Kathy Thomson Art Show in San Diego Nov 17

Chinese-American painter

Hung Liu
In front of her painting from her "Daughters of China" series
Built-in	(1948-02-17)17 February 1948 Changchun, China
Died	seven Baronial 2021(2021-08-07) (aged 73) Oakland, California, United States
Education	Beijing Teachers College, Central Academy of Fine Arts, Academy of California, San Diego
Known for	Painting, mural painting
Awards	Joan Mitchell Fellowship (1998), SECA award (1992), Eureka Fellowship (1993), SGC International Award for Lifetime Achievement (2011)
Website	www.hungliu.com

Hung Liu (劉虹) (17 Feb 1948 – 7 Baronial 2021) was a Chinese-built-in American contemporary artist. One of the first Chinese artists to found a career in the West, her paintings and prints typically featured layered brushstrokes combined with washes of linseed oil which requite the imagery an indistinct and drippy appearance. They were often inspired by bearding Chinese historical photographs, particularly those of women, children, refugees, and soldiers. Although idea of predominantly as a painter, her body of work moves fluidly between painting, mixed-media and site-specific installation.

A x-year retrospective of Liu'south work traveled nationally in the U.Southward. in 1998 and 1999. Summoning Ghosts: The Art of Hung Liu was a retrospective collection of Liu'due south work that remains the most extensive exhibit of her work to date, with paintings from more than xl collections displayed.

Early life and work in China [edit]

Hung Liu was built-in in Changchun, Mainland china in 1948.^[1] Shortly subsequently her birth, her male parent was thrown into prison for beingness a member of the Kuomintang of People's republic of china. In 1958, Hung Liu followed her aunt to Beijing at the age of 10 and entered the famous 北师大 女附中 (now The Experimental High School Attached to Beijing Normal Academy).^[2] In 1970, two years after the starting time of China's Cultural Revolution, Liu was sent to Huairou,^[3] a small village in the Beijing countryside, where she lived and worked among the local villagers from 1968 to 1972. She attended Beijing Teachers College in 1975 and studied mural painting as a graduate student at the Central Academy of Fine Arts in Beijing.^[four] As a educatee Liu'south art education had strict limits; the constrained and bookish fashion which students were forced to emulate has been likened by Liu to paint-by-numbers.^[5] Although the use of cameras to help painting was prohibited, Liu rebelled by secretly taking photographs of local farmers in Huairou with their families and making drawings of them.^[5]

1972 oil painting by Hung Liu from the "My Secret Freedom" serial.

Work [edit]

Liu's paintings typically characteristic layered brushstrokes combined with washes of linseed oil which gives the imagery an indistinct and drippy appearance.^{[6] [7]} Various commenters have suggested that this visual strategy's surrealism and its absence of Socialist political bulldoze tin can be seen equally the opposite of (or a rejoinder to) the rigid academicism of the Chinese Socialist Realist way in which Liu was trained.^{[eight] [9]} It has as well been characterized as a metaphor for the loss of historical retentivity: the dripping in Liu's paintings is described by art critic Neb Berkson every bit "analogous to retentiveness" and how "[memory] is blurred."^[7] Given the desolation that often infuses her works, her painting style has been described past Liu's partner, critic and curator Jeff Kelley, as a kind of "weeping realism."^[ten]

Hung Liu - Chinese Contour II, 1998. Oil on sail, eighty x 80 in. Collection of San Jose Museum of Art.

Liu's paintings and prints often make use of bearding Chinese historical photographs, particularly those of women, children, refugees, and soldiers, as subject area matter.^[5] Many are drawn from the artist's personal collection of 19th century Chinese photographs, a big portion of which feature prostitutes. Liu believes her paintings "gives a spirit to them, the forgotten."^[6] Equally curator Réne de Guzman writes, her paintings bring details of Chinese history and memory into the present for American viewer.^[11] Writing for the San Francisco Museum of Modernistic Art, Kelley suggests that Liu's paintings "challenge the documentary authority of historical photographs by subjecting them to the more reflective process of painting [...] Much of the meaning in her paintings comes from the mode the washes and drips dissolve the photo-based images, suggesting the passage of retention into history."^{[12] [xiii]}

