T.F. Chen Cultural Center, NYC

T.F. Chen Cultural Center, NYC It is mainly engagesd in exhibition, publishing, licensing, print production, prints, collecting and and art investment consulting.
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The New World Art Center (“NWAC”) is an international art gallery and management company based in SoHo, New York City YC and with has branches in the Beijing 798 art district and Taipei. As an art agency with keen business insight and a sense of cultural responsibility, the NWAC is becoming one of the leading international art investment consulting agencies and art galleries in the world. Under th

e leadership and vision of Lucia Chen, the NWAC has mounted and organized approximately 200 exhibitions for Dr. T.F. Chen as well as other international artists over the past 30 years. The NWAC has also been been a continuous sponsor of the T.F. Chen Cultural Center and its programs, as well as a collaborator with other galleries and organizations worldwide.



侯幸君是美國美術館協會成員，任紐約市/台北市陳錦芳美術館館長及財團法人陳錦芳文化藝術基金會秘書長;紐約市陳錦芳文化館 ;為人類而藝術基金會 新世界藝術中心 總裁及執行長, 上海錦芳藝術中心負責人。
早年在臺灣教師,寫作,教鋼琴,演唱。1973年赴巴黎大學求學時與陳錦芳結婚遷居美國開始進入藝術行業。從1977年至今經營藝術事業, 為了展場她進入了房地產投資，由於善於理財而在房地產上創造奇蹟。侯幸君在藝術經紀、顧問、收藏投資文創版權發行有四十年的國際經驗。她對藝術史的瞭解及對藝術的敏銳眼光，使她收藏了一些西洋名作版畫，當代藝術及非洲藝術。她是紐約市成功的亞裔女性企業家，並在當代藝術界久負盛名。她是東方人在紐約市推廣現代藝術最長久的人，先後榮登美國各種名人榜。侯幸君擅長藝術文化活動的策劃與執行。目前致力於推廣聯合國的「陳錦芳為人類而藝術」世界巡迴展(2003~ 2020)。她以藝術創業，40年來與陳錦芳共同努力行走於世界，以展覽推動藝術教育，東西文化交流和「以愛為宗的新文藝復興」。

Dr. T.F. Chen (陳錦芳博士) — one of the few living legends in global art history, and the only Eastern artist whose work and ...
09/10/2025

Dr. T.F. Chen (陳錦芳博士) — one of the few living legends in global art history, and the only Eastern artist whose work and philosophy have been formally written into international art history textbooks, such as Arts & Ideas, pages 686–687, in the chapter titled "Globalism."
Dr. Chen’s artistic philosophy, Neo-Iconography, and his contributions to bridging East and West through visual language, cultural symbols, and historic references have been recognized as a major development in postmodern art.
His inclusion in Arts & Ideas places him among the most influential figures of global contemporary art. It affirms his role in shaping the future of cultural dialogue through a unique East-meets-West lens.

"...and the only Eastern artist whose work and philosophy have been formally written into international art history textbooks, such as Arts & Ideas, pages 686–687, in the chapter titled 'Globalism.'"

09/08/2025

陳錦芳的藝術人生 (新書, 迎向美國之希望)

我，陳錦芳，1936年出生於台南。自幼酷愛藝術，初二時第一次接觸西洋美術，尤其在看到梵谷的作品後深受震撼，於十四歲立下志願：將來要到巴黎成為一位畫家。初三時加入「南美會」學習素描，週末與寒暑假，我常帶著畫具到處寫生，並對文學產生濃厚興趣，我將圖書館的書幾乎都讀尤其是中外名著。

升學時，我由台南一中保送高中，再保送台大外文系。在台大，我一半時間沉浸於繪畫，還擔任「台大美術社」社長，並在中山堂舉辦畫展。

我與內人侯幸君，都出生於日本殖民統治與戰爭陰影下的台灣。在那個被視為「文化沙漠」的1930、40年代，藝術與文化不但稀缺，更在戒嚴下受到壓抑。然而，凡是與藝術、文學、音樂相關的一切，我都如饑似渴地吸收。偉大藝術家的心靈與傑作，成了我最好的朋友與良師。雖然台灣物質貧乏，卻因藝術而讓我覺得富有。繪畫與閱讀，讓我在艱困中仍覺得幸福；它們培養了我敏銳的感受力、熱切的好奇心，以及面向世界的關懷。

