About

Christine Wong Yap holds a BFA and MFA from the California College of the Arts. Her work has been exhibited at the Bronx Museum of Art (Bronx), Wattis Institute for Contemporary Art (San Francisco), Yerba Buena Center for the Arts (San Francisco), and Centre for Chinese Contemporary Art (Manchester U.K.), as well as in Los Angeles; Portland, OR; Manila; and Poland.

Her work has been supported by the Queens Council on the Arts, the Jerome Foundation, and the Center for Cultural Innovation.

She has been an artist-in-residence at the Centre for Chinese Contemporary Art (Manchester U.K.), the Headlands Center for the Arts (Sausalito, CA), Woodstock Byrdcliffe (Woodstock, NY), Tides Institute and Museum of Art (Eastport, ME), Montalvo Arts Center (Saratoga, CA), Harvester Arts (Wichita, KS), c3:initiative (Portland, OR), Lower Manhattan Cultural Council (Governor’s Island, NY), Kala Art Institute (Berkeley, CA), Center for Book Arts (NYC), Sanitary Tortilla Factory (Albuquerque, NM), and Little Paper Planes (San Francisco, CA).

Reviews of her work have appeared in the Los Angeles Times, San Francisco Chronicle, and Art Practical.

Born in California, she was a longtime resident of Oakland, CA before relocating to Queens, NY in 2010.

  • Born in California
  • Lives and works in New York, NY

Education

  • 2007
  • MFA. California College of the Arts (CCA), San Francisco, CA.
  • 1998
  • BFA with High Distinction. CCA, San Francisco, CA.

Solo Shows and Projects

  • 2015
  • The Eve Of..., Portland ‘Pataphysical Society & PDX Contemporary, Portland, OR.
  • All the Steps in the Process: a research project on collaboration, Harvester Arts, Wichita, KS.
  • 2014
  • The Eve Of..., Pop-up Gallery/Falchi Building, Long Island City, NY.
  • 2012
  • Irrational Exuberance (Asst. Colors), Chinese Arts Centre, Manchester, UK.
  • 2010
  • Irrational Exuberance (Asst. Colors), Sight School, Oakland, CA.

Selected Group Exhibitions

Public Projects & Commissions

Collections

  • Alameda County Art Collection, CA.
  • The Center for Book Arts, NYC.

Grants, Residencies, Awards & Honors

Professional Activities

Bibliography

Critical Writing

Selected Publications

  • 2016
  • Hunn, Sarrita & James McAnally. To Make a Public: Temporary Art Review 2011–2016. Seattle, WA: INCA Press. Contributor
  • Jobin-Leeds, Greg; Hernandez-Vazquez, Dey; Agitarte. When We Fight, We Win: Twenty-First-Century Social Movements and the Activists That Are Transforming Our World. New York: The New Press. Image.
  • Kennedy, Christopher Lee. “Let It Decay: Cultural Precarity in the Anthropocene.” Temporary Art Review. October 12. Animated data visualization/commission on the occassion of Common Field convening.
  • 2015
  • Leong, Michael, ed. “Lines of Sight: Visual Art in Asian American Poetry.” The Margins. Asian American Writers Workshop. March 3. Art contribution.
  • 2014
  • Gazette. Ortega y Gasset Projects, Ridgewood, NY. January. Drawing.
  • 2013
  • Davenport, Philip. The Dark Would. Manchester, UK: Apple Pie Editions. Art contribution.
  • “Profile: Walden-Inspired Accounting.” Art Practical. Issue 4.11. March 12.
  • 2011
  • Guardiola, Pablo and Large, J. Brent, eds. SetToSignal.com. Essay: “Notes on Object-Viewer Relations.”
  • 2010
  • Cloutier, Julie, ed. City Reader. San Francisco: Reading Conventions, 2010. Art contribution.
  • Frock, Christian L. and Hanor, Stephanie. Here and Now. Oakland, CA: Mills College Art Museum / Invisible Venue. Catalog for commissioned public intervention series.
  • Tilton, Jennifer. Dangerous or Endangered: Race and the Politics of Youth in Urban America. New York: New York University Press, 2010. Cover art.
  • —, We have as much time as it takes. San Francisco: Wattis Institute for Contemporary Art. Exhibition catalog with interviews. [PDF]
  • 2009
  • Curreri, Amanda and Scollon, Erik, eds. Color&Color #0. New York / San Francisco, 2009. Image contributions.
  • —. Involved, Socially. San Francisco: Triple Base Gallery/Michelle Blade, 2009. Publication featuring contributions by members of 5-person exhibition, with essays by Matthew Rana.
  • Wazwaz, Maysoun, et. al.. Bellwether. San Francisco: Southern Exposure. Catalog for inaugural exhibition featuring 10 newly commissioned works, with "mirrorsblack" essay, 44-47.
  • 2008
  • —. Activist Imagination. San Francisco: Kearny Street Workshop, 2008. Exhibition catalog with essays by Kevin B. Chen and Samantha Chanse.
  • Sudbury, Julia, ed. Global Lockdown: Race, Gender and the Prison-Industrial Complex. New York: Routledge, 2005. Cover art (in collaboration with Lucha).
  • Wong Yap, Christine. Hyphen Magazine. Issue 7, Fall. Reproduction of a painting.
  • Wong, Christine. “Come on Down [Expect Stereotypes as South Asians Make U.S. Film, TV Debuts].” Oakland Tribune & KALW 91.7, Feb. 2. Public Radio Exchange piece profile.
  • Wong, Christine. “An ABC Comes Home: An Ancestral Pilgrimage to Guangdong, China.” Pacific News Service, Nov. 19. San Francisco Chronicle, 13 January.
  • Wong, Christine. “Forget Cinderella [Bride Laments Mother’s Gown].” Pacific News Service and KALW 91.7, April 3. Public Radio Exchange piece profile.

