News

News | FQM Artists Wang Mansheng and Tai Xiangzhou Featured in Special Exhibition at the Philadelphia Museum of Art

Philadelphia Museum of Art September 24, 2022 Oneness: Nature & Connectivity in Chinese Art opened at The Philadelphia Museum of Art, featuring the works by four contemporary... Read more

Press | Artnet's interview with Zhang Xiaoli

Author: Gerald Lee August 18, 2022 Zhang Xiaoli’s studio is nestled in a village not far from the airport, tucked behind a BBQ restaurant named “Wang... Read more

Artist Statement | On Chiyi Series - Chen Duxi

Translated by Felix Chen August 18, 2022 Chen Duxi, Comtemplate #64, 70x50 cm, Ink on Silk, 2021 “The Rain Freshens”, Installation View, ©THE FQM, 2022 The study... Read more

News | FQM Interview: Zhang Yirong

Author: Yuan Zheng August 18, 2022 Q: You learned the techniques of Chinese painting from your father when you were very young, and often shadowed him... Read more

News | FQM Interview: Yau Wing Fung

Author: Christina Wu August 18, 2022 “The Rain Freshens”, Installation View, ©THE FQM，2022 FQM is honored to invite Yau Wing Fung (b.1990), a contemporary ink artist,... Read more

News | Liang Quan is featured at M+ Museum, Hong Kong

M+ Museum, Hong Kong August 18, 2022 Installation view © Courtesy of Artist Current exhibition The Dream of the Museum at M+ Museum, Hong Kong explores the... Read more

News | Brooklyn Museum Presents New Installation of the Asian Gallery, Highlighting Fung Ming Chip’s Calligraphy and Seal Carvings

Brooklyn Museum August 18, 2022 Installation View ©The FQM, 2022 Brooklyn Museum has a long tradition of collecting Chinese art. Since 1909, when the museum... Read more

News | Fung Ming Chip is featured at Hong Kong Museum of Art

Hong Kong Museum of Art August 17, 2022 Hong Kong Museum of Art “City Rhythm” The works of our artist Fung Ming Chip (b.1951) “Border script-sound seeing” (1998)... Read more

News | Asia Week NY's Member Monday Featuring Fu Qiumeng Fine Art

Asia Week New York July 12, 2022 In “Member Monday” published on Asia Week New York, featured Fu Qiumeng and her career trajectory. The article tells the... Read more

News | The Hammond Museum and Japanese Stroll Gardens Opens “Cloud Wanderings of Wang Mansheng”

Hammond Museum and Japanese Stroll Gardens May 26, 2022 This exhibition presents paintings and calligraphy in the Chinese tradition by Wang Mansheng that explore the spirit of the natural... Read more

News | Wang Mansheng's Collection of Rotted Wood is exhibiting at Philadelphia Museum of Art

Philadelphia Museum of Art April 27, 2022 Wang Mansheng, Collection of Rotted Wood, Chinese ink on paper; mounted as an album, 11 × 7 7/8 inches (28... Read more

News | The Calligraphic works of Michael Cherney and Wang Mansheng are exhibiting at the Huntington Library

The Huntington April 27, 2022 Celebrating the recent opening of the final phase of its Chinese Garden, The Huntington presents an exhibition of contemporary Chinese... Read more

News | Five artists FQM represents are exhibiting at United Nations

In Celebration of Chinese Language Day at United Nations April 23, 2022 In celebration of UN Chinese Language Day 2022, the Permanent Mission of the People’s Republic of China, Chinese Translation Office... Read more

News | Arnold Chang exhibited at Fairfield University Art Museum

Fairfield University Art Museum April 7, 2022 ink/stone exhibition presents works by Chinese artists from the 20th and 21st centuries who engage with ink and stone as... Read more

News | Arnold Chang's "Thinking of Spring" is included at Wesley Tongson's retrospect at BAMPFA

The UC Berkeley Art Museum and Pacific Film Archive (BAMPFA) April 6, 2022 Spiritual Mountains debuts a recent gift to BAMPFA of eleven paintings by the Hong Kong artist Wesley Tongson (1957–2012). His... Read more

News | Christie's Presents Wang Fangyu: A Wenren in America

Christie’s Asia Week New York 2022 Special Exhibition March 3, 2022 Exhibition | Wang Fangyu: A Wenren in America 18-23 March Christie’s New York Christie’s is pleased to present Wang Fangyu:... Read more

