JENNIFER CHO

December 3, 2021

….. “The heart of Greater New York dwells in P.S. 1’s basement. Amidst the antiquated machinery in the basement boiler room glistens Jennifer Cho’s “Haystacks,” straw-like bundles of sliced CDs created through a process she describes as “slow-tech.”

by Logan Hill, WIRED, April 5, 2000

Categories: artists

Tags: Jennifer Cho

NECESSARY MEMORIES

August 29, 2021

NECESSARY MEMORIES

Sept 14 – Nov 20, 2021

MEET THE ARTIST:

Sept 15 & 16, 12PM – 3PM

LIVE INTERVIEW:

Janet Taylor Pickett with Marion K. Maneker

Sept 14 at 5PM

Marion K. Maneker is President & Editorial Director of ARTnews, Art in America, and Art Market Monitor

“My Blackness is a declarative statement in my work. There are wonderful, discarded objects brought home by my father and botanical prints my mother found from various secondhand stores. Makers of things and tellers of stories surrounded me. In the late 1960s and early 1970s in the midst of socio-political activities, I began to formulate an aesthetic language, a visual synergy. The symbolism of the African American quilt, the pejorative images of the watermelon became part of my cryptology.”

— Janet Taylor Pickett

NECESSARY MEMORIES chronicles Janet Taylor Pickett’s journey as an artist, showcasing selected works from the 1980s through 2021. Coexisting in her often-ornate paintings and collages is imagery drawn from art history, Africa, America and Europe, present and past wherein linear timeframes and logical geographic or cultural relationships are defied. Bold and unapologetically stated, her lyrical and animated work is a multi-textural exposé referencing her varied experiences. The artist offers a confessional narrative illuminated through images of memory and identity. NECESSARY MEMORIES is a living metaphor of the artist finding her way and establishing her presence in the world. This is Taylor Pickett’s first solo exhibition with JENNIFER BAAHNG GALLERY and her first in New York.

What is evident in both bookends of her ongoing art practice is that Taylor Pickett is a storyteller drawing on and weaving throughout her work vivid overlapping motifs. The black female figure that populates her creations are singular women in a singular time and space, drawing on harrowing tales of the Underground Railroad and her own family’s stories as part of the Great Migration that brought them to the Midwest. Her pathway to becoming an artist was tilled in that verdant soil of memory, reflected in the richness of her palette and the skin tones of her figures. These women are manifestly strong and defiant, a posture evident in their intense gazes and frequently in a stance with arms akimbo, itself a representation of power.

Metaphor plays a central role in Taylor Pickett’s art. This is most apparent in the prevalence of the dress form in many of her works that serves as a stand-in for female identity and a vessel for memory. Another frequent motif is the watermelon, employed as an evocative and provocative symbol in her compositions. The artist sees this ancient form as “a woman’s fruit–red, juicy, sweet, sensuous, round.” Flora and fauna permeate her compositions as well, surfacing in imaginative forms that contribute to the allegorical nature of her work. In the artist’s use of autobiographical symbolism and engagement with issues of fecundity one finds resonance with the self-portraits of Frida Kahlo.

While Romare Bearden’s influence is reflected both visually and conceptually in Taylor Pickett’s multifaceted collage techniques, she has also found frequent inspiration in her masterful interaction with European “masters.” In the cornucopia of artistic styles upon which the artist draws, one can see in her use of color and form vestiges of Henri Matisse. And the remarkable illumination in Johannes Vermeer’s interior scenes has echoes in Taylor Pickett’s more recent paintings. Her engagement with these artists challenges exclusionary practices of canonical art history, laying claim to her rightful place in this creative dialogue with unique compositions expressing her private and intimate musings in her own distinctive voice.

Revealed in this mosaic of tantalizing work is the way in which memories mold us into what we become. Enchantingly eclectic, NECESSARY MEMORIES is a feast for the eye and the soul. It is a window into Janet Taylor Pickett’s restless inner travels and reconciliation with her personal and inherited past.

Article on ARTnews

ARTnews

View on YouTube

YouTube

JANET TAYLOR PICKETT

February - March, 2025

Janet Taylor Pickett in the Traveling Museum Exhibitions

September 21, 2024 - August 2026

TRANSPACIFIC: LOVE DIFFERENCE

Sept 3 - Nov 2, 2024

GANGNAM, SEOUL PERFECT LOVERS August 16 - October 19, 2024

TRANSPACIFIC: PERFECT LOVERS

Sept 5 - Oct 19, 2024

Janet Taylor Pickett included in Century: 100 Years of Black Art at MAM February 9 to July 7 2024

Janet Taylor Pickett is included in Century: 100 Years of Black Art at MAM

February 9 - July 7, 2024

The Muse, 2023 Acrylic on canvas 48x48 in.

PRIDE AND INSOUCIANCE

February - April 2024

STAMPS interviews Janet Taylor Pickett: History and Artistry

September 25, 2023

JANET TAYLOR PICKETT, ZHANG HONGTU, PINK and THE CORPSES 

Oct 5 – 31, 2023

Janet Taylor Pickett is featured at the Denver Museum

November 12, 2023 - March 3, 2024

PICASSO, WELCOME TO AMERICA

June 15 – Sept 27, 2023

Categories: exhibitions

Tags: Janet Taylor Pickett

SECRET GARDEN

June 28, 2021

Sophie Matisse
*Secret Garden II,* 2021
Hand-made fabric chess pieces, embroidery lace ribbon, cotton fringe on tapestry with wooden rods
25 x 23 inches

Sophie Matisse
*The Nile (Not Just A River in Africa),* 2021
Cloth tapestry with paper map on board, embroidery lace ribbon, tassels on rug with wooden rods
36.75 x 29.50 inches

Sophie Matisse
*Secret Garden I,* 2021
Glass cabochons, embroidery lace ribbon, silk fringe on tapestry with wooden rods
24 x 21.25 inches

Sophie Matisse
*Graffiti 101,* 2021
Graphite drawings under glass cabochons on tile wallpaper under rug mounted on board
25 x 20.25 inches

snow-job — Sophie Matisse
*Snow Job 101,* 2021
Gesso, Xerox paper print, reflective glass beads on linen napkin
10 x 10 inches

Sophie Matisse
*Ebb and Flow,* 2021
Metal studs on tapestry mounted on wood frame
25.25 x 25.25 inches

Sophie Matisse
*Portrait,* 2021
Gesso cloth with paper and epoxy
25.75 x 19.25 inches

Game II — Sophie Matisse
*Game Overture II,* 2020
Oil on cotton canvas
20 x 24 inches

Sophie Matisse
*The Trick,* 2021
Ink, pencil, xerox paper print of a scene from film, “The Trick’, with embroidery lace ribbon and silk fringe
8.5 x 10.5 inches

Sophie Matisse
*Mate,* 2021
Gesso, carbon, arrows, rope on rug mounted on wood
72 x 48 inches

SECRET GARDEN

May 15 – June 30, 2021

“As early as I can remember, my understanding of a secret garden was, and above all, that it was a safe place to be. A lovely secluded spot where the weather was perfect and the surroundings, irresistibly enticing with soft dewy moss for my tender bare feet.

Although chess is notorious for its unforgiving ferociously, it too, belonged in my imaginary garden. Watching my grandmother play chess was an entirely captivating sport as I was growing up. With a handsome glass of Old Grand Dad Bourbon Whiskey on the rocks in one hand, she eloquently massacred her opponents in total silence, topping it all off with a polite smile after dealing the last lethal blow. This was always such a sobering reminder for me, of just how my own imaginary secret garden retained it’s mystical pleasantness.

Over the years, my secret garden has grown to be a place where I can exist autonomously. Where the battle for a good life can include me as a creator, without history or future interfering. The works in Secret Garden are the murmurs streaming in from this secret garden I call my own.”

by Sophie Matisse

SECRET GARDEN

Sophie Matisse

May 15 - June 30, 2021

SOPHIE MATISSE

MORE THAN ONE WAY HOME

Sophie Matisse
Janet Taylor Pickett
Zhang Hongtu

October 10 - November 24, 2020

Sophie Matisse was interviewed by BBC TWO on “Becoming Matisse”

Broadcasted on Saturday, April 25, 2020, 9:15pm - 10:15pm.

SOPHIE MATISSE

Be Back in 5

April - June, 2020

SOPHIE MATISSE

Categories: exhibitions

Tags: Sophie Matisse

LOVE DIFFERENCE

May 9, 2021

Eric Brown
*Untitled (8-28),* 2020
Oil on canvas
8 x 10 inches

Zhang Hongtu
*In Memory of Tseng Kwong Chi (Hollywood),* 1991
Photocopy and epoxy resin
14 x 11 inches

LOVE DIFFERENCE

May 15 – June 15, 2021

Eric Brown

“My recent paintings were made during a pandemic. Making them was a daily meditative practice. It was like keeping a journal. French philosopher Roland Barthes draws an analogy between text and textiles (“text” comes from the Latin texere, to weave). Through a repetition of mark-making, my paintings appear woven. They are not painted to look like textile. Their appearance is a byproduct of the painting process. The completed painting is a record of my experience making it. The eye follows “threads” of paint, their accumulation creating a larger whole. My new work is paradoxical: slow yet fast, precise yet open, deliberate yet intuitive. I am freer for having made them.”

Janet Taylor Pickett

“My Blackness is a declarative statement in my work. There are wonderful discarded objects brought home by my father and botanical prints my mother found from various second hand stores. Makers of things and tellers of stories surrounded me. In the late 1960’s and early 1970’ in the midst of sociopolitical activities, I began to formulate an aesthetic language, a visual synergy. The symbolism of the African American quilt, the pejorative images of the watermelon became part of my cryptology.”

