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Charles B. Wang Center Galleries

exhibitionThe Charles B. Wang Center organizes groundbreaking exhibitions of traditional and contemporary Asian and Asian American art. Located on the first and second floors of the center, the center's galleries feature natural light and high ceilings appropriate for the display of innovative contemporary artworks, crafts, and masterpiece-quality traditional Asian works.

Gallery Hours

Mon – Fri 10AM – 8PM
Sat, Sun 12PM - 8PM


Free and open to the public.

If you have questions about gallery hours, please contact us. Please note that hours are subject to change due to special events or university holidays / closures.


Lotus: Shiva Ahmadi
September 18, 2014 — January 10, 2015
Jasmine Gallery

shiva ahmadi lotus

Image credit:
Shiva Ahmadi
Lotus, 2014 (Video still)
Single-channel video installation
Edition 2 of 5
Courtesy of the artist and Leila Heller Gallery, New York

Lotus is a video animation by the Iranian artist Shiva Ahmadi, commissioned by the Asia Society Museum in New York City and inspired by two statues of the Buddha held in their collection. Ahmadi’s work reflects on the subjects of social trauma and religious and economic corruption in Iran and the surrounding region. It draws on her experience of the destruction and chaos wrought by the Iraq War (2003 – 2011).


About the Artist

Shiva Ahmadi (born 1975, Tehran) currently lives in the United States. She received her BFA from Azad University, Tehran; MA and MFA degrees from Wayne State University and Cranbrook Academy of Art. She is a painter who works not only on two-dimensional surfaces, but also on oil barrels, which function as both content and surface in her work.

She was nominated for an Altoid Award by the New Museum, New York, in 2008, and received a Kresge Artist Fellowship in 2009. Her work was reviewed in The Boston Globe, 2007; The New York Times, 2008, 2009, 2010; Art in America, 2009; and The National, UAE News, 2012. She  has taught at the Birmingham Bloomfield Art Center, Birmingham, Michigan; University of Michigan, Ann Arbor; and Wayne State University, Detroit. Currently she teaches at University of Michigan.



PERFORMANCE  The Life of Buddha, September 25, 2014 at 7 M 

LECTURE  Artist Talk by Shiva Ahmadi, October 2, 2014 at 11:00 AM-12:50 PM 


Visual Journals from Asia 
The Early 20th Century Prints and Etchings of Paul Jacoulet, Elizabeth Keith & Lilian Miller
September 18, 2014 — January 10, 2015
Skylight Gallery

jacoulet, adversairesIntercontinental travel, communication, and cultural exchanges have become routine in the age of globalization — yet only a century ago, Westerners with in-depth experience about Asia and Asian cultures were few and far between. Visual Journals From Asia presents etchings and woodblock prints by Paul Jacoulet (France, 1896-1960), Elizabeth Keith (UK, 1887-1956) and Lilian May Miller (USA, 1895-1943), three artists in the early twentieth century who spent significant parts of their lives and careers in Asia, including visits to Japan, China, Mongolia, Korea, the Philippines and the islands of the South Seas. This exhibition explores distinctive ways in which these artists' works were shaped by their experiences of travel and cross-cultural encounters, and raises broader questions about intercultural lives and perspectives.

Organized by Jinyoung Jin, Associate Director of Cultural Programs at the Charles B. Wang Center, the exhibition was made possible through the generous loan from Dr. Young-dahl Song Collection, and support from the Japan Center at Stony Brook University. 

japan center logo


LECTURE   Three Alternate Visions of East Asia by Dr. Kendall Brown, November 20, 2014 at 11:00 AM-12:50 PM 


Mao's Golden Mangoes and the Cultural Revolution
September 18, 2014 — January 10, 2015
Theatre Lobby Gallery

Mao's Mangoes

The mango became a fixture in the repertoire of official propaganda for approximately one year beginning in the tumultuous summer of 1968. That summer marked a turning point in China’s Cultural Revolution (1966-76), when the long hostility between ideological factions of the Red Guard had finally erupted into open conflict. In an effort to contain the conflict, Mao ordered the formation of “Worker-Peasant Mao Zedong Thought Propaganda Teams.”

On August 4, 1968, only ten days after the formation of these propaganda teams, Mao Zedong was given a gift of several dozen mangoes by Pakistan’s foreign minister, Mian Arshad Hussain. As a symbolic gesture of support for the working class, Mao ordered that the mangoes be sent to the propaganda teams. The mango was thus transformed into a token of Mao’s benevolence toward Chinese workers, and was treated with near-religious veneration. Workers lined up to see and sniff the mangoes, in awe even when the mangoes showed the inevitable signs of decay. One factory boiled their mango in a huge pot of water, so that each worker could share a spoonful of Mao's blessing. Other factories made wax replicas which were distributed in glass vitrines and displayed with pride and reverence in workers’ homes. The mangoes (and wax or plastic replicas) were shipped around the country; giant papier-mâché mangoes were featured on floats in the National Day parade; and images of the mango were emblazoned on mass-produced posters, fabrics, cigarette packages, and enamel ware.

