Sothebys New York Contemporary Art Part 1 1995 15 November

Zhang Xiaogang (simplified Chinese: 张晓刚; traditional Chinese: 張曉剛; pinyin: Zhāng Xiǎogāng ; born in 1958) is a contemporary Chinese symbolist and surrealist painter. Paintings in his Bloodline series are predominantly monochromatic, stylized portraits of Chinese people, usually with large, dark-pupiled eyes, posed in a strong manner deliberately reminiscent of family portraits from the 1950s and 1960s. Recently, he likewise created sculptures, translating for the first time into 3 dimensions many characters of the sort seen in his "Bloodlines—Big Family" portrait series.^[one] These sculptures have featured in many exhibits and proceed his work equally 1 of China'south leading, and about highly sought-later, contemporary artists.

Life and career [edit]

Zhang was born to parents Qi Ailan and Zhang Jing (both government officials) in the city of Kunming in China'southward Yunnan province in 1958, and was the third of four brothers.^[2] Zhang'southward female parent, Qi Ailan taught him how to draw as an practice to continue him out of trouble:

"From early on, my parents worried that I would go out and get into trouble. They gave usa paper and crayons then nosotros could depict at home. . . . I gained more and more than interest in art. I had a lot of fourth dimension, because I didn't accept to become to school. My interest increased. Subsequently I became an adult, I never gave up art. So that'southward how I started to draw."^[iii]

His parents were taken abroad for 3 years by the Chinese government for re-education. [3]He came of age during the 1960s and 1970s political upheavals known as the Cultural Revolution, which exerted a certain influence on his painting.

In early 1976, Xiaogang was sent to work on a farm as function of the "Down to the Countryside Movement".^[2] Chinese water color painter, Lin Ling trained Xiaogang in 1975, didactics him formal water color and sketching techniques.

"When I was 17, I told myself I wanted to be an artist. . . I felt that art was like a drug. In one case yous are fond, you can't get rid of it."^[4]

Upon the reinstitution of collegiate entrance exams, Xiaogang was accepted into the Sichuan University of Fine arts in 1977 where he began study oil based painting in 1978. At the time of his collegiate education, Zhang'due south professors connected to teach styles of Revolutionary Realism as instituted by Chairman Mao. This only served to inspire Xiaogang and his peers to opt for topics of western philosophy and introspective individualism while shunning political and ideological field of study matter.

In 1982, he graduated from the Sichuan University of Fine Arts in the urban center of Chongqing in Sichuan province simply was denied a teaching mail he had hoped for. This led Zhang to fall into a period of depression between 1982 and 1985. During this time he worked as a construction worker and art manager for a social trip the light fantastic troupe in Kunming. It was a time of intense cocky-examination for Xiaogang equally he had difficulties fitting into gild. Suffering from alcoholism, he was hospitalized in 1984 with alcohol induced internal bleeding causing him to paint "The Ghost Between Black and White" serial which put visual form to his visions of life and decease in the hospital.^[five]

"At that time, my inspiration primarily came from the private feelings I had at the hospital. When I lay on the white bed, on the white bed canvass, I saw many ghost-like patients comforting each other in the crammed hospital wards. When night dawned, groaning sounds rose above the infirmary and some of the withering bodies around had gone to waste matter and were drifting on the brink of death: these deeply stirred my feelings. They were and then close to my then life experiences and lonely miserable soul."^[6]

In 1985, Xiaogang began to emerge from the dark time in his life and joined the New Wave movement in Cathay that saw a philosophical, creative and intellectual explosion in Chinese culture.

Zhang formed the South West Art Group in 1986 including beau artists, Mao Xuhui, Pan Dehei, and Ye Yongqing among more than than eighty others. The grouping moved for 'an anti-urban regionalism' and also explored individual desire which according to Zhang had been suppressed by collectivist rationalization. They created cocky funded exhibitions which were a foundational step in the Chinese Avant-garde motion.

In 1988, Zhang was appointed as an instructor at Sichuan Academy's Teaching Department and married later that year. He took role in the China/Advanced Exhibition in 1989 at the National Art Museum of Prc in Beijing. However, the 1989 Tiananmen Square protests and massacre abruptly ended this catamenia of liberal reform.

