Ming Fay: Beyond Nature
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Fantastically Oversized and Poetically Evocative Sculptures of Plants, Flowers, Fruits, Vegetables, Seedpods, and Shells Are the Subjects of Ming Fay’S Art
ART W ORK PILLAR ARc ART IST MING FAy IN S TA LLE D 2004 U.S. COURTHOUSE SEATTLE, WASHINGTON Fantastically oversized and poetically evocative sculptures of plants, flowers, fruits, vegetables, seedpods, and shells are the subjects of Ming Fay’s art. He crafts these natural forms out of various materials—including metal, wood, paper, glass, and wire—and arranges them in room-sized installations that are both visu ally spectacular and densely layered with meaning. These sculptures represent the physical, psychological, and spiritual nourishment provided by the botanical realm. Fay’s art is also imbued with humor and wide-ranging cultural allusions. His depictions of gigantic plants are reminiscent of the mysterious-island and forbidden-planet adventures of 1950s and ’60s science-fiction movies, while his jumbo fruit sculptures evoke the surreal Garden of Earthly Delights by the Renaissance painter Hieronymus Bosch. Fay’s sculptures also play with the traditional Chinese connotations of certain fruits—such as peaches (longevity), cherries (love), and pears (prosperity)—that he adapts for his own metaphorical uses. Overall, Fay’s work reveals the innate wonder and complexity of even the humblest natural forms, which are part of the vast ecosystem that we share. Y To create Pillar Arc for the courthouse in Seattle, Fay took inspiration from a single scale of a cedar cone. Fay selected the cedar because of its spiritual and historical connections to the Pacific Northwest. Some of the largest Western Red cedars grow on the Olympic Peninsula. The tree also has special symbolic meaning and practical uses for the area’s Native American communities, who for centuries have used its pliable bark for weaving and its durable wood for building longhouses and A canoes. -
WP Spring 04Erevised.Qxd
THE MAGAZINE OF WILLIAM PATERSON UNIVERSITY SPRING 2004 the art of ming fay: nature, light, Wand healing INCLUDES SPECIAL SECTION— PRESIDENT’S REPORT 2003 THE MAGAZINE OF WILLIAM PATERSON 12 UNIVERSITY CONTENTS SPRING 2004 FEATURES WDEPARTMENTS MING FAY: NATURE, SYMBOL, AND MYTH INSPIRE PUBLIC ART A sculptor who finds his inspiration in nature explores the use of art in healing and recovery UNIVERSITY REPORT By Barbara E. Martin ’93, M.A.’94 The latest news from William Paterson Page 12 Page 4 5 UNIVERSITY STUDENTS SUCCEED ON CAMPUS Engaging people and interesting events THROUGH HANDS-ON LEARNING Page 8 Five William Paterson students discuss the hands-on learning opportunities that have shaped their University education By Barbara E. Martin ’93, M.A.’94 and Terry E. Ross ’80 DEVELOPMENT NEWS Page 16 Advancing academic excellence through philanthropy Page 20 SPECIAL ISSUE: PRESIDENT’S REPORT 2003 Highlights of the University’s commitment to student success, academic excellence, PIONEER NEWS Athletics Highlights and community outreach Page 23 Page 27 PAGE SPOTLIGHT W1 Alumni News ONE Page 53 PARTING SHOT Of a Kindred Spirit Page 64 WHAT’S UP WP Calendar of upcoming events 30 Inside Back Cover Volume 6, Number 1 Spring 2004 WPERSPECTIVE THE MAGAZINE OF WILLIAM WPATERSON UNIVERSITY Volume 6, No. 1 Spring, 2004 E XECUTIVE E DITOR Stuart Goldstein, Associate Vice President for Institutional Advancement Dear Friends, M ANAGING E DITORS Lorraine Terraneo, Executive Director, In this new issue of WP Magazine, we present a profile of a professor of art who Marketing and Public Relations; creates spectacular, larger-than-life sculptures, an article about students who thrive Mary Beth Zeman, Director, Public Relations in unique opportunities for hands-on learning, and descriptions of accomplish- ments from many facets of the University. -
MARGO MACHIDA Full Cv 2015
MARGO LANI MACHIDA Professor Department of Art & Art History University of Connecticut 830 Bolton Road, U1099 Storrs, CT 06269-1099 (860) 486-2678 (office) [email protected] Area of specialization: Contemporary Asian American art, art history, and visual culture studies; American art Education Ph.D., American Studies, State University of New York at Buffalo, 2002 M.A., Fine Arts, Hunter College, City University of New York, 1978 B.A., English and Psychology, New York University, 1976 Academic Employment Acting Director, Asian and Asian American Studies Institute, University of Connecticut (Fall 2014) Professor, Art History and Asian American Studies, University of Connecticut (Full time, August 2013 to present) Associate Professor, Art History and Asian American Studies, University of Connecticut (Full time, August 2006 to July 2013) Assistant Professor, Art History and Asian American Studies, University of Connecticut (Full time, August 2002 to July 2006) Instructor/Faculty Fellow, Asian/ Pacific/American Studies Program & Institute, New York University (2000-2002); Adjunct Professor (1997-2000) Madeleine Haas Russell Visiting Professor in Comparative and Non-Western Studies, Art History Department, Brandeis University, Waltham, MA (1996) Instructor, Art History Department, State University of New York at Buffalo (1995-96) Regent’s Lecturer, Department of Art, University of California at Irvine (1993) Instructor, Liberal Studies, Parsons School of Design, New York (1989-91) Adjunct Assistant Professor of Art History, The Cooper -
Jean-Noel Archive.Qxp.Qxp
