My exhibition will display Zeng Fanzhi’s distinctive Mask Series, produced in the 1990s. In 1991 Zeng graduated from Hubei Institute of Fine Arts, following the upheaval of the Tiananmen Square Massacre in 1989. This was a time of social unrest as students protested in the streets in fear for their futures, as a result many had their futures taken from them. At the same time, Zeng was able to spend some time in Europe where he grew fond of the formal and stylistic aspects of German Expressionism. German Expressionism was a movement that came to be through feelings of frustration as there were strict guidelines for what was and wasn’t accepted in German art. “Instead of stiff, straightforward compositions, they loaded their canvases with vivid, clashing shards of color and pared-down, grossly distorted forms. The works that resulted were raw, deeply emotive, and shocking.” From this Zeng took to his canvas in a rather painterly and emotional response creating some of the most iconic pieces in Chinese art. Zeng refused to abide by the standards of Socialist Realism making his work so prominent, similar to that of artists in Germany who were acting out against the bourgeois and conveying mass anxieties.

The exhibition will contain images from Zeng’s Mask Series, each providing a new narrative. Zeng’s large scale paintings will be presented in a rather basic manner so the audience can fully take in and confront the figures painted. The images will be facing opposite one another, as to figuratively allow the masked figures to converse. Zeng’s playful color palette allows the audience to feel hopeful upon first glance, though further inspection will clarify these thoughts as we see the obvious loss in individuality as the figures are all more-or-less fashioned the same, wearing masks, wearing red kerchiefs. The way in which Zeng breaks past the confines of Socialist Realism and critiques it is shocking as he creates discourse in many areas surrounding identity, ideals, reality and Western influence. Zeng’s work resonates with many people all over the world due to its dual qualities, which is why it is so significant.

Annotated Bibliography:

• Andrews, Julia Frances., and Kuiyi Shen. The Art of Modern China. University of California Press, 2012.

This book delves into the history of China and the art that followed it in the 20th century. It gives detailed analysis and interpretation of many works, revealing the advancement of Chinese art in a rapidly changing society. It is very useful for it’s insights on politics and Western influence.

• “Interview with Chinese Artist, Zeng Fanzhi.” International Wire, Oct 12, 2011. https://search-proquest-com.libproxy.union.edu/docview/898352920?accountid=14637.

This source is an interview with Zeng Fanzhi, where he talks of the various themes in his work. Zeng comments on his personal emotions, how they correlate to his paintings and the dialogue he creates in his images between the East and West. This will assist in my research as the information comes from the artist himself, helping me to understand his methods further.

• Shiff, Richard. Zeng Fanzhi: Every Mark Its Mask. Hatje Cantz, November 30, 2010.

This source is an exhibition catalog containing artworks from all of Zeng’s series. The catalog also includes an essay by Richard Shiff named “Every Mark Its Mask.” In this essay Shiff dissects Zeng’s images looking closely at his process and technique and examining concept and sensation. As I am looking at Zeng’s Mask Series this essay will be significant as Shiff explores issues of identity and masking.

• ZENG Fanzhi, The Information from Publications (1993-2008) http://www.shanghartgallery.com/galleryimage/image/12155/pdfview

This source is information from publications about Zeng and his works. Inside contains an essay by Lorand Hegyi called “The Visual Epos of Zeng Fanzhi.” This will be key in gaining a well rounded understanding for Zeng and his works. A quote I enjoyed read “Zeng’s paintings manifest an idiosyncratic combination of deconstructivist methods and picturesque painted stories, so that the creation of the painting, as such, becomes the actual narrative.”