Zhang Hongtu is featured at The Wende Museum

Zhang Hongtu Exhibits at The Wende Museum

 

Zhang Hongtu is featured in (De)constructing Ideology: The Cultural Revolution and Beyond exhibition at The Wende Museum in California, from November 13, 2022 to March 12, 2023.

 

 

The Wende Museum is an art museum, a historical archive of the Cold War, and a center for creative community engagement based in Culver City, CA.  The (De)constructing Ideology: The Cultural Revolution and Beyond exhibition examines the visual culture of the Chinese Cultural Revolution, with a focus on ceramics produced in Jingdezhen.  The exhibition also looks at the afterlife of the movement through contemporary art, wherein Chinese artists have appropriated and adapted the iconic images from this period for their own use today.


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Zhang Hongtu Exhibits at The Wende Museum

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Zhang Hongtu Exhibits at The Wende Museum

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November 27, 2021 - January 22, 2022
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ZHANG HONGTU

Van Gogh/Bodhidharma
March 25 – April 27, 2022

Van Gogh/Bodhidharma (2007 – 2014) by Zhang Hongtu consists of 39 ink paintings created over the course of seven years. They are the Vincent van Gogh self-portraits remade in the style of the classical Zen portraits of the Buddhist monk, Bodhidharma, the founding patriarch of Zen Buddhism. Zhang’s morphing of van Gogh and Bodhidharma into one is a remarkable display of the artist’s masterful ability to dissolve distinctions between two icons. This notion of breaking down impossible barriers has been the lodestar of Zhang’s life and five-decade-long career. As a Muslim outsider in China, then as a Chinese exile in America, Zhang has continually sought, through his works, to disintegrate dividing walls in culture, politics, and time. His works involve thoughtful juxtapositions of critique with humor, and the appropriation of images of authority figures and cultural icons, for the purpose of deflating the power of such formidably divisive influences. His work captures and contemplates a multi-layered discourse on competing ideas and proposes universality and relevancy in unexpected ways. 

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

ZHANG HONGTU:
Zhang Hongtu
Zhang Hongtu, Mai Dang Lao (McDonald’s), 2002, set of 4pcs, cast bronze, edition of 10 plus 2 AP’s, actual size
Zhang Hongtu’s Mai Dang Lao (McDonald’s) was featured on the February 17, 2022 episode of the PBS program, NYC-ARTS.  The February 17, 2022 NYC-ARTS episode presented the “Arts of China” gallery of the Brooklyn Museum, which highlights 5,000 years of Chinese artistic accomplishments.  
In Mai Dang Lao (McDonald’s), a hamburger box, french fries container, a fork, and a knife, are cast in bronze and adorned with traditional Chinese motifs, like the taotie mask, which is typically featured on ancient ritual bronze vases used in Chinese ancestor worship.  Here it is combined with the iconic logo of the fast-food giant, transforming the “Happy Meal” into a Shang Dynasty artifact.  The creative juxtaposition of ancient China with contemporary America, and ritual art with consumer culture, is a whimsical critique of the systems of power.  The artist, Zhang Hongtu, a leader of the Political Pop movement in contemporary Chinese art, lives in Queens, New York, after emigrating from China in the 1980s.  

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If Bison Can Dream by Zhang Hongtu

Zhang Hongtu
Zhang Hongtu
“If Bison Can Dream”, a solo exhibition, by Zhang Hongtu from November 27, 2021 to January 22, 2022 at the TKG Foundation for Arts & Culture, Taipei.
………“Throughout the making of this series, Zhang visited Kansas several times and took thousands of photos of bison and the tallgrass prairies. He also carved reliefs into stones sourced from a local quarry. On view alongside the paintings and sculptures of his latest “Bison Roaming” series is a compilation of unpublished early works, precious manuscripts, and archival documents from his early “Ox” series. By viewing these works together, the viewer will discover the disruptions and transformations of Zhang’s social, environmental, and psychological journeys through his depictions of bison, nature, and the Anthropocene. In addition to the aforementioned works, the gallery will be screening an exclusive documentary by director Fang Xin presenting Zhang’s monologues from before and after his creation of Bison and Cranes, After the Emperor Huizong of Song 907 Years Later, the first work in the “Bison Roaming” series. In the documentary, Zhang Hongtu shares his views on art history, his journey leaving home, and the cultural foundations of his new series.”…………..