巴黎歲月（1963–1975）
1963年，我報考法國政府獎學金，六百位考生僅錄取兩人，我有幸成為其中之一。當時向南一中的老師好友陳聰麟借來一百美元，便啟程前往巴黎。這一去，就是十二年。

我先在巴黎大學攻讀文學碩士，1970年完成美術史博士學位；同時在巴黎藝術學院進修七年專注創作。那時候畫家取得博士學位極為罕見，我或許是第一人。博士論文《中國書法與當代繪畫》長達六百頁，教授僅改了一個字，便給予最優等評價。我認為日本浮世繪啟發了西方印象派，而中國書法則深刻影響了抽象派中的抒情性，並由此提出「五次元世界文化觀」。這成為我創立「新意象派」（Neo-Iconography）的理論基礎。

1964年，我在佛羅倫斯親身體驗文藝復興的遺澤，深感人類需要一場「新的文藝復興」。1969年，人類登陸月球，我認為這象徵文化生態由「分」趨向「合」，人類終將成為一個命運共同體。於是我提出「五次元世界文化觀」，第五次元以「靈」為本、以「愛」為宗，我以繪畫開展「新意象派」，作為以愛與和平為核心的全球新文藝復興之藝術展現。

自1969年在巴黎提出「五次元世界文化觀」，我便以「愛」為核心，展望一場以人類命運共同體為目標的「全球新文藝復興」。隨著高科技的發展與「地球村」的來臨，自由、民主、人權成為普世價值，而「愛與和平」則成為二十一世紀人類最重要的課題與共同願景。

我的藝術創作，自1969年至今，始終反映這些核心理念。許多作品不僅呼應了1999年安南秘書長提出的「企業社會責任」（CSR），更與聯合國於2004年推動的「環境、社會與治理」（ESG）相呼應。在我看來，藝術不僅是個人表達，更能成為社會進步與人類心靈提升的重要力量。

因此，我希望透過我的文化機構與企業家們合作，在社會中倡導「身心靈的健康」，推動以藝術滋養人心、啟迪社會，並在文化層面實現真正的「藝術創造致富」。

在巴黎的十二年，我生活拮据，必須打工維持生計；但仍舉辦八次個展，翻譯《小王子》，寫下大量文章寄回台灣，出版《巴黎畫誌》《畫遊十年》《迴廊》等書，並出版《在巴黎的日子》(超過1600頁的日記)，成為研究1960年代巴黎文化的重要文獻。

世界公民的自覺（1975–1980s）
我1975年離開法國，1983年成為美國公民。我在亞洲、歐洲、美洲三洲的經歷，讓我深刻意識到「世界公民」的存在：一種以友愛、和平、寬容為核心的新文化觀。這種信念，逐漸在當代文化氛圍中普遍萌芽。與內人侯幸君，我們共同奉獻一生於藝術與文化教育，相信藝術能潛移默化、陶冶心靈，並推動世界和平。

慶典系列與國際舞台（1985–2010）
我的創作與時代潮流緊密呼應，形成一系列「慶典」作品：
①自由女神系列（1985–86）：百幅作品，獲當時所有的媒體報導如:CNN專訪與《紐約雜誌》報導，自由女神大典慶典主持人親自參觀並收藏。

②巴黎鐵塔系列（1989）
③後梵谷系列（1990）：百幅作品獲荷蘭皇家及梵谷基金會邀請，在阿姆斯特丹與梵谷原作同步展出。《梵谷的神話》一書中特別跨頁刊印我的作品〈梵谷歸來〉，荷蘭文化部長霍斯克博士更稱我為「梵谷的傳人」。

