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| The New York Optimist |
Long-Bin Chen
Long-Bin Chen is known for his skillful transformation of out-of-date
books, newspapers, magazines, and computer paper into art that—when
viewed from a distance—appears to be made of wood or marble. Chen’s
work is not only a commentary on human consumption and waste, it also
mourns the pre-digital era of bound books. His art approaches the book
object as an aesthetic object and attempts to combine ideas and concepts
from the East with those from the West.
Long-Bin Chen was born in Taiwan. He received a BFA from Tung-Hai
University in Taiwan and an MFA from the School of Visual Arts in New
York. He has exhibited widely in the United States, Germany, Taiwan,
Japan, and Hong Kong. His most recent group exhibitions include The
Invisible Thread: Buddhist Spirit in Contemporary Art at the Snug Harbor
Cultural Center in Staten Island, New York; The Missing Peace: Artists
Consider the Dalai Lama organized by the Dalai Lama Foundation, a
traveling exhibition; and Kidspace at MASS MOCA. He is represented by
Frederieke Taylor Gallery in New York, where he had his most recent solo
exhibition in 2006.
Long-Bin Chen is known for his skillful transformation of out-of-date
books, newspapers, magazines, and computer paper into art that—when
viewed from a distance—appears to be made of wood or marble. Chen’s
work is not only a commentary on human consumption and waste, it also
mourns the pre-digital era of bound books. His art approaches the book
object as an aesthetic object and attempts to combine ideas and concepts
from the East with those from the West.
Long-Bin Chen was born in Taiwan. He received a BFA from Tung-Hai
University in Taiwan and an MFA from the School of Visual Arts in New
York. He has exhibited widely in the United States, Germany, Taiwan,
Japan, and Hong Kong. His most recent group exhibitions include The
Invisible Thread: Buddhist Spirit in Contemporary Art at the Snug Harbor
Cultural Center in Staten Island, New York; The Missing Peace: Artists
Consider the Dalai Lama organized by the Dalai Lama Foundation, a
traveling exhibition; and Kidspace at MASS MOCA. He is represented by
Frederieke Taylor Gallery in New York, where he had his most recent solo
exhibition in 2006.
| Continental Express Series |
Reading Sculpture Project stations
On the most obvious level using recycled materials to make art is a
commentary on the waste of human consumption and its attendant
ecological problems of garbage disposal, the mindless destruction of
forests, and by implication, the uncontrolled eating up of nonrenewable
resources.
In my artwork I use printed matter - discarded books, magazines,
computer printouts etc. - that form the cultural debris of our information
society. My art form explores different cultural meanings and seeks to
combine ideas and concepts from the East with those from the West.
I always use text in my work and the contents of the texts are relevant to
my sculpture. The products I use for my sculpture often seem like wood
or marble yet the work consists mainly out of paper and are constructed in
such a way that the various parts fit together in a seamless manner.
World Buddha Project --
In my artwork I use printed matter - discarded books, magazines,
computer printouts etc. - the cultural debris of our information society.
My art form explores different cultural meanings and seeks to combine
ideas and concepts from the East with those from the West.
I always use text in my work and the contents of the texts are relevant to
my
sculptures. My finished sculptures often seem to be of wood or marble
though they consist mainly of paper. They are constructed in such a way
that the various part fit together in a seamless manner.
In this work I express what I consider the cultural conflict and problem
with communication in the world.
Since colonial times, Westerners have taken Buddha heads from the
Buddha statues in Asia and brought the Buddha heads back to the West.
Today, while one finds so many Buddha heads in Western museums and
galleries, equally many Buddha bodies in Asia are headless. The Buddha
head is an important cultural image from Asia. Yet, by and large, it is
misunderstood in Western societies. In this project, I chose the most
beautiful Buddha head I found at a museum to use as a model and created
this Buddha head from New York City telephone books. The Buddha Head
contains the names and numbers of millions of New York residents. The
Head will represent a caring Buddha, a Buddha from the East who has
come to take care of the West.
Long-Bin Chen
On the most obvious level using recycled materials to make art is a
commentary on the waste of human consumption and its attendant
ecological problems of garbage disposal, the mindless destruction of
forests, and by implication, the uncontrolled eating up of nonrenewable
resources.
In my artwork I use printed matter - discarded books, magazines,
computer printouts etc. - that form the cultural debris of our information
society. My art form explores different cultural meanings and seeks to
combine ideas and concepts from the East with those from the West.
I always use text in my work and the contents of the texts are relevant to
my sculpture. The products I use for my sculpture often seem like wood
or marble yet the work consists mainly out of paper and are constructed in
such a way that the various parts fit together in a seamless manner.
World Buddha Project --
In my artwork I use printed matter - discarded books, magazines,
computer printouts etc. - the cultural debris of our information society.
My art form explores different cultural meanings and seeks to combine
ideas and concepts from the East with those from the West.
I always use text in my work and the contents of the texts are relevant to
my
sculptures. My finished sculptures often seem to be of wood or marble
though they consist mainly of paper. They are constructed in such a way
that the various part fit together in a seamless manner.