Press | “New York Rhythms: C. C. Wang’s Calligraphy” has been selected as the top five picks of NYC-Arts this week: February 4 – February 10

February 5, 2022 Fu Qiumeng Fine Art’s exhibition “New York Rhythms: C. C. Wang’s Calligraphy” has been selected as the top five picks... Read more

Article | New York Rhythms, Suzhou Rhymes

Author: Arnold Chang January 14, 2022 The life and art of C. C. Wang (1907-2003) have been chronicled and analyzed in numerous books, articles, and at... Read more

Article | C.C. Wang’s Journey from a Traditional Literati Painter to Calligrapher of Abstract Art

Author: Kathleen Yang January 12, 2022 C.C. Wang 王季迁（1907-2003) often said proficiency in Chinese calligraphy is a requisite for connoisseurship of and collecting Chinese literati paintings.... Read more

News | Fung Ming-Chip’s Sand Script at Flying Ink is on view at Taiwan Hengshan Calligraphy Art Center

December 11, 2021 Fung Ming-chip ‘s Sand Script is on view at Flying Ink: Hengshan International Calligraphy Art Exhibition at Hengshan Calligraphy Art... Read more

News | Michael Cherney and Fung Ming-Chip are featured in Ink Dream at LACMA

November 19, 2021 Artists Michael Cherney and Fung Ming-Chip are featured in Susanna Ferrell’s article The Spirit of Ink: Meditations, Apparitions, Dreamscapes on... Read more

Press | 安邸AD/Architectural Digest Magazine Features Tai Xiangzhou’s Art Studio

November 3, 2021 安邸AD/Architectural Digest Magazine (AD) features the art studio of Tai Xiangzhou in its new column of Space·Home·Studio. Besides, this article... Read more

Press | Asia Week New York Highlights | Tai Xiangzhou – Cosmic Matter: From Nothing to Being

October 12, 2021 We are pleased to participate in the Autumn 2021 Asia Week New York (AWNY) – a collaboration of top-tier Asian... Read more

News | THE FQM Interview: Benjamin Langford

August 13, 2021 The delicate Paphiopedilum sanderianum, the hanging mysore clockvine, the withered delphiniums —— Artist Benjamin Langford uses digital prints on canvas... Read more

News | THE FQM Interview: Shen Wei

August 13, 2021 Shen Wei: Perhaps, A Path to Our Desires for Beauty, Secrecy, and Pleasure. Imagination, memory, and fantasy are the inspiration... Read more

News | THE FQM Interview: Su Jiehao

August 13, 2021 Q&A THE FQM: During your time in the artist residency program, you only had a limited amount of time to... Read more

News | THE FQM Interview: Lois Conner

August 13, 2021 Ours is a volatile and unpredictable era. Humanity of a later age will look upon this time as we look... Read more

Press | “Hisao Hanafusa: Nothing but Recollection” has been selected as the top five picks of NYC-Arts this week: April 30 – May 6

August 8, 2021 Fu Qiumeng Fine Art’s exhibition “Hisao Hanafusa: Nothing but Recollection” has been selected as the top five picks of NYC-Arts... Read more

新闻 | 一位美国摄影艺术家，为何出现在中国当代水墨艺术中？

July 26, 2021 1970 年代初至2000年间，纽约大都会艺术博物馆亚洲馆在学者方闻（1930-2018）的带领下建立了美国规模最为庞大的亚洲艺术收藏，使其成为一座因陈设古代作品而闻名的艺术重镇。 2000年后，在现亚洲部主任何慕文（Maxwell K. Hearn）的推动下，亚洲馆开始囊括当代艺术、扩展其基于中国传统艺术脉络所延续的当代作品收藏，旨在建立中国当代艺术和中国传统的对话、展示亚洲传统艺术的脉络在今天以及未来的可延续性。就在这一时期，一件名为《山重集》（Bounded by Mountains）的摄影册页作为第二件中国当代艺术作品被纳入馆藏，而它的创作者却并非中国人（甚至不是亚洲人）—— 这位艺术家名为Michael Cherney ，他给自己取了一个中文名“秋麦”。 秋麦 Michael Cherney是波兰犹太后裔，1969年出生于美国纽约，是土生土长的美国人。他的另一个不同之处，是其创作虽以摄影为主，但人们却很少在当代摄影类别的展览中见到这个名字。而在西方大型博物馆亚洲部门、国际拍卖行、老牌亚洲画廊策划的基于中国传统脉络延伸的水墨当代艺术的群展中，他的作品常常在列。 近年来，秋麦的身份和他的创作越来越多的引起了中美当代艺术界的重视及相关学术探讨——作为一位跨越文化与国界的艺术实践者，秋麦的创作挑战全球化视野下当代艺术的边界。 “但闻人语响：Yet, Only Voice Echoed”展览现场，秋麦 Michael Cherney作品《山重集》，©THE... Read more

