University of Southern California, undergraduate course work

Art Center College of Design, B.F.A. in Illustration

New York University, M.F.A. in Studio Art


Los Angeles Valley College, Associate Professor of Art, 2009 - present

Scripps College, Visiting Assistant Professor in Painting, 2014 - 2015

East Los Angeles College, Adjunct Professor in Art History and Drawing, 2003 - 2009

Art Center College of Design, Adjunct Professor in Figure Drawing and Painting, 2001 - 2008


Pretty Hurts, CB1 Gallery, Los Angeles, April 2017

Algunaparte: Yi Lu Shun Feng, Avenue 50 Studio, Los Angeles, 2014

Disorientation, Sam Lee Gallery, Los Angeles, 2009

Postcard Paintings, Sam Lee Gallery, Los Angeles, 2007

Recent works, Middle Tennessee State University, 2003

Illustrations, McCaig-Welles Gallery, Brooklyn, New York, 2002

Recent works, Sweeney Art Gallery, University of California, Riverside, 2002

The Fortune Cookie Works, Gagosian Gallery, Beverly Hills, CA, 2001


​Here Now: Four Los Angeles Artists, José Drudis-Biada Art Gallery, Mount Saint Mary’s University, January 2018

Hot Time, Summer in the City, CB1 Gallery, Los Angeles, July 2017

​The Time We Make, Los Angeles Valley College Art Gallery, November, 2016

Summer Reverie, CB1 Gallery, Los Angeles, July 2016

An Odyssey: 10 Years of the Torrance Art Museum, Torrance Art Museum, September 2015

American Immigrant Stories, Avenue 50 Studio, Los Angeles, September 2015

Inaugural Group Show, Minan Gallery, Ventura, California, July 2015

Faculty Show, Ruth Chandler Williamson Gallery, Scripps College, 2014

L.A. Heat: Taste Changing Condiments, Chinese American Museum, Los Angeles, 2014

Transit Way, Rio Hondo College Art Gallery, 2014

Translations: Artists of the Metro Orange Line, Los Angeles Valley College Art Gallery, 2012

(de)Constructing Chinatown, Chinese American Museum, Los Angeles, 2012

Telephone, Torrance Art Museum, 2012

Faculty Makes,  Los Angeles Valley College Art Gallery, 2011

Psychic Outlaws, Luckman Gallery, California State University, Los Angeles, 2010

Global Hybrid, MetaHouse Gallery, Phnom Penh, Cambodia, 2010

Ascending Dragon: Contemporary Vietnamese Artists, Armory Center for the Arts, Pasadena, 2010

Global Hybrid II, Hancock University Art Center, Long Beach, CA, 2010

Fresh!, Silent Auciton at the Museum of Contemporary Art, Los Angeles, 2009

Art in Embassies Program, among selected artists to exhibit at the U.S. Embassy in Phnom Penh, Cambodia during the tenure of Ambassador Carol Rodley, 2009 –2012


Private collections in Los Angeles, New York, and Cambodia

Vincent Price Museum Collection

Community Redevelopment Agency, Los Angeles

Metro (Neighborhood Poster Series, Alhambra)

Metro (Laurel Canyon Station, Orange Line)

Metro (El Monte Station, Silver Line)

