England's Yellow Peril: Sinophobia and the Great War

As England suffered heavy casualties at the front during World War One, the nation closed ranks against outsiders at home. England sought to reaffirm its racial dominance at the heart of the empire, and the Chinese in London became the principal scapegoat for anti-foreign sentiment. A combination of propaganda and popular culture, from the daily paper to the latest theatre sensation, fanned the flames of national resentment into a raging Sinophobia. Opium smoking, gambling and interracial romance became synonymous with London's Limehouse Chinatown, which was exoticised by Sax Rohmer's evil mastermind Fu Manchu and Thomas Burke's tales of lowlife love. England's Yellow Peril exploded in the midst of a catastrophic war and defined the representation of Chinese abroad in the decades to come.

High Formalism: The aerial view and the colour field

Laura Kurgan’s Monochrome Landscapes (2004), first exhibited in the Whitney Museum of American Art in New York City, consists of four oblong Cibachrome prints derived from digital files sourced from the commercial Ikonos and QuickBird satellites. The prints are ostensibly flat, depthless fields of white, green, blue, and yellow, yet the captions provided explain that the sites represented are related to contested military, industrial, and cartographic practices. In Kurgan’s account of Monochrome Landscapes she explains that it is in dialogue with another work from the Whitney by abstract artist Ellsworth Kelly. This article pursues the relationship between formalist abstraction and satellite imaging in order to demonstrate how formalist strategies aimed at producing an immediate retinal response are bound up with contemporary uses of digital information and the truth claims such information can be made to substantiate.