Press | Artnet News Editor’s picks | “但聞人語響：Yet, Only Voice Echoed” has been selected as the Top Ten art events this week

July 15, 2021 Our current exhibition “但聞人語響：Yet, Only Voice Echoed” has been selected by artnet news: Top Ten Editor’s Picks this week. “但聞人語響：Yet,... Read more

Press | MUSÉE Magazine｜Exhibition Review: “Yet, Only Voice Echoed.”

July 8, 2021 Text by Claire Ping Copy Editor: Ben Blavat “Yet, Only voice echoed (但聞人語響)” is one of the most iconic lines... Read more

News | Tai Xiangzhou’s solo exhibition opened at the Nanchizi Art Museum

June 25, 2021 Tai Xiangzhou’s solo exhibition Cosmoscapes: Ink Paintings by Tai Xiangzhou opened at the Nanchizi Art Museum in Beijing on May... Read more

Press | Orientations - Exhibition Review: Cosmoscapes: Ink Paintings by Tai Xiangzhou.

May 11, 2021 Curator and Executive Director of the Asian Art Coordinating Council, Julie M. Segraves, reviews Tai Xiangzhou’s solo exhibition Cosmoscapes: Ink... Read more

News | High Hanging Fruits — Podcast | Authentic or Forgery?

March 8, 2021 The podcast “High Hanging Fruits” is hosted by playwright Zhu Yi and astrophysicist Liu Jia. In its latest episode, Fu... Read more

News | Tai Xiangzhou’s Solo Exhibition to be Held at the Art Institute of Chicago from March 11 to September 20, 2021

March 8, 2021 Virtual Member Lecture: Cosmoscapes—Ink Paintings by Tai Xiangzhou Artist Tai Xiangzhou and Tao Wang, Pritzker Chair of the Arts of... Read more

Madame Figaro Column｜The Recluse Culture: Chinese Classical Landscape Paintings’ Spirituality and its Developments in Time

February 18, 2021 Madame Figaro invited Fu Qiumeng to write a column about classical Chinese culture. In her article, Fu talks about how... Read more

Press | Artnet News interviewed Fu Qiumeng about her career trajectory.

February 10, 2021 Opening a gallery in New York to promote Contemporary Ink painting, she sees her career as a creative process Almost... Read more

News | Michael Cherney’s Ten Thousand Li of the Yangzi River on view at the First Jinan International Biennial

December 16, 2020 Eight handscrolls from Michael Cherney ’s Ten Thousand Li of the Yangzi River series are on view at the Shandong... Read more

News | Auction Result | White Ground Project at Christie’s is 100% Sold.

October 6, 2020 Fu Qiumeng Fine Art is pleased to announce that the special project White Ground , co-organized by gallery director Fu... Read more

News | Fung Ming Chip’s Light Line Script Acquired by the Art Institute of Chicago

August 29, 2020 Fu Qiumeng Fine Art is delighted to announce two acquisitions of work by Fung Mingchip by North American institutions: an... Read more

News | Fung Ming Chip’s wood seal entered Princeton University Art Museum’ collection

July 30, 2020 In 2020, a wooden seal created by Fung Ming Chip, originally in the collection of Asian American Arts Centre, has... Read more

News | Shen Chen | Untitled No. 53003-14 (2014) is part of the exhibition AND NOW at the Charitable Institution, White Rabbit Gallery, Australia

June 10, 2020 Shen Chen’s Untitled No. 53003-14 (2014) is part of the exhibition AND NOW at the White Rabbit Gallery in Australia.... Read more

News | Wang Mansheng: “Wang Mansheng: From Silk Road to Hudson River” Solo Exhibition at Connecticut College

June 10, 2020 Wang Mansheng’s solo exhibition opened on February 5, 2020 at Connecticut College. Entitled “Wang Mansheng: From Silk Road to Hudson... Read more

News | Fung Ming Chip - Les Poèmes du Mandarin by Hèrmes

January 28, 2020 When we designed the Krug Room at The Mandarin Oriental Hotel in Hong Kong, we initially approached Hermès to provide... Read more

