MIWONMultiethnic Immigrant Workers Organizing Network (Los Angeles, CA)
References in periodicals archive ?
Jae Young Yu, (1) Biki Gupta, (2) Hyoung Geun Park, (1) Miwon Son, (1) Joon-Ho Jun, (1) Chul Soon Yong, (2) Jeong Ah Kim, (3) and Jong Oh Kim (2)
Acrylic monomers (2-EHA and AA) and low surface tension acrylic monomer (TFMA) were prepared by the effect of UV radiation with hydroxy dimethyl acetophenone (Micure HP-8, Miwon Specialty Chemical, Republic of Korea) as the photo initiator.
In term of capacity, PT Miwon Indonesia Tbk is the largest producer with a total production capacity of 84,000 tons per year after the merging of PT Indomiwon Inti Citra into PT.
As cells age, their ability to synthesize collagen decreases, noted Yunsub Lee of Miwon. But after a four-week treatment with myristoyl tripeptide-31, subjects saw the number of wrinkles reduced by 30%, wrinkle length reduced by 33% and wrinkle area reduced by 35%.
Documents, a now defunct magazine created by Helen Molesworth, Miwon Kwon, Margaret Sundell, Chris Hoover, and James Marcovitz, ran for twenty-three issues, produced between 1992 and 2004 in New York City.
Site-specificity asks us to view a site as "more than a place," Miwon Kwon writes.
But art historians such as Miwon Kwon see site-specific art that has developed since the 1970s as contributing to an appropriation of space by elites, turning certain spaces into cultural commodities that uphold class distinctions and inequalities, an argument that follows the work of sociologist Sharon Zukin and her view of the cultures of cities.
Miwon Kwon (2004:92) in his site-specific study One Place After Another: Site-specific Art and Locational Identity links multiculturalism in performance practices to "do-good community-based public art." The significance of this is that multiculturalism, rather than affecting any real cultural challenge, engages a false sense of cultural togetherness--in a word: 'simunye'.
(6) Rene Green, interview conducted by Miwon Kwon for the exhibition, "Emerging New York Artists", quoted from Homi Bhabha, The Location of Culture, p.
(8) This term is used by Miwon kwon in One Place After Another: Site-Specific Art and Locational Identity (London and Cambridge, Mass.: MIT, 2002).
The two boys, youngster and late adolescent, cheerfully play catch, while waiting for Masato's mother, Satoko (Miwon), who is late getting home from her part-time job.