| Zhang Xiaogang was born on 1958 in Kunming, | | | | Zhang has achieved this by bringing together |
| Yunnan province,CHINA. Zhang Xiaogangs | | | | a number of polarities. Zhang uses a |
| paintings engage with the notion of identity | | | | technique based on western academic realism |
| within the Chinese culture of collectivism. | | | | to suggest unreality and illusion; he |
| Basing his work around the concept of family | | | | portrays a private insular world by means of |
| immediate, extended, and societal Zhangs | | | | a public artistic language, hinting at |
| portraits depict an endless genealogy of | | | | unspoken public trauma through individuals |
| imagined forebears and progenitors, each | | | | secrets. Over twenty years, Zhang has managed |
| unnervingly similar and distinguished by | | | | to resolve his own stylistic passage from an |
| minute difference. Often painted in black and | | | | early expressionistic period to a form of |
| white, Zhangs portraits translate the | | | | classicism.This solution makes a cultural |
| language of photography into paint. Drawing | | | | connection with the pioneering era when |
| from the generic quality of formal photo | | | | western painting technique was first |
| studio poses and greyscale palette, Zhangs | | | | successfully borrowed by popular art to |
| figures are nameless and timeless: a series | | | | portray the figure, when it was adapted to |
| of individual histories represented within | | | | mass culture in the spirit of popular folk |
| the strict confines of formula. | | | | taste. It is therefore close to traditional |
| | | | Chinese taste, hence successful in making |
| Zhang Xiaogangs work is usually based on its | | | | claims to be a new paradigm. |
| iconography and style, which reveal a strong | | | | |
| consistency whether the works are studied | | | | Selected Exhibitions:- |
| from the angle of artistic intention or | | | | |
| personal history. If we look at the | | | | 2000 |
| phenomenon of Zhang Xiaogang, and consider | | | | |
| elements of his art that have helped to | | | | Max Protetch Gallery, New York |
| establish his position in the art world, we | | | | |
| can look away from Zhangs psychological and | | | | 1999 |
| personal history, to focus on his | | | | |
| contributions to artistic language in | | | | Galerie de France, Paris |
| contemporary Chinese art. Zhang Xiaogangs art | | | | |
| has become a canon of contemporary Chinese | | | | 1989 |
| oil painting, and its merits depend very much | | | | |
| on the fact that he has found new solutions | | | | Sichuan Academy of Fine Arts,Chongqing |
| to harnessing western classical academic | | | | |
| technique (a standard in Chinese academies) | | | | Conclusions: |
| to turn it into an indigenous artistic | | | | |
| language. Zhang Xiaogang is very much a | | | | Zhang Xiaogangs work is usually based on its |
| product of the Chinese art academy system, | | | | iconography and style, which reveal a strong |
| and out of this heritage he has developed an | | | | consistency whether the works are studied |
| iconography and identified a special | | | | from the angle of artistic intention or |
| sensibility that in many ways define this | | | | personal history. He had focused on his |
| era. Because Zhangs footing is within the | | | | contributions to artistic language in |
| academy system, therefore the system may also | | | | contemporary Chinese art. |
| claim credit for his success. | | | | |
| | | | What to Do Next... |