Friday, September 5, 2025

Margaret’s 92nd birthday celebration at Asia Society Texas

During her solo retrospective held at the Asia Society Texas from April to September, 2025, host curator Owen Duffy planned to fete Margaret on her 92nd birthday. The planets were aligned for Tiffany Beres, guest curator, and Prof. An-yi Pan (my father’s former student) to give short lectures followed by a custom-designed cake. The only misalignment was catalog rollout which had been delayed by issues with the printer.

Can one imagine a birthday at 92, an age when many contemporaries are no longer, where 135 friends and supporters attended? It speaks to Margaret’s large Houston-based community and her artistic staying power. Attendees included a trustee, friends and family, her calligraphy students, National Taiwan Normal University alumni and various art-interested viewers, many Chinese of course.

Before the celebration, Margaret and I went around in the largely empty galleries. A number of visitors approached her. Beyond the obligatory praise, two common themes struck me. First, they described ‘being deeply moved by her paintings’ suggesting a more powerful impact beyond the visual. Second, they told her they had been to the exhibition two or three times, providing evidence of the first. As always, Margaret was her smiling gracious self and connected easily with her fans.

During the lectures, due to the sound issues, Margaret had difficulty following the lectures. She was intrigued by An-yi’s insightful juxtaposition of her ‘Autumn hills’ 1968 (Harvard) and Gong Xian’s ‘Ten thousand peaks and ten thousand valleys’ circa 1670 (Reitberg) – that my father wrote about. Later, she said, ‘even though there are similarities in our compositions, our styles are actually very different.’ She was placed next to Nancy Allen, a major museum donor, at the front table. But when Margaret later asked me to identify who was sitting alongside her, Margaret realized she had mistaken Nancy for a collector and committed a small faux pas which she asked me not to share. Quickly we began to laugh at the image of two doddering matrons speaking nonsense to each other, thinking the other must be crazy.

Afterwords, the specially-designed two-layered cake was intended to mimic Margaret’s iconic ‘Floating without end’ 1970 (CT/B Li collection) and fed the entire gathering. As you can see, it indeed captured her flowing ‘chi’ strokes and colors. TC was brought by Paul and sat nearby enjoying the cake. Many old friends approached TC as well.

Although Margaret received the first piece of cake, people quickly began to line up to speak with her and I daresay she didn’t get to ingest any. I marveled at the line which stretched a dozen or more long. Margaret was glowing, radiating warmth and fully engaged with each person, recalling crossed paths and old times. Fortunately, friends provided some hydration. A number brought items for her to sign including a piece of calligraphy by Margaret in 1992. Her magnetic draw was eye-opening and heartwarming.

I began chuckling to myself … to break up the tedium, I went up to Margaret and whispered in her ear, ‘it’s like you’re the pope giving out blessings – everyone wants to be blessed by you!’ We both started laughing and laughing. When I later related this story to Owen in Margaret’s company, he made an impromptu sign of the cross and Margaret quickly responded with her own flourish … of course flowing brushstrokes! Continuing to riff on her new exalted status, I went up and down the waiting line and told them that if they touched Margaret, they would be granted a decade of additional longevity. One immediately responded, ‘I‘ve been through once but need 20 extra years, so I’m going through again!’

It was a wonderful celebration, Margaret was thrilled to her core and you can appreciate her sense of humor!

Monday, September 1, 2025

Teh-cheong “TC” Chang: The last of a well-lived life

Teh-cheong “TC” Chang, aged 95, passed away peacefully during the early morning of August 30th, 2025 at his ‘assisted’ apartment in Houston.

My parents became close to them nearly 60 years ago through my art historian father’s interest in Margaret’s abstract ink painting. TC and Margaret would join my parent’s wedding anniversary, birthdays and memorial celebrations and travel together in the US, to Asia and Europe to view Chinese paintings. Although I have known them over 50 years since Margaret graciously inked a painting for Teri and my wedding invitation, we three became especially close after Teri and my parent’s passing to the point that TC became my ‘tennis uncle’ and Margaret my ‘art auntie’. I stayed with them more than a dozen times in their condo overlooking Hermann Park in Houston, visiting several times a year. Just recently I realized that its special ‘comfort’ reminds me of my parents’ home, every wall adorned arrayed with Margaret’s ink paintings and every flat surface piled high with art books or objects. The two of them always welcomed me with warmth, slowed my frenetic pace and shared insights from their life’s vignettes with me, always like a return home.