In this work I express what I consider the cultural conflict and problem
with communication in the world.
Since colonial times, Westerners have taken Buddha heads from the
Buddha statues in Asia and brought the Buddha heads back to the West.
Today, while one finds so many Buddha heads in Western museums and
galleries, equally many Buddha bodies in Asia are headless. The Buddha
head is an important cultural image from Asia. Yet, by and large, it is
misunderstood in Western societies. In this project, I chose the most
beautiful Buddha head I found at a museum to use as a model and created
this Buddha head from New York City telephone books. The Buddha Head
contains the names and numbers of millions of New York residents. The
Head will represent a caring Buddha, a Buddha from the East who has
come to take care of the West.
Long-Bin Chen
Born in Taipei, Taiwan, 1964
186 Claremont Ave, #2N, New York, NY10027
USA Mobil: 646-7534606
Email:long18th@yahoo.com
Fredericke Taylor gallery: tel 646-2300992
Solo Show
1992 “Tools”, Space 2 gallery, Taipei, Taiwan.
1994 “Culture Empire”, American Institute in Taiwan”, Taipei,
Taiwan.
1995 “Reading Sculpture”, Eight floor gallery, New York.
1997 “Humanity”, Taipei Fine Art Museum, Taipei, Taiwan.
1998 “Taiwan Study”, Cultural Affairs Department of Taiwan
Provincial Government, Taiwan.
1999 " Alternative Study", Eslite bookstore, Taiwan.
2000 “U.S.A v.s China”, 18st art complex, Santa Monica,USA
2003 ‘Reading Sculpture---culture warrior”, Frederieke Taylor
gallery, New York.
2004 “Reading Sculpture----Kid project”, Mass MOCA
kidspace.
2005 “Reading Sculpture---Culture Warrior”, Plum Blossom
gallery, Hong Kong.
2008 “Long-Bin Chen 2008 project” Frederieke Taylor gallery,
New York
Group Show:
1991 “Curious Structures”, Visual Art Gallery, New York.
1992 “The Entering Show of Taipei Fine Arts Museum
Biannual”, Taipei.
1993 “A Dialogue of Contemporary Sculpture In Asia”, Taipei
Fine Arts Museum, Taipei.
“obCkession”, TZ’art & co, New York.
“Triennial der Kleinplastik 1995, Europ --Ostaien”, Suttgart,
Germany.
1994 “Our Deities”, ISE Art Foundation, New York.
1995 “Feast of Mind, Buffet of Art”, Fubon Art Foundation,
Taipei.
1996 “New Voices: Contemporary art Dialogue Among Taipei,
Hong Kong and Shanghai”, National Taiwan Arts Education
Institute, Taipei, Hong Kong .
1998 “Osaka Triennale 1998—Sculpture”, Osaka Contemporary
Art Center, Osaka.
1999 “Volume & Form Singapore 1999”, Singapore City, National
Library, Singapore.
2001 “Absolut---2001Los Angeles International, Biennial Art
Invitational”, Robert Berman Gallery, Santa Monica, U.S.A .
“New Minds----Artistic creations in motion”, Taipei Fine Arts
Museum, The International Artists’ Village, Planning Office, CCA,
Executive Yuan.
“The gravity of the immaterial”, The Institute of Contemporary
Arts”, Taipei,
2002 e gravity of the immaterial”, Total Museum, Seoul,
2003 “The Invisible Thread---Buddhist Spirit in Contemporary
Art”, Snug Harbor Culture Center, New York.
2004 “Do a Book”, Plum Blossom gallery. New York.
2005 “Dalai Lama Portrait Project”, Dalai Lama Foundation,
Travel Show—Morio Art Museum in Tokyo, Cartier Foundation in
Paris and Museum in London, Taipei, Berlin, New York, LA.
2006 “Pacific Rim”, City of Brea art gallery, Brea, CA, U.S.A
2007 “Pulp Function”, Fuller Craft museum, Brockton, MA, U.S.A
2008 “Outside In: New realm for Taiwan Art ”, Taipei culture
center& Columbia University, New York, USA.
“Holland Paper Biennal 2008”,Museum Rijswik &Museum
Apeldoom, Holland.
“Sceond Lives”, Museum of Art &Design, New York, USA.
2009 “Transformation: From ordinary to extraordinary”, various
Museums in the U.S.A and one in Israel, Curate By Barbara J.
bloemink.
186 Claremont Ave, #2N, New York, NY10027
USA Mobil: 646-7534606
Email:long18th@yahoo.com
Fredericke Taylor gallery: tel 646-2300992
Solo Show
1992 “Tools”, Space 2 gallery, Taipei, Taiwan.
1994 “Culture Empire”, American Institute in Taiwan”, Taipei,
Taiwan.
1995 “Reading Sculpture”, Eight floor gallery, New York.
1997 “Humanity”, Taipei Fine Art Museum, Taipei, Taiwan.
