Tag Archives: New York

“Wong Kit Yi: North Pole Futures” at K. 334 Broome Street— April 12–26, 2015

Wong Kit Yi: North Pole Futures
April 12–26, 2015
K. 334 Broome Street

Private preview: Sunday, April 12, 5–7pm (by invitation only)
Opening reception: Sunday, April 12,7–9pm
Please join us on Sunday, April 12, 5–7pm for a private preview of North Pole Futures, a solo exhibition by Hong Kong / New York-based artist Wong Kit Yi. Gallery founder Prem Krishnamurthy will give an overview of the show and introduce the artist. North Pole Futuresremains on view through April 26.

For the duration of the exhibition, Ali Wong, investment manager for Wong Kit Yi, offers intrepid collectors a chance to commission a custom-made work, which will be created by the artist this fall on a sailing expedition to the North Pole.

Prospective patrons may choose three elements out of Wong’s lists: a date, a color, and a weird word. These three terms will be combined together in a photographic, sculptural, performative, or painterly manner in the Arctic. The price of each work is generated by a complex calculation that factors together weather conditions, sun cover, moon illumination, and randomized variables; this determines both the artwork price and a percentage of the sale that will be donated to a nonprofit organization of the artist’s choosing. Patrons thus become co-producers, fellow adventurers, speculative investors, and inadvertent philanthropists all at once.

The exhibition features texts, objects, and time-based works. Video interviews with select experts — including an art dealer, a commodities trader, a pawnbroker, and a fishmonger — consider the nature and techniques of valuation and pricing. The exhibition also includes a publication and website wongfutures.com for contracting the artworks.

There are only a limited number of contracts for sale, so don’t wait to invest in the future now.
Wong Kit Yi is an artist based in Hong Kong and New York. Recent projects have appeared in the exhibitionsRegarding Lightness: On Life’s Way, Oil Street Art Space, Hong Kong (2015); Bringing the World into the World, Queens Museum, NY (2014);The Ceiling Should Be Green, P!, NY (2013); and EXCHANGE, School 33 Art Center, Baltimore, MD (2013). Wong’s work has been reviewed in The New York Times, Art in America, ChinaDaily,Asian Art News, Time Out Hong Kong, and South China Morning Post. She holds an MFA from Yale University.

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DAAN events at CAA 2015 in NYC!






DAAN at College Art Association:

Diasporic Asian Art Network (DAAN) Panel & Meeting at CAA 2015

The DAAN (CAA Affiliated Society) Panel and Business Meeting are FREE to the public, conference registration is not required to attend.


February 13, 2015Friday

Diasporic Asian Art Network Panel 

“Geography of the Imagination: The Island”

Time:  12:30 PM—2:00 PM
Location: Hilton Hotel Midtown, 2nd Floor, Bryant Suite
1335 Avenue of the Americas
New York, NY

Chairs: Margo L. Machida, University of Connecticut; Leila Philip

  • Toshiko Takaezu: Toward a New Island Modernism – Leila Philip
  • The Okinawa Trilogy: An Island Landscape and the Traces of War – Osamu James Nakagawa
  • Unbounded Island Imaginaries: Oceanic Diasporas, Global Flows, and Conceptions of Place –Margo L. Machida

Thank you to the 2015 DAAN panel committee including Alice Ming Wai Jim (committee chair/Concordia University), ShiPu Wang (UC Merced), and Binod Shresthra


Diasporic Asian Art Network Business Meeting

February 13, 2015, Friday

Time: 5:30PM-7PM

Location: Hilton Hotel Midtown
1335 Avenue of the Americas, 2nd Floor, Bryant Suite

Meeting is free to the public, conference registration not required to attend. Please send achang@nyu.edu any suggestions for agenda items. We will be discussion issues including regional activities and panel topics for 2016.