Zhang Xiaogang pursued the expressive and surreal style until the 1980s and early 90s. Only subsequently his trip to Europe in 1992, his style changes greatly^[7]

Zhang traveled to Frg in 1992 for 3 months gaining unprecedented perspective on his own Chinese cultural identity. Upon returning he had a newfound desire to explore and revitalize his ain personal by along with contempo Chinese history through painting.

During his iii - month stay in Germany, Zhang spent most of his time analyzing works by Western artists in museums. And he idea about his position every bit a Chinese artist. He said "I looked from the 'early on phase' to the present for a position for myself, but fifty-fifty after this I still didn't know who I was. Merely an idea did emerge clearly: if I continue existence an artist, I accept to exist an artist of 'China.'"^{[8] [9]}

In Europe, likewise, Zhang begins to retrieve well-nigh the Chinese confront and reflects why he has brought images of people in books and magazines, not in actual surroundings.^{[8] [ix]}

Returning from Europe, Zhang Xiaogang was engaged in painting activities at Mao Xuhui's studio. He picked Tiananmen Square equally the starting time theme and painted it using expressive strong brush affect. It as well begins to survey the faces of the surrounding Chinese. At this time, the photographs of the past quadruple found at the parents' firm became a dramatic turning indicate. Drawing on a surrealism realistic painting, he abandons the style and begins to describe a apartment picture. It too represents a Chinese identity by expressing a unmarried eyelid.^{[eight] [9]}

Had a major conceptual breakthrough after discovering his family photos which reminded him of the memories destroyed by the contextual cultural setting of the fourth dimension.

"I felt very excited, as if a door had opened. I could see a style to paint the contradictions betwixt the individual and the collective and information technology was from this that I started really to paint. There's a complex relationship betwixt the state and the people that I could express by using the Cultural Revolution. China is like a family unit, a big family. Anybody has to rely on each other and to confront each other. This was the issue I wanted to give attention to and, gradually, it became less and less linked to the Cultural Revolution and more to people's states of mind."

Xiaogang was particularly inspired by a photograph of his mother every bit a young attractive woman, a far cry from sickly, schizophrenic woman she had become. Led him to paint the BLOODLINES series which illustrated the entanglement of private and public life. In the mid 1990s, he exhibited all over the world including Brazil, French republic, Commonwealth of australia, Great britain and the US.^[five]

'Bloodline: Big Family unit series' of Zhang Xiaogang were exhibited The Other Face: Three Chinese Artists equally part of the larger international exhibition Identità e Alterità, installed in the Italian Pavilion during the centenary 46th Venice Biennale in 1995.^[ten]

Like Wang Guangyi, Xu Beihong and Wu Guanzhong, Zhang Xiaogang is a best-selling contemporary Chinese creative person and a favorite of foreign collectors.^[xi] His paintings feature prominently in the 2005 film Sunflower.

In 2007, a canvas of his sold for U.s.$6 one thousand thousand at Sotheby'southward^[12] while in Apr 2011 his 1988 triptych oil work Forever Lasting Love, of half-naked figures in an arid landscape suffused with mystical symbols, sold for HK$79 one thousand thousand (Us$10.one one thousand thousand), a record auction price for a contemporary artwork from China, in Hong Kong.^{[thirteen] [14]}

He is represented by Stride Gallery in New York/Beijing and Beijing Commune in Beijing for his prints.

Zhang, like other Chinese contemporary artists at 1 time, was not able to exhibit in Prc because his works were too modern and suspicious. But now his paintings are popular in Mainland china every bit well not just in Western society and then at present he has chances to showroom at museums and galleries in People's republic of china compared in the by.^{[15] [sixteen]}

In contempo years, he has expanded not only his oil painting works, but as well his installation works of sculpture works.^[17]

Influences [edit]

Western painters including Richter,^[eighteen] Picasso and Dalí are influences. Zhang said: "I read in a book once a few words by British experimental artist Eduardo Paolozzi, which were very influential for me: 'a person can very easily have the right idea, simply choose the wrong means to express it. Or he can have the correct means, but lack a clear idea.'" Zhang also cites his discovery of photos of his female parent as a immature, attractive woman as a key inspiration for the Bloodline series.