Since the late 1990s Liu has occasionally taken historical photographs of non-Chinese women, refugees, migrants, workers, and children as a point of divergence. Her Foreign Fruit paintings of the early to mid 2000s depicted Korean "comfort women" forced to serve as prostitutes for Japanese soldiers in the second World War.^[5] Several of her paintings depict imagery from the portrait and documentary photographs of the Chinese populace past John Thomson.^[fourteen] In her American Exodus series, Liu addresses American field of study matter, creating images of the Dust Bowl and the Great Depression afterward the photographs of Dorothea Lange.^[fifteen]

Although thought of predominantly as a painter, her body of piece of work moves fluidly between painting, mixed-media and site-specific installation. Pieces such every bit Goddess of Dear/Goddess of Liberty ^[16] incorporate significant mixed-media elements (often antiquarian or mitt-made objects) either installed in close proximity to or mounted direct onto the piece. Liu cited her installation work as a continuation of the principles she utilized as a muralist "an ability to piece of work in large scale and to take the site specificity of the situation into account. Creating an installation merely required pushing the work out into the third dimension".^[17] Liu's paintings also often incorporate a sculptural dimensionality through the employ of custom canvases shaped to the contours of their subject matter.^{[xviii] [9]}

My Secret Freedom paintings [edit]

Liu also disobeyed the ban against non-sanctioned fine art of the Maoist Authorities^[19] in her series chosen "My Surreptitious Freedom." These miniature mural paintings, created during Liu's time at Da Dulianghe, depict scenes of everyday life.^[20] Their title refers to the rebellion inherent in their creation: Liu had to hide a pocket-sized paint box and brushes beneath her coat and painted each tiny paradigm quickly.^[21] Jeff Kelley writes that Liu's "intent was radical in China at the time: to paint not in the service of state credo or party dicta, but just to paint. To paint for the sheer pleasure of painting."^[22]

Immigration and Resident Alien exhibition [edit]

Liu immigrated to the Us in 1984. She is a course of 1986 alumna of the University of California, San Diego.

As resident creative person at Capp Street Project in San Francisco in 1988, Liu painted a series of works whose main focus was the consequence of identity as it relates to immigrant condition. Among these was the eponymous Resident Alien. This was Liu'south commencement cocky-portrait,^[23] in which the creative person painted an enlarged version of her own green card with several pointed changes, e.grand. her birthdate of 1948 becoming 1984, the engagement of her immigration, and her proper noun comically replaced by the words "Fortune Cookie."^[24] The off-site exhibition of these works brought Liu her first major art world attending; the painting Resident Alien also subsequently received numerous treatments and interpretations by scholars of gender identity and women's studies as well every bit art historians.^{[23] [25]} Dong Isbister proposes that Resident Alien is best understood via a 'diasporic consciousness,' as Liu asks her audience to "examine how her body is positioned and portrayed in relation to legal, racial, and gender problems based on immigration." The painting evidences the "tension between an ethnic, a national and a transnational identity";^[26] at the aforementioned time, Liu "shows resistance to being assimilated into the stereotypes imposed upon her by inserting her own voice."^[23] In 1988, as part of her Capp Street Projection residency, Liu produced a mural, Reading Room, for the Chinese for Affirmative Activity Community Room in San Francisco's Chinatown.^{[27] [28]}

"Jiu Jin Shan (Old Gold Mountain)" [edit]

Hung Liu's installation Jiu Jin Shan (One-time Gold Mountain), 1994/2013, at the Mills College Art Museum. Photo by Phil Bond.

Liu's installation work Jiu Jin Shan (Old Gold Mountain) (1994) was originally commissioned by the Yard.H. de Young Memorial Museum. In this work, Liu created a "golden mount" fabricated of 200,000 fortune cookies, engulfing a crossroads of railroad tracks. The junction of the tracks references the cultural intersection of Due east and Westward, as well as the Chinese immigrants who perished during the building of the Sierra Nevada stage of the transcontinental railroad.^[29] Jiu Jin Shan (Former Gilt Mountain) was likewise installed at the Mills College Art Museum in 2013 equally part of the exhibition Hung Liu: Offerings.^[9]

"Going Away, Coming Abode" drome installation [edit]

