Education |
1992-96 |
Master of Fine Arts in Sculpture, Academy of Art
University, San Francisco, USA |
1980-85 |
Bachelor of Fine Arts in Sculpture, Luxun
Institute of Fine Art, ShengYang, Liaoning Province, China |
1984
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Stone Carving Summer Workshop with Master Hosoi
Yoshio, Shengyang, China
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1978-80 |
Diploma of Fine Art, Art School of Jilin,
Changchun, Jilin Province, China |
Solo Exhibitions |
2019
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"Wanxin Zhang: The Long Journey", Museum of
Craft and Design, San Francisco, California, USA
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2017
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"Fahrenheit", Catharine Clark Gallery, San
Francisco, California, USA
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2015
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"Clay Nation", Peninsula Museum of Art,
Burlingame, California, USA
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2014
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"Totem", Catharine Clark Gallery, San Francisco,
California, USA
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2013
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"Wanxin Zhang - Ceramic Sculptures", Sanchez Art
Center, Pacifica, California, USA
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"Wanxin Zhang's New Works", Turner Carroll
Gallery, Santa Fe, New Mexico, USA
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2012
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"Wanxin Zhang", Melissa Morgan Fine Art, Palm
Desert, California, USA
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"Panda Warriors - Ceramic Figure Sculptures by
Zhang Wanxin", Art Beatus Gallery, Hong Kong |
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"Wanxin Zhang: A Ten Year Survey", Richmond Art
Center, Main Gallery, Richmond, California, USA
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"Wanxin Zhang: A Ten Year Survey",
Holter Museum of Art, Helena, Montana, USA
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2011
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"Wanxin Zhang", Pacini Lubel Gallery, Seattle,
Washington, USA
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"Wanxin Zhang: A Ten Year Survey", Bellevue Arts
Museum, Bellevue, Washington, USA
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"Wanxin Zhang: A Ten Year Survey", Morean Art
Center, St, Petersburg, Florida, USA
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2010
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"Wanxin Zhang: A Ten Year Survey", Boise Art
Museum, Boise, Idaho, USA
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"Wanxin Zhang: A Ten Year Survey: 1999-2009",
Arizona State University Art Museum, Tempe, Arizona, USA
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“Wanxin’s New Works”, Udinotti Gallery,
Scottsdale, Arizona, USA
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“Wanxin Zhang 2010”, Mindy Solomon Gallery, St.
Petersburg, Florida, USA |
2009
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“Wanxin Zhang New Sculptures”, University of San
Francisco, Thacher Gallery, San Francisco, California, USA |
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“Sculpture Terrace”, University of San
Francisco, Kalmanovitz Hall, San Francisco, California,
USA |
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”Atrium”, University of San Francisco,
Kalmanovitz Hall, California, San Francisco, USA |
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“Contemporary Warriors”, Sonoma State
University, University Art Gallery, Rohnert Park,
California, USA
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“Wanxin Zhang: Ceramic Sculptures”, Udinotti
Gallery, Scottsdale, Arizona, USA
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2008
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"Pit #5, Shifting Dreams", Bedford Gallery,
Lesher Center for the Arts, Walnut Creek, California, USA
|
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"Report from Pit #5", Art Beatus Gallery, Hong
Kong, China
|
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"Pit #5, Michigan", The Alden B.Dow Museum of
Science & Art, Midland Art Center, Midland, Michigan,
USA
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2007
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"Pit #5, California Artist Too", Fresno Art
Museum, Fresno, California, USA
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2006
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"Wanxin Zhang's New Works", Bernice Steinbaum
Gallery, Miami, Florida, USA
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“Pit #5 Laramie , 2006”, University of Wyoming
Art Museum Laramie, Wyoming, USA
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2004
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“Figures of the Future‘s Past - Pit #5”, Bernice
Steinbaum Gallery Miami, Florida, USA
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2002 |
“Ceramic Sculpture”, Triangle Gallery San
Francisco, California, USA |
2001 |
“Treasures of China-A-Dialogue”, Vorpal Gallery
San Francisco, California, USA |
1997
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“Wanxin Zhang 1997”, Space 303 San Francisco,
California, USA
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"Breaking Out", Chinese Cultural Center, San
Francisco, California, USA
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1996 |
Dialogue” MFA Graduate Show, Academy of Art
University Sculpture Center, San Francisco, California,
USA |
Selected Group Exhibitions |
2019
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"Richard Shaw and Wanxin Zhang", Sonoma Valley
Museum of Art, Sonoma, California, USA
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2018
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"Richard Shaw and Wanxin Zhang", Santa Clara
University Gallery, Santa Clara, California, USA
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"Forty Artists", Sonoma State University,
University Art Gallery, Rohnert Park, California, USA
