TSENG Kwong Chi Curiculum Vitae (Full)
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Profiles in Style
PROFILES IN STYLE spring fashion issue Collection RALPHLAURENCOLLECTION.COM 888.475.7674 FLÂNEUR FOREVER 1-800-441-4488 Hermes.com CHANEL BOUTIQUES 800.550.0005 chanel.com ©2015 CHANEL®, Inc. B® Reine de Naples Collection in every woman is a queen BREGUET BOUTIQUES – NEW YORK 646 692-6469 – BEVERLY HILLS 310 860-9911 BAL HARBOUR 305 866-1061 – LAS VEGAS 702 733-7435 – TOLL FREE 877-891-1272 – WWW.BREGUET.COM CAROLINAHERRERA.COM 888.530.7660 © 2015 Estée Lauder Inc. DRIVEN BY DESIRE esteelauder.com NEW. PURE COLOR ENVY SHINE Sculpt. Hydrate. Illuminate. On Carolyn: Empowered NEW ORIGINAL HIGH-IMPACT CREME AND NEW SHINE FINISH BALENCIAGA.COM 870 MADISON AVENUE NEW YORK MAXMARA.COM 1.866.MAX MARA BOUTIQUES 1-888-782-6357 OSCARDELARENTA.COM H® AC CO 5 01 ©2 Coach Dreamers Chloë Grace Moretz/ Actress Coach Swagger 27 in patchwork floral Fluff Jacket in pink coach.com Advertisement EVENTS HOLIDAY LUNCH NewYOrk,NY|12.1.14 On Monday,December 1, WSJ. Magazine hosted its annual holiday luncheon at Le Bernardin Privé in New York. The event welcomed WSJ. Magazine’seditorial and advertising partners and celebrated their 2014 collaborations. Publisher Anthony Cenname toasted WSJ. Mag’sstrongest year in history and stirred excitement about the new year ahead. Photos by Kelly Taub/BFAnyc.com Robert Chavez, Heather Vandenberghe, Shauna Brook Frank Furlan, Rosita Wheeler, Lynn Reid Brad Nelson, Tate Magner Colleen Caslin, Anthony Cenname Jon Spring, Arwa Al Shehhi Desiree Gallas Sandeep Dasgupta, Kevin Dailey Alberto Apodaca, Julia Erdman Jenny Oh, Dana Drehwing, Maria Canale Kevin Harter, Jason Weisenfeld, Vira Capeci Follow @WSJnoted or visit us at wsjnoted.com ©2015Dow Jones &Company,InC.all RIghts ReseRveD.6ao1412 ART DIR: PAUL MARCIANO PH: DAVID BELLEMERE GUESS?©2015 women’s style march 2015 54 EDITOR’S LETTER 58 ON THE COVER 60 CONTRIBUTORS 62 COLUMNISTS on Ambition 65 THE WSJ. -
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. -
THE CULTURE and MUSIC of AMERICAN CABARET Katherine Yachinich
Trinity University Digital Commons @ Trinity Music Honors Theses Music Department 5-2014 The ulturC e and Music of American Cabaret Katherine Anne Yachinich Trinity University, [email protected] Follow this and additional works at: http://digitalcommons.trinity.edu/music_honors Part of the Music Commons Recommended Citation Yachinich, Katherine Anne, "The ulturC e and Music of American Cabaret" (2014). Music Honors Theses. 5. http://digitalcommons.trinity.edu/music_honors/5 This Thesis open access is brought to you for free and open access by the Music Department at Digital Commons @ Trinity. It has been accepted for inclusion in Music Honors Theses by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. 2 THE CULTURE AND MUSIC OF AMERICAN CABARET Katherine Yachinich A DEPARTMENT HONORS THESIS SUBMITTED TO THE DEPARTMENT OF MUSIC AT TRINITY UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR GRADUATION WITH DEPARTMENTAL HONORS DATE 04/16/2014 Dr. Kimberlyn Montford Dr. David Heller THESIS ADVISOR DEPARTMENT CHAIR Dr. Sheryl Tynes ASSOCIATE VICE PRESIDENT FOR ACADEMIC AFFAIRS, CURRICULUM AND STUDENT ISSUES Student Copyright Declaration: the author has selected the following copyright provision (select only one): [X] This thesis is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs License, which allows some noncommercial copying and distribution of the thesis, given proper attribution. To view a copy of this license, visit http://creativecommons.org/licenses/ or send a letter to Creative Commons, 559 Nathan Abbott Way, Stanford, California 94305, USA. [ ] This thesis is protected under the provisions of U.S. Code Title 17. Any copying of this work other than “fair use” (17 USC 107) is prohibited without the copyright holder’s permission. -
