Oct 22, 2009
Oct 15, 2009
Oct 13, 2009
Luring Artists to Lend Life to Empty Storefronts - The NY Times
By DIANE CARDWELL
Published: October 12, 2009
http://www.nytimes.com/2009/10/13/nyregion/13galleries.html
At the end of a dark passageway at the Port Authority Bus Terminal, almost 50 artworks have suddenly parked in a bright, spare gallery. On a grim stretch of the Flatbush Avenue Extension in Brooklyn, pastel portraits and interactive sculptures are squeezed between a McDonald’s and an Applebee’s. In the window of a former dentist’s office in downtown Jamaica, Queens, a clutch of faceless mannequins cradle various forms of roadkill.
The art may vary in style and shock value, but the settings are essentially the same — spaces donated or leased for a song by building owners unable to rent or develop them.
As the recession drags on and storefronts across New York remain empty, commercial landlords are turning to an unlikely new class of tenants: artists, who in flusher times tend to get pushed out rather than lured in. And the price of entry is not deep pockets, but vivid imaginations and splashy exhibits — anything to lend the darkened buildings a sense of life.
On terms that are cut-rate and usually temporary — a few weeks or months — the artist gets a gallery or studio, and the landlord gets a vibrant attraction that may deter crime and draw the next wave of paying tenants.
“Any sort of activity is better than no activity,” said Jed Walentas, a Brooklyn developer whose company, Two Trees Management, routinely lends space in Dumbo and Downtown Brooklyn for art projects. “As long as it’s short enough and it’s flexible, then there’s no real cost. So the question is who can you find that’s going to make an investment in a space with that level of uncertainty, and often it’s the artist.”
These “pop-up galleries,” as they are known in Britain, where the phenomenon is well established, are increasingly taking hold in New York as development advocates and landlords struggle to keep up appearances where commerce and construction have stalled.
The demand among landlords is so high that Chashama, a group that has been working for almost 15 years to find vacant real estate for visual and performing artists, no longer has to go looking. Its founder, Anita Durst, said she got calls every day from landlords asking her to find art projects for them. Some even offer to cover basic expenses like electricity.
Chashama was enlisted to find artists for the former dentist’s office and another vacant space by the Greater Jamaica Development Corporation, one of several business groups working to bring artists and landlords together.
An exhibit that opened on Wednesday and will run for four months in six empty storefronts on the Flatbush Avenue Extension near DeKalb Avenue is a collaboration between the Downtown Brooklyn Partnership and the New Art Dealers Alliance, a contemporary art association. A few blocks away, the MetroTech Business Improvement District approached Ad Hoc Art, which promotes street, pop and underground artists, to organize a similar installation on Willoughby Street that will run through Nov. 4.
At the Port Authority terminal, where a 2,500-square-foot retail space at West 41st Street and Eighth Avenue has gone unrented while a development deal remains in limbo, executives have relied on the Fashion Center Business Improvement District and the Times Square Alliance to bring in a series of pop-up tenants, including fashion designers and, in a show that opened on Thursday, artists working in a range of media.
The sudden glut of available space has even spawned a new player in the art world.
No Longer Empty, an outfit formed by a group of established curators about five months ago in response to the recession-fueled vacancies, has staged several exhibitions and events. One opened the weekend of Oct. 3 at a former belt factory in Brooklyn that once made “invisible dog” novelty leashes, and another installation is planned for the empty Tower Records store at East Fourth Street and Broadway in Manhattan.
“I really do think it’s something that’s here to stay,” said Manon Slome, a founder of the group. “I obviously hope the economic crisis will be over, but I see it as a great way for the public to interact with art in a different way. And it does provide a great platform for artists because they can do things that are maybe more experimental or larger than they could in a gallery space.”
Lishan Chang, an environmental artist who secured studio space in the former dentist’s office in Jamaica, said the storefront was perfect for his current project, “Accident Realm,” which features the dead raccoons, hawks, opossums, skunks and other creatures he finds along highways.
“I need a large sink when I do my taxidermy, and this office has a large sink,” said Mr. Chang, who learned to preserve the carcasses at the National Taiwan University and on YouTube. “I use chemicals and dentists use chemicals, so it fits.”
For neighborhoods, windows filled with stencils or weavings rather than brown paper and “for rent” signs have been a marked improvement.
“The lights are always on, the artists come and go late at night, and it’s even had more of an impact in activating the street than we anticipated,” said Andrew M. Manshel of the Greater Jamaica Development Corporation. As the redevelopment of the area continues, he said, he will work to find a way for the artists to have more permanent space.
The shows have played well with the locals. Passers-by and workers say they like having something different to look at and a chance to talk with the artists. On 161st Street in Jamaica one afternoon, two barbers from the block said they appreciated how accessible the artists had been.
“The first time they were there, they welcomed anybody, it was free and on the way out they gave you a little wine, they had food,” said one barber from the Haircutter shop, who gave his name as Junior. “It’s great.”
His co-worker, James Tucker, said it was “different, cultural-wise,” saying that he liked some of the artwork but that he found Mr. Chang’s roadkill project “really creepy.” Junior added, laughing, “He should do a Halloween thing with that.”
Two weekends ago on the Flatbush Avenue Extension near the Fulton Mall, Kenny Scharf, a psychedelic painter and performance artist, spray-painted what he described as “a big red monster mean guy being parasitically sucked on by some yellow guys” for a group show concentrating on large-scale works. As he worked, people stopped by to ask what he was doing and snap pictures with their cellphones.
“I really like that,” said Demetria Hayes, who was waiting for the bus outside the impromptu gallery. “He could do a lot with that.”
A version of this article appeared in print on October 13, 2009, on page A24 of the New York edition.
Ms. Hayes, who is pregnant, stood outside to escape the spray-paint fumes while her daughter, Danisia Peterson, 12, who likes to draw faces, chatted with Mr. Scharf inside and watched him work.
“A lot of people, especially kids, like to work like that through art,” Ms. Hayes said, “and to show how easy it is to just draw on the wall hopefully shows them they can do it and be creative, too.”
A version of this article appeared in print on October 13, 2009, on page A24 of the New York edition.
Published: October 12, 2009
http://www.nytimes.com/2009/10/13/nyregion/13galleries.html
At the end of a dark passageway at the Port Authority Bus Terminal, almost 50 artworks have suddenly parked in a bright, spare gallery. On a grim stretch of the Flatbush Avenue Extension in Brooklyn, pastel portraits and interactive sculptures are squeezed between a McDonald’s and an Applebee’s. In the window of a former dentist’s office in downtown Jamaica, Queens, a clutch of faceless mannequins cradle various forms of roadkill.
The art may vary in style and shock value, but the settings are essentially the same — spaces donated or leased for a song by building owners unable to rent or develop them.
As the recession drags on and storefronts across New York remain empty, commercial landlords are turning to an unlikely new class of tenants: artists, who in flusher times tend to get pushed out rather than lured in. And the price of entry is not deep pockets, but vivid imaginations and splashy exhibits — anything to lend the darkened buildings a sense of life.
On terms that are cut-rate and usually temporary — a few weeks or months — the artist gets a gallery or studio, and the landlord gets a vibrant attraction that may deter crime and draw the next wave of paying tenants.
“Any sort of activity is better than no activity,” said Jed Walentas, a Brooklyn developer whose company, Two Trees Management, routinely lends space in Dumbo and Downtown Brooklyn for art projects. “As long as it’s short enough and it’s flexible, then there’s no real cost. So the question is who can you find that’s going to make an investment in a space with that level of uncertainty, and often it’s the artist.”
These “pop-up galleries,” as they are known in Britain, where the phenomenon is well established, are increasingly taking hold in New York as development advocates and landlords struggle to keep up appearances where commerce and construction have stalled.
The demand among landlords is so high that Chashama, a group that has been working for almost 15 years to find vacant real estate for visual and performing artists, no longer has to go looking. Its founder, Anita Durst, said she got calls every day from landlords asking her to find art projects for them. Some even offer to cover basic expenses like electricity.
Chashama was enlisted to find artists for the former dentist’s office and another vacant space by the Greater Jamaica Development Corporation, one of several business groups working to bring artists and landlords together.
An exhibit that opened on Wednesday and will run for four months in six empty storefronts on the Flatbush Avenue Extension near DeKalb Avenue is a collaboration between the Downtown Brooklyn Partnership and the New Art Dealers Alliance, a contemporary art association. A few blocks away, the MetroTech Business Improvement District approached Ad Hoc Art, which promotes street, pop and underground artists, to organize a similar installation on Willoughby Street that will run through Nov. 4.
At the Port Authority terminal, where a 2,500-square-foot retail space at West 41st Street and Eighth Avenue has gone unrented while a development deal remains in limbo, executives have relied on the Fashion Center Business Improvement District and the Times Square Alliance to bring in a series of pop-up tenants, including fashion designers and, in a show that opened on Thursday, artists working in a range of media.
The sudden glut of available space has even spawned a new player in the art world.
No Longer Empty, an outfit formed by a group of established curators about five months ago in response to the recession-fueled vacancies, has staged several exhibitions and events. One opened the weekend of Oct. 3 at a former belt factory in Brooklyn that once made “invisible dog” novelty leashes, and another installation is planned for the empty Tower Records store at East Fourth Street and Broadway in Manhattan.
“I really do think it’s something that’s here to stay,” said Manon Slome, a founder of the group. “I obviously hope the economic crisis will be over, but I see it as a great way for the public to interact with art in a different way. And it does provide a great platform for artists because they can do things that are maybe more experimental or larger than they could in a gallery space.”
Lishan Chang, an environmental artist who secured studio space in the former dentist’s office in Jamaica, said the storefront was perfect for his current project, “Accident Realm,” which features the dead raccoons, hawks, opossums, skunks and other creatures he finds along highways.
