Summercamp’s ProjectProject: Unseen Opening Sunday, July 24th

Summercamp’s ProjectProject: Unseen
Opening Sunday, July 24th

Summercamp’s ProjectProject
Unseen

Allison Alford & Dai Toyofuku
Audrey Chan
Jay Erker
Brian Getnick
Nicholette Kominos
Ruby Osorio
Thinh Nguyen
Elyse Reardon-Jung
Jesse Robinson
Geneva Skeen
Semi-Tropic Spiritualists
Carrie Whitney
and Amir H. Fallah in Guestroom

Unseen July 24th—August 7th, 2016
Opening Reception: Sunday July 24th 5—8PM

3119 Chadwick Drive, Los Angeles, CA 90032
summercampprojectproject.org
Hours by appointment, please contact summercampprojectproject@gmail.com

Summercamp’s ProjectProject presents Unseen. An outdoor group exhibition bringing together artists whose work reveals underlying magic, psychic phenomena, and textural sound as well as dealing with elements that support and balance, issues of injustice, and social practices. Organized by Fatima Hoang, Elonda Norris & Janice Gomez.

Astri Swendsrud and Quinn Gomez-Heitzeberg’s sculptural information kiosk introduces the audience to their history and projected future of utopian thinking and occult practice through the Semi-Tropic Spiritualists, an organization that created a campsite meeting place outside the city limits of Los Angeles in 1905. Through their installations and performance work, this community is being re-created as a model for exploring ideas of faith and skepticism, belief and charlatanism, and utopian social ideals.  InGoatspace, Ruby Osorio’s works explore fantasy, which she defines as the state of mind she finds herself in when encountering ambiguity.  In this state, there is a thin line between memory and fantasy—fantasy can fix itself in the memory to the point of becoming real. Osorio Walks this line using literature, vintage photographs and botanical reference books as source material to explore the uncanny and enigmatic.

In her practice, Jay Erker creates “potential spaces,” which is a psychological term conceived by the British psychologist D. W. Winnicott to designate a conceptual space or a state of mind based upon a series of dialectical relationships: fantasy/reality, I/other, symbol/symbolized, etc., in which each idea affects and transforms the other in a state of perpetual becoming and destruction. For Unseen, Erker’s audio text of essay, lyrical poetry, sound art, and performance addresses the space and environment specifically, and generally address the experience of the art and people. Carrie Whitney questions the sensory experiences in the world for the “unseen” to compete with by investigating its existence. To experience this requires a curiosity and a willingness to listen. In this work a space is created with familiar objects that stereotypically remind us of what could be worn to conjure the unseen.

Dispersed throughout the hillside below the Summercamp patio, Geneva Skeen’s multi-channel sound work is composed of field recordings from the site and surrounding neighborhood. The sound piece will be fragmented into hyper-specific corners of the hillside. The installation itself seeks to provoke an internal dialogue between the listener and the idea of an individual’s position within a complex, tiered environment, both literally and metaphorically.  Jesse Robinson couples ready-made objects with fabricated sculptural forms staging conversations in which the language of sculpture collides with the language of consumerism. Using the conventions of display, he examines how these two different, yet related, formal structures shape desire and the relationships we have with things. While Nicholette Kominos’ constructions are based on simple forms inspired by commonplace or everyday objects, she utilizes the context of familiarity to explore how complex and informative the ordinary can be.

Two ceremonial spaces invoking forgotten ties between humans and plants will be led by Allison Alford and Dai Toyofuku. Other collaborators include a resident fig tree, along with an oak tree, several elderberry and black walnut trees, sages and buckwheat from the Lower Arroyo. This event during Unseen is one of an ongoing series of secret rituals that will be performed throughout the summer and the only ritual made available to the public. Human visitors will have the opportunity to participate in communion, blessing, and healing rites.

