Sentences with phrase «of cultural revolution»

The artist was born in 1965, on the eve of the Cultural Revolution, pursuant to which whole tracts of Chinese culture were obliterated — somewhat unusually by China's own people rather than by a foreign colonial -LSB-...]

The beginning of his mature work coincided with the onset of the Cultural Revolution in China (1966 — 1976) and was initially difficult to categorize as it was neither government - subsidized propaganda, nor traditional Chinese art.

According to the exhibition materials, UCCA is billing it as «the most comprehensive survey to date of the generation of artists born after the death of Mao and the end of the Cultural Revolution».

Karl Weiming Lu was a member of the first generation of Chinese artists, after the end of the Cultural Revolution, to se...

Karl Weiming Lu was a member of the first generation of Chinese artists, after the end of the Cultural Revolution, to seriously begin experimenting in the visual arts.

Young Pioneers - Eve of the Cultural Revolution, Changchun, 1965 6 5/8 x 9 7/8 inches Gelatin silver print; printed c. 1965

His innovative oils helped develop «Scar Art», an important artistic movement in China that examined the painful memories of the Cultural Revolution.

Born in Beijing, she became interested in painting in the Western tradition as a child, but because of the Cultural Revolution she spent her teens doing agricultural labor in the countryside.

Its focus is on artists born after the end of the Cultural Revolution.

The paintings especially focus on shifting social nuances of recent years, including generational differences and feelings triggered by memories of family life at the end of the Cultural Revolution.

The family only returned to Beijing in 1976, at the end of the Cultural Revolution, after which Ai studied animation at the Beijing Film Academy and co-founded the avant - garde art group Stars with fellow artists Ma Desheng, Wang Keping, Huang Rui, Li Shuang, Zhong Acheng, and Qui Leilei.

[31] See Martina Koppek - Yang, «Zaofan Youli / Revolt Is Reasonable: Remanifestations of the Cultural Revolution in Chinese Contemporary Art of the 1980s and 1990s,» Yishu: Journal of Contemporary Chinese Art (Aug. 2002), pp. 66 - 75.

Born in 1972 in Beijing toward the end of the Cultural Revolution, Liu Wei spent his youth moving from place to place as his parents, both doctors, were assigned to various hospitals and clinics around the country.

Following the collapse of the Cultural Revolution in 1976, Zhang Xiaogang was accepted into the prestigious Sichuan Institute of Fine Arts in Chongqing in 1977.

Blooming in the Shadows: Unofficial Chinese Art, 1974 — 1985 will introduce the work of three unofficial Chinese art groups who worked in this vein: the No Names, the Stars, and the Grass Society, all of which arose following the end of the Cultural Revolution and helped launch the avant - garde movement in China.

Like the work of many contemporary Chinese artists, Qi Zhilong's paintings reflect emotions from the period of the Cultural Revolution.

Recent group exhibitions include Focus Beijing, De Heus - Zomer Collection, Museum Boijmans Van Beuningen, Rotterdam (2014); the groundbreaking show ON OFF: China's Young Artists in Concept and Practice, Ullens Center for Contemporary Art, Beijing (2013), a comprehensive survey of the generation of Chinese artists born at the end of the Cultural Revolution and at the dawn of the country's era of reform; as well as the 2013 California - Pacific Triennial, Orange County Museum of Art, Newport Beach, CA, showcasing the most innovative art produced throughout the Pacific rim.

These historically minded works are joined by a four - channel video installation by the young Chinese contemporary artist Sun Xun, who became known for mixing visualizations of his father's recollections of the Cultural Revolution with scenes from dioramas at the American Museum of Natural History in his surreal 2015 animation The Time Vivarium.

During the next three decades, he established himself as one of the most important Chinese contemporary painters, whose figurative works delve into the human psyche, exploring personal and collective memory in the wake of the Cultural Revolution.

Blooming in the Shadows will examine work produced by these three significant groups of young artists in the critical decade after the end of the Cultural Revolution leading up the Communist Party's 1985 decision to allow modern artistic practices.

Titled «wu jin qi yong,» or «Waste Not» (2005), a popular adage during the years of the Cultural Revolution (1966 - 1976), the work is a sprawling, though densely compacted array of household objects placed on the second floor atrium.

Following the collapse of the Cultural Revolution in 1976, Zhang was accepted into the prestigious Sichuan Institute of Fine Arts in Chongqing in 1977.

Following the collapse of the Cultural Revolution, the Sichuan Institute of Fine Arts in Chongqing accepted Zhang Xiaogang in 1997.