Night Fever Designing Club Culture 1960 – Today 17 March – 9 September 2018
Vitra Design Museum Charles-Eames-Straße 2 79576 Weil am Rhein/Basel Germany www.design-museum.de PRESS CONFERENCE 15 March 2018, 2 pm OPENING 16 MARCH 2018, 6 pm Opening Talk with Ben Kelly, Peter Saville, and Konstantin Grcic PRESS DOWNLOADS www.design-museum.de/press_images Night Fever Designing Club Culture 1960 – Today 17 March – 9 September 2018 The nightclub is one of the most important design spaces in contemporary culture. Since the 1960s, nightclubs have been epicentres of pop culture, distinct spaces of nocturnal leisure providing architects and designers all over the world with opportunities and inspiration. »Night Fever. Designing Club Culture 1960 – Today« offers the first large-scale examination of the relationship between club culture and design, from past to present. The exhibition presents nightclubs as spaces that merge architecture and interior design with sound, light, fashion, graphics, and visual effects to create a modern Gesamtkunstwerk. Examples range from Italian clubs of the 1960s created by the protagonists of Radical Design to the legendary Studio 54 where Andy Warhol was a regular, from the Haçienda in Manchester designed by Ben Kelly to more recent concepts by the OMA architecture studio for the Ministry of Sound in London. The exhibits on display range from films and vintage photographs to posters, flyers, and fashion, but also include contemporary works by photographers and artists such as Mark Leckey, Chen Wei, and Musa N. Nxumalo. A spatial installation with music and light effects takes visitors on a fascinating journey through a world of glamour and subcultures – always in search of the night that never ends. -
Tseng Kwong Chi: Performing for the Camera
For Immediate Release Contact: Ally Mintz January 15, 2015 [email protected] or 212/998-6782 Tseng Kwong Chi: Performing for the Camera Nationwide tour opens at NYU on April 21, 2015 Provocative, performative photographs by one of downtown New York’s most intriguing artists The Grey Art Gallery at New York University announces the first major museum retrospective of works by Tseng Kwong Chi (1950–1990), a prolific artist and key documentarian of Manhattan’s downtown scene in the 1980s. On view April 21 through July 11, 2015, the exhibition features over 80 photo-based works alongside archival materials by the Hong Kong–born Canadian artist, who died in 1990 at the age of 39 from AIDS– related complications. In addition to twelve works from the artist’s best-known East Meets West and Expeditionary series, as well as nine images of his close friend Keith Haring’s drawings in New York city subways, Tseng Kwong Chi: Performing for the Camera presents over 60 examples from less well-known bodies of work. These include Costumes at the Met; photographs of Tseng Kwong Chi. New York, New York South Jersey lifeguards and partying beachgoers (Brooklyn Bridge), 1979, from the East Meets West series. Gelatin silver print, printed 2014. at Jacob Riis Park; his biting critique of the politically Courtesy Muna Tseng Dance Projects, Inc., conservative Moral Majority; “It’s a Reagan World!,” New York a commission from Soho Weekly News; portraits of notable artists; group portraits of East Village denizens; rubber-stamped Polaroid photomontages; and digitized snapshots of the artist’s fellow night-clubbers. -
Woodward Gallery Established 1994