Elyse Reardon-Jung’s most current work investigates tropes of art history with an emphasis on the delicately absurd and the politely idiotic. Using the illumination of ill-repute, neon, to represent simplified Odalisque nudes, we can consider the liberal way we consume the female form.  Although a well trod path, She is ever curious at the way the female body becomes a repository for hyper loaded cultural signifiers/baggage. Using simple execution and transparent materials, loaded with the weight of constant use. The familiar subject and familiar materials are meant to feel relatable as well as fairly silly. The absurd can be an entry point, a gateway to serious consideration. Audrey Chan’s flag features a series of Sculpey figurines made to resemble the editors of the zine “Would Be Saboteurs Take Heed” carrying heroic personal attributes. By fashioning these figurines, she wants to reconsider and invert the tropes and representational politics of the heroic statue in Western art—as large in scale, predominantly male, nude, idealized, and Western or European in identity. The figurines are diminutive, honor Asian American individualism and diversity, and resist totalizing and stereotypical representations. They propose a new set of heroes for intersectional and biomythographical narratives.

Thinh Nguyen’s current work examines non-binary identity and vulnerability. He reclaims his feminine superego, Long Long, from childhood memories of growing up and wearing dresses. While performing songs he wrote in response to the current sociopolitical climate, Nguyen will be wearing one of the his functional biomorphic sculptures made of reclaimed dresses. Straddling the line between beauty and grotesque, Brian Getnick presents a series of sculptures that brings to mind what once was, could have been, and is now.

And as a compliment to Unseen, Amir H. Fallah will be featured in Guestroom. Fallah’s approach to art making is akin to the process of an archaeological dig. Fallah investigates his subject’s lives through the analysis of their personal belongings, becoming the arbiter of these individuals’ histories, curating found elements into contemporary portraiture. Through this process he does not attempt to beautify or flatter his subjects, but instead focuses on integral points of their lives that subsequently shaped who they were as individuals. In direct opposition to the history of portraiture, he hides the true identity of his subjects by cloaking them in vivid, patterned fabrics found amongst their belongings. The viewer is forced to craft an identity for the subjects through their own interpretation of the curated elements presented.
Through the process of art making and the employment of contemporary portraiture, Fallah explores the realms of truth through storytelling. Obsessive consideration of truth’s limitations can help us understand one another, and this examination of identity is the keystone of his practice.

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VACATING AND INHABITING: HANNA SHIM . KRYSTIE WADE . KERRY ANN LEE . ERIN FORSYTH

VACATING AND INHABITING

HANNA SHIM  .  KRYSTIE WADE  .  KERRY ANN LEE  .  ERIN FORSYTH

12 July – 7 August, 2016
Preview: Tues 12 July, 5.00 – 7.30pm

Within Vacating and Inhabiting, there exists an underlying sense of playfulness, but also
disorientation, as the audience is required to navigate the surreal, dreamlike interiors,
landscapes, and installations…>>

WHITESPACE is now open on Sundays
for your viewing pleasure. 11.00am – 3.00pm

  

Whitespace  |  12 Crummer Rd  |  Ponsonby  |  Auckland
Gallery Hours  
|  Tues to Fri 11-5pm  |  Sat 11-4pm   |  Sun 11-3pm
dwhite@whitespace.co.nz
  |  http://www.whitespace.co.nz/ 

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Call for Papers: SYMPOSIUM “Writing and Picturing in Post-1945 Asian Art”

Call for Papers
SYMPOSIUM “Writing and Picturing in Post-1945 Asian Art”
(Part II: Graduate Student Workshops)

Center for the Art of East Asia, Center for East Asian Studies (University of Chicago), and PoNJA-GenKon are organizing a three-day international symposium Writing and Picturing in Post-1945 Asian Art to take place in April 2017. The second day of the symposium will include graduate student workshops to focus on the latest scholarship emerging from research done by graduate students and recent graduates in the field. We would like unpublished materials that will point to new directions of research and interpretation.