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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

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October 10 - November 24, 2020​

Baahng Gallery celebrates its 2020 reopening with More Than One Way Home, an exhibition featuring the gallery’s represented artists: Sophie Matisse, Janet Taylor Pickett, and Zhang Hongtu. The exhibition offers a glimpse into the struggles of the artists and their coming to terms with their individual challenges. Sophie, the great-granddaughter of Henri Matisse and step-granddaughter of Marcel Duchamp, is an American oil painter working in New York City; Janet is an African American multi-media artist working on the West Coast; Hongtu is a Muslim Chinese artist who has been working in New York since 1982. The exhibition acknowledges and affirms that home, for these artists, is not situated in nostalgia. Rather, through a cyclical process of revisitation, they find home in both the present and future potential. More Than One Way Home follows a journey through each artist’s rite of passage in life and is a compelling visualization of distinct, individual expressive forms. Baahng Gallery is open Monday thru Friday, noon to 3pm, and by appointment.



Selected works from Sophie Matisse’s ‘Be Back in Five Minutes’ series are strategically installed in the gallery. Returning to renowned paintings by Gustave Courbet, Marcel Duchamp, Man Ray, Charles Wilson Peale through her unique lens, she appropriates and embellishes upon, or subtracts from, recognizable works from art history. The interplay between absence and presence in these haunting paintings is evocative. Featured as well is her most recent painting, ‘Homeward 1’. In this contemplative autobiographical tondo completed during the pandemic quarantine, the artist positions an errant chess piece peering out over a window ledge into the hazy verdant void, invoking solitude and the uncertain but hopeful future ahead.


‘Mappings of Memory’, a survey showcasing Janet Taylor Picket’s works, introduces selected paintings, collages, sculptures, and quilts from the 1990s through 2020. Her experiential work chronicles her journey as an African American woman, daughter, mother, and artist. Images drawn from art history, Africa, America and Europe, past and present, coexist in her often-ornate collages and paintings, defying linear timeframes and logical geographic or cultural relationships. The inclusion of the shipping crates in which the works were transported to the gallery adds a poignant historical dimension to the installation, referencing both her personal odyssey and that of her ancestors. The suggestive titles of the works on view reflect her creative vision: ‘Spirit Catchers', ‘Hot House', 'Melon Dress’, 'Exotica Botanica’, ‘Thoughtful Resilience’, and ‘She Has An Agency,’ the latter produced in 2020. These works constitute the artist’s confessional narrative circling back with newly found wisdom in life as well as in art. More Than One Way Home inaugurates Pickett’s representation with Baahng Gallery and presents her first New York exhibition.


Zhang Hongtu’s video, ‘Van Gogh/Bodhidharma’, is the centerpiece of his installation. This mesmerizing video production builds on his seven-year project (2007 – 2014), a set of 39 ink paintings that rework Van Gogh’s 39 extant self-portrait oil paintings in the style of classical Zen portraits of Bodhidharma. Revealed in both this video and the original endeavor upon which it was based are parallels in the lives and aesthetics of Zhang and Van Gogh. The artist compels viewers in both iterations of this project to reconsider Van Gogh’s fascination with Asian aesthetics, registering a more philosophical connection and inner resonance between the European post-impressionist artist and the East. Reflecting upon this project, Zhang expresses his approach as one that ‘dares to mate a horse with an ox’. Framing the video are wall texts quoting provocative passages from Van Gogh’s letters to his brother Theo and to Paul Gauguin. More Than One Way Home marks the launch of Zhang’s visionary ‘Van Gogh/Bodhidharma Project’—a quixotic effort to unite his ink paintings with the original painted portraits—and announces his official gallery representation with Baahng Gallery.

