Chinese devote an important worship to their ancestors.
Of Pittsburgh) explore the artistic, historical, and religious significance of the paintings and place them in context with other types of commemorative portraiture, a practice which continued into the 20th century until gradually replaced by. The chapter addresses art in imperial China and folk and court portraits, presenting them as different points along a larger spectrum of what, for analytical.Shen Shaomin studies the explicit brutality of human nature through his multimedia work. Chinese Ancestors - Emperor of China Painting.
Chinese Portraiture Series Borrow From
Two years ago, the works of artist Hung Liu were readied for a major exhibition in China, the country of her youth. Meanwhile, his hyperreal, ‘sleeping’ sculptures of humans and animals reflect an ongoing dialogue between the real and the imaginary. In 2012, with the intent to strengthen inter-cultural relationships between Australia and China, Shen opened up his Beijing studio to young Australian artists for a residency and he continues to promote access to rising talents from both countries. His most current trompe l'oeil painting series borrow from Warholian studies of factory processes, where he paints portraits of celebrities covered with a light film of bubble wrap.Shen Shaomin's solo exhibitions include There Is No Problem, Redtory Museum of Contemporary Art, Guangzhou, China (2015) So What, Breeze, White Box Museum of Art, Beijing, China (2014) The Day After Tomorrow, 4A Centre for Contemporary Asian Art, Sydney, Australia (2011) and Project No.1—Solo Exhibition of Shaomin SHEN, Today Art Museum, Beijing, China and Transplantation, Asia-Australia Art Centre, Sydney, Australia (2001).Shen Shaomin's work has also been featured in renowned institutions worldwide including Ost-Stern, Frankfurt, Germany (2018) Fields of Communion - The 4th Shenzhen Public Sculpture Exhibition, Shenzhen Central Park, Shenzhen, China (2017) Almost There, Jorge B. Vargas Museum, UP Diliman, University of the Philippines Diliman, Quezon City, Philippines (2017) Busan Biennale, South Korea (2016) East Bridge 2015-2016: Plastic Garden, Korean & Chinese Contemporary Art, Total Museum of Contemporary Art, Seoul, South Korea (2016) Chinese Whispers: Recent Art from the Sigg and M+ Collections, Kunstmuseum Bern, Bern, Switzerland (2016) Immortal Present: Art and East Asia, Berkshire Museum, Pittsfield, MA (2015) Open Sea, Musée D’Art Contemporain, Lyon, France (2015) After Utopia: Revisiting the Ideal in Asian Contemporary Art, Singapore Art Museum, Singapore (2015) Go East, The Gene & Brian Sherman Contemporary Asian Art Collection, Art Gallery of New South Wales, Sydney, Australia (2015) St.art- International Exhibition of the Chinese Contemporary Ceramic Art, Today Art Museum, Beijing, China (2014) Serve the People, White Rabbit Collection, Sydney, Australia (2013) Hot Pot: A Taste of Contemporary Chinese Art, Brattleboro Museum and Art Center, Brattleboro, VT (2013) Go Figure! Contemporary Chinese Portraiture, National Portrait Gallery, Canberra, Australia (2012-2013), Sherman Contemporary Art Foundation (2012) Flora and Fauna: MAD about Nature, Museum of Arts and Design, New York, NY (2011) A Conversation with Chicago: Contemporary Sculptures from China, Millenium Park, Chicago, IL (2009) Shanghai MoCA Envisage II – Butterfly Dream, MoCA Shanghai, Shanghai, China (2006) and Mahjong – Contemporary Chinese Art from the Sigg Collection, Kunstmuseum Bern, Bern, Switzerland (2005), among many others.Shen Shaomin's work is included in the collections of museums and foundations including Art Gallery of New South Wales, Sydney, Australia Beijing Shan Hai Art Museum, Beijing, China Droga 8 Collection, Sydney, Australia Heilongjiang Art Museum, Harbin, China Honolulu Museum of Art, Honolulu, HI M+ Sigg Collection, Hong Kong Museum of Arts and Design, New York, NY Queensland Art Gallery/Gallery of Modern Art, Brisbane, Australia The Red Mansion Foundation, London UK The Saatchi Gallery, London, UK Sherman Contemporary Art Foundation, Sydney, Australia Singapore Art Museum, Singapore Today Art Museum, Beijing, China White Rabbit Collection, Sydney, Australia and Redtory Museum of Contemporary Art, Guangzhou, China.In addition to many published books dedicated solely on the artwork of Shen Shaomin, The New York Times, Art Forum, and many other well known International media outlets have spotlighted Shen Shaomin and his works.Shen Shaomin works and lives in Beijing, China. Those paintings allowed families to highlight their social status.Shen Shaomin was born in 1956 in Heilongjiang Province, China.Chinese Portraiture (2006) is a conceptual image work and interactive video art installation by Zhou Hongxiang.