I wanted to share a few reflections as I happen to spend the last few days with TC before his passing.

TC’s professional life was as an accomplished architect who served as one of the principals on the Chicago O’Hare Airport and the uniquely domed Washington DC Subway (Harry Weese). He was the main architect of the Cincinnati Contemporary Art Museum, a suburban Chicago County Court complex, and the Milwaukee Symphony Hall, where Teri and I listened to concerts. And also, you name it whether underground or on the water, his portfolio includes houses, parking garages, tennis and yacht clubs. As he told me, it was not easy making a living as a full-time architect in those days which underscores how good he was.

After designing a tennis center and given a membership, TC took up tennis at the advanced age of 42 and began his ‘semi-professional’ avocation. Fast forward to a phase when his peers were using canes, he was playing tennis 3-4 times a week and won the prestigious gold ball as #1 USTA 80-85 Men’s Doubles Team having survived 80 of the top-seeded US teams through single elimination play!! He readily admits that his partner Russell Seymour was the elite one, yet he selected TC! In another astounding feat he and Margaret won the Houston mixed doubles age group championship multiple times. I never got to see him in tournament play but I suspect his consistency and ball placement – he told me he was the master of the lob – served him well against towering 6-footers and former US Open and Wimbledon players. We bonded over tennis as TC always gave me tips on the court and would arrange for me to hit with Lori McNeil, his pro trainer, herself a former US Open and Wimbledon semifinalist. Yet where was the trophy case for the more than 50 trophies I could locate? Nowhere in evidence. These prizes were utilitarianly being used as serving plates and drinking cups, and Margaret frequently would point out in their living room ‘that’s another trophy’. I think Margaret’s quote ‘I may be a small person but my [ink] brush is powerful!’ could be repurposed for TC as ‘I may be a short, but I wield a big racket’!

TC developed RSV pneumonia and cardiac issues in early January and was hospitalized nearly continuously until April 15th. I visited him both in January and April, and although bedridden and not up to talking, I managed to bring him Chinese noodles from the stir-fry bar much to his relief. We all knew he had been pointing to the opening of Margaret’s solo retrospective at the Asia Society Texas on the 16th. But up until the day before, his attendance was completely unsettled, as he was so weak and listless, even being considered for hospice. But he ‘rallied’ and woke up the day before with all of the out-of-town family, almost as if given adrenaline. Within a 24-hour window, he was discharged from the hospital and transported by ambulance back to assisted living for the night. Then with the help of a small army of nephews Paul and Fred, support aides and wheelchair, made it to the opening. And to complete the mission impossible, he went directly from the opening to readmission to a rehabilitation facility. Knowing TC and his ‘rallies’, we were amazed but not surprised! It was very heartwarming to see TC and Margaret at the pinnacle together, knowing how ill he was.

Given that a good group of family were present, we held an early celebration for his 95th birthday at the rehabilitation hospital, with his favorite dishes including Chinese-style lobster with ginger and scallions.

Remarkably after his family and I dispersed to home with great trepidation about his precarious medical status, his health roller coaster of the spring yielded to a level track between April and August. Although in a weakened, non-ambulatory state, he was still able to consume his daily Wall Street Journal, enjoy his favorite Chinese cuisine, and win at bridge, always the competitor!

Again, he roused for Margaret’s birthday celebration at the Asia Society Texas on the August 23rd with the help of Paul and myself. This was another grand celebration of Margaret’s art life and her relationships from teaching Tai Chi and calligraphy. It was attended by 135 enthusiastic supporters who listened to two lectures and shared in a double-tired cake designed after one her paintings.

During the same weekend we shared a seafood dinner with TC, Margaret, Cindy (Margaret’s cousin), Eric (Cindy’s son), Paul and I at Confucius Restaurant where we ordered ‘his’ desired double lobster special and as usual he ate with gusto.

