Preface by Zhang Wei. Text by Kuiyi Shen, Paul Moorhouse. Conversation with Ralf Laier, Feng Xi.
On the birth of contemporary art in China
The No Name and the Beijing abstractionists are at the heart of Ralf Laier’s collection, presented here for the first time. The No Name group comprised a circle of underground artists—including Zhang Wei, Ma Kelu, Li Shan and Zheng Ziyan—that formed during the Cultural Revolution. They defied the Chinese government’s official sponsorship of Socialist Realism, subversively painting landscapes and scenes of everyday life instead. After the group’s breakthrough exhibition in 1979, Zhang and Ma soon pivoted toward abstraction alongside a new cohort of artists, such as Feng Guodong, Qin Yufen and Zhu Jinshi, incorporating Chinese ink painting into their minimalist color planes and gestural abstractions. In this homage to the two movements, Laier discusses his passion for their art and his personal encounters with the artists. The volume also features essays by art historians Kuiyi Shen and Paul Moorhouse, and an appendix providing biographies and quotes from the artists.
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FORMAT: Hbk, 9.5 x 11.75 in. / 220 pgs / 148 color / 6 b&w. LIST PRICE: U.S. $70.00 LIST PRICE: CANADA $98 ISBN: 9783947127320 PUBLISHER: Holzwarth Publications AVAILABLE: 6/7/2022 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: NA LA ASIA AU/NZ ME
Chinese Painting from No Name to Abstraction Collection Ralf Laier
Published by Holzwarth Publications. Preface by Zhang Wei. Text by Kuiyi Shen, Paul Moorhouse. Conversation with Ralf Laier, Feng Xi.
On the birth of contemporary art in China
The No Name and the Beijing abstractionists are at the heart of Ralf Laier’s collection, presented here for the first time. The No Name group comprised a circle of underground artists—including Zhang Wei, Ma Kelu, Li Shan and Zheng Ziyan—that formed during the Cultural Revolution. They defied the Chinese government’s official sponsorship of Socialist Realism, subversively painting landscapes and scenes of everyday life instead. After the group’s breakthrough exhibition in 1979, Zhang and Ma soon pivoted toward abstraction alongside a new cohort of artists, such as Feng Guodong, Qin Yufen and Zhu Jinshi, incorporating Chinese ink painting into their minimalist color planes and gestural abstractions.
In this homage to the two movements, Laier discusses his passion for their art and his personal encounters with the artists. The volume also features essays by art historians Kuiyi Shen and Paul Moorhouse, and an appendix providing biographies and quotes from the artists.