Based on a tiny photograph, the robust artist is dressed for mandatory military training during Mao’s Cultural Revolution with a rifle slung over her shoulder and a vest of tactical gear affixed to her chest. Courtesy of Hung Liu and Jeff KelleyLiu died just weeks before the show’s opening of pancreatic cancer, leaving us to remember how even as she chafed under the burden of history, her own and the disenfranchised, she emerged triumphant.She painted resilience, and with resilience.On view is a 1993 self-portrait that was one of the more than 30 paintings originally slated for the exhibition in China at Beijing’s UCCA Center for Contemporary Art it was withdrawn in an effort to appease authorities. She attributed her improvisational painting style to that early influence.Reproduction after the original 1980 photograph. The first major show of Liu’s work on the east coast after years of acclaim closer to the Pacific, where for more than two decades she was a professor at Mills College in Oakland, California, is also the first retrospective for an Asian American woman artist at the museum.In 1980, Liu was admitted to the University of California, San Diego, where she studied with Allan Kaprow, who had pioneered “Happenings,” spontaneous acts of performance art.
“All the women she painted have a presence and agency about them. This was the painting that gave the avant-garde Impressionist movement its name.The early self-portrait that so disturbed the Chinese government was prescient for Liu’s future artistic trajectory: an historical photograph as source material, a shaped canvas and a woman as warrior. The shimmering blade of her bayonet is a sly reference to Claude Monet’s 1872 Impression Sunrise orange brushstrokes mirror the reflection of Monet’s brilliant titian sun hanging over the water.
© Hung Liu“I paint from historical photographs of people the majority of them had no name, no bio, no story left. Strange Fruit: Comfort Women by Hung Liu, 2001Karen and Robert Duncan Collection. Her art is a collision of the ancient and contemporary, the east and the west,” says exhibition curator Dorothy Moss.
During her four-year exile, she began also experimenting with a camera, left with her for safekeeping by a friend sent to a military labor camp.Finally freed from her backbreaking toil in the fields, Liu first earned a teaching degree and taught art at the elementary level. In her early 20s, forced to labor with peasants in the countryside as part of her proletariat reeducation, Liu found refuge by secretly sketching villagers in pencil. My painting is a memorial site for them,” Liu said in a 2020 interview.Born in 1948, Liu grew up in Changchun, China, primarily raised by her mother, grandmother and aunt her father was imprisoned when she was an infant for serving in the Nationalist Army, and she did not see him again for almost 50 years. I feel they are kind of lost souls, spirit-ghosts. “I paint from historical photographs of people the majority of them had no name, no bio, no story left. My painting is a memorial site for them.”Anonymous women most frequently occupied Liu’s imagination as she strove to recover and recognize their stories of pathos, and just as much their strength.
© Hung LiuHung Liu (1948–2021) blends painting and photography to offer new frameworks for understanding portraiture in relation to time, memory and history. Resident Alien by Hung Liu, 1988Collection of the San Jose Museum of Art, gift of the Lipman Family Foundation. Even as she was compelled to depict Communist propaganda, Liu honed her skills as a painter and mastered the techniques for her large-scale works. Eventually, Liu enrolled at the Central Academy of Fine Arts in Beijing, where she majored in mural painting—work necessarily inflected with state-sponsored socialist realism.
The promised land of America dubbed her a “resident alien,” an epithet that screams at the viewer in capital letters across the top of the enlarged card. Liu reproduced her green card as a 5- by 7.5-foot critique of her immigration experience. She attributed her improvisational painting style to that early influence.Resident Alien from 1988 offers another self-portrait of sorts, in this case in an American context. Liu studied with Allan Kaprow, who had pioneered “Happenings,” spontaneous acts of performance art. Chinese bureaucracy made matriculation nearly impossible, but in Liu’s indomitable way she persevered until finally, four years later, she immigrated to the United States. BuyIn 1980, Liu was admitted to the University of California, San Diego.
The thickly rendered 2003 Mission Girls 20—a series that stems from a single 19th-century Chinese photograph of orphan girls that Liu divided into 29 smaller canvases—features powerful gestural circles. “She engages with history through her concept of ‘history as a verb,’ it is ‘always flowing forward.’ Through her linseed drips her paintings perform this idea, bringing her historical subjects into the contemporary moment.”When Liu gave talks about her art she was always asked about her drips and her circles, the second hallmark of Liu’s work, says her husband, art critic Jeff Kelley. Liu individualized these mural-sized figures, who are awash in her trademark linseed drips.“Liu’s signature use of generous amounts of linseed oil to create a veil over her subjects allowed her to activate time, history and memory in her work,” says Moss. The highly textured, boldly colored 2001 Strange Fruit: Comfort Women is based on a photograph of Korean women forced into sexual servitude by Japanese soldiers during World War II. © Hung LiuNonetheless, she transposed her birthdate from 1948 to 1984, the year she immigrated, as a declaration of her freedom and new life Liu spent an even 36 years living in China and in the United States.No longer beholden to the strictures of Soviet art, Liu began to explore vibrant colors and dripping pigment woven into the fabric of the painting, which she layered with delicate butterflies, flowers, birds and other decorative motifs derived from ancient Chinese painting. Mission Girls 20 by Hung Liu, 2003Castellano-Wood Family Collection.
Usually riding the surface of the painting, the circles remind us of tattoos or thought bubbles. “They enclose everything and nothing, sometimes canceling an image (like a face) or connecting several. Migrant Mother: Mealtime by Hung Liu, 2016“Usually made with a single stroke, Liu’s circles are like endless lines, or lines closing on themselves (like a snake eating its tail),” Kelley writes.
Liu tells a tale rarely heard or seldom seen.
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