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"Raphaelle Goethals and Wanxin Zhang", Turner
Carroll Gallery, Santa Fe, New Mexico, USA
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2017
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"They're Fired", Bernice Steinbaum Gallery,
Miami, Florida, USA
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"Sabbath", Contemporary Jewish Museum, San
Francisco, California, USA
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"The 1st Anren Biennale", Chengdu, China
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"From Funk to Punk", Left Coast Ceramics,
Everson Museum of Art, Syracuse, New York, USA
|
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"Bay Area Clay - A legacy of Social
Consciousness", Arts Benicia, Benicia, California, USA
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"Bay Area Clay", Hoffman Gallery of
Contemporary, Lewis & Clark College, Portland, Oregon,
USA
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"Riseup", Art as Action Minnesota Street
Project, San Francisco, California, USA
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"With Liberty and Justice for Some", Walter
Maciel Gallery, Los Angeles, California, USA
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2016
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"Marking Our Mark", Richmond Art Center,
Richmond, California, USA
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"Fired Up: Monumental Clay", Palo Alto Art
Center, Palo Alto, California, USA
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"Between Worlds", ARC Gallery, San Francisco,
Califorina, USA
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"Holly Roberts & Wanxin Zhang: Mind Made
Up", Turner Carroll Gallery, Santa Fe, New Mexico, USA
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2015
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"Character Studies", San Jose Museum of Art, San
Jose, California, USA
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"Natural Substance", Melissa Morgan Fine Art,
Palm Desert, California, USA
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2014
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"Collision and Confluence", Asian Cultural
Center, New York, New York, USA
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"Local Clay Heavies", Trax Gallery, Berkeley,
California, USA
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"Transmigrational Ceramics from the Corridor",
Benicia Museum of Art, Benicia, California, USA
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2013
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"Form and Figure", Melissa Morgan Fine Art, Palm
Desert, California, USA
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"DaTong 2nd International Sculpture Biennial",
Datong, Shanxi, China
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"Visiting Artists Exhibition", Bray North
Gallery, Archie Bray Foundation, Helena, Montana, USA
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"Figuratively Speaking", SMAart Gallery, San
Francisco, California, USA
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2012
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"Faculty Show", Oliver Art Center, California
College of the Arts, Oakland, California, USA
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"Local Treasures", Berkeley Art Center,
Berkeley, California, USA
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"What Is a Rabbit", John Natsoulas Gallery,
Davis, California, USA
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2011
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"Across the Divide", Crossman Gallery,
University of Wisconsin-Whitewater, Whitewater, Wisconsin,
USA
|
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"Faculty Show", Department of Art Practice,
Worth Ryder Gallery, University of California Berkeley,
Berkeley, California, USA
|
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"Beyond Tradition: Art Legacies at the Richmond
Art Center, Part II", Richmond, California, USA
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2010
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"Four Artists Show" Mindy Solomon Gallery, St.
Petersburg, Florida, USA
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"West Coast Artist" Turner Carroll Gallery,
Santa Fe, New Mexico, USA
|
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"Faculty Show", Department of Art Practice,
Worth Ryder Gallery, University of California Berkeley,
Berkeley, California, USA
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2009
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"Glimpses: Contemporary Ceramics", Pacini Lubel
Gallery, Seattle, Washington, USA
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"Figurative" with Judy Dater, Hope Kroll,
Triangle Gallery, San Francisco, California, USA
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"Nine Lives: Dog Day of the Summer", Bernice
Steinbaum Gallery, Miami, Florida, USA
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2008 |
“Wyoming Invitational”, University of Wyoming,
Laramie, Wyoming, USA
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“Spirit and Form”, Triton Museum of Art, Santa
Clara, Californi, USA |
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"A Human Impulse: Figuration from the Diane and
Sandy Besser Collection", Arizona State University Art
Museum, Tempe, Arizona, USA
|
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"Artists to Watch - Asia", Turner Carroll
Gallery, Santa Fe, New Mexico, USA
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"Taiwan Ceramics Biennale", Taipei County Yingge
Ceramics Museum, Taipei, Taiwan
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2007
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"In Your Face", Bernice Steinbaum Gallery,
Miami, Florida, USA
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"Clay and Brush: The Ceramic Art of China", Lowe
Museum of Art, Coral Gables, Florida, USA
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"What is Next?", Florida Craftsman Gallery, St.