In November 2006, Liu'south public art installation Going Away, Coming Home was unveiled at the Oakland International Drome. The installation is a 160-human foot long wall of windows in the Terminal 2 concourse.^[30] The installation was commissioned past the Port of Oakland for $300,000.^[31]

The installation depicts 80 cranes that are meant to condolement and give blessings to people who are leaving their homes or returning from travel.^[31] Liu was inspired by a silk Chinese curl painting from the twelfth century, which also depicts cranes symbolizing practiced luck.^[32] Liu painted the work with enamel in her signature fashion of allowing the paint to drip.^{[32] [31]} To make the work, she collaborated with the 140-twelvemonth-one-time German language drinking glass fabrication company Derix Glasstudios.^[33]

Summoning Ghosts retrospective [edit]

Summoning Ghosts: The Art of Hung Liu was a retrospective drove of Liu's work, including around 80 paintings and an array of photographs, studies, and sketchbooks. Information technology remains the most extensive showroom of her work to engagement, with paintings from more than than 40 collections displayed. The showroom featured works from throughout Liu'southward creative career, starting time from the belatedly 1960s;^[34] these paintings draw upon her personal history and feel of the Maoist regime, the Great Leap Forward, and the Cultural Revolution, also as drawing from themes of Ancient China.^[35] Réne de Guzman, the chief curator at the Oakland Museum of California, organized the exhibit in collaboration with Hung Liu. The artist describes the exhibit as a "…total circle… [Comprising] where I come from, what I was interested in, and what was possible to do in China."^{[36] [37]}

Awards and achievements [edit]

Liu has received numerous awards, including two painting fellowships from the National Endowment for the Arts and a Joan Mitchell Fellowship.^[14] In 2011 she received an SGC International Award for Lifetime Achievement in Printmaking from the Southern Graphics Quango.^[38] Other awards include a Society for the Encouragement of Contemporary Fine art (SECA) award and a Eureka Fellowship.^[39]

She was the Professor Emerita of Painting at Mills Higher in Oakland, California, where she taught from 1990 until retiring in 2014.^{[40] [25]}

Death [edit]

Liu died from pancreatic cancer on 7 August 2021 in Oakland, California.^{[41] [42]} At the fourth dimension of her passing, the de Young Museum in San Francisco had a drove of her work on exhibit. The exhibition will run until 13 March 2022.^[43] Liu was in the procedure of developing an exhibition at the Smithsonian's National Portrait Gallery earlier her death. Hung Liu: Portraits of Promised Lands opened in Baronial 27, 2021 and will close on May thirty, 2022.^{[44] [45]}

Collections [edit]

Liu's work is held in the following public collections:

• National Museum of Women in the Arts, Washington, DC
• San Francisco Museum of Modern Art, San Francisco, California^[12]
• Whitney Museum of American Fine art, New York City, New York^[46]
• Metropolitan Museum of Art, New York City, New York^[47]
• National Gallery of Fine art, Washington, D.C.^[48]
• Asian Art Museum, San Francisco, California^[49]
• Los Angeles County Museum of Art, Los Angeles, California^[47]
• San Jose Museum of Art, San Jose, California^[50]

Exhibitions [edit]

The Hung Liu: The Long Way Abode exhibition at The Grace Museum in Abilene, Texas

In addition to the exhibitions discussed above, Liu'due south piece of work has appeared in exhibitions and venues including the post-obit:

