Chinn Wang

Teaching Associate Professor

Art—Foundations

  • Faculty
  • College of Arts, Humanities and Social Sciences
  • School of Art and Art History
  • Studio

What I do

Teaching Associate Professor & Foundations Coordinator in the School of Art & Art History

Professional Biography

Chinn Wang teaches courses in Art Foundations and Printmaking, as well as other advanced-level topics-based studio seminars. Her studio practice incorporates printmaking, sculpture, and installation and explores the subjective nature of personal narrative and history using coded visual languages, symbolic iconography, and shifting visual perception. Chinn was a resident artist at RedLine Denver from 2012-2014, and is a 2013 Santo Foundation Individual Artist Grant recipient. She was also an invited artist in the inaugural year of the Community Supported Art Colorado program (CSArt) and a visiting artist and mentor for the Museum of Contemporary Art Denver’s teen internship program, Failure Lab. Chinn’s work has been shown nationally and internationally in group exhibitions, and she recently had a solo exhibition at The Print Center in Philadelphia, PA that resulted in a front cover feature in Art in Print Journal.

Degree(s)

  • MFA, Studio Art - Printmaking, University of Wisconsin, Madison, 2011
  • BA, Art History, University of California, Berkeley, 2003
  • BA, Art Practice, University of California, Berkeley, 2003

Professional Affiliations

  • Foundations in Art: Theory & Education
  • MId America Print Council
  • Southern Graphics Council International

Research

Chinn Wang’s art practice is concerned with the subjective nature of personal narrative and history and the examination of the fluidity and ambiguity of memory. Wang is interested in the digital and analog manipulation of images, pushing optical limits past the point of legibility into abstraction and then back again. In this way, images vibrate between clarity and obfuscation, demonstrating the futility and interplay between fiction and nonfiction. Her work seeks to create a non-passive viewing experience that compels a constant questioning of material, space, and image, highlighting the shifting balance between what is real and what is imagined.

The current and ongoing body of work originates from a series of photographs taken of Wang’s mother during her first years living in the United States after arriving from Hong Kong. The series of prints highlights her status as a woman, an immigrant, and a scientist—three imperiled communities in American society today—through a removal of the figures from the picture. Her mother’s absence from the images not only splices the picture plane, but also complicates a lost sense of lineage, heritage, and identity that sometimes follows the generations after emigration.

Performances

Finding Place
  • Denver, CO
Soaking Up Local Color

I was one of 3 winners of the 95th ANNUAL International Printmaking Competition, hosted by The Print Center in Philadelphia, PA. As a winner, I was awarded a solo exhibition at The Print Center (Jan 17-March 30, 2019) and was also invited to provide a public artist lecture in February. My exhibition was reviewed three times during the run of the exhibition by The Philadelphia Inquirer, the Humble Arts Foundation blog, and Art in Print magazine.

"The Print Center, a nonprofit gallery located in Philadelphia’s historic Rittenhouse Square neighborhood, encourages the growth and understanding of photography and printmaking as vital contemporary arts through exhibitions, publications and educational programs. The Print Center is an international voice in print; our global outlook coincides with a strong sense of local purpose. Recognized as a locally significant and internationally respected gallery, an art education provider and an artists’ advocate, The Print Center is known for supporting emerging and established artists; developing unusual and intriguing programs that attract a diverse audience; and making art accessible to all members of the community."

"Today The Print Center programs include solo and group exhibitions; the ANNUAL International Competition, one of the most prestigious and oldest juried exhibitions in the US; The Print Center Series, compelling programs surrounding the printed image in contemporary art; the Artists-in-Schools Program, a nationally recognized program bringing art education and awareness to underserved youth in Philadelphia public high schools since 2002; The Print Center publications; and the Gallery Store, offering the largest selection of contemporary prints and photographs available for sale in Philadelphia."

  • Philadelphia, PA
A Shadow is Never Created in Darkness

Artists, Libby Barbee and Chinn Wang, present a two­person exhibition at The White Cube Gallery at Naropa University. Barbee and Wang are both alumni from the RedLine resident artist program in Denver, and both teach at the University of Denver. Barbee and Wang's exhibition showcases new bodies of experimental work and an opportunity to engage with the Naropa, Boulder, and greater Denver area communities in a creative dialogue.

