While Chinn’s work is abundant in political and social themes pertaining to the women’s movement and lesbian equality, the fact that she is a person of color is subtle, and at times, seem non-existent in her work. Curious about this "forgotten" element that I could not find, I asked Chinn about my observations. "The piece, Before the Wedding, aside from the self-portraits (Déjà Vu and Butler's View) I have rendered over the years, should be considered within the motif of Asian. Most of my works cover a range of ethnicities, though not all are available for the web viewing public. Rather, one may see a selection of images in which the subjects are Asian, African-American, Native American, European American and/or of mixed cultural heritage. Before the Wedding is such a piece. Kim Anno, seated, is Japanese, Polish, and Native American, so she doesn't fit neatly into a survey where one might be required to "check off" one's ethnicity. Her partner, Ellen Meyers, is European American and Jewish. Bing, the large canvas I completed last, is a portrait of sorts, of the well known Bay Area Abstract Expressionist, Bernice Lee Bing, who was a Chinese American artist and a lesbian."

Chinn celebrates ethnicity in another portrait titled Affirmations. One of several African-American portraits, Chinn has a dual purpose in this piece: "Affirmations reflects an amalgamation of cultural experiences, perspectives, and aesthetics. The ethnic and cultural artifacts in this cross-cultural fusion of traditional and modern textural contrasts link identity and imagery. Created as a double portrait of African-American photographer Jean Weisinger, this work celebrates, honors, and acknowledges the strength and power of women artists of color."

One would think that with the so-called raising of social consciousness in the late 20th century, artists who are lesbian/gay or of color would be celebrated and well-known in and outside of the art world. Not so. The old rules of social status and skin color still reign quite supremely over artists who attempt to break society's barriers. These are impediments no one in the art world seems willing to openly acknowledge. With the emphasis on Western European art forms, artists who cross over the invisible lines are virtually ignored. Some artists of the lesbian/gay culture have broken through, but only due to intense controversy, such as Robert Mapplethorpe. Artists of color that have acheived "star" status...well, I can't think of one off the top of my head. I can think of literary artists--Maya Angelou is the first one that comes to mind. Her fame came at the nod of a white man, endorsing her work as worthy. Where would she be if he had not tipped his hand to her? This question and many others like it are being asked by many, including Chinn:

"As far as the Art Establishment – status quo -- is concerned, the kind of work I produce is still marginalized by prevailing power brokers that place more value in commodity over content. One is not likely to find my paintings in a museum for which crowds would stand in long lines to view them. My genre, if you will, is not generally given the kind of  accord reserved for “high end” artists unless it becomes sensationalized by controversy, as in the case of the exhibition of Robert Mapplethorpe at the Corcoran Gallery some years ago.  

However, I also feel that there has been a burgeoning  movement of cultural activists challenging archaic notions about what constitutes art, how it is defined, how it is valued, how it is used, for what purpose, etc. And these stalwart advocates of an open cultural playing field have contributed enormously to the opening of new doors, asserting new canons into the musty old presentations of art history and they are creating opportunities for more refreshing points of view.

In the absence of institutions which allow truly open forums in the visual or performing arts, artists and scholars from our own communities have exerted power through political strategies, creating new venues, and writing thoughtful essays and books, such as Susan Ressler’s Woman Artists of the American West or Harmony Hammond’s groundbreaking Lesbian Art in America: A Contemporary History.

What has occurred is that we as artists have learned to identify and gravitate toward our natural allies. For example; Moira Roth, Trefethen Professor of Art History, at Mills College; Karen Higa, at the Japanese National Museum in Los Angeles; Kim Anno, Associate Professor of Art History at Oakland’s California College of Arts and Crafts; Valerie Matsumoto, Professor of Art History at UCLA; Phoebe Farris-Dufrene, Associate Professor of Art and Design at Purdue University. Really there as an army of us out there.

Additionally, the Internet has played a vital role in equalizing the field. Technology has released us from the confines of galleries and museums, enabling artists to present our ideas, to stimulate intellectual dialog, and engage our viewing audiences. This can only enhance our position."

Indeed the Internet has changed many things in our immediate world, touching just about every aspect of our lives. For budding and established artists, the internet is an open playing field--no censorship, no one to reject your work--a vast arena were one can create a webpage, and begin their career.