• Portraiture Exhibition, Winter Palace Gallery, Beijing, China; 1978
• National Fine Arts Colleges Exhibition, a traveling group show in People's republic of china; 1980
• Two Lovers 两个爱人; 1980 ^[3]
• The Music of the Slap-up Globe 神州律吕行, Mural Central Academy of Fine Arts, Beijing; 1981 ^{[iii] [51] [52]}
• Resident Alien 常住的外来者, San Jose Museum of Art, CA; 1988 ^{[3] [53] [54]}
• Chinese Pieta (mixed-media installation), The Women's Building, Los Angeles, CA; 1989
• Goddesses of Love and Liberty, Nahan Contemporary Gallery, New York, NY; 1989
• Precarious Links: Emily Jennings, Hung Liu, and Celia Munoz, San Antonio Museum of Art, San Antonio, TX and Lawndale Art and Performance Center, Houston TX; 1990
• Decoding Gender, Schoolhouse 33 Art Center, Baltimore, MD; 1992 (curated by Robert Atkins)
• 43rd Biennial of Contemporary American Painting, Corcoran Gallery of Art, Washington, DC; 1993^[55]
• In Transit, New Museum of Contemporary Art, New York, NY; 1993
• Year of the Dog, Steinbaum Krauss Gallery, New York, NY; 1994
• Meet-Saw 跷跷板; 1994 ^{[three] [56]}
• Twelve Bay Surface area Painters: The Eureka Fellowship Winners, San Jose Museum of Art, San Jose, CA; 1994
• The Last Dynasty, Steinbaum Krauss Gallery, New York, NY; 1995
• Parameters: Hung Liu, the Chrysler Museum, Norfolk, VA; 1995-1996
• Gender Beyond Retentivity, Tokyo Metropolitan Museum of Photography, Tokyo, Nihon; 1996^[13]
• American Kaleidoscope: Art At The Shut Of This Century, National Museum of American Art, Washington, DC; 1996^[57]
• American Stories: Amidst Displacement and Transformation, various venues in Japan (traveling) 1997-1998 including Setagaya Art Museum, Tokyo; Chiba Urban center Museum, Chiba; Fukui Fine Arts Museum, Fukui; Kurashiki Art City Museum, Kurashiki; Atorion, Akita
• Hung Liu: A 10-Year Survey, 1988-1998, Higher of Wooster Fine art Museum, Wooster, Ohio (March–June 1998); Muscarelle Museum of Art, Williamsburg, Virginia (Baronial–October 1998); Kemper Museum of Gimmicky Art, Kansas City, Missouri (November–Dec 1998); University of California, San Diego, La Jolla, California (January–March 1999); Bowdin College Museum of Art, Brunswick, Maine (April–June 1999); and Ackland Art Museum, Chapel Hill, N Carolina (September–November 1999).^[14]
• New Work: Painting Today, Recent Acquisitions, San Francisco Museum of Modern Art, San Francisco, CA; 1999-2000
• Where is Mao? 2000, The Art Eye, Center of Bookish Resources, Chulalongkom University, Bangkok, Thailand; 2000
• Text and Subtext: Contemporary Art and Asian Women, various venues (traveling) 2000-2003 including Earl Lu Gallery, La Salle-Sia College of the Arts, Singapore; Ivan Dougherty Gallery, University of New S Wales, Sydney Australia; Artspace, Sydney, Australia; Museum of Far Due east Antiquities, Stockholm, Sweden; Stenersen Museum, Stockholm, Sweden; Nikolaj Copenhagen Gimmicky Fine art Centre, Copenhagen, Denmark; Taipei Fine Arts Museum, Taipei, Taiwan; 10-Ray Art Centre, Beijing, Communist china
• Art/Women/California: Parallels and Intersections, 1950-2000, San Jose Museum of Fine art, San Jose, CA; 2002
