Published by DuMont Buchverlag. Edited by Uta Grosenick, Alexander Ochs.
Yang Shaobin (born 1963) is one of the most prominent Chinese artists of his generation. His paintings are characterized by observations of his contemporaries, whom he captures with often drastically exaggerated expressions. This book contains a selection of his most important paintings from 1996 to 2009.
Published by Charta/Long March Space. Text by Nikos Papastergiadis, Lu Jie, Long March Writing Group.
This volume documents phase two of Chinese artist Yang Shaobin's look at the labor conditions of northern China coalminers, which he undertook from 2004-2008. It includes Yang's mixed media works--oil paintings, installation, video and sculpture--and accounts of his team's experiences in these isolated coalmining communities, and further materials providing sociological context.
PUBLISHER Charta/Long March Space
BOOK FORMAT Hardcover, 12.75 x 9.5 in. / 128 pgs / 107 color / 7 bw.
PUBLISHING STATUS Pub Date 10/31/2009 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2009 p. 141
PRODUCT DETAILS ISBN 9788881587421TRADE List Price: $55.00 CDN $65.00
Born in 1963 in Hebei Province, China, Yang Shaobin makes realistic figurative paintings that often disintegrate into Francis Bacon-esque Surrealism. An untitled work from 2007, for example, depicts a man's head floating disembodied on a large dried-blood-colored canvas. The top of the man's head is rendered realistically, but the bottom half of his face is obfuscated by expressionistic whirls of paint. "DNA" (2005), however, is a Social Realist-style tableaux of historical figures arranged in front of a bright blue sky. Though he began his career as a realist, Yang began experimenting with this present hybrid of realism and abstraction in 1998. Critic Sebastian Preuss has written of Yang's style: "His deep pictorial pathos impressively contradicts Neo-Pop, which predominates in all Western countries..." This oversized, slipcased volume is a survey of the highlights of his work to date, and includes an essay by critic Pi Li.