④戴安娜王妃系列（1997）hope to show in London

⑤奧運系列（2008，北京）：創作66幅，舉辦五次大展，新華社出版300頁專書。

⑥上海世博系列（2010）：我以75歲之齡，在184天內完成百幅作品，獲稱「世博之星」，並受邀在園區舉辦個展。此系列成為世博歷史上的文化遺產。

這些「慶典系列」也成為我與聯合國合作「為人類而藝術世界巡迴展」的核心內容，包括2011年「台北花博」作品與展覽，以及後續的「文化旅遊系列」。

聯合國的肯定（2001）

2001年，我榮獲聯合國「全球寬容獎」，同時被任命為「寬容及和平文化大使」。在紐約聯合國大廈舉行頒獎典禮，近400位貴賓見證。我在致詞中強調：「藝術能改造世界、團結人類。除了硬體與軟體，人類更需要『靈體』（Soulware），即以愛與全球主義為核心的新精神。」

2003-2020我繼續推動「為人類而藝術世界巡迴展」，透過展覽與教育倡議愛、和平與寬容的文化。

回顧與展望
回首九十載，我走過艱辛卻也充實的一生：創作數千幅作品，出版26本書，在世界各地舉行250多次個展；我的思想與作品被37個國家、300餘本教科書與雜誌介紹，並編入世界藝術史教材。雖然我不是藝術市場上的寵兒，但我深信自己最大的貢獻，是把藝術與思想化為人類的文化財產。我創立了紐約「陳錦芳文化館」、台灣「財團法人陳錦芳文化藝術基金會」，希望將這些作品與理念永續保存，並與世界交流。

如今九十歲的我，仍盼望作品能進入世界重要美術館典藏，並在未來建立一座屬於陳錦芳的美術館。但願我的藝術能成為世界收藏家必典藏的作品，而且是很重要的藝術財富，更希望這些藝術作品能繼續宣導人類社會的正能量和「以愛為宗的全球新文藝復興」。

09/08/2025

The Artistic Life of Dr. T.F. Chen

I, Dr. T.F. Chen, was born in 1936 in Guiren, Tainan, Taiwan. From an early age, I was passionate about art. In the eighth grade, I first encountered Western art, and I was profoundly moved upon seeing Van Gogh’s works. By the age of fourteen, I had resolved to become a painter in Paris. In the ninth grade, I joined the “Nanmei Association” to study drawing, under the guidance of mentors such as Guo Bochuan, Zhang Changhua, and Xie Guoyong. On weekends and during school vacations, I would take my sketching tools and paint outdoors, while also cultivating a strong interest in literature.

For my education, I was promoted from Tainan First High School to the affiliated high school, and subsequently to National Taiwan University (NTU), majoring in Foreign Languages. During university, I devoted half my time to painting, served as president of the NTU Art Club, and held an exhibition at Zhongshan Hall.

My wife, Hsing-Chun Hou, and I were both born during the Japanese colonial era and the turbulent years of war in Taiwan. In what was considered a “cultural desert” during the 1930s and 1940s, art and culture were scarce, and later suppressed under martial law. Yet, I eagerly absorbed everything related to art, literature, and music. The masterpieces and spirits of great artists became my mentors and companions. Though Taiwan was materially poor, art made me feel rich. Painting and reading brought joy amid hardship, cultivating in me sensitivity, curiosity, and a compassionate perspective toward the world.

Paris Years (1963–1975)

In 1963, I applied for the French government scholarship. Out of six hundred applicants, only two were selected, and I was fortunate to be one of them. With a loan of 100 USD from my teacher friend Chen Conglin at Nan Yi High School, I embarked on my journey to Paris—a journey that would last twelve years.

I first pursued a Master’s degree in Literature at the University of Paris and completed my Ph.D. in Art History in 1970. Simultaneously, I studied at the Paris École des Beaux-Arts for seven years, focusing on artistic creation. At the time, it was extremely rare for a painter to earn a doctoral degree; I may have been the first. My 600-page dissertation, Chinese Calligraphy and Contemporary Painting, received the highest distinction with only a single correction from my professor. I proposed that Japanese Ukiyo-e influenced Western Impressionism, while Chinese calligraphy profoundly shaped the lyricism in abstract art, and from this insight, I developed my Five-Dimensional World Culture Concept—the theoretical foundation for my creation of Neo-Iconography.