Zhang Hongtu

…In Memory of Tseng Kwong Chi (1991) is a photo series that looked to the work of one of Zhang’s contemporaries, the Hong Kong-born performance artist Tseng Kwong Chi, who died of AIDS in 1990. Appropriating Tseng’s photographs, Zhang used the work of his friend to further extrapolate upon the mechanisms by which iconography constructs identity and how artistic intervention can disrupt the language of power. Created for the 1991 exhibition Dismantling Invisibility; Asia and Pacific Island Artists Respond to the AIDS Crisis, Zhang’s work selected fifteen photographs from Tseng’s acclaimed self-portrait series East Meets West (also known as the Expeditionary Self-Portraits, 1979-89) and reconfigured them into photo collages using his familiar epoxy technique. In these photos, Tseng performed the role of “ambiguous ambassador” and posited himself the stereotypical tourist sites (the Eiffel Tower, the Grand Canyon, the Hollywood sign) while dressed in a Mao suit. The series was a subversive yet ludic exploration of cultural identity, perception, and the status of the individual amid the monumental. In Zhang’s reworking of these photos, he cut out the figure of his close friend and colleague, leaving a ghostly silhouette in his absence. The removal of Tseng’s body next to the famous profiles of monuments and natural wonders created a displacement that was not only a deeply sentimental tribute to a dear friend, but, in the words of Zhang, “dismantled” the imagery further, disrupting historical continuity…

“Art and China After 1989, Theater of the World”
Guggenheim 2017
Page 237

https://www.guggenheim.org/exhibition/art-and-china-after-1989-theater-of-the-world

JANET TAYLOR PICKETT, ZHANG HONGTU, PINK and THE CORPSES 

Oct 5 – 31, 2023

ALREADY AND NOT YET

Eric Brown

May 5 - June 25, 2022

ERIC BROWN

LOVE DIFFERENCE

Eric Brown, Janet Taylor Pickett, Zhang Hongtu

May 15 - June 15, 2021

JANET TAYLOR PICKETT

February - March, 2025

Janet Taylor Pickett in the Traveling Museum Exhibitions

September 21, 2024 - August 2026

TRANSPACIFIC: LOVE DIFFERENCE

Sept 3 - Nov 2, 2024

TRANSPACIFIC: PERFECT LOVERS

Sept 5 - Oct 19, 2024

Janet Taylor Pickett is included in Century: 100 Years of Black Art at MAM

February 9 - July 7, 2024

PRIDE AND INSOUCIANCE

February - April 2024

STAMPS interviews Janet Taylor Pickett: History and Artistry

September 25, 2023

JANET TAYLOR PICKETT, ZHANG HONGTU, PINK and THE CORPSES 

Oct 5 – 31, 2023

Janet Taylor Pickett is featured at the Denver Museum

November 12, 2023 - March 3, 2024

PICASSO, WELCOME TO AMERICA

June 15 – Sept 27, 2023

JANET TAYLOR PICKETT, ZHANG HONGTU, PINK and THE CORPSES 

Oct 5 – 31, 2023

Zhang Hongtu at Museo Picasso Málaga

October 3, 2023 - March 31, 2024

PICASSO, WELCOME TO AMERICA

June 15 – Sept 27, 2023

Zhang Hongtu participates Summoning Memories: Art Beyond Chinese Traditions Summoning Memories: Art Beyond Chinese Traditions at the Asia Society Texas, February 10 - July 2, 2023

Zhang Hongtu is featured at the Asia Society in Texas

February 10 - July 2, 2023

PITCHES & SCRIPTS

Group Exhibition

January 20 - March 11, 2023

(DE)CONSTRUCTING IDEOLOGY: THE CULTURAL REVOLUTION AND BEYOND November 13, 2022 to March 12, 2023

Zhang Hongtu lectures and exhibits at the Wende Museum

November 13, 2022 - March 12, 2023

TANGO

Summer Exhibition

July 13 - August 17, 2022

VAN GOGH / BODHIDHARMA

Zhang Hongtu

March 25 - April 27, 2022

Zhang Hongtu’s “Mai Dang Lao” from the Brooklyn Museum Collection is featured on PBS NYC – ARTS

February 17, 2022

LOVE DIFFERENCE

Eric Brown, Janet Taylor Pickett, Zhang Hongtu

May 15 - June 15, 2021

Categories: exhibitions

Tags: Eric Brown Janet Taylor Pickett Zhang Hongtu

NAOMI SAVAGE

April 29, 2020

Naomi Savage, photographer, born June 25, 1927 and died at her home in Princeton, New Jersey, on November 22, 2005. While still in high school, she took a class in photography at the New School for Social Research with Berenice Abbott. Some twenty years earlier, Abbott had studied photography in Paris with Man Ray, who was Naomi Savage’s uncle. In 1946, Savage enrolled in Bennington College, where she studied art and music, but before graduating, left to be an apprentice for Man Ray in Hollywood. He taught her that photography was above all a creative process, one of many tools that could be used for the purpose of visual expression. When she returned to New York in 1948, she combined her love of music with her skill in photography by taking portraits of the best known composers of day: Aaron Copland, John Cage, Virgil Thomson, etc. (over 30 in all). Throughout her career, she experimented with the medium of photography, continuously inventing new and highly original techniques. Perhaps her best known work is a series of metal photo engravings (1972) dominating the walls of the LBJ Library in Austin, Texas. In her later years, she became attracted to the enormous potential of digital imagery, experimenting with various methods to manipulate and enhance color, even using new and unconventional materials for laser printing. She exhibited widely, most recently at the Montclair Art Museum, and her photographs are included in major institutional collections throughout the United States……………..provided by Francis M. Naumann.

Francis M. Naumann is an art historian, who specializes in art of the Dada and Surrealist period. He has written extensively on the art of Marcel Duchamp and Man Ray. His New York Dada 1915-23 (1994) is considered the definitive history of the movement, and his “Making Mischief: Dada Invades New York” (1996) is the most comprehensive exhibition on the subject ever assembled. His doctoral dissertation was on Man Ray’s early years in New York, later published as Conversion to Modernism: The Early Work of Man Ray (2003). Throughout his years of his research on Man Ray, he met Naomi Savage and, over the years, they became good friends.

NAOMI SAVAGE

Unexplored Limits

April - June, 2020

Categories: artists

Tags: Naomi Savage

MAN RAY

April 19, 2020

Painter, sculptor, photographer, filmmaker, draftsman…Man Ray has never limited himself to a single medium of artistic expression, tirelessly seeking new possibilities of creation or diversion of existing techniques. Considering art essentially as a game, he refused to attach himself to a determined style. Man Ray was born in 1980 in Philadelphia. In 1913, he discovered at the exhibition The Armory Show in New York European artists like Marcel Duchamp and Francis Picabia. With Marcel Duchamp he created and experimented with optical devices to study motion. He participated in the Dada movement in New york until 1921, when he left for France. As he arrived in Paris, Marcel Duchamp introduced him to the Parisian artistic scene. It was the beginning of an intense period of creation: photographs (fashion, portraits, art), exhibitions, films…In the interwar period Paris, Man Ray frequents all the greatest actors of creation, Dadaists, Surrealists, writers, filmmakers, fashion designers…In 1940, Man Ray had to leave France for the United States, where he realized major works like the Shakespearian paintings, etc. Man Ray returned to Paris in 1951, moved to rue Ferou where he painted, drew, wrote his memoirs and continued to use photographic processes. Thus begins the edition of his objects “Objects of my affection” first with Marcel Zerbib, then with Arturo Schwarz. Man Ray died on November 18, 1976 in Paris. He is buried in the Montparnasse cemetery.

…………………………………………. excerpt from Man Ray International Association

Mathematical Object (Anthony) is one of some twenty photographs taken by Man Ray in 1934-35 of mathematical models located in the Institut Poincaré in Paris. Twelve of the photographs were featured in a 1936 issue of the journal Cahiers d’Art devoted to the “object” and four were exhibited in MoMA’s exhibition the same year, Fantastic Art, Dada, Surrealism. The models were drawn to his attention by Max Ernst, who had discovered them and thought them exceptionally provocative, surreal shapes. The models were used to render complex mathematical formulae into three-dimensional form, but it was not their origin in mathematics that attracted the interests of Man Ray. “The formulas accompanying them meant nothing to me,” he later explained, “the forms themselves were as varied and authentic as any in nature” (Self-Portrait, 1963, p. 368). While living in Hollywood, California, in the 1940s, Man Ray used the photographs he had taken in the Institut Poincaré as the basis of a series of pictures that he grouped under the title “The Shakespearean Equations,” which, in true Dada and Surrealist fashion, had as little to do with Shakespeare as they did with equations. Man Ray retrieved the photographs he had printed in the 1930s on a trip back to Paris in 1947, and this example is believed to be among them. This particular print is often titled Antony, as we know that it was used as the basis for the figure of Anthony in his painting Antony and Cleopatra, 1948.

MAN RAY

A l’Heure de l’observatoire—les amoureux

April - June, 2020

MAN RAY

April - June 2020

Categories: artists

Tags: Man Ray

SOPHIE MATISSE

April 1, 2020

Sophie Matisse was born in Boston, Massachusetts, 1965. She began her studies at the Massachusetts Collage of Art in Boston and later, continued her studies at L’Ecole des Beaux-Arts in Paris, France. Shortly after settling in New York City, in 1996, she began her first series of paintings, Be back in 5 minutes and has participated in many national and international exhibitions ever since. Now, she is working on a new series of paintings accompanied by a collection of short films reflecting on her memories of playing chess with her family while growing up. Her work is included in the public collections at the Whitney Museum of American Art, The Flint Institute of Art, The Montclair Art Museum and The Francis Young Tang Teaching Museum.