Fung Ming Chip | The Seals of Ming-Chip Fung by Wang Fangyu

Fred Wang Fangyu January 28, 2020 Orignally published in the brochure for the exhibition Ming-Chip Fung : The Seal 1975-1985, New York Chinese seal carving is... Read more

News | 泰祥洲 |《潇湘八景图》参展普林斯顿美术馆

Guo Xinran October 22, 2019 泰祥洲（生于1968年）的水墨作品《潇湘八景图》（2017）现正于普林斯顿大学美术馆展出。据艺术家说，这组作品是对南宋画家王洪（活跃于约1131年–1161年）的同名作品的回应。作品原由十七幅画组成，其中八件于2018年被普林斯顿大学美术馆收藏，八幅画中的五幅现在在美术馆展出。 在泰祥洲的作品旁边展出的是美国艺术家Pat Steir （生于1938年）的油画《冬日天空》（2002）。这是两件视觉对比鲜明的作品：一件是宽约2.7米，高约3米的布面油画，另一件是长0.7米，宽0.3米的绢上水墨。虽然尺寸和媒介完全不同，作品描绘的都是无边界、不定形的空间，它们既可以看作某种具象再现，也可以看作画家笔触在画面上的集合。它们在展厅中的并置向观众呈现了两种特殊的再现空间的方式。 站在远处看，泰祥洲和Steir的作品中都没有可以明确辨认出的事物。《潇湘八景图》所呈现的空间是朦胧的、模糊的，画面中充满了流动的气体或液体，它们在近乎失重的状态中缓缓流动。《冬日天空》的大幅画布上，白色颜料被泼溅在黑色底色上，形成细小的点线痕迹。在画布上方，颜料自上而下滴落成的线条形成水幕般的视觉效果；在画布下方，可以清晰看到许多泼溅到画布上的白点。两位艺术家通过作品题目将模糊的空间与具体事物联系起来。泰祥洲单件作品的名称大多涉及到水，如“云气浮江天已夕”、“月涌大江流”、“淡烟漠漠水漫漫” 。这些题目都与湖南潇湘地区的水和阴晴不定的天气有关。它们勾勒出诗意的景象，将画中笔触指向潇湘的雾气、浮云或流水。《冬日天空》这个题目也起到了类似的作用。Steir在黑色背景上泼溅的点和线可以看作夜空中闪烁的星光，而大尺寸的画布让所呈现的空间看起来无垠无际，应和了天空的意象。 《潇湘八景图》和《冬日天空》呈现了两种特殊的再现方式。之所以特殊，是因为它们既可以看作具象空间的再现，也与再现性保持着一定距离。在泰祥洲所回应的王洪作品中，画家用淡墨表现远山和江岸之间弥漫着的蒸气和江水，描绘了云蒸雾罩的景象。泰祥洲的《潇湘八景图》放大了王洪作品中对水气的描绘。让水和雾气从传统山水构图中被抽离出来，弥漫在整个画面空间。氤氲的水气于是遮蔽了观者的视线，让观者很难辨认出具体的空间位置。它们是再现性的， 也阻碍了对空间细节的再现。在《冬日天空》中，画面中部的一道黑色曲线也起到了屏障的作用。不同于其他泼溅的痕迹，这道线由画家横向泼在画布上。画中泼溅而成的白色痕迹意指星光，而这道黑色曲线的意指并不明确。它打破了构图的一致性，干扰了作品的再现性。 在构筑这种特殊的再现性时，泰祥洲和Steir都凸显了视觉语言的细节，以及画面的平面属性。这让观者更容易注意到艺术家的创作过程。泰祥洲的《潇湘八景图》将观者的视线集中于传统绘画语言的抽象化（abstraction）这个角度。在创作山水画时，画家将自然景物转化为心像，再由心像转化为视觉语言，这个过程包含着抽象化的面向。王洪作品中，由寥寥数笔表现的蒸气、水面、堤岸可以看到抽象化的痕迹和效果。泰祥洲进一步将这些抽象化的痕迹从山水画中抽离出来，成为更抽象的构图。这一方面放大了笔墨的细节，另一方面形成了新的画面空间，这个空间是流动的、无中心的、无明确空间属性的。 《冬日天空》画面上的痕迹则让人联想到艺术家在画布前泼溅颜料的动作。这让Steir的作品常常与Jackson Pollock（1912–1956）的抽象表现主义绘画联系在一起。