10 Questions with Yiou (Max) Yang
Al-Tiba9 Art Magazine ISSUE17 | Featured Artist
Max Yang is a photographer based in Los Angeles and Beijing. She graduated with distinction with a BFA from ArtCenter College of Design in 2022 and earned her M.Sc. in Arts Leadership/Administration from USC in 2023. Through her graduate studies, Max applies a cross-disciplinary approach to researching East Asian performance genres, such as film, dance, and visual arts. Her work examines how East Asian artists challenge traditional gender roles and advocate for social equity. Currently, Max is pursuing an MA in Cinema and Media Studies at USC's School of Cinematic Arts. Max's artistic practice delves into emotional and narrative themes inspired by the complexities of contemporary queer culture, and her artistic vision seeks to provide an alternative perspective to indifference and bias, embodying a spirit of rebellion that is both timely and timeless.
Yiou (Max) Yang - Portrait
ARTIST STATEMENT
In today's society, how much remains overlooked, unnoticed? What becomes neglected, forgotten, dismissed, or outright abandoned? While objects are often subject to such disregard, people, too, can face similar indifference. How, then, do we leave a mark in this era—a piece of memory that is truly ours? How do we assert our queerness, our defiance, in a world constantly in flux, driven by survival and competition? Max's photography captures these overlooked, forgotten spaces, portraying East Asian queer experiences in both cultural and socio-political landscapes. Her images evoke a melancholic sensitivity—attentive to neglected objects and subtle atmospheres—that sharply contrasts with masculine ideals of prosperity, progress, and control. Max observes that, despite advancements, China still contends with misogyny, homophobia, and other discrimination/violence. Revived patriarchal ideologies, the suppression of #MeToo, the detention of feminist activists, and bans on "effeminate men" highlight the importance of Max's work in representing diverse identities beyond stereotypes.
Untitled, Film Photography, 5376x3024 px, 2023 © Yiou (Max) Yang
AL-TIBA9 ART MAGAZINE ISSUE17
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INTERVIEW
You have a unique academic path with studies in both Arts Leadership and Cinema and Media Studies. How has this interdisciplinary background informed your artistic practice?
My academic background in Arts Administration/Leadership (MS) and Cinema and Media Studies (MA) at USC has shaped how I understand and approach narrative and its connection to socio-political issues. During my undergraduate studies in Photography & Imaging (BFA) at ArtCenter College of Design, I focused on building a strong technical foundation and honing my creative instincts. Those years taught me the essentials of creating visuals and exploring conceptual ideas. It was during graduate studies that I began to push beyond the boundaries of the medium, engaging with the broader socio-cultural and political implications of my work. My studies in Arts Administration provided me with a solid understanding of the structural and logistical workings of the art world. Learning how artistic projects are funded, curated, and exhibited shaped how I approach my own work. At the same time, pursuing Cinema and Media Studies pushed me to engage with theoretical frameworks and cultural implications. Through this program, I’ve been able to dissect how narratives operate—not just in terms of plot and structure, but also in the broader context of ideology, identity, and representation.
My academic path has pushed me to rethink what I create and why I create it, encouraging me to approach my work with curiosity and criticality. This ongoing process allows me to refine my artistic practice and contribute to conversations within the art world and beyond.
You are originally from Beijing but studied in California. Did these two greatly different cultural environments have a significant impact on your art practice?
Growing up in Beijing, I experienced a traditional East Asian environment where family values, collectivism, and respect for cultural heritage were integral to daily life. This upbringing instilled in me a sense of belonging to a shared history and cultural identity, but it also exposed me to the rigid expectations placed on individuals, particularly in terms of gender and societal roles. When I moved to the U.S. for high school in Boston and later attended college in California, I noticed how different the cultural environment was from Beijing. There was more emphasis on individual expression, and I encountered people with diverse identities and perspectives. Adjusting to this new environment was both exciting and challenging as I worked to balance these experiences with the values I grew up with. This duality influences my art, where I often explore themes of identity, belonging, and cultural tension, drawing from my experiences navigating two distinct worlds.
