Artists and writers seeking the pinnacle of Chinese civilization often turn to the Tang Dynasty, an era of openness and innovation credited with fostering some of the finest art and poetry in the history of Han civilization.
It’s no surprise that such an amazing era would provide similar inspiration to Xu Songbo, a professor at the Tianjin Academy of Fine Arts, who attempts to capture the Tang spirit in his breathtaking oil compositions. They are collected in Tang Feng, his exhibition open until this Thursday at New Millennium Gallery in 798 Art District.
The nature of charity in China is changing. In the last decade, both international organizations and domestic groups have shifted from relying on donation drives to providing more complex cultural services to meet the specific needs of disadvantaged groups.
But finding the right way to go about charitable projects remains a tough question for many.
If China’s contemporary art market has one fatal fault, it is an obsession with cultivating and trading stars.
Artists born in the 1960s have become darlings of the market, producing some of the most expensive works traded at auction houses anywhere in the world.
But the next generation, born in the 1970s, has very different goals for creation and social recognition. Most use their skills to express an attitude or convey their artistic perspective to the public in plain language.
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.
It’s odd to imagine Jesus, in China, is more discussed than historic leaders, but Weibo chatter suggests precisely that.
An infographic published by Foreign Policy (non-paywalled version here) last month showed that discussion of Christian terms is several times more common than similar political phrases.
While the disparity may be exaggerated by attempts to create a healthy environment for discussion, it reflects a growing trend as young adults born in the 1980s and 1990s rediscover religion.
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.