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Call for Submissions: Erasing Borders: Twelfth Annual IAAC Exhibition of Contemporary Indian Art of the Diaspora 2015

Erasing Borders: Twelfth Annual
IAAC Exhibition of Contemporary Indian Art of the Diaspora 2015
Deadline: October 15, 2014The Indo American Arts Council is delighted to announce its Call for Submissions for the Erasing Borders Exhibition of Contemporary Indian Art of the Diaspora 2015 Curated by Vijay Kumar, Erasing Borders explores the contributions of artists whose origins can be traced to the Indian Subcontinent. The exhibition travels to several key galleries and museums in North America from February – December each year. Please visit www.iaac.us


  • Artwork submitted must have been completed within the last two years
  • All visual art genres will be considered
  • Works in progress will be considered with attached explanations
  • Artists living in North America who have their origins in the Indian Subcontinent
  • All submissions must be received by the deadline of October 15, 2014
  • Works not yet exhibited are highly recommended
  • Collaborative works will also be considered


  • (Artwork will not be considered if we have not received all the requested materials below)
  • All information must be on a CD, labeled with artist’s Name, E-mail and Phone Number
  • The CD must include high resolution images (at least 1500 x 2100 pixels 300dpi) of the artwork (the images should not be over 2 MB)
  • All images must include: Title, Size, Medium, Price, year completed.
  • The CD to also include a document containing artist’s Full Name, E-mail, Web Address, Mailing Address and Phone Number
  • Artist’s Photograph (at least 1200 x 1200 pixels, 300 dpi)
  • Artist Statement
  • Resume
  • Submission fee: $20
  • All information should be in the word file format and not pdf.

Submission deadline: October 15, 2014
Participating artists for 2015 will be announced December 2014

Please send all submissions to:
Erasing Borders 2015
Indo-American Arts Council Inc
517 East 87th Street, Suite 1B
New York, NY 10128
Email: ebart.iaac@gmail.com

* Application Fee $20
Registration fee may be through Pay pal (using any credit card) Click here >> or via cheque to the address above.
The Indo-American Arts Council is a 501 ©3 not-for-profit secular arts organization passionately dedicated to promoting, showcasing and building an awareness of artists of Indian origin in the performing arts, visual arts, literary arts and folk arts. For information please visitwww.iaac.us.Indo-American Arts Council Inc. 517 East 87th St, Suite 1B, New York, NY 10128. Phone: 212 594 3685. Web:www.iaac.us

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The Museum of Chinese in America (MOCA): “Waves of Identity: 35 Years of Archiving” and “Memory Prints: The Story World of Phillip Chen”

Thu, Sep 25, 2014 – Sun, Mar 1, 2015

The Museum of Chinese in America (MOCA) will present its groundbreaking exhibition examining Chinese American identity,Waves of Identity: 35 Years of Archiving. The title of the exhibit was inspired by a Chinese proverb, “Each wave of the Yangtze River pushes at the wave ahead.” As a metaphor for Chinese American history, the waves represent successive generations of immigrants unearthing the histories of those that came before them, and in the process of discovery, addressing pertinent issues of identity, memory and history. To date, MOCA owns the largest Chinese American collection in the United States, featuring over 65,000 artifacts, oral histories, textiles, photographs, and more. The exhibition will highlight the best of its archives and special collections while engaging visitors in a discussion about identity. The Museum will celebrate its 35th year anniversary in January 2015.

  • Thu, Sep 25, 2014 – Sun, Mar 1, 2015

    Memory Prints is a solo exhibition by Phillip Chen, a visual artist from the Midwest. In fifteen relief etchings centering around his family, Chen reckons with significant moments in Chinese American history. At first glance, individually and as an ensemble, these relief prints are schematic and enigmatic. Rooted in personal experiences, the prints depict precisely drawn tools and everyday objects that reflect his family’s occupational histories. The etchings can be approached as part futurist blueprints and part archaeologic shards, each juxtaposed in an almost Rube Goldberg set of relationships and movements. Their rich darkness reveal precisely drawn tools and everyday objects, an occasional human visage. Each array on each print is imaginatively filled in with lines that interlink and interrelate the items.