“I need a large sink when I do my taxidermy, and this office has a large sink,” said Mr. Chang, who learned to preserve the carcasses at the National Taiwan University and on YouTube. “I use chemicals and dentists use chemicals, so it fits.”
For neighborhoods, windows filled with stencils or weavings rather than brown paper and “for rent” signs have been a marked improvement.
“The lights are always on, the artists come and go late at night, and it’s even had more of an impact in activating the street than we anticipated,” said Andrew M. Manshel of the Greater Jamaica Development Corporation. As the redevelopment of the area continues, he said, he will work to find a way for the artists to have more permanent space.
The shows have played well with the locals. Passers-by and workers say they like having something different to look at and a chance to talk with the artists. On 161st Street in Jamaica one afternoon, two barbers from the block said they appreciated how accessible the artists had been.
“The first time they were there, they welcomed anybody, it was free and on the way out they gave you a little wine, they had food,” said one barber from the Haircutter shop, who gave his name as Junior. “It’s great.”
His co-worker, James Tucker, said it was “different, cultural-wise,” saying that he liked some of the artwork but that he found Mr. Chang’s roadkill project “really creepy.” Junior added, laughing, “He should do a Halloween thing with that.”
Two weekends ago on the Flatbush Avenue Extension near the Fulton Mall, Kenny Scharf, a psychedelic painter and performance artist, spray-painted what he described as “a big red monster mean guy being parasitically sucked on by some yellow guys” for a group show concentrating on large-scale works. As he worked, people stopped by to ask what he was doing and snap pictures with their cellphones.
“I really like that,” said Demetria Hayes, who was waiting for the bus outside the impromptu gallery. “He could do a lot with that.”
A version of this article appeared in print on October 13, 2009, on page A24 of the New York edition.
Ms. Hayes, who is pregnant, stood outside to escape the spray-paint fumes while her daughter, Danisia Peterson, 12, who likes to draw faces, chatted with Mr. Scharf inside and watched him work.
“A lot of people, especially kids, like to work like that through art,” Ms. Hayes said, “and to show how easy it is to just draw on the wall hopefully shows them they can do it and be creative, too.”
A version of this article appeared in print on October 13, 2009, on page A24 of the New York edition.
Jun 7, 2009
旅美藝術家張力山藉車道枉死動物說故事
（中央社記者林琳紐約7日專電）旅居紐約的張力山在皇后區牙買加（Jamaica）工作室裡站
著一組木製模特兒，手中各捧著一隻肢體殘缺的動物標本。這是他進行中的創作系列─
「意外的領域」（Accident Realm）。
著一組木製模特兒，手中各捧著一隻肢體殘缺的動物標本。這是他進行中的創作系列─
「意外的領域」（Accident Realm）。
雖然木製模特兒沒有面容，素淨的色調及手捧的姿態讓人感受到一種虔敬的氣息。張
力山說，這些肢體殘缺的動物是他從高速公路車道檢回來的「誤闖車道而枉死的動物」。
他希望做成標本的小動物能讓人們看到無辜的動物往生的剎那，了解到自然生態與人類活
動重疊時可能發生的衝撞。
張力山說：「人類為了運輸而開路，穿越鄉野的高速公路侵入了自然的空間；闖入高速
公路動物多半是為了覓食。他們是自然生態與人類活動重疊時的意外受害者。」
經常在高速公路上開車的張力山常看到被高速行駛的車輛衝撞致死的動物。他發覺
冬天裡車道上意外死亡的動物特別多。天寒地凍的路上枉死的動物被凍僵了，殘破的肢體
及驚恐的狀況讓人心生悲憫。
張力山說，製作標本的過程中，他心中充滿了因人類侵犯了自然生態領域的歉意。在
他眼中，木製模特兒手中捧著的標本其實也像家中的寵物。
自1997年來到紐約，張力山一直創作不懈。他能運用不同媒材展現生命體驗，從內心
出發的作品呈現的方式絕不重複，已漸漸受到藝術界的肯定。近年來，除了受邀舉行個展
及參展，也曾到歐洲及美國佛蒙特州的藝術村駐村創作。「意外的領域」明年將在台北的
當代藝術館展出。
張力山的「意外的領域」主題計劃做上百個標本，目前在皇后區牙買加的工作室裡已
完成了三十幾件。原本是牙醫診所的工作室鄰近「牙買加藝術及學習中心」（Jamaica
Center for Arts & Learning）。這間由當地藝術協會安排租用的工作室也是藝術家作品
的展覽室，藝術協會要求展覽室夜晚也要亮燈，讓路過的行人可以觀賞創作。
展覽室的牆上掛著一系列紀錄張力山在高速公路檢拾意外死亡動物的圖片，包括註明
經緯度的Google衛星定位圖。
張力山說，他希望在展出這個系列時能有一台電腦，讓觀者點選任何一具手捧標本的
模特兒的圖片，就能看到當初他檢拾做成標本的動物的地點。
這些沒有街道名的鄉野地帶只能經緯度標明地點。張力山希望藉此讓人們能省思自
然空間被人類活動擠壓的問題。
人類行為對自然生態的影響是張力山常思索的問題。他說，去年冬天在佛蒙特藝術中
心駐村時，他觀察到靠近藝術中心河邊的野鴨在嚴冬竟然不南飛避寒，因為每天都有人固
定來餵食。被畜養的野鴨不再是候鳥，已成為家禽。
他說，河邊的鴨群讓他省思，在藝術中心駐村時一日三餐安逸的生活是不是也令他陷
入日常生活的規律，並不符合他創作的初衷。
10幾年前不辭艱辛來到紐約，張力山說，紐約的創作及生活環境讓當初並沒有計劃久
留的他願意在此長駐。「每一次從外地回到紐約，都更感覺這個城市的美與迷人。」也許
這個多元的城市正契合他「生命不要一再重覆」的期待。980607
http://dailynews.sina.com/bg/tw/twlocal/cna/20090607/0638331613.html
May 30, 2009
May 4, 2009
Apr 28, 2009
Apr 16, 2009
Artist Lishan Chang uses road kill in art to highlight tension between man, nature
BY John Lauinger
DAILY NEWS STAFF WRITER
Wednesday, April 15th 2009, 4:00 AM
Artist Lishan Chang in his Jamaica, Queens studio working on a dead animal.
This art project is dead meat - even if critics love it.
Taiwan-born artist Lishan Chang is using road kill as the centerpiece of an art exhibit that will spotlight the harm modern civilization has wrought upon the natural world.
For the last six months, Chang, a multimedia artist from Woodside, has scoured highways and country roads looking for remains of creatures that never made it to the other side.
Chang uses taxidermy to preserve his grisly quarry, working in a downtown Jamaica studio that smells of flesh and salt from the macabre pursuit.
The project is about a year from completion, but Chang already envisions an eye-catching design: Costumed mannequins holding animal pelts in their hands - a representation, he said, of how they were killed by nameless, faceless humans.
Most of the dead animals, Chang said, were likely foraging for food when they wandered into the path of human civilization.
"They just want to survive," Chang, 39, said of the creatures. "It's just so sad - so sad. I wanted to say something about that."
Chang has photographed scores of roadside remains - deer, foxes, raccoons, rabbits, even dogs. He plans to create a photo exhibit using Google Earth that will map the location where each animal was killed.
On a recent morning, Chang wore a surgical mask as he labored over a Canada goose carcass. Behind him, the remains of a raccoon, a squirrel and a rabbit soaked in plastic vats filled with a chemical solution.
Chang, formerly an artist in residence at the lower Manhattan Cultural Council, is no stranger to unusual artistic media. He has previously used charred bread to reinterpret Chinese calligraphy and protest post-9/11 security crackdowns.
Chang said he likes to push the artistic envelope and force people to think about the concepts that underlie his work.
But he admitted that it took him some time - plus formal taxidermy training - before he could stomach handling road kill.
"You just have to prepare yourself to touch them," the artist said, noting he has preserved the remains of about 50 animals.
The project, currently titled "Accident Realm," is sponsored by the Pollock-Krasner Foundation and a fellowship from the New York Foundation for the Arts.
It will appear in a group exhibit in May 2010 at the Taipei Museum of Contemporary Art in Taiwan, said Chang, who hopes to land a solo exhibit in New York.
Chang said he also plans to exhibit the project at his Jamaica studio, which is owned by the Greater Jamaica Development Corp. and leased by chashama, a Manhattan-based arts group.
jlauinger@nydailynews.com
DAILY NEWS STAFF WRITER
Wednesday, April 15th 2009, 4:00 AM
Artist Lishan Chang in his Jamaica, Queens studio working on a dead animal.This art project is dead meat - even if critics love it.
Taiwan-born artist Lishan Chang is using road kill as the centerpiece of an art exhibit that will spotlight the harm modern civilization has wrought upon the natural world.
For the last six months, Chang, a multimedia artist from Woodside, has scoured highways and country roads looking for remains of creatures that never made it to the other side.
Chang uses taxidermy to preserve his grisly quarry, working in a downtown Jamaica studio that smells of flesh and salt from the macabre pursuit.
The project is about a year from completion, but Chang already envisions an eye-catching design: Costumed mannequins holding animal pelts in their hands - a representation, he said, of how they were killed by nameless, faceless humans.
Most of the dead animals, Chang said, were likely foraging for food when they wandered into the path of human civilization.
"They just want to survive," Chang, 39, said of the creatures. "It's just so sad - so sad. I wanted to say something about that."
Chang has photographed scores of roadside remains - deer, foxes, raccoons, rabbits, even dogs. He plans to create a photo exhibit using Google Earth that will map the location where each animal was killed.