• Strange Fruit: New Paintings by Hung Liu, Arizona State University Fine art Museum, Tempe, Arizona (26 January – 28 April 2002); Boise Art Museum, Boise, Idaho (i June – four August 2002); Laguna Fine art Museum, Laguna Embankment, California (27 October – 23 February 2003); and Crocker Art Museum, Sacramento, California (8 March – 4 May 2003).^[5]
• Hung Liu: Toward Peng-Lai (Paradise), Rena Bransten Gallery, San Francisco, CA; 2003
• Visual Politics: the Art of Engagement, San Jose Museum of Art, San Jose, CA; 2005-2006
• Re-presenting the Chinese in the American Westward; University of Wyoming Museum of Art, Laramie, WY; 2006^[58]
• Daughters of Cathay, Rena Bransten Gallery, San Francisco, CA; 2007
• Tai Cang (Great Granary), Xin Beijing Art Gallery (XBAG), Beijing, China; 2008^[59]
• Prodigal Daughter, F2 Gallery, Beijing, Cathay; 2008
• Richter Scale 里氏震级, Bernice Steinbaum Gallery, New York, NY; 2009^{[three] [60]}
• Qi Bu (7 Steps to Sky) 七步(七步上天堂), Rena Bransten Gallery, San Francisco, CA; 2009^[61]
• Half-Life of a Dream: Contemporary Chinese Art from the Logan Collection, San Francisco Museum of Modern Art, San Francisco, CA; 2008
• First Spring Thunder, Alexander Ochs Gallery, Beijing, Red china; 2011
• Culture Revolution: Gimmicky Chinese Paintings from the Allen Memorial Art Museum, Akron Art Museum, Akron, OH; 2011
• SGC International Honour Exhibition, Sam Fox School of Design and Visual Arts, Washington Academy, St Louis, MO; 2011
• Bicycle 輪回: New Works past Hung Liu, di Rosa Art Preserve, Napa, CA; 2012^[62]
• Happy and Gay, Rena Bransten Gallery, San Francisco, CA; 2012
• Gold, Belvedere Museum, Vienna, Austria; 2012
• The Female Gaze: Women Artists Making Their Globe, Pennsylvania University of the Fine Arts, Pennsylvania, PA; 2012-2013
• I, Y'all, We, Whitney Museum of American Fine art, New York, NY; 2013
• Hung Liu: Offerings; Mills Higher Art Museum, Oakland, CA; 2013^[9]
• Qianshan: Grandfather'southward Mountain, Nancy Hoffman Gallery, New York, NY; 2013
• Summoning Ghosts, Oakland Museum of California on sixteen March 2013;^[63] then travelled to Kemper Museum of Contemporary Art, October 2014 and toured, finishing its bout at Palm Springs Art Museum.^[64]
• The Rat Years, Huntington Museum of Fine art, Huntington, WV; 2014
• Marks Made: Prints past American Women Artists from the 1960s to the Nowadays, Museum of Fine Arts, St Petersburg, Florida; 2015^[65]
• Hung Liu: Daughter of China, Resident Alien; American University Museum at the Katzen Art Eye, Washington, D.C.; 2016 (curated by Peter Selz)^[66]
• American Exodus, Nancy Hoffman Gallery, New York, NY; 2016
• Hung Liu: Scales of History, Fresno Art Museum, Fresno, CA; 2016-2017^[67]
• Unthinkable Tenderness, Walter Maciel Gallery, Los Angeles, CA; 2018
• Promised Land, Rena Bransten Gallery, San Francisco, CA; 2017^[68]
• Women with Vision, Muscarelle Museum of Art, Williamsburg, VA; 2018
• Hung Liu: Portraits of Promised Lands, National Portrait Gallery, Washington, D.C., 2021^[69]

