How can I get permission to reproduce photographs by TSENG Kwong Chi in a magazine, newspaper, book, catalogue or article?
Muna Tseng Dance Projects owns the copyright to all photographs created by Tseng Kwong Chi, regardless of individual artwork ownership. Reproductions of any artwork must be approved in writing and be accompanied in publication by the credit “Photograph by TSENG Kwong Chi © (year) Muna Tseng Dance Projects, Inc., New York” If you are interested in using an image by TSENG Kwong Chi in any publication, please contact email@example.com.
Does the Estate loan TSENG Kwong Chi’s work to museums for exhibitions?
Yes. Please contact the Estate at firstname.lastname@example.org or Paul Kasmin Gallery at email@example.com or by telephone at 212-563-4474.
Does the Estate sell artworks by TSENG Kwong Chi?
To purchase original photographs, please visit our Galleries page.
Where can I see artworks by TSENG Kwong Chi? Can the general public view photographs owned by the Estate?
TSENG’s artworks are on view in many museums and gallery spaces worldwide. Please see our Exhibitions page for current and upcoming shows.
How can I determine how much my TSENG Kwong Chi photograph is worth?
To have your artwork appraised, please contact Paul Kasmin Gallery (firstname.lastname@example.org) or one of the auction house photograph departments— Sotheby’s (email@example.com), Christie’s (1-212-636-2330) or Phillips de Pury (firstname.lastname@example.org)
How can I get a work by TSENG Kwong Chi authenticated?
Muna Tseng Dance Projects is the sole authority to provide authentication of TSENG Kwong Chi’s artwork. The work will need to be transported to the Estate for authentication to take place. We charge a fee of $200 USD. Please email email@example.com with information about the work and an image, and allow one month for the process.
Does the Estate accept gifts of TSENG Kwong Chi’s artwork?
Yes. Please contact the Estate at firstname.lastname@example.org
What is the history and mission of the Estate?
In 1990, ownership of the Estate of TSENG Kwong Chi was granted by bequest to Muna Tseng Dance Projects, Inc., a federal not-for-profit organization incorporated in the State of New York, administered by TSENG Kwong Chi’s sister, dancer and choreographer Muna Tseng, Director of the Estate, who oversees exhibitions and publications worldwide. Proceeds fund the legacy management and preservation of TSENG Kwong Chi’s work. Please visit Muna Tseng Dance Projects, Inc. at www.munatseng.org.
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“Tseng’s uniform endowed him with both respect and revulsion but also with an authenticity rarely questioned, primarily because there were not yet precedents for this particular formulation of an Asian stereotype… His own paparazzo, he cast himself as the ultimate tourist in the ultimate tourist snapshots, except they are technically superb, and meant to be, contradicting any idea of amateur endeavor.”
Wei, Lilly. Essay in Tseng Kwong Chi: Self-Portraits 1979-1989, Paul Kasmin Gallery, New York, NY, 2008.
“One of the central underpinnings of Tseng’s work is the Warholian conviction, shared with his better-known friends and contemporaries, that the artist is obliged to create more than the art itself—he must also clearly occupy a nexus of historical, critical, and ethical associations that provide the viewer with a contextual framework through which the art can be deployed to interpret the world around it.”
Cameron, Dan. Essay in Tseng Kwong Chi: Self-Portraits 1979-1989, Paul Kasmin Gallery, New York, NY, 2008.
“I knew Tseng a little, and he seemed to me a guy who went through life delighted. In the New York art world, the ‘80s had begun like a holiday. Galleries popped up with names like Fun, and night sites like Club 57 and the Pyramid mattered as much as regular art spaces. Tseng was at the heart of that world; permanently amused, he made holiday his work, and vice versa.”
Frankel, David. “Tseng Kwong Chi,” Interview, April 2008.
“In one sense this work parodies tourist snapshots, and shows Tseng as a stranger in a land revealed to us, by his unexpected appearance in it, as itself strange. At the same time the pictures propose a tartly cynical conflation of the supposedly conflicting ideologies of East and West: where does the proletariat go when it takes a vacation? To the same places the bourgeoisie does.”
Hagen, Charles. “Tseng Kwong Chi,” ArtForum, April 1984, pp. 79-80
“Even if Tseng enters on a press pass, he is suddenly among the revelers of the evening and participates among them like one of the exotic emissaries who frequented the courts of Europe in the eighteenth century… as both ambassador and reporter.”
Martin, Richard, Curator, The Costume Institute, The Metropolitan Museum of Art, “One Raiment Night: Tseng Kwong Chi at the Party of the Year,” 1996.
“His robotic posture, inspired by Warhol’s notion of the artist as a machine, became a form of performance art set on a glorious world stage. Whether striking a fashionable pose at Notre Dame, diplomatically greeting an astronaut at Cape Canaveral or reverently approaching Mount Rushmore, Tseng looks both in and out of sync with his surroundings. There is no clear answer as to what he is doing there.”
Laster, Paul, “Suitable Attire Required,” Art AsiaPacific, cover and article, Fall 2004
“Tseng Kwong Chi, Self Portraits:1979-1989”
Paul Kasmin Gallery, April 3 – May 3, 2008
“Tseng Kwong Chi: Body Painting with Keith Haring and Bill T. Jones”
|Paul Kasmin Gallery, February 11 – March 27, 2010