Hai Bo Li Songsong Fred Han Chang Liang Liu Jianhua Ma Qiusha Song Dong Zhang Huan Zhang Xiaogang The year 2016 marked the 50th anniversary of the launch of the Cultural Revolution, a decade - long historic event (1966 - 1976) that was characterized by chaos and upheaval.

As an adolescent and teenager, Cai witnessed the social effects of the Cultural Revolution first - hand, personally participating in demonstrations and parades himself.

Born in southeast China, Cai grew up during the tumultuous years of the Cultural Revolution (1966 — 76).

His big break came at the end of the Cultural Revolution, in 1976.

However, it is with video that he reflect on aspects and contradictions of the Cultural Revolution in China.

Zhang Qiang, an art critic who visited it, described it in retrospect as the first painting exhibition after the end of the Cultural Revolution that was not organized by the government, and noted that it attracted a continuous stream of visitors.11.

Marc Riboud Young Pioneers - Eve of the Cultural Revolution, Changchun, 1965 Gelatin silver print; printed c. 1965 6 5/8 x 9 7/8 inches

Chen Zhen grew up during the tumultuous years of the Cultural Revolution, which ended in the late 1970's.

It was a moment of cultural revolution in Brazil.

Dugger was the founder of The Artists Liberation Front in 1971, and in 1972 was invited as part of a youth delegation to visit China during the closing phases of the Cultural revolution, thus becoming the first American artist to visit China since the 1949 revolution.

Born in Shanghai in 1955, Chen Zhen grew up during the tumultuous years of the Cultural Revolution, which ended in the late 1970s.

Zhao Ziyang worked as a «fitter» at the Xiangzhong mechanics factory in Lianyuan County, in the Province of Hunan during part of the Cultural Revolution.

What of Chairman Mao, the man I once knew and admired, and the barbarous insanity of the Cultural Revolution?

Many who survived the March report that their suffering continued long after the «triumph» of the revolution, recounting tales of persecution and ostracism that culminated in the horrific years of the Cultural Revolution.

During the early months of the Cultural Revolution his father, a disabled veteran who had fought against the Japanese, was denounced as a «black gang capitalist - roader» and was beaten so badly he nearly died.

For those who were born outside of communism, The Bathing Women sheds light on some of the Cultural Revolution's tragedies and effects on young people, but it is not political strife that marks this work as noteworthy — it is the careful exploration of love, loss, and the challenges of friendship and sisterhood that extend across time and culture which leave a lasting impression.

As Jian listens to Professor Yang rant and rave in the grip of painful memories of the Cultural Revolution, student protestors gather in Tiananmen Square, and all the anguish and madness of a warped and vicious society reach a bloody climax.

Wolf Totem is set in 1960s China - the time of the Great Leap Forward, on the eve of the Cultural Revolution.

The end of the Cultural Revolution in 1976 signified a massive transformation in China.

In a sense, In the Mood for Love tries to duplicate Happy Together «s similarly improvised final form: one couple's dynamics are replaced with another's; Hong Kong on the eve of June 1997 becomes Hong Kong on the eve of the Cultural Revolution and the escalation in Vietnam; the Taipei subway becomes a Cambodian temple; and the falls at Iguazu find their equivalent in the secret desires locked in Li - zhen's heart, betrayed by her too - eloquent body language and mournful gaze.

Focusing on a hundred characters, and several main ones, the whole story is carried out over two time - lines: from the 1960s to the mid-1970s, the end of the Cultural Revolution; and from the 1980s to the start of the 21st century.

Meanwhile in New York actors, actresses, artists and the like are part of a cultural revolution including such figures as Rockefeller and Da Vinci to name but a few.

Brazilian writer - director João Moreira Salles intercuts his mother's movies of a 1966 group tour in China during the inception of the most radical phase of the Cultural Revolution with archival footage from three other radical movements, all from 1968: The May uprisings in France; the brutal ending of the Prague Spring; and the brief rebellion in Brazil against the reigning military dictatorship.

Feng's husband Lu (Chen Daoming) has been imprisoned for years, a victim of the Cultural Revolution.

I experienced the chaotic years of the Cultural Revolution in my childhood, and witnessed the hard life in the countryside.

So China chose to go it alone — just when the turbulence and uncertainty of the Cultural Revolution was damaging to all scientific and technical activities.

Under Mao Zedong's instruction, China launched a secret effort at the height of the Cultural Revolution in 1967.