Pollock在四十年代末五十年代初用泼洒颜料的方式创作了一系列大幅油画作品，也被称为滴色画（drip painting）或行动绘画（action painting）。行动绘画强调了艺术家的即兴创作过程，将作品看作画家动作留下的痕迹。对于《冬日天空》的观者来说，如果将注意力放在画面中部的黑色线条上，作品也可以看作艺术家的泼溅动作所留下痕迹的总和。画面上这种摇摆不定的张力也出现在Steir有关创作的自述中。她曾经说：“我想要去破坏作为某种象征的图像。为了让画面成为象征的象征，我需要通过我的动作，去创造图像，再划去它们。这看上去仿佛没有图像了，但也可以看作无穷无尽的图像。”如她所说，《冬日天空》既指向天空和星光，也在消解意指，进而让观者注意到意指过程本身。 这两件作品中的空间再现包含有对视线的阻碍或干扰，而无论是再现还是对再现的干扰都与画面尺寸紧密相关。在美术馆内，这两件作品的并置恰恰让观者注意到了这一点。中国传统画论中有“以大观小”的论述，这提示观者将画面想象为由画面展开的更大空间的一部分，并且这种想像空间是可以进入的。以这种方式观看泰祥洲的《潇湘八景图》，由极有限的画幅中可以看到极广阔的空间。但不同于传统山水画，泰祥洲的作品的前景和背景之间的关系更为模糊，画面与观者之间的空间关系更难确定。如上文所述，对弥漫整个空间的水气的描绘既是再现性的，也阻碍了画面对空间的再现。这让画面的空间再现更侧重纯粹的视觉性，可以藉视线审视，而很难通过观看进入。 《冬日天空》的观看方式则更接近于大幅抽象表现主义作品。在一篇分析Pollock滴色画的文章中，学者T. J. Clark认为，Pollock绘画中细密繁复的线条和接近于墙体的面积制造出一种尺寸上的强烈反差。在极小与极大之间，中等尺寸的视觉语言是缺失的，这让观者很难在画面上找到可以确认自身位置的视觉提示。观看《冬日天空》的经验与此类似。当细小的泼溅痕迹在三米高的画布上展开，观者会产生类似观看天空景象时的感受——只能远望浩渺星空，而不能接近。同时，作品中部的黑色线条也不断提醒着观者画面的平面属性，阻碍了观者视线的深入。通过以大观小和大小反差，这两件作品制造出广阔的空间效果；它们同时也强调了画面的平面属性，这让对空间的再现更侧重视觉性。 除构筑视觉性的空间之外，《潇湘八景图》和《冬日天空》也与复杂的空间感受相连。泰祥洲曾经在2017年将构图同样聚焦于流水与雾气的一个系列命名为《黄钟大吕》。黄钟和大吕分别是中国古代音律中阳律和阴律的第一律。作为一个成语，黄钟大吕用来形容庄严的音乐或文辞。《黄钟大吕》这个标题将画中所描绘水、雾与声波联系在一起。除此之外，在中国山水画中，氤氲的水气也经常是“气”的视觉表达方式。气既是一个抽象概念，也是一种可以感知到的能量，在传统绘画中通过水流、地形、空间虚实等因素表现。在《潇湘八景图》中，弥漫在画面上的水或气体也会让观者联想到“气”。声波和气是不可见的，由这两个参照点出发，画面空间不仅是视觉性的，也具有想像的维度。 《冬日天空》则让人产生面对自然景象时的感受。Steir自七十年代开始用泼溅油彩的方式在画布上作画。她用这种方法创作出的作品被人称为“瀑布画”。在这些大尺寸作品中，她在画布上方刷大量的油彩或将油彩直接泼在画面上，使其在外力或重力作用下形成瀑布状的纹理。瀑布画的创作过程及其再现空间的方式都接近于Pollock的滴色画。Pollock虽然没有描绘具象事物的外形，其作品与具象并非毫无联系。通过凸显画布和颜料的物质属性，Pollock 创造出再现自然的新的方法。他的作品表面常常可以见到具象事物的痕迹或碎片，如手印、沙砾、碎玻璃。更为重要的是，他的大部分滴色画面积接近整面墙，这种尺寸在二十世纪中期尚属少见。大幅画布、恣意泼洒的颜料、以及纵横交错、层次繁复的线条带来强烈的视觉冲击力，让观者产生面对自然景象的感受。与此类似，《冬日天空》也在大幅画面上呈现出密集的点线。三米高的黑色背景上布满雨点般的颜料痕迹，这让画前的观者很难依靠视线掌控、纵览画面的所有部分。这种视觉上的短暂失控感会让观者联想到面对浩瀚星空时的感受。... Read more

