April 17, 2015

  • A Proposal for a Photo Exhibit in Beijing

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    《美国唐人街摄影展》策划书 (具体展览名称未定) 一、 展览背景:在美国移民组成的社区当中,中国人居住在一起,形成了唐人街,而唐人街的生活却不为其他人所知。在过去的四十年里Leland Wong 和 Corky Lee(中文名:李扬国)两位艺术家分别生活在旧金山和纽约的唐人街里,他们运用手中的相机,不仅记录了所在唐人街的巨大变迁也记录了其中发生的各个时期的重要事件。从早期的激进运动与草根艺术勃兴开始,唐人街的面貌有个很大的不同。1965 年的移民法案根本地改变了唐人街的人口,规模,经济和社会生活。这两位艺术家的职业生涯起源于 1970 年,在此后的几十年里,两位艺术家扎根唐人街,在那里不断地汲取灵感和素材。他们的作品中有坐在公园里的一群单身汉,有传统观的舞狮也有嘻哈表演,有街头的艺术家,有艺术课堂里的学生,也有学习手球的年轻人。就像记录一个家庭的点滴一样,他们记录了那些风波或者琐事,跌宕或者平淡。让这些点滴还原一个真实的唐人街。二、 展览主题及目的:

    二、 展览主题及目的:本展览旨在通过 Leland Wong 和 Corky Lee 两位资深摄影家的作品展示华侨华人在美国唐人街的生活、故事以及不同时期的重要事件,为观众还原真实的唐人街原貌及历史变迁。促进国内外摄影爱好者之间间的交流,并为热爱摄影艺术的观众提供一次视觉盛宴。三、 展览时间:2015 年 10月 26-11月 4号(暂定)四、 展期:2周(暂定)五、 展览地点:中国华侨历史博物馆二楼临时展厅 (505 平米)六、 主办单位:中国华侨历史博物馆七、 艺术顾问:赵琬, Ryan Wong. 八、 展览形式及数量:图片展。预计展出 100幅作品,每人各50幅(前期请提供每人至少 60幅以上的作品作为选择) 九、 展览开幕式:(1) 开幕式流程:(未定)(2) 邀请嘉宾:作品作者:Leland Wong, Corky Lee(中文名:李扬国)十、 展览宣传:(1) 微博微信网站线上宣传(2) 海报,宣传品制作(3) 媒体邀请 十一、 展览摄影集(未定)十二、 展览时间计划表1、 前期准备(1) 资料准备:2015 年 4月—2015年 6月底(美方负责)(2) 展览方案策划:2015年 6月底—2015年 8月中旬(双方共同策划)2、 展览制作

    (1) 展览制作:2015年 8月中旬—2015年 10月初(本馆负责)(2) 展览宣传:前期宣传预热:2015年 9月中旬(本馆负责) 展览采访报道:展期中进行


    Half Pound Lean Beef Burger

    Half Pound Lean Beef Burger

    “Měiguó tángrénjiē shèyǐng zhǎn” cèhuà shū (jùtǐ zhǎnlǎn míngchēng wèidìng) yī, zhǎnlǎn bèijǐng: Zài měiguó yímín zǔchéng de shèqū dāngzhōng, zhōngguó rén jūzhù zài yīqǐ, xíngchéngle tángrénjiē, ér tángrénjiē de shēnghuó què bù wéi qítā rén suǒ zhī. Zài guòqù de sìshí nián lǐ Leland Wong hé Corky Lee(zhōngwén míng: Lǐyángguó) liǎng wèi yìshùjiā fēnbié shēnghuó zài jiùjīnshān hé niǔyuē de tángrénjiē lǐ, tāmen yùnyòng shǒuzhōng de xiàngjī, bùjǐn jìlùle suǒzài tángrénjiē de jùdà biànqiān yě jìlùle qízhōng fāshēng de gège shíqí de zhòngyào shìjiàn. Cóng zǎoqí de jījìn yùndòng yǔ cǎogēn yìshù bóxìng kāishǐ, tángrénjiē de miànmào yǒu gè hěn dà de bùtóng.1965 Nián de yímín fǎ'àn gēnběn dì gǎibiànle tángrénjiē de rénkǒu, guīmó, jīngjì hé shèhuì shēnghuó. Zhè liǎng wèi yìshùjiā de zhíyè shēngyá qǐyuán yú 1970 nián, zài cǐhòu de jǐ shí nián lǐ, liǎng wèi yìshùjiā zhágēn tángrénjiē, zài nàlǐ bùduàn de jíqǔ línggǎn hé sùcái. Tāmen de zuòpǐn zhōng yǒu zuò zài gōngyuán lǐ de yīqún dānshēnhàn, yǒu chuántǒng guān de wǔ shī yěyǒu xīhā biǎoyǎn, yǒu jiētóu de yìshùjiā, yǒu yìshù kètáng lǐ de xuéshēng, yěyǒu xuéxí shǒuqiú de niánqīng rén. Jiù xiàng jìlù yīgè jiātíng de diǎndī yīyàng, tāmen jìlùle nàxiē fēngbō huòzhě suǒshì, diēdàng huòzhě píngdàn. Ràng zhèxiē diǎndī huányuán yīgè zhēnshí de tángrénjiē. Èr, zhǎnlǎn zhǔtí jí mùdì:

    Èr, zhǎnlǎn zhǔtí jí mùdì: Běn zhǎnlǎn zhǐ zài tōngguò Leland Wong hé Corky Lee liǎng wèi zīshēn shèyǐng jiā de zuòpǐn zhǎnshì huáqiáo huárén zài měiguó tángrénjiē de shēnghuó, gùshì yǐjí bùtóng shíqí de zhòngyào shìjiàn, wéi guānzhòng huányuán zhēnshí de tángrénjiē yuánmào jí lìshǐ biànqiān. Cùjìn guónèi wài shèyǐng àihào zhě zhī jiān jiān de jiāoliú, bìng wèi rè'ài shèyǐng yìshù de guānzhòng tígōng yīcì shìjué shèngyàn. Sān, zhǎnlǎn shíjiān:2015 Nián 10 yuè 26-11 yuè 4 hào (zhàn dìng) sì, zhǎnqí:2 Zhōu (zhàn dìng) wǔ, zhǎnlǎn dìdiǎn: Zhōngguó huáqiáo lìshǐ bówùguǎn èr lóu línshí zhǎntīng (505 píngmǐ) liù, zhǔbàn dānwèi: Zhōngguó huáqiáo lìshǐ bówùguǎn qī, yìshù gùwèn: Zhào wǎn, Ryan Wong. Bā, zhǎnlǎn xíngshì jí shùliàng: Túpiàn zhǎn. Yùjì zhǎn chū 100 fú zuòpǐn, měi rén gè 50 fú (qiánqí qǐng tígōng měi rén zhìshǎo 60 fú yǐshàng de zuòpǐn zuòwéi xuǎnzé) jiǔ, zhǎnlǎn kāimù shì:(1) Kāimù shì liúchéng:(Wèidìng)(2) yāoqǐng jiābīn: Zuòpǐn zuòzhě:Leland Wong, Corky Lee(zhōngwén míng: Lǐyángguó) shí, zhǎnlǎn xuānchuán:(1) Wēi bó wēixìn wǎngzhàn xiàn shàng xuānchuán (2) hǎibào, xuānchuán pǐn zhìzuò (3) méitǐ yāoqǐng shíyī, zhǎnlǎn shèyǐng jí (wèidìng) shí'èr, zhǎnlǎn shí jiàn jìhuà biǎo 1, qiánqí zhǔnbèi (1) zīliào zhǔnbèi:2015 Nián 4 yuè—2015 nián 6 yuèdǐ (měifāng fùzé)(2) zhǎnlǎn fāng'àn cèhuà:2015 Nián 6 yuèdǐ—2015 nián 8 yuè zhōngxún (shuāngfāng gòngtóng cèhuà)2, zhǎnlǎn zhìzuò

    (1) zhǎnlǎn zhìzuò:2015 Nián 8 yuè zhōngxún—2015 nián 10 yuèchū (běn guǎn fùzé)(2) zhǎnlǎn xuānchuán: Qiánqí xuānchuán yù rè:2015 Nián 9 yuè zhōngxún (běn guǎn fùzé) zhǎnlǎn cǎifǎng bàodào: Zhǎnqí zhōng jìnxíng


    $5 worth of plastic and aluminum for recycle

    $5 worth of plastic and aluminum for recycle

    "American Chinatown Photography Exhibition" planning book (specific exhibition name undecided) an exhibition

    Background: The immigrant community of the United States among the Chinese people live together, forming a Chinatown, and Chinatown's life is not known to others. Over the past four decades Leland Wong and Corky Lee (Chinese name: Li Yang, country) two artists were living in San Francisco and New York's Chinatown, they use their cameras not only record the location in Chinatown also recorded huge changes which occur The important events in each period.