Symposium Summary
Dates: April 21–23, 2017
Place: Department of Art History, University of Chicago
Co-organized by Center for the Art of East Asia, Center for East Asian Studies, and PoNJA-GenKon

This symposium begins with the examination of two basic human activities, writing and picturing. In different cultures, these two have had historically varying relationships. To name just one, in East Asia, the two (書 and画) have traditionally been entwined, with ink and brush playing central roles. In postwar art, traditional and culturally specific modes of writing and picturing began to undergo transformation, inspired, facilitated, and accelerated in part by increased transnational exchange. In view of developments over the past half century, the symposium Writing and Picturing will survey the state of scholarship and discuss future directions in museological and art-historical studies. The symposium organizers aspire to form a bridge between the established field of modernist art history and newly evolving contemporary art while casting a wider geographical net beyond East Asia. By providing a platform for the presentation of new research on various practices that merge writing and picturing in postwar and contemporary art, we aim to create a watershed for the culturally dynamic rethinking of these fundamental human acts. For the full concept statement and questions, please contact mailponja@gmail.com.

Eligibility for Submission
Students currently enrolled in graduate-level institutions anywhere in the world and recent PhDs who have received their degrees from such institutions in the past two years are eligible to submit paper proposals.

General Parameters
Within the scope of the symposium, proposed papers should be based on original and critical research within the following parameters:

1) the paper must address the work of art and related media in visual culture (e.g. film, design, architecture, manga, etc.) produced after 1945
2) the artist(s) must have been either born in Asia, of Asian descent, or active in Asia
3) the work must demonstrably relate to aesthetic or socio-political situations in Asia after 1945.
4) the paper may address much broader genres of expression than calligraphy, such as ceramic and textile art, as long as it presents a unique approach to the issue of tradition and modernity.
5) You are welcome to submit more than one proposal. However, you will have only one selected paper to present during the program.

Please send:

1) your proposal, no more than 500 words
2) your CV, no more than 2 pages
3) if you want to attach image(s), no more than 1MB (please scale down the files)

Send to: mailponja@gmail.com
Due: August 15, Monday, 2016

Funding

Please direct any question to mailponja@gmail.com.

Selection Committee
Co-Chairs: Reiko Tomii, Miwako Tezuka, Chelsea Foxwell
Committee members: Joan Kee, David Raskin

About PoNJA-GenKon
PoNJA-GenKon is an acronym for “Post Nineteen-forty-five Japanese Art / Gendai Bijutsu Kondankai,” an online discussion group of students, art professionals, artists, and individuals interested in contemporary Japanese art across the globe. It was founded in 2003 by two scholars, Dr. Reiko Tomii and Dr. Miwako Tezuka. Also known in its short form, PoNJA, the group fosters communication among the members, shares knowledge with the public, and helps develop this area of study. Today, it has grown to include more than 120 members globally, including all the key leaders and innovators of this still-young field. So much so, “ponja” as a terminology has also come to signify the field of postwar and contemporary Japanese art history.

Miwako Tezuka's photo.
Lead Image: Enrico Isamu Oyama (b.1983), Improvised Mural (Walls), detail, 2015. Acrylic-­‐based aerosol, acrylic paint and sumi ink on walls. (H) 3.8 m x (L) 69.5 m (overall). Installation at Tringle Space, Chelsea College of Arts, University of the Arts, London, United Kingdom. Photo by Tom Carter

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JULY 2016 Newsletter

For the latest information, visit the DAAN Facebook

DAAN JULY 2016 NEWSLETTER

DAAN Members,

It’s a pleasure to meet you! I’m Erica Ando, the new DAAN newsletter editor. I am an art writer and independent curator living in Florida. (Please see my bio in the Member Directory.) I look forward to working with you and, hopefully, to meeting you in person someday soon. Please feel free to contact me atericaando88@gmail.com.

If you have news items for the monthly newsletter, please send them to diasporicnetwork@gmail.com or directly to me atericaando88@gmail.com with the subject line DAAN newsletter.

If you have news items that you want your regional representatives to know about and to post on the DAAN Facebook page, please find a list of your DAAN reps here.

