WOLF KAHN
Lucy Bump's Barn , 1981
Oil on canvas
24. 25 x 36 in. (61.59 x 91.44 cm)
Lucy Bump's Barn , 1981
Oil on canvas
24. 25 x 36 in. (61.59 x 91.44 cm)
MR.
Untitled, 2012
Acrylic on snowboard
Unique
12.5 x 60.5 in. (31.75 x 153.67 cm)
Related:
BEAUFORD DELANEY
Untitled , 1961
Acrylic and water color on paper
26 x 20 in. (66 cm x 50.8 cm)
Related:
NAOMI SAVAGE
![Naomi Savage, Untitled [ice covered three limbs]](https://www.baahng.com/imgs/elementor/thumbs/iced_treeLimb_Naomi_Savage_Baahng-oot1i50wbvcd4w3psrj2xc96sa5917x4442haejzeo.jpg)
Untitled [ice covered three limbs], n.d.
Photograph mounted on board
9.37 x 9.62 in. (23.79 x 24.43 cm)
![Naomi Savage, Untitled [Multi colored gloves]](https://www.baahng.com/imgs/elementor/thumbs/MultiColoGloves_Naomi_Savage_Baahng-oot1i6wkpjexs40zhscc2bs3z1vzgm4ksddg8yh728.jpg)
Untitled [Multi colored gloves], 1993
Photograph with multi colored puffy paint
13.5 x 10.5 in. (34.29 x 26.67 cm)
![Naomi Savage, Untitled [Smiling Marcel Duchamp and Man Ray]](https://www.baahng.com/imgs/elementor/thumbs/smailing_Duchamp_ManRay_Naomi_Savage_Baahng-oot1ianxgvk32jvivtyucatycldgbeji4vze62bmdc.jpg)
Untitled [Smiling Marcel Duchamp and Man Ray], n.d.
Photograph
7.37 x 7.25 in. (18.71 x 18.41 cm)
![Naomi Savage, Untitled [abstract]](https://www.baahng.com/imgs/elementor/thumbs/Abstract_Naomi_Savage_Baahng-oot1i0bpdp5xiuajk7hy2vfvtcseyqegfgt1w0qy9s.jpg)
Untitled [abstract], ca. 1947
Photogram
6 x 6.5 in. (15.24 x 16.51 cm)
![Naomi Savage, Untitled [Marcel Duchamp and Man Ray]](https://www.baahng.com/imgs/elementor/thumbs/Duchamp_ManRay_Naomi_Savage_Baahng-oot1i27drd8i627t98b77uyt04j5e4lx3q40uko5xc.jpg)
Untitled [Marcel Duchamp and Man Ray], n.d.
Photograph
7.25 x 7.37 in. (18.41 x 18.71 cm)
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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.
Related:
![Naomi Savage, Artists All [Duchamp/Man Ray/David Savage]](https://www.baahng.com/imgs/elementor/thumbs/DuchampManRaySavage_Naomi_Savage_Baahng-oorc12ufh7tw80p3innmwaqwug1fbr80uhahqdvr40.jpg)
MAN RAY
Untitled (Knotts Berry Farm, Buena Park), ca. 1940-49
gelatin silver print
9.9 x 7.4 in. (25 x 18.9 cm)
Untitled (Knotts Berry Farm, Buena Park), ca. 1940-49
gelatin silver print
10 x 7.75 in. (25.4 x 19.7 cm)
Untitled (Los Angeles Memorial Coliseum), ca. 1941
gelatin silver print
9.75 x 7.75 in. (24.8 x 19.7 cm)
Mathematical Object (Anthony), 1934-35
gelatin silver print
11.5 x 9.25 in. (29 x 23.5 cm)
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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.
Related:
SOPHIE MATISSE
Chess Set, 2009
Hand painted Chess Set with magnetic board
edition of 8
dimension varies
Untitled, 2009 - 2021
Chess Set with Storage Drawers in wood and Braille in metal studs,
Painted with water based lacquer and epoxy resin
17 (H) x 17 (W) x 4.5 (D) inches
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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)
Related:
Sophie Matisse
Janet Taylor Pickett
Zhang Hongtu
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.
JANET TAYLOR PICKETT
Morning Light, 2024
Acrylic on canvas
48 x 48 in.
Après le Déjeuner, 2024
Acrylic on canvas
48 x 48 in.
In the Still of the Night, 2024
Acrylic on canvas
36 x 36 in.
A Private Conversation, 2024
Acrylic on gessoed Arches paper
36 x 36 in.
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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.
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.
Related:
Janet Taylor Pickett is included in Century: 100 Years of Black Art at MAM
February 9 - July 7, 2024
ZHANG HONGTU
Southern Song, Round Fan, Willow Pavillion, Chess Playing, 2008
oil on linen
55 X 66 in.
Shitao - Van Gogh M., 2008
oil on canvas
32 X 78 in.
Shen Zhon - Monet #2, 1999
oil on canvas
46.5 X 32 in.
Mao, After Picasso, 2012
ink and oil on rice paper and photo collage mounted on canvas
44.5 X 34.5 in.
Six-Pack of Kekou-kele, 2002
Jingdezhen porcelain with underglaze blue designs
Edition of 10 plus 2 AP’s
actual size
Mai Dang Lao, 2002
Cast bronze
Edition of 10 plus 2 AP’s
actual size
Long Live Chairman Mao,1987-1995
Acrylic on Quaker Oats Cereal boxes
Each Unique
actual size
Bada! Bada!!-11, #2, 2011
Oil and mixed media on paper mounted on panel
74 X 68 inch
Landscape, Out of Focus, 2011
Mixed media and oil on paper mounted on canvas
90 X 73 inch
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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
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
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
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.