Petersburg, Florida, USA
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"The 22nd UBE Biennale International Sculpture
Competition", Yamaguchi, Japan
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2006
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“45th Anniversary” Triangle Gallery, San
Francisco, California, USA
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“Landscape Sculpture Design for Beijing 2008
Olympic Games”, Beijing, China
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2005
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“Little Basil” Bernice Steinbaum Gallery, Miami,
Florida, USA
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“Riverbend Sculpture Biennial 2005”, Owensboro
Museum of Fine Arts Owensboro, Kentucky, USA
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“The Other Mainstream”, Arizona State University
Art Museum, Tempe, Arizona, USA
|
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"Palm Beach 3", Represented by Bernice Steinbaum
Gallery, Miami, Florida, USA
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"The 7th San Francisco International Art Expo",
Byron Cohen Gallery, Kansas City, Missouri, USA
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2004
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"It's for the Birds" Traveling Exhibition,
Bernice Steinbaum Gallery, Miami, Florida, USA
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"Art Basel Miami Beach" International Art Fair,
Bernice Steinbaum Gallery, Miami, Florida, USA
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2003
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“Across the Divide”, Gatov and Werby Art Gallery
Cal State Long Beach, California, USA |
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"Art Basel Miami Beach" International Art Fair,
Bernice Steinbaum Gallery, Miami, Florida, USA
|
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"Fourth Toronto International Art Fair", Art
Beatus Gallery, Vancouver, Canada
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"14th Annual California Conference for the
Advancement of Ceramic Art", Davis, California, USA
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"International Art Expo, Chicago", Art Beatus
Gallery, Vancouver, Canada |
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"Gallery Artists", John Elder Gallery, New York,
New York, USA
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2001 |
“Selected Artists”, Triangle Gallery, San
Francisco, California, USA |
2000 |
"2000 All California Exhibition", San Diego
Museum of Art, San Diego, California, USA
|
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"Sculpture 2000", Catholic University of
America, Washington, USA
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1999 |
"Lunar New Year Celebration", Hayward Art
Council, Hayward City Hall, California, USA
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1998 |
"The Light is Diverse in California", Center for
Visual Art, Oakland, California, USA
|
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"The Fifth Annual San Francisco International
Art Festival", Vorpal Gallery, San Francisco, California,
USA
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1997
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"Contemporary Sculpture", Vorpal
Gallery, San Francisco, California, USA
|
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"California Clay Competition Exhibition", The
Artery Gallery, Davis, California, USA
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1996 |
"The 21st Annual Open Show", Roseville Art
Center, Roseville, California, USA
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"Spring Show", Academy Of Art University, San
Francisco, California, USA
|
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"June Juries Show", Gallery Router One, Point
Reyes Station, California, USA
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1995 |
"Gallery Artist", Triangle Gallery, San
Francisco, California, USA
|
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"The 10th International Art Exchange", Asian Art
Society in America, San Francisco, California, USA
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1990 |
"Asian 11th Champion Art Exhibition",
International Exhibition Center, Beijing, China |
1989 |
"The 7th National Fine Art Exhibition", National
Fine Art Gallery, Beijing, China
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1987 |
"The 60th Anniversary Army Art Show", National
Fine Art Gallery, Beijing, China |
Awards |
2017
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Jury Award Winner of "Sabbath" Exhibition,
Contemoporary Jewish Museum, San Francisco, California,
USA
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2012
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Montana Arts Council, Artist-In-Residence,
Holter Museum of Art, Helena, Montana, USA
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2008
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Taiwan Ceramics Biennale, Finalist Prize, Yingge
Ceramics Museum, Taiwan
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2006
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Virginia A. Groot Foundation Sculptors Grant – 1
st Place Evanston , Illinois, USA
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NEA / Warhol Foundation, Artist-in-Residence
Award, University of Wyoming, Laramie, Wyoming, USA
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2004
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The Joan Mitchell Foundation Inc. Painters &
Sculptors Grant, New York, USA
|
2000 |
Distinctive Merit Award, San Diego Museum of
Art, San Diego, California, USA |
1997 |
Honorary Merit Award of the Outdoor Sculpture
Search, Los Altos, California, USA
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1989 |
Sculpture Bronze Prize, The 7th National Art
Exhibition, National Art Gallery Beijing, China |
Selective Collections |
Academy of
Art University, San Francisco, California, USA
City of Albuquerque, Albuquerque, New Mexico, USA
City of Dalian, Dalian, China
Fresno Art Museum, Fresno, California, USA
Lowe Museum of Art, Coral Gables, Florida, USA
National Fine Art Gallery, Beijing, China
Sandy Besser Collection, Sante Fe, New Mexico, USA
University of Wyoming Art Museum, Laramie, Wyoming, USA
Virginia A. Groot Foundation, Evanston, Illinois, USA
Private collectors in US and Switzerland
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Review
Tyranny Meets Irreverence in Pit #5
Wanxin Zhang’s sculptures are born of the collision of
disparate social movements and their attendant aesthetic
innovations, brought together by the happenstance of the
artist’s life and personal inclinations. Colliding
elements include the Chinese Great Proletarian Cultural
Revolution (1966-1976) and its ubiquitous propaganda, the
harsh dictatorship of Qin Shi Huang (259-210 BCE) which
produced the famous life-sized terracotta army, and the
1960s and 1970s American counter-culture movement, one of
whose products was Funk Art. Such an unlikely
combination of influences coalesced in Zhang’s oeuvre not
long after his 1992 move from his native China to San
Francisco. The result was a highly individualistic
body of works that employ sly humor to undercut
imperatives to conformity, whether dictated by historical
megalomaniacs, or by modern culture.