Los Angeles Zoo, Elephants of Asia

Rolling Stone Magazine

American Airlines


Matt Stromberg, “How Art is Helping Southern California Prisoners Reconnect with Their Humanity,” LA Weekly, September 1, 2017
Annabel Osberg, “Pick of the Week: Hot Time, Summer in the City,” Artillery Magazine, August 16, 2017
Genie Davis, “Phung Huynh and Osvaldo Trujillo at CB1,” Art and Cake, May 28, 2017
Studio Visit Magazine, Winter edition, 2016
Featured artist on Los Angeles Review of Books, February 2016
Carribean Fragoza, "Murals at El Monte Station: Phung Huynh," KCET, East of East, October 28, 2014
Annie Buckley, “LA Heat,”, Critics’ Picks, July 2014
Jennifer Swan, “7 Secret Sriracha Recipes YouCan Only Find at L.A.’s Hot Sauce Art Show, LA Weekly, March 24, 2014 
Steven Cuevas, “In ‘L.A. Heat’ Art Exhibit, Sriracha and Tapatio Form Holy Union of Hot Sauce,” KQED California report, March 21 – 23, 2014 
Carren Jao, “Hot Stuff: L.A.’s Cross-Cultural Condiments,” KCET Artbound, March 19, 2014 
Javier Cabral, “’L.A. Heat’: Finally, an art exhibit devoted to Sriracha and Tapatio sauces,” Los Angeles Times, March 15, 2014 
Steven Wong, LA Heat: Taste Changing Condiments, Chinese American Museum, catalog, 2014 
Annie Buckley, “On Perception: Slowing Down to See,” The Huffington Post, 2013 
Alissa Walker, “How Do You Capture the San Fernando Valley Through Art?” LA Weekly, November 6, 2012 
Steven Wong, (de)Constructing Chinatown, Chinese American Museum, catalog, 2012 
Homage to American Women Artists, calendar produced by United States Embassy, Global Publishing Solutions, 2011 
Telephone, Torrance Art Museum, catalog, 2011 
Art In Embassies Exhibition, United States Embassy Phnom Penh, Cambodia, Global Publishing Solutions, September 2010 
Peter Frank, “Blague d’Art: Out There,” The Huffington Post, June 16, 2010 
Asian Pacific Islander American Heritage Month, 2009 Calendar and Cultural Guide, presented by Mayer Antonio R. Villaraigosa and the City of Los Angeles Department of Cultural Affairs Jeannie Lee, “Phung Huynh,” ArtScene, May 2009 Debra Koppman, “Portrait in Phase,” Artweek, November 2008 Russell Leong, “Orientalism and the Legacy of Edward Said,” Amerasia Journal, 2005 Lisa M. Sodders, “Busway Stations Newest Galleries in Town,” Daily News, March 24, 2005 José Fuentes-Salinas, “ Tropico de Nopal con Nuevo material,” La Opinion, July 3, 2002 Brandy Stark, “New Visions from Fused Cultures,” St. Petersburg Times, March 21, 2002 “L.A. Diary,” Art & Auction, August 2001 David Rimanelli, “Mark Licari and Phung Huynh: Boys will Be Boys, And Women Can Play, Too” Interview, August 2001 New American Paintings, August 2001 Lawrence Chua, “Carnal Capers,” Jalouse, July 2001 


COLA Trailblazer Artist, COLA, Department of Cultural Affairs, City of Los Angeles, 2017 - 2018
​Certificate of Special Congressional Recognition, Congresswoman Linda T. Sanchez, 2012 Art in Embassies Program, among selected artists to exhibit at the U.S. Embassy in Phnom Penh, Cambodia during the tenure of Ambassador Carol Rodley, 2009 –2012 Certificate of Recognition, granted by Los Angeles City Attorney Rocky Delgadillo, 2009 Certificate of Recognition, granted by Congressman Xavier Becerra, 2008 Certificate of Recognition, granted by Congressman Xavier Becerra, 2007 Certificate of Recognition, granted by Congressman Xavier Becerra, 2006 Certificate of Recognition, Tennessee Arts Academy, granted by Governor Phil Bredesen, 2004 Award of Excellence, Illustration Annual, Communication Arts, 2002 Communication Arts 2002 Communication Arts 2001 New American Paintings, 2001 Society of Illustrators, New York, 2001 American Illustration, 2001 American Illustration, 2000 Society of Illustrators, New York, 1998

Curriculum Vitae


Phung Huynh is a Los Angeles-based artist whose practice is primarily in drawing and painting. She is represented by 

CB1 Gallery and is Associate Professor of Art at Los Angeles Valley College.

​My work investigates notions of cultural identity from a kaleidoscopic perspective, a continual shift of idiosyncratic translations and slippage. The contemporary American landscape is where I explore how “outside” cultural ideas are imported, disassembled, and then reconstructed. When is a swastika an extreme emblem of nationalism, or when is it a spiritual symbol in Buddhist scroll painting? In an overwhelmingly diverse metropolis such as Los Angeles, images flood our social lens through mass reproduction and social media, taking on multiple [mis]interpretations. Such reflections have guided me in re-stitching traditional Chinese iconography within the loosely woven fabric of American popular culture. There is a purposeful “Chinatown” aesthetic in my paintings, alluding to kitsch souvenirs that tourists purchase, commodifications of eastern icons into tchotchkes. Dismantling cultural authenticity, I paint images of Chinese cherubs, lotus, and carp with a “pop” veneer that collide in a complicated composition of delight and horror to challenge the viewer with a western-leaning perspective, as well as the viewer with a nonwestern-leaning perspective.

My most current work continues to probe the questions of cultural perception and cultural authenticity through images of the Asian female body vis-a-vis plastic surgery. I reference Chinese feet-binding as one of the earliest forms of cosmetic surgery to contrast the antiquated canon of Asian feminine beauty (small feet, small eyes, a broad forehead, and small breasts) with current trends of body image influenced by western canons that call for larger eyes, a delicate forehead, a taller nose, and larger breasts. I am interested in how contemporary plastic surgery on Asian women have not only obscured racial identity, but how it has also amplified the exoticism and Orientalist eroticism of Asian women. Ultimately, the awkward synthesis and visual idiosyncrasy of my projects upend notions of cultural representations and stereotypes in order to challenge how we consume and interpret ethnographic signifiers.