The exhibition engages in themes concerning the urban landscape, natural environments, control and chance, and separation anxiety, through works created using a wide variety of media including collage, printmaking, sculpture, and installation. Barbee and Wang’s work both utilize the space between the two-­dimensional and the three-­dimensional, creating works that activate both the wall and floor.

Wang’s art practice is concerned with the subjective nature of personal narrative and history and the examination of the fluidity of memory. The current body of work originates from a series of photographs taken of her mother during her first years living in the United States after arriving from Hong Kong. The series of prints highlights her status as a woman, an immigrant, and a scientist—three imperiled communities in American society today—through a removal of the figures from the picture. Her mother’s absence from the images not only splices the picture plane, but also complicates a lost sense of lineage, heritage, and identity that sometimes follows the generations after emigration. Paired with the photographic prints are a collection of silhouettes that explore the objects, shapes, and sentiments that permeate Wang’s own experience with motherhood. These prints reveal a unique dilemma of parenthood—the ceding of one identity for another and the perpetual grappling with a complex and layered sense of self.

In this most recent body of work, Barbee explores the garden as a site of female agency, creativity, and shared experience. Continuing her inquiry into the relationship between nature and American culture, she looks to the garden as a symbol of female relationships and resiliency, and a site in which women have played a dominant role in determining human relationships within space and nature. Sourcing imagery of plant and animal species from her own garden and those of her mother and maternal grandmother; she has created complex patterns representing each of these women. Brightly colored prints overlay large round wooden panels that fit together slot and groove into intertwined 3-dimensional pairs. These tumbleweed-like combinations evoke the connectedness, influence, and tensions between these personalities. Bounded by fragments of an abstracted fence bearing images of storm clouds, tumbleweeds, devils claws, and goat-head thorns, these gardens allude to shared knowledge and tradition, and efforts to rewrite harsh natural truths.

  • BOULDER
Time Zone Converter

Time Zone Converter brings together ten Chinese and Korean artists who broke the assumptions and stereotypes of Asian art through their art practices. The artists are particularly interested in sharing views of how Chinese and Korean artists who have lived in western cultures respond to migration influences, displacement and attempt to situate their local visual art form within the global art scene. The exhibition examines how artists in two countries artistically accommodate and update tradition in all its forms.

  • Beijing, China
Conveners

Conveners was a curatorial project that was organized by myself and my co-curator, Sarah Scott, for the Denver Month of Printmaking. The exhibition took place at RedLine in Denver, in their Project Space Gallery, and was provided a budget and funding courtesy of RedLine and a Visual Artist Network (VAN) grant.

Conveners was a group exhibition that built upon the precedent of printmakers exploring collaboration by highlighting the work of thirteen artist printmakers and their varying approaches to collaboration as means to create original works. Conveners included an offsite scavenger hunt/installation by artist Imin Yeh entitled "Points of Interest," with sites including the following participating venues: Abecedarian Gallery, Blair-Caldwell Library, Coffee at the Point, RedLine, Open Press, and Space Gallery.

Participating artists hailed from all across the country and were invited into the exhibition specifically for their innovative print media collaborative strategies. Those artists included: Molly Bounds & Sidney Masuga (Denver, CO), Catherine Chauvin & Fawn Atencio (Denver, CO), Lindsey Clark-Ryan (Northampton, MA), Matthew DiClemente (Washington D.C.), John Hitchcock & Jennifer Angus (Madison, WI), Jenny Robinson & Nancy Mintz (San Francisco, CA), Jenny Schmid & Tim Krause (Minneapolis, MN) and Imin Yeh (San Francisco, CA).

The exhibition was reviewed by Ray Rinaldi from the Denver Post, and received front page recognition in the Fine Arts page!

  • Denver, CO

Presentations

  • Complex Utopias: Dialogues with Community Printshops
  • Magic Eye(s): Optics, Symbology & Personal History
  • Women, Labor, and the Arts: Chinn Wang in Conversation with Kate Garth

Awards

  • Winner of 95th ANNUAL International Printmaking Competition, The Print Center, Philadelphia, PA
  • Jacqueline L. Zemel Prize for Printmaking, The Print Center, Philadelphia, PA
  • Commission for New Artwork for Exhibition, Culture Catalyst: Celebrating 20 Years of Art at DIA, Denver International Airport Art and Culture Program
  • Art in Print Journal front cover exhibition feature, Art in Print Journal