Woodward Gallery Established 1994 Richard Hambleton 1954 Born Vancouver, Canada. 1975 BFA, Painting and Art History at the Emily Carr School of Art, Vancouver, BC 1975-80 Founder and Co-Director “Pumps” Center for Alternative Art, Gallery, Performance and Video Space; Vancouver, BC; The Furies: Western Canada’s first punk band played their first gig at Richard Hambleton’s Solo Exhibition, May, 1976. Lives and works in New York City’s Lower East Side. SOLO EXHIBITION S 2013 “Beautiful Paintings,” Art Gallery at the Rockefeller State Park Preserve, Sleepy Hollow, NY 2011 “Richard Hambleton: A Retrospective,” presented by Andy Valmorbida and Vladimir Restoin Roitfeld in collaboration with Phillips de Pury and Giorgio Armani at Phillips de Pury & Company, New York 2010 “Richard Hambleton New York, The Godfather of Street Art,” presented by Andy Valmorbida and Vladimir Restoin Roitfeld in collaboration with Giorgio Armani at The Dairy, London “Richard Hambleton New York,” presented by Andy Valmorbida and Vladimir Restoin Roitfeld in collaboration with Giorgio Armani at the State Museum of Modern Art of the Russian Academy of Arts, Moscow “Richard Hambleton New York,” presented by Andy Valmorbida and Vladimir Restoin Roitfeld in collaboration with Giorgio Armani, Milan “Richard Hambleton New York,” presented by Andy Valmorbida and Vladimir Restoin Roitfeld in collaboration with Giorgio Armani, amFAR Annual Benefit, May 20, 2010 2009 “Richard Hambleton New York,” presented by Andy Valmorbida and Vladimir Restoin Roitfeld in collaboration with -
Photography, Performativity, and Immigration Re-Imagined in the Self-Portraits of Tseng Kwong Chi, Nikki S
Upending the Melting Pot: Photography, Performativity, and Immigration Re-Imagined in the Self-Portraits of Tseng Kwong Chi, Nikki S. Lee, and Annu Palakunnathu Matthew By Copyright 2016 Ellen Cordero Raimond Submitted to the graduate degree program in Art History and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson John Pultz ________________________________ David C. Cateforis ________________________________ Sherry D. Fowler ________________________________ Kelly H. Chong ________________________________ Ludwin E. Molina Date Defended: 28 March 2016 The Dissertation Committee for Ellen Cordero Raimond certifies that this is the approved version of the following dissertation: Upending the Melting Pot: Photography, Performativity, and Immigration Re-Imagined in the Self-Portraits of Tseng Kwong Chi, Nikki S. Lee, and Annu Palakunnathu Matthew ________________________________ Chairperson John Pultz Date approved: 28 March 2016 ii Abstract Tseng Kwong Chi, Nikki S. Lee, and Annu Palakunnathu Matthew each employ our associations with photography, performativity, and self-portraiture to compel us to re-examine our views of immigrants and immigration and bring them up-to-date. Originally created with predominantly white European newcomers in mind, traditional assimilative narratives have little in common with the experience of immigrants of color for whom “blending in” with “white mainstream America” is not an option. -
Andy Warhol 'Jean-Michel Basquiat'
Basquiat Boom for Real 2 Introduction 4 New York /New Wave 9 SAMO© 12 Canal Zone 15 The Scene 20 Downtown 81 22 Beat Bop 25 Warhol 33 Self-Portrait 36 Bebop (Wall) 40 Bebop (Vitrine) 42 Art History (Wall) 45 Art History (Vitrine) 46 Encyclopaedia (Walls) 52 Encyclopaedia (Column) 55 Encyclopaedia (Vitrine) 57 Notebooks 59 The Screen 64 Interview Jean-Michel Basquiat was one of the most significant artists of the 20th century. Born in Brooklyn in 1960, to a Haitian father and a Puerto Rican mother, he grew up amid the post-punk scene in lower Manhattan. After leaving school at seventeen, he invented the character ‘SAMO©’, writing poetic graffiti that captured the attention of the city. He exhibited his first body of work in the influential group exhibition ‘New York/New Wave’ at P.S.1, Institute for Art and Urban Resources, Inc., in 1981. When starting out, Basquiat worked collaboratively and fluidly across media, making poetry, performance, music and Xerox art as well as paintings, drawings and objects. Upstairs, the