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MOCATALKS: Unearthing the Story World of Phillip Chen

MOCATALKS: Unearthing the Story World of Phillip Chen

Admission: $12 for Adults; FREE for Members Click Here to Register 

Visual artist Phillip Chen creates relief etchings inspired by his family stories. One print unearths his great grandfather’s experience as a gold miner in California during the Gold Rush in the 1860s. Another is based on his uncle who owned the only restaurant in Fort Wayne, Indiana that served African Americans in the 1930s. Please join Phillip Chen in conversation with MOCA’s co-founder Jack (John Kuo Wei) Tchen as they discuss the intriguing yet complex stories within these amazing prints and address the important distinction between history and memory.

This program is held in conjunction with the exhibition Memory Prints: The Story World of Phillip Chen and co-sponsored by the A/P/A Institute at New York University.

About the artist

Born in Chicago, Illinois, Phillip Chen received his bachelor’s degree from the University of Illinois, Chicago, and master of fine arts degree from School of the Art Institute of Chicago. His work in print media has been exhibited in over one hundred and fifty locations nationally and internationally and is held by public collections that include Brooklyn Museum, Carnegie Institute Museum of Art, Art Institute of Chicago, San Francisco Museum of Fine Arts, and Three Shadows Photography Art Centre, Beijing. He has served as an evaluator for College Art Association, National Endowment for the Arts, and John D. and Catherine T. MacArthur Foundation. His awards include grants from National Endowment for the Arts and The Louis Comfort Tiffany Foundation. Phillip Chen is Professor of Drawing and Printmaking at Drake University.

About the curator

Jack (John Kuo Wei) Tchen is the founding director of the A/P/A (Asian/Pacific /American) Studies Program and Institute at New York University, NYU. Professor Tchen co-founded the Museum of Chinese in America in 1979-80 where he continues to serve as senior historian. Yellow Peril! An Archive of Anti-Asian Fear is his most recent book, co-authored/edited with Dylan Yeats. He is also author of the award-winning books New York before Chinatown: Orientalism and the Shaping of American Culture, 1776-1882 andGenthe’s Photographs of San Francisco’s Old Chinatown, 1895-1905, and he edited Paul C. P. Siu’s classic The Chinese Laundryman: A Study of Social Isolation. In 1991, he was awarded the Charles S. Frankel Prize from the National Endowment for the Humanities (renamed The National Medal of Humanities).

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Po Kim — A Memorial Tribute —Exhibition “The Legacy of Po Kim” —opening Sept 3, 2014


Po Kim’s artistic career was characterized by an ever-evolving style, and an eagerness to seek out new areas of inspiration. His paintings, often large in scale, were bold and compelling, bursting with life, energy, and emotion. This work distinguished Kim as one of the premier Korean-American artists of his time. When the artist died earlier this year, he left behind a strong legacy in his paintings, the innumerable artists he inspired, and the gallery in New York and museum in Korea which bear his name.

Po’s life as an artist began in Korea, where he founded the Department of Fine Arts at Chosun University. Incarcerated and tortured during the Korean War, Kim left Korea in 1955 to accept a fellowship at the University of Illinois. He moved to New York City a few years later, and his artistic life flourished here over the next six decades.

This exhibition, through personal objects, photographs, catalogues, and paintings, seeks to provide viewers a deeper sense of an artist who found great inspiration in his identities as a Korean, an American, and a New Yorker. The objects are on loan from The Sylvia Wald and Po Kim Art Gallery, an institution dedicated to the art of its founders and their personal mission of intercultural dialogue between the artistic communities of New York and the world.

August 28—September 26, 2014


The Legacy of Po Kim

Wednesday, September 3, 2014 | 6 PM

Po Kim was a pioneering force in the Korean American art community. When the artist died earlier this year, he left behind a strong legacy in his paintings, the innumerable artists he inspired, and the gallery in New York and museum in Korea which bear his name.  The evening’s panel features NYU’s Alexandra Chang, Hunter College’s Midori Yamamura and former curator at the Jane Voorhees Zimmerli Art Museum’s Mr. Jeffrey Wechsler. The panelists will discuss Mr. Kim’s life; the hardships and turmoil he endured, his long illustrious career as artist and teacher, his evolving style, his influences, and his contributions and impact on the art world.