I am a project-based artist who explores psychological wellbeing. I often work in printmaking, drawing, sculpture, installation, and social practice.

My participatory projects make space for participants and audiences to engage in self-reflection, interdependence, and social connection.

Some projects are organized around themes—such as collaboration, interdependence, and belonging. I conduct surveys and present findings via drawings, zines, hand-lettered signs, data visualizations, and flags.

In other projects, I create activities to stimulate or enact a salient emotional experience. For example, Ways and Means is a participatory print installation for visualizing one’s strengths and resources as tools in wearable tool belts. In make things (happen), I invite the public to interact with artist-made activity sheets to spur creative action. I use common materials and forms to lend accessibility and abundance to elusive sentiments and abstract concepts.

My work is informed by positive psychology—a research-based field studying human flourishing and subjective wellbeing. Guided by the principle of affirming the positive, my projects almost always aim to increase personal agency and emotional intelligence.

See also C.V. Bibliography

“Glen Helfand describes the work of Christine Wong Yap, his pick for one of the chains: ‘Her artwork is about all of us, as she creates barometers of public mood, and usually aims to spread some good vibes with astute visual choices....’ ...Yap’s piece is, aptly, a distorted mirror, a device that has become one of her signatures. ...[She] make[s] use of recycled and reflected images and memories to create a new shared experience.” Jessica Brier, Art Practical, March 25, 2010

“Presented as a make-believe store with shelves and pegboards, and selling its goods at “pleasurable prices,” Irrational Exuberance (Asst Colors) is New York-based artist Christine Wong Yap’s defiant attempt to come on optimistic at all costs.” Clark, Robert, The Guardian, October 25, 2012

make things (happen) “is a fun and fascinating reminder that art is not only visual, but social as well.” Burke, Sarah. East Bay Express, February 25, 2015

“While some of the artists’ instructables can be executed solo, Yap is a great fan of the Venn diagram: Overlapping with others is the real payoff.” Tudor, Silke. SF Weekly, January 28, 2015

“In a marvelous little etching by Christine Wong Yap, densely inscribed Gothic print ... reads, at first glance, as the concluding section of an ecclesiastical text, but the crowded letters actually spell out a recitation far more secular and mundane: a shopping list for milk, yogurt, turkey and cheese. Yap, who lives in Oakland, stages another amusing temporal and stylistic dislocation in a hand-inked scroll of graph paper that ends in a curl on the floor....” Leah Ollman, Los Angeles Times, October 9, 2009