Tao Na is aggressively trying to create a name for herself in the world of design. She is famous for using bricks, lights and pixel designs to craft outstanding mosaics.
As the first Chinese artist to capture the dimensional style of Paul Cézanne (1839-1909), Pan Hao uses planes of color and small brushstrokes to build exceedingly complex images.
For his first solo exhibition on the Chinese mainland, Taiwanese artist Lee Mingwei is transforming his childhood memories into a personal performance at Ullens Center for Contemporary Art.
Sonic Blossom, the New York-based artist’s new participatory installation, brings together a team of classically trained opera singers to serenade unsuspecting visitors with Franz Schubert’s Lieder.
After a decade abroad in the New York art scene, painter Zhao Gang is back to exhibit his last decade of creations.
The exhibition, which opened April 13 in Yonghe Community, has attracted art market observers, commentators, reporters, and general art lovers.
Titled “The Emperor and His…,” the paintings capture Zhao’s impressions about people around the world.
A receptionist at the Wangfujing Branch of China’s Commercial Publishing House got the surprise of her life when an old man walked in with a several-thousand-page handwritten manuscript.
At 76-years-old, Che Hongcai had only one thing to say: “I’m finished.”
In his hands was the first ever Pashto-Chinese dictionary, a project commissioned, re-commissioned and eventually lost by the State Council.
Using simple lines and traditional ink, Xu Li brings ancient ghosts and ladies to life on xuan paper.
Xu is a representative of China’s “grassroots” artist movement, a group of classically educated artists who have given up on academics to focus on creating art that is closer to everyday life.
Zhang Botao searches for remnants of ancient tradition in China’s modern women. Since 2010, he has been working on oil paintings inspired by ancient beauties at his studio in the Songzhuang artist colony.
His paintings blend modern figures with ancient oriental traits. Each of the women in his works show eyes full of desperation and sorrow.
A new exhibition at Ullens Center for Contemporary Art, curated by Karen Archery and Robin Peckham, is exploring the character of new art whose concepts, ideas, dissemination and reception are defined by a post-Internet world.
Titled “Art Post-Internet,” the collection includes works by artists based in New York, London and Berlin.
Judging by the latest collection at Asian Art Works, the life of the modern artist is world-weary and pessimistic.
The new exhibition, titled Collections of Asian Art Works, reflects the personal attitudes of the gallery’s collected artists. Those attitudes may be a symptom of China’s general outlook on prosperity.
If you only gave Yang Shufeng’s engraving prints a short glance, his work would come off as a confused mess.
The chaotic lines and objects seem to purposefully confound whatever message Yang hopes to send. But in that confusion lies the real message: one of depression, anger, disappointment, and rebellion.
The China Dream is in trouble according to a recent report by The Mirror. The investigative report, published on February 7, said the number of impoverished counties in China rose from 331 in 1985 to 592 in 2012.
This purported slide into poverty runs contrary to three decades of explosive economic growth and seriously clashes with the government’s official reporting of 98.9 million people in poverty nationwide.
But rather than unmasking a hidden class of impoverished citizens...
No one can doubt Ma Haifang’s Beijing credentials.
Born in the city in 1956, Ma studied at the Central Academy of Fine Arts and graduated in 1981 with a degree in traditional painting. Like many masters in his field, he has spent the years since working at People’s Art Publishing House as a supervisor.
Ma obsesses about Beijing life. Each of his works capture daily life in Old Beijing and festival celebrations.
Our friends at Beijing Today will sporadically swing by to introduce art and culture in the city. This week, a man who paints of and with love.
Sheng Tianhong’s heart is wholly devoted to painting. Born in Zhejiang Province in 1973 and a graduate from the Chinese Central Academy of Fine Arts, he moved to Dusseldorf, Germany at the age of 24 to travel and develop his career.
In 1935, cartoonist Zhang Leping created one of Asia’s most enduring characters: Sanmao. The emaciated boy, named for the three hairs on his head, lent a friendly face to Shanghai’s nameless street urchins and children orphaned by Japanese attacks.
But more importantly, Sanmao’s bitter adventures captured the spirit of social injustice in the city’s “golden era.”
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