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Zheng Chongbin (born 1961) is a contemporary visual artist, whose practice comprises multimedia works, including Chinese ink and acrylic paintings, Light and Space installations and digital media works. Originally born in China and trained in ink painting, Zheng focuses on reinterpreting the centuries-old pictorial genre of Chinese ink medium art by underlining ink’s material qualities and juxtaposing them with other material and ephemeral substances, like acrylic paint or spatially-conditioned light.<ref name=":0">{{Cite journal |last=Kovskaya |first=Maya |date=2015 |title=Becoming Landscape: Diffractive Unfoldings of Light, Space, and Matter in the New Work of Zheng Chongbin |journal=Yishu |volume=14 |pages=6-21}}</ref> Having lived in [[California]]’s [[San Francisco Bay Area]] for over 30 years, the region’s distinctive light and space environment is another source that informs Zheng’s works across different media.<ref>{{Cite book |last=Wayne |first=Kenneth |title=Zheng Chongbin: Impulse, Matter, Form |publisher=INK studio |year=2014 |isbn=978-0615864532 |editor-last=Erickson |editor-first=Britta |location=Beijing |pages=19-29 |chapter=Zheng and Abstract Expressionism: An Introduction}}</ref> Overall, Zheng’s artistic practice looks at scientific and philosophical underpinnings of [[New materialism|New Materialism]], as part of which the world is viewed as a set of complexly and often speculatively interwoven interactions (whether molecular or climatic) affecting both animate and non-animate forms of matter, like plants or objects.<ref name=":1">{{Cite web |last=Sinelnyk |first=Alina |date=2021 |title=Repositioning Contemporary Chinese-Ink Medium Art, 1978-2018: Zheng Chongbin – Migration, Internationalisation, Digitisation (PhD diss.) |url=https://era.ed.ac.uk/handle/1842/38332 |publisher=University of Edinburgh |oclc=1308429766}}</ref> The artist’s works can be found in museum and private collections across the USA, Europe and Asia, including New York’s [[Metropolitan Museum of Art]], London’s [[British Museum]] or Hong Kong’s [[M+]].<ref name=":2">{{Cite web |title=Zheng Chongbin |url=https://www.inkstudio.com.cn/artists/55-zheng-chongbin/ |website=INK studio}}</ref> In 2021 Zheng also received Asia Game Changer West Award from the Asia Society’s Northern California Center.<ref name=":3">{{Cite web |date=2021 |title=2021 Asia Game Changer West Awards Virtual Gala: Honoring Innovative Leaders Impacting Asia and the World |url=https://asiasociety.org/northern-california/events/2021-asia-game-changer-west-awards-virtual-gala |website=Asia Society}}</ref>

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Zheng Chongbin (born 1961) is a contemporary visual artist, whose practice comprises multimedia works, including Chinese ink and acrylic paintings, Light and Space installations and digital media works. Originally born in China and trained in ink painting, Zheng focuses on reinterpreting the centuries-old pictorial genre of Chinese ink medium art by underlining ink’s material qualities and juxtaposing them with other material and ephemeral substances, like acrylic paint or spatially-conditioned light.<ref name=":0">{{Cite journal |last=Kovskaya |first=Maya |date=2015 |title=Becoming Landscape: Diffractive Unfoldings of Light, Space, and Matter in the New Work of Zheng Chongbin |journal=Yishu |volume=14 |pages=6-21}}</ref> Having lived in [[California]]’s [[San Francisco Bay Area]] for over 30 years, the region’s distinctive light and space environment is another source that informs Zheng’s works across different media.<ref>{{Cite book |last=Wayne |first=Kenneth |title=Zheng Chongbin: Impulse, Matter, Form |publisher=INK studio |year=2014 |editor-last=Erickson |editor-first=Britta |location=Beijing |pages=19-29 |chapter=Zheng and Abstract Expressionism: An Introduction}}</ref> Overall, Zheng’s artistic practice looks at scientific and philosophical underpinnings of [[New materialism|New Materialism]], as part of which the world is viewed as a set of complexly and often speculatively interwoven interactions (whether molecular or climatic) affecting both animate and non-animate forms of matter, like plants or objects.<ref name=":1">{{Cite web |last=Sinelnyk |first=Alina |date=2021 |title=Repositioning Contemporary Chinese-Ink Medium Art, 1978-2018: Zheng Chongbin – Migration, Internationalisation, Digitisation (PhD diss.) |url=https://era.ed.ac.uk/handle/1842/38332 |publisher=University of Edinburgh}}</ref> The artist’s works can be found in museum and private collections across the USA, Europe and Asia, including New York’s [[Metropolitan Museum of Art]], London’s [[British Museum]] or Hong Kong’s [[M+]].<ref name=":2">{{Cite web |title=Zheng Chongbin |url=https://www.inkstudio.com.cn/artists/55-zheng-chongbin/ |website=INK studio}}</ref> In 2021 Zheng also received Asia Game Changer West Award from the Asia Society’s Northern California Center.<ref name=":3">{{Cite web |date=2021 |title=2021 Asia Game Changer West Awards Virtual Gala: Honoring Innovative Leaders Impacting Asia and the World |url=https://asiasociety.org/northern-california/events/2021-asia-game-changer-west-awards-virtual-gala |website=Asia Society}}</ref>


== '''Early Life and 1980s Works''' ==
== '''Early Life and 1980s Works''' ==
Zheng started his artistic training back in 1970s Shanghai during the time of the [[Cultural Revolution]] (1966-1976), taking private art classes with artists Mu Yilin and Chen Jialing.<ref>{{Cite book |last=Erickson |first=Britta |title=Zheng Chongbin: Impulse, Matter, Form |publisher=INK studio |year=2014 |editor-last=Erickson |editor-first=Britta |location=Beijing |pages=5-17 |chapter=Establishing Spirit in the Sea of Ink: Zheng Chongbin from Impulse to Form}}</ref> Between 1980 and 1984 Zheng completed his BFA at the Chinese Painting Department at the [[Zhejiang Academy of Fine Arts]] (now China Academy of Art) in Hangzhou.<ref name=":2" /> During these years the art education system in China still largely followed the principles of Soviet Socialist Realism, but the study of classical Chinese ink art was already reinstated, following the end of the Cultural Revolution.<ref>{{Cite book |last=Kraus |first=Richard Curt |title=Brushes with Power: Modern Politics and the Chinese Art of Calligraphy |publisher=University of California Press |year=1991 |location=Berkeley}}</ref> Thus, for his graduation project Zheng created a series of ''gongbi'' (refined brushwork) ink paintings, depicting Tibetan rural life and labour scenes, recorded first-hand during the artist’s field trip to Tibet in 1983.<ref name=":4">{{Cite book |last=Erickson |first=Britta |title=Zheng Chongbin: Impulse, Matter, Form |publisher=INK studio |year=2014 |editor-last=Erickson |editor-first=Britta |location=Beijing |pages=106-113 |chapter=Timeline}}</ref>
Zheng started his artistic training back in 1970s Shanghai during the time of the [[Cultural Revolution]] (1966-1976), taking private art classes with artists Mu Yilin and Chen Jialing.<ref>{{Cite book |last=