Publications [edit]

• Sui, Jianguo et al. Hung Liu: Nifty Granary. Blue Kingfisher, 2011^[59]
• Roth, David; "Hung Liu @ Oakland Museum." Square Cylinder, eighteen April 2013^[18]
• Liu, Hung. Questions from the Heaven. Hardy Marks Publications, 2015^[70]
• Kelley, Jeff et al. Daughter of China, Resident Conflicting. American University Museum at the Katzen Art Eye, Washington, D.C. 2016^[71]
• Hickey, Dave; 25 Women: Essays on Their Piece of work. University of Chicago Press, 2016^[72]
• Gouma-Peterson, Thalia et al. Hung Liu: A X-Twelvemonth Survey 1988-1998. College of Wooster Art Museum, Wooster, MA, 1998^[73]
• de Guzman, Rene et al. Summoning Ghosts: The Art of Hung Liu. University of California Printing, 2013^[27]
• Moss, Dorothy et al. "Hung Liu: Portraits of Promised Lands". Yale University Press, Published in association with the National Portrait Gallery, Smithsonian Institution, Washington, DC, June 29, 2021 ^[74]

References [edit]

1. ^ Phaidon Editors (2019). Great women artists. Phaidon Press. p. 248. ISBN978-0714878775.
2. ^ "专访旅美华裔著名艺术家刘虹（一）". Radio Gratis Asia (in Chinese (Mainland china)). Retrieved 2 November 2019.
3. ^ ^{a b c d e f} 田, 霏宇 (June 2011). "刘虹：向蓬莱" (PDF). Leap(艺术界): 147.
4. ^ Kara Kelly Hallmark, Encyclopedia of Asian American Artists, Greenwood Publishing Group, 2007, p115. ISBN 0-313-33451-Ten
5. ^ ^{a b c d east} "Foreign Fruit: New Paintings by Hung Liu". lagunaartmuseum.org . Retrieved 12 Dec 2016.
6. ^ ^{a b} Tsui, Shu-chin. "'Summoning Ghosts' with Artist Hung Liu". Bowdoin College in the News. Vimeo. Retrieved 6 March 2016.
7. ^ ^{a b} "Hung Liu Spark* Interview". KQED Arts . Retrieved xx November 2014.
8. ^ Musiker, Cy. "A Adult female Who Can Summon Ghosts". KQED News. Archived from the original on 10 December 2014. Retrieved 22 November 2014.
9. ^ ^{a b c d} Hill, Angela (25 Feb 2013). "Artist Hung Liu's work blurs history, memory". The Mercury News. MediaNews Group, Inc. Retrieved 12 December 2016.
10. ^ "Bio". HUNG LIU . Retrieved 6 March 2016.
11. ^ Guzman, Réne de (2013). Summoning Ghosts: The Art of Hung Liu. UC Press.
12. ^ ^{a b} "Hung Liu'south Look, Record, Explore: Drawing pocket-size things around you". SFMOMA . Retrieved xv April 2017.
13. ^ ^{a b} Gallery, Matt Moores, Nancy Hoffman. "Hung Liu | biography | Nancy Hoffman Gallery". www.nancyhoffmangallery.com . Retrieved six March 2016.
14. ^ ^{a b c} Liu, Hung; Karen Smith (2013). Summoning Ghosts; the Art of Hung Liu (first ed.). 2120 Berkeley Way, Berkeley, CA, 94704-4820: Oakland Museum of CA in conjunction with University of California Press. p. 99. ISBN978-0-520-27521-8. {{cite book}}: CS1 maint: location (link)
15. ^ Gallery, Matt Moores, Nancy Hoffman. "Hung Liu: American Exodus 2016 exhibition pressrelease | Nancy Hoffman Gallery". world wide web.nancyhoffmangallery.com . Retrieved 12 Dec 2016.
16. ^ Arieff, Allison (2005). Broude, Norma; Garrard, Mary D. (eds.). Reclaiming Female Bureau; Reclaiming Female person Agency. Berkeley and Los Angeles, California: University of California Press. p. 440. ISBN0520242513.
17. ^ Liu, Hung; René de Guzman. Borgogno, Kathy (ed.). Summoning Ghosts; the Art of Hung Liu (Outset ed.). University of California Press. pp. 76–82. Retrieved nine March 2017.
18. ^ ^{a b} Roth, David. "Hung Liu @ Oakland Museum of California". Square Cylinder.
19. ^ "Summoning Ghosts: An Interview with Hung Liu". Youtube. Oakland Museum of Art. Archived from the original on xiii December 2021. Retrieved 21 November 2014.
20. ^ "Hung Liu". Nancy Hoffman Gallery . Retrieved ix December 2014.
21. ^ "Hung Liu - artistic spirit defied Mao". SFGate . Retrieved 12 December 2016.
