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Books and Catalogues
Books and Catalogues 2016 “DAZEWORLD”, forward by Sacha Jenkins, texts by Jay "J.SON" Edlin and essayist Claire Schwartz, published by Schiffer Books “Street Art, Banksy & Co”, L’arte Allo Stato Urbano, Bononia University Press 2015 “Coney Island: Visions of an American Dreamland, 1861-2008”, Robin Jaffee Frank, Yale University Press “Daze, New Work”, Galleria del Palazzo, Italy “Surface”, Soren Solkaer, Gingko Press “Urban Art Legends”, Alan Ket, Lom Art “Graffiti Fine Art”, Museo Brasileiro da Escultura “Wall Therapy 2013”, Wall Therapy “The Bronx Artist Documentary Project”, Judith C. Lane, The Bronx Documentary Artist Project 2014 “Don1, The Kings from Queens”, Louie Gasparro, Schiffer “Training Days: The Subway Artists Then and Now”, Henry Chalfant and Sascha Jenkins, Thames and Hudson 2013 “Hall of Fame, New York City”, Alan Ket, On the Run Press “I’m in Miami Bitch”, Andrew Kaufman “City as Canvas, New York City Graffiti/The Martin Wong Collection”, Museum of the City of New York, edited by Sean Corcoran and Carlo McCormick, Skira/Rizzoli 2012 “Wynwood Walls and Doors”, published by Wynwood Walls Project “Piece Book Reloaded”, Sacha Jenkins/David Villorente, Prestel Books “Lʼart Du Graffiti, 40 Ans de Pressionisme”, Monaco Alain Gallizia Collection 2011 “The Grey Scale”, Known Gallery, Solo Exhibition Catalog “Pantheon, a History of Art From the Streets of NYC”, Daniel Feral and Joyce Manalo, Pantheon Projects, New York, NY “Graff in the City”, Opera Gallery, New York, NY “Graffcity”, Opera Gallery, Paris, France “The History of -
30Th Anniversary of the Center for Public History
VOLUME 12 • NUMBER 2 • SPRING 2015 HISTORY MATTERS 30th Anniversary of the Center for Public History Teaching and Collection Training and Research Preservation and Study Dissemination and Promotion CPH Collaboration and Partnerships Innovation Outreach Published by Welcome Wilson Houston History Collaborative LETTER FROM THE EDITOR 28½ Years Marty Melosi was the Lone for excellence in the fields of African American history and Ranger of public history in our energy/environmental history—and to have generated new region. Thirty years ago he came knowledge about these issues as they affected the Houston to the University of Houston to region, broadly defined. establish and build the Center Around the turn of the century, the Houston Public for Public History (CPH). I have Library announced that it would stop publishing the been his Tonto for 28 ½ of those Houston Review of History and Culture after twenty years. years. Together with many others, CPH decided to take on this journal rather than see it die. we have built a sturdy outpost of We created the Houston History Project (HHP) to house history in a region long neglectful the magazine (now Houston History), the UH-Oral History of its past. of Houston, and the Houston History Archives. The HHP “Public history” includes his- became the dam used to manage the torrent of regional his- Joseph A. Pratt torical research and training for tory pouring out of CPH. careers outside of writing and teaching academic history. Establishing the HHP has been challenging work. We In practice, I have defined it as historical projects that look changed the format, focus, and tone of the magazine to interesting and fun. -
Panel Discussion Remembering Slutforart: Tseng Kwong
asian diasporic visual cultures and the americas 1 (2015) 311-324 brill.com/adva Panel Discussion ⸪ Remembering SlutForArt: Tseng Kwong Chi A Conversation on Dance, Performance, and Art with Muna Tseng, Ping Chong, Bill T. Jones, and scholar Karen Shimakawa Introduction by Alexandra Chang New York University, New York, ny, USA [email protected] “Remembering SlutForArt: Tseng Kwong Chi,” a conversation between artis- tic theatre directors and choreographers Muna Tseng, Bill T. Jones, and Ping Chong with scholar and adva us Area Editor Karen Shimakawa, took place on 1 May 2015 at nyu’s Cantor Film Center