OPPORTUNITIES

ALPHA Education History + Art + Peace Art Contest
Visual Art and Creative Writing Contest
Youth and Open Divisions
Deadline July 8, 2016

Taiwan Fellowship 2017
Deadline extended to July 15, 2016

Association of Art Historians Call for Papers:
Art History as Créolité/Creolising Art History

Paper proposal deadline November 7, 2016

Amerasia Journal Special Issue Call for Papers: Exhibiting Race and Culture
Paper submission deadline November 15, 2016

 

JULY EXHIBITIONS
The Pacific Project: Yuki Kihara
Orange County Museum of Art, Newport Beach, CA, U.S.
Through July 10, 2016

Minidoka On My Mind: Paintings and Prints by Roger Shimomura
Marianna Kistler Beach Museum of Art, Kansas State University, Manhattan, KS, U.S.
Through July 17, 2016
Related panel featuring Roger Shimomura:
“You People: mistrust of the Other” now online

The Reports of My Death Are Greatly Exaggerated. Larry Lee: A Retrospective
Beverly Arts Center, Chicago, IL, U.S.
Through July 23, 2016

Behind the Glass Eye — Photographs by Toyo Miyataki
Marianna Kistler Beach Museum of Art, Kansas State University, Manhattan, KS, U.S.
Through July 31, 2016

Wifredo Lam
Reina Sofia, Madrid Spain
Through August 15, 2016

Andy Warhol | Ai Weiwei
The Andy Warhol Museum, Pittsburgh, PA, U.S.
Through August 28, 2016

Stage Design by Ming Cho Lee
Museum of Chinese in America, New York, NY, U.S.
Through September 11, 2016

Shadows of the Floating Worlds: Paper Cuts by Hiromi Moneyhun
Morikami Museum and Japanese Gardens, Delray Beach, FL, U.S.
Through September 18, 2016

Revolution in the Making: Abstract Sculpture by Women
Hauser Wirth & Schimmel, Los Angeles, CA, U.S.
Through September 26, 2016

But a Storm Is Blowing from Paradise: Contemporary Art of the Middle East and North Africa
Guggenheim Museum, New York, NY, U.S.
Through October 5, 2016

Uchinanchu: The Art of Laura Kina
Kwan Fong Gallery of Art and Culture
California Lutheran University, Thousand Oaks, CA, U.S.
Through October 27, 2016

Kay Sekimachi: Student, Teacher, Artist
de Young Museum, San Francisco, CA, U.S.
Through November 6, 2016

The Wayfinding Project — with artist Beatrice Glow
A/P/A Institute at NYU, New York, NY, U.S.
Through December 21, 2016

Everything Has Been Material for Scissors to Shape
Wing Luke Museum, Seattle, WA, U.S.
Through April 16, 2017

ONGOING ONLINE
Asian American Art Oral History Project
AS-AP Project: Godzilla Oral History
Art Asia America
Asian/Pacific/American Archives Survey Project
Asian Diasporic Visual Cultures and the Americas journal
The Artistic Journey of Yasuo Kuniyoshi
Racecraft online at the Center for Art and Thought
H1-B online at the Smithsonian Asian Pacific American Center

Diasporic Asian Art Network
Like us on Facebook!
Visit our website

Become a member!

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JUNE 2016 Newsletter

View the DAAN JUNE 2016 Newsletter

For the latest information, visit the DAAN Facebook

DAAN JUNE 2016 NEWSLETTER

DAAN Members,
If you have news items that you want your regional representatives to know about and to post on the DAAN Facebook page, please find a list of your DAAN reps here.

If you have news items for the monthly newsletter, please send them to diasporicnetwork@gmail.com

OPPORTUNITIES:
Taiwan Fellowship 2017
Deadline extended to July 15, 2016

REGIONAL NEWS

DAAN-NY
Chanika Svetvilas has taken a new position at the International Sculpture Center in New Jersey and will be transitioning from NY Regional Rep — Thank you Chanika for all your organizing and getting the NY Regional events going with Zavé Martohardjono and Michelle Loh, who will continue with events this fall!