BORN

1965 in Massachusetts. Lives and Works in New York

EDUCATION
1985 Massachusetts College of Art, Boston
1988 – 1990 École des Beaux-Arts, Paris

SELECTED MUSEUM COLLECTIONS

The Whitney Museum of American Art

Montclair Art Museum

The Flint Institute of Art

The Frances Young Tang Teaching Museum

SELECTED EXHIBITIONS

2020 BE BACK IN 5, BAAHNG GALLERY, NEW YORK, April – May, 2020

DEPICTING MARCEL DUCHAMP, FRANCIS NAUMANN FINE ART, NEW YORK, JANUARY 10 – FEBRUARY 28, 2020

CONSTRUCTION IDENTITY IN AMERICAN ART, MONTCLAIR ART MUSEUM, SEPTEMBER 1, 2018 – JANUARY 5, 2020

BOHAIN ET MATISSE 1870-1903, LA MAISON FAMILIALE HENRI MATISSE, BOHAIN, FRANCE, OCTOBER 12, 2019 – MARCH 1, 2020

2018 ROSE OCEAN, TANG TEACHING MUSEUM, NEW YORK, FEBRUARY 17 – MAY 20, 2018

ALAIN JACQUET & SOPHIE MATISSE, SABINE WACHTERS FINE ART, KNOKKE-ZOUTE, BELGIUM, AUGUST 3 – SEPTEMBER 23, 2018

2017 MARCEL DUCHAMP FOUNTAIN, FRANCIS NAUMANN FINE ART, NEW YORK, APRIL 20 – MAY 26, 2017

MATISSE AND AMERICAN ART, MONTCLAIR ART MUSEUM, NEW JERSEY, FEBRUARY 5 – JUNE 15, 2017

2016 LADIES KNIGHT, WORLD CHESS HALL OF FAME, ST. LOUIS, MO, OCTOBER 29, 2015 – APRIL 1, 2016

2015 PARALLELS, TIM HUNT FINE ART, NEW YORK, NOVEMBER 10 – 28, 2015

PAST & PRESENT, FRANCIS M. NAUMANN FINE ART, NEW YORK, June 4 – April 21, 2015

STARING BACK, FLEMING MUSEUM OF ART, VERMONT, FEBRUARY 3 – JUNE 21, 2015

2014 LE SHOW DES AMIS, SHOWROOM, NEW YORK, DECEMBER 12 – 21, 2014

2013 LUNCH WITH OLYMPIA, YALE UNIVERSITY, CONNECTICUT, SEPTEMBER 20 – NOVEMBER 21, 2013

BONJOUR MONSIEUR MATISSE! RENCONTRE(S), MAMAC DE NICE, FRANCE, JUNE 21 – NOVEMBER 24, 2013

NUDE DESCENDING A STAIRCASE: AN HOMAGE, FRANCIS M. NAUMANN FINE ART, NEW YORK, FEBRUARY 15 – MARCH 29 ,2013

2012 SOPHIE MATISSE: IT’S TIME, FRANCIS M. NAUMANN FINE ART, NEW YORK, MAY 2 – JUNE 15, 2012.

2010 SECONDE MAIN, MUSEE D’ART MODERNE DE LA VILLE DE PARIS, FRANCE, MARCH 25 – OCTOBER 24, 2010

SOPHIE MATISSE, THE NEW YORK INSTITUTE OF TECHNOLOGY, NY, JANUARY 22 – MAY 22, 2010

THE VISIBLE VAGINA, FRANCIS M. NAUMANN FINE ART, NEW YORK, JANUARY 27 – MARCH 20, 2010

VERMEER. THE ART OF PAINTING, KUNSTHISTORISCHES MUSEUM VIENNA, VIENNA AUSTRIA, JANUARY 25 TO APRIL 25, 2010

2009 SPECIAL EDITION (GOLD) PERFUME BOTTLES, A COLLABORATION WITH KILIAN HENNESSY, DECEMBER, 2009

THE ART OF CHESS, FRANCIS M. NAUMANN FINE ART, NEW YORK, SEPTEMBER 10 – OCTOBER 30, 2009

THE ART OF THE GAME, SPECIAL EDITION CHESS SETS. BEYOND THE BORDER INTERNATIONAL CONTEMPORARY ART FAIR, SAN DIEGO, CA , SEPTEMBER 2 – 4, 2009

BLACK MADONNA, HP GARCIA GALLERY, NEW YORK,(CURATOR: LISA PAUL STREITFELD)

2008 SPECIAL EDITION PERFUME BOTTLES, A COLLABORATION WITH KILIAN HENNESSY

PENTIMENTI, FRANCIS M. NAUMANN FINE ART, NEW YORK, MARCH 14 – APRIL 30, 2008

2007 THE DEMOISELLES REVISITED, GROUP EXHIBITION, FRANCIS M. NAUMANN FINE ART, NEW YORK, NOVEMBER 16 – DECEMBER 21, 2007

FRENCH KISSES, JGM GALERIE. PPARIS, MAY 24th – JUNE 30th

2006 SOPHIE MATISSE: BE BACK IN 5 MINUTES AND ZEBRA STRIPE PAINTINGS, SALT LAKE ART CENTER, SALT LAKE CITY, JANUARY – MARCH 2006 (CURATOR: JIM EDWARDS)

2005 SOPHIE MATISSE: THE ZEBRA STRIPE PAINTINGS, FRANCIS M. NAUMANN FINE ART, NEW YORK, NOV 18 – DEC 30, 2005

SOPHIE MATISSE’S GUERNICA, FLINT INSTITUTE OF ARTS, FLINT, MICHIGAN, SEPTEMBER 24, 2005

SOPHIE MATISSE DRAWINGS, ORGANIZED BY THE BLUE HERON PRESS,PAUL KASMIN GALLERY, NEW YORK, (CURATOR: JUDITH GOLDMAN)

SOPHIE MATISSE, nKATONAH MUSEUM OF ART, KATONAH, NEW YORK, JULY- AUGUST (CURATOR: MIMI THOMPSON)

2004 SELF-PORTRIATS, DEITCH PROJECTS, NEW YORK (CURATOR: DODIE KAZANJIAN)

ON LINE, FEIGEN CONTEMPORARY, NEW YORK

2003 AFTERSHOCK: THE LEGACY OF THE READYMADE IN AMERICAN POST-WAR AND CONTEMPORARY ART, DICKINSON GALLERY, NEW YORK.

SOPHIE MATISSE DOES GUERNICA, FRANCIS M. NAUMANN FINE ART, NY

2002 SOPHIE MATISSE, FRANCIS M. NAUMANN FINE ART, NEW YORK (FIRST SOLO SHOW IN NEW YORK)

2001 SOPHIE MATISSE, FIDELITY INVESTMENTS HEADQUARTERS, BOSTON (CURATOR: CAROL WARNER)

2000 THE 100 SMILES OF THE MONNA LISA, METROPOLITAN ART MUSEUM, TOKYO; SHIZUOKA MUSEUM OF ART AND THE HIROSHIMA MUSEUM OF ART (CURATOR: JEAN-MICHEL RIBETTES)

1999 REAL TO SURREAL, MUSEUM OF CONTEMPORARY ART, DENVER (CURATOR: MARC SINK)

1999 RE: DUCHAMP, ABRAHAM LUBELSKY GALLERY, NEW YORK (CURATOR: MIKE BIDLO)

1998 ACTS OF FAITH, GARRISON, NEW YORK (CURATOR: WILLOUGHBY SHARP)

SECRET GARDEN

Sophie Matisse

May 15 - June 30, 2021

SOPHIE MATISSE

MORE THAN ONE WAY HOME

Sophie Matisse
Janet Taylor Pickett
Zhang Hongtu

October 10 - November 24, 2020

Sophie Matisse was interviewed by BBC TWO on “Becoming Matisse”

Broadcasted on Saturday, April 25, 2020, 9:15pm - 10:15pm.

SOPHIE MATISSE

Be Back in 5

April - June, 2020

SOPHIE MATISSE

Categories: artists

Tags: Sophie Matisse

JANET TAYLOR PICKETT

March 31, 2020

JANET TAYLOR PICKETT

Lives and works in California

ARTIST BIO

Janet Taylor Pickett (b. 1948) received her BFA in 1970 and her MFA in 1972 and was the Penny W. Stamps Commencement 2024 keynote speaker at the University of Michigan. She taught the History of African American Art at Essex County College and Bloomfield College for over thirty years. She received grants and fellowships from the New Jersey Council of the Arts Grant, the Ford Foundation, and the Mid-Atlantic States Art Council. Janet Taylor Pickett was the former African American Cultural Committee chair at the Montclair Art Museum in New Jersey.

Developing a groundbreaking visual vocabulary, AKIMBO EXOTICA, to probe themes of Blackness, identity, and the complexity of lived experience, Taylor Pickett is a forerunner in contemporary women painters whose work has been inspired by Romare Bearden, Bette Saar, Sam Gilliam, and Henri Matisse. Her most celebrated, “And She Was Born” (2020), was featured on the cover of the exhibition catalog for Seeing Differently: The Phillips Collects for a New Century (2021) at The Phillips Collection in Washington, D.C.

Selected Museum exhibitions include Progressions: A Cultural Legacy at MoMA/PS1, African American Women Artists and the Power of their Gaze at the David C Driskell Center at the University of Maryland, The Matisse Series at the Montclair Art Museum, The Atlantic World-Layered Histories at the Harvard Art Museums, Hagar’s Dress at the Pennsylvania Academy of Fine Art, African Friends of Museums in Israel, Western Washington University Museum, State University of New York, The Studio Museum of Harlem in New York, Howard University, Telfair Museums, The Morris Museum, Denver Art Museum, Oceanside Museum of Art, Fairfield University Art Museum, Hammonds House Museum, Northern Illinois University Museum, Brandywine Workshop & Archive.

SPOTLIGHT

Play Video

CREDIT: Ben Zink, Videographer, Penny W. Stamps School of Art & Design, University of Michigan

Janet Taylor Pickett

The Stamps Commencement 2024 Keynote Speaker

December 19, 2024, at the University Of Michigan

Penny W. Stamps School of Art & Design, University of Michigan, presented the life and career of the Stamps Commencement 2024 speaker, Janet Taylor Pickett, on December 19, 2024. In this video, Taylor Pickett discusses her initial interest in making art, her time as a student at U-M, and the challenges and successes she’s had as an artist throughout her career.

Link:

STAMPS interviews Janet Taylor Pickett: History and Artistry

Play Video

Necessary Memories

A Conversation with Marion K. Maneker and Janet Taylor Pickett

Tuesday, September 14, at 5PM at Jennifer Baahng Gallery

On September 14th, 2021, ARTnews President and Editorial Director Marion K. Maneker joined artist Janet Taylor Pickett for a discussion of “Necessary Memories” (Sept 14 – Nov 20, 2021), her solo exhibition at JENNIFER BAAHNG. The show chronicles Taylor Pickett’s journey as an artist, showcasing selected works from the 1980’s through 2021. In their conversation, Maneker and Taylor Pickett discuss how Blackness functions as what Taylor Pickett calls a “declarative statement” in her work, and the role that history and narrative play in her practice. Born in Ann Arbor Michigan, Taylor Pickett is a mixed media artist whose work is inspired by her life experience as an African American woman.