22. ^ Kelley, Jeff (2016). Hung Liu: Scales of History. Fresno Art Museum / Walter Maciel Gallery. p. 8.
23. ^ ^{a b c} Isbister, Dong. "Self Equally Diasporic Body: Hung Liu'due south Cocky-Portrait Resident Conflicting".
24. ^ Arieff, A (1996). "Cultural Collisions: Identity and History in the Work of Hung Liu". Woman's Art Journal. 17 (one): 35–40. doi:10.2307/1358527. JSTOR 1358527.
25. ^ ^{a b} Gouma-Peterson, Thalia; Liu, Hung; Zurko, Kathleen McManus; Bryson, Norman; Museum, College of Wooster Art (ane Jan 1998). Hung Liu: a ten-year survey 1988-1998 : an exhibition . Higher of Wooster Fine art Museum. ISBN9780960465897.
26. ^ Braziel, Jane Evans (2008). Diaspora: an introduction. Blackwell. p. 28.
27. ^ ^{a b} Guzman, René de; Hung, Wu; Li, Yiyun; Smith, Karen; Berkson, Bill; Hanor, Stephanie (15 March 2013). Summoning Ghosts: The Art of Hung Liu. University of California Press. ISBN9780520275218.
28. ^ Mills College Fine art Museum. "Hung Liu Bay Area Public Art Sites Guide and Map" (PDF) . Retrieved 10 March 2017.
29. ^ Release, Mills College - News - Printing. "Hung Liu: Offerings Embodies Mills College Spirit of Cultural Expression through Art". www.mills.edu. Archived from the original on xiv February 2017. Retrieved xiii December 2016.
30. ^ "Public Fine art at OAK - Oakland International Drome". Oakland International Airdrome . Retrieved 11 March 2017.
31. ^ ^{a b c} Casey, Laura (fourteen November 2006). "Liu's cranes fly through airport art installation". East Bay Times. MediaNews Group, Inc. Retrieved 11 March 2017.
32. ^ ^{a b} Hamlin, Jesse (13 November 2006). "Call information technology destination celestial -- crane mural lands at Oakland Airport". SFGate. Hearst Newspapers. Retrieved 11 March 2017.
33. ^ Dallinger, Deborah. "Press Release: Hung Lui unveils fine art at Oakland Aerodrome". www.mills.edu. Archived from the original on 12 March 2017. Retrieved 11 March 2017.
34. ^ Reichart, Rachelle. "Artist Interview: Hung Liu". Art-Rated.
35. ^ "Biography". Hung Liu . Retrieved eleven November 2014.
36. ^ Oakland Museum of California. "Summoning Ghosts: Full Circle". Youtube. Archived from the original on xiii December 2021. Retrieved 11 November 2014.
37. ^ "Summoning Ghosts: The Fine art of Hung Liu - Kenneth Caldwell". Kenneth Caldwell. 6 May 2013. Retrieved 15 April 2017.
38. ^ Release, Mills Higher - News - Press. "Mills College Fine art Professor Hung Liu Selected for Lifetime Achievement Award". www.mills.edu. Archived from the original on 16 April 2017. Retrieved fifteen April 2017.
39. ^ Sloan, Mark (1998). Hung Liu : Washingtown Blues. Charleston, South Carolina: Halsey Gallery, College of Charleston.
40. ^ Kelley, Jeff; et al. (2016). Hung Liu: American Exodus. Nancy Hoffman Gallery.
41. ^ Cascone, Sarah (thirteen Baronial 2021). "The Art World Remembers the Late Painter Hung Liu, Who Valorized Everyday Immigrants in Monumental Portraits". Artnet News . Retrieved twenty Baronial 2021. {{cite web}}: CS1 maint: url-status (link)
42. ^ Bravo, Tony (12 August 2021). "Creative person Hung Liu, discipline of current de Young Museum exhibition, dies at 73". Datebook, San Francisco Arts & Amusement Guide . Retrieved 20 August 2021. {{cite web}}: CS1 maint: url-status (link)
43. ^ "Hung Liu (1948–2021)". www.artforum.com . Retrieved 12 Baronial 2021.
44. ^ "Hung Liu: Portraits of Promised Lands". world wide web.npg.edu . Retrieved 16 September 2021.
45. ^ Baskind, Samantha (seven October 2021). "The Revolutionary Portraiture of Hung Liu". Smithsonian Mag . Retrieved thirteen Oct 2021. {{cite spider web}}: CS1 maint: url-status (link)
46. ^ "Hung Liu". whitney.org . Retrieved 2 November 2019.
