that engages communities of color in the development process, rather than speaking at them. This exhibition serves as an opportunity for institutional critique together with a celebration of all that USC PAM has achieved over the years. USC PAM was the first in North America to mount an exhibition on contemporary Chinese art and the first to assemble an exhibition of Aboriginal art in the United States. This exhibition expands USC PAM’s groundbreaking legacy.