JANET TAYLOR PICKETT

February - March, 2025

Janet Taylor Pickett in the Traveling Museum Exhibitions

September 21, 2024 - August 2026

TRANSPACIFIC: LOVE DIFFERENCE

Sept 3 - Nov 2, 2024

TRANSPACIFIC: PERFECT LOVERS

Sept 5 - Oct 19, 2024

Janet Taylor Pickett is included in Century: 100 Years of Black Art at MAM

February 9 - July 7, 2024

PRIDE AND INSOUCIANCE

February - April 2024

STAMPS interviews Janet Taylor Pickett: History and Artistry

September 25, 2023

JANET TAYLOR PICKETT, ZHANG HONGTU, PINK and THE CORPSES 

Oct 5 – 31, 2023

Janet Taylor Pickett is featured at the Denver Museum

November 12, 2023 - March 3, 2024

PICASSO, WELCOME TO AMERICA

June 15 – Sept 27, 2023

Categories: artists

Tags: Janet Taylor Pickett

MICHAEL MCCLARD

March 4, 2019

Michael McClard arrived in New York in 1973 with a BFA from the San Francisco Art Institute, where he also won a Peabody Award in Sculpture. He soon made his mark on the art scene as a member of a highly original group of young artists who helped to revive an interest in painting and visual performance. He was a founding member of the noted artists’support group Colab and its first president.

Sidestepping the confines of abstract conceptual art, McClard’s work seethes with figurative content; yet it has nevertheless retained a conceptual element and mines a strong vein of humor.

During the 70s he staged provocative performances such as “Foes v. Foes” at the Kitchen and surreal, carnivalesque installations at venues such as the Clocktower (“There’s Meat on these Bones”); PS 1, Institute for Art and Urban Resources, De Appel, Amersterdam and N.A.M.E Gallery, Chicago. For these presentations, he constructed all sets and props and performed, often as sole actor. His one-act play, “Mumbo Jumbo,” was published in Avalanche 12, Winter 1975.

In October 1981, his first large-scale one-man show of paintings and frescoes took place at Mary Boone, occupying both galleries on either side of West Broadway. Drawing on sources from mythology, history and everyday life, he created a pantheon of imaginary characters, notable for their tactile raw energy, range of facial expressiveness and astute power of observation. Also featured were inventive depictions of historical scenes, acclaimed by critics such as Grace Glueck of the New York Times for their verve and by Hal Foster of Art in America for their metaphysical insights. Many of these works were acquired by New York and Los Angeles public and private collectors. During this period McClard was also awarded two fellowships by the National Endowment for the Arts, in Visual Arts and Mixed Media.

In the 90s McClard took a temporary hiatus from painting to explore new media. He embraced the digital revolution and applied his draughtsmanship skills to the creation of original software with his brother Peter McClard through their enterprise, Hologramophone Research. The computer installation “DNA Characters” extended his interest in human physiognomy by generating an unlimited sequence of drawings of faces and was exhibited in “A visage découvert,” Fondation Cartier pour l’Art Contemporain, Jouy-en Josas, France.

Among the many group shows in which his paintings and objets d’art have been featured are “Figures of Mystery”, Queens Museum, NY; “The Pressure to Paint”, Marlborough Gallery, NY; “TV’s IN”, Max Fish, New York, and The Barry Lowen Collection, Museum of Contemporary Art, Los Angeles, CA.

More recently, McClard’s experimental short films Alien Portrait (1978) and Contortions (1978) were given their world premiere at “No Wave Cinema, 1978-87” at the Whitney Museum of American Art.

Education:

BFA, San Francisco Art Institute in 1971, moved to New York 1973 

Two National Endowment of the Arts Fellowships, one in Multi Media, the other, as a Visual Artist.

REVIEW QUOTES FOR MICHAEL McCLARD

“. . .An oddball but wonderful choice, for example, is Michael McClard’s ‘’Mise en Scene (circa 1500),’’ a painting based on the life of Michelangelo. Built out from the picture plane with thick plaster slabs and painted frescolike in rich colors that bring an old-master palette into the 20th century, it depicts Michelangelo in his cathedral workroom, wearing a funnel hat with a candle in it, leaning intently over a scabrous cadaver. At once affecting and funny in its comment on the profession of artist, it’s brought off with great verve.”

Grace Glueck, “Figures of Mystery,” The New York Times, Jan 7 1983 Participating artists included Susan Rothenberg and Eric Fischl.

“. . . All in all the show was a bizarre delight. . .Post-minimalist artists often used materials that were somehow tabooed, but McClard’s art is funnier than theirs. It is also more ambitious in content: the show ranged from shit to Saturn, from grotesques to Christs. Here was an art with a cosmology—the universe as delusion of grandeur. . .But the delusion seemed to know itself as such . . .

“. . .The clown, the circus, are also part of the iconography of painting . . . Artists like Schnabel and Clemente pretend to paint the great carnival of time, only to fall back on an old clown act. McClard, at least, shows signs that he knows his act for what it is . . .”

Hal Foster, “Michael McClard at Mary Boone,” Art in America, December 1981

Selected exhibitions

Solo Exhibitions:

1988 “Things”, Willoughby Sharp Gallery, N.Y. NY

1987 Suzan Cooper Gallery, N.Y. NY 86 Simon Cerigo Gallery, N.Y. NY

1985 Curated by Atanasio Di Felice, Harm Bouckaert Gallery, N.Y. NY

1982 American Graffiti Gallery, Amsterdam NE 81 Mary Boone Gallery, N.Y. NY

1977 Konrad Fischer Tunnel Space, Dusseldorf, W. Germany

“Trial by T.V.”, Hallwalls, Buffalo, N.Y. NY 1975

1975 “There’s Meat on These Bones”, The Clocktower, Institute for Art and Urban Resources, N.Y. NY

Group Exhibitions:

2007 The Downtown Show: The New York Art Scene, 1974–1984 (Broken Stories), curated by Carlo

McCormick, New York, NY

1997 “Last Party,” Serge Sorokko Gallery, New York, NY

1996 “No Wave Cinema 1978–81,” Whitney Museum of American Art, New York, NY

1993 “A visage découvert” Fondation Cartier pour l’Art Contemporain, Jouy-en Josas, France

1990 “Aquarian Artists,” Fine Arts Center, University of Rhode Island, Kingston, RI.

“TV’s IN” Max Fish, N.Y. NY

1989 “Prisoners of Art,” Police Building, N.Y. NY

1988 “Micro sculpture” Fine Arts Center, University of Rhode Island, Kingston, R.I.

“Rebop”, curated by Glen O’brien, Paula Allan Gallery, N.Y. NY

1986 “The Bary Lowen Collection”, MOCA’s Temporary Contemporary, Los Angeles, CA

Simon Cerigo Gallery, N.Y. NY Benefit for the Poetry Project at St. Marks Church, N.Y. NY

1984 “Hundreds of Drawings”, Artists Space Benefit, N.Y. NY “Bomb Magazine Benefit”, Blum-Helman Warehouse, N.Y. NY Art Palace, N.Y. NY

“Sex Show”, Cable Gallery, N.Y. NY

1983 “Prints and Drawings for Collectors”, New Gallery of Contemporary Art, Cleveland, OH

1983 “Terminal New York,” AAA Art, N.Y. NY

“Intoxication,” Monique Knowlton Gallery, N.Y. NY “Sweet Art”, Ronald Feldman Gallery, N.Y. NY

“The Pressure to Paint” Marlborough Gallery, N.Y. NY “Figures of Mystery”, Queens Museum, Queens, N.Y. “Beast: Animal Imagery in Recent Painting”, PS1, Institute for Art and Urban Resources, L I C, NY “New Figuration in America”, Milwaukee Art Museum, Milwaukee, Wis.

1982 “Critic’s Choice”, PS 1, Institute for Art and Urban Resources, Long Island City, NY

1981 “New York: New Wave,” PS 1, Institute for Art an Urban Resources, Long Island City, NY

“Gallery Artists” Mary Boone Gallery, N.Y. NY

1979 “Bat Man Show”, 591 Broadway, N.Y. NY “The Doctors and Dentists Show, 591 Broadway, N.Y. NY “Income and Wealth Show”, 5 Bleeker Street, N.Y. NY

1978 “Exhibit A”, 93 Grand Street, N.Y. NY 1977 “New Art Auction and Exhibition”, Artists Space, N.Y. NY

1976 “Ten in Situ”, Colgate College, Hamilton, N.Y.

1975 “Continuing Work in Various Media” 597 Broadway, N.Y. NY

1970 “Young Bay Area Sculptors”, Emanuel Walter Gallery, San Francisco, CA

Bibliography

Glueck, Grace, ”Art: One Man’s Biennial Assembles 102 Artists,“ The New York Times, 15 April 1983

Mouferage, Nicolas, ”Intoxication, 9 April 1983,“ arts Magazine, April 1983 Preston, ”Art Review: Mystery in Queens,“ Newsday, 7 January 1983

Glueck, Grace, ”Art: ’Figures of Mystery‘ Shows New Work By 10,“ The New York Times, 7 January 1983

Sussler, Betsy, ”Michael McClard Interview“ Bomb Magazine, No.4, January 1983

Glueck, Grace, ”Of Beasts and Humans: Some Contemporary Views,“ The New York Times, 14 November 1982

Wolf, Deborah, ”Mary Boone“ Avenue, October 1982

Price, Katherine, ”Arte USA,“ Nouvi Argomenti, August-September 1982

Silverthorne, Jeannie, ”The Pressure to Paint,“ Artforum, October 1982

Wolfert-Wihlborg, Lee, ”Manhattan’s Avant-Garde Art Dealers,“

Town and Country, September 1982 (photo of ”Los Alomos,” p. 250)

Foster, Hal, ”Between Modernism and the Media,“ Art in America, Summer 1982

Smith, Roberta, ”Group Flex,“ The Village Voice, 22 June 1982

De Ak, Edit and Cortez, Diego ”Baby Talk,“ Flash Art, May 1982

Haden-Guest, Anthony, ”The New Queen of the Art Scene,“ New York Magazine, 19 April 1982

Castle, Ted, ”Michael McClard’s Faces,“ Artforum, January 1982

Yoskowitz, Robert, ”Michael McClard,“ Arts Magazime, December 1981

Acker,Kathy, ”Motive: Interview with Michael McClard“ Bomb Magazine, No.1, January 1981

Rose, Frank, ”Exploring the Art-Rock Nexus, (Part III)“ Artexpress, November 1981 (photo of ”Someone“ and ”Somebody“)

Foster, Hal, ”Michael McClard at Mary Boone,“ Art in America, December 1981 (photo of ”The Devil Goes to the Circus“)

Larson, Kay, ”Fear of Style,“ New York Magazine, 9 November 1981 Smith, Roberta, ”Space Walk,“ The Village Voice, 21 October 1981 Goldberg, Rosalee, Studio International, January 1977 Perron, Wendy, The SOHO News, 15 May 1976

Frank, Peter, The SOHO News, 15 January 1976 Moore, Alan, Artforum, Summer 1975

REVIEW QUOTES FOR MICHAEL McCLARD

Grace Glueck, “Figures of Mystery,” The New York Times, Jan 7 1983 Participating artists included Susan Rothenberg and Eric Fischl.