Living in both Beijing and Los Angeles has provided me with a transnational perspective that shapes how I approach art and storytelling. This perspective encourages me to acknowledge the layered cultural and social dynamics that shape people’s lives. Exploring the points of friction and harmony between these contexts often becomes the focal point of my projects, capturing the emotions, struggles, and triumphs of individuals at these intersections.
Untitled, Film Photography, 2022 © Yiou (Max) Yang
Photography is at the heart of your work. What does this medium allow you to express in terms of emotional and narrative complexity that other forms might not?
Photography has always been central to my artistic practice because of its ability to capture both the tangible and the intangible. What makes photography, especially film photography, so compelling is its sense of immediacy. There’s something honest about the way it freezes a moment in time, unfiltered and unpolished. It’s a process that requires not just technical skill but also an emotional connection to the subject. This immediacy is especially meaningful to me when exploring themes of identity and emotional complexity. Film photography, in particular, with its raw, unrefined quality, aligns with my desire to create work that feels authentic.
Photography also invites interpretation. A single image can hold multiple meanings, encouraging viewers to engage with it through their own perspectives. This openness is essential to my practice, as I explore themes that are both personal and broadly relatable, like love, identity, and belonging. The ambiguity inherent in a photograph allows it to transcend cultural and linguistic divides, making it a medium that connects with diverse audiences. I’m drawn to capturing quiet, unassuming moments within the queer community—scenes that might seem ordinary but carry significant emotional depth. These images create a space for connection between the subject and the viewer, fostering empathy and understanding.
Your photography often captures themes of overlooked or dismissed spaces and individuals. Could you describe your creative process in bringing attention to these often-hidden narratives?
My creative process is grounded in an attentive examination of the often-overlooked elements of everyday life—spaces, objects, and narratives that frequently exist on the margins of societal consciousness. These overlooked details form the foundation for exploring broader themes of cultural and generational transformation. Positioned at the intersection of Gen-Z and millennial experiences, I find myself negotiating the accelerated rhythms of modernity, where the push for progress often comes at the cost of unacknowledged emotional and social burdens. This negotiation is evident in my focus on the residual effects of technological advancement and the intergenerational pressures exerted by shifting societal norms.
A recurring focus in my work is the spatialization of societal tensions, those connected to race, gender, and generational identity. These tensions do not merely exist as abstract concepts but are materially inscribed in the environments we inhabit. Through photography, I interrogate how spaces—whether through their architecture, materiality, or illumination—reflect and mediate cultural and emotional struggles. Rather than prioritizing overt narratives, my work seeks to engagewith subtleties and absences, exploring how what is left unsaid or unseen holds meaning. By invoking the viewer’s attention to absence, quietness, and subtle emotional resonances, I hope to facilitate an engagement with the socio-cultural complexities that shape our collective experiences. My goal is not only to document or critique but to open up spaces for reflection and dialogue, allowing for a reconsideration of the values and narratives that often go unchallenged in the pursuit of progress.
Much of your work focuses on the experiences of East Asian queer individuals. How do you approach visually representing the nuances of queer identity within this cultural context?
Representing queer identity in a Chinese context requires focusing on how individuals navigate and express queerness within constrained spaces and under social restrictions. The lived realities of Chinese queer communities are shaped by a balance of resistance, adaptation, and subtle self-expression. Despite structural limitations, queerness persists in everyday life, often emerging in coded ways through gestures, aesthetics, and cultural references. A central theme in my practice is how young Chinese queer individuals re-contextualize global cultural influences, particularly Western queer aesthetics and subcultures. For example, films like Paris is Burning and Vogue have inspired ballroom culture and drag artistry among some queer circles in China. These cultural elements are adapted to fit local contexts, blending global references with distinctly Chinese forms of expression. This hybridity reflects how young people use popular culture to explore their identities while navigating family expectations, societal norms, and political frameworks. A subtle pose, the styling of an outfit, or the reimagining of traditional aesthetics can serve as powerful acts of self-expression.