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 About the Bison Series by Zhang Hongtu and Four Poems by Mai Mang published at CUNY FORUM 8

   

Corona ConversationsEAST & WEST

 

CUNY FORUM Volume 8:1 (2020)

 

An Online International Edition

 

Each month in May, June & July 2020, CUNY FORUM will feature essays; analysis; literary, artistic, and poetic responses; conversations and community resources around the global COVID-19 pandemic from comparative Asian American and Asian perspectives. Contributing writers hail from, or originate in the U.S., Peoples Republic of China, Taiwan, Philippines, India, Sri Lanka, Macao, etc.

 

Source:

https://aaari.info/cuny-forum-8-hongtu/

https://aaari.info/cuny-forum-8-mang/

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Zhang Hongtu at “Godzilla vs. The Art World: 1990-2001”, MOCA NYC

   

Zhang Hongtu’s works will be shown at the exhibition, Godzilla vs. The Art World: 1990-2001, at The Museum of Chinese in America (MOCA) in New York City: May 13 – September 12, 2021

.

Press Release at the MOCA NYC.

 

Godzilla vs. The Art World: 1990-2001

May 13 – September 12, 2021

 

Godzilla vs. The Art World: 1990-2001 will examine the work of Godzilla: Asian American Art Network, which launched a generation of young artists and curators. It catalyzed a needed political and aesthetic conversation at a critical time in the histories of alternative arts, “multiculturalist” politics, and the shifting Asian diaspora. And it produced a body of exhibitions, collaborative projects, critical writing, and connections that reshaped the contours of American art.

Godzilla: Asian American Art Network was founded by curator Margo Machida and artists Bing Lee and Ken Chu in 1990 in New York, taking the name of the feared Japanese pop monster. Their goal was to “establish a dynamic forum” to “foster information exchange, mutual support, documentation, and networking among the expanding numbers of Asian American visual artists all across the United States.”

The founders chose not to incorporate as a not-for-profit, instead creating a roving, mostly-volunteer, flexible organization. Membership, though never formalized by dues, quickly expanded: after Godzilla’s famed open letter to the Whitney Museum, over 200 artists registered — a racially, aesthetically, and politically diverse group. The members of Godzilla gathered to show each other’s work in “slide slams,” challenged institutionalized racism in the arts, wrote arts criticism, threw parties, co-organized exhibitions, debated politics, and spread the word about artist opportunities.

This exhibition will be the first ever to focus on the art and legacy of Godzilla: Asian American Art Network. It will include key artworks, original artifacts, historical ephemera and documentation to tell the story of this seminal group.

Godzilla: Asian American Art Network will also be examined within a larger narrative, from the politicized formation of Asian American identity in the ’70s to the resurgence of arts collectives today. In a time when arts institutions still struggle to be inclusive, and many young artists see collectivism and organizing as inseparable from their arts practice, Godzilla offers a needed story of artists taking their fate into their own hands.

The exhibition will be co-curated by Herb Tam, MOCA’s Curator and Director of Exhibitions, and Ryan Lee Wong, guest curator.

Source: https://www.mocanyc.org/exhibitions/godzilla

Godzilla vs. The Art World: 1990-2001

May 13 – September 12, 2021

 

The Museum of Chinese in America (MOCA), New York

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Zhang Hongtu’s “Mai Dang Lao” in the permanent collection at the Montreal Museum of Fine Arts

   

– Baahng Gallery congratulates Zhang Hongtu on inclusion of an edition of his Mai Dang Lao, 2002, in the permanent collection at the Montreal Museum of Fine Arts. 

https://www.mbam.qc.ca/en/collections/arts-of-one-world/

 

– An edition of Zhang Hongtu‘s Mai Dang Lao, 2002, is currently on view at the Arts of Asia in Brooklyn Museum.

https://www.brooklynmuseum.org/exhibitions/arts_asia

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