On a recent morning, Chang wore a surgical mask as he labored over a Canada goose carcass. Behind him, the remains of a raccoon, a squirrel and a rabbit soaked in plastic vats filled with a chemical solution.
Chang, formerly an artist in residence at the lower Manhattan Cultural Council, is no stranger to unusual artistic media. He has previously used charred bread to reinterpret Chinese calligraphy and protest post-9/11 security crackdowns.
Chang said he likes to push the artistic envelope and force people to think about the concepts that underlie his work.
But he admitted that it took him some time - plus formal taxidermy training - before he could stomach handling road kill.
"You just have to prepare yourself to touch them," the artist said, noting he has preserved the remains of about 50 animals.
The project, currently titled "Accident Realm," is sponsored by the Pollock-Krasner Foundation and a fellowship from the New York Foundation for the Arts.
It will appear in a group exhibit in May 2010 at the Taipei Museum of Contemporary Art in Taiwan, said Chang, who hopes to land a solo exhibit in New York.
Chang said he also plans to exhibit the project at his Jamaica studio, which is owned by the Greater Jamaica Development Corp. and leased by chashama, a Manhattan-based arts group.
jlauinger@nydailynews.com
Apr 15, 2009
Apr 7, 2009
HOW CHINESE
HOW CHINESE
Lishan Chang, Shen Chen, Eric Jiaju Lee, Tenzin Phuntsog, Lisa Ross, Yuh-Shioh Wong
Curated by Aileen June Wang and Eric Jiaju Lee
May 1 – June 5, 2009
Opening reception: Friday, May 1, 6 - 9pm
Panel discussion and reception: Friday, May 15, 5:30 - 7:30pm
Gallery 456
Chinese American Arts Council
456 Broadway, 3rd Floor
New York, NY 10013
Gallery hours: M-F, 12-6pm
and by appointment
Tel: 212.431.9740
www.caacarts.org
HOW CHINESE, curated by Aileen June Wang and Eric Jiaju Lee, is a group exhibition that seeks to expand the current notion of contemporary Chinese art, defined by the most popular movements of Political Pop and Cynical Realism. The featured artists represent the Chinese diaspora and beyond, and their works reflect the intriguing confluence of Chinese and non-Chinese cultures in their lives. HOW CHINESE seeks to start a lively conversation about art and identity, and the role of cultural memory in artistic creativity. Artists: Lishan Chang, Eric Jiaju Lee, Tenzin Phuntsog, Lisa Ross, Shen Chen, Yuh-Shioh Wong.
Making It / Selections from the 2008 NYFA Mentoring Program for Immigrant Artists
The New York Foundation for the Arts (NYFA) and Deutsche Bank invite you to Making It / Selections from the 2008 NYFA Mentoring Program for Immigrant Artists, an exhibition of painting, photography, sculpture and video by participants of NYFA's Immigrant Artist Mentoring Program. (Lishan Chang is participated in this show.)
Celebrating Immigrant Heritage Week
Exhibition Date:
April 2 – July 15, 2009
Opening:
Thursday, April 23rd 2:00 – 5:00 pm (Tours at 2:30 pm & 3:30 pm)
Location :
Deutsche Bank Gallery
60 Wall Street
New York, NY 10005
All visitors MUST RSVP to attend. All RSVPs must be in by 2:00 pm on April 22nd
To RSVP contact:
TJ WITHAM
(212) 366-6900 ext. 207
tjwitham@nyfa.org
remember to bring a photo ID as it is required to enter the building
Apr 2, 2009
Dream in a Contemporary Secret Garden (Venue II)
Venue II: The Gallery/ Elga Wimmer PCC
Date: May 7 to June 13, 2009
OPening reception: Thursday, May 7, 6-8pm
ACAW reception: Thursday, May 14, 4-8pm
Opening Hours: Tuesday ti Saturday, noon-6pm or by appointment
526 West 26 #310, NYC 10001
Tel: 212-206-0006
Dream in a Contemporary Secret Garden (Venue I)
Venue I: Taipei Cultural Center of TECO in New York
Date: May 6- June 5, 2009
Opening reception: Wednesday May 13, 6-8pm
Opening Hours:
Monday to Friday, 9am to 6pm
Saturday, 9am to 11am
Taipei Economic and Cultural Office in New York
1 East 42nd Street @ 5th Ave, New York, NY 10017
(212)697-6188
http://www.tpecc.org
Aug 21, 2008
Jun 29, 2008
Burnt bread becomes wall of art
Exhibit inspires reflection on how people approach conceptual art
Dennis Dingman stares at the 100-foot-long wall covered with symmetrically arranged loaves of burnt bread at the Washington Pavilion.
He's dwarfed by the 20-foot-tall artwork but doesn't appear surprised or bewildered. He's expressionless, studying the thousands of blackened baguettes nailed up by New Yorker Lishan Chang.
Munching on snacks during a recent reception for Chang's "LC Bakery" show, Dingman, 70, reveals that he knows a bit about conceptual art but doesn't feel qualified to pass judgment.
"The unique thing about it is how it was made, and how now it's here on the wall," the Sioux Falls art patron says. "No one has seen it before and probably never will see it again. It's unique."
His wife, Carol Dingman, isn't sure how to react.
"It's over the top," she says, laughing. "Just over the top. It is interesting, and it means something, maybe to the artist - something very profound? I don't know."
Chang's work prompts the age-old question, "What is art?" Artists and teachers say art doesn't have to be "beautiful" but should make people think.
Still, some observers think of art only as paintings of a landscape, a barn, pheasants taking off or ducks landing, says artist and retired Augustana College art teacher Carl Grupp of Sioux Falls.
Many area exhibits have challenged the more narrow notion of art.
The August 2006 Pavilion exhibit called "Do Not Fold, Bend, Spindle or Mutilate: Computer Punch Card Art" included cards decorated by artists across the country.
A current Pavilion exhibit features settings Nebraska artist Josh Johnson built from Lincoln Logs and small plastic animals.
And there's Chang, who recently was on-site producing and installing his "blackery," a term he coined referring to the blackened surface of the burnt baguettes.
The process used to make the loaves, then burn them, is as much the "art" as the finished product, says David Merhib, the Pavilion's director of the Visual Arts Center.
The Banquet and Breadsmith let Chang use their facilities to mix, shape and bake the bread. He used 10 electric ovens on the Pavilion loading dock to burn bread for nearly two weeks.
Viewers can use all of their senses to experience the total package: They listen to a recording of the crackling the loaves make as they cool; they smell the burned bread; they touch and even buy the extra loaves; and they inspect huge photographic blow-ups of the rugged patterns on the bread.
While the average viewer may puzzle over the exhibit - some even soundly trash it in the gallery comment book - artists have other opinions.
"I was very impressed," Grupp says.
"He's using the materials like ink. It's just another way of making marks. It reminds me of calligraphy, and he's got some rhythms going there," Grupp says. "It's just another medium. Some people freaked out when artists started using computers, but it's accepted now."
Ceca Cooper, a painter and assistant professor of art at the University of Sioux Falls, calls the exhibit "pretty fabulous."
But understanding and enjoying the display might require some education for folks who have not seen much beyond traditional art, she says.
Some people think artists should create only aesthetically pleasing work, something beautiful to look at, she says.
"No one could possibly understand it unless they know what conceptual art really is," Cooper says. "The end product is not what really matters.
"It's the intellectual thoughts that the artist had behind the piece," she says. "I am excited to see the Pavilion put up something so edgy, and hopefully it will begin to educate the community on what conceptual art is."
Asking the question "Is it art?" sets up a negative connotation, says painter Liz Bashore Heeren, an assistant professor of art at South Dakota State University in Brookings.
"Maybe better questions are: 'Why is this art, what is this teaching us, and is this art that I appreciate?' " Bashore Heeren says. " 'And if I don't like it, then why is that, and what is lacking? Or what good qualities am I responding to?' "
Reactions to an installation often is based on how a viewer was raised to appreciate art, she says. In this geographic region, people's assumptions often have not been challenged, she says.
"My reaction to the installation is that I thought it was very interesting," Bashore Heeren says. She also liked pictures of Chang's other art to compare.
"The burnt bread is such a strange thing: It looks like a sea slug coated in graphite, such an undefinable form when it's burnt," she says. "It's familiar but unfamiliar, and I find that kind of curious. It's like a form of writing I don't understand or can't read."
The Abstract
People have asked Wall Lake artist Robert Ruf what his abstract paintings are supposed to be.
"I don't get that kind of comment in Chicago, where they say, 'I like this or those colors,' so it's a different kind of culture in the bigger cities where they are more used to a broad range of art," Ruf says.
His January exhibit, "Surrounded," at the Multi-Cultural Center enveloped visitors inside abstract oil colors and patterns painted on more than a dozen of 8-foot-tall clear plastic panels.
"Since the turn of the 20th century, it would be foolish for people to exactly nail down what art is, like they did in the Renaissance period, because there are so many different mediums you can use now," Ruf says.
"Sculptures used to be made primarily of marble or stone, but today they use all kinds of materials. Today, art covers a lot of ground."
Pavilion visitor Dingman continues to munch reception snacks while looking at the exhibit.
"It's hard for me to comment on this, because downstairs I was just looking at the lithographs and paintings which I like, and I really enjoy the photo exhibit down there, too," Dingman says.
"This looks to me like it should be forming something up there, the way they are arranged - like letters or something," he says.
The artist Chang, 37, is nearby, smiling and greeting visitors.
He speaks of eliminating the bread's utilitarian function and adding his own artistic language.
"In a way, this process rather resembles painting," Chang says. "I take the medium and convert it into an artistic material. I look at the space and soon have a map in my mind. I know beforehand what I'm going to do with this space."