Related:
SHELTER SERRA
Mario, 2009
Oil on canvas, 24 x 18 in.
John Deere Lawnmower, 2013
Oil on canvas, 21 x 19 in.
Sony Playstation Analog Controller, 2014
House on Fire
installation view
House on Fire
installation view
Fake Gun (Chrome)
2012
Case chrome
5.25 x 8.25 x 1.5 in.
Freeze (Handcuffs)
2016
Nickel plated cast resin
8.25 x 3.5 x .5 in.
McDonald's hat
2013
Copper plated nylon
6.5 x 11 x 5.5 in.
Back Off
2016
Acrylic and ink on canvas
36 x 48 in. (91 x 122cm)
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Education:
1996 MFA, Painting & Printmaking, Rhode Island School of Design, Providence, RI
1994 BA, Studio Art, University of California at Santa Cruz, California
Solo Exhibitions:
2016 “House on Fire”, Baahng Gallery, New York
2016 “ARRAY”, Coburn Projects, London
2014 “Canopy”, Mead Carney Fine Art, London
2013 “Crossfade”, BTW Gallery, Geneva, Switzerland
“Balance of Trade”, Anonymous Gallery, Mexico City, Mexico
“Loaded”, Paul Kasmin Gallery Shop, NYC
2012 “Endless Time”, Beams B Gallery, Tokyo, Japan
2010 “Dark Castle”, David Castillo Gallery Annex, Miami, FL
2009 “Atmosphere”, Fuse Gallery, New York City, NY
2008 “Halfway Between the Gutter and the Stars”, Secret Project Robot, Brooklyn, NY
“Del Monte Gold”, AFP Gallery, New York City, NY
2006 “Pax Americana”, Cystem Gallery, Tokyo, Japan
1999 “Invisible”, Space 1026, Philadelphia, Pennsylvania
2017 “True Grit”, Baahng Gallery, NYC
2015
“Summer Group Show”, Mead Carney FIne Art, London
“From Here”, Bolinas Museum, Bolinas, CA
“A Bi-Coastal Dialogue”, Zener Schon Contemporary Art, Mill Valley, CA
2014 “Pop Sculpture – Pop Culture, Leila Heller Gallery, New York City, NY
“Shock of the New”, Mead Carney Fine Art, Tivat, Montenegro
“What is, Isn’t”, Alan Koppel Gallery, Chicago, IL
2013 “Seventh-Inning Stretch”, Eric Firestone Gallery, East Hampton, NY
2012 “Bad For You”, Shirazu Gallery, London
“Nosebleed”, Fuse Gallery, New York City, NY
“of White”, Nuartlink Gallery, Westport, CT
“Here Lies Georges Wildenstein”, Primary Projects, Miami, FL
2011 “MAKE Skateboards”, I-20 Gallery, New York City, NY
“Domestic Goods”, Eric Firestone Gallery, East Hampton, NY
2010 “Look Again”, Marlborough Chelsea, New York City, NY
“Shred”, Perry Rubenstein Gallery, New York City, NY
“Weight Perception”, Guerrero Gallery, San Francisco, CA
2009 “State of the Art: New York”, Urbis Art Centre, Manchester, England
“Insideout”, Someone’s Garden , Tokyo, Japan
“Sanzaru”, Geisai #12, Tokyo, Japan
2008 “Five Energy, # 3”, Art Space 201, Sapporo, Japan
“You Can Go Your Own Way”, Renwick Gallery, New York City, NY
“Ornament”, Bravin Lee Gallery, New York City, NY
“Big Kids Little Kids”, Cinder’s Gallery, Brooklyn
“Space 1026 Show” 222 Gallery, Philadelphia, PA
2002 “Scratch Off the Serial”, ICA, Philadelphia, PA
“Locomotion”, Maryland Institute of Art, Baltimore, MA
2001 “Sunshine” Alleged Gallery, NYC, New York City, NY
“Flip Book Show”, Space 1026, Philadelphia, PA
1999 “Coup de Etat”, Alleged Gallery, NYC, New York City, NY
Related
“SHELTER SERRA SETS THE HOUSE ON FIRE”, by Ashley W. Simpson
"THE ARTIST’S FIRST SOLO SHOW DISSECTS THE AMERICAN DREAM", FASHION UNFILTERED
November 15, 2016
NAM JUNE PAIK
Beuys Voice
1990
265 x 188 x 95 cm
Directed by Elliot Caplan
Excerpt from Cage/Cunningham in which Nam June Paik talks about cutting off John Cage’s necktie
Courtesy of Cunningham Dance Foundation
Installation view
Nam June Paik, 1965
William S. Wilson Archive
Photo: The John Cage Trust and the John Cage Collection, Northwestern University Music Library
Panel Discussion, Moderated by Kenneth Silverman
Thursday, October 19th 2006, 7pm
Panel Discussion in Paris, Moderated by George Quasha
Saturday, October 28th 2006, 6pm
Filmed by Ira Schneider
Courtesy of Shigeko Kubota
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At the Art Taipei’s invitation for their 2008 Year Project, “Art & Tech – Wandering”, ZONE: Chelsea Center for the Arts presented Nam June Paik’s “Beuys Voice” for the special exhibition during Art Taipei 2008.
Nam June Paik
Beuys Voice
1990
265 x 188 x 95 cm