On the 25th, though I did not know it then, I shared his last lucid evening. It began with a dinner at his favorite Vietnamese restaurant Lua Viet Kitchen where we managed the in/out transition to wheelchair together without the benefit of a ramp. He ate pho and beef with rice noodles with aplomb. Back at their apartment, AJ, his long-time cardiologist-tennis buddy made his daily home visit. You heard that correctly, a cardiologist who makes home visits, but only to TC as they bonded nearly 40 years ago over tennis and the Colorado Rockies.

After the home visit, I updated TC on the next exhibitions and museum donation plans for Margaret’s work. Every so often he would interject ‘That’s good’. I asked him about exhibition venues he would suggest and he astutely suggested Singapore, where indeed, they held a recent retrospective of Liu Kuosung, the founder of the famous 5th Moon Group avant garde group where Margaret was the main woman artist. We had not thought of that!

I then asked TC about his most favorite architectural project. I fully expected the answer to be the Washington Subway or the Milwaukee Symphony Hall, but instead he mentioned one unbuilt design and one custom house. In the first, he and Y.C. Wong submitted one of 300 applications for the Boston City Hall design competition and they made the final eight. When each of those eight teams made their final pitch with model, TC’s design came in second, but he staunchly maintained theirs was better than the winning design because of its internal ‘flexibility’ (allowing movable walls) that would enable greater functionality and longevity – indeed that building has already been torn down. The one that didn’t get built that had his full stamp, architectural prowess and peer approval was still dear to his heart.

The other, another surprise, was one of his smallest projects, a custom house and studio on Hornby Island (off Vancouver Island BC) for Margaret’s art students the Weiss’. This site was where Margaret spent parts of the summers of 1974-77 sketching that inspired her artistic phase of small landscapes of rocks, wind-swept trees and driftwood. There on the isolated island terrain, he encountered surmountable challenges that included a dearth of available labor, earth movers, and they even improvised and used driftwood to supplement the limited lumber supply. He told me the owners wanted a single bedroom, but he overrode them in prescient fashion and add a flexible 25’ square space that eventually accommodated their two children!

I think TC’s choice of both projects are revealing. It wasn’t simply the magnitude or prominence of the project that made it memorable, it was the uniqueness and challenges he overcame that made them stand above all the recognizable ‘big name’ projects.

The following morning TC began to slip away and became minimally responsive just before I left. I gave him a final hug, said a few words to him, as tears swelled in both Margaret’s and my eyes.

TC was one of the most optimistic and resourceful people I’ve ever encountered. When he didn't get an architectural summer job in Chicago (already filled), he went back and queried whether they needed draftsman, which they did! Describing how he survived a massive heart attack, he identified being so close to Houston’s medical mile, by receiving prompt stent placements, and the ‘boutique’ cardiology care from his buddy AJ. He was relentlessly positive in recounting these tales of challenge. As a Chinese immigrant in the 1950’s when prejudice abounded, he was able to thrive professionally. On multiple occasions during his architectural career, opportunities came serendipitously. When asked about his opinion on potential problems (he found many) on a design for a Hong Kong skyscraper, his insight led him to work for one of the top real estate developers there.

Where did TC’s character come from? TC said his father taught him the game ‘go’ (Chinese chess) as a metaphor for life, ‘always think and plan several steps ahead.” After TC began beating his father as a youngster, his father took him to play his adult go-playing friends with a little side wager. TC invariably won and, with an impish grin, told me that that is how he got his spending money in grade school. That anticipatory sense was omnipresent and served him well throughout his life. And his positivity and openness enabled him to get along with anyone, even amongst the bastion of white tennis giants.

At first, TC’s out-sized architectural accomplishments and ‘racquet-teering’ (as president of the Houston Tennis Association) impressed me, but increasingly as I helped Margaret secure her long overdue her solo retrospective exhibition, I began to recognize his incredible partnership with and support of Margaret. TC had tasked me with this exhibition project and told me he wanted it to happen and ‘cost was no issue’.