Dingman turns away from the work and looks at huge photographs of individual burnt loaves on the facing wall.
"I kind of like these better than the installation," he says. "The close-up photos of the textures are more intriguing to me."
Reach reporter Jay Kirschenmann at 331-2312.
Jun 20, 2008
皇后美術館推出張力山手札
【大紀元6月20日訊】(大紀元紐約訊)為服務皇后區華人民眾，皇后美術館於六、七月，每個週日下午2時至4時，舉辦一系列免費的當代藝術入門課程。邀請藝術家張力山主講。主題為「藝術家手札」，希望引導參與者自其日常生活中發現新媒材，並運用自選媒材，創造出特具個人風格的藝術家手札。
張力山出生於臺灣，1997 年移民到紐約。他曾獲得許多榮譽，包含2007 年遴選為台灣文建會第八屆之出訪藝術家、同年獲Franconia 雕塑公園的Jerome 獎助金，2008 年榮獲freeman 基金會設立的亞洲藝術家獎助金，以及日前，從4500 名申請者中，脫穎而出，獲頒紐約文藝基金會2008 藝術家獎助。2008 年5月底，他在南達柯達州蘇佛市華盛頓科學藝術館的個展，榮獲該市市長以展覽名稱，頒訂開幕日為LC BAKERY DAY （力山麵包坊日）。除此之外，他也進駐、參與過許多重要的藝術工作室，包括紐約下城文化委員會的藝術家工作(LMCC) 、紐約ISCP 策展與藝術家工作室、芬蘭的SUMU/Titanik 工作室、以及Vermont 藝術村等。
此次課程「藝術家手札」，六月份的上課地點為法拉盛圖書館地下樓 C & D 室，地址為41-17 緬街，電話1-718-661-1200 。七月份上課地點在皇后美術館內，詳細上課地點請恰皇后美術館的Sara Guerrero 1-718 592 9700 x135。
Jun 2, 2008
144 NY Artists, Including Painters, Playwrights & Choreographers, Receive Nearly $1 Million in Unrestricted Funds from NYFA
New York, NY (June 2, 2008) – New York Foundation for the Arts (NYFA), New York's leading provider of unrestrictedfunding to individual artists, has awarded 136Fellowships to 144New York artists representing eight artistic disciplines that cover the visual, performing and literary arts. Reflected in the total are eight artistic collaborations. A NYFA Fellowship comes with an unrestricted grant in the amount of $7000.
For the second consecutive year in the 23-year history of the program, called Artists' Fellowships, the greatest number of awardeeshail from Brooklyn – a distinction that has typically gone to Manhattan. Attached please find a complete list of the 2008 NYFA Fellows,which indicates each artist's county of residence.
This year's 144 NYFA Fellows – who were chosen from among over 4,500 applicants –include architects, choreographers, composers, fiction writers, painters, photographers, playwrights/screenwriters and video artists. The Fellows were selected by peer panels, which were assembled according to each artistic discipline.
For 38 year old Brooklyn painter Allison Gildersleeve, the award is potentially career changing. "Getting a grant from NYFA is more than the financial boost," she said. "We all need more money – to buy supplies, for studio space, and to purchase that most precious commodity: time to make work. But wrapped up with that check in the mail, comes the icing on the cake, that outside affirmation all of us need when we're sequestered in our studios trying to figure out what to do next – that you have been picked out of the most competitive pool. This is New York after all, and now you share recognition with artists that you've respected and admired."
Overall, NYFA awards Fellowships to artists representing sixteen disciplines – eight one year and another eight the next, but always the same 16. Past NYFA Fellows include Spike Lee, Tony Kushner, Julie Taymor, Carroll Dunham, Todd Haynes, Tamara Jenkins, David Hammons, Junot Diaz (author of The Brief Wondrous Life of Oscar Wao) and many others. Since 1985, over 3,700 New York artists have received NYFA Fellowships.
"Whether it's Brooklyn, Manhattan or Queens, one thing is certain - New York is the place to be for all artists, emerging or mid-career," said NYFA Executive Director Michael L. Royce. "New York is Warhol. New York is Spike Lee. New York is Gershwin. While we hope that our unrestricted grants help to perpetuate that reality, we also hope that they do something far simpler – give talented artists the time and space needed to create their next great work. When they do, New York will be all the better for it."
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About New York Foundation for the Arts
New York Foundation for the Arts provides more support and services to artists and arts organizations in all disciplines than any other private organization in the country: nearly $7 million annually. Nearly one out of every five public, modern artworks created for the New York subway and regional rail system was done by a former NYFA Fellow.
Major funding for NYFA's 2008 Artists' Fellowships is made possible by public funds from the New York State Council on the Arts, a State agency Major funding has also been provided by the New York City Department of Cultural Affairs and the Lily Auchincloss Foundation. Additional funding has been provided by the Milton & Sally Avery Arts Foundation, Deutsche Bank Americas Foundation, Alex G. Nason Foundation, Norton Family Foundation, The Buddy Fund at Rockefeller Philanthropy Advisors, an anonymous donor, and individual donors.
Lishan Chang is one of the 2008 NYFA Fellows in the category of Architecture / Environmental Structure.
May 30, 2008
May 25, 2008
紐約廉價舊廠 孕育世代藝術家
中國時報 2008.05.25
王良芬／紐約
7號地鐵出了紐約市中央車站，約5分鐘後進入皇后區長島市；走出韓特點(Hunters Point)車站，放眼望去盡是老舊的工廠倉庫，酷似曼哈頓的蘇荷區，也宛如布魯克林區的威廉斯堡。好幾棟老倉庫改成工作間裡，正滋養著21世紀的藝術家。33歲的雕塑家努斯班(Josh C. Nusbuam)從小生長在紐約，但他仍必須像多數藝術家一樣，在一片荒涼的舊廠房中尋覓棲身地。這裡就是因為天花板挑高，可以創作大件雕塑品。
窩居創作 唯一的椅也是作品
皇后區長島市房價低廉，近年來吸引許多藝術家進駐，都是工作間兼住家。努斯班在2004年找到現在的工作間，僅有500呎見方，裡面擺滿他的作品，兩張工作桌分靠著窗邊，各型刀子、磁粉、強力膠、保麗龍、毛布、針線等，散落在桌子上。
牆上、地面到處都是他的雕塑作品，角落有張舖了黑床單的中型床，10來件衣服整齊掛在架子上，這就是他的全部家當，藝術家的清寒襲面而來。
努斯班泡了熱茶待客，因為唯一的一張椅子也是藝術品，我們席地而坐，舉目盡是獨特的藝術品，主題強勁繁複、材質多樣豐盛，讓人不敢小覷他的精神內涵。
長島市附近都是工廠，努斯班經常外出尋找材料，從廢棄的材料中找出創作元素。工作間的地上有許多樹木外皮，他檢視暗沉木皮形狀，然後決定要雕刻什麼。他說：「在曼哈頓就沒有這樣的機緣。」
努斯班創作題材多關於人，常需要去曼哈頓觀察人們，韓特點距離曼哈頓僅需搭地鐵兩站，地理優點雷同布魯克林的威廉斯堡，如今威廉斯堡已被華爾街族進佔，低廉的長島市成為藝術家的最佳選擇。
藝術家紛紛搬離昂貴的威廉斯堡之際，有不少仍繼續留在布魯克林，有的轉往綠點(Green Point)，自成另一藝術家聚落，堅持布魯克林派的藝術傳承。