1998 “Taiwan Study”, Cultural Affairs Department of Taiwan
Provincial Government, Taiwan.
1999 " Alternative Study", Eslite bookstore, Taiwan.
2000 “U.S.A v.s China”, 18st art complex, Santa Monica,USA
2003 ‘Reading Sculpture---culture warrior”, Frederieke Taylor
gallery, New York.
2004 “Reading Sculpture----Kid project”, Mass MOCA
kidspace.
2005 “Reading Sculpture---Culture Warrior”, Plum Blossom
gallery, Hong Kong.
2008 “Long-Bin Chen 2008 project” Frederieke Taylor gallery,
New York
Group Show:
1991 “Curious Structures”, Visual Art Gallery, New York.
1992 “The Entering Show of Taipei Fine Arts Museum
Biannual”, Taipei.
1993 “A Dialogue of Contemporary Sculpture In Asia”, Taipei
Fine Arts Museum, Taipei.
“obCkession”, TZ’art & co, New York.
“Triennial der Kleinplastik 1995, Europ --Ostaien”, Suttgart,
Germany.
1994 “Our Deities”, ISE Art Foundation, New York.
1995 “Feast of Mind, Buffet of Art”, Fubon Art Foundation,
Taipei.
1996 “New Voices: Contemporary art Dialogue Among Taipei,
Hong Kong and Shanghai”, National Taiwan Arts Education
Institute, Taipei, Hong Kong .
1998 “Osaka Triennale 1998—Sculpture”, Osaka Contemporary
Art Center, Osaka.
1999 “Volume & Form Singapore 1999”, Singapore City, National
Library, Singapore.
2001 “Absolut---2001Los Angeles International, Biennial Art
Invitational”, Robert Berman Gallery, Santa Monica, U.S.A .
“New Minds----Artistic creations in motion”, Taipei Fine Arts
Museum, The International Artists’ Village, Planning Office, CCA,
Executive Yuan.
“The gravity of the immaterial”, The Institute of Contemporary
Arts”, Taipei,
2002 e gravity of the immaterial”, Total Museum, Seoul,
2003 “The Invisible Thread---Buddhist Spirit in Contemporary
Art”, Snug Harbor Culture Center, New York.
2004 “Do a Book”, Plum Blossom gallery. New York.
2005 “Dalai Lama Portrait Project”, Dalai Lama Foundation,
Travel Show—Morio Art Museum in Tokyo, Cartier Foundation in
Paris and Museum in London, Taipei, Berlin, New York, LA.
2006 “Pacific Rim”, City of Brea art gallery, Brea, CA, U.S.A
2007 “Pulp Function”, Fuller Craft museum, Brockton, MA, U.S.A
2008 “Outside In: New realm for Taiwan Art ”, Taipei culture
center& Columbia University, New York, USA.
“Holland Paper Biennal 2008”,Museum Rijswik &Museum
Apeldoom, Holland.
“Sceond Lives”, Museum of Art &Design, New York, USA.
2009 “Transformation: From ordinary to extraordinary”, various
Museums in the U.S.A and one in Israel, Curate By Barbara J.
bloemink.
Prize:
1985 Awarded National Print Prize, Taiwan.
1987 12th Shih Hsiung New Artist Prize, Taipei.
1988 Tung-Hai University Fine Arts Prize, Taiwan.
1995 Visitors Prize of the 6 Triennial of Small Scale Sculpture, Stuttgart,
Germany.
1996 1996 Grant Award of the Joan Mitchell Foundation, New York.
1997 1997 Grant of the Nation Endowment for Arts, Taiwan.
1998 1998 Grant of the Nation Endowment for Arts, Taiwan.
The Silver Prize of Osaka Triennial 1998 (Sculpture), Osaka, Japan.
Free-lance Project:
1986 Shih Hsiung Fine Art Magazine, Taipei.
1994 Suho paper museum, Taipei.
Libenn Aroma Inc, South Ban, IN, USA.
1995 Allan Chasanoff, Private Collection, New York.
2004 West collection, USA.
Education:
1983 Graduated from Fu-Shin Commercial and Technical School,
Dept. of Fine Art, Taipei.
1987 BFA, Tung- Hai University, Dept. of Fine Art, Taiwan.
1994 MFA, School of Visual Art, Dept. of Fine Art, New York.
Professional Activities:
1991 Program Director for Space 2 Gallery, Taipei, Taiwan.
1996 Curator for “Incertitude”, A group show of Chinese and
Taiwanese artist, Eight Floor Gallery,
New York.
Curator for “Under Naked”, A group show of Chinese and Taiwanese
artist, 456 gallery,
New York.
1997 Lecturer of Shin- Jan University, Taipei.
2000 Street Art Complex” Residency artist.
2004 Vermont Studio Center Residency artist,
2005 Sarabhai house Recidency artist, India.
2006 “Sacatar Residency artist, Brazil
2007 “Arnold Flaten Memorial lecture, ST. Olaf College, northfield,
Minnesota, U.S.A