EVENTS:
Asian American Arts Alliance 2016 June Gala Kick-off Party
New York, NY, U.S.
Tuesday, June 28 at 6:30PM
RSVP for your tickets!

JUNE EXHIBITIONS:
Jean Shin: Spring Collection

Materials for the Arts, New York, NY, U.S.
June 16, 2016 Opening Reception 6-9PM

Making Waves: Japanese American Photography, 1920-1940
The Japanese American National Museum, Los Angeles, U.S.
Through June 26, 2016

Interlace: Three Artists in the Cambodian Diaspora
inCube Arts SPACE, New York, NY
Through June 30, 2016

The Pacific Project: Yuki Kihara
Orange County Museum of Art, Newport Beach, CA, U.S.
Through July 10, 2016

Minidoka On My Mind: Paintings and Prints by Roger Shimomura
Marianna Kistler Beach Museum of Art, Kansas State University, Manhattan, KS, U.S.
Through July 17, 2016
Related panel featuring Roger Shimomura:
“You People: mistrust of the Other” now online

Behind the Glass Eye — Photographs by Toyo Miyataki
Marianna Kistler Beach Museum of Art, Kansas State University, Manhattan, KS, U.S.
Through July 31, 2016

Wifredo Lam
Reina Sofia, Madrid Spain
Through August 15, 2016

Andy Warhol | Ai Weiwei
The Andy Warhol Museum, Pittsburgh, PA, U.S.
Through August 28, 2016

Stage Design by Ming Cho Lee
Museum of Chinese in America, New York, NY, U.S.
Through September 11, 2016

Revolution in the Making: Abstract Sculpture by Women
Hauser Wirth & Schimmel, Los Angeles, CA, U.S.
Through September 26, 2016

But a Storm Is Blowing from Paradise: Contemporary Art of the Middle East and North Africa
Guggenheim Museum, New York, NY, U.S.
Through October 5, 2016

The Wayfinding Project — with artist Beatrice Glow
A/P/A Institute at NYU, New York, NY, U.S.
Through December 21, 2016

Everything Has Been Material for Scissors to Shape
Wing Luke Museum, Seattle, WA, U.S.
Through April 16, 2017

ONGOING ONLINE:

Asian American Art Oral History Project
AS-AP Project: Godzilla Oral History
Art Asia America
Asian/Pacific/American Archives Survey Project
Asian Diasporic Visual Cultures and the Americas journal
The Artistic Journey of Yasuo Kuniyoshi
Racecraft online at the Center for Art and Thought
H1-B online at the Smithsonian Asian Pacific American Center

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Hyong Nam Ahn: The Secret of Peace at Art Mora Gallery, NYC

Hyong Nam Ahn: The Secret of Peace

March 10-23, 2016 

Opening Reception: Thursday, March 10, 6-8pm

Art Mora Gallery

547 W. 27th St. #307, New York, NY 10001
212-564-4079

Hyong Nam Ahn

The AHL (Art, Humanity, Love) Foundation is delighted to present The Secret of Peace, Hyong Nam Ahn’s solo exhibition curated by Eun Young Choi. The exhibition will showcase Ahn’s most recent sculptures and wall pieces along with his delicate lyrical drawings.

Ahn uses a variety of materials such as cut out aluminum forms, stainless steel rods, wood, stone, and oil paint as well as environmental factors such as wind as metaphors that allude to the natural environment. Ahn’s sensitivity to equilibrium, light and movement is accentuated by his use of these disparate materials in a fluid dialogue with each other.

In fact, the use of technology and industrial materials such as neon lights in combination with natural materials and motifs are more of a reference to the dichotomy of our environment that encompasses both the manmade and the natural rather than a critique on industrialization or consumerism. The various elements seem fractured yet balanced, engaging the viewer into a sophisticated dialogue about philosophy, nature, progress, technology, and spirituality.

