Wikipedia

Amy Cheng (visual artist)

Amy Cheng (born December 8, 1956) is a Taiwanese-American artist with a dual career in studio art and 2-dimensional public art fabricated in a variety of materials, such as mosaic, laminated glass, tiles, and terrazzo.[1] Cheng's work is characterized by its complexity Using the dichotomies of light and dark, soft and hard edge, and contrast of micro and macro.[2]

Amy Cheng
Born (1956-12-08) December 8, 1956 (age 67)
Kaohsiung City, Taiwan
NationalityTaiwanese-American
EducationUniversity of Texas at Austin (BFA)
Hunter College (MFA)
StyleStudio art
Websitehttps://www.amychengstudio.com

Life and career

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Amy Cheng was born in Kaohsiung City, Taiwan. Her family immigrated to Brazil in 1961, first to Sapucaia, a village in Rio Grande do Sul, then to São Paulo, S.P. In 1967 her family moved from Brazil to Oklahoma City, OK, and, in 1969 to Dallas, TX.[3][2] She received a Bachelor of Fine Arts (BFA) in painting from the University Texas at Austin (1978) and a M.F.A. in painting from Hunter College, City University of New York (1982). Cheng lived in New York City from 1978 to 1989 when she moved to Tivoli in New York's Mid-Hudson Valley, and in 1997 to New Paltz, NY. In 2019, she moved back to New York City. In 2020 she retired from teaching. She lives in New York City and maintains a studio in the South Bronx.

Mature work

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In 2019, on a sabbatical, Cheng spent three months as Artist-in-Residence at the Carter Burden Covello Center[4] in Manhattan. By the close of her stay Cheng had moved away from making large oil paintings on canvas to making small gouache and oil marker paintings. Cheng moved into a series of geometric abstractions that explored deeper layered space while retaining the pattern and repetition she has used consistently throughout her painting career. At the new reduced scale, the fine marker line hatching, and crosshatching turned the patterning and repetition into a sense of texture. These artworks are characterized by intricacy, layering, referential abstraction, geometry, dynamic space, pattern and repetition. In 2023 Cheng began to invent a visual vocabulary to paint imaginative visual speculations on the mysteries of the universe at the macro and micro levels. Cheng overtly, if playfully, references contemporary concepts of astrophysics and quantum mechanics.[5]

Prior to this, in 2009, Cheng spent six months on a Fulbright Senior Lecture/Research grant as a Visiting Professor in the Graduate Painting Program of São Paulo University, S.P., Brazil. This was the first time she returned to Brazil since leaving as a child.[6] She proposed to study Brazilian folk art, but found herself more drawn to the tropical Brazilian flora.[7] When she returned to the U.S. she took an unpaid leave from teaching to work as an Artist-in-Residence at the McColl Center for the Arts in Charlotte, NC.[8] It was at the Center that Cheng began a series of paintings that led directly to the Mandala Series that occupied her for the decade of the 2010’s.[3] The Mandala oil paintings ranging from 30 x 30-in to 62 x 90-in used a base composition of two overlapping spheres or, more often, a central sphere symmetrically overlapping two touching spheres.[9] The poet Mark Sullivan wrote in a catalog essay that “[Cheng] immersed herself in the ethic of a nearly impersonal and meditative form of creation … the paintings’ decorative forms […] accentuate the sensation that we are gazing at vibrant imaginary worlds, almost visionary in their flashes of chromatic patterning.”[10]

Early work

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In the mid-1980s, starting with a single pear in a painted frame, Cheng began work on a series of monumental fruit paintings that lasted a decade.[11][3][12] In 1987 one of the framed pear paintings was included in a group exhibition titled "Singular Objects" at Art in General in New York City. The show was reviewed by Ellen Handy in Arts Magazine. Cheng's painting, "Medieval Pear" was singled out by Handy, for notice.[13] In 1989 Cheng was included in "Radiant Fruit: Iconic Still Life" curated by Suzaan Boettger at Trabia Gallery in New York City. The monumental fruit paintings come across more as portraits than still life, a quality Cheng attributes to her Asian sensibility. The Chinese do not present fruits as comestibles on a table; rather they carry symbolic meaning that refers back to nature.[14]