News | Tai Xiangzhou - At the Exhibition Painted Screen: Tradition and Future at Suzhou Museum

October 22, 2019 On September 6, 2019, exhibition Painted Screen: Tradition and Future opened at Suzhou Museum. Two works of Tai Xiangzhou—Painting after... Read more

News | Yau Wing Fung - Matter at Ink Asia 2019

October 22, 2019 Yau Wing Fung is exhibiting his work at. a special exhibition Matter, part of the Ink+ project organized by Ink... Read more

学人回顾 | 方闻 (1930–2018) 纽约大都会博物馆及普林斯顿大学共同缅怀

Guo Xinran August 22, 2019 方闻（1930–2018）是中国古代艺术史领域的杰出学者。他于2018年10月3日在美国新泽西州普林斯顿去世，享年88岁。2019年4月13日，普林斯顿艺术与考古系在普林斯顿大学教堂为方闻举办了纪念仪式。 方闻，字闻之，1930年12月9日出生于上海 。方闻从5岁开始研习书法，曾有“书法神童”之称，于十二岁在上海举办了公开的书法展览。1948年，方闻负笈美国，开始在普林斯顿大学学习，最开始他的专业是物理，后来他很快转为欧洲历史专业，并于1951年获得本科学位。他随后在普林斯顿艺术与考古系攻读艺术史博士学位，于1958年毕业。从1954年到1999年，方闻在普林斯顿大学任教。退休后，方闻从2004年到2007年在清华大学任教，于2009年到2012年在浙江大学任教。 在1959年，方闻与普林斯顿大学东亚系的牟复礼（Frederick W. Mote，1922—2005）建立了美国第一个“中国艺术博士学程”。1962年，这个项目扩大为“中国与日本艺术博士学程”。半个多世纪以来，这个项目培养了中国古代艺术史领域一批顶尖的研究者和策展人，被人们称为“普林斯顿学派”。在1970年代担任系主任期间，方闻将摄影史和前哥伦布时期的美洲艺术囊括到艺术与考古系的教学和研究中。在方闻担任普林斯顿大学艺术博物馆首任亚洲艺术策展人和馆长期间，他扩展了博物馆在许多领域的收藏，包括来自McAlpin家族的摄影收藏和约翰·B·艾略特（John B. Elliott）的中国书法藏品，后者被人们普遍认为是亚洲以外最好的古代书法收藏之一。 方闻对纽约大都会博物馆亚洲部馆藏的发展作出了卓越的贡献。从1971年到2000年，方闻担任大都会博物馆特别顾问和亚洲部主任。据方闻多年的好友、中国古代艺术史领域的另一位重要学者高居翰（James Cahill, 1926–2014）回忆，方闻在普林斯顿大学、普林斯顿大学艺术博物馆、大都会博物馆身兼数职，因而永远是学者中最为忙碌的。他不仅学养深厚，也具备在局面复杂的会议上斡旋和协调的能力。在七十年代之前，大都会博物馆的亚洲部仅有一间展室、一个全职岗位和两位专职研究者。据大都会亚洲部主任何慕文（Maxwell K. Hearn）回忆，当时的亚洲艺术展厅中仅仅能看到瓷器、佛像和壁画。在美中建交前夕，大都会博物馆邀请方闻来推动亚洲部（当时名为“远东部”）馆藏的扩大。三十年后，在方闻的带领下，大都会博物馆的亚洲部已经拥有五十多间常设展厅和十三位专职研究者，是美国最为庞大和重要的亚洲艺术收藏。 在方闻任期间，大都会完成了一系列具有历史意义的收购和捐赠。这包括：从画家和收藏家王己千手中买到的二十五件中国古代绘画精品，从哈里·C·帕卡德（Harry C. Packard）处获得的421件日本艺术品，从顾洛阜（John M. Crawford Jr.）处获得的中国书画作品，从安思远（Robert H.... Read more

News | Arnold Chang and Michael Cherney - Yellow Mountains (Huangshan)