presented by the Asian/Pacific/ American Institute at New York University and the Grey Art Gallery in con- junction with the Grey’s exhibition Tseng Kwong Chi: Performing for the Camera, curated by Amy Brandt. Brandt, who sadly passed away just weeks after the opening, curated this first major travelling survey show of Tseng’s works, which ranged from candid shots of his immediate East Village circle of artistic creators and his little seen Moral Majority series depicting Right Wing politicians posing in front of a crumpled American flag, to his more well- known documentation of the 1983 Body Painting collaboration between Bill T. Jones and Keith Haring. The exhibition also featured Tseng’s popular East Meets West and The Expeditionary series, performance self-portrait series in which the artist posed as his alter ego, the Ambiguous Ambassador, in a Mao Suit and mirrored glasses in front of iconic landmarks in the us, Canada, and Europe. The artist, who died of aids in 1990, was part of the 1980s Mudd Club and Club 57 set with artists such as Ann Magnuson, Kenny Scharf, and Jean-Michel Basquiat and collaborated with Keith Haring, docu- menting the Pop artist’s work in the subways even before his international rise to fame. -
Gce History of Art Major Modern Art Movements
FACTFILE: GCE HISTORY OF ART MAJOR MODERN ART MOVEMENTS Major Modern Art Movements Key words Overview New types of art; collage, assemblage, kinetic, The range of Major Modern Art Movements is photography, land art, earthworks, performance art. extensive. There are over 100 known art movements and information on a selected range of the better Use of new materials; found objects, ephemeral known art movements in modern times is provided materials, junk, readymades and everyday items. below. The influence of one art movement upon Expressive use of colour particularly in; another can be seen in the definitions as twentieth Impressionism, Post Impressionism, Fauvism, century art which became known as a time of ‘isms’. Cubism, Expressionism, and colour field painting. New Techniques; Pointilism, automatic drawing, frottage, action painting, Pop Art, Neo-Impressionism, Synthesism, Kinetic Art, Neo-Dada and Op Art. 1 FACTFILE: GCE HISTORY OF ART / MAJOR MODERN ART MOVEMENTS The Making of Modern Art The Nine most influential Art Movements to impact Cubism (fl. 1908–14) on Modern Art; Primarily practised in painting and originating (1) Impressionism; in Paris c.1907, Cubism saw artists employing (2) Fauvism; an analytic vision based on fragmentation and multiple viewpoints. It was like a deconstructing of (3) Cubism; the subject and came as a rejection of Renaissance- (4) Futurism; inspired linear perspective and rounded volumes. The two main artists practising Cubism were Pablo (5) Expressionism; Picasso and Georges Braque, in two variants (6) Dada; ‘Analytical Cubism’ and ‘Synthetic Cubism’. This movement was to influence abstract art for the (7) Surrealism; next 50 years with the emergence of the flat (8) Abstract Expressionism; picture plane and an alternative to conventional perspective. -
Bibliography
Tseng Kwong Chi - Bibliography ARTIST MONOGRAPHS Tseng Kwong Chi: Self-Portraits 1979-1989, exhibition catalogue with texts by Lilly Wei, Dan Cameron, Kenny Scharf and Muna Tseng, Paul Kasmin Gallery, New York, NY, 2008. Tseng Kwong Chi: Self-Portraits 1979-1989, exhibition catalogue with texts by Lilly Wei, Dan Cameron, Kenny Scharf and Muna Tseng, Ben Brown Fine Arts, London, England, 2008. Tseng Kwong Chi, Ambiguous Ambassador, monograph of 95 photographs from the Expeditionary Self-Portraits Series, with texts by Dan Cameron, Richard Martin and Grady T. Turner, Nazraeli Press/JGS, 2005. A Retrospective, Improbable Pilgrim: The Photographs of Tseng Kwong Chi, essay by Amy Ingrid Schlegel, Philadelphia Art Alliance, 2002. Tseng Kwong Chi: The Expeditionary Works, essay by Barry Blinderman, Houston Center for Photography, Houston, TX, 1992. Tseng Kwong Chi, foreword by Richard Martin, Art Random, Kyoto