By 1988 Cheng's paintings had moved beyond single fruits to clusters of monumental fruits set in a landscape space.[15][16] Cheng had her first solo exhibition at The Harrison Gallery, Boca Raton, FL in 1991, and her first solo exhibition in New York City at the C&A Gallery in Soho in 1992. The repetition, patterning, and ornamentation that had until then been relegated to the painted frames that enclosed the single pears were fully overlapping the fruits themselves by the mid-1990s; the patterns were either painted or silk-screened on, and eventually became more pronounced than the underlying fruit.[12]

 
Amy Cheng, A Moment in Space and time, 12 x 22.5 inches, gouache and oil marker on paper, 2024

In 1997 Cheng moved in a new direction, producing a body of work that introduced a new abstract, if referential, vocabulary of geometry, layering, complexity, and cosmic or skyscapes.[3] Abstraction allowed Cheng to take full advantage of her love of pattern, repetition, and ornamentation.[17] In 1996 she curated a group show of work by Asian American artists at the Eighth Floor Gallery in Soho called Repetition Compulsion, based on what she saw as their common reliance on and use of patterning in their work.[18] The new series of paintings referenced the cosmos.

Two books, Alchemy and Mysticism by Alexander Roob and a paperback on Chinese Folk Art[17] became sources for a series of paintings spanning the 2000s that addressed Cheng's interest in the mysticism that engendered by alchemical notions in the West, and the prevalent beliefs and superstitions that held such strong, long-term sway in China.[17]

Exhibitions

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Cheng has had solo exhibitions at the Plattsburgh State Art Museum,[19] the Turchin Center for Visual Arts,[20] the Voelker Orth Museum, Tower Fine Art Gallery, SUNY at Brockport, The Marist College Art Gallery, NYC's Equity Gallery, and more. She has been in group exhibitions at Amy Simon Fine Art Gallery, Samuel Dorsky Museum of Art, New Jersey State Museum, Dorsky Gallery Curatorial Projects, Visual Arts Center of New Jersey, Mary Tomás Gallery, William Havu Gallery, and others.

Public commissions

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Cheng has 20 years of experience working in public art. She has consistently used a visual vocabulary that includes layers, geometry, pattern, repetition, and ornamentation. The public projects at times include figuration or representation, but they are mostly abstract but referential. The impact of her work comes from the color, use of materials, ornamentation, use of patterning and repetition, elegance, a balance of stillness and movement, and an energetic sense of joy. Many of her commissions are sited at public transport hubs such as airports, subways, bus terminals, bus or streetcar shelters. She has an interest in large, timeless and essential, sometimes cosmic themes. Her award winning projects embrace a variety of media and include:

  • Seeing Thru Layers of Time a set of oil-painted Dibond™ panels at P.S. 58, the School of Heroes, Maspeth, NY.[21]
  • In Memory of My Father Nai Ling Cheng, at the Seattle–Tacoma International Airport;[22]
  • La Flores seven faceted glass windscreens at the Cleveland St. MTA Subway Station, Brooklyn, NY;[23][24][25]
  • Destination: Points Unknown, a hand-painted ceramic tile mural at the Howard St. El Station, Chicago, IL;[26]
 
Cheng Window D Northbound North (7704404598)
  • Rediscovery, four laminated glass windscreens at the 25th Avenue Subway Station, Brooklyn, NY;[27][28]
  • Nucleic Life Formation, two water-jet cut ceramic tile and brass sheeting murals at the Lambert-St. Louis International Airport MetroLink Station, St. Louis, MO;[29]
  • Celestial Playground, a mosaic and brass sheeting mural, Jacksonville Airport, Jacksonville, FL;[30]
  • "Nature Provides," a mosaic and glass blob mural at Western State Hospital's Patient Services building, Lakewood, WA[31] which was selected for inclusion in CODAmagazine's 2022 Art & Wellness issue.[32]
  • Worlds Within Worlds, four laminated and etched glass windscreens at two streetcar stations in Charlotte, NC,[33][34][35] and streetcar ceiling and seating designs for the Charlotte Area Transit System's GoldLynx streetcars. Worlds Within Worlds was selected in 2023 as one of the 100 finalists for best art in public places by CODAawards, the project was featured in the March 2023 CODAmagazine, Transformative Walls issue[36] and was included in the book THE ECONOMIC POWER OF PUBLIC ART.[35]
  • In Our Own Backyard, a mosaic tile, porcelain tile and printed glass mural at the Valley Regional Transit Bus Terminal, Boise, ID;[37]
  • Beyond the Biosphere, two printed vinyl awnings at the Slausson Bus Station, Los Angeles, CA;[38]
  • Big Skies, four printed vinyl traffic boxes for downtown Odessa, TX

