Living in the future, almost a day ahead than the rest of the world in fact, I have to forewarn futurists—of the non-precursor to Fascists art movement—the future is… ethnic. Ethnic of the Sino kind.

Honestly, my blogging skills ain’t what it used to be since my New York City days. I am pretty sure it is has something to do to my stark witty liners not functioning properly after an incident during my residency in New York: being told to deny my Memphis background. Apparently, exploiting my slanty eye appearance in order to sell art made being artist sort of grim but very, very easy to capitalize on my work I create. Instead, I have taken a liking to “ain’t,” y’all,” and “reckon”. When the hell did I order the stake after becoming a supposed martyr?

That very comment is one of the reasons I ended up on the opposite side of the world… with very few American toilets—sidebar: Duchamp is a genius in marketing the use of the Fountain piece to Europeans—and two dialects I cannot even fathom. I speak Cantonese, I am guy from Canton.

In 1953, Edward Steichen put out a call for submissions, all around the world, people could enter. Steichen chose around five-hundred-and-two black-and-white photographs and one color image. The concept came from an article in Lady’s Home Journal, “People are People, the World Over”. Steichen’s show like the suggestion of universality. Aside from the lack of any information of the photographs—i.e. names, titles, dates—the show became a favorite to many, which did not include many outside United States American. In suggesting unity, Steichen was also suggesting of American values.

Continue over to Part 2 on LiveFromMemphis.com