Members & Students (Student id must be presented at the door): FREE with RSVP

Non-members: $10


The Korea Society Gallery
950 Third Avenue, 8th Floor, New York, NY 10022 (Corner of 57th & 3rd)

For more information, please contact Hui Yon Kim

Drinks and light refreshments will be served.


This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in Partnership with the City Council.

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Between Savage and Civilized: Negotiating a Space for Indigenous Art in the 21st Century — at NYU

Between Savage and Civilized: Negotiating a Space for Indigenous Art in the 21st Century
Co-presented by the Asian/Pacific/American Institute at NYU and NYU Draper Program

Tuesday, April 29, 2014

A/P/A Institute at NYU
8 Washington Mews

What does it mean to be an “Indigenous artist” working between his/her own community and the contemporary global art world? To what degree has the global art world embraced the “tribal”, and the “tribal” interfaced with western art? These are some of the questions Brett Graham will explore, drawing from examples in his own work, and recent indigenous art exhibitions such as Sakahan: International Indigenous Art. Mario Caro (Assistant Professor/Faculty Fellow, NYU Draper Program) provides an introduction.


Image credit: Jennifer French.

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Cai Jin at Chambers Fine Art, NYC — April 17-May 31, 2014


Cai Jin, Landscape No.54, Oil on canvas, 2012

Cai Jin: Return to the Source

April 17 – May 31, 2014
Opening Reception: Thursday, April 17, 6 – 8 pm

522 West 19th Street, New York

Chambers Fine Art is pleased to announce the opening on April 17, 2014 of Return to the Source by Cai Jin.  This exhibition of works from her Landscape series will be her first at Chambers Fine Art in New York. Widely recognized as one of the most distinctive painters of her generation, Cai Jin first attracted critical attention in the early 1990s with her paintings of meirenjiao (translated as “Banana Plant”).  Inspired by a dying plant that she saw in her native Anhui province in 1990, she has painted close to 400 variations on this theme between 1991 and the present day.

This continued throughout her stay in New York between 1997 and 2007, a period that was not always easy for her. Lacking proficiency in English, establishing a career in an alien environment, giving birth to a child and going through a separation all left their mark on her work which was expressive of a heightened emotional state. As one of the few Chinese female artists to have emerged during this period, she produced a highly personal body of work that differed widely in its thematic content from the politically oriented oil painting of her male contemporaries that gained such a wide following.

Even at a time, however, when the lush vegetation of the banana plant mostly filled the surface of the canvas, there were occasional glimpses of the background, patterned and textured surfaces that gave rise to several small paintings that she referred to as landscapes.  In 2003, while still living in New York, she painted a single larger version of this theme. Since 2008 landscapes have largely replaced the meirenjiao as the focus of her attention. Varying greatly in scale and in palette, these paintings are not landscapes in the conventional sense. They have been described as “landscapes of the mind, the result of countless hours of wandering on the surface of the canvas wherever her intuitive grasp of the medium guides her. These journeys without destination are like long walks through imaginary landscapes, an activity that causes her a great deal of personal happiness. She loses herself in her painting in a totally agreeable way, the finished works reflecting a new level of psychic satisfaction that mirrors her new-found self-confidence and satisfaction with life as it is.”  The landscapes are all characterized by a painterly quality that is rare in China today.

Contrasting with the expansive landscapes is a suite of drawings of pears dating from 2012.  Whereas the landscapes are expansive and festive in feeling, the drawings are tightly controlled, the forms of the fruit emerging from countless layers of small, circular strokes. Representing two aspects of her art, the oil paintings and works on paper are nonetheless united by the distinctive movement of her hand which can be utilized to create intense studies of the real world (the drawings of fruit) and evocative landscapes that incite an imaginative response on the part of the viewer.

For more information, please contact the gallery at 212-414-1169 orcfa@chambersfineart.com

Chambers Fine Art

522 West 19th Street

New York, NY 10011

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Jakkai Siributr — Transient Shelter — April 17 – May 31, 2014, Tyler Rollins Fine Art, NYC

Tyler Rollins Fine Art


APRIL 17 – MAY 31, 2014

Rollins Fine Art is pleased to present Transient Shelter, an exhibition of new works by Jakkai Siributr, taking place at our gallery in New York City from April 17 – May 31, 2014. The public is cordially invited to the opening reception on Thursday, April 17, from6:00 to 8:00 pm. The artist will be in attendance.