Ahn’s poetic and lyrical sculptures and drawings embody both the artist’s spontaneous gestures as well as the refined technical sophistication of his craftsmanship to capture the vitality of both the physical and the spiritual world. While Ahn’s geometric shapes allude to natural motifs, his expressive linear elements and use of neon lights can be linked to the long history of Asian meditative calligraphic brush strokes. Ahn’s elegantly choreographed lyricism and the raw power of the medium embody the complex balance of nature, harmony and peace.

Hyong Nam Ahn (b 1955, Korea) earned his BFA and MFA from the School of the Art Institute of Chicago. Inspired by Kinetic Art of the 1960s, his sculptures integrate lights, sounds, and movements. Ahn has exhibited extensively including solo and group exhibitions at the Museum of Contemporary Art, Chicago; Tweed Museum, University of Minnesota; Ohio University Art Museum; Arlington Cultural Art Museum, Columbus, OH; Lake View Museum of Art & Science, Peoria, IL; SoMa Museum of Art, Seoul, Korea; and Laciudad Museum, Madrid, Spain among many others. Ahn has received numerous commissions for public sculptures from notable institutions and corporations such as McDonald Corporation in Kirkland, WA; The Mayor’s Advisory Committee on Art & Culture, Baltimore, MD; and McCormick Place Donnelly Hall World Convention Center, Chicago, IL.

Eun Young Choi, Director of Programs at AHL Foundation, is a New York-based curator, artist, museum educator and arts administrator originally from Seoul, Korea. She holds a MFA from the School of Visual Arts and a BFA from the School of the Art Institute of Chicago. Choi has organized exhibitions and cultural events in collaboration with various organizations including the New Museum’s IDEAS CITY Festival, National Academy Museum, United Nations Headquarters, and Asian American Art Centre. Her exhibitions and programming have been featured in the New York Times, New York magazine, VOGUE magazine, The Brooklyn Rail, Artcritical and numerous other media outlets.

 

About the AHL Foundation

AHL (Art, Humanity, Love) Foundation is a 501(c)3 visual arts organization with a mission to support Korean artists living in the United States and is committed to promoting and providing greater exposure of their work. Founded by Sook Nyu Lee Kim in 2003, the AHL Foundation has been committed to seeking and promoting talented Korean and Korean-American artists while building a wider public awareness of the important cultural contributions made by these artists. Other AHL programs include commissions, exhibitions, art history classes, public lectures, museum and gallery tours along with professional development opportunities for artists through studio visits, the AHL Forum, Visual Art Awards and Project Grants.

This exhibition is organized by the AHL Foundation with the generous support from the New York State Council on the Arts, New York City Department of Cultural Affairs, Jason J. Kim Oral Design, KISS Products and numerous other donors.

For additional information about our programs please visit www.ahlfoundation.org. For inquiries about the exhibitions, please contact us at info@ahlfoundation.org or 516-983-3935.

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INVASION OF THE PODS JAMES WONG curated by MARY TING at Chinese American Arts Council, NYC

CAAC
INVASION OF THE PODS
JAMES WONG
Curated by MARY TING

PODS侵略
黄仕荣
丁維瑾策展

Chinese American Arts Council
456 Broadway, 3rd Floor
New York, NY 10013

Exhibition/展期: 3.10 – 4.15.2016
Reception/茶會: 3.10.2016, 6-8pm

Exhibition Statement
James Wong, a Chinese American self taught artist has been working non-stop for the past thirty years on his Future War marker drawings. This exhibition, James Wong: Invasion of the Pods features his recent large multi panel works and the proliferation of pods– small flying ships, some that are robots, others with pilots. These works range from two feet to eight feet long in a narrative comic strip format.

With an oeuvre of some six thousand five hundred drawings to date, James Wong is immersed in his invented worlds at war. Each military force is complete with its own logo, transportation fleet, war machines, arsenal, and personnel. Intense color, bold design and minute linear details are the calling card of James’ work. Drawings are created first with a black! marker outline and templates, then followed by intense colori! ng into the wee hours. In the artwork of James Wong, the iconography of model airplanes, comic books, and architectural blue print drawings merges with game design, avatars and war technology.