Shoin, 1990. Art in Transit, New York Subway Drawings by Keith Haring, introduction by Henry Geldzahler and text by Keith Haring, Harmony Books, Crown Publishers,1984. SELECTED BOOKS AND CATALOGUES 2009 Kenny Scharf, by Richard Marshall, Ann Magnuson,The Paul Kasmin Gallery, Rizzoli, 2009 2008 Keith Haring, by Jeffrey Deitch, Julia Gruen, Suzanne Geiss, Kenny Scharf, George Condo, Rizzoli, 2008 Self and Other: Portraits from Asia and Europe, edited by Kenji Yoshida and Brian Durrans, Asahi Shimbun, Osaka, Japan, 2008 pp. 246. The American Tornado: Art in Power 1949-2008 by Germano Celant, Skira, Italy 2008 The Keith Haring Retrospective, Skira, Italy, 2008. 2007 Studio in the Street, Street in the Studio, Brattleboro Museum & Art Center, Vermont, 2007. The Jean-Michel Basquiat Show, Skira, Italy, 2007. -
TSENG Kwong Chi Curiculum Vitae (Full)
TSENG Kwong Chi Curiculum Vitae (full) As of October 2020 History - Education - Awards: Page 2 Solo Exhibitions: Page 3-4 Selected Group Exhibitions: Pages 5-13 Performances: Page 14 Film & Video: Page 14 Selected Public Collections: Page 15 Selected Private/Corporate Collections: Page 16 Artists’ Monographs: Page 17 Selected Books & Catalogue: Pages 18-21 Selected Bibliography (previews, reviews, feature articles): Pages 22-27 1 Tseng Kwong Chi Born in Hong Kong, 1950. Left Hong Kong with family in 1966. Educated in Hong Kong; Vancouver, Canada; Montréal, Canada; Paris, France. Settled in New York City, New York 1978. Died in New York City, New York 1990. EDUCATION Ecole Supérieure d’Arts Graphiques, L’Académie Julian, Paris, France Sir George Williams University, Montreal, Canada University of British Columbia, Vancouver, Canada AWARDS Yale Brachman Award for Distinguished Cultural Contribution, Timothy Dwight College, Yale University, New Haven, Connecticut Award for Distinguished Work, Asian American Arts Institute, New York City 2 SOLO EXHIBITIONS 2020 TSENG KWONG CHI: East Meets West, Yancey Richardson Gallery, New York, NY Two Friends: Tseng Kwong Chi and Keith Haring, Galerie Hervé Perdriolle, Brussels, Belgium (catalogue) Tseng Kwong Chi: East Meets West 2020, Ben Brown Fine Arts, Hong Kong 2016 Tseng Kwong Chi: Ambiguous Ambassador, Carroll and Sons Gallery, Boston, MA 2015-16 Tseng Kwong Chi: Performing for the Camera, Grey Art Gallery, New York University, NY; Chrysler Museum of -
We Call It Privilege, They Call It Freedom to Smear Sylvan MEYER
1eman• orts December 1965 What Good is a Baby? ROBERT C. TOTH We Call it Privilege, They Call it Freedom to Smear SYLvAN MEYER The Journalist and the Educator c. A. McKNIGHT The Chandlers ofLos Angeles: The World of Otis, Norman and 13ulf MITCHELL GORDON 2 NIEMAN REPORTS was to enroll. I returned to North Carolina, too late to en ter Davidson, and got a job for a year as a cub reporter on my hometown newspaper. NiemanRe:ports I followed through on my plan of study and majored in Spanish. Each summer, I returned to the newspaper. At the VOL. XIX, NO. 4 DECEMBER 1965 end of four years, the tug of war was over. Journalism had won, teaching had lost. Had it not been for that hurricane, Louis M. Lyons, Editor, 1947-64 I am quite certain that I would be holding forth in some Dwight E. Sargent Mary Ann Pratt college classroom today. I may not be the only man whose Editor Managing Editor career was changed by the winds of a hurricane, but I am the only one I know. Editorial Board of the Society of Nieman Fellows Throughout the years I have quieted any doubts about Robert W. Brown Weldon B. James Rock Hill Evening Herald Louisville Courier-J oumal the rightness of my choice by telling myself that, after all, Millard C. Browne Edwin A. Lahey journalism is essentially an educational function. And I Buffalo News Knight Newspapers have salved my conscience by giving much of my life to William B. Dickinson Robert Lasch causes, boards and agencies that have had as their objective Philadelphia Bulletin St. -
Curriculum Vitae
