By Lawrence JeppsonLawrence Jeppson is an art consultant, organizer and curator of art exhibitions, writer, editor and publisher, lecturer, art historian, and appraiser., He is expert on the works of several painters, including, Tsing-fang Chen, about whom he has written several books. Through the Smithsonian Institution Traveling Exhibition Service, the American Federation of Arts, New York’s Museum of Modern Art, and his own Art Circuit Services he has been a contributor to more than 200 art exhibitions in the United States, Canada, Japan. He owns AcroEditions, which publishes multiple-original art, and was co-founder and artistic director of Collectors’ Investment Fund.
● Lawrence Jeppson，an art consultant, organizer and curator of art exhibitions, writer, editor and publisher, lecturer, art historian, and appraiser., He is expert on the works of several painters, including, Tsing-fang Chen, about whom he has written several books.
An Appraisal and Investment RecommendationLawrence Jeppson is an art consultant, organizer and curator of art exhibitions, writer, editor and publisher, lecturer, art historian, and appraiser., He is expert on the works of several painters, including, Tsing-fang Chen, about whom he has written several books. Through the Smithsonian Institution Traveling Exhibition Service, the American Federation of Arts, New York’s Museum of Modern Art, and his own Art Circuit Services he has been a contributor to more than 200 art exhibitions in the United States, Canada, Japan. He owns AcroEditions, which publishes multiple-original art, and was co-founder and artistic director of Collectors’ Investment Fund.
News from Fingerhut groupWhat exactly is Neo-Iconography? Lawrence Jeppson, the art critic and consultant for the Smithsonian Institution who coined this term said: “Neo-Iconography is a stunning paradox: an artistic symbolic resplendence that thrusts deeply into the esthetic future by appropriating every sort of image recognized from the past. This incandescent creator of Neo-Iconography, Dr. Tsing-fang Chen, relentlessly manipulates every variety of image from the public experience to create new realities, esthetic astonishments, and psychological/philosophical collisions!” So, Neo-Iconography is a synthesis of many ideas and images. At the heart of this style is Dr. Chen’s perception of the future of world culture: the “Five-Dimensional Universal Culture,” which he formulated into a kind of cultural theory in 1969, getting revelation from the American astronauts’ landing on the Moon.
|light of love-oc-66X48''-1994.1||City Gleaners / 72X50”/ ac|
|Confrontations||Venus And Shogun|
Dr. T. F. Chen: “Painting Irises (II),” 1993 screen print, 30x40.” Taken from 1992 o/c.In the late 1980s, the van Gogh painting “Irises” was purchased at auction for the astronomical, record-breaking sum of $80 million. This was a historical event in the art market. Yet how could this come to pass? As Dr. Chen’s image reveals, the painting is unfinished! Van Gogh, dressed as an artist from Holland, is seated in a sunny Arles garden, still adding dazzling, pure strokes of color to the canvas. We do not see his face, hinting perhaps that the nature of the artist is less significant than the nature of the art. Indeed, the greatest artist of all is obscured from human vision, but with a divine hand, continues to add strokes of color to the canvas known as Earth.
Dr. T. F. Chen: “Love Above Confrontation,” 1993 screen print, 30x40.” Taken from 1984 a/c.A span of four centuries of changing values in artistic tradition electrifies the air between Titian’s “Venus with a Mirror” and Picasso’s “Seated Woman.” The contemporary viewer can see the beauty in both icons, but within their worlds, each woman argues for the authenticity of the stylistic expression of her image. Locked in a moment of confrontation, the two do not comprehend that another world exists that values and cherishes both for their differences, not in spite of them. Through an open window, Chagall’s folkloric pair of lovers float high above the fray. They seem to advocate “love above confrontation,” and are enjoying the freedom that only love can offer.
Dr. T. F. Chen: “Happy Mme. Moitessier,” 1993 screen print, 40x30.” Taken from 1992 o/c.Between Cezanne’s still life and Gauguin’s Tahitian painting, Ingres’ “Mme. Moitessier” stands confident and serene. Her source of happiness is twofold: her portrait hangs in a museum, enchanting thousands; and she owns, within this frame of reference, two postimpressionist masterpieces. In linear time, this would be impossible, since both works were produced almost half a century after her death. But the imagination does not recognize the boundaries of time and space. This intriguing arrangement playfully revises history and demonstrates the depth of possibility in the postmodernist art world.
Wedding Above the Village / 77 X 101 cm / Print / 1991The juxtaposition of complementary colors “the Chagall sky with the van Gogh landscape” excites the eye. When van Gogh painted Starry Night, he was lonely and unhappy, a victim of unrequited love who, more than anything, wished for a wife and family.
|250Laf-Store Front||In the past few years, New york’s Soho has been pressing its boundaries outward, expanding inexorably into the other old cultural strongholds like Little Italy, Tribeca and Chinatown.The newest outpost in the art colony south of Houston Street is at 250 Lafayette Street where the New World Art Center (NWAC) opened last June as the city’s largest private gallery. The imposing six-story building houses gout 3,500 squares foot exhibition floors and 2 floors of administrative offices, all dedicated to the advancement of art and culture.Outside, the banner hanging above the entrance combines the balanced symbols of yin and yang and the occidental cross, embodying Dr. T.F. Chen’s, the Center’s founder, philosophy of East-West convergency.|
Lucia Curated many art shows for New World Art Center /Warner Brother movie producer: David Wolper & family take photo with Lucia and TF Chen/ Media Interview T.F.Chen &Lucia during the museum openingBorn and raised in Taiwan, T.F. Chen is himself a product of Eastern and Western influences. In 1963, Chen went to Paris on an art scholarship offered by the French Government, and spent the next 12 years earning his Ph.D. in art history at the Sorbonne and studying painting at the Ecole des Beau-Arts. During this period, he also wrote books and magazine articles on art for publication in his homeland where they were ready eagerly by other Taiwanese who were becoming increasingly oriented toward Western culture. Among them was Chen’s future wife, Lucia. The two finally met in Paris and got married in 1975. Lucia Chen is a formidable woman, who one art critic calls “the mediator between Dr. Chen and the outside world.” Educated at Taipei Normal College, the University of Paris and the University of Maryland, Lucia entered the esoteric international art scene with virtually no knowledge of art, but emerged 20 years later art dealer, agent, advisor, publisher and collector. As if that isn’t enough, Lucia also devoted much of her seemingly boundless energy to writing numerous articles on the international art market and collecting African art and master prints. After relocation to the U.S., the couple started a family in Maryland with the birds of their son Ted and daughter, Julie. Then in 1980, in part to launch a campaign t further her husband’s career as a painter, Lucia opened her first gallery in their home in Georgetown with money borrowed from friends and relations. “In those days, I went to every international art fair and exposition in the country,” she recalls. “It was a very hard life – packing, shipping, setting up booths, re-packing, shipping, going to New York, to California, coming home, then going off again right away.”