I engage with queer theory, feminist studies, and transnational cultural studies. Scholars like Judith Butler, Jack Halberstam, and Petrus Liu shape my understanding of queerness as both a lived experience and a cultural construct, while studies of globalization inform my analysis of how Western queer aesthetics are reimagined in non-Western contexts. This approach examines how Chinese queer identities emerge through processes of translation, negotiation, and adaptation, challenging monolithic views and contributing to broader discussions on representation, resistance, and cultural hybridity.
Untitled, Film Photography, 4685x6560 px, 2022 © Yiou (Max) Yang
Elmo, Film Photography, 4190x5866 px, 2023 © Yiou (Max) Yang
Your photography challenges traditional masculine ideals and societal norms, as you mention in your statement. What drives you to explore these themes, and how do you hope your work influences perceptions around them? With your background in researching East Asian performance genres, how do you incorporate performance and cultural identity elements into your visual storytelling?
My work questions how gender is socially constructed, regulated, and performed within the framework of East Asian cultural traditions. Gender roles, embedded in societal expectations and practices, function not only as mechanisms of identity formation but also as tools of control, enforcing conformity to a binary system of masculinity and femininity. These roles are neither neutral nor benign—they reinforce power dynamics that marginalize women and queerindividuals, upholding a rigid social order that privileges heteronormative ideals.
A key concern in my practice is how toxic iterations of traditional masculinity and femininity perpetuate hierarchical gender roles. Traits associated with masculinity, such as dominance, emotional suppression, and control, are positioned in opposition to traits prescribed for femininity, including passivity, compliance, and self-sacrifice. These binaries, upheld through cultural narratives, family dynamics, and institutional structures, suppress individual expression and reinforce inequality. For women and queer individuals, these rigid norms act as both exclusionary and violent forces, limiting their agency and autonomy. I focus on gestures, relationships, and environments that reveal how individuals navigate and resist these norms. Rather than presenting a direct critique of gender roles, my work highlights the lived consequences of these constructs. Toxic masculinity and femininity do more than reinforce stereotypes; they harden the boundaries of gender itself, stifling the potential for more fluid, equitable, and inclusive understandings of identity. This rigidity impacts not only those who resist these roles but society as a whole.
Your work brings attention to issues of discrimination and cultural expectations. How has the public, particularly within East Asian communities, responded to these themes in your photography?
Criticisms of my work often focus on its perceived political nature or dismiss it as overly specific, reflecting a reluctance to engage with themes that challenge entrenched norms around masculinity, femininity, and family structures. These responses, particularly in traditional contexts, reveal a broader discomfort with queerness and its disruption of normative frameworks. While unsurprising, such reactions highlight the need to create spaces where alternative narratives can flourish and underrepresented identities are acknowledged and valued. Social media platforms exacerbate these challenges through strict censorship policies on content related to gender and sexuality. Posts addressing queer themes are frequently flagged or shadow-banned, limiting their visibility and reach. These systemic barriers mirror the stigmatization of queer discourse, especially in East Asian contexts where queerness often remains “taboo.”
In contrast, the response from queer communities has been deeply affirming. Many within these communities embrace works that reflect their lives, offering visibility and connection where representation is often scarce. This reinforces the importance of creating art that doesn’t claim to speak for everyone but opens space for narratives that might otherwise go unheard. Queer representation in art doesn’t need to provide universal answers; it contributes to a broader cultural dialogue, enriching the ways queerness can be understood and felt. For me, creating is not about standing out but participating in a collective effort to make these stories accessible and visible. It’s about authenticity—capturing the complexity of queer identities without reducing them to singular experiences. Success isn’t measured by reactions but by fostering reflection and connection, creating spaces for diverse voices to resonate and find meaning.
Miao, Film Photography, 5120x7680 px, 2022 © Yiou (Max) Yang
Given the challenges and censorship around gender and queer representation in certain cultures, how has the reception of your work shaped your perspective on your role as an artist?