As a student in the Department of Sculpture at the Lu Xun
Academy of Fine Arts in Shenyang, Wanxin Zhang followed a
rigorous five-year course of study that focused on figural
realism, emphasizing the use of clay. Following
graduation, Zhang favored working with metal, but he
returned to clay upon arriving in San Francisco and being
exposed to the works of such clay artists as Peter Voulkos
(1924-2002) and Robert Arneson (1930-1992). The
former founded the California clay movement with his
large-scale, rough, obviously hand-shaped works, and is
credited with giving clay, “previously regarded as
restricted to the realm of craft, a working vocabulary for
use in freestanding sculpture.” Arneson, a
leading light of the Bay Area Funk Art movement, imparted
a funky twist to clay, producing works that were
humorously anti-establishment—not only in terms of their
overt subject matter, but also in their irreverent stance
against the art establishment which favored “serious”
modes such as abstract expressionism. The result was
that “when Funk merged with Arneson’s brand of narrative
it catapulted the sculptor outside the framework of the
other clay practitioners.” The Bay Area Funk clay
movement inspired Zhang to return to clay and experiment
with expressing his personal experiences of historical
forces in brash, large-scale works infused with humor.
As his career has matured, Wanxin Zhang has developed an
ongoing major series of works that fall under the umbrella
title of Pit #5. The signature image from this
series is that of a standing figure modeled after the
terracotta warriors that were discovered buried in pits
adjacent to the burial mound of Qin Shi Huang, near
Xi’an. Four pits had been constructed to house the
emperor’s army: Zhang’s Pit #5 follows on from
there. While free-standing clay sculpture may have
been a novelty in terms of later twentieth-century art,
the discovery of Qin Shi Huang’s terracotta army showed
that it had flourished two thousand years ago in
China. The tomb sculptures were discovered in 1974;
Zhang visited the site in 1983, catalyzing for him the
revelation that the first emperor of Qin, as a dictator
who employed art as propaganda, was a historical precedent
to Mao Zedong. Zhang compared the megalomania of a
tyrant who would divert untold labor (that of up to
700,000 men) to the creation of a tomb complex that would
glorify him in the afterlife, with that of Mao, whose
image was ubiquitous during the Cultural Revolution:
literally billions of his portraits were produced in the
form of sculptures, paintings, posters, buttons,
tapestries, and so on. Qin Shi Huang is credited
with destroying knowledge through the execution of
intellectuals and destruction of books that were counter
to his interests; Mao Zedong was responsible for death and
destruction on an even grander scale, and Wanxin Zhang
finally fully understood this upon viewing the terracotta
army.
The works presented in the current exhibition include the
artist’s familiar riffs on the terracotta army, as well as
figures emerging from a red wall symbolic of Chinese
culture, and sculptures referencing iconic Cultural
Revolution objects. Among the latter are discs
featuring silhouettes of Mao’s face, referring to the Mao
buttons whose large-scale production consumed so much
metal that Mao once quipped the metal should perhaps be
diverted to the manufacture of airplanes. In
comparison to the original small, mass-produced shiny red
and gold Mao buttons, Zhang has created larger, obviously
hand-hewn discs where the absence of Mao’s facial features
is an obliteration equivalent to the destruction of
“feudal,” “rightist,” and “anti-revolutionary” elements
under Mao—which in real terms meant the destruction of
individuals whose thinking was not in line with the
policies of Mao or his representatives. Notable
among Mao’s supposed representatives were the Red Guards,
young people excited by the idea of creating ongoing
revolution, who in an unchecked frenzy performed
widespread acts of destruction of cultural property, and
violent persecution of anyone they considered
anti-revolutionary. Zhang has fashioned clay
versions of the armbands worn by the Red Guards, inscribed
with their identifying title, Hongweibing (Red Guard), but
making subversive puns by substituting characters
pronounced similarly but having different meanings (for
example, inserting wei characters that mean tiny, flavor,
and tail). Zhang also has created a few models of
the site most strongly associated with Mao’s power,
Tiananmen, from where he made proclamations and addressed
millions. Sunflowers adorn two of the Tiananmen
sculptures: Zhang has commented, “When I was young,
there was a song called ‘The [Communist] Party is the Sun,
I am the Flower’ to convince the people that the
government is all powerful and nurturing. However,
as I think back now from an artist’s perspective, I
realize that that period is actually very dark, and the
crude sun and the upside down flowers represent that. . .