After participating "I Don't Want to Play Cards with Cézanne" and Other Works, organized past the Pacific Asia Museum in Pasadena, California, Zhang started thinking almost his manner of work and decided not to paint aforementioned way with famous Western art and be an independent artist.^[19]

Analysis [edit]

Referring to the Bloodline paintings, Zhang noted that former photographs "are a particular visual linguistic communication" and says: "I am seeking to create an effect of 'false photographs' — to re-embellish already 'embellished' histories and lives." He said: "On the surface the faces in these portraits appear as at-home as notwithstanding water, but underneath in that location is great emotional turbulence. Within this land of disharmonize the propagation of obscure and ambiguous destinies is carried on from generation to generation."

Regarding the influences of China's political upheavals on his paintings, Zhang said, "For me, the Cultural Revolution is a psychological land, non a historical fact. It has a very strict connectedness with my childhood, and I think there are many things linking the psychology of the Chinese people today with the psychology of the Chinese people back then."

Regarding the portrait-like format of the works, he noted, "Posing for a photo, people already display a sure formality. Information technology is already something artificial. What I do is increase this artificiality and this sense of ceremonial."

Asked near the full title of the Bloodline serial. Bloodline: the Large Family, Zhang said:

We all live 'in a big family'. The offset lesson nosotros have to learn is how to protect ourselves and go on our experiences locked upward in an inner chamber away from the prying eyes of others, while at the aforementioned time living in harmony as a member of this big family unit. In this sense, the "family" is a unit for the continuity of life and an idealized mechanism for procreation. It embodies power, hope, life, green-eyed, lies, duty and dear. The 'family unit' becomes the standard model and the focus for the contradictions of life experiences. We interact and depend on each other for support and balls.

The Bloodline paintings ofttimes feature pocket-sized patches of colour, which are open to a variety of interpretations.

"Mother and Son"

This is the first Bloodline series Zhang Xiaogang painted as his mother in 1993. It is a flick of a distinctly different style from the Bloodline series nosotros now know. No-face figures appear, just they take their own individuality and can pinpoint the elements that they want to talk nigh from place to identify in the picture. ^[20]

As the series progresses, the figures in Zhang Xiaogang'south paintings become blurred and the clothes alter to Mao suites. His distinctive face, the small eyes and the slender confront, which he created, are characteristic of his paintings.^[vii]

Ii comrades with red infant

'2 comrades with red infant' is one of Zhang Xiaogang's "Bloodline: The Big Family" series from People's republic of china and is currently on brandish at the National Gallery of Australia. The painting measures 150.0 cm high ten 180.0 cm broad and was painted with oil on sail.^[21] This picture, which was created with the motif of a black and white family photograph found in 1993 when he visited his parents' firm, is a two-comrades behind the title and a red baby in the middle. There are white traces in mutual on the left cheek of three expressionless people, and sparse red lines connect them. The faces, hair styles, fashion, facial expressions, and the similar of the characters that appear nearly identical in this work convey the social atmosphere that was uniform in Mao period. The cherry-red child symbolizing the Crimson Guards in the era of the Cultural Revolution represents the phenomenon that even the parents were accusing at the time, merely the red line connecting the 3 characters indicates that these three are family members. The white traces on these cheeks represent their indelible wounds^{[22] [23] [24]} Zhang said baby like a seed of evil, not of joy in his painting.^[25] Their unfocused eyes appear to exist looking at the viewer. In other words, the viewer can feel their painful feelings in painting by facing their eyes. In other words, Zhang's painting is the medium through which we can communicate with those of the past.^[26]

Father and Daughter

Unlike his work, which started as a mother and son in the 2000s, male parent and daughter emerge. Also, Unlike the works of the 90s, it is mainly calorie-free gray rather than black, giving a brighter temper, but it is as well cryptic. The elements that take been regarded as representatives of the Mao era are disappearing and focusing on the expression of the characters. The white patches are crimson and then are more prominent.^[27]

Exhibitions [edit]

Solo exhibitions [edit]

• 1989:

Lost in the Dreams Gallery of the Sichuan University of Fine Arts, Chongqing, People's republic of china

• 1997:

Bloodline: The Big Family-1997 Gallery of the Cardinal University of Fine Arts

• 1998:

Bloodline: The Big Family-1998 Hanart Taipei Gallery, Taiwan

• 1999:

Les Camarades Gallery De France, Paris

• 2000:

Zhang Xiaogang 2000, Gallery of Max Potetch, New York

• 2003:

"Amnesia and Memory", Gallery of France, Paris, French republic

• 2004:

Umbilical Cord of History: Paintings by Zhang Xiaogang, Hong Kong Arts Center, Hong Kong

• 2005:

"Zhang Xiaogang 2005", Max Protetch Gallery, New York, U.South.A.