    From the early grassroots activism and art flourishing start, Chinatown has a very different look. The Immigration Act of 1965 fundamentally changed the Chinatown's population, size, economic and social life.

    These two artist's career originated in 1970, in the next few decades, two artists rooted in Chinatown, where constant inspiration and material. Their works have a group of bachelors sitting in the park, there is a traditional lion dance concept also has hip-hop performances, there are street artists, artistic students in the classroom, but also young people with learning handball.

    Record a bit like family, they recorded the storm or those chores, ups or dull. Let them drip restore a true Chinatown.

    Second, the exhibition theme and purpose:

    The exhibition aims to show important events in the life of overseas Chinese, the story and the different periods of American Chinatown by Leland Wong and two senior photographer Corky Lee works for the audience to restore the true original and historic Chinatown change. Promote exchanges between domestic and foreign photographers between, and for the love of the art of photography viewers with a visual feast.

    Third, the Exhibition: October 2015 26-11 May 4 (tentative) four, Dates: 2 weeks (tentative) V.

    Venue: China Overseas Chinese Museum temporary exhibition hall on the second floor (505 square meters)

    six organizers : China Overseas Chinese Museum seven, art consultant: Zhao Wan, Ryan Wong eight exhibition form and quantity: exhibition. Expected to exhibit 100 works were each 50 (preliminary Please provide at least 60 per person works more as an option) 9, the opening ceremony of the exhibition:

    (1) the opening ceremony of the process :( undecided)

    (2) invited guests: Works Author: Leland Wong, Corky Lee (Chinese name: Li Yang, country)

    Ten, exhibition publicity:

    (1) a letter microblogging website online publicity

    (2) posters, promotional materials production

    (3) Media Invitation XI exhibition photography collection (undecided)

    XII exhibition schedule in Table 1, preparation

    (1) Data preparation: in April 2015 by the end of June 2015 (the United States is responsible)

    (2) exhibition program planning: the end of June 2015 in mid-2015 (August sides together Planning)

    2, exhibition production

    (1) production of the exhibition: August 2015 mid-early October 2015 (the museum is responsible) (2) Trade promotion: pre-publicity Preheat: In mid-2015 (the museum is responsible) shows coverage of September: exhibition of conduct

March 27, 2015

  • A Better Chinatown ABC

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    I dunno exactly what this was for....but for sure it was haphazardly planned. They did not get the OK from the restaurant to do this in front. The restaurant did not want to assume the liabilities from this event neither. First time working with WP. It didn't happen. I was to do Sunday, but the rival music group bogarted her group out of the corner.

    It's OK... glad it didn't happen. I was to just do a demo...but no cooking. I don't see the point in even doing it. My lawyer told me to layoff this community bs and concentrate on the case.

    And here I prepared a lot of stuff for the press conference a week before ready to do a demo for nothing. I bought the meat and ingredients. Prepped all the ingredients and kneaded the dough to make tongyuen. Brought my butane stove. All for nothing. I wasn't even getting paid for it neither. I'm just a sucker.

    Interesting how on top I am amongst two organizations. I guess I'm an organization in itself.

March 24, 2015

March 21, 2015

  • Work in Progress -- Nine Dragon Mural at Utopia Cafe

     

    Haven't touched my mural at Utopia Cafe for awhile... as I must gear my mind toward the lawsuit I am dealing with.

    Work in progress

    Work in progress

    Work in progress

    Work in progress

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    Here I am...sixty two years old and still a slave of my brother.

  • CHINESE ADVICE TO 50-YEAR OLDS & OLDER

    Rubber Barf we used to sell at Fueng Wah Company

    Rubber Barf we used to sell at Fueng Wah Company

    CHINESE ADVICE TO 50-YEAR OLDS & OLDER

    (Translated from Chinese)

    Because none of us have many years to live, and we can’t take along anything when we go, so we don’t have to be too thrifty…

    Spend the money that should be spent, enjoy what should be enjoyed, donate what you are able to donate, but don’t leave all to your children or grandchildren, for you don’t want them to become parasites who are waiting for the day you will die!!
    64551a

    Don’t worry about what will happen after we are gone, because when we return to dust, we will feel nothing about praises or criticisms. The time to enjoy the worldly life and your hard earned wealth will be over!