Hal Foster, “Michael McClard at Mary Boone,” Art in America, December 1981

Performance

1979 ”Axel Radius,“Corpes de Garde, Gronigen; De Appel, Amsterdam, Holland

1977 ”Plan K,“N.A.M.E. Gallery,Chicago Illinois ”Comedy of Pain (The Telephone Rings),“ SUNY at Buffalo, Ny

1976 ”Clamor Clobber Comb,“ Artists Space, N.Y. NY ”Temperate Tantrum,“ 17 White Street, N.Y. NY ”Merely Hearsay,“17 White Street, N.Y. NY

1975 ”Foes v. Foes (A Christmas spectacle),“ The Kitchen, N.Y. NY ”There’s Meat on These Bones,“ The Clocktower, N.Y. NY

1972 ”Moth, Flame, Phoenix (Airplane with television),“ 3675 Clementina Street, San Francisco, CA

Teaching

1983-7 School of Visual Arts, N.Y. NY, foundation drawing

1987 San Francisco Art Institute, SF, California, advanced painting

1986 Parsons School of Design, N.Y. NY, advertising design

Categories: exhibitions

Tags: Michael Mcclard

ZHANG HONGTU

February 19, 2019

Zhang Hongtu Mao, After Picasso, 2012 ink and oil on rice paper and photo collage mounted on canvas 44.5 X 34.5 in. — Zhang Hongtu
*Mao, After Picasso*, 2012
ink and oil on rice paper and photo collage mounted on canvas
44.5 X 34.5 in.

ZHANG HONGTU

Zhang Hongtu was born in Pingliang, China, moved to New York City in 1982. He works in a variety of media, including painting, sculpture, collage, ceramics, digital imaging, and installations. From the mid-1980s to the mid-1990s, Zhang created paintings, sculpture and mixed media installations using the image of Mao Zedong to express his ideas about Communist China and the Culture Revolution (1966-1976). In the past decade, his works began to question the complex relationships between the traditions of old China and the West today, as seen in his large-format Shan Shui paintings, among other works. More recently, his works have focused on the relationship between nature and the human condition.

Zhang has exhibited extensively across the U.S. and abroad. Recent shows include Princeton University Art Museum; Museu Picasso in Barcelona, Spain; The Israel Museum, Jerusalem; The Metropolitan Museum of Art New York, Guggenheim Museum New York and a retrospective at Queens Museum in New York.

Education

1982-1986 Art Students League, New York, NY, USA

1964-1969 Central Academy of Arts and Crafts, Beijing, China

1960-1964 High School Attached to the Central Academy of Fine Arts, Beijing, China

Solo Exhibitions

2018 Culture Mixmaster Zhang Hongtu, The Mariana Kistler Beach Museum of Art, Kansas State University, Manhattan, KS

2015 Zhang Hongtu, Queens Museum, New York, USA

The Journey Begins: Zhang Hongtu 1985‐2004, Tina Keng Gallery, Taipei, Taiwan

2013 On the Road — Zhang Hongtu’s Artistic Journey, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan

2011 Zhang Hongtu: Shan Shui Today, Tina Keng Gallery, Taipei, Taiwan

2007 Zhang Hongtu Recent Paintings, Lin & Keng Gallery, Taipei, Taiwan

2006 Four Seasons: Earth Above and Heaven Below, Lehigh University, PA, USA

2005 Recent Paintings by Zhang Hongtu, Goedhuis Contemporary, New York City, USA

2004 Zhang Hongtu: Selected Works — Visiting Artist Program at Marlboro College, William Holland & Drury Jr. Gallery, Marlboro College, VT, USA

Zhang Hongtu: Dialogue with the Taipei Palace Museum, Lin & Keng Gallery, Taipei, Taiwan

2003 Icon & Innovations: The Cross-Cultural Art of Zhang Hongtu, The Gibson Gallery, State University of New York at Potsdam, New York City, USA

2000 New Paintings, Cheryl McGinnis Gallery, New York City, USA

1999 Repaint Chinese Shan Shui Painting, Yale-China Association, Yale University, New Haven, CT, USA

1998 Zhang Hongtu, New Works, Cheryl McGinnis Gallery, New York City, USA

1996 Reflections Abroad: the Journey of Zhang Hongtu 1982-1996, Anthony Giordano Gallery, Oakdale, NY, USA

Soy Sauce, Lipstick, Charcoal, Hong Kong University of Science and Technology, Hong Kong, China

Chairmen Mao, Groton School, Groton, MA, USA

1995 Zhang Hongtu: Material Mao, The Bronx Museum of the Arts, New York City, USA

1993 Material Mao, Gallery 456, Chinese American Arts Council, New York City, USA

1992 The Angel’s Ghost, Webster Hall, New York City, USA

1985 In the Spirit of Dunhuang, Adams House, Harvard University, MA, USA

1984 In the Spirit of Dunhuang, Asian Arts Institute, New York City, USA

Zhang Hongtu — Recent New York Works, Hammerquist Gallery, New York City, USA

Selected Group Exhibitions

2018 Nobuo Sekine, Zhang Hongtu: Two Rocks, Baahng Gallery, New York, NY

2017 Art and China after 1989: Theater of the World, Solomon R. Guggenheim Museum, New York, NY, USA

Self-Reimagined, Visual Arts Gallery, New Jersey City University, Jersey City, NJ, USA

Embrace or Rebel? Traditional Asian Art Techniques in Contemporary Practice,

Amelie A. Wallace Gallery, SUNY College at Old Westbury, NY, USA

2016 A Brief History of Humankind, Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn, Germany

2015 China: Through the Looking Glass, Metropolitan Museum of Art, New York, NY, USA

After Picasso: 80 Contemporary Artists, Wexner Center for the Arts, Columbus, Ohio, USA

Wild Noise: Artwork from the Bronx Museum, El Museo Nacional de Bellas Artes, Havana, Cuba

A Brief History of Humankind, The Israel Museum, Jerusalem, Israel

Picasso in Contemporary Art, The Hall for Contemporary Art, Deichtorhallen, Hamburg, Germany

2014 Oil and Water: Reinterpreting Ink, Museum of Chinese in America, New York City, USA

Post-Picasso: Contemporary Reactions, Museu Picasso, Barcelona, Spain

2013 Inspired by Dunhuang: Re-Creation in Contemporary Chinese Art, China Institute, New York City, USA

Abu Dhabi Art 2013, Manarat Al Saadiyat, Saadiyat Cultural District, Abu Dhabi, UAE

2012 Abu Dhabi Art 2012, Manarat Al Saadiyat, Saadiyat Cultural District, Abu Dhabi, UAE

2011 ShContemporary, Shanghai Exhibition Center, Shanghai, China

TINA KENG GALLERY BEIJING, Tina Keng Gallery, Beijing, China

East Meets West, Foster Gallery, University of Wisconsin-Eau Claire, WI, USA

2010 Urban Archives: Happy Together, Bronx Museum of the Arts, New York City, USA

East/West: Visual Speaking, Paul and Hillard University Art Museum, University of Louisiana, Lafayette, LA, USA

2009 Here & Now: Chapter II Crossing Boundaries, Museum of Chinese in America, New York City

R/evolution, Tina Keng Gallery, Taipei, Taiwan

Tear down this Wall, National Art Club, New York City, USA

Mythologies of Contemporary Art by Three Artists: Yang Mao-Lin, Zhang Hongtu and Tu Wei-Cheng, Taipei Fine Arts Museum, Taipei, Taiwan

Outside In: Chinese + American + Contemporary + Art, Princeton University Art Museum, New Jersey, NJ, USA

Art, Archive, and Activism: Martin Wong’s Downtown Crossing, 7th Floor Gallery, Asian/Pacific/American Institute at New York University, New York City, USA

2008 Reason’s Clue, Lin & Keng Gallery, Beijing; Queens Museum of Art, Queens, NY, USA

Back to the Garden: Daily Life to Spiritual Vision, Crossing Art Gallery, Queens, NY, USA

New Year Exhibition Opening Ceremony – Space B, Lin & Keng Gallery, Taipei, Taiwan

2007 Grand Opening Exhibition, Lin & Keng Gallery, Beijing, China

Made in China, Louisiana Museum of Modern Art, Humlebæk, Denmark

2006 On the Edge: Contemporary Chinese Artists Encounter the West, Davis Museum and Cultural Center, Wellesley, MA; Indianapolis Museum of Art, IN, USA

Dragon Veins, Contemporary Art Museum, University of South Florida, FL, USA

Travelers Between Cultures, Visual Arts Center of New Jersey, Summit, NJ, USA

Antiquity Modernity: Breaking Traditions, Ethan Cohen Fine Arts, New York City, USA

New Chinese Occidentalism, Ethan Cohen Fine Arts, New York City, USA

2005 The Way to China is the Way to America, Ji Dachun/Zhang Hongtu, Plum Blossoms Gallery, New York City, USA

Trading Place, Museum of Contemporary Art Taipei, Taipei, Taiwan

On the Edge, Cantor Arts Center, Stanford University, CA, USA

2004 Reinventing Tradition in a New World: The Arts of Gu Wenda, Wang Mansheng, Xu Bing, and Zhang Hongtu, Schmucker Art Gallery, Gettysburg, PA, USA

Out of Time, Out of Place, Out of China: Reinventing Chinese Tradition in a New Century, University of Pittsburgh Art Gallery, Pittsburgh, PA, USA

2003 BQE, White Box, New York City, USA

A Brush With History: Contemporary Artists and Chinese Tradition,Newark Museum, NJ, USA

