Harley Wong

  • Tommy Kha, Assemblage, 2017–19.
    interviews March 07, 2023

    Tommy Kha

    Tommy Kha’s mother is a recurring subject in his photography, but he didn’t realize until five years into their collaboration that she was an imagemaker herself. In 2016, she gifted Kha a photo album of pictures she made when she first arrived in Canada from Vietnam in the 1980s, before she eventually settled in Memphis, where Kha was born. In his debut monograph, Half, Full, Quarter (Aperture), and accompanying solo exhibition—“Ghost Bites,” at Baxter St at the Camera Club of New York through March 22—Kha’s layered portraits, still lifes, and landscapes exist alongside his mother’s own photographs.

  • Baldwin Lee, Vicksburg, Mississippi, 1983, gelatin silver print, 15 x 18 7/8".
    interviews October 03, 2022

    Baldwin Lee

    Working as Walker Evans’s darkroom assistant while at Yale’s MFA program, Baldwin Lee handled and printed negatives from Let Us Now Praise Famous Men. Although the families photographed in Alabama’s Hale County in the 1930s never received a copy of that book, Lee would be sure to mail prints to those who posed for his own 4-by-5-inch view camera. Raised in New York as a child of Chinese immigrants, Lee embarked on extensive drives from 1983 to 1990 to photograph his new home of Tennessee, unexpectedly gravitating toward the lives of Black Americans in the post–Jim Crow South. With a new monograph

  • Best! Letters from Asian Americans in the arts (Paper Monument, 2021).
    interviews May 21, 2021

    Christopher K. Ho and Daisy Nam

    In January 2020, shortly before they went into lockdown, artist Christopher K. Ho and curator Daisy Nam realized that they were both independently pursuing projects related to letters: Ho a letter of apology to his former RISD students, whom he felt he had failed as an Asian American mentor, and Nam a program of live readings of existing letters of redress, including ones penned by Sylvia Wynter, Theresa Hak Kyung Cha, and Angela Davis. The pair had met through a leadership group at Asia Art Archive in America focused on the model-minority myth and ways of dismantling it and were now turning to