Jun yee biography artist maryland
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Jorge B. Vargas Museum and Filipiniana Research Center
Featured Posts
Tumba-Tumba: Stories & Spaces
Posted by Jorge B. Vargas Museum⋅
CANVAS tells stories at the UP Vargas Museum. The Center for Art, New Ventures and Sustainable Development (CANVAS) presents “Tumba-Tumba: Stories and Spaces,” another proof-of-concept project for its planned children’s museum of Philippine art, at the UP Vargas Museum. This pocket museum runs from June 11, 2021 until July 30, 2021. In this edition, CANVAS … Continue reading →
Proto/Para: Rethinking Curatorial Work
Posted by Jorge B. Vargas Museum⋅
Proto/Para: Rethinking Curatorial Work 19 February – 09 April 2021 1F and 3F Galleries UP Vargas Museum The exhibition pursues the goals of the 2020 iteration of the Curatorial Development Workshop supported by the Japan Foundation, Manila (JFM) and the Philippine Contemporary Art Network (PCAN). Like the workshop,
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Chen Lok Lee
Chinese-born American printmaker, painter, and educator (1927–2020)
Chen Lok Lee (May 18, 1927 – December 13, 2020) was a Chinese-born American printmaker, painter, and educator based in Philadelphia, Pennsylvania.
Biography
[edit]Early life and education
[edit]Chen Lok Lee was born in Canton (also known as Guangzhou), China,[1] to Roy Hui and He Lee.[2] He graduated from the Tay Sun Normal School,[1] and attended the Canton Public Art College from 1956 to 1958.[3] Lee then moved to Hong Kong, where he studied Chinese Civilization and Western Art – under the tutelage of artists Yee Bong, Tin Ying Young, and Lee Byng – at Hong Kong University.[1] He graduated from HKU in 1959.[3]
New York City and Rome
[edit]In 1959, Chen Lok Lee moved to the United States.[1] He settled in New York City, where he attended the Art Student's League, studying under George Grosz, Stephen Greene, Robert H
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Ellen Gallagher
Born in Providence, Rhode Island, Ellen Gallagher lives and works between Rotterdam, Netherlands and New York. Gallagher builds multi-layered paintings that pivot between the natural world, mythology and history. Her painting process involves undoing and reforming trains of thought often over long periods of time and across linked bodies of works. Over a highly multifaceted career, Gallagher’s work has been united bygd what she calls a ‘jitter,’ an intellectual approach in which aesthetic possibilities are shook loose from seismic cracks beneath the surface of cultural entities normally thought to be unshakable and impermeable. Encompassing painting, drawing, collage and celluloid based projections that fuse technique and ämne into syncretic form, her arresting compositions are a process of recovery and reconstitution through the accumulation and erasure of media, which results in palimpsestic and topographic surfaces.
The subtle textures of her paintings bear wi