Shuffling the Deck: The Collection Reconsidered, Princeton University Art Museum, NJ, USA

2002 Guangzhou Triennial, Guangzhou, China

All Access, CPC Gallery, New York City, USA

Paris-Pékin, Espace Cardin, Paris, France

AJITA-Unconquerable, the Station, Houston, TX, USA

ConversASIAN, National Gallery, Cayman Islands

In Memory, the Art of Afterward, Sidney Mishkin Gallery, New York City, USA

Queens International, Queens Museum of Art, Queens, NY, USA

2001 Cross+Overs, Market Gallery, Johannesburg, South Africa

Unknow-Infinity, Taipei Gallery, New York City, USA

China Without Borders, Sotheby’s Gallery, New York City, USA

2000 Lineage, d.u.m.b.o. Arts Center, New York City, USA

Crossing the Line, CSPS, Cedar Rapids, Iowa, USA

Word and Meaning, University at Buffalo Art Gallery, Buffalo, NY, USA

Conceptual Ink, Ethan Cohen Fine Arts, New York City, USA

1999 TRANSIENCE, Chinese Experimental Art at the End of the Twentieth Century, Smart Museum of Art, University of Chicago, IL; University of Oregon Museum of Art, Eugene, OR; the Hood Museum of Art, Dartmouth College, Hanover, NH, USA

1998 Global Roots: Chinese Artists Working in New York, Purdue University, IN, USA

Kunming, New York, Montréal, OBSERVATOIRE 4, Quebec, Canada

1997 Kimchi Xtravaganza!, Korean American Museum, Los Angeles, CA, USA

1996 Icons of Power, Eighth Floor Gallery, New York City, USA

1995 Body Language, Jamaica Arts Center, NY, USA

Other Choices/Other Voices, Islip Museum, Long Island, NY, USA

Between East and West, The Discovery Museum, Bridgeport, CT, USA

1994 Small World-Small Works, Galerie + Edition Caoc, Berlin, Germany

The Fifth Biennial of Havana, Havana, Cuba

Ad-Vance, Pfizer Corp. N.Y., curated by the Museum of Modern Art, NY, USA

Beyond the Borders: Art by Recent Immigrants, Bronx Museum of the Arts, NY, USA

China June 4th 1989, Buckham Gallery, Flint, MI, USA

1993 Teddy Bear, Potato, Lipstick and Mao, Art in General, New York City, USA

Word!, Jamaica Arts Center, NY, USA

Reflections for Peace, Mexic-Arte Museum, Austin, TX, USA

The Curio Shop, Artists Space, New York City, USA

1992 Four Artists from China, American Museum of Natural History, New York City, USA

China June 4th 1989, Cleveland Institute of Art, OH, USA

China June 4th 1989, Mexic-Arte Museum, Austin, TX, USA

1991 From ‘Star Star’ to Avant Garde-Nine Artists from China, Asian American Art Center, New York City, USA

Changing Cultures, Hamilton College and Baruch College, New York City, USA

Dismantling Invisibility, Art in General, New York City, USA

Syncretism, Alternative Museum, New York City, USA

1990 Selection, Artists Space, New York City, USA

Harvest 2001, Aljira Center for Contemporary Art, NJ, USA

The Decade Show (with the Epoxy Group), New Museum, New York, NY, USA

China June 4th 1989, PS1 Contemporary Art Center, New York City, USA

1989 China June 4th 1989, Blum Helman Warehouse, NY, USA

Uptown/Downtown, City Gallery, New York City, USA

Fusion Art, Ludwig Museum, Köln, Germany

1988 Thirty-Six Tactics, Alternative Museum, New York City, USA

Eight Artists from China, The Palladium, New York City, USA

1987 Epoxy Slide Exhibition, Red Dot Outdoor Theater, New York City, USA

Artists from China — New Expressions, Sarah Lawrence College, NY, USA

1986 Roots to Reality II, Henry Street Settlement, New York City, USA

1985 Roots to Reality I, Henry Street Settlement, New York City, USA

1984 The New Generation, Hammerquist Gallery, New York City, USA

1983 Eye to Eye, Asian Arts Institute, New York City, USA

Kaminokawa Modern Art Exhibition, Yokohama, Japan

Painting the Chinese Dream, Brooklyn Museum, NY and City Hall, Boston, MA, USA

1982 Faces of China, American International College, Springfield, MA, USA

1980 Contemporary Artists, Beijing, China

Selected Bibliography

Books

Lee and Silbergeld, ZHANG HONGTU, Expanding Visions of Shrinking World

DUKE University Press and Queens Museum

Kaohsiung Museum of Fine Arts. On the Road: Zhang Hongtu’s Artistic Journey. Kaohsiung: Kaohsiung Museum of Fine Arts, 2013.

The Ten Ox-Herding Pictures: Chan Master Kuo-an Shih-yuan, Song Dynasty, Reproduced by Zhang Hongtu. Taipei: TKG Foundation for Arts & Culture, 2014.

Zhang, Hongtu, and Jerome Silbergeld. Zhang Hongtu: An On-going Painting Project. New York: On-going Publications, 2000.

Zhang Hongtu: The Art Of Straddling Boundaries. Taipei: Lin & Keng Gallery, Inc., 2007.

Chapters or Sections of Books

Andrews, Julia F., and Kuiyi Shen. “No U-turn: Chinese Art after 1989.” In The Art Of Modern China, 257–77. Los Angeles: The Regent of the University of California, 2012.

Barmé, Geremie R. Shades of Mao: The Posthumous Cult of the Great Leader, 46, 215. New York: M. E. Sharpe, Inc., 1996.

Barmé, Geremie R., and Linda Jaivin. Introduction to New Ghosts, Old Dreams: Chinese Rebel Voices, xxvi. New York: Times Books, 1992.

Callahan, William A. “Gender, Democracy and Representation: Asian Revolutionary Images.” In Gendering the International, edited by Louiza Odysseos and Hakan Seckinelgin, 167–68. New York: Millennium, 2002.

Clarke, David. “Reframing Mao: Aspects of Recent Chinese Art, Popular Culture and Politics.” In Art & Place: Essays on Art from a Hong Kong Perspective, 236–49. Hong Kong: Hong Kong University Press, 1996.

Chang, Alexandra. “Once More: Is There An Asian American Aesthetic?” In Envisioning Diaspora: Asian American Visual Arts Collectives, 98–109. Beijing: Timezone 8 Limited, 2009.

Chang, Arnold. “From Fengshui to Fractals: A User’s Guide to Chinese Landscape Painting.” In ARTiculations: Undefining Chinese Contemporary Art, 33–61. New Jersey: Princeton University Press, 2010.

Chiu, Melissa. “An Expanded Chinese Art History: Internationalization of the Chinese Art World.” In Asian Art History: In the Twenty-First Century, edited by Vishakha N. Desai, 224. Williamstown: Sterling and Francine Clark Art Institute, 2007.

———. “Theories of Being Outside.” In Breakout: Chinese Art Outside China, 8, 18, 39–72, 113, 212. Milan: Charta, 2006.

Clarke, David. “Revolutions in Vision: Chinese Art and the Experience of Modernity.” In The Cambridge Companion to Modern Chinese Culture, 292–94. Cambridge: Cambridge University Press, 2008.

Cohen, Joan Lebold. “Groups: Contemporaries.” In The New Chinese Painting: 1949–1986, 77. New York: Harry N. Abrams, 1987.

Delue, Rachael Z. “Neither Here Nor There: China, Global Culture, and the End of American Art.” In ARTiculations: Undefining Chinese Contemporary Art, 257. New Jersey: Princeton University Press, 2010.

Dutton, Michael. Streetlife China, 162–63, 172, 174, 241, 262–65. Cambridge: Cambridge University Press, 1998.

Hallmark, Kara Kelly. “Zhang Hongtu.” In Encyclopedia of Asian American Artists: Artists of the American Mosaic, 261–65. Westport: Greenwood Press, 2007.

Hay, Jonathan. “Zhang Hongtu / Hongtu Zhang: An Interview.” In Boundaries in China, 280–98. London: Reaktion Books, 1994.

He, Xin. “Wheels: What’s New?” In New Ghosts, Old Dreams: Chinese Rebel Voices, 409. New York: Times Books, 1992.

Huot, Claire. “China’s Avant-Garde Art: Differences in the Family.” In China’s New Cultural Scene: A Handbook of Changes, 126–41. Durham: Duke University Press, 2000.

Kwon, Sowon. “Potatoes, Teddy Bears, Lipsticks, and Mao.” In Art in General Manual 1993–1994. New York: Art In General, Inc., 1994.

Lao, She. “Wheels: A Big Confucius and Little Emiles.” In New Ghosts, Old Dreams: Chinese Rebel Voices, 404. New York: Times Books, 1992.

Lim, Michelle. “Cultural Iconography as Style.” In Outside In: Chinese x American x Contemporary Art, 270–81. New Jersey: Princeton University Art Museum, 2009.

Lin, Xiaoping. “Globalism or Nationalism?” In Children of Marx and Coca-Cola: Chinese Avant-Garde Art and Independent Cinema, 72. Honolulu: University of Hawaii Press, 2009.

———. “Globalism or Nationalism?” In Global Visual Cultures: An Anthology, 9–26. West Sussex: Wiley-Blackwell, 2011.

Liu, Changhan. The Chinese Overseas Art Icons of The 100 Years, 150–51. Taipei: Artist Publication, 2000.

Liu, Xiaobo. “Wheels: On Solitude.” In New Ghosts, Old Dreams: Chinese Rebel Voices, 384. New York: Times Books, 1992.

McCausland, Shane. Introduction and Epilogue in Zhao Mengfu: Calligraphy and Painting for Khubilai’s China, 3, 333–37. Hong Kong: Hong Kong University Press, 2011.

Mittler, Barbara. “Mao Wherever You Go: The Art of Repetition in Revolutionary China.” In A Continuous Revolution: Making Sense of Cultural Revolution Culture, 298, 299, 300–1, 311, 326–27, 306, 315. London: Harvard University Asia Center, 2012.

Ngai, Jimmy S. Y., “The Cry: Tiananmen Days.” In New Ghosts, Old Dreams: Chinese Rebel Voices, 76, 93. New York: Times Books, 1992.