. The period was definitely not as beautiful or
‘shiny’ as it was made out to be.”
Three sculptures in the exhibition depict figures emerging
from a red slab background which may be a wall, but also
suggests an imperial door adorned with bosses. One
figure is still embedded in the wall; a second has emerged
and wears the blue of the Mao era or of the pre-Maoist
scholar; and a third—whose features are most fully
realized—sits at his ease clad in contemporary business
attire. According to the artist the wall represents
Chinese culture, and the fact that different figures
emerge from the same wall reflects the fact that some
aspects of Chinese culture, notably central control, seem
never to change. Another figure is inscribed with
numbers on his chest and stands against a white
background: he is standing in front of a shooting
range target. Zhang explains “The figure is a
combination of Terra Cotta Warriors and Red Guards and
demonstrates how they were being used by the
government/dictator of their times and how they had no
thoughts of their own. Their full acceptance of the
government is a hereditary slave-kind of thinking that was
nurtured by the imposing government.”
Like the figure standing against a target, Zhang’s
freestanding figures also merge Red Guard with terracotta
warrior. They have left youth behind, and their
demeanors suggest disillusionment. They are ready to
fight for neither the protection of Qin Shi Huang in the
afterlife, nor for Mao’s ongoing revolution: the
expectations placed upon them seem to have exhausted
them. In a sense this is heartening. Unlike
the terracotta warriors, who may appear to represent
individuals but were assembled from endlessly recombined
molded variants of different body parts, and unlike the
Red Guards, who surrendered their individualism in favor
of mass hysteria, these men appear to be individuals
shaped by time and experience. If society can learn
from experience, too, then there is hope for the
future. That Wanxin Zhang serves up these complex
ideas surrounding societal control with a touch of
irreverent humor renders them all the more powerful.
He leads his viewers to the realization that past,
present, and future are interrelated, and the legacy of
the past must be understood for the sake of an
unencumbered future.
Britta Erickson
(Note: Catalogue essay funds were donated to the Red
Cross for Sichuan earthquake relief.)
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Artist Statement
I absolutely believe that " revitalization" of artistic
concepts through the past, present, and future is a very
challenging task. Regardless of the cultural implications,
space, and time between these acts of recreation, one must
also keep in mind that art is not the only motivation
behind them. More importantly, the spirit and content of
today’s society is the true source of these attempts.
I grew up during an extremely chaotic time in China’s
history, the politics in the 1960’s to 1970’s was more
than just propaganda. The invisible brainwashing of the
people to believe that Chairman Mao was their one and only
leader, almost a deity was strong and undeterred. Thus,
when I visited Terra Cotta Warriors of the Qin excavations
– I immediately saw the similarities between these two
societies. The feudal society of the Qin Empire demanded
absolute obedience and submission to the King, an idea
clearly reflected by the hordes of warriors in the pits.
Yet thousands of years later, in modern China, this same
oppression of the people is still alive and strong. It was
that moment that I had the immediate inspiration to
recreate these warriors and through an artist perspective.
Since I arrived in the United States many year ago, I was
presented with an environment to voice my ideas and
thoughts through my art. For someone with my background,
this privilege is invaluable. With my new surroundings,
including my connection with Christianity, influence from
famous Bay Area funk artists, and the contemporary
American artist society , this became the perfect
birthplace for my attempt to re-conceptualize the
warriors’ lives which is a serious subject matter with
sense of humor.
It was during this experience that I truly realized the
challenge behind this attempt. Not only have I been able
to constantly test the limits to see how far we can go
with clay, also have to push myself to see how I can truly
incorporate my purpose, inspirations, critiques, and
reflections to convey contemporary message. My art now is
not just a reflection of the appearances of the original
warriors, but also include in them a new sense of spirit
and meaning. After all, the Qin Terra Cotta warriors are
history to us now, but my warriors could be history to
generations after us.
Zhang Wanxin
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For further
information, please contact:
Canada: tel: (1) 604.688.2633,
fax: (1) 604.688.2685
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