    Don’t worry too much about your children, for children will have their own destiny and should find their own way. Don’t be your children’s slave. Care for them, love them, give them gifts but also enjoy your money while you can. Life should have more to it than working from the cradle to the grave!!

    Don’t expect too much from your children. Caring children, though caring, would be too busy with their jobs and commitments to render much help.

    Uncaring children may fight over your assets even when you are still alive, and wish for your early demise so they can inherit your properties and wealth.
    celluliod 2
    Your children take for granted that they are rightful heirs to your wealth; but that you have no claims to their money.

    50-year old like you, don’t trade in your health for wealth by working yourself to an early grave anymore… Because your money may not be able to buy back your health…

    When to stop making money, and how much is enough (hundred thousands, million, ten million)?
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    Out of thousand hectares of good farm land, you can consume only three quarts (of rice) daily; out of a thousand mansions, you only need eight square meters of space to rest at night.

    So, as long as you have enough food and enough money to spend, that is good enough. You should live happily. Every family has its own problems. Just do not compare with others for fame and social status and see whose children are doing better, etc., but challenge others for happiness, health, enjoyment, quality of life and longevity…
    real chinamen

    Don’t worry about things that you can’t change because it doesn’t help and it may spoil your health.

    You have to create your own well-being and find your own place of happiness. As long as you are in good mood and good health, think about happy things, do happy things daily and have fun in doing, then you will pass your time happily every day.

    One day passes without happiness, you will lose one day.
    One day passes with happiness, and then you gain one day.

    In good spirit, sickness will cure; in a happy spirit, sickness will cure faster; in high and happy spirits; sickness will never come.

    With good mood, suitable amount of exercise, always in the sun, variety of foods, reasonable amount of vitamin and mineral intake, hopefully you will live another 20 or 30 years of healthy life of pleasure.
    nextlife
    Above all, learn to cherish the goodness around… and FRIENDS… They all make you feel young and “wanted”… without them you may surely feel lost!!

    Wishing you all the best.

March 2, 2015

  • happy new year of the ram

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    I guess it's now a tradition with me to spend the last hours and the first hours of the lunar new year in Chinatown. Not that many Chinese come out to celebrate the stroke of midnight of the lunar new year. Many prefer to stay home. I guess it's because home is safe and you wouldn't run into any bad luck when you're on the outside.

    I remember back in 1977 when I was out for the lunar new year I got jumped by the Hop Sing Boyz at Kum Hon restaurant and nearly killed. So I myself is fairly wary of such running into bad luck on lunar new year night. Sun nin lao lao like they would say. Many of those who jumped me experienced a lot of bad luck in their lives following that incident.

    Chinatown has mostly white people and hipsters walking around burning firecrackers and fireworks. The intersections of Grant and Washington becomes naturally blocked with people just throwing firecrackers. Li Po bar....Buddha bar.... mostly whites going crazy.

    For me I hang out at Red's Place. A handful of us old Chinatown boys are there to celebrate. This year Red's had the biggest fireworks display. More like people bringing fireworks and setting them off by Red's. There was a string of firecrackers that went down half a block and two hexagons hanging.

    I video'd it with my Sony A6000 but unfortunately there's no sound for some reason.

February 13, 2015

  • I am a Fongie!

    I too was inspired by Rocky Gunn's feature on Life magazine in 1982 to further pursue wedding photography.  I attended several of Rocky's seminars and speeches.  I didn't have a car in those days.  I remember taking the Golden Gate Transit bus to the Marin Civic Auditorium theatre for Rocky's seminar.  It was amazing because he too was a Chinese American who grew up in San Francisco's North Beach.

    I've been following Gary F*ng ever since he spoke at our PPGBA meeting around that time.  He later started a digital photography forum call Digital Photographers Network (circa 2001) back in the early days of the internet before social media.  He highly recommended the Fuji S2 (2002) back then.  I've been a Fuji user since then with the S3 and S5 (2007) which I still consider my main camera though it's been eight years since it first came out.

    Recently he spoke glowingly of the Sony A6000 and highly recommended it.  I own a Sony A6000 because of him.  I am a Fongie!

    This very blog that you're reading is a result of Gary F*ng.  At a WPPI seminar he told everyone to start a blog on Xanga and to do the life membership too which I did and still  have this blog running to this day.

    Gary invented a light modifier to put on the flash which gives a much more pleasing softer light than a harsh direct flash.  I've been a faithful user of the Light sphere from the beginning.

    Gary became rich beyond his wildest dream from his invention of the Lightsphere and the starting and selling of a successful company called Pictage for millions.