Born in Hong Kong in 1972, James grew up in New York City Chinatown and went to New York’s Art and Design High School. His work has been exhibited at Cooper Union, Margaret Bodell Gallery, Henry Street Settlement, Cuchifritos and American Primitive Gallery, all in New York City.

For more information visit http://www.caacarts.org/dp/?q=/node/15&id=248

展覽論述
黄仕荣是位自学成材的美籍华裔艺术家,过去三十年一直创作一系列「未来大战」麦克笔画作。是次展览「黄仕荣:机械人侵略」展出他近期的大型多画板作品,而Pods 的增值。黄仕荣创造的Pods 是一种小飞物, 有的是机器人,有的 有飞行�‘! �。是次展览的作品长两至八呎,形式为叙述性连漫画格式。

直至现在,黄仕荣已创作了超过六千五百幅画作,沉浸于他创作的战争世界:每个军事力量都有自己的标志、车队、武器、军器厂和军人。他的画作以强烈色彩、大胆设计和细致线条见称。这些作品先以黑色麦克笔起草,再以强烈颜色上色至夜深。在黄仕荣的画作中,模型飞机、漫画和建筑蓝图的意象与游戏设计、人物造型和战争技术融合。

黄仕荣1972年生于香港,在纽约市唐人街长大,就读纽约的艺术及设计高中(Art and Design High School)。其画作曾于纽约市的库珀联盟(Cooper Union)、玛格丽特波代尔画廊(Margaret Bodell Gallery)、亨利街社福艺术中心(Henry Street Settlement),Cuchifritos画廊(Cuchifritos)和美国原始画廊(American Primitive Gallery)展出。

點選更多�³! �訊 http://www.caacarts.org/dp/?q=zh-hant%2Fnode%2F15&id=248

Chinese American Arts Council and Gallery 456 are supported, in part, by public funds from the National Endowment for the Arts; the New York State Council on the Arts with the support of Governor Andrew Cuomo & the NYS Legislature; The City of New York Department of Cultural Affairs in partnership with the City Council; and many other friends.

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Curators in Conversation: Eugenie Tsai at the Museum of Chinese in America, NY

http://www.mocanyc.org/visit/events/curators_conv_eugenie_tsai

Curators in Conversation: Eugenie Tsai

Wed, Mar 9, 2016 @ 6:30pm – 8:30pm

Tickets: $12/adult; $8/senior (65+) and students (with valid ID); FREE for MOCA members

Click here to purchase tickets

Location: Museum of Chinese in America

215 Centre Street, New York, NY

MOCA presents a dynamic new program series that engages Chinese American curators, artists and cultural producers across generations and geographies in critical conversations to deeply investigate the aesthetic concerns, subject matter, and experiences within the Chinese and Asian American cultural community.

 

The series is moderated by Herb Tam, Curator and Director of Exhibitions at MOCA.

Curator Bio:

 

Eugenie Tsai joined the Brooklyn Museum in the fall of 2007 as the John and Barbara Vogelstein Curator of Contemporary Art. With Patrick Amsellem, she organized 21: Selections of Contemporary Art from the Brooklyn Museum, a long-term installation that opened on September 19, 2008. Previously she was Director of Curatorial Affairs at P.S. 1 Contemporary Art Center in Queens, New York. Prior to Joining P. S. 1 in 2005, she was an independent curator with projects for the Museum of Contemporary Art, Los Angeles; the Berkeley Museum; and the Princeton University Art Museum. She held several positions at the Whitney Museum of American Art prior to becoming Associate Director for Curatorial Affairs. Among the exhibitions and installations she has organized are the mid-career survey Threshold: Byron Kim, 1990-2004; Robert Smithson, which received the International Association of Art Critics’ first place award for the best monographic exhibition of 2005; and for Princeton University, Shuffling the Deck: The Collection Reconsidered. Dr. Tsai received a B.A. from Carleton College in Northfield, Minnesota and a Ph.D. from Columbia University.