• 2006:

"Habitation –Zhang Xiaogang", Beijing Commune, Beijing, Red china "Zhang Xiaogang Exhibition", The Art Centre of Tokyo, Japan "Amnesia and Memory", Artside Gallery, Souel, Korea

• 2007:

Sara Hildén Art Museum, Tampere, Finland

• 2008:

Revision PaceWildenstein, New York "Chinese Painting: Zhang Xiaogang", Galerie Rudolfinum, Prague, Czech

• 2009:

"Record", Pace Beijing Gallery, Beijing, Prc "Zhang Xiaogang: Shadows in the Soul", Queensland Art Gallery, Brisbane, Commonwealth of australia

all^[28]

Selected group exhibitions [edit]

• 1985:

"Neo-Realism", Shanghai and Nanjing, Cathay.

• 1987:

"Modern Fine art of China", National Art Museum of China, Beijing, Prc.

• 1988:

"Art from Southeast of China", Chengdu, Communist china.

• 1989:

Cathay Avant-Garde National Art Gallery, Beijing.

• 1991:

"I Don't Desire to Play Cards with Cézanne" and Other Works: Selections from the Chinese "New Wave" and "Advanced" Art of the Eighties Pacific Asia Museum, Pasadena, California.

• 1992:

The Guangzhou Biennial: Oil Paintings from the 90s Guangzhou, China; Documents of China Contemporary Art Testify Travelling exhibition in Beijing, Guangzhou, Chongqing, Shenyang, Shanghai, Nanjing.

• 1993:

Communist china'southward New Fine art Post-1989, Hong Kong Art Center, Hong Kong; Museum of Contemporary Fine art, Sydney, Commonwealth of australia; Marlborough Fine Art, London; Mao Goes popular Museum of Gimmicky Fine art, Sydney; China'southward Experience Exhibition, Sichuan Art Gallery, Chengdu, China.

• 1994:

Chinese Contemporary Art at São Paulo 22nd International Biennial of São Paulo, Brazil.

• 1995:

46th Venice Biennial Venice, China; New Arts Vancouver Art Museum, Vancouver, Canada; Contemporary Chinese Art Exhibition, In the Absence of Ideology, Kampnagel Halle-K3, Hamburg, Federal republic of germany; "Des del Pais del Centre:avantguardes artistiques xineses", Barcelona Contemporary Art Museum, Barcelona, Kingdom of spain.

• 1996:

"Cathay! New Art & Artists ", Kunstmuseum Bonn, Germany; "Reckoning with the Past: Contemporary Chinese Paintings", Fruitmarket Gallery, Edinburgh, U.K.; "The 2nd Asia-Pacific of Gimmicky Triennial", Queensland Fine art Gallery, Queensland, Australia; "4 Points de Rencontre. Chine,1996", France Gallery, Pairs, French; "The 1st Bookish Exhibition of Chinese Contemporary Fine art", National Art Museum of China, Beijing; Hong Kong Art Center, Hong Kong, China; "Reality: Present and Future", Beijing International Art Museum, Beijing, Red china.

• 1997:

"Cathay New Art", Lisbon Museum of Art, Portugal; "Faces and Bodies from Heart Kingdom: Chinese Art of the 90s", Prague Fine art Museum, Prague, Czech republic; "8+viii-1: 15 Chinese Artists", Schoeni Fine art Gallery, Hong Kong; "Quotation Marks: Chinese Contemporary Paintings", Modernistic Art Museum, Singapore; "Red and Grey: 8 Avant-garde Chinese Artists", Soobin Fine art Gallery, Singapore; "Hundred Years of Chinese Portrait", National Fine art Museum of China, Beijing, China.