Purtle, Jennifer. “Whose Hobbyhorse?: Loading the Deck.” In Chinese Landscape Painting as Western Art History, 5–8. Hong Kong: Hong Kong University Press, 2010.

Schell, Orville. Mandate of Heaven: A New Generation of Entrepreneurs, Dissidents, Bohemians, and Technocrats Lays Claim to China’s Future, 290–91. New York: Simon & Schuster, 1994.

Silbergeld, Jerome. “An Outsider’s Outsider Comes In.” In Outside In: Chinese x American x Contemporary Art, 257–69. New Jersey: Princeton University Art Museum, 2009.

———. “Facades: The New Beijing and Unsettled Ecology of Jia Zhangke’s The World.” In Chinese Ecocinema: In the Age of Environmental Challenge, edited by Sheldon H. Lu and Jiayan Mi, 122. Hong Kong: Hong Kong University Press, 2009.

———. “The Space Between: Cross-Cultural Encounters in Contemporary Chinese Art.” In Xu Bing and Contemporary Chinese Art: Cultural and Philosophical, edited by Hsingyuan Tsao and Roger T. Ames, 177–98. New York: State University of New York Press, 2011.

Sullivan, Michael. Art and Artists of Twentieth Century China, 232, 271. Berkeley and Los Angeles: University of California Press, 1996.

Tam, Vivienne. “MAO ART: Interview with Zhang Hongtu.” In China Chic, 92–4. New York: HarperCollins, 1999.

Tu, Thuy Linh Nguyen. “Material Mao: Fashion Histories Out of Icons.” In The Beautiful Generation: Asian Americans and the Cultural Economy of Fashion, 145–48, 156–64. Durham: Duke University Press, 2011.

Valjakka, Minna. “Parodying Mao: Earliest Existing Caricatures of Mao.” In Many Faces of Mao Zedong, 170. Helsinki: University of Helsinki, 2011.

Vine, Richard. “The Scene Now: Chapter 6.” In New China New Art, 198, 199, 206. New York: Prestel, 2008.

Yang, Alice. “Review: A Group Show: We Are the Universe.” In Why Asia?: Contemporary Asian and Asian American Art, 62. New York: New York University Press, 1998.

Zhang, Hongtu. “Blurring the Boundary Between Yesterday and Today, for Tomorrow.” In ARTiculations: Undefining Chinese Contemporary Art, edited by Jerome Silbergeld and Dora C. Y. Ching, 212–31. New Jersey: Princeton University Press, 2010.

———. “Live to Tell: I Don’t Want to Do Anything Pure.” In Transculturalism: How the World Is Coming Together, edited by Claude Grunitzky with Trace Magazine Contributors, 236–37. New York: True Agency, 2004.

Journal Articles

ART/LIFE Doubletree by Hilton Hotel Boston-Downtown 241. Ventura: ARTLIFE, 2002.

“The Black Hole Art of Zhang Hongtu.” Postcolonial Studies 2, no. 2 (1999): 121, 165–69.

Bordeleau, Erik. “Le Political Pop: Un Art Profanatoire?” Etc.: Revue de l’Art Actuel 91 (2010–11): 21–25.

Boucher, Madeleine. “Beyond Pop: Imagery and Appropriation in Contemporary Chinese Art.” Columbia East Asia Review vol. 2 (2009): 37–55.

Callahan, William A. “Vision of Gender and Democracy: Revolutionary Photo Albums in Asia.” Journal of International Studies, vol. 27, no. 4 (1998): 1031–60.

Cline, Rob. “Mao Isn’t Just for Breakfast Anymore.” Icon (June 8, 2000).

Cohn, Don J. “Cultural Imports: Sotheby’s Brings Chinese Contemporary Art to New York.” Art Asia Pacific 48 (2006): 56–7.

Cornand, Brigitte. “Around the World.” Art Press International Edition 185 (1993): 69.

Dudek, Ingrid. “Mao in Contemporary Chinese Art.” Andy Warhol’s Mao, auction catalog (New York: Christie’s, 2006).

Erickson, Britta. “The Contemporary Artistic Deconstruction—and Reconstruction—of Brush and Ink Painting.” Yishu: Journal of Contemporary Chinese Art vol. 2, no. 2 (2003): 82–9.

“Face of Protest.” US News & World Report (September 18, 1989): 13.

Fang, Lizhi, and Richard Dicker. “Portraits of Oppression: A Leading Dissident Decries the Continued Atrocities in China.” The Sciences vol. 32, issue 5 (1992): 16–21.

Goodman, Jonathan. “Exhibition Review: Zhang Hongtu at the Bronx Museum of the Arts.” Asia-Pacific Sculpture News vol. 2, no. 2 (1996): 57–8.

———. “How Chinese Is It?” Architrave: A Journal of the Arts (1997): 43–6.

———. “Shuffling the Deck.” Art AsiaPacific 38 (2003): 84–5.

———. “Zhang Hongtu.”Art AsiaPacific 15 (1997): 91.

Hay, Jonathan. “Ambivalent Icons.” Orientations (July 1992).

Hollow, Michele C. “Access to Art.” Summit Magazine Holiday Issue (2006): 44–9.

Hunter, Felicia. “Exhibit Features Works of Chinese Artist Who Mixed Western and Eastern Styles and Symbols.” Yale Bulletin and Calendar vol. 28, no. 7 (1999).

Jacoby, Russell. “Whither Marxism?” Transition: An International Review 69 (1996): 100–15.

Kaylan, Melik. “Dealer’s Choice.” House and Garden (April 1999): 92.

Kelley, Robin D. G., and Betsy Esch. “Black Like Mao: Red China and Black Revolution.” Souls: A Critical Journal of Black Politics, Culture, and Society vol. 1, no. 4 (1999): 8–11.

Kumagai, Isako. “Chinese Artists in New York.” Bulletin of Museum of Contemporary Art, Tokyo 9 (2003): 15–16.

———. “Zhang Hongtu and Ji Yunfei, Chinese Artists in New York City.” Saitama University Review vol. 46 (2010): 79–88.

Lago, Francesca Dal. “Personal Mao: Reshaping an Icon in Contemporary Chinese Art.” Art Journal vol. 58, no. 2 (1999): 54.

Lee, Robert. “Editorial.” Artspiral vol. 6 (1992): 3.

Levin, Gail. “Changing Cultures: The Recent Immigration of Chinese Artists to the U.S.” Asian Art News vol. 4, no. 5 (1994): 70–73.

———. “Immigrant Artists from China at Baruch College Gallery.” Art Times (May 1991): 10–11.

Lin, Edward. “Censored!” Transpacific (June 1994): 58–61.

Marcus, David. “The Museum Takes on the Museum: Art Exhibition Offers New Perspectives on Familiar Works.” Princeton Alumni Weekly (March 26, 2003).

Newman, Cathy. “Culture: Mao Now.” National Geographic vol. 213, no. 5 (2008): 100–1.

Ng, Elaine W. “Artists on Spirituality.” Art Asia Pacific 51 (2007): 91.

Pappas, Ben. “Boppa um Mao Mao.” Forbes (January 26, 1998).

Pollack, Barbara. “China’s Desert Treasure.” Art News vol. 112, no. 11 (2013): 74–81.

Schell, Orville. “Once Again, Long Live Chairman Mao.” Atlantic (December 1992).

Shen, Kuiyi. “Landscape as Cultural Consciousness in Contemporary Chinese Art.” Yishu: Journal of Contemporary Chinese Art vol. 2, no. 4 (2003): 33–40.

“Shuffling the Deck: The Collection Reconsidered.” Asian Art: The Newspaper for Collectors, Dealers, Museums and Galleries (March 2003).

Snow, Crocker. “Graphic Expressions of Protest.” The World Paper (October 1989).

Takahashi, Corey. “Art Imitates Queens Life—Museum Exhibit Mixes Global Spirit and Local Diversity.” Newsday (September 20, 2002).

Tallmer, Jerry. “Chinese Works Bound & Unbound for Glory.” New York Post (May 10, 1991).

Weyburn, Jennifer A. “Drawing on East and West.” The Yale-China Review Centennial Issue, vol. 7, no. 3 (2002): 10–15.

Wojciechowski, Leigh Ann. “Chinese Artists: Reinventing Tradition.” Pitt Magazine (Fall 2004): 3–4.

Wu, Hung. “Afterword: ‘Hong Kong 1997’—T-shirt Designs by Zhang Hongtu.” Public Culture vol. 9, no. 3 (1997): 417–25.

Yang, Alice. “Group Show at Haenah-Kent Gallery.” Asian Art News vol. 4, no. 2 (1994): 94–5.

Zhu, Lillian. “Zhang Hongtu.” Asian Voices: Destiny vol. 7 (1994): 26–30.

Newspaper Articles

Alonso, Nathalie. “Back to the Garden: Daily Life to Spiritual Vision.” Queens Chronicle, April 17, 2008.

“Artist Famed for Mao’s Image Visits Hong Kong.” Hong Kong Standard, April 24, 1996.

Bischoff, Dan. “Making It Big: Summit Gallery Spotlights Massive Culture-Blending Creations by the China-born.” The Star-Ledger, September 29, 2006.

“Bridging the Cultural Gap.” The Citizen, January 15, 2001.

Cheung, Denise. “Art Meets Science in Bold Exhibition.” South China Morning Post, May 9, 1996.

Cotter, Holland. “Art in Review.” New York Times, June 22, 2001.

Cullinan, Helen. “A Great Wall of Protest: ‘China 1989’ Exhibit Speaks Tellingly on Human Rights.” The Plain Dealer, August 27, 1992.

Dao, James. “From Shanghai to Soho: For Chinese Expatriates, It’s Art for Heart’s Sake.” Daily News, October 29, 1989.

———. “Lady in Square Reborn: Student Symbol to Stand in N.Y.” Daily News, June 8, 1989.

D’Arcy, David. “Artist’s Pointed Critique Is Barred from Beijing.” Wall Street Journal, August 21, 2008.

Dunning, Jennifer. “The Dance: ‘Silk Road,’ by Miss Yung.” New York Times, April 8, 1984.

Fisher, Harry. “East Meets West in Color.” The Morning Call, April 7, 2006.

Francia, Luis H. “Tiananmen Show Gutted.” Village Voice, July 31, 1990.

Genocchio, Benjamin. “Sampling the Diverse Output of Artists from China: An Exhibition in Summit Touches on Issues of Identity and Culture Shock.” New York Times, October 15, 2006.