In 1964, while visiting Florence, the cradle of the Renaissance, I realized that humanity needed a new Renaissance. By 1969, when humans landed on the Moon, I saw a symbolic transition of our cultural ecology from separation to unity—humanity becoming a global family. I formalized my Five-Dimensional World Culture Concept, where the fifth dimension embodies the spirit and centers on love, expressed through painting as the Neo-Iconography movement, a global new Renaissance rooted in love and peace.

Art and Global Responsibility

Since proposing the Five-Dimensional World Culture Concept in Paris in 1969, I have envisioned a global new Renaissance aimed at the human family, with love as its core. As the world advances technologically toward the “global village,” and as freedom, democracy, and human rights become universal values, love and peace have emerged as humanity’s most critical goals in the twenty-first century.

My artistic works, from 1969 to the present, have consistently reflected these core ideals. Many pieces resonate with the Corporate Social Responsibility (CSR) principles advocated by UN Secretary-General Kofi Annan in 1999, and with the Environmental, Social, and Governance (ESG) framework promoted by the United Nations in 2004. I believe that art is not merely personal expression, but a powerful force to advance society and nurture the human spirit.

Through my cultural institutions and collaborations with entrepreneurs, I strive to promote physical, mental, and spiritual well-being, enriching society through art and fostering true “creative prosperity.”

During my twelve years in Paris, life was difficult, and I worked to support myself. Nevertheless, I held eight solo exhibitions, translated The Little Prince, contributed numerous articles back to Taiwan, and published works such as Paris Sketchbook, Ten Years of Painting, and The Corridor. I also documented over 1,600 pages in my diary, Days in Paris, which has become an important reference for studying 1960s Parisian society and culture.

Global Citizenship (1975–1980s)

I left France in 1975 and became a U.S. citizen in 1983. My experiences across Asia, Europe, and America cultivated in me a strong sense of world citizenship—a belief in a new culture grounded in friendship, peace, and tolerance. This consciousness has gradually become a prevailing phenomenon in contemporary cultural discourse.

Together with my wife, Hsing-Chun Hou, we have devoted our lives to art and cultural education, believing in the transformative power of art to nurture the spirit and promote global peace.

Celebration Series and the International Stage (1985–2010)

My creations have consistently responded to contemporary trends and events, forming a series of “Celebration” works:

Statue of Liberty Series (1985–1986): One hundred paintings; featured in CNN and New York Magazine. The host of U.S. Independence Day celebrations personally visited and collected the works.

Eiffel Tower Series (1989)

Post-Van Gogh Series (1990): One hundred paintings, invited by the Dutch Royal and Van Gogh Foundations to exhibit alongside Van Gogh originals in Amsterdam. My painting Van Gogh Returns was uniquely featured in color across pages of The Myth of Van Gogh. Former Dutch Culture Minister Dr. Hosk called me “the heir of Van Gogh.”

Princess Diana Series (1997)

Olympics Series (2008, Beijing): Sixty-six paintings exhibited five times, accompanied by a 300-page book.

Shanghai Expo Series (2010): At age 75, I completed one hundred works in 184 days, earning the title “Star of the Expo” and was invited to hold a solo exhibition in the Expo Park. This series became a significant cultural heritage of the Expo.

These Celebration Series became central to my collaboration with the United Nations for the “Art for Humanity: Global Touring Exhibition”, including the 2011 Taipei Flora Expo series and subsequent Cultural Tourism Series.

Recognition by the United Nations (2001)

In 2001, I was awarded the UN Global Tolerance Award and appointed Cultural Ambassador for Peace and Tolerance. The ceremony was held on December 11 at the UN Headquarters in New York, with nearly 400 distinguished guests in attendance. I emphasized in my speech:

"Art can transform the world and unite humanity. Beyond hardware and software, humanity needs 'Soulware'—a new spirit grounded in love and globalism."