What distinguished TC from many accomplished Chinese peers of his era was his unwavering support of his other’s aspirations. From the beginning of their relationship, he enabled Margaret to pursue her artistic dreams to their fullest. Margaret acknowledges that TC’S financial support meant she never had to rely on selling paintings potentially stuck in a commercial rut. After completing the Cincinnati Contemporary Art Center, he suggested Margaret as a potential solo artist, and voila. TC encouraged her to accept the teaching job at Chinese Hong Kong University halfway round the world until he could find a job there. When we traveled together to Asia Week in NYC, the Freer (Smithsonian) Gallery and Vancouver, Margaret drove the art agenda while TC served as the trailing spouse providing all the support services. Finally, their home speaks loudest where TC is relegated to the dark northside bedroom for his office and storage of her oil paintings. The remainder of their sunny living space is adorned with her paintings, her large painting tables flush with art supplies, every flat surface piled with flat sketches and unfinished, and every other table or bookshelf cluttered with art objects and catalogs in Chinese and English. Their home became Margaret's devoted studio and gallery. The allocation of space reveals all as any architect knows.

TC was an indomitable spirit, an accomplished architect, and an elite ‘elder’ age group tennis player. He lived a beautiful life, participating and contributing fully. In the end what I most admire about him was his partnership, his unwavering belief and full support of Margaret. And for me personally, TC was full of adventure, ideas, openness, generosity, and shared pride in others' achievements … he was perfectly avuncular, the perfect 'uncle'.

TC, may you rest in deserved peace. You will be missed.

Monday, June 2, 2025

A peripatetic spring

After my radiation staycation this fall, I rebounded with 10 trips this spring (January to early July) including one east-directed global circuit to India and Taiwan. I am sharing a few photos.

February – Survey of India (north to south with Steve’s extended family, food galore

Taipei – Following in my father’s footsteps (former students, widow of artist Hsia Yi-fu with seascape, artist Lee Chun-yee – my father’s mentee with Rocky Mountains)

Mendham – The g’kidz Naomi, Jack & Meimei

NYC – Asia Week with NYC friend Steve, curator Einor, artist Kelly Wang, with Alan and Suzanne, Lois and David, and chef and owner at trendy Cantonese fusion Phoenix Palace and mound of lobster fried rice

Houston – Hung Hsien’s opening at Asia Society Texas (quiet moments during installation, earth view and Margaret preparing for calligraphy)

Honolulu – A talk at the Pediatric Academic Societies meeting (and summiting Diamond Head with colleagues)

Hilo – Kilauea (Pele) coming alive with Mark and Marianne (who both work on the telescope atop Mauna Kea)

Madison – With Memee my 96 year old pediatric mentor and Rachel and Ben’s first pediatrician

It has been a busy spring, traveling and I’m learning more about the application of AI to pediatric GI!

Tuesday, May 13, 2025

A tale of two openings

It was the highest of highs, it was nearly the lowest of lows ...

The opening of ‘Hung Hsien: Between Worlds’, a solo retrospective for my 91-year-old artist-friend (‘art auntie’), took place on April 16th at the Asia Society Texas (Houston). It was Margaret’s (as she prefers to be called in the U.S.) first major solo show since 1978-80 … 45 years ago. She had been at the forefront of the then avant garde abstract ink painting movement in Taiwan 50 years ago as the most prominent woman in the 5th Moon Group founded by Liu Kuosung, but then seemed to disappear. Was it because of her innate humility, her being female or becoming less active artistically after age 65?

More than 200 attended including friends (including my friends Kok Peng and Anna from Madison), artists, curators, art historians, and gallerists were feted with an opening panel, light fare and dazzling display of the evolution in her ink art. Margaret was completely thrilled, beaming throughout, and remained her gracious self. Many wanted to speak to and have their pictures taken with her. She was the star! To make it even sweeter, her 95-year-old husband of 67 years, made it along side her in a wheelchair. More on that later.