• 1998:

"Cathay New Art", Helsinki Art Museum, Helsinki, Finland; "Exhibition of International Contemporary Art Collection", Amsterdam, The Netherlands; "Exhibition of Collection of Shenghe Gallery", Chengdu, China; "Margaret and Contemporary Fine art", Dostende Contemporary Museum, Belgium.

• 1999:

"1999 Art China", LIMN Gallery, San Francisco, United statesA; "Faces: Entre Portrait et Anonymat", Maison de la Civilisation Namur, Belgium; "Inside Out: New Chinese Art", Asia Gild and P.S.1 Gimmicky Art Centre, New York; San Francisco Museum of Modern Art, San Francisco, U.S.A.

• 2000:

"Human being+Infinite: Kwangju Biennale 2000", Kwangju, Korea; "Transcending Boundaries", Montclair State University, New Jersey, United states of americaA.; "Portraits De China Contemporaine", Espace Culturel François Mitterrand, Périgueux, France; "The Outset Collection Exhibition of Chinese Contemporary Art", Shanghai Art Museum, Shanghai, China; "Hundred Years of Chinese Oil Painting", National Art Museum of China, Beijing, Prc; "Gimmicky Art of Prc", Picardie Museum, Amiens, French republic.

• 2001:

"The 1st Chengdu Biennial", Chengdu Contemporary Art Museum, Chengdu, People's republic of china; "Dream – 2001 Contemporary Chinese Fine art Exhibition", The Cherry-red Mansion, London, U.One thousand.; "Towards A New Image: Xx Years of Contemporary Chinese Fine art", National Art Museum of China, Beijing; Shanghai Art Museum, Shanghai; Sichuan Art Museum, Chengdu; Guangdong Fine art Museum, Guangzhou, Prc; "Information technology's me, It's united states of america", Gallery of French republic, Paris, France; "Hot Pot", Artist Center of Oslo, Kingdom of norway; The third Mercosul Biennial, Porto Alegre, Brazil.

• 2002:

"A Point in Fourth dimension", Changsha Meilun Museum of Art, Changsha, Mainland china; "fourteen Chinese Artists / Fabricated in Cathay", Enrico Navarra Gallery, Paris, France; "BABEL 2002", National Museum of Contemporary Art, Korea; "Review 77', 78'", Gallery of Sichuan Academy of Fine Arts, Chongqing, China; "Long March", Upriver Loft, Kunming, China; "The 1st Triennial of Chinese Art", Guangdong Museum of Fine Arts, Guangzhou, Prc; "Image is Power", He Xiangning Art Museum, Shenzhen, China; "The Prototype of Concept", Shenzhen Fine art Museum, Shenzhen, China; "In Retentiveness: The Art of Later on War", Sidney Mishkin Gallery, New York, UsaA.; "East + Westward – Contemporary Art of China", Kunstlerhaus, Vienna, Republic of austria.

• 2003:

"From China with Art", Indonesian National Gallery, Jakarta, Indonesian; "3Face 3Colors", Artside Gallery, Seoul, Korea; "Open Heaven – Gimmicky Fine art Exhibition", Shanghai Duolun Museum of Mod Fine art, Shanghai, Cathay; "The Due east Daybreak: 100 Years of Chinese Painting", Africa Museum, Paris, France.

• 2004:

"The 5th Shanghai Biennial", Shanghai Art Muse um, Shanghai, China; "Confront to Face", Accor Gallery, Taiwan; "Beyond Boundaries", Shanghai Gallery of Art, Shanghai, China; "People's republic of china Now", Tang Gallery, Bangkok, Thailand; "The 1st Wuhan Fine Arts Annal Nomination", Fine art Gallery, Hubei Academy of Fine Arts, Wuhan, China; "Three Worlds", Shanghai Gallery of Art, Shanghai, China; "China, the body everywhere?", Museum of Gimmicky Art, Marseilles, French republic.