Since then, I have continued to advance the Art for Humanity Global Touring Exhibition, promoting a culture of love, peace, and tolerance through exhibitions and educational initiatives.

Reflection and Vision

Looking back on ninety years, my life has been challenging yet fulfilling: I have created thousands of works, published 26 books, delivered over 250 lectures worldwide, and my thoughts and works have been featured in more than 300 textbooks and magazines across 37 countries, including inclusion in global art history curricula.

Though I have not actively pursued the commercial art market, I firmly believe my greatest contribution is transforming art and ideas into a shared cultural heritage for humanity. I established the T.F. Chen Cultural Center in New York and the T.F. Chen Cultural & Art Foundation in Taiwan to preserve, organize, and share these works globally.

Now at ninety, I hope my works will be collected by major museums worldwide, and eventually establish a museum dedicated to my art. May my artistic journey honor my motherland, Taiwan, and leave a legacy of a global new Renaissance rooted in love.

08/08/2025

Dr. T.F. Chen: A Visionary Bridging East and West

Dr. T.F. Chen was the first to introduce the concept of East–West cultural convergence. In 1964, while studying the Renaissance in Paris, he proposed the idea of a “Global New Renaissance in Love”—a visionary philosophy that merged Eastern and Western cultures into a unified global narrative, moving beyond the traditional Eurocentric lens.

Long before the term “postmodern” entered mainstream art discourse, Dr. Chen was already blending iconic imagery from various eras and civilizations into original, thought-provoking works. His approach anticipated the postmodern movement of the 1980s and resonates with today’s explorations of the Metaverse and digital fusion.

In 1980, he presented a groundbreaking paper at the International Conference on Science and Philosophy, attended by 760 scholars from 86 countries. He later represented the arts and culture sector at the World Peace Conference on Capitol Hill, where he addressed global leaders. Dr. Chen has spoken at major international forums, including the World Leadership Conference and the State of the World Forum, sharing the stage with figures such as Mikhail Gorbachev, U.S. President George H.W. Bush, and British Prime Ministers, reaching audiences of over 1,000 global decision-makers.

In France, he served as Chair of the Visual Arts Division of the World Artists Association and delivered a keynote speech in French on the social responsibility of artists. The United Nations honored him with the Global Tolerance Award and appointed him Cultural Ambassador for Tolerance and Peace—the only artist in UN history to receive this dual distinction.

Dr. Chen’s influence spans more than 300 textbooks and journals across 37 countries. Notably, he was the first East Asian artist-painter to earn a Ph.D. in art history from the University of Paris.

Despite his extraordinary achievements, navigating the art market within a capitalist framework remains a major challenge. Coming from Taiwan—a region often overlooked on the global stage—many of us have been preoccupied with political issues and daily responsibilities, limiting our capacity to fully support art and culture. This makes our mission more difficult, but far from impossible.

While Dr. Chen may not yet command the multimillion-dollar auction prices of Western contemporaries, few can rival his intellectual depth, cultural vision, and pioneering spirit. As the founder of Neo-Iconography and a champion of global cultural integration, his legacy transcends commerce. It is enduring and timeless.

08/06/2025

"Art, Love, and Legacy: The Lucia Chen Story"
Lucia Chen (Hou Hsing-chum侯幸君) is an outstanding female figure who has dedicated 50 years to the international art world. Her artistic career encompasses education, curation, collection, publishing, and cultural promotion.

Born in a rural area of Chiayi, Taiwan, she developed a passion for art from a young age. A graduate of Taipei Teachers College, she dabbled in painting, performed on television, and taught piano and Chinese for 8 years. She pursued further studies at the University of Paris in 1973 and later at the University of Maryland after moving to the United States in 1975. From 1978 to 2025, she has established 10 galleries and 3 art museums in the United States, China, and Taiwan, promoting the "Neo-Iconography of Dr.TF Chen" art style.
From 1987 to 2003, she curated five art tours in Taiwan, each lasting three years, making significant contributions to Taiwan's cultural development. From 2003 to 2020, she curated and executed the United Nations World Art Campaign on Dr. TF Chen's "Art for Humanity" world tour exhibitions, facilitating cultural exchanges between the East and the West and advocating for a global culture of love, tolerance, and peace.