CURRICULUM VITAE STEPHEN LOUIS KLINEBERG Professor of Sociology and Founding-Director of the Kinder Institute for Urban Research Department of Sociology, MS-28 Rice University 1401 Calumet, Unit #511 6100 Main Street Houston, Texas 77004 Houston, Texas 77005 713-665-2010 Office: 307 Sewall Hall Tel: 713-348-3484 Cell: 713-397-8521 Fax: 713-348-5296 Email: [email protected] Web: kinder.rice.edu Date and Place of Birth: 12 March 1940 New York City, New York Education: Haverford College 1957–1961 B.A. in Psychology The University of Paris 1962–1963 “Diplôme d’Études Supérieures en Psychopathologie” Harvard University 1961–1966 Ph.D. in Social Psychology (Dissertation: “The Structure of the Psychological Future: A Developmental Study”) Positions: Teaching Fellow, then Instructor; Department of Social Relations, Harvard University (1963–1966) Assistant Professor of Social Psychology; Department of Sociology, Princeton University (1966–1972) Associate Professor (tenured, 1974); Department of Sociology, Rice University (1972–1985) Professor; Department of Sociology, Rice University (1985–Present) Founding–Director, the Kinder Institute for Urban Research, Rice University (2010–Present) Courses Taught: Conceptions of Human Nature Environmental Sociology Social Change Sociological Research Methods Houston: The Sociology of a City Advanced Research Seminar: Annual Intellectual Foundations of the Social Sciences “Kinder Houston Area Survey” Honors and Awards: Elected to Phi Beta Kappa at Haverford College (1961). B.A. awarded with “High Honors in Psychology,” Haverford College (1961). Woodrow Wilson Fellowship (1961–1962). Stephen L. Klineberg—Vita (December 2017) Page 2 Alliance Française Scholarship (1962–1963). “Diplôme d’Études Supérieures” awarded with “Mention: Bien,” University of Paris (1963). -
Protected Landmark Designation Report
CITY OF HOUSTON Archaeological & Historical Commission Planning and Development Department PROTECTED LANDMARK DESIGNATION REPORT LANDMARK NAME: The Angelo and Lillian Minella House AGENDA ITEM: IV OWNER: Ben Koush HPO FILE NO.: 06PL20 APPLICANT: Ben Koush DATE ACCEPTED: Feb-13-06 LOCATION: 6328 Brookside Drive – Simms Woods Addition HAHC HEARING DATE: Feb-23-06 30-DAY HEARING NOTICE: N/A PC HEARING: Mar-02-06 SITE INFORMATION Lot 12, Block 6, Simms Woods Addition, City of Houston, Harris County, Texas. The site includes a historic one-story, concrete block residence and concrete block garage. TYPE OF APPROVAL REQUESTED: Protected Landmark Designation for residence and garage. HISTORY AND SIGNIFICANCE SUMMARY The Minella House is a significant example of modern, residential architecture as it evolved in mid- twentieth century Houston. It is significant because of its unusual all masonry construction, contemporary design by Houston architect, Allen R. Williams, Jr. It is an example of the Century Built Homes, variations on a standark design, of which the Minella House seemed to be most fully resolved. Its owners, Angelo and Lillian Minella, owned and operated a plumbing supply company in the East End for decades. HISTORY AND SIGNIFICANCE Lillian and Angelo Minella were originally from the Boston area. Minella worked as a plumber at 366-374 Washington Street in the 1930s in the Brighton Center, Massachusetts commercial area, which had a large Italian-American population.i As late as 1942 Angelo and Lillian were listed in the Essex County City Directory as living on Stanwood Avenue in Gloucester, Massachusetts.ii The Minellas probably left for Texas shortly thereafter. -
Analysis of the Front Page of the Houston Post And