Glueck, Grace. “Art in Review.” New York Times, April 29, 2005.

Harrison, Helen A. “A Painter’s Images of Mao as Reflected in a Changing China.” New York Times, November 10, 1996.

———. “ ‘This Is Long Island,’ Without Any Automobiles or People.” New York Times, April 16, 1995.

Hernandez, Barbara. “East Meets West in Baruch Art Gallery.” Ticker Perspectives, May 8, 1991.

Johnson, Ken. “A Pluralist Exhibition in the Plural Borough.” New York Times, August 23, 2002.

Johnson, Patricia C. “The Station Offers ‘Space’ for Humanistic Self-Expression.” Houston Chronicle, September 14, 2002.

Lee, Robert. “Zhang Hongtu.” Village Voice Art Issue, Spring 1989.

Lovelace, Carey. “Memories of Mao: An Emigré Focuses on the Chairman.” Newsday, November 8, 1996.

Mangaliman, Jessie. “Brushes Wielded Against Terror at Home.” New York Newsday, June 23, 1989.

Mimoni, Victor G. “Flushing Art Show Makes Smiles Bloom.” Queens Courier, March 13, 2008.

Morano, Marylou. “Chinese Artists Travel Between Cultures at VACNJ.” The Westfield Leader And The Scotch Plains—Fanwood TIMES, October 5, 2006.

“Newton Display Driven by Notion of Art for All.” Sunday Independent, January 21, 2001.

Parris, Sharon. “Changing Culture: Chinese Artists.” The Reporter, May 1991.

Pellett, Gail. “Mao’s Scorched Flowers Go West: Is There Art After Liberation?” Village Voice, May 13, 1986.

“Ping-Pong with Chairman Mao.” The Gazette, May 5, 2000.

Raven, Arlene. “Days with Art.” Village Voice, October 5, 1993.

Sand, Olivia. “Profile: Zhang Hongtu.” Asian Art: the Newspaper for Collectors, Dealers, Museums and Galleries, January 2011.

Schwendener, Martha. “Centuries Apart, Cultures Speak to Each Other.” New York Times, August 12, 2012.

“Spirit of Tiananmen Square.” Akron Beacon Journal, August 30, 1992.

Sugarman, Raphael. “Art Across Cultures.” Daily News, April 4, 1994.

Vogel, Carol. “A New Art Capital, Finding Its Own Voice.” New York Times, December 7, 2014.

Weiss, Birti. “Alle Eksisterer for Min Skyld.” Weekendavisen Boger, June 17–23, 2005.

Zimmer, William. “Statement from the Chinese After Tiananmen Square.” New York Times, November 6, 1994.

Exhibition Catalogues

Solo

Dialogue With the Taipei Palace Museum: Zhang Hongtu Solo Exhibition. Taipei: Lin & Keng Gallery, 2004.

Icons & Innovations: The Cross-Cultural Art of Zhang Hongtu. New York: The Gibson Gallery, 2003.

In the Spirit of Dunhuang: Studies by Zhang Hongtu. New York: Asian Arts Institute, 1984.

Recent Paintings by Zhang Hongtu. New York: Goedhuis Contemporary, 2005.

Zhang Hongtu: Material Mao. New York: The Bronx Museum of the Arts, 1996.

Zhang Hongtu: Recent Paintings. Taipei: Lin & Keng Gallery, 2007.

Zhang Hongtu: Shan Shui Today. Taipei: Tina Keng Gallery, 2011.

Group

AJITA. Houston: INERI Foundation, 2002.

Art and China’s Revolution. New York: Asia Society, 2008.

The Art of Justice: Part II. White Plains: Krasdale Gallery, 1995.

Artists from China—New Expressions. New York: Sarah Lawrence College Art Gallery, 1987.

Back to the Garden: Daily Life to Spiritual Vision. New York: Crossing Art, 2008.

Beyond the Borders: Art by Recent Immigrants. New York: The Bronx Museum of the Arts, 1994.

Changing Cultures: Immigrant Artists from China. New York: Baruch College, City University of New York, 1992.

CHINA June 4, 1989: An Art Exhibition. Flint: Buckham Gallery, 1994.

China Onward: The Estella Collection—Chinese Contemporary Art, 1966–2006. Denmark: Louisiana Museum of Modern Art, 2007.

China Without Borders: An Exhibition of Chinese Contemporary Art. New York: Goedhuis Contemporary, 2001.

Chinese Painting Collection of Guy Ullens de Schooten. Beijing: The Palace Museum, 2002.

Collection Remix. New York: The Bronx Museum of the Arts, 2005.

Contemporary Art: Travel Diary. Montreal: Galerie Observatoire 4, 1998.

Contemporary Combustion: Chinese Artists in America. New Britain: New Britain Museum of American Art, 2007.

The Decade Show: Frameworks of Identity in the 1980s. New York: Museum of Contemporary Hispanic Art, The New Museum of Contemporary Art, and The Studio Museum in Harlem, 1990.

Dragon Veins. Tampa: Contemporary Art Museum at University of South Florida, 2006.

East/West: Visually Speaking. Lafayette: Paul and Lulu Hilliard University Art Museum, 2010.

Exhibition of Chinese American Artists. Taipei: American Institute in Taiwan, 2000.

Global Roots: Artists from China Working in New York. West Lafayette: Purdue University, 1998.

Godzilla: The Asian American Arts Network. New York: Artists Space, 1993.

Here + Now: Chinese Artists in New York. New York: Museum of Chinese in America, 2009.

Hypallage: the Post-Modern Mode of Chinese Contemporary Art. Shenzhen: OCT Art & Design Gallery, 2008.

In Memory—the Art of Afterward: An International Exhibition of Works Reflecting on Loss and Remembrance. New York: The Legacy Project, 2002.

Inspired by Dunhuang: Re-creation in Contemporary Chinese Art. New York: China Institute, 2013.

Inter Mediate: Selected Contemporary Chinese American Art. New Jersey: The College of New Jersey Art Gallery, 2011.

Kimchi Xtravaganza!: A Multidisciplinary Showcase About Kimchi. Los Angeles: Korean American Museum, 1998.

Mythologies of Contemporary Art by Three Artists: Zhang Hongtu, Yang Maolin and Tu Weicheng. Taipei: Taipei Fine Arts Museum, 2009.

New Chinese Occidentalism: Chinese Contemporary Art in New York. New York: Ethan Cohen Fine Arts, 2005.

Oil & Water: Reinterpreting Ink. New York: Museum of Chinese in America, 2014.

On the Edge: Contemporary Art from Indonesia and China. Jakarta: The Pakubuwono Residence/Bank Mandiri PRIORITAS, 2004.

On the Edge: Contemporary Chinese Artists Encounter the West. Stanford: Iris & B. Gerald Cantor Center for Visual Arts, 2006.

Out of Time, Out of Place, Out of China: Reinventing Chinese Tradition in a New Century. Pittsburgh: The University Art Gallery, University of Pittsburgh, 2005.

Outside In: Chinese x American x Contemporary Art. New Jersey: Princeton University Art Museum, 2009.

Paris-Pékin. Paris: Chinese Century, Ullens and Asiart Archive, 2002.

The Pavilion of Realism. Beijing: Other Gallery, 2010.

Post-Mao Dreaming: Chinese Contemporary Art. Massachusetts: Smith College Museum of Art, 2009.

Post-Picasso: Contemporary Reactions. Barcelona: Museu Picasso, 2014.

Reason’s Clue. New York: Queens Museum of Art, 2008.

Reboot: The Third Chengdu Biennale. Chengdu: Chengdu Contemporary Art Museum, 2007.

Re-do China. New York: Ethan Cohen Fine Arts, 2003.

Reinventing Tradition in a New World: The Arts of Gu Wenda, Wang Mansheng, Xu Bing and Zhang Hongtu. Pennsylvania: Schmucker Art Gallery, 2004.

Revolution. New York: China Square Publishing Inc., 2007.

R/evolution. Taipei: Tina Keng Gallery, 2009.

The Revolution Continues: New Art from China. London: Saatchi Gallery, 2008.

Roots to Reality II: Alternative Visions. New York: Alliance for Asian American Arts and Culture, and Henry Street Settlement, 1986.

Selections: Aljira & Artists Space. New York: Artists Space, 1990.

Shuffling the Deck: The Collection Reconsidered. Princeton: Princeton University Art Museum, 2003.

Syncretism: The Art of the XXI Century. New York: Alternative Museum, 1991.

Tiananmen Memorial Art Exhibit. New York: Congressional Human Rights Foundation, 1990.

Trading Place: Contemporary Art Museum. Taipei: Museum of Contemporary Art, 2005.

Transcultural New Jersey: Diverse Artists Shaping Culture and Communities. New Jersey: Jane Voorhees Zimmerli Art Museum, 2004.

Transience: Chinese Experimental Art at the End of the Twentieth Century. Chicago: The David and Alfred Smart Museum, 1999.

Travelers Between Cultures: Contemporary Chinese Artists in New York. New Jersey: Visual Art Center of New Jersey, 2006.

Unknown/Infinity: Culture and Identity in the Digital Age. New York: Taipei Gallery, 2001.

Urban Archives: Happy Together. New York: The Bronx Museum of the Arts, 2011.

Word and Meaning: Six Contemporary Chinese Artists. University at Buffalo Art Gallery, 2000.

Works by Zhang Hongtu. Hong Kong: The HKUST Center for the Arts, 1996.

SPOTLIGHT

Play Video

Art and Ideology: A Conversation with Artist Zhang Hongtu

A Zoom conversation between the gallery artist Zhang Hongtu and Jamie Kwan, the assistant director of the Wende Museum, on Tuesday, January 17, 2023

One of the most important contemporary Chinese artists, Zhang Hongtu, combines Chinese and Western art elements. On January 11, 2023, the Wende Museum in CA hosted “Art and Ideology: A Conversation with Artist Zhang Hongtu,” a Zoom conversation between the artist and Jamie Kwan, the museum’s assistant curator. Zhang discussed his experience living through the Cultural Revolution and its effect on his art, especially his iconic “Material Mao” and “Long Live Chairman Mao” series, which were exhibited at the gallery in ZHANG HONGTU: I DARE TO MATE A HORSE WITH AN OX on September 27 – November 16, 2019.