也有些往紐約上州發展，沿著哈德遜河而上，有些小鎮漸成藝術家村。還有不少因創作性質及自身經濟條件，反而成了游牧藝術家，甚至大膽前進曼哈頓。
來自台灣 他成了游牧藝術家
旅美台灣藝術家張力山1997年底來紐約，最先落腳在布魯克林Earth工作室，在威廉斯堡地區浸沉多年。他因從事行動藝術，作品通常需要很大空間，近年來經常因主題不同，必須變更工作空間，成為遊走的行動藝術家。張力山著名的作品Stop Transition－in Warehouse，以倉庫為創作空間，他在布魯克林承租了一家倉庫，裡面有起重機、貨運機械、卡車等等，藉著幫客戶執行搬家業務，以多元媒體紀錄行動過程。倉庫月租一萬美元，原先計畫紀錄5年，但到了第4年半，不堪虧損累累只好提早收工，但這項行動藝術卻讓人印象深刻。
張力山的「力山麵包坊」則為另一項巨作，需要的空間更大。2003年他突發奇想，買了許多長麵包，用不同火候以烤箱一一燒製，經過不斷的實驗，終於做出期盼的質感。2004年四月，首度在皇后美術館的聯展中推出。
為了這項展覽，張力山每天早上4點半到麵包工坊捏塑麵包、放入烤箱。下午2點取出成型的麵包，再用家用烤箱烤成碳焦麵包，總共花了兩個多月，烤出2300多條布雷克力，最後一天，還發生遭人舉報、消防車按鈴來訪的插曲。
目前「力山麵包坊」在南達科達州華盛頓藝術科學館(Washington Pavilion for Arts and Science)展出，該館動員所有館員並協同十位義工，混麵粉、揉麵團，烘烤成長條麵包，進而烤成碳焦麵包。接著將全程以多重角度呈現。
逆勢操作 搬到曼哈頓好賣畫
韓裔抽象派畫家鄭熹珍原住布魯克林，在布魯克林工作室租金日漲的時候，她卻逆向操作，2006年搬到昂貴的曼哈頓上西城。鄭熹珍說：「威廉斯堡地產被炒作得不像話，房租和曼哈頓相差不遠，既然如此，何不搬到曼哈頓？」
畫家不需要那麼大的空間，鄭熹珍從事抽象畫創作，但仍需挑高的空間，以便放置大型畫作。她將起居間當成畫室，擺滿各類抽象畫，厚重的帆布推在牆邊，因為作品實在太多，臥房、浴室、廚房都當作展覽空間，廚房一角是臨時倉庫。
鄭熹珍以油料、壓克力、磁粉當顏料，運用刀子、刷子和手指作畫，由於畫風新穎，得到一些藝廊的賞識，已經賣出不少畫作，在美國畫壇正嶄露頭角。
她說：「住在布魯克林的時候，很難請得動畫商或收藏家來看畫，搬到曼哈頓後，因為地點方便，來看畫的人相當多，收入比過去好太多，這些都是住在曼哈頓的優點。」
鄭熹珍的公寓是戰前建造，大樓的門面即是《慾望城市》女主角米蘭達的住處外景。天花板特別挑高，很滿足藝術家的要求。
鄭熹珍多在午夜以後創作，她說：「作畫不是外人所想的那麼安靜，我拿著刀子在畫布上用力刮顏料，聲音之大會吵醒鄰居，好在鄰居有些也是藝術家，能夠理解我的情況。」
最麻煩是要參展前的兩個月，鄭熹珍在家用榔頭釘畫布、架子，敲敲打打，鄰居以為是她家在裝修，她只得歉聲連連。
鄭熹珍說：「畫家根本像幹黑手，每天動刀動鑽，身上的工作服老是髒兮兮的。」好在曼哈頓居民見多識廣，對於這名夜半家中發出怪聲，拿刀、拿榔頭的女畫家，已見怪不怪了。
May 22, 2008
May 16, 2008
南達科他州蘇佛市藝術館 化身張力山麵包坊
旅美藝術家張力山用碳焦麵包在牆面形成的裝置作品受矚目。南達科他州蘇佛市的華盛頓藝術科學館邀他展出作品及創作過程，藝術館成為張力山的麵包坊。// 中央社 九十七年五月十六日【大紀元5月16日報導】（中央社記者林琳紐約十五日專電）
旅美藝術家張力山二零零四年四月在紐約皇后美術館展出用碳焦麵包在牆面形成的裝置作品「屮」深受矚目。南達科他州蘇佛市的「華盛頓藝術科學館」邀請張力山在該館展出作品及創作過程，藝術館成為張力山的麵包坊。
裝置作品「屮」的特色之一是它的媒材。二零零四年創作這項作品時，張力山有兩個月的時間每天早上四點半就到附近的麵包工坊捏塑麵包造型、放入烤箱、烤出熱騰騰的長麵包，下午兩點將做好稍涼的麵包取回公寓中，再用家用烤箱，一條一條烤成碳焦麵包。兩千三百多條碳焦麵包就是作品的媒材。「華盛頓藝術科學館」的策展人認為，張力山這項作品的創作過程與作品一樣精彩，所以決定以「力山麵包坊」為五月三十日到九月七日個展的主題。藝術科學館幾乎動員了館方所有人員，外加十位義工，在現場製作媒材，從混麵粉、揉麵團，到烘烤成長條狀麵包，進而烤成碳焦麵包。展出的形式將是以多元的形式，包括行為、裝置、香味、聲音、攝影等更全面的樣貌呈現。更有趣的是，展覽期間，販售碳焦麵包也是展出計畫的一部份。
張力山說，以碳焦麵包為媒材源自二零零三年的一個突來奇想。他在不斷尋找新媒材的過程中試驗性的將由店家買來法式長麵包用不同火侯並控制烤箱時間燒製。經過不斷的實驗，終於成功地做出他所期盼的質感。幾個月後，在二零零四年四月，他用碳焦麵包創作的裝置作品首度呈現在皇后美術館的聯展中。美術館白色巨牆上的巨幅裝置作品「屮」，寓意深刻又充滿趣味，獲得觀展者好評。
皇后美術館展覽之後，張力山仍繼續發展碳焦麵包的其他呈現手法。同時，賦予碳焦麵包一個新名詞，叫做「佈雷克力（Blackery）」，為LC Bakery 的變位字。LC，則是張力山英文全名的首字母。由於烤出來的麵包，大多是黑色，因而得其名，也代表是從力山麵包坊（LC Bakery）所製作出來的產物。一九九七年由台灣來到紐約的張力山，多年來一直執著於實踐藝術創作的理想，總有新意的創作已逐漸得到主流藝術界的認識，近幾年的展覽活動相當頻繁。他的創作曾在紐約的皇后美術館、蘇格拉底雕塑公園、韓國文化中心畫廊、明尼蘇達州的法藍克尼亞雕塑公園，台灣的國立美術館及關渡美術館展出。他曾進駐的藝術村包括佛蒙特藝術村、紐約的國際藝術家與策展人中心及曼哈頓下城文化委員會藝術家工作室。最近他也應皇后美術館的邀請開班教授當代藝術入門課程。
May 11, 2008
Burning bread for art
By Lisa May
If you were downtown Sioux Falls on Sunday you might have smelled something burning. It was actually burning bread and it was no accident.
Ten ovens outside the Washington Pavilion were used to burn baugettes for an upcoming art installation. Lishan Chang, an artist from Taiwan, plans to use the charred bread to create a one of a kind work of art on the south wall of the Everist gallery in the pavilion.
Chang pulled off a similar sculpture in new york four years ago and says the entire project is time consuming.
"In 2004 I had an installation in Queens Museum," Lishan Chang says. "I burned 2,000 pieces of bread. It takes about one month."
Chang's bread exhibition will be on display from May 30th to September 7th.
Apr 25, 2008
晾書報導--世界日報
台灣藝術家張力山的裝置藝術「摺疊圖書館」(The Folding Library)，目前正在布碌崙公共圖書館中央分館展出。張力山表示，取名「摺疊圖書館」的裝置藝術都由他的手繪作品製成。它們都是1999年至今所作，包括用鉛筆、墨水、水彩記載的各類裝置作品、行為藝術、美學觀念等，以草圖、素描、書法等形式展現，這些圖形可說將他的個人經歷、想法到夢境全部描繪出來。他用台灣買的佛經本創作這些圖形，總共有40多本，而這次展出的只有10多本。張力山說，他喜歡在佛經本上畫圖和思考，人的思維是連續性的，而佛經本展開很長，很適合記載有時間感、延續性的題材，表現過去、現在和未來。張力山說，他的每部作品都包含了身為藝術家要問的問題，答案可能很獨特，或者有點似是而非，連他自己經常也感到驚訝。他鼓勵不解其意的觀眾多加審視，也許會豁然開朗。
張力山生長於台灣，1997年移居紐約，曾獲得多個榮譽，並在皇后美術館、蘇格拉底雕塑公園、明尼蘇達Franconia雕塑公園、皇后區公共圖書館畫廊等多個藝術機構展出過作品。
「摺疊圖書館」展至6月14日。布碌崙公共圖書館中央分館地址：布碌崙大陸軍廣場10號(10 Grand Army Plaza Brooklyn, NY 11238)。
來源：世界日報
Apr 23, 2008
旅美藝術家張力山紐約展出「藝術書」
【大紀元4月23日報導】（中央社記者林琳紐約二十三日專電）旅居紐約的台灣藝術家張力山，以多年來摸索創作的紀錄為本所製作的「藝術書」，從昨天起到六月十四日在紐約市布魯克林區圖書館展出。張力山在昨天晚間的開幕式上，向觀展者介紹這些有如中國古代摺疊式書本的藝術書的主題。他表示，他從一九九九年起開始創作藝術書，每一本書紀錄一項他的行動藝術或是裝置藝術的概念、美學觀點及創作的計畫，可能是素描、中國書法，甚至是信手拈來的筆頭與橡皮在紙上隨興所至按下圖案印記的趣味構圖。
嘗試過多種媒材創作室內及室外大型裝置的張力山，在紐約展出的作品就屢有新意。由布魯克林圖書館展出的藝術書可以認識到他以烤焦的法國麵包創作裝置的過程、在南達科他州駐村創作時的心境、及如何在紐約蘇格拉底公園以膠膜創作出「飄浮」的境界。
一九九七年來到紐約的張力山，近年來愈見成熟的創作風格獲得藝術界肯定，除了經常受邀展出新作，他也獲得紐約市及其他州的藝術單位邀請駐村創作。
Apr 22, 2008
Jan 8, 2008
Opening of HUMAN RESOURCES exhibition
The show features works by a great group of artists:Manuel Acevedo
Jane Benson
Michael Cataldi
Lishan Chang
Carola Dertnig
Nicolás Dumit Estévez
Terence Gower
Hoon Kim
Yoko Inoue
Catarina Leitão
Diane Meyer
Shelly Silver
Shinique Smith
@SEAPORT!
located at 133 Beekman Street (entrance on the corner of Beekman and Front Streets)*
Jan 8 - Feb 3, 2008
Hours: Tuesday - Thursday, Sunday 12pm - 5pm
Friday & Saturday 12pm - 7pm
Opening Reception: Thursday, Jan 10 2008, 6 - 8pm
Space Provided by General Growth Properties
Attached images: Nicolás Dumit Estévez "Help Offered," 2004 (initially performed in Jamaica, Queens as part of Jamaica Flux: Workspaces and Windows)
Dec 27, 2007
Queens Library's "Line" Exhibit Draws Viewers In
Black lights, typically the stuff of basement parties and music stores, have taken center stage — at a library, of all places.The black light installation by artist Lishan Chang is part of an exhibit now on display at the Queens Library Gallery in Jamaica. The free show, which presents work from seven different artists, takes a new approach to line drawing.
“I was looking for work that spoke to the idea of drawing through the use of line, but wasn’t necessarily a drawing,” said Juliana Driever, the gallery’s curator.
