Corey's analysis is grounded in the fieldwork she conducted while living in Vietnam and Cambodia from 2010 to 2012.
Book launch of Nguyễn Quân's book Mỹ thuật Việt Nam thế kỷ 20, with Nguyễn Quân, Ngô Thị Thùy Duyên, Pamela Corey, and Nguyễn Kim Ửng, April 2011. Photograph by Ngô Thị Thùy Duyên.
Between 2015 and 2018, she worked on developing a book manuscriprat based on research, while adding new discussions and revising some of her thinking about existing works.
Pamela Corey interviewing artist Tor Vutha in Battambang, Cambodia, in August 2011. Photograph by Kristina Wong.
The fact that Ho Chi Minh City and Phnom Penh were linked and selected as her sites of study owes to Corey's perception of their sharing "a more intimate historical and cultural geography," which she suggests might be a more productive lens as opposed to "a comparative nation-focused account of contemporary art in Vietnam and Cambodia."
Tuan Andrew Nguyen, in collaboration with Phunam Thúc Hà, Gil 145, Ngô Đồng, & Jason Huang, Proposal for a Vietnamese Landscape #2: Independence and freedom, Gil, your hair back into place [Độc Lập Tự Do, Gil, Tóc Luôn Vào Nếp], 2006. Oil on canvas, 180 x 120 cm. Collection: Queensland Art Gallery | Gallery of Modern Art. Photograph by Phunam Thúc Hà, courtesy of the artist.
Dinh Q. Lê, I Am Large, I Contain Multitudes, 2009. Bicycle, steel, mirrors, dimensions variable. Courtesy of the artist, PPOW Gallery, Shoshana Wayne Gallery, Elizabeth Leach Gallery, and 10 Chancery Lane Gallery.
Source: Fulbright University Vietnam
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