• 2005:

"The 2d Guangzhou Triennial", Guangdong Museum of Fine art, Guangzhou, China; "Take Off – An Exhibition of the Contemporary Art Collection in the He Xiangning Art Museum and Gimmicky Art Last", He Xiangning Fine art Museum, OCT Contemporary Fine art Terminal, Shenzhen, Cathay; "Always to the Forepart – Chinese Contemporary Art", Kuandu Museum of Fine Arts, Taipei; "Plato and His Seven Spirits", October Contemporary Art Middle, Shenzhen, China; "Mahjong: Contemporary Chinese Art from the Sigg Collection", Kunst Museum Bern, Bern, Switzerland; Hanburger Kunsthalle, Hamburg, Germany; "Contemporary View Exhibition for Collector: China First Contemporary Art Almanac Exhibition", Millennium Museum of Art, Beijing, China; "2005 Invitational Exhibition of Red china Contemporary Oil Painting", Shenzhen Fine art Museum, Shenzhen, China; "Big River – New Period of Chinese Oil Painting and Retrospective Exhibition", National Fine art Museum of China, Beijing, China; "Allegory", Hangzhou, Communist china.

• 2006:

"The Blossoming of Realism – The Oil Painting from Mainland Red china since 1978", Taipei Fine Arts Museum, Taipei; "Reinventing Books in Chinese Gimmicky Fine art", China Constitute, New York, U.S.A.; "Jiang Hu – Chinese Contemporary Art European and American Traveling Exhibition", Tilton Gallery, New York, U.South.A.; "Nutrient and Want", Southward Silk Eating house, Beijing, Cathay; "Cathay At present: Fascination of a Irresolute World", SAMMLUNG ESSL Museum, Vienna, Austria.

• 2007:

"China – Facing Reality", Museum Moderner Kunst Stiftung Ludwig, Vienna, Republic of austria; "From Southeast", Guangdong Museum of Fine Fine art, Guangzhou, Red china; "From New Figurative Image to New Painting", Tang Contemporary Art, Beijing, China; "Black White Gray – A Conscious Cultural Stance", Today Art Museum, Beijing, Prc; "85 New Wave: The Birth of Chinese Contemporary Fine art", Ullens Center for Gimmicky Art, Beijing, China.

• 2008:

"Case Studies of Artists in Art History and Art Criticism", SZ Art Center, Beijing, China; "Our Future: The Guy & Myriam Ullens Foundation Collection", Ullens Center for Gimmicky Art, Beijing, Cathay; "Avant-Garde People's republic of china: 20 Years of Chinese Gimmicky Art", Roppongi, Minato-ku, Tokyo, Nihon; "Waiting on the Wall: Chinese New Realism and Avant-Garde in Eighties and Nineties, Groningen Museum, Groningen, The netherlands; "Facing the Reality: Chinese Contemporary Fine art", National Art Museum of Prc, Beijing, China.

• 2009:

"19 Games-A Chinese Contemporary Art Exhibition", T Art Centre, Beijing, Prc; "A Gift to Marco Polo", Venice International University, Venice, Italy; "INAMANIA", Arken Museum, Copenhagen, Denmark.

• 2010:

"Beijing-Havana - New Revolution art Contemporary Fine art ", National Fine art Museum of Cuba, Havana, Cuba "Reshaping History - Chinart from 2000 to 2009", China National Convention Eye, Beijing, Prc "Clouds - Power of Asian Contemporary Art", Soka Art Center, Beijing, Communist china "The Official Opening of Minsheng Fine art Museum 30 Years of Chinese Contemporary Art", Minsheng Art Museum, Shanghai, Red china

all^[28]

Prizes and awards [edit]

• Bronze Prize at the 22nd São Paulo Biennial Exhibition in Brazil in 1994.
• Document Prize at the First Academic Exhibition of Chinese Contemporary Art held at the Prc National Museum of Fine Arts and Hong Kong Art Centre in 1996.
• Prize for Contemporary New Asian Artists granted by the British Court'due south International Art Fund in Hong Kong.

Run across also [edit]

• Ai Weiwei
• Wang Guangyi
• Zhang Huan
• Yang Jiechang
• Zheng Guogu
• Xu Bing
• Shen Jingdong

References [edit]