exhibition celebrates this diversity, tracing his meteoric rise, from the postcard he plucked up the courage to sell to his hero Andy Warhol in SoHo in 1978 to one of the first collaborative paintings that they made together in 1984. By then, he was internationally acclaimed – an extraordinary feat for a young artist with no formal training, working against the racial prejudice of the time. In the studio, Basquiat surrounded himself with source material. He would sample from books spread open on the floor and the sounds of the television or boom box – anything worthy of his trademark catchphrase ‘boom for real’. -
1 Tseng Kwong
Tseng Kwong Chi Born in Hong Kong, 1950. Left Hong Kong with family in 1966. Educated in Hong Kong; Vancouver, Canada; Montreal, Canada; Paris, France. Settled in New York City, New York 1979. Died in New York City, New York 1990. EDUCATION L' École Superior d’Arts Graphiques at L’Academie Julien, Paris, France Sir George Williams University, Montreal, Canada University of British Columbia, Vancouver, Canada SOLO EXHIBITIONS 2010 “Tseng Kwong Chi: Body Painting with Keith Haring and Bill T. Jones,” Paul Kasmin Gallery, New York, NY, February 11 – March 27, 2010 2008-09 "Tseng Kwong Chi," Heather James Fine Art Gallery, Palm Springs, CA, October 16, 2008 – January 2009 2008 “Tseng Kwong Chi: Self-Portraits 1979-1989,” Ben Brown Fine Arts, London, UK, April 15 – May 31, 2008 (catalogue) “Tseng Kwong Chi: Self-Portraits 1979-1989,” Paul Kasmin Gallery, New York, NY, April 3 – May 3, 2008, (catalogue) 2007 “Tseng Kwong Chi: Ambiguous Ambassador,” Bernard Toale Gallery, Boston, MA, August 29 – September 29, 2007 2005-06 “Tseng Kwong Chi: East Meets West,” Galleria Carla Sozzani, Milan, Italy, December 14, 2005 – January 15, 2006 2005 “Tseng Kwong Chi: Ambiguous Ambassador,” Stephen Cohen Gallery, Los Angeles, CA 2004 “Tseng Kwong Chi: Ambiguous Ambassador,” Hanart Gallery, Hong Kong, September 17 – October 6, 2004 2003 "Tseng Kwong Chi: East Meets West," Lee Ka-Sing Gallery, Toronto, Canada 2002 "Tseng Kwong Chi: Ambiguous Ambassador," Chambers Fine Art, New York, NY "Tseng Kwong Chi: A Retrospective, " Philadelphia Art Alliance, Philadelphia, -
Dancecult 8(1) Reviews
Reviews Life and Death on the New York Dance Floor 1980–1983 Tim Lawrence Durham: Duke University Press, 2016. ISBN: 978-0-8223-6202-9 RRP: US$27.95 <http://dx.doi.org/10.12801/1947-5403.2016.08.01.05> Charles de Ledesma University of East London, UK Cultural historian Tim Lawrence’s first book Love Saves the Day adopted a chronological approach to East Coast disco’s dramatic arc through the 1970s. Then his follow-up Hold On to Your Dreams widened the timeline, honing in on a valuable contributor to New York’s downtown music scene—cellist and composer Arthur Russell. While LStD ranged widely across many spaces, DJs, artists, assorted characters and issues, the Russell biography was an intimate portrait of a key player, who died from AIDS-related complications in 1992. Life and Death on the New York Dance Floor 1980–1983 (henceforth Life and Death) is the third segment in Lawrence’s New York project. Now he narrows the timeline and brings a forensic examination to just four years in the party scene. On the title, Lawrence explains, “the reference to life is intended to evoke the way that New York party culture didn’t merely survive the hyped death of disco but positively flourished in its wake”. And he clearly and convincingly argues that the short period was one characterised by a stirring artistic ferment, across music, art, dance and club space innovation. Lawrence explains: “instead of depicting the 1980–1983 period as a mere bridge that connected the big genre stories of 1970s disco and 1980s house and techno, I submitted to its kaleidoscope logic, took my foot off the historical metronome, and decided to take it—the book—to the bridge” (ix). -