She found just that from artists including Jose Ruiz, whose “Blindfolded Essay” uses text to create the shape of a person wearing a dark mask. Up close, the words are legible, but step back a few feet and the human form takes shape, rendering the words indistinguishable.
There’s also Doreen McCarthy’s “Circulation,” a three-dimensional piece comprised of connected, white, inflatable circles. It’s as tall as a person and because it sits front and center in the gallery, is equally visible to someone perusing nearby library shelves or walking through the exhibit.
“The scale of the piece was really crucial,” said McCarthy, who has worked with inflatable materials for more than a decade. “I wanted it to be somewhat human, but also architectural. I wanted to invite people to interact with it, be engaged, have a physical experience with it.”
This notion of interacting with art is counterintuitive, but it makes the exhibit user-friendly and accessible, particularly important for a gallery in the middle of a public library. Driever, who has worked at the library’s gallery for almost two years, said her aim is for the shows to provide this type of access.
“Everything we have here at the gallery is for our community,” she said. “My goal is to bring stellar exhibits of contemporary art to Queens and specifically, to Jamaica.”
The community seems to be responding positively. Isador Monsanto twice brought his son, Zachary, to the show, the second time at the request of the 8-year-old. The pair said they liked the sketches of the robot Domo, by Pia Lindman, and Chang’s black light installation, which is housed in a separate room at the back of the gallery.
“The first time I went in there, I thought, ‘How did they do that?’” Zachary said, referring to the way a black light makes white or light material glow. “I thought they just put a light in my shirt.”
Even artist Carol Warner, who has six pieces on display, said she enjoyed Chang’s black light room and the rest of the exhibit.
“It’s so much about line, but I probably wouldn’t have thought that without seeing the material in that context,” she said.
Warner’s work is some of the most colorful in the room. She takes images from magazines, cuts them into strips of different widths, and weaves them together. Minus any contextual clues, the shapes within the art are somewhat hard to distinguish. But their vibrant colors draw viewers in.
“My work is about line (and) about paper — the paper as a line,” Warner said. “(Juliana) just found so many different variations on the idea of something simple. I was thrilled to be a part of it.”
Driever seems to have succeeded not only in engaging the Queens community, but the artists involved as well.
“It’s been great. The community always loves all the exhibitions we do,” Driever said. “All of the artists were really enthusiastic and very happy with the way (the exhibit) came together.”
“Line (Drawing)” is on display at the Queens Library Gallery until Jan. 13. Hours are 10 a.m. to 9 p.m. Monday through Friday, 10 a.m. to 5:30 p.m. on Saturday, and noon to 5 p.m. on Sunday. Admission is free.
For more information, call (718) 990-8665 or visit http://www.queenslibrary.org/gallery.
Oct 10, 2007
Oct 8, 2007
Line(Drawing)--Queens Library Gallery
Lishan Chang, Frame to the Other End, 2005-2006. Mixed media installation. Installation view at Crystal Art Gallery, NY. Image courtesy the artist.
LISHAN CHANG
Multi-media artist Lishan Chang creates spaces in which viewers are invited to let their imaginations run rampant, eventually reaching a higher plane. Chang accomplishes this through multi-media installations that ask viewers to consider their relationships with themselves, others and their environment. Although Chang is interested in conveying artistic ideas beyond linguistic barriers, his work encourages dialogue among viewers, as well as between viewers and himself.
Lishan Chang studied at the Taipei National University of Arts, Taipei, Taiwan. He recently has been awarded residencies at the International Studio and Curatorial Program (2007/2008) and Lower Manhattan Cultural Council (2006/2007). Chang currently lives and works in New York City.
PARTICIPATING ARTISTS:
LISHAN CHANG
Multi-media artist Lishan Chang creates spaces in which viewers are invited to let their imaginations run rampant, eventually reaching a higher plane. Chang accomplishes this through multi-media installations that ask viewers to consider their relationships with themselves, others and their environment. Although Chang is interested in conveying artistic ideas beyond linguistic barriers, his work encourages dialogue among viewers, as well as between viewers and himself.Lishan Chang studied at the Taipei National University of Arts, Taipei, Taiwan. He recently has been awarded residencies at the International Studio and Curatorial Program (2007/2008) and Lower Manhattan Cultural Council (2006/2007). Chang currently lives and works in New York City.
PARTICIPATING ARTISTS:
Lishan Chang | Charles Kelton | Jana Leo | Pia Lindman | Doreen McCarthy | José Ruiz | Carol Warner |
Oct 4, 2007
Lishan Chang's "Time" - Photos of Jamaica Flux
Artist Lishan Chang's Time in King Manor Park, Jamaica Avenue, between 150th and 153rd Streets, Jamaica, NY
Jamaica Flux 2007 - Review and Visitors Guide
From John Roleke
Jamaica Flux: Workspaces & Windows 2007: Jamaica Flux:
Workspaces & Windows 2007, a public art event along Jamaica Avenue and
nearby areas of downtown Jamaica.
- September 29 - November 17, 2007
- Many of the artist performances are only on weekends.
- Schedule -JCAL website
- See -Photos of Jamaica Flux
Organized by the non-profit Jamaica Center for Arts and Learning (JCAL), Jamaica Flux: Workspaces & Windows 2007 follows the first Jamaica Flux held in 2004. This year's involves 25 artists and artist collectives creating 25 site-specific art works along Jamaica Avenue and nearby streets, and plenty of interaction with the Jamaica, Queens, community.
Highlight - Counter Culture Cash, Real Public Art: The large group show is a bit uneven, and some of the pieces -- like bus stop and phone booth posters -- are expected, though interesting. But overall the show's quality is high, led by Counter Culture Cash an excellent conceptual and interactive project by artists Anna Stein and Athena Robles. How much more interactive and accessible can you get than money as art?
The artists give their "Jamaican Bucks" to people willing to sit for portraits at the 165th Street pedestrian mall. They even convinced a few local businesses to accept this seriously local currency. Seeing the Art - Start at King Manor Park : The show coalesces in downtown Jamaica's largest open space, King Manor Park, with the work of five artists.
- King Manor Park - Jamaica Ave, between 150th and 153rd Sts, Jamaica, NY
- Getting There - E Subway to Jamaica Center - then walk one block to Jamaica Ave and turn left. Two blocks to King Manor
Park King Manor Park is the home of the King Manor Museum, an historic home. It's also a busy, local park, just a few acres in size.
Lishan Chang's Time is the show's most visible artwork, huge sheaths of plastic stretched between tree trunks and limbs on the park's southwest. It's worth spending some time watching the sun dance on the plastic and the park-goers puzzle over its meaning.
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Trees and Transparency in Downtown Jamaica
Easily the most eye-catching and remarked-upon installation at Jamaica Flux is artist Lishan Chang's Time. Chang has wrapped plastic around and between trees at the King Manor Park, just off Jamaica Avenue in downtown Jamaica, Queens. The site-specific installation Time is part of Jamaica Flux: Workspaces & Windows 2007.
Sep 20, 2007
Public Program at Art in General
Wednesday, September 26, 2007 at 6:30 pmOut of the Studio #6
A presentation and discussion regarding service-based art practices with ISCP artists in residence Lishan Chang (Tawain) and Ruben Ochoa (Los Angeles), Ana Prvacki (Singapore), participant in the group exhibition 25 Years Later: Welcome to Art in General currently on view at the UBS Art Gallery in New York, and with an introduction by Herb Tam (New York), associate curator, Exit Art. This program takes place at Art in General, and is free and open to the general public.
Out of the Studio is a series of public programs at Art in General presenting artists and curators in residence at the International Studio and Curatorial Program (ISCP) along with artists participating in Art in General's program. This is the sixth program in the series.
ART IN GENERAL 79 Walker Street | New York, NY 10013 | Tel 212-219-0473 |
www.artingeneral.org | info@artingeneral.org
Aug 24, 2007
Aug 23, 2007
Aug 20, 2007
紐約蘇格拉底雕塑公園展出張力山裝置作品
【大紀元8月20日報導】（中央社記者林琳紐約十九日專電）紐約東河岸「蘇格拉底雕塑公園」今夏的「飄浮」特展，邀請台灣旅美裝置藝術家張力山，展出他以膠膜環繞樹木形成的半透明迴廊裝置；觀展者游走其間，感受光影及景觀的變幻，別有一番趣味。「飄浮」特展是策展人莎拉．萊思曼自二零零三年開始，為「蘇格拉底雕塑公園」在夏季設計的雙年展。今年展出的作品除了大型裝置，還有錄影，主題則圍繞在時空的轉換。
萊思曼表示，她很欣賞張力山作品呈現的意境，所以在二零零四年就邀請張力山把作品帶到雕塑公園。透過膠膜的半透明圍牆觀賞周邊的河岸、綠樹與草地，每個人在不同的時間、光線及角度下，看到的景觀都不一樣。
蘇格拉底公園是紐約藝術家和社區人士，將東河河濱的一片垃圾及填土形成的空地整理及植樹建立的社區公園。藝術家在這片可以遠眺曼哈坦的綠地上樹立了大型的金屬裝置、石雕及其他媒材的藝術作品，開放民眾遊園參觀。這個成立了二十一年的公園已成為美國著名的露天藝術展場。
除了園裡固定的裝置及雕塑作品，兩年舉行一次的「飄浮」特展也吸引許多民眾參觀。由八月十一日到二十六日的特展，在週末的下午還有音樂家演奏。
Aug 11, 2007
Float 2007 (Socrates Sculpture Park)
Socrates Sculpture Park is pleased to announce the 2007 edition of Float, a biennial series of time-based and ephemeral works installed and performed throughout the Park on Saturdays and Sundays in August. Launched in 2003, Float was first organized in response to Socrates Sculpture Park's location on the East River waterfront. In 2005, locational and relational aesthetics were emphasized, and now, in 2007, the series takes up the theme of nostalgia for a future past, and focuses on a wider range of media to include a concert series, a discursive newsprint publication and blog, several performative installations, and a video program.
