Term Papers on Dinh Le

Term Paper Title	Dinh Le
# of Words	769
# of Pages (250 words per page double spaced)	3.08

Dinh Le

The reality Dinh Le illustrates in his artwork appears to foster a subjective
sense of uniqueness while containing a deeper, more intimate meaning. As Le
first arrived in the United States in 1979, he also brought with him the culture
and experiences of his country, Vietnam. He portrays his experiences and
thoughts through photographs, installations, exhibits, and real-life performance
arts. Though his discipline may not always offer financial stability (as Le
discussed at Lecture), it serves as an ample platform to express his personal
messages and feelings. As Le originally aspired to become a Computer Scientist
at the University of California at Santa Barbara, it is in the craft of art,
mainly photography, where Le found the opportunity to unveil the thoughts and
experiences of his childhood from Vietnam. Though a great detail of Le’s work
consists of personal representations, he also exhibits a lineage of Vietnamese
antiquity relating to the war.

In the article, “Dinh Q. Le at the Los Angeles Center for Photographic
Studies,” Christopher Miles describes Le’s art to potentially hold a deeper,
symbolic meaning. In describing Le’s, The Headless Buddha, Miles the work as a
result of “a sad set of circumstances and a potent metaphor for the broader
issues these circumstances reflect” (Artweek, April 1998). Dinh Le’s artwork
involves a great

amount of cultural importance, in terms of, introducing a new innovative art
form, as well as referencing cultural and historical context.

Perhaps the signifying aspects of Dinh Le’s artwork are his inter-woven
photographs. Dinh Le recounts where he learned this trait in his interview with
Allan deSouza, “my aunt used to do grass mat weaving, and when I was young I
used to watch her and just learned how to do it over the years” (The Headless
Buddha, LACPS exhibition catalogue, February 1998). Though Le nonchalantly
describes this photo weaving technique, others like Claudine Ise of the Los
Angeles Times, praise the originality of Le’s technique. Ise reports, “Reproductions
don’t do justice to Dinh Q. Le’s mind blowing photo weavings at Los Angeles
Center for Photographic Studies…There’s a psychedelic quality to the
finished weavings” (Headless Buddha Weaves History, Myth, March 1998).

Aside from the aesthetic novelty of Le’s artwork, there is also a great
deal of reference to the cultural and social context from Le’s life. In his
artwork entitled “Mother and Child,” Le interweaves photos of his family, to
represent changing generations, along with religious context. According to
Chattopadhyay, “D...

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