Guo Xinran May 12, 2019 从2009年开始，画家张洪（Arnold Chang, b. 1954）和摄影师秋麦（ Michael Cherney, b.1969）共同创作了一系列作品。《黄山册页》是这一系列的其中之一，完成于2012年（图一）。作品是一本折叠册，由十二组图片做成。每组左边是秋麦的照片，右边是张洪的纸上水墨（图二）。照片来自秋麦在黄山拍摄的一张照片的细节部分（图三）。秋麦截取了照片中的一条，将其分成连续的十四等分，选取其中十二张，印刷在张洪绘画所用的宣纸上寄给他，张洪继而通过水墨画的形式对秋麦的照片做出回应，最后，秋麦完成册页的装裱。 《黄山册页》由纽约大都会博物馆收藏，现正作为展览“溪山无尽——中国山水画传统”的一部分在该馆展出。在展览上，册页被拉开展示，二十四张图片形成连续的整体。秋麦的摄影以灰色调为主，而张洪的画面有大面积的留白。站在一定距离外看，图片之间色调的不同让作品具有独特的视觉冲击力（见图一(组)）。 这种独特的视觉冲击力也建立在图片之间的共鸣上。近距离观看的话，可以看到每组摄影与水墨画之间构图上的呼应。在作品的有些部分，可以明确看到两张图片中类似的山川、岩石形态（图四）。而在其它部分 ，两件图片仿佛将山水画中的细节无限放大，构图中只能辨认出笔触或色调的变化（图五）。另外，秋麦将照片打印在宣纸上。宣纸的吸水性让画面更加柔和，更接近张洪的纸上水墨的质感。张洪和秋麦在个人的实践中都长期保持对传统艺术语言和审美观念的回溯。张洪的笔法和构图主要取自元代以降的文人绘画，秋麦的摄影也受到中国传统绘画的影响。两位艺术家的合作基于他们对中国传统绘画相近的理解方式。艺术史学者安雅兰和沈揆一在一篇文章中将秋麦和张洪的合作作品看作一种文人间的对话。他们合作作品中摄影和绘画的并置延续了传统绘画作品上题字与绘画之间的共鸣。 和而不同可以很好地概括《黄山册页》的独特视觉冲击力。两种媒介之间既存在联系，又保持着微妙的距离。在秋麦和张洪合作的其它作品中，作品之间的过渡多以其它方式出现。有些作品中图片交界处采用模糊处理，过渡看起来更加柔和；在另外一些作品中，秋麦的照片会以三角形或扇形出现在构图中；在大部分的合作作品中，秋麦的照片是张洪水墨画中的一个格子。如《仿王己千》（2016）中，照片位于构图的正中，张洪的绘画与摄影中岩石的起伏构成有机的整体，如同笔触从照片延伸到了水墨画面上（图六）。与其它的合作作品不同，《黄山册页》中绘画与摄影是不连续的，图片之间并无明显的视觉线索作为连接，两张并置的图片以相似但独立的构图出现。 这种并置带来的视觉观感相当吸引人。在2014年出版的一份展览图册中，一位学者曾经写到：“我们看到两种肌理既连续展开又相互形成对比。这是一种奇特（uncanny）的感觉。”在同一份图录中，也有学者提到，观看秋麦和张洪的合作作品时，观者的视线经常在两种媒介的交界处反复停留。在有关《黄山册页》的访谈中，艺术家和访谈者也曾提到过，这种格子的构图方式让作品看起来更加当代。 《黄山册页》中图片的边缘和图片的排列方式看似不重要的细节，不过也是这些细节指向作品与传统文人对话在形式和媒介上的不同。关注这些细节也许可以帮我们进一步理解两位艺术家的合作，以及在当代回溯传统的意义。 需要说明的是，现当代艺术的视觉语言并非张洪和秋麦首要考虑的因素。 张洪的创作并不基于照片，而来自秋麦的摄影让他联想到的中国传统绘画作品。秋麦在拍摄和选择合作作品中的照片时也受到中国绘画的影响。在与大都会博物馆策展人史耀华（Joseph Scheier-Dolberg）的一次访谈中，张洪提到， “我们并不特意去创新，我们想做的是我们觉得对的、实在的、可以用得上我们各自的技巧和共同的美感的东西。” 在同一个访谈中，秋麦说：“我们的合作对水墨传统是尊重的……不需要是革新了什么东西，只是为后来的人再往前走一小步。” 同样，张洪和秋麦都不认为构图中的格子是自己创作的先决条件。张洪曾提到，合作作品中的直角和直线的边缘没有直接影响到他的创作；对秋麦来说，图片的选择主要基于他对作品画面的设想，而不是几何的构图。 《黄山册页》中的格子深深嵌入到两位艺术家对中国古代传统的思考中。张洪的艺术实践与元代绘画渊源颇深，也受到明清绘画的影响。他更注重对想像中山水形态的描摹，对自然潜在规律的把握，而非直接的再现。张洪的实践植根于中国传统绘画一个重要的转变阶段。艺术史学者方闻在文章... Read more