CURATED BY SARA REISMAN
COORDINATED BY SHAUN LEONARDO
INSTALLATIONS: Lishan Chang, Lieven de Boeck, Sheila Ross Laura Ten Eyck with Fletch, Todd Knopke, Ted McGurn Derrick Wilson, Jan Rothuizen, Saya Woolfalk
VIDEOS: Robert Boyd, William Lamson, Shana Moulton, Ola Vasiljeva
PERFORMANCES: Kambui Olujimi, Shana Moulton, Saya Woolfalk
CONCERTS: Organized by Tara Sansone
CHIN CHIN, EL MICHELS AFFAIR, THE BUDOS BAND
August 11 / 4PM
THE FIERY FURNACES
August 26 / 4PM
SIGN UP HERE FOR KAMBUI OLUJIMI'S
ROCK SKIPPING CONTEST August 12 / 1PM
This contest is for all ages- and you can even bring your own rocks!
Send an e-mail to kn@socratessculpturepark.org
(Titled "ROCK SKIPPING CONTEST", write your name and age in body of the e-mail)
COORDINATED BY SHAUN LEONARDO
INSTALLATIONS: Lishan Chang, Lieven de Boeck, Sheila Ross Laura Ten Eyck with Fletch, Todd Knopke, Ted McGurn Derrick Wilson, Jan Rothuizen, Saya Woolfalk
VIDEOS: Robert Boyd, William Lamson, Shana Moulton, Ola Vasiljeva
PERFORMANCES: Kambui Olujimi, Shana Moulton, Saya Woolfalk
PRINT/WEB: When Art (Or In What Regard): A Collaborative Project Initiated by Jeanette Doyle with Soledad Arias, Nathalie Angles, Koan Jeff Baysa, Dave Beech, Dan Cameron, Jinkee Choi, Eva Diaz, Aniko Erdosi, Georgina Jackson, Paddy Johnson, Raimundas Malasauskas, Rebecca Gordon Nesbitt, Paul O'Neill, Sarah Pierce, Aisling Prior, Sebastian Romo, Mick Wilson, Raul Zamudio, and others.
CONCERTS: Organized by Tara Sansone
CHIN CHIN, EL MICHELS AFFAIR, THE BUDOS BAND
August 11 / 4PM
THE FIERY FURNACES
August 26 / 4PM
SIGN UP HERE FOR KAMBUI OLUJIMI'S
ROCK SKIPPING CONTEST August 12 / 1PM
This contest is for all ages- and you can even bring your own rocks!
Send an e-mail to kn@socratessculpturepark.org
(Titled "ROCK SKIPPING CONTEST", write your name and age in body of the e-mail)
Jun 20, 2007
SUMU Residency (Turku, Finland)
INSTALLAATIO KOKO MIES
Lishan Chang muutti New Yorkiin Taiwanista vuonna 1997 ja päätti ruveta taiteilijaksi. Eikä todellakaan helpoimman kautta.
- En koskaan mene sääntöjen mukaan, genren tai trendin. Aasialainen kulttuuri ja filosofia ovat muokanneet minusta sen, mitä nyt satun olemaan. Tietenkin se vaikuttaa siihen, kuinka taiteen näen ja koen.
Chang päätyi New Yorkiin vuonna 1997 ja on siitä saakka työskennellyt intohimonsa parissa. Miehen puheessa taide on melkein mennä vaimonkin edelle.
Changin päätyö alkoi muodostua vuosien saatossa. Myöhemmin hän nimesi sen Transitioniksi. Kuvissaan ja videoissaan hän käsittelee omalla tavallaan elämää, kulisseina logistisen alan ympyrät. Id - by Van valmistui 1999, Bridge - by Truck valmistui 2001, Stop Transition - in Warehouse vuonna 2005.
Maan alta hän tuli töineen vasta vuoden 2003 korvilla, ja ensimmäinen merkkipaalu oli yhteisnäyttely Queens Museumissa.
- Se näyttely on minulle hyvin merkittävä. Siellä oli materiaalia Id - by Van -projektistani. Viimein sain kartutettua materiaalia sen verran, että pystyin pitämään näyttelyitä omin päin.
Selittelyt jätetään muille
- Oikeastaan olen aika hiljainen ihminen. Jätän selittelyt muille ja keskityn itse asiaan, taiteen tekemiseen, mies sanoo.
Chang on pelottavankin yksioikoinen, kun hän puhuu töistään. Taide ei ole vain taidetta, vaan se on missio läpi elämän.
- Näyttely minun osaltani valmistuu siinä vaiheessa, kun näen Titanikin tilan.
Kyse on installaatiosta. Chang filosofoi, että osa sitä voi olla turkulainen aurinko tai jokin satunnainen jokirannan asia. Changin työt ovat installaatioita, valokuvia ja videoita. Hän ottaa kantaa ja katselee asioita hieman omalta kannaltaan, hieman sivusta. Changin kuvat ja taide ovat enemmänkin huomioita häntä ympäröivästä maailmasta kuin alleviivaavan kantaa ottavia töitä.
Suomen visiitiltään hän odottaa rauhaa ja rakkautta.
- Pääasia, että olemme elossa ja saamme tehdä taidetta.
ANTTI ARVAJA
Sumu/Residenssiperiodi, Lishan Chang (USA), to 28.6. asti, Titanik, ti-pe 12-18, la-su 12-16, Itäinen Rantakatu 8. www.changlishan.com
Jun 16, 2007
May 18, 2007
Taiwan: From Within The Mist
Exhibition Title: Taiwan: From Within The Mist
An unforgettable exhibition at Sioux Falls..... Mayor of the city of Sioux Falls proclaim May 18th, 2007 as TAIWAN DAY.
Exhibition locations and time frames are as follows:
Washington Pavilion of Arts and Science in Sioux Falls, South Dakota: 05/18/07 – 08/19/07
Centre A - Vancouver International Centre for Contemporary Asian Art: 09/14/07-10/19/07
University of Indianapolis- Christel Dehaan Fine Arts Center and Ransbury Gallery in the State of Indiana: 11/12/07-12/07/07
The Illges Gallery, Columbus State University in the State of Georgia: 01/17/08 – 02/24/08
National Taiwan Museum of Fine Arts in Taiwan: 05/31/08 – 08/03/08
The twenty one participating artists are: Chang, Lishan、Chang, Shin Yu、 Chen, Agi、Chen, Ching Yao、Chen, Yung Hsien、G-8 Art Public Relations Consulting Company、Ho, MengChuan、Hsu, Tang-Wei、Kuo, Hui Chan、Daniel Lee、 Li, Sih-Huei、Lin, Hsin Yueh、Lu, Hao-Yuan、Peng, Hung Chih、Shi, Jin Hua、 Shy Gong、Tu, Wei Cheng、Wang, Ming-Ren、Wang, Wu、Yao, Jui Chung、Yuan, Goang Ming.
Apr 27, 2007
LMCC Open Studio
LMCC's WORKSPACE OPEN STUDIO WEEKEND
30 artists. 2 spaces. 1 weekend.
April 27-29, 2007
120 Broadway, 8th Fl + 200 Hudson St, 4th Fl
Events
All events are free and open to the public. RSVP is required.
www.lmcc.net/openstudios
Friday, April 27
6-10PM Opening parties at both spaces.
Saturday, April 28
1-6PM Both spaces open to the public.
3-4PM An Offbeat Walking Tour with Robert Jay Kaufman
5-6PM Moving Pictures: Screening @ 120 Broadway, 8th Fl
Sunday, April 29
1-6PM Both spaces open to the public.