The reception of my work, particularly the criticism and censorship it has encountered, has shaped how I approach my role as an artist. Early in my career, I often struggled with feelings of frustration when my work was misunderstood or dismissed, especially within traditional East Asian contexts where conversations around queerness and gender remain heavily stigmatized. Over time, I’ve come to recognize these responses as symptomatic of the very societal barriers my work seeks to challenge. For example, the censorship of queer-themed posts on social media highlights the systemic erasure of queer narratives. Instead of deterring me, such instances have reinforced my resolve to create art that questions and disrupts these norms. They serve as a constant reminder of the constraints still imposed on discussions of gender and sexuality, particularly in East Asia, and motivate me to persist in this dialogue, even when the process feels daunting.
Equally impactful has been the affirming feedback from queer communities. Hearing from individuals who feel seen or validated through my art has underscored the importance of centering marginalized voices. These connections reaffirm the potential of art to foster solidarity, inspire change, and build community, even amidst resistance. Overall, I would say thatthe varied reception of my work has sharpened my understanding of my role as both an artist and an advocate. I see mypractice as not only a mode of self-expression but also a platform to challenge societal norms, initiate dialogue, and amplify marginalized perspectives. Whether met with resistance or celebration, the responses to my art remind me of its transformative potential and the necessity of telling stories that matter.
You’re actively pursuing further academic studies. How do you see your current research influencing your future artistic and academic projects?
My academic research focuses on identity through the lenses of transnational feminism and queer studies. I analyze how cultural, social, and political factors influence identity formation, with a particular focus on East Asian and diasporic experiences. My work examines how marginalized groups respond to systems of representation in both everyday contexts and media, exploring how women in East Asia navigate portrayals shaped by local traditions and global influences. I investigate how patriarchal norms, neoliberal ideologies, and postcolonial histories shape women’s visibility and self-expression across film, media, literature, and activism, as well as how they challenge these pressures, resist reductive portrayals, and assert autonomy in diverse cultural and structural contexts. Additionally, I examine how East Asian queer communities construct and express their identities under conditions that simultaneously enable and constrain representation, where media portrayals often simplify or sanitize queerness for broader audiences.
A key aspect of my research is the intersection of queer and feminist identities in East Asia. Drawing on intersectionality and the works of global feminist scholars, I explore how race, gender, sexuality, and class shape lived experiences. I focus on how queer and feminist communities in East Asia use experimental media, photography, and participatory art to challenge dominant narratives. Inspired by scholars like Bell Hooks, who emphasize art’s transformative power, and José Esteban Muñoz, who imagines queer futures, I position creative practice as central to my inquiry. By combining theoretical analysis with artistic engagement, I aim to amplify marginalized voices and deepen understanding of identity in complex socio-cultural contexts.
Park, Film Photography, 2022 © Yiou (Max) Yang
Untitled, Film Photography, 2023 © Yiou (Max) Yang
Untitled, Film Photography, 2023 © Yiou (Max) Yang
Lastly, as someone who works across two distinct cultural contexts—Los Angeles and Beijing—are there new narratives or collaborations you’re looking to explore in your upcoming work?
Navigating between the cultural landscapes of Los Angeles and Beijing, I find inspiration in the intersections and contrasts that define these two contexts. My upcoming projects aim to explore narratives that examine how identity, queerness, and community are shaped by these distinct cultural environments. I am drawn to the understated expressions of queerness in East Asian societies where open acceptance remains limited. These subtle acts of resistance and self-expression carry significance, and my work seeks to document and amplify their impact.
One narrative focus is the experience of individuals straddling two worlds—those negotiating the expectations of traditional East Asian cultural frameworks while embracing the fluidity of queer identity. The rise of social media, urbanization, and globalization has reshaped perceptions of self and belonging. For queer individuals, these shifts offer both opportunities and new challenges. My work will engage with these dynamics, employing photography and other mediums to document the interplay between technology, culture, and queerness. Collaboration will be a central element of these efforts. I am interested in working with queer artists from China and the international community to create projects that foster cross-cultural dialogue. These collaborations could take the form of exhibitions, workshops, or multimedia installations that highlight diverse perspectives on identity and belonging. Whether through photography, video, or collaborative projects, I strive to create art that serves as a platform for storytelling and connection and to contribute to a more inclusive representation of queerness and identity.