    He built a beautiful house in Kelowna, BC, Canada.  Married and have two beautiful twins.   Though I never really personally met him nor talked to him, I was happy for his success.  He  is very public person and shares his life on social media.

    I found out recently that his house in Kelowna burnt to the ground.

    Home Destroyed in Ellison Fire Belonged to World Famous Photographer

    Fortunately the family and him were away and no one was hurt.  I posted this news article on my FB page.  I mentioned how he was enjoying success and now this unfortunate fire happens.  What karma.  I was actually sad for him.

    I immediately got a really nasty response from Gary with profanity and cursing in the comments and text.  He then unfriended me on FB.  I guess he took it the wrong way.

    He did mention it on his twitter;

    "I think perhaps it is time that I seek professional counseling. Not sure what is going on, I seem a bit touchy." http://fb.me/4DjjhLyQX 

    PS:  *the reason why I put an asterisk in the name is because I don't want him to see this.  I'm afraid he'll take it the wrong way again.

     

February 10, 2015

  • Chinatown 2AM

    Awaking from a three hour nap in the car in front of the old Great Star Theater in Chinatown.

    nextlife

     

    In my next life

    I would like to be an octopus

    I can get more things done

    with my eight arms

    It's been really tough trying to get so many things done in this life.

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

February 8, 2015

February 6, 2015

  • A Local Joint

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    This is a draft by Ryan Wong of an exhibit in the planning stages with New York photographer, Corky Lee and I at the Chinese Culture Center sometimes next year.  They're trying to raise $30K to produce this exhibit.  A book will be printed with this exhibit.


     

    A Local Joint

    Leland Wong and Corky Lee

    Picture Chinatown

    No neighborhoods in the American imagination are as densely layered, as at once familiar and unknown, as its Chinatowns.  Leland Wong and Corky Lee have been two of Chinatown’s most faithful chroniclers, advocates, and community members, for much of the last forty years living and working in San Francisco and New York Chinatowns, respectively.

    Thirty-five years ago, they exhibited photographs together at the Chinese Culture Center of San Francisco in Not on the Menu; in the decades since, their bodies of work have grown in proportion to the vast shifts in their Chinatowns. Another exhibition is due.

    Both had their careers sparked by the Asian American movement that swept through the country in the 1970s and fundamentally reshaped the cultural lives of Chinatowns.

    Leland Wong, born and raised in San Francisco Chinatown, attended and developed some of the first Asian American studies courses at San Francisco State. He learned his artistic craft there and at the new arts group, Kearny Street Workshop; since the 70s, he has designed flyers for the annual Nihonmachi Street Fair.

    Corky Lee moved to Chinatown in the early 1970s to become part of the seminal Basement Workshop and to document the protests and rallies of the movement there. He documented and contributed to burgeoning programs like the Chinatown Health Fair and the Asian American Arts Alliance.

    Since those early years of activism and grassroots artmaking, both Chinatowns have seen constant transformation. The 1965 Immigration Act sparked a fundamental reshaping of their demographics, size, economy, and social life.  San Francisco saw the razing and later rebuilding of the International Hotel, the creation of grassroots walking tours, the encorachment of gentrifiers in the real estate boom.

    In New York, Chinatown spread outwards to Queens and Sunset Park, has sparked restaurant and garment work strikes, survived the shockwaves of 9/11, been reshaped by an influx of Fujianese immigrants. Wong and Lee have been on the scene to document all of this. In their photographs, we see the elder ‘bachelor society’ sitting in the park, lion dances and hip hop concerts, activists taking to the streets, youth in arts classes and on handball courts.  We see Chinatown unsentimentalized, rendered in photographs as one would document a family through the years: turning points, trials, renewals.

    Any time spent in either Chinatown will reveal that Wong and Lee are known and respected by everyone—they are a constant presence, dedicated to the community that supports them and which inspires their art practices. These photos, then, are almost like notebooks, memories of lives spent in the neighborhoods. It is a pleasure to hear Lee and Wong talk about their photographs. Both can recall details of hundreds of the people in their photographs: some deceased, some moved away, some gone on to become nationally-recognized figures, many still living and working in the neighborhood.

    Photography, for them, is an exercise in building a collective visual memory. Chinese in America, so often either made exotic or removed from the master’s picture frame altogether, are given a home in these photographs. Lee and Wong use their cameras as vessels to make the exotic familiar, to make history personal.

    —Ryan Lee Wong