 

Upcoming Curators in Conversation:

 

Curators in Conversation: Christopher Y. Lew

Friday, May 20, 2016 | 6:30pm

 

Curators in Conversation: Xin Wang

Tuesday, October 25, 2016 | 6:30pm

 

Curators in Conversation: Paul Chan

Thursday, November 3, 2016 | 6:30pm

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Country of Dreams: Art Festival as Social Change at Japan Society

Wednesday, April 27, 6:30 PM

Location

Japan Society
333 East 47th Street
New York, NY 10017

Abandoned buildings repurposed as surreal dream houses, a million tulip petals falling from the sky: every three years the remote snow country of Echigo-Tsumari is transformed into a spellbinding art festival. Conceived as a way of revitalizing a depopulated region, the Echigo-Tsumari Art Triennale is not only one of the world’s largest art festivals, it is a powerful force for social change. In collaboration with the local community, the bucolic landscape is turned into a multi-media exhibit space, drawing in artists and admirers from around the world. Come hear from participating artists Marina Abramović, Cai Guo-Qiang, and Ilya & Emilia Kabakov, as well as creator and General Director Fram Kitagawa. Co-organized by Midori Yamamura.

Tickets: $13/$10 Japan Society members, seniors & students

Buy tickets here

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EXECUTIVE DIRECTOR POSITION AVAILABLE AT THE KOREAN AMERICAN NATIONAL MUSEUM – IMMEDIATE OPENING

EXECUTIVE DIRECTOR POSITION AVAILABLE AT THE KOREAN AMERICAN NATIONAL MUSEUM – IMMEDIATE OPENING

The Korean American National Museum’s mission is to preserve and interpret the history, experiences, culture and achievements of Americans of Korean ancestry. In accomplishing its mission, the Museum works to become a center for cultural exchange, arts, and education, a catalyst for sharing ideas and resources, and a center for promoting and celebrating the diversity of culture in this country. It is important to the Museum’s mission to help make the Korean American experience vivid and intelligible to other communities and to encourage these groups to find out more about Korean Americans in Los Angeles and elsewhere.

One of the Museum’s primary objectives is to introduce audiences to the sources of Korean culture, enabling younger members of the Korean American community and its neighbors from other ethnic communities to gain a greater understanding of this rich and complex civilization, a civilization that in Los Angeles, which has the country’s largest Korean American population, has not had a consistent venue for its contemporary and traditional works of art and for a creative recounting of its history. The Korean American Museum provides an appropriate setting in Los Angeles to exhibit and focus the public’s attention on this often overlooked culture, history, and art.

 

JOB DESCRIPTION

The Executive Director is responsible for the successful leadership and management of the organization according to the strategic direction set by the Board of Directors.

 

QUALIFICATIONS

The Korean American National Museum seeks a candidate with leadership and/or management experience in a professional environment. This candidate should also be able work independently on multiple projects at the same time, and be able to meet deadlines promptly. Experience in a non-profit organization is preferred.

– BA/BS in Museum Studies, Art, or Business Management (or related field/experience) required, MA/MS preferred.

– Knowledge of government funding and experience in grant writing

– Experience in fundraising

– Knowledge of financial management

– Knowledge of human resources management

– Knowledge of project management

– Excellent communication skills (written and spoken).

– Interest in Korean American culture is a must!

– Interest in Arts and Public Education.

– Interest in meeting people to seek and follow leads for the organization.

– Bilingual English/Korean preferred.

– Proficient in Microsoft Office, especially Word and Excel.

– Experience using Adobe Photoshop/Illustrator a plus, but not required.

If interested in applying to this position, please email your resume and cover letter no later than February 17, 2016 to: irene.kanmuseum@gmail.com Salary DOE.

The Korean American National Museum is a non-profit organization.

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