New York is the center of the modern art world. The city is home to over 90,000 artists and countless galleries and museums. It is a melting pot of different cultural and artistic traditions. Yang, who is considered one of the vanguards of the Chinese art movement, felt that his experience in New York would help stimulate his progress as an artist.

The city has a large community of foreign artists, and for them the early years can be vary difficult. Unlike native American artists, these individuals must cope with the problems of language, culture and the pressing day to day worries of supporting themselves. In certain respects Yang was more fortunate than some, while in other ways he was slightly at a disadvantage. He was familiar enough with English to get around and he had read extensively on the New York art world so was not as lost as many of the artists arriving in the city. Since his days as a junior high school student at the Chien Kuo middle school he had fastidiously read up on the world of modern art. On the other hand, having a wife and son to support as well as himself made the economic burden much heavier. His background in design helped him secure employment as a designer in a printing company. Lacking the financial and personal confidence to go out and find his own studio, Yang spent the first three years in his home. This was a rather stifling period in terms of output and improvement. The lack of an independent studio, free from the pressures of his home and work environment hindered his artistic progress. He therefore went out and rented a small studio in Manhattan. Within six months he produced enough new work to be given the chance to participate in a joint exhibition of eight painters. While the other artists were only allowed to exhibit one or two pieces of their work, Yang was allowed to show four pieces. Public and critical response was favorable. Unfortunately, just as things were beginning to look promising his landlord wanted him to move out of the studio. Hsieh Teh-ch'ing, a noted performance artist came to his aid by letting him rent a studio in a converted warehouse. He spent the daytime wandering through the numerous galleries in the area. Continued progress and new works resulted in his participating in two more exhibitions. In one exhibition he was the only foreign artist of eight to be shown. The renowned review, Arts Magazine gave the show and Yang's work an enthusiastic write up. The Siegel Gallery, impressed by his paintings, offered to show his work exclusively as well as handle his promotion and publicity. This represented a major breakthrough in his struggle to succeed. Following this success he applied and received a studio from the American National Artworks Studio. This outfit, sponsored by public and private donations, rents out 40 to 50 studios for a low rental fee to promising artists. The term of the lease is one year. The Siegel also has plans to have another showing of his works next year.

There are presently 30 Chinese artists in the New York City area. Yang has several ideas on the differences and difficulties faced by the eastern artist in the West. Being in his home country and cultural environment, the American artist has a greater sense of security and network of support. The Oriental artist besides coping with the problems inherent in living in a strange environment must also deal with the pressure to produce quickly and succeed. Many times this will result in artists abandoning their artistic direction in favor of conforming to the market taste. Yang stresses that Chinese artists should remain committed to their artistic direction.

Yang Ch'ih-hung represents the new Chinese artist. In his view modern art has no structured boundaries. It is an expression of the artist's independent thought and innate talent. This talent can not be studied nor can it be taught. It requires constant honing and continuous practice. He stresses, however, that an artist should seek to expand and develop his horizons.

Dedicated to the pursuit of excellence in his field, Yang Ch'ih-hung stands as a shining example for young artists in the Republic of China.

(Gerald Hatherly)

[Picture Caption]

1. Fantasies of the Fire Crane. 1984. 2. Yang Ch'ih-hung, at the invitation of the Hsin Hsiang Art Center returned to Taipei this past month (July) for an exhibition of his work. He is pictured in his Taipei home.

Despite his refined appearance, Yang Ch'ih-hung's paintings are full of mystery, fantasy, wildness and excitement. The paintings: 1. Foot-print and Other Things. 1981. 2. Seasonal Rain. 1982-1983.

Although Yang Ch'ih-hung has a great love for all areas of the art world and has previously produced works in different disciplines, he still realizes his first love is painting. The paintings: 1. Temptation of the Lady of the Tree. 1983. 2. The Mystery of the Jungle. 1984. 3. Ancient Associations. 1984. 4. Fantasies of Daydream. 1983.

2. Yang Ch'ih-hung, at the invitation of the Hsin Hsiang Art Center returned to Taipei this past month （July） for an exhibition of his work. He is pictured in his Taipei home.

Despite his refined appearance, Yang Ch'ih-hung's paintings are full of mystery, fantasy, wildness and excitement. The paintings: 1. Foot-print and Other Things. 1981.

2. Seasonal Rain. 1982-1983.

Although Yang Ch'ih-hung has a great love for all areas of the art world and has previously produced works in different disciplines, he still realizes his first love is painting. The paintings: 1. Temptation of the Lady of the Tree. 1983.

2. The Mystery of the Jungle. 1984.

3. Ancient Associations. 1984.

4. Fantasies of Daydream. 1983.