Press Release
ALICE AYCOCK DENNIS OPPENHEIM PRESS RELEASE on view from 10 December 2020 For press inquiries please contact Appointments encouraged, mask required for entry Lukas Hall at (212) 541-4900 or [email protected] NEW YORK. The Directors of Marlborough Gallery are pleased to present a special exhibition featuring several large- scale works by Alice Aycock alongside an installation by Dennis Oppenheim. The exhibition will be viewable on the ground floor of our newly renovated space located at 545 West 25th Street. This two-person exhibition follows Aycock’s highly successful summer exhibition in Stockholm at the Royal Djurgården hosted by the Princess Estelle Cultural Foundation. With memories of the Mudd Club, the Odeon, Debby Harry and ‘Heart of Glass,’ we take a moment to reunite two kindred spirits in a play of synergistic works that have long and deep histories of particular resonance with the downtown scene in New York. ALICE AYCOCK’s works are intriguing because of their resistance to easy explanations. An early influence was Rem Koolhaas’s Delirious New York: A Retroactive Manifesto for Manhattan. She studied with Robert Morris and the art historian Leo Steinberg at Hunter College where she received her MA. Aycock’s first large-scale architectural work Maze (1972) was created upon finishing her studies at Hunter College in 1971. Her subsequent early show at 112 Greene Street and her association with Gordon Matta-Clark put her solidly in touch with many of the prominent downtown artists of the seventies, such as Mary Miss and Jackie Winsor. Aycock entered into an intense relationship with Dennis Oppenheim and remained lifelong friends, and along with Vito Acconci, were frequently associated by their mutual interests and even greater differences, as shown in the 1979 three-person exhibition at the ICA in Philadelphia entitled ‘Machineworks.’ For a brief time, they even shared a common visual repertoire. -
Press Releaseleathdale2019
Press Release MARCUS LEATHERDALE OUT OF THE SHADOWS Photographs New York City 1980 - 1992 November 7, 2019 - January 25, 2020 Opening Reception: Thursday, November 7, 2019 from 6 - 8 pm Talk & Book Signing with Marcus Leatherdale / Reading by Claudia Summers: Saturday, November 16, 2019 at 3 pm. Book Available Image: Marcus Leatherdale, Andy Warhol – Issey Miyake, 1983 Throckmorton Fine Art is pleased to announce a special show of portraits and photographs by the accomplished photographer Marcus Leatherdale. Taken from his new book, Marcus Leatherdale, OUT OF THE SHADOWS – Photographs New York City 1980-1992, (ACC Art Books) the show features dozens of black and white portraits and photographs of the celebrities and characters who peopled the often chaotic and clamorous Downtown Art Scene of the 1980s. Spencer Throckmorton says, “Leatherdale was just a twenty-something trying to get by when he began shooting often spontaneous shots of the celebrated personalities partying at the downtown clubs popular at the time. He says he didn’t realize he was archiving a raucous era that would soon be extinct – he was just photographing his friends.” Leatherdale says, “The late ‘70s to early ‘80s was my favorite time in New York. I was in the right place at the right time and I don’t think I have felt that way since. It didn’t matter if I was broke; I felt this was meant to be. I met everyone through Robert Mapplethorpe, Marcia Resnick, and Larissa—and going out to Studio 54 at least twice a week until Mudd Club opened. I was the new kid in town, and I had a New York City guardian angel.” Carol Squiers, a critic and ICP curator, wrote in the London Regional Art Gallery Catalog of Leatherdale’s works, “Marcus Leatherdale is a documentarian of the cosmopolitan netherworld of style.