Margaret’s geographic and artistic journeys have been nothing short of remarkable. She traversed Republican China to war torn Chongqing in the interior during the Japanese occupation, before escaping from the communists to Taiwan, then emigrating the US (Evanston) and temporarily moving back to Hong Kong in mid-life before settling in Houston for the past 41 years. Artistically, her sojourn has been no less cataclysmic. She was the last private student of Pu Ru (Pu Xinyu) the emperor’s first cousin and top ink painting teacher in Taiwan who wanted her to skip university and remain his top trainee. No doubt she would have become a top traditional birds and flowers or landscape painter. Instead, she chose to pursue broad art training at National Taiwan Normal University, and after moving to the U.S. to marry Teh-cheong Chang, she took graduate courses in oil painting, studying with two abstract expressionists, George Cohen and Ted Halkins (U. Chicago-based Monster Roster). She even won three consecutive top prizes at the Evanston Art Fair and could have become a successful abstract oil painter. But after soul searching about her artistic strengths and inclinations, she chose to return to ink painting roots, initially struggling because she did not want to retrace the traditional steps of Master Pu. It took her several years, but she finally finally emerged with her own abstract universe (‘landscapes of the mind’) of organic forms while she maintained her highly refined ‘elegant’ brushwork. In fact, her own journey reprises that of modern Chinese painting from traditional birds/flowers and landscapes to abstract oil painting, and finally a return to abstract ink with her own distinctive aesthetic synthesis.

The exhibition, which runs through September 2025, guides the viewer through all phases of her development, from copying 14th C works, to Greek busts, birds/flowers, Budai (the happy Buddha) as a student (many with calligraphy by Master Pu) to her moody experiments in oil where she diluted oil pigments with turpentine to render them more like Chinese ink, through her transition back to ink, finally emerging with her mature colorful biomorphic vision whether they be appreciated as microscopic, natural rocks and streams, or cosmic forms. All her works are full of ‘qi’ energy, as she describes it, both in its dark concentrated iteration and offset by free and floating lines of movement. She also diverted to small landscapes and driftwood albums as a result of her summer stays in Hornby Island (Vancouver). In Hong Kong while teaching at Chinese University of Hong Kong, she returned to pure monochrome black and white landscapes.

I want to highlight Margaret’s husband T.C. who has been her unwavering supporter and wanted this retrospective as much as she. I highlighted his important role in her career because she didn’t have to support herself as an artist and hence could develop to her fullest – and said as much in my catalog essay. T.C. was an eminent architect as one of the three principals who designed the original O’Hare Airport and the Washington DC subway system, as well as an art museum, symphony hall, civic center, courthouse, tennis clubs, yacht club, parking garages and private residences. And then, at the late age of 42, he plunged into tennis, becoming the President of the Houston Tennis Association and before reaching the apex as the #1 USTA Doubles Team age 80-85! Along the way, he and Margaret won the Houston mixed doubles (couples) championship six times. You can imagine that my ‘tennis uncle’ and ‘art auntie’ became my senior athletic and aesthetic role models for aging well and for their remarkably supportive relationship!

What of the near ‘low’? T.C. had been ill in the hospital or rehabilitation over the past three months with only two days at home before having to return to the hospital. At one point, we became uncertain about his outcome and whether he would be able to attend the opening. As we approached the date, he remained hospitalized, quite weakened. But the skies opened up and in a serendipitously-timed window between hospital discharge and rehabilitation, he was able to attend with the help of a small army of support, oxygen, and wheelchair! We were all moved.

What are the next steps for Margaret’s exhibition? The feedback on the exhibition has been very positive and the show will be traveling to Asia Society Hong Kong in March 2026 during Art Basel HK to capture both Chinese and international viewers. Both Owen Duffy of the Asia Society Texas and I met with the prior and current Directors of the National Museum of History in Taipei (their Smithsonian) respectively and confirmed strong interest. Art journalists are coming to report on her exhibition. This belated rekindling of her legacy … is so important for her and the ink art world.

What of my role? I have been extremely fortunate to view her paintings on my art historian father’s wall as he organized exhibitions and wrote catalog introductions for her. Teri and I, then newly engaged more than 50 years ago, gazed at her paintings in awe and wondered if she would paint a painting for our wedding invitation.

She indeed did and blessed our union in abstract ink art! How do I repay that formidable debt? Well, this exhibition simply would not have occurred without my recent efforts to instigate interest in curators and art historians until I involved Einor Cervone of the Denver Art Museum who then opened the formal doors. For me this retrospective has been an unmitigated labor of love and a dream fully realized for the both of us … while she can still enjoy it. And, I have finally repaid our debt to her! I ended the opening panel discussion with her best quote of the week to me as we were going around together during the installation of her paintings: ‘I may be a small person, BUT my brush is very powerful!’ Yes, yes, yes indeed!