Jakkai has long been known as one of Thailand’s leading artists working with textiles, producing meticulously handmade tapestry and installation works that make powerful statements about religious, social, and political issues in contemporary Thailand. A main preoccupation of his art is the interaction between Buddhism and materialism in modern life, and the everyday popular culture of Thailand. In recent years, he has incorporated other materials and media in his work, including industrial and found materials, sound, and video. For Transient Shelter, Jakkai has produced a series of self-portrait photographs that have him “embodying” the elaborately embroidered and ornamented uniforms that are also part of the exhibition, along with a video work.

The exhibition is a meditation on the transience of worldly success and the way the trappings of social status are often imbued with quasi-mystical associations that maintain a link with animistic beliefs. With the photographs, Jakkai adopts poses taken from portraits of his ancestors, many of whom served as royal courtiers and in some cases had their lives cut short by the sometimes tragic vicissitudes of Thai political history. Wearing Thai civil service uniforms decked out with awards, he evokes the type of formal portrait photographs that are included in the funeral books that Thai families compile to commemorate the lives of relatives, and that typically emphasize the deceased person’s social status. Jakkai has encrusted the actual uniforms with elaborate ornaments that are inspired by Buddhist amulets and animist talismans, hinting at the deep-seated beliefs that underlie current social conventions. With some of the portraits, Jakkai poses in front of dilapidated backgrounds, pointing to the process of decay and rebirth that alludes to the cycle of life and death, as well as perhaps the state of social breakdown in today’s fractious Thailand. The exhibition title itself suggests that social status, like everything else in life, is but a transitory phase. This sense is heighted by the short video work, in which a uniform jacket slowly moves under flowing water, accompanied by a soundtrack of a burning funeral pyre.

Transient Shelter is curated by Singapore-based researcher, curator and critic Iola Lenzi, who writes in the catalogue essay: “mining local icons of religion and entrenched cultural tradition, Jakkai produces an art of thoughtful resistance that allusively takes aim at meaningless hierarchies, ineffective systems, and empty gestures masquerading as consequential. In its questioning of overlapping fiction and truth, dance with image and reality, and to-and-fro between life and death, Transient Shelter, though starting with ideas rooted in Thai culture, speaks to a universal audience.”

Born in 1969 in Bangkok, Thailand, where he currently lives and works, Jakkai received his formal training in the United States, earning a BA in textile and fine arts at Indiana University (1992) and an MS in printed textile design at Philadelphia University (1996). His work has been shown in a number of museums around the world in recent years. In the United Sates, his work was included in Phantoms of Asia: Contemporary Awakens the Past at the Asian Art Museum of San Francisco (2012), as well as the museum’sHere / Not Here: Buddha Presence in Eight Recent Works (2011). As part of the latter exhibition, Jakkai presented his interactive Reciprocity project in the Asian Art Museum’s Tateuchi Gallery; his work Recession (2010) subsequently entered the museum’s collection. In 2009, Jakkai’s Lucky Ware installation (2008) was featured at the Rubin Museum in New York City, and he was included in Truly Truthful in Miami. He has presented two solo exhibitions at Tyler Rollins Fine Art: Temple Fair (2008) and Karma Cash & Carry (2010). In Asia, Jakkai’s Shroud installation was recently featured in the exhibition, Exploring the Cosmos: The Stupa as a Buddhist Symbol (2012 – 2013) at Singapore’s Asian Civilisations Museum, which acquired the work for its permanent collection. In 2011, he presented a major exhibition of installations, sculptural works, and embroidered tapestries at the Art Center, Chulalongkorn University, Bangkok, Thailand (2011). He was a featured artist in the 2011 Chongqing Biennial and in the 2009 Asian Art Biennial at the National Taiwan Museum of Fine Arts, which acquired his work,Suffrage (2008). Other important collections of his work include the Bill and Melinda Gates Foundation, Seattle, and the Vehbi Koç Foundation, Istanbul.

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