4-5:30PM Open Texts: Poetry, Fiction and Performance from writers-in-residence Jill Magi (with Jonny Farrow, musician/sound artist) and Ranbir Sidhu @ 200 Hudson St, 4th Fl
Apr 22, 2007
Apr 13, 2007
張力山版畫系列作品在威廉帕特森大學展出
台灣旅美藝術家張力山應邀在新澤西州州立威廉帕特森大學版畫系，展出一系列版畫概念延伸平面作品。//中央社
【大紀元4月13日報導】（中央社記者林琳紐約十二日專電）台灣旅美藝術家張力山應新澤西州州立威廉帕特森大學版畫系之邀，在校內畫廊展出一系列由版畫概念延伸出的平面作品。
張力山在紐約的裝置作品展曾獲好評。不論在媒材及作品的意境上總有新意的張力山，這次展出的十九幅作品以「從一到無限」為主題，每一件作品都是以他過去的平面作品為基本素材。
他將反映生活經驗的素描及攝影作品以拼貼版的手法構圖，再透過電腦科技多重製版，創作出一系列充滿立體感的作品。
張力山表示，這項展覽是由版畫家廖修平與威廉帕特森大學版畫系系主任叢志遠教授共同促成。近年來他在紐約的創作及展覽以裝置及攝影作品為主，這次展出的版畫系列是新的嘗試。熟悉張力山作品的觀展者可以感受到這些作品所呈現出的創作者豐富的視覺經驗。
在紐約摸索創作多年的張力山，創作的執著及創意愈來愈受肯定。每年都有上千名全球藝術工作者積極爭取的紐約「曼哈頓下城文化委員會」提供的三十個駐村藝術家名額，張力山今年成為第一位非美國本土華人藝術家駐村。
Mar 15, 2007
2007年文建會駐村藝術人選出爐
文建會於昨(15)日公告「第8屆視覺與表演藝術人才出國駐村名單」，駐村地點包括美國、法國與捷克等6個國際藝術村。「視覺與表演藝術人才出國駐村及交流計劃」，將藝術家送至海外各個重要藝術機構進行交流與在地創作的計畫，此項政策看似低調，卻是台灣「文化全球化」與「另類外交」的重大實踐。
在經過公開徵選暨嚴謹的初、複審程序後，「第8屆視覺與表演藝術人才出國駐村及交流計劃」，獲選名單如下:
視覺藝術類--黃蘭雅、張力山獲選紐約「ISCP國際藝術工作室」駐村；林仁信、張瑛玲獲選美國「安德森牧場藝術中心」駐村；王綺穗獲選捷克契斯基克倫洛夫市席勒美術中心「Egon Schiele Art Centrum」駐村；陳松志、吳東龍、葉怡利獲選法國巴黎「Cite Internationale des Arts」駐村；另推薦王俊棋、郭嘉羚、林筱芳與徐鳴將由洛杉磯「第十八街藝術特區」甄選2名駐村；推薦王俊棋、陳姝里與華建強共3位，由法國巴黎「CAMAC」甄選1名駐村；。
表演藝術類--蘇文棋、李子聲與孫梲泰3位獲選法國巴黎「Cite Internationale des Arts」駐村。
該計畫於96年初共計有34位報名，再由文建會邀請會外表演與視覺藝術類評審於同年1月26日初選後選出21位入選者，再經2月2日複審，共選出14名藝術家分別赴3個國家6個藝術村參與駐村甄選計畫。
文建會表示，該計畫肇始於民國89年，每年甄選國內視覺藝術家，94年並增加表演藝術家分別前往美國、法國與捷克等6個國際藝術村，進行駐村創作交流計畫，目前辦理已滿7屆，共辦理選送51位藝術家駐村交流返國，獲得極大迴響。這些藝術家歸國後有些持續在國內進行創作發展，有些則因駐村之機緣在海外獲得市場機會。「駐村計畫」不僅使得文建會的文化交流更加具彈性與實質成效，對個別藝術家更帶來創作歷程的巨大刺激，可謂是藝文圈最具共識的政策之一。
資料來源: 行政院文化建設委員會
新聞聯絡人：周彥璋(02)2343-4127
在經過公開徵選暨嚴謹的初、複審程序後，「第8屆視覺與表演藝術人才出國駐村及交流計劃」，獲選名單如下:
視覺藝術類--黃蘭雅、張力山獲選紐約「ISCP國際藝術工作室」駐村；林仁信、張瑛玲獲選美國「安德森牧場藝術中心」駐村；王綺穗獲選捷克契斯基克倫洛夫市席勒美術中心「Egon Schiele Art Centrum」駐村；陳松志、吳東龍、葉怡利獲選法國巴黎「Cite Internationale des Arts」駐村；另推薦王俊棋、郭嘉羚、林筱芳與徐鳴將由洛杉磯「第十八街藝術特區」甄選2名駐村；推薦王俊棋、陳姝里與華建強共3位，由法國巴黎「CAMAC」甄選1名駐村；。
表演藝術類--蘇文棋、李子聲與孫梲泰3位獲選法國巴黎「Cite Internationale des Arts」駐村。
該計畫於96年初共計有34位報名，再由文建會邀請會外表演與視覺藝術類評審於同年1月26日初選後選出21位入選者，再經2月2日複審，共選出14名藝術家分別赴3個國家6個藝術村參與駐村甄選計畫。
文建會表示，該計畫肇始於民國89年，每年甄選國內視覺藝術家，94年並增加表演藝術家分別前往美國、法國與捷克等6個國際藝術村，進行駐村創作交流計畫，目前辦理已滿7屆，共辦理選送51位藝術家駐村交流返國，獲得極大迴響。這些藝術家歸國後有些持續在國內進行創作發展，有些則因駐村之機緣在海外獲得市場機會。「駐村計畫」不僅使得文建會的文化交流更加具彈性與實質成效，對個別藝術家更帶來創作歷程的巨大刺激，可謂是藝文圈最具共識的政策之一。
資料來源: 行政院文化建設委員會
新聞聯絡人：周彥璋(02)2343-4127
Feb 2, 2007
張力山獲韓文化中心邀展裝置作品「新之境
【大紀元2月2日報導】（中央社記者林琳紐約一日專電）「紐約曼哈頓下城文化委員會」駐村藝術家張力山獲紐約韓國文化中心之邀，在文化中心藝廊展出螢光棉線及溫暖的橘色色調營造的「新之境」。張力山在週三晚間的開幕式中表示，「新之境」的環境營造意在突破人們對於上天下地的認知。走進藝術家營造的環境，確有點天地渾然一片的感覺。仰望絲絲垂落的螢光棉線像綿密的稻田，而黑燈管投射在地板上的流蘇卻讓人有流動的印象。
觀展者其實也是張力山裝置藝術的一部分。游走在溫暖的橘色環境裡人影和布幔光束上投射出忽隱忽現的五線譜，讓人有似真似幻的感覺。張力山表示，「新之境」是交融著過去與未來、真實與夢境的時光隧道。投射在布幔上的「影像視覺譜」是作曲家賴嘉玲即興音樂作品，使用影像作為樂譜的紀錄，希望能啟發觀展者內心深處的個人樂章。
張力山的裝置作品善用媒材表達理念。他藉著創作探討生命的過程及時空的無限，頗能喚起共鳴。這項個展展期至三月二日。四月六日至二十日，張力山的裝置作品「從一到無限」將在新澤西州 William PatersonUniversity 的藝廊展出，七月份他受邀參加 JamaicaCenter for Arts and Learning的聯展。
Feb 1, 2007
裝置藝術「新之境」亦幻亦真
【文：謝朝宗/圖：葉誌華】正在曼哈頓下城文化委員會(Lower Manhattan Cultural Council）駐村藝術家張力山，於1月31日起，受邀在韓國文化中心個展發表裝置作品"新之境"，由台灣文建會贊助展出。
張力山運用螢光棉線，結合觀念性音樂的影像，裝置整個展覽空間。透過黑燈管的投射，製造出一道道的光束從天而降。整個展場使用螢光橘紅為主要色調，製造出一個被溫暖色彩環繞的空間。
新之境，很重要的一部份，是將參與者自身的經驗與感受，考慮其中。就好像是走進了時光隧道，交融著過去與未來；真實與夢境的情景，在參與者的腦海裡，產生私密的對話。
當觀眾進入了新之境，其身上所有對螢光燈反應之衣物，立即成為展覽其中的一個物件。自由穿梭遊走，如同一個個漂浮體在宇宙中漫步。昏暗中，螢光線、流動的影像、以及進出的漂浮體(觀眾)，交互著模糊關係。因為黑暗與螢光，所產生的視覺差，提供給觀眾一種身處異地的視覺經驗。觀眾眼裡所看見的，交織投射在五片布幕的影像，好似看一部電影，一幕幕的情節，才映入眼簾，卻又消失得無影無蹤。
螢光棉線到了螢幕前，從光束化身為五線譜的角色。影像內容，是與作曲家賴嘉玲合作的【影像視覺譜】，是一首寫給任何編制的即興音樂作品。使用影像作為樂譜的紀錄，不再僅限記於五線譜上的音符。用一種我們從未思考，或不熟悉的方式，提供音樂記錄另一種可能性。在這展覽中，並沒有安排即興樂團的演出。然而，透過影像視覺譜，以及當下的體驗，觀眾一樣能在其內心聽到屬於個人的樂章。
新之境，展期自1月31日起至3月2日，韓國畫廊（Gallery Korea)地址；460 Park Ave.(@57th St.), 6th Fl. New York, NY 10022，洽詢電話；1-212-759-9550或上網查詢http://www.koreanculture.org/。畫廊開放時間為星期一到星期五，早上10時至下午5時。
來源：世界日報
Jan 24, 2007
Jan 15, 2007
Dec 9, 2006
Aug 18, 2006
康州新藝畫廊「影響圈子」聯展
今年五月獲選為2006-2007年曼哈坦下城文化協會（Lower Manhattan Cultural Council）駐村藝術家「Workspace Residency Program」的華裔藝術家張力山，即日起在康州新藝畫廊（New Arts Gallery) 參加聯展。
「影響圈子」展共有18位來自世界各地的藝術家參展，作品以平面藝術為主，張力山除了展出其概念攝影，更特別裝置了一件與展覽主題同名的「Circle of Influence」，延續其以手工製作的焦炭麵包作為創作媒材的系列作品。
策展人Alexander Shundi表示，從過去美學到當代新詞藻，大多數的藝術家嘗試開創、展現其作品之獨一無二性外，不可忽視的，卻是一種師生之間傳承關係。他舉例說：由教師啟發學生，再從學生的創作影響教師，這種普遍的相互關係，無形中創造了一個觸角的延伸，既是由現在、過去及未來交互作用下，產生了彼此影響。這也是「影響圈子」的概念由來。
充滿創作熱情的張力山，在結束康州展覽後，將立刻與28位來自不同地方的藝術家，進駐由LMCC免費提供座落在華爾街附近的藝術家工作室，全身投入創作。他說：「我迫不及待要進駐工作室，因為有好多作品想要呈現，同時希望能與更多專業的藝術家互相切磋。」
「影響圈子」展期即日起至9月4日，康州新藝畫廊地址：513 Maple street Litchfield，CT 06759，洽詢電話（860）567-5015，開放時間為星期三到星期日，11時至5時。藝術家進駐其間，LM-CC也常舉辦不定期的展演，民眾可由網站http://www.lmcc.net/查詢相關訊息。（文：許振輝/圖：張力山提供）(紐約休閒/展覽)
Dec 22, 2005
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