Her collections include contemporary art, prints by masters, and over a thousand African artworks. She set up the "New World Gallery" in New York's SoHo district to exhibit contemporary art and the "Lucia Gallery" for African art. The Taiwan Museum published a book on African art and organized a touring exhibition across Taiwan for three years. Lucia Chen made significant contributions by serving as a tour guide and hosting numerous forums, presenting her extensive African art collection. It was the first time the Taiwanese public had access to such a large and important African art collection. Lucia has continued to promote cultural diversity for half a century.
She successfully managed her company, such as The TF Chen Cultural Center and the New World Art Center, investing in and building 10 galleries and Investing in and building 10 galleries and 3 art museums, becoming a model of integration between real estate and the art world.
She excels in curating large-scale exhibitions, producing art products, and managing art copyrights. She has published books, limited editions, reproductions etc., her book: Holding Hands with Art, Embracing the World, which documents the interweaving of art and life. Her success stories have been featured in television and print media, earning her recognition as a successful Asian female entrepreneur and inclusion in various "who's who" lists, including those for American art, business, and women.
She
She emphasizes the "New Renaissance centered on love," hoping to enhance humanistic life through art. Adopting a "husband-wife partnership" model to advance her career, she sets an example of balancing family and work. She encourages women to exert their strength, keep learning, and create a better future.
As a representative of female power, Lucia Chen embodies the strength of women in the "New Renaissance." More than just an artist's partner, she is a curator, publisher, and cultural promoter. She demonstrates women's leading role in the art industry, advocating for "husband-wife collaboration" where women are not just supporters but co-entrepreneurs. She stresses that the beauty of wisdom outweighs physical appearance, believing that women can build great careers and shine on the international stage. Her story inspires more women to bravely pursue their dreams and become drivers of cultural innovation.
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Our Story

The New World Art Center (“NWAC”) is an international art gallery and management company based in SoHo, New York City, and with branches Taipei. It is mainly engaged in the exhibition, publishing, licensing, print production, prints, collecting, and art investment consulting. As an art agency with keen business insight and a sense of cultural responsibility, the NWAC is becoming one of the leading international art galleries in the world. Under the leadership and vision of Lucia Chen, the NWAC has mounted and organized approximately 200 exhibitions for Dr. T.F. Chen as well as other international artists over the past 40 years. The NWAC has also been a continuous sponsor of the T.F. Chen Cultural Center (TFCCC) a 501C3 a non-profit aims to do Art education & Cultural exchange and as well as a collaborator with other galleries and organizations worldwide. Directo: Lucia Chen侯幸君

侯幸君是美國美術館協會成員，任紐約市/台北市陳錦芳美術館館長及財團法人陳錦芳文化藝術基金會秘書長; 紐約市陳錦芳文化館 ;為人類而藝術基金會; 新世界藝術中心 總裁及執行長。 早年在臺灣教師,寫作,教鋼琴,演唱。1973年赴巴黎大學求學時與陳錦芳結婚。1975年遷居美國。從1977年至今經營藝術事業, 為了展場她進入了房地產投資，由於善於理財而在房地產上創造奇蹟。侯幸君在藝術經紀、顧問、收藏投資文創版權發行有四十年的國際經驗。她對藝術史的瞭解及對藝術的敏銳眼光，使她收藏了一些西洋名作版畫，當代藝術及非洲藝術。她是紐約市成功的亞裔女性企業家，並在當代藝術界久負盛名。她是東方人在紐約市推廣現代藝術最長久的人，先後榮登美國各種名人榜。侯幸君擅長藝術文化活動的策劃與執行。目前致力於推廣聯合國的「陳錦芳為人類而藝術」世界巡迴展(2003~ 2020)。她以藝術創業，40年來與陳錦芳共同努力行走於世界，以展覽推動藝術教育，東西文化交流和「以愛為宗的新文藝復興」。