1. ^ "Zhang Xiaogang's Surprise Sculptures". 27 March 2013.
2. ^ ^{a b} David Barboza (31 August 2005). "A Chinese Painter'southward New Struggle: To Run into Demand". The New York Times.
3. ^ "张晓刚采访"，CNN 电视台，谈论亚洲
4. ^ 'Interview with Zhang Xiaogang', transcript for CNN Talk Asia
5. ^ ^{a b} Abigail Fitzgibbons (March 2009). "Zhang Xiaogang:Biography". The Cathay Project. Queensland Art Gallery. pp. 242–255. ISBN978-1876509934.
6. ^ Zhang Xiaogang, p.74
7. ^ ^{a b} url=http://www.sothebys.com/en/auctions/ecatalogue/2012/contemporary-asian-art-hk0382/lot.810.html
8. ^ ^{a b c} "Dialogue with Zhang Xiaogang" in Materials of the Hereafter: Documenting Contemporary Chinese Art from 1980-1990, Asia Fine art Annal, 2009
9. ^ ^{a b c} Forget and Remember: Zhang Xiaogang, Peking University Press, Beijing, Cathay, 2010
10. ^ url=http://world wide web.pacegallery.com/exhibitions/12673/o
11. ^ "International Collectors Flock to Beijing Auctions". ARTINFO. June eight, 2006. Retrieved 2008-04-22 .
12. ^ David Barboza "An Auction of New Chinese Fine art Leaves Disjointed Noses in Its Wake", New York Times, May 7, 2008, Retrieved Dec 17, 2014
13. ^ Tape price paid for contemporary art, RTHK News, 4 April 2011
14. ^ Triptych by Chinese creative person Zhang Xiaogang sets tape, BBC News, four Apr 2011
15. ^ uri= http://www.saatchigallery.com/artists/zhang_xiaogang.htm
16. ^ url=http://www.chinadaily.com.cn/english/doc/2005-09/01/content_474193.htm
17. ^ url=http://world wide web.zhangxiaogang.com.cn/index.html
18. ^ "Archived re-create". Archived from the original on December 5, 2008. Retrieved November 27, 2008. {{cite web}}: CS1 maint: archived re-create equally title (link)
19. ^ Extract from "Dialogue with Zhang Xiaogang" in Materials of the Future: Documenting Gimmicky Chinese Art from 1980-1990, Asia Fine art Annal, 2009
20. ^ url=http://world wide web.christies.com/media-library/images/features/articles/2015/03/11/zhang-xiaogang/article_image_zhang-xiaogang_004.ashx?la=en
21. ^ url=https://artsearch.nga.gov.au/Detail.cfm?IRN=26191
22. ^ url=http://www.oxfordreference.com.virtual.anu.edu.au/view/x.1093/acref/9780191802997.001.0001/acref-9780191802997-due east-1968
23. ^ url=http://www.oxfordreference.com.virtual.anu.edu.au/view/ten.1093/acref/9780191802997.001.0001/acref-9780191802997-e-592#
24. ^ url=http://www.christies.com/features/Zhang-Xiaogang-5720-1.aspx?sc_lang=en
25. ^ http://www.sothebys.com/en/auctions/ecatalogue/2012/contemporary-asian-fine art-hk0382/lot.810.html^{[ bare URL ]}
26. ^ Yiju. Huang, "4 Ghostly Vision: Zhang Xiaogang's "Bloodline: The Large Family" in Tapestry of low-cal: aesthetic afterlives of the Cultural Revolution (Brill, 2015), 75-99.
27. ^ http://www.christies.com/media-library/images/features/articles/2015/03/eleven/zhang-xiaogang/article_image_zhang-xiaogang_005.ashx?la=en^{[ bare URL epitome file ]}
28. ^ ^{a b} "Archived re-create". Archived from the original on 2013-08-11. Retrieved 2012-05-09 . {{cite web}}: CS1 maint: archived copy equally title (link)

• Lovelace, Carey. "Zhang Xiaogang at Max Protetch." Art in America 89, no. 3 (March 2001): 132.
• [1]
• Thomson, Jonathan. "Zhang Xiaogang, History's Public Face." Asian Fine art News xiv, no. 3 (May/June 2004): 44–49.
• Gao Minglu. Inside Out: New Chinese Art (San Francisco: SFMoMA, 1998)
• Healy, Anthony. Gentle Reminders. World Art (Commonwealth of australia) no. 3 (1996): sixteen–xix, 5 illus. (Feature Article on Zhang Xiaogang)

External links [edit]

Official website

darbyfecloseraves76.blogspot.com

Source: https://en.wikipedia.org/wiki/Zhang_Xiaogang

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