Untitled (74-20 Bernstein) 1974
Stainless steel units with red enamel painted backs
Ten units; each 12 x 24 x 14 in. (30.5 x 61 x 35.9 cm.)
Oil on fiberglass panel
Lives and works in Mexico City
Graphic Design, UNIVERSIDAD IBEROAMERICANA, México City
Fashion Design, INITITUTO MARANGONI, Milan, Italy
INSTITUTO ITALIANO DE CULTURA, México City 2018
CENTRO CULTURAL EL OLIMPO, Subasta , Mérida Yuc. 2018
Explanada Angel Independencia Fundación México Vivo 2018
MUSEO ARTE MODERNO Subasta México Vivo 2017
MUSEO ARTE MODERNO “México Vivo” 2016
PALACIO AUTONOMÍA “Pon a rodar mis sueños”, México City 2016
PLAZA LORETO Exposición bicicletas, México City 2016
PINACOTECA Nuevo León “Manos por México” Mt. Mex. 2014
MUSEO DE ARTE MODERNO “México Vivo” 2013
MUSEO ARTE MODERNO “México Vivo” 2012
MUSEO ARTE MODERNO “México Vivo 2011
Demiurg studio by Kai Hilgerman Gallery “LIMBO” 2011
Berlin Germany 2011
MUSEO ARTE MODERNO “México Vivo” 2010
MUSEO ARTE MODERNO “México Vivo” 2009
SUNSHINE INTERNATIONAL ART MUSEUM “Ojos Rojos” Beiijing China 2009
OPEN 798 ART DISTRICT “Ojos Rojos” Beijing China 2009
Centro Alemán de Diseño, México City 2008
Galería Fine Arts Pablo Goebel, México City 2008
Zone Chelsea: Center of the Arts Collections NY 2007
ZONE Chelsea Center of the Arts “Zonema” NY 2006
ATRIO Centro Histórico, México City 2005
OPEN Venice Italy 2005
MUSEO TAMAYO “México Vivo” 2004
PALACIO POSTAL “Proyecto Mural” México City 2004
Galería Sans Filtre “Del Lado de Acá” México City 2004
Galería Sans Filtre “ Del lado de Allá” México City 2004
UNIVERSIDAD IBEROAMERICANA México City 2003
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.
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
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.
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).
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Ng, Elaine W. “Artists on Spirituality.” Art Asia Pacific 51 (2007): 91.
Pappas, Ben. “Boppa um Mao Mao.” Forbes (January 26, 1998).
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“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).
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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.
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.
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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.
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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.
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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.
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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.
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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.
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.
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.
American, b. 1951, Pittsburgh, California, based in the Washington D.C.
Brian Dailey’s work in a variety of mediums including photography, film, installations, and painting engages with the social, political, and cultural issues of our times. His life journey and its many peregrinations since launching his art career in Los Angeles in the 1970s have led him on a path of many surprising twists and turns, encapsulated in his creative vision as a self-described storyteller. Dailey’s art reflects his unconventional evolution as an artist and multifaceted life experiences, which include national level involvement in arms control and international security. The artist’s unusual experiences, which he approached with the same curiosity that has driven his art in diverse media, continue to provide a fertile source of inspiration in his unconventional creative practice such as the global video installation WORDS (2012-2018). Dailey has had solo exhibitions in Los Angeles, New York, Washington D.C., and Bulgaria and participated in a number of group shows in the United States, Europe, and Russia. His mid-career retrospective Declassified: Unraveling a Paradoxtook place at Bulgaria’s National Art Gallery in Sophia in 2014.
Otis Art Institute, MFA, 1975
University of Southern California, PhD 1987 (Arms control, Russian studies, diplomatic history, dissertation on the Anti-Ballistic Missile Treaty)
Brian Dailey’s works are shown at The Rachel M. Schlesinger Arts Center, January 11 – February 8, 2019. Opening reception 5-7pm, January 23. The exhibition is organized The Rachel M. Schlesinger Arts Center in collaboration with the Department of Photography and Media of the Alexandria Campus of NOVA.
DC-Based Artist Brian Dailey Confronts the Overlaps Between Art and Politics After a Career Working in Government and Tech
Brian Dailey: Polytropos, Baahng Gallery, New York, NY
WORDS: Brian Dailey’s Contemporary Tower of Babel, American University Art Museum, Washington DC
An Odyssey: Brian Dailey Digital Work, Dupont Underground, Washington DC
America in Color, Beacon Investment Corporation, Chicago, IL
America in Color, Beacon Investment Corporation, Chicago, IL (through 2017)
America in Color, Beacon Investment Corporation, Washington D.C. (through 2017)
Bulgaria in Democracy, City Art Gallery, Plovdiv, Bulgaria
Bulgaria in Democracy, National Assembly, Sophia, Bulgaria
Declassified: Unraveling a Paradox, National Art Gallery, Sofia, Bulgaria
Jikai, Times Square Art Alliance, Midnight Moment, New York, NY
Tableau Vivant and Project Morpheus, Stephan Stoyanov Gallery, New York, NY
America in Color, Curated by Simon Watson, Stephan Stoyanov Gallery, New York, NY
Absence and Presence: Arts in Foggy Bottom Outdoor Sculpture Biennial, Washington DC
Fathom Experiment #4: Venus is Venus is Venus, Dupont Underground, Washington DC
TOGETHER: The Work of Paula Ballo Dailey and Brian Dailey, Joan Hisaoka Healing Arts Gallery, Washington DC
Alchemical Vessels, Joan Hisaoka Healing Arts Gallery, Washington DC
UP TO US, Pro Humanitate Institute, Wake Forest University, Winston-Salem, NC
GEOMETRIX: Line, Form, Subversion, Curator’s Office @ Gallery 2112, Washington D.C.
Jikai, Recent Acquisitions, The Phillips Collection, Washington D.C. (group exhibition through May 2016)
Domination and Irony, ONE Gallery, Cosmomoscow, Moscow
Steel City Steampunk Exhibition, [Selections from America in Color] Sangre de Cristo Arts and Conference
Center, Pueblo, Colorado
Biennial of Contemporary Art, Sarajevo-Konjic, Bosnia-Herzegovina
Washington Project for the Arts, Select Art Auction Gala, Washington, DC
Portraits, I-20 Gallery, New York, NY