Fellowships and awards

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  • FST Studio Projects Fund in 2023[39][40]
  • Fulbright Lecture Fellowship to teach in the Painting Graduate Program of the Art Department at Renmin University of China, Beijing. PRC in 2017[6][41][42]
  • P.S. 122 Studio Artist Space Program in New York City's East Village in 2012. [67]
  • She received a Fulbright Senior Lecture/Research grant to Brazil where she was a Visiting Professor in the Graduate Painting Program at University of São Paulo, Sāo Paulo, S.P., Brazil in 2008[43]
  • Contemplative Practice Fellowship from the Center for Contemplative Mind in Society in 2005[44]
  • New York Foundation for the Arts Painting Fellowship in 1990[45]
  • Arts International travel grant to China in 1994
  • New York Foundation for the Arts Painting Fellowship in 1996[45]

Academic work

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Cheng is a Professor Emerita of the Art Department, State University of New York at New Paltz. She was a Full Professor from 2004–2020, Associate Professor from 1999–2004, Assistant Professor from 1997–1999.[46] Cheng was an Assistant Professor at Bard College, 1989–1997, a Lecturer in the Visual Arts Program, Princeton University in 1989.  

In 2017 after returning from her Fulbright semester in China, Cheng contributed a chapter, "Learning to See: A Fulbright Semester Teaching Painting in Beijing," NARRATIVE INQUIRIES FROM FULBRIGHT LECTURERS IN CHINA: Cross-Cultural Connections in Higher Education, published by Routledge.[47]

In 1999 Cheng co-chaired with Patricia Phillips, then Dean of the School of Fine and Performing Arts, SUNY New Paltz an ARTS NOW Conference on art and audience titled "ooh, ah…oh! Art Audience Response."[48]

