Digital Kenyon: Research, Scholarship, and Creative Exchange

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  Zhao Bandi and Li Tianyuan Art Exhibition 赵半狄李天远画展

  Tian-yuan LI 李天元

  Zhao Bandi 赵半狄, Li Tianyuan李天远

  In addition to providing the date, time, and location of an exhibit showing the work of Zhao Bandi and Li Tianyuan, this newspaper invitation provides a brief criticism of the different forms of painting seen in the past, suggesting reasons for the decline of painting as an art form. Zhao Bandi and Li Tianyuan designate these forms of painting into three theoretical galleries. The first “gallery” is challenged for merely hiding behind historical techniques, lacking in emotion and passion. The second, including works that stray from the art of the past in both radical and conservative ways, is mocked for the aloofness of the “radicals” and the cynicism of the “conservatives.” The third “gallery” is criticized for its lack of originality and its appropriation of other artists’ ideas, techniques, and even emotions for the sake of earning fame or money. Finally, Zhao and Li suggest that works from the present day should allow the artist to break free of any constraints from the past, embrace the emotions of the current age, and thus create works that facilitate a connection with the viewer. They title this ideal form of painting “The Fourth Gallery.” It is their goal that their works exhibit the ideals of this “gallery.” (Russ, Hannah ‘18)

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  Wang Gongxin - Open Studio

  Gong-Xin WANG 王功新

  Karen Smith

  Within this article by Karen Smith, Wang Gongxin’s work, "Edible Grey," is described as embodying characteristics of the distinct Chinese culture through a contrast that mirrors the “yin” and “yang” dichotomy. However, Smith notes that these characters in fact transcend Chinese culture, representing universal concepts of nature and nurture. (Russ, Hannah ‘18)

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  Grenzgänger zwischen Ost und West; Halle im Papierkleid; Letzte Kunstausstellung in der Halle 10 der Reinhardtkaserne; Yin und Yang

  Gong-Xin WANG 王功新

  In August, 1995, Wang Gongxin presented his work, “Biao,” in Hall No. 10, a non-profit art center in Stuttgart, Germany. This venue, commonly used for solo art exhibitions, has a unique historical background. Following World War II and into the cold war, this space served as a garage for United States military vehicles. The many exhibitions that take place in this hall all must have some relation to space itself in one way or another. Following each exhibition, the space has to be restored. Wang Gongxin’s work, “Biao,” was created in this way. “Biao,” the title of his work takes on double meanings. The first, derived from the character 裱 (biao) refers to the mounting of ink paintings. The other, derived from the character 表 (biao), literally “a watch” refers to time. In creating the work, Wang “mounted” the entire 500 square meter space with “xuan” paper, using a paste made from flour and water as adhesive, as a worker of painting mounting works. This took him more than a month to complete. On the original floor, there were ten parking spots, defined by painted lines. After taking photographs of the ten numbered spaces, he set them in iron trays in their respective places. In each tray, he covered the photographs with developing fluid and hung a red light above each. As the photographs developed from the opening day of the exhibition to the last, they gradually reddened. (Russ, Hannah '18)

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  关于《布鲁克林的天空》

  Gong-Xin WANG 王功新

  Ying Yi 易英

  This article relates two of Wang Gongxin’s works, "Edible Grey" and "The Sky of Brooklyn" on their emphasis on Eastern and Western relations and the cultural differences that emerge within such contexts. In his work, "Edible Grey," the fragrant black Chinese ink represents the East, while the milk represents the West. As for "The Sky of Brooklyn," a hole in the ground leading to a video image of the sky of Brooklyn, New York, reflects differing perceptions of the East and West through a play on Western and Eastern sayings, such as the American phrase, “If you have nothing to do, why don’t you dig a hole to China?” Through these multi-sensory experiences, these two installations require both cognitive and physical engagement. Both works were installed at different times in his courtyard home in Beijing. (Russ, Hannah ‘18)

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  Lin Tianmiao

  Tian-miao LIN 林天苗

  Smith, Karen

  This editorial presents two of Lin TIanmiao works, "The Proliferation of Thread Winding" and "The Temptation of St. Theresa." Both works were presented at the exhibition, New Works, in Beijing, 1995. In the article, Karen Smith explores the male-female contrast present in both works. In doing so, she invokes the question of whether or not the nature of male and female in Lin's work is intended to explore innate or socially constructed characteristics of these genders. (Russ, Hannah '18)

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  Li Tianyuan

  Tian-yuan LI 李天元

  This pamphlet, picturing Li Tianyuan’s “Waltz” (1993), details his resume from 1989 to 1996. A short biographical timeline is also included. Based on the information provided, this document was likely created in 1996. (Russ, Hannah ‘18)

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  Cultural Melting Bath: Meet the Artist