ANALYSIS OF THE FRONT PAGE OF THE HOUSTON POST AND HOUSTON CHRONICLE BEFORE AND AFTER THE PURCHASE OF THE HOUSTON POST BY TORONTO SUN PUBLISHING CO. By C. FELICE FUQUA Bachelor of Science Oklahoma State University Stillwater, Oklahoma 1983 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of MASTER OF SCIENCE May, 1986 Tk&si~_, l '1 <3'(p F Q, ANALYSIS OF THE FRONT PAGE OF THE AND HOUSTON CHRONICLE BEFORE AND AFTER THE PURCHASE OF THE HOUSTON POST BY TORONTO SUN PUBLISHING CO. Thesis Approved: Dean of the Graduate Collegec 1251246 ii PREFACE This is a content analysis of the front page news content of the Houston Post and the Houston Chronicle before and after the Post was bought by Toronto Sun Publishing Co. The study sought to determine if the change in ownership of the Post affected the newspaper's content, and if the news content of the Chronicle also had been affected, producing competition between two traditionally noncompetitive newspapers. Many persons made significant contributions to this paper. I would like to express special thanks to my thesis adviser, Dr. Walter J. Ward, director of graduate studies in mass communication at Oklahoma State_ University. I also express my appreciation to the other members of the thesis committee: Dr. Wi~liam R. Steng, professor of journalism and broadcasting, and Dr. Marlan D. Nelson, direc tor of the School of Journalism and Broadcasting. I very much enjoyed working under Dr. Nelson as his graduate assis assistant. -
RESEARCH DEGREES with PLYMOUTH UNIVERSITY Gold Griot
University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2018 Gold Griot: Jean-Michel Basquiat Telling (His) Story in Art Ross, Lucinda http://hdl.handle.net/10026.1/11135 University of Plymouth All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. RESEARCH DEGREES WITH PLYMOUTH UNIVERSITY Gold Griot: Jean-Michel Basquiat Telling (His) Story in Art by Lucinda Ross A thesis submitted to Plymouth University In partial fulfilment for the degree of Doctor of Philosophy Humanities and Performing Arts Doctoral Training Centre May 2017 Gold Griot: Jean-Michel Basquiat Telling (His) Story in Art Lucinda Ross Basquiat, Gold Griot, 1984 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that no quotation from the thesis and no information derived from it may be published without the author’s prior consent. Gold Griot: Jean-Michel Basquiat Telling (His) Story in Art Lucinda Ross Abstract Emerging from an early association with street art during the 1980s, the artist Jean-Michel Basquiat was largely regarded within the New York avant-garde, as ‘an exotic other,’ a token Black artist in the world of American modern art; a perception which forced him to examine and seek to define his sense of identity within art and within society. -
Graffiti As Art As Language: the Logic of a Modern Language
Philosophy Study, May 2019, Vol. 9, No. 5, 223-232 doi: 10.17265/2159-5313/2019.05.001 D D AV I D PUBLISHING Graffiti as Art as Language: The Logic of a Modern Language Kylie I. Casino NASA Jet Propulsion Laboratory, California, U.S. The notion of communication is in essence that of information transmission in its simplest form—the semiotic encoding and decoding of messages that occur in every type of language, be that written, verbal, non-verbal, or animal. Taking form in an Aristotelian syllogism, this paper argues that graffiti constitutes its own art form that must be equally represented, examined, appreciated, and documented. By exploring how graffiti is art, how art is language, and therefore how graffiti is language, this paper seeks to expand its audience’s understanding of how artworks are underpinned by a similar semiotic structure to that of the written or verbal. Through theory and case studies of contemporary graffiti artists and their works, the notion of graffiti as a language that can be read and contextualized comes to life in a way that is both grounded in history and stunningly creative. Keywords: graffiti, semiotics, language, art Introduction How do we communicate?: a question whose answer has been sought after throughout time, discipline, and media. Communication as content and process of knowledge transmission rules our everyday lives in both simple and significant ways. The notion of communication in its simplest form essentially defines itself as information transmission—the semiotic encoding and decoding of messages that occur in every type of language, be that written, verbal, non-verbal, or animal.