Organized by Jinyoung Jin, Associate Director of Cultural Programs at the Charles B. Wang Center, the exhibition was made possible through the generous support of Dr. Alfreda Murck and the Rietberg Museum in Zurich, Switzerland and the Confucius Institute at Stony Brook University.

confucius institute logo


"Chairman Mao's Mangoes" at »
"How China came to worship the mango during the cultural revolution," from the London Telegraph »


WORKSHOP   Canning Mao's Mangoes with Chef Paolo Fontana, October 4, 2014 at 1-3 PM

FILM                Morning Sun (2003) Documentary Film by Carma Hinton, October 23, 2014 at 5-7  PM

LECTURES       Sanctification of the Mango: Illustrated Lecture by Dr. Alfreda Murck, November 5,  2014 at 4 PM

Comfort Women Wanted
September 18, 2014 — January 10, 2015

chang-jin leeZodiac Lobby Gallery

Chang-Jin Lee
's public art project Comfort Women Wanted brings to light the memory of 200,000 young women, known euphemistically as comfort women, were systematically exploited as sex slaves in Asia during World War II. This exhibition draws on Lee's revelatory interviews with surviving comfort women from Korea, China, Taiwan, Indonesia, the Netherlands and the Philippines. This forced gathering of women to serve the Imperial Japanese Army as sex slaves was organized on a scale not seen before in modern history, and is considered the largest case of human trafficking in the 20th century.

Featuring seven prints and video by Chang-Jin Lee, Comfort Women Wanted to bring light to this abominable WWII instance of massive organized violence against women and attempts to create a constructive dialog for the future. It recognizes the place of comfort women in world history, and increases public awareness of the general subject of sexual violence against women during wartime.

Chang-Jin Lee is a Korean-born American artist who has exhibited internationally in the U.S., Asia and Europe, including an exhibition at The Queens Museum of Art in New York City, the Kunstmuseum Bonn in Germany, and The Incheon Women Artists' Biennale in South Korea. Comfort Women Wanted has been presented in NYC of Times Square, Lincoln Center, the Flatiron District, Union Square, Koreatown, Chinatown, Little Tokyo, and in Chelsea in collaboration with The New York City Department of Transportation's Urban Art Program in 2013. 

Watch excerpts from Chang-Jin Lee's Comfort Women Wanted video here »
Chang-Jin Lee's website »


LECTURE    Artist Talk by Chang Jin Lee, Moderated by Prof. Peggy Christoff, October 27, 2014 at 2:30 PM 


Luscious Peonies by Seongmin Ahn
September 18, 2014 — January 10, 2015

Seongmin Ahn's "Lollipop Peony"Garden View Gallery 

Peonies are a national floral emblem of China. They have been cultivated for at least 1500 years. These lush, rounded blooms with slender, elegant stems have great symbolic and cultural significance across East Asia, including Korea and Japan where they have strong associations with prosperity and friendship. They are regarded as omens of good fortune and happy marriage.

Noted artist Seongmin Ahn incorporates these richly symbolic blossoms in her paintings as part of her exploration of identity as "a Korean-American immigrant with dual values in both cultures." These portraits also use images, patterns and techniques extracted from minhwa (art of the people), a form of Korean decorative folk painting that was particularly popular during the Chosŏn period (1392–1910). Ahn merges the bright colors, simple lines, and flat composition of minhwa naturally with elements of American pop art, adding another cross-cultural dimension to her work.


Brooklyn-based artist Seongmin Ahn is a recipient of a grant from the Pollock Krasner Foundation. She has exhibited nationally and internationally, including at the Delaware Center for the Contemporary Arts, the Queens College Art Center, Gallery Ho, the White Wall Gallery, and the Gomez Gallery. Ahn has also taught Asian traditional painting at various institutions, including the Metropolitan Museum of Art, the Queens Museum of Art, the Art Students League, the Voelker Orth Museum, the Creative Center for Women with Cancer, and the University Settlement. Ahn holds a Master of Fine Arts degree from the Maryland Institute College of Art.

Seongmin Ahn's website »
Profile of Seongmin Ahn at »


WORKSHOP    Hands-On Painting with the Artist, Seongmin Ahn, October 7 & 8, 2014 at 1-4 PM


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Charles B. Wang Center

Stony Brook University
100 Nicolls Road, Suite 302
Stony Brook, NY 11794-4040

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Phone: (631) 632-4400
Fax: (631) 632-9503
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