News | Shen Chen - Bild Macht Religion

October 14, 2018 The exhibition ”BILD MACHT RELIGION (IMAGE POWERS RELIGION)–Art between Reverence, Prohibition and Destruction“holds by the by Art Museum Bochum, Germany,... Read more

News | Arnold Chang and Michael Cherney - All Under Heaven: Landscapes of China

September 29, 2018 Shared appreciation of China’s classical tradition of art and culture proves to be a powerful unifying force in the art... Read more

News | Ink Worlds: Contemporary Chinese Painting from the Collection of Akiko Yamazaki and Jerry Yang

June 20, 2018 Stanford, CA– The first exhibition at the Cantor Arts Center devoted solely to contemporary Chinese ink painting features more than... Read more

News | Tai Xiangzhou - Intersection: International Art and Culture

May 30, 2018 We are pleased to announce that in celebration of the 25th Anniversary of Arthur M. Sackler Museum of Art and... Read more

News | Michael Cherney - From the Canglang Pavilion

May 19, 2018 Academic Adviser: Fan Di’an Exhibition Director: Zhu Qiang Curator: Wu Hongliang Psychological Consultant: Liu Zhengkui Space Artist: Jiří Příhoda Curatorial... Read more

News | Chen Duxi - Blissful Land Ⅱ — Still Waters Run Deep

April 14, 2018 Blissful Land Ⅱ —— Still Waters Run Deep Shanghai Himalayas Museum April 14th – May 28th, 2018 | 10:00 –... Read more

News | Tai Xiangzhou - Mirroring China’s Past: Emperors and Their Bronzes

February 24, 2018 Chinese bronzes of the second and first millennia BC are some of the most distinctive achievements in the history of... Read more

News | Arnold Chang and Michael Cherney - Two Arises Three: The Collaborative Works of Arnold Chang and Michael Cherney

February 3, 2018 The University Museum and Art Gallery (UMAG) of the University of Hong Kong (HKU) will present From Two Arises Three:... Read more

News | Yau Wing Fung - Wu Bin: Ten views of a Lingbi stone, the Los Angeles County Museum of Art

January 23, 2018 Location: Resnick Pavilion LCAMA Date: December 10, 2017–June 24, 2018 In ancient China strange and marvelous stones were valued for... Read more

News | Arnold Chang and Michael Cherney - Steams and Mountains Without End: Landscape traditions of China

September 11, 2017 From the standpoint of splendid scenery, painting cannot equal [real] landscape. But when it comes to the wonders of brush... Read more

News | Wang Mansheng - Washi and Four Artists From The World

October 16, 2016 EXHIBITION OVERVIEW WASHI AND FOUR ARTISTS FROM THE WORLD Ino-cho Paper Museum October 1 – October 30, 2016 Read more

News | Micheal Cherney - Berkeley Eye: Perspectives on the Collection

August 21, 2016 The University of California, Berkeley began collecting art shortly after its founding in 1868. Bacon Hall Library and Art Museum... Read more

News | Micheal Cherney - Conversations: Past and Present in Asia and America At Allen Memorial Art Museum

August 21, 2016 In the arts, the past is often present in many forms. It can appear as a resilient stylistic tradition, or... Read more

News | Micheal Cherney at Redtory Museum Of Contemporary Art

August 21, 2016 Michael Cherney participated in the large-scale international art exhibition “Being and Inking: Documenting Contemporary InkArt (2001-2016)”. It is organized by... Read more

News | Wang Mansheng - At Princeton Art Museum

August 4, 2016 Sound in the Mountains 2010 Silence Series 2008 On display at Princeton Art Museum to honor Professor Jerome Silbergeld. Jan... Read more

News | Arnold Chang and Michael Cherney - At Kalamazoo Institute Of Art

July 23, 2016 This exhibition features 20 works, both solo and collaborative, by two artists working in complementary mediums to explore the landscape... Read more