THE JEAN-NOËL HERLIN ARCHIVE PROJECT Jean-Noël Herlin New York City 2005 Table of Contents Introduction i Individual artists and performers, collaborators, and groups 1 Individual artists and performers, collaborators, and groups. Selections A-D 77 Group events and clippings by title 109 Group events without title / Organizations 129 Periodicals 149 Introduction In the context of my activity as an antiquarian bookseller I began in 1973 to acquire exhibition invitations/announcements and poster/mailers on painting, sculpture, drawing and prints, performance, and video. I was motivated by the quasi-neglect in which these ephemeral primary sources in art history were held by American commercial channels, and the project to create a database towards the bibliographic recording of largely ignored material. Documentary value and thinness were my only criteria of inclusion. Sources of material were random. Material was acquired as funds could be diverted from my bookshop. With the rapid increase in number and diversity of sources, my initial concept evolved from a documentary to a study archive project on international visual and performing arts, reflecting the appearance of new media and art making/producing practices, globalization, the blurring of lines between high and low, and the challenges to originality and quality as authoritative criteria of classification and appreciation. In addition to painting, sculpture, drawing and prints, performance and video, the Jean-Noël Herlin Archive Project includes material on architecture, design, caricature, comics, animation, mail art, music, dance, theater, photography, film, textiles and the arts of fire. It also contains material on galleries, collectors, museums, foundations, alternative spaces, and clubs. -
Un-Glitz: Art Activism and Global Cities” Location: A/P/A Institute at NYU, 8 Washington Mews, New York, NY Time: 6Pm-8Pm
“Un-glitz: Art Activism and Global Cities” Location: A/P/A Institute at NYU, 8 Washington Mews, New York, NY Time: 6pm-8pm Presented by Steinhardt Global Integration Fund in collaboration with A/P/A Institute at NYU and the NYU Global Asia/Pacific Art Exchange this discussion will focus on ongoing artistic production on land use in global cities in a comparative conversation between artist practitioners working on gentrification issues in New York’s lower east side, the rural reconstruction movement in rural villages on the outskirts of Shanghai, and West Kowloon Cultural District and other development in Hong Kong. The Lower East Side and Chinatown from the 1970s to the present has seen a drastic shift from art studios, grassroots arts organizations and multiple migrant communities to becoming the home of The New Museum, a new grouping of commercial art gallery spaces, and high-end condo developments. Both Chinatown and the Lower East Side has been caught in this change, and artist spaces and artists have moved and relocated to spaces such as Brooklyn. Artist Tomie Arai’s “Portraits of New Chinatown” is a project inspired from interviews with local residents to learn about the lived experience of those within the changing community of Chinatown. Artist Bing Lee, who will participate in the program via Skype, was the founder of Epoxy Group and co-founder of Godzilla: Asian American Artist Network and lived and worked in Chinatown along with artists including Ming Fay, Kwok Frog King, Ik-Joong Kang, Arlan Huang, HN Han among others of the 1970s and 1980s Lower East Side and Chinatown arts scene. -
054 1994 Apr-June-Jw
China Council Quarterly #54, April — June, 1994 release, stimulation of nerves, constriction /dilation of blood vessels, and stimulation of the lymphatic Acupuncture in the US system. It may well be that each of these systems is affected by acupuncture, but none of these provides Traditional Chinese Medicine Gaining a complete explanation satisfying the question of Ground how acupuncture works. The Chinese explain acupuncture through their idea When I first decided to go to acupuncture school of Qi. The ancient Chinese believed that there is a and learn the ancient healing arts from the life force which flows through our body. When this East, more often than not I would be questioned as life force or Qi is blocked or interrupted it may cause to what "acupuncture" was. A few people knew that pain or disease. Stimulation of acupuncture points it was a Chinese healing art. Most were puzzled that can assist the Qi to flow and helps the body to help I would want to study such an ancient healing sys heal itself. tem. The ancient Chinese also believed that a variety of Now, ten years later, many persons know of some factors could affect the Qi of the body. These include one who has tried acupuncture — and a surprising the weather and climate, diet, exercise, sexual habits, number have experienced it themselves. What is and emotions. They believed that emotions could acupuncture and where does it come from? Acu also affect the health of the physical body. When a puncture is an ancient traditional Chinese medical person is relaxed, he or she feels better emotionally. -
Slide Script
YEAR IN REVIEW Public Art: Civic Catalyst Friday, July 16, 2004 8:45 AM – 10:15 AM Location: Blue Ballroom, East Promenade, 1st Floor This year, the Public Art Network invited Glenn Harper, Editor of Sculpture Magazine and artist Ellen Driscoll to present the 2004 Year In Review. During the conference session, they will present their selections of the most exciting, compelling, and innovative public art projects completed between April 2003 and April 2004 in the United States. Glenn Harper and Ellen Driscoll will discuss their selection processes, approaches to developing the session, and thoughts on the projects. A statement by each presenter is included in this slide script. This slide script gives the complete list of projects each presenter selected, along with detailed project information and artist contact information, when provided. All project descriptions were written based on information submitted by the applicants. In cases where both session presenters selected the same project, please note that the project was included twice in the slide script in the order requested by the presenter. The projects selected for the 2004 Year In Review will be presented on the Public Art Network’s website in fall 2004. To see the selections, visit www.AmericansForTheArts.org/PAN. Slide sets and a CD rom will be available for purchase in fall 2004. For more details, check out the public art section of the bookstore at www.AmericansForTheArts.org. To be put on a mailing list for the availability of the slide sets and CD Rom, email [email protected] 1 Selections by Glenn Harper, Editor, Sculpture Magazine Public Art can be a “Civic Catalyst” by participating in the construction of a civic fabric or by provoking the kind of dialogue that makes a space public. -