  Guo-qiang CAI

  This pamphlet from 1997 details the hours and location of the Queens Museum of Art as well as an upcoming event for the Contemporary Currents exhibition. The event, “Meet the Artist,” was a program in conjunction with Cai Guo-qiang’s exhibition, "Cultural Melting Bath: Projects for the 20th Century." The program included a panel discussion with the artist, Cai Guo-qiang, and various other directors and consultants associated with the museum, followed by a reception and bathing demonstration. (Russ, Hannah '18)

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  Queens Museum of Art News Release

  Guo-qiang CAI

  This Queens Museum of Art news release details Cai Guo-qiang’s debuted work, "Cultural Melting Bath: Projects for the 20th Century," as well as corresponding programs. His work appeared as part of the museum's ongoing series, Contemporary Currents from August 1 to October 26, 1997. (Russ, Hannah '18)

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  Bound: Unbound

  Tian-miao LIN 林天苗

  Tian-miao LIN 林天苗

  In this essay written by Lin Tianmiao, she reveals the origins of her thread winding technique. She expresses feeling as though she was enduring some form of “torture” while helping her mother wind thread into balls as a child. Through the implementation of this technique into her work, she explores the experience of women in the realms of male and female, old and new. According to other documents related to this essay, it is likely that it was written in 1997. (Russ, Hannah '18)

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  Lin Tianmiao Resume

  Tian-miao LIN 林天苗

  According to other documents related to this resume, it is likely that it was written in 1995. (Russ, Hannah '18)

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  What I Feel in a Wooden Box and Moisture Cream

  Tian-miao LIN 林天苗

  Tian-miao LIN 林天苗, Wei Dong

  In this essay written by Lin Tianmiao, translated by Dong Wei, Lin expresses her initial draw towards the wooden boxes presented in her work, "The Temptations of St. Theresa." She explains that these boxes evoked a reaction within her that lead her to subverting the hardness of the boxes by covering them with a soft substance, moisture cream. According to other documents related to this essay, it is likely that it was written in 1994/1995. (Russ, Hannah '18)

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  Random Thoughts on "Thread-winding"

  Tian-miao LIN 林天苗

  Tian-miao LIN 林天苗, Wei Dong

  This essay, written by Lin Tianmiao, details the physicality of winding thread into balls, which is essential in the creation of her work. She, as well as her friends, expressed different experiences with thread winding, all emerging as individuals as a result of this task. In addition, she explores the dualities in her work with regards to male and female, hard and soft, as well as others, which emphasize the contrast of opposites. According to other documents related to this essay, it is likely that it was written in 1995. (Russ, Hannah '18)

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  Wang Gongxin

  Gong-Xin WANG 王功新

  Karen Smith

  In this article, Karen Smith discusses the duality of Wang Gongxin’s work, "The Sky of Brooklyn," noting the exploration of Wang’s two homes, New York and Beijing. A connection is drawn between the two locations through an artistic visualization of a common childhood saying, “go dig a hole to China.” Based on the other documents associated with this article, it was likely written in 1995. (Russ, Hannah ‘18)

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  Wang Gongxin

  Gong-Xin WANG 王功新

  Gong-Xin WANG 王功新

  This essay, written by Wang Gongxin, explores the artist's view on various interpretation of his work and the frequency with which he and his works are reduced in a foreign context. Overtime, he came to recognize that once a piece is completed, it has its own right, thus the meaning and value of his work emerges out of a response from the viewer, not from his own declarations. The final part of the essay details his friend’s interpretations and understanding of his work. Based on related documents, this essay was likely written in 1996. (Russ, Hannah ‘18)

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  Words from the Artist

  Gong-Xin WANG 王功新

  Gong-Xin WANG 王功新

  In this brief essay, Wang Gongxin speaks to the influence of China’s one child policy on his work. In this essay, he focuses on the familial consequences of this policy and the effects that it will have on the traditional family structure. Based on related documents, this essay was likely written in 1996. (Russ, Hannah ‘18)

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  Wang, Gongxin

  Gong-Xin WANG 王功新

  This resume details the shows that Wang Gongxin participated in from 1983-1995. This document was likely written in 1995. (Russ, Hannah ‘18)

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  Wang, Gongxin

  Gong-Xin WANG 王功新

  This resume details the shows that Wang Gongxin participated in from 1983-1996. This document was likely composed in 1996. (Russ, Hannah ‘18)

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  No Title

  Gong-Xin WANG 王功新

  Karen Smith

  In this short excerpt by Karen Smith, she describes Wang Gongxin’s work, "Infant Tongue," in detail. In particular, she notes the video images of parents and grandparents spewing nonsense at a baby and its inherent relationship to the single child structure of modern Chinese families. Based on related documents, this essay was likely written in 1996. (Russ, Hannah ‘18