Selected Collections

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References

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  1. ^ "Two New Murals Greet Passengers and Visitors at Lambert". stlouis-mo.gov. January 31, 2014. Retrieved September 22, 2024.
  2. ^ a b Gallo, Barbara (January 22, 2006). "Portrait of the Artist: Layer upon layer of paint builds surprises". Poughkeepsie Journal. pp. E5.
  3. ^ a b c d "WTP Artist: Amy Cheng – The Woven Tale Press". October 17, 2017. Retrieved September 6, 2024.
  4. ^ "Carter Burden Network". Carter Burden Network. Retrieved September 12, 2024.
  5. ^ "Perspective: Six Artists". Spencertown Academy. Retrieved September 12, 2024.
  6. ^ a b "Amy Cheng". Fulbright.org. Retrieved September 6, 2024.
  7. ^ Marston Reid, Linda (June 7, 2013). "Art From Here: Pattern Organic' begins 14th collaborative series". Poughkeepsie Journal. pp. e4–e6.
  8. ^ "McColl Center". mccollcenter.org. Retrieved September 6, 2024.
  9. ^ Gallo Farrell, Barbara (January 22, 2006). "Portrait of the Artist: Layer upon layer of paint builds surprises". Poughkeepsie Journal. pp. E5.
  10. ^ Sullivan, Mark (2014). Amy Cheng: Irrational Exuberance (PDF). Brockport, NY: SUNY Brockport, Tower Fine Arts Gallery, State University of NY at Brockport. pp. 4–9.
  11. ^ Vellucci, Michelle (January 14, 2000). "Food inspires artists in group exhibition". The Poughkeepsie Journal. pp. 1F.
  12. ^ a b Zevitas, Steven (1996). New American Paintings: An Exhibition of the Winners' Works, Open Studios' Second Mid-Atlantic Competition (2 ed.). Wellesley, MA: Open Studio Press. ISBN 1-883039-07X.
  13. ^ Handy, Ellen (November 1987). "Singular Visions at Art in General". Arts Magazine. 62 (3): 108.
  14. ^ "Chinese Flower and Fruit symbolism". www.chinasage.info. Retrieved September 6, 2024.
  15. ^ Wilson Jacobson, Sebby (November 30, 1989). "Even now, romance lives: Contemporary landscapes lack cynicism, but not humor". Rochester Times Union.
  16. ^ Netsky., Ron (November 12, 1989). "A romance with the landscape: Genre of past still excites today's artist". Sunday Democrat and Chronicle, Rochester, NY.
  17. ^ a b c Carroll, Michelle (May 1, 2001). "Work by valley artists featured at Marist gallery". Poughkeepsie Journal. pp. 1D.
  18. ^ "Barbara Takenaga Resumé". Barbara Takenaga. Retrieved September 6, 2024.
  19. ^ Caudell, Robin (January 28, 2015). "Out & About: Inhalations and exhalations of mandalas". PRESS-REPUBLICAN.
  20. ^ "Amy Cheng: Evidence of Things Unseen". Appalachian State University. Retrieved September 6, 2024.
  21. ^ Heartney, Eleanor (1981). City Art: New York's Percent for Art Program. London: Merrell. p. 180. ISBN 1-85894-290-X.
  22. ^ "Port of Seattle (SeaTac)". seatac.stqry.app. Retrieved September 6, 2024.
  23. ^ "Missing Train, Catching Art". The New York Sun. April 16, 2007. Retrieved September 6, 2024.
  24. ^ "Las Flores in Brooklyn, NY". Public Art Archive. Retrieved September 6, 2024.
  25. ^ Bloodworth, Sandra; Ayres, William; Tucci, Stanley (2006). Along the Way: MTA Arts for Transit. New York: Monacelli Press. p. 204. ISBN 978-1-58093-173-1.
  26. ^ Elevated: Art and Architecture of the Chicago Transit Authority. Chicago Transit Authority. 2018. pp. 62–67. ISBN 978-0-692-09958-2.
  27. ^ "Chicago Transit Authority", Wikipedia, August 19, 2024, retrieved September 6, 2024
  28. ^ "Rediscovery". MTA. Retrieved September 6, 2024.
  29. ^ "Two New Murals Greet Passengers and Visitors at Lambert". stlouis-mo.gov. January 31, 2014. Retrieved September 6, 2024.
  30. ^ "Jacksonville International Airport". www.flyjacksonville.com. Retrieved September 6, 2024.
  31. ^ "Artwork". ArtsWA. Retrieved September 6, 2024.
  32. ^ "Magazines". CODAworx. Retrieved September 6, 2024.
  33. ^ Whalen, Cecilia (October 1, 2021). "The Story Behind the Shelter Art Along the New CATS Gold Line". Queen City Nerve. Retrieved September 6, 2024.
  34. ^ "Worlds within Worlds – CODAworx". www.codaworx.com. Retrieved September 6, 2024.
  35. ^ a b Kraus, Sally (2024). The Economic Power of Public Art: Data and insights on the size and scope of the public art industry & how it drives community engagement and economic growth. Toni Sikes. p. 75.
  36. ^ "Magazines". CODAworx. Retrieved September 6, 2024.
  37. ^ "In Our Own Backyard". Boise Arts & History. Retrieved September 6, 2024.
  38. ^ "Beyond the Biosphere – Art". September 4, 2024. Retrieved September 6, 2024.
  39. ^ "Past Recipients". FST StudioProjects Fund. Retrieved September 6, 2024.
  40. ^ "About". FST StudioProjects Fund. Retrieved September 6, 2024.
  41. ^ "Renmin University". Fulbright Scholar Program. Retrieved September 6, 2024.
  42. ^ "Fulbright Scholars". SUNY New Paltz. Retrieved September 6, 2024.
  43. ^ "Professors awarded Fulbright Scholar awards to lecture in Brazil and Macedonia – SUNY New Paltz News". November 19, 2008. Retrieved September 6, 2024.
  44. ^ "Amy I. Cheng". ACLS. Retrieved September 6, 2024.
  45. ^ a b "Series VI. Fellowship Program: New York Foundation For the Arts (NYFA) Records: NYU Special Collections Finding Aids". findingaids.library.nyu.edu. Retrieved September 6, 2024.
  46. ^ "Suny New Paltz Art Department amy cheng – Google Search". www.google.com. Retrieved September 6, 2024.
  47. ^ Freedom, Shin; Munday, Pat; Cockroft, Jeanette (2019). NARRATIVE INQUIRIES FROM FULBRIGHT LECTURERS IN CHINA; Cross-Cultural Connections in Higher Education. New York: Routledge. pp. 57–67. ISBN 978-1138-32083-3.
  48. ^ Vellucci, Michelle (September 27, 1999). "ARTS NOW CONFERENCE: Talent to converse on SUNY". Poughkeepsie Journal. pp. 1D.
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PUBLIC ART

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