47. ^ ^{a b} "A must-run across: Hung Liu's women warriors: 'Daughters of Cathay' at Kala". Berkeleyside. 30 November 2017. Retrieved 26 July 2020.
48. ^ "Artist Info". www.nga.gov . Retrieved 2 November 2019.
49. ^ "Hung Liu Paintings - 8 For Auction at 1stdibs". 1stdibs.com . Retrieved 2 November 2019.
50. ^ "Artist Hung Liu's work blurs history, retentivity". East Bay Times. 25 February 2013. Retrieved xiii June 2020.
51. ^ "Creative person Hung Liu'due south work blurs history, retention". The Mercury News. 25 February 2013. Retrieved 2 November 2019.
52. ^ "Music of the Great Globe". HUNG LIU . Retrieved 2 November 2019.
53. ^ "Hung Liu: Girl of China, Resident Conflicting". American Academy . Retrieved ii Nov 2019.
54. ^ "Resident Conflicting". HUNG LIU . Retrieved ii November 2019.
55. ^ Burchard, Hank (29 October 1993). "OUT OF THE FIRE, INTO THE MELTING POT". The Washington Mail service. ISSN 0190-8286. Retrieved half dozen March 2016.
56. ^ Liu, Hung, 1948- (fifteen March 2013). Summoning ghosts : the art of Hung Liu. De Guzman, René, 1964-, Oakland Museum of California. Berkeley. ISBN978-0520275218. OCLC 818734529. {{cite book}}: CS1 maint: multiple names: authors listing (link)
57. ^ "Showroom: Hung Liu". americanart.si.edu. Archived from the original on 3 April 2016. Retrieved 5 March 2016.
58. ^ "The Vanishing: Re-presenting the Chinese in the American West" (PDF). University of Wyoming Museum of Art.
59. ^ ^{a b} Hung, Wu; Bing, Xu; Hong, Yu; Xiaodong, Liu; Songsong, Li; Lin, Wei; Liu, Hung (28 February 2011). Hung, Wu (ed.). Hung Liu: Great Granary (Bilingual ed.). Blue Kingfisher. ISBN9789881890733.
60. ^ Mason, Shana (28 December 2010). "Hung Liu's "Richter Calibration" at Bernice Steinbaum Gallery Avoids Melodrama and Hysterical Gore". Miami New Times . Retrieved ii Nov 2019.
61. ^ "Hung Liu @ Rena Bransten". Squarecylinder.com – Art Reviews | Art Museums | Art Gallery Listings Northern California . Retrieved 2 November 2019.
62. ^ "Wheel 輪回: New Works by Hung Liu". 19 March 2015.
63. ^ "Summoning Ghosts: The Fine art of Hung Liu Exhibition". Oakland Museum of California . Retrieved xi November 2014.
64. ^ "Electric current Exhibit". Kemper Museum of Contemporary Fine art . Retrieved 11 November 2014.
65. ^ "Marks Made: Prints by American Women Artists from the 1960s to the Present – Museum of Fine Arts". www.fine-arts.org . Retrieved 16 January 2016.
66. ^ Jenkins, Marking (viii September 2016). "Looking for art free of politics? Don't expect here". The Washington Mail service. ISSN 0190-8286. Retrieved 12 December 2016.
67. ^ "Museum Exhibitions". HUNG LIU . Retrieved three August 2018.
68. ^ "Hung Liu CV (2017)" (PDF). Rena Bransten Gallery . Retrieved 15 Apr 2017.
69. ^ Saenger, Peter (6 Baronial 2021). "Honoring the Past With Art and Tears". Wall Street Journal. ISSN 0099-9660. Retrieved 11 August 2021.
70. ^ Liu, Hung (26 May 2015). Questions from the Sky. HARDY-MARKS. ISBN9780945367895.
71. ^ Kelley, Jeff; et al. (2016). Daughter of Mainland china, Resident Alien. American University Museum at the Katzen Arts Center. ISBN978-0-9964172-viii-0.
72. ^ Hickey, Dave (14 January 2016). 25 women : essays on their fine art. ISBN9780226333151. OCLC 926101825.
73. ^ McManus, ed Zurko Kathleen (one January 1998). Hung Liu: a Ten-Twelvemonth Survey, 1988 - 1998; an exhibition organized by The College of Wooster Art Museum . Wooster, Ohio: Coll. Wooster Art Museum. ISBN9780960465897.
74. ^ Moss, Dorothy; et al. (2021). Hung Liu: Portraits of Promised Lands. ale University Printing, Published in clan with the National Portrait Gallery, Smithsonian Institution, Washington, DC. ISBN978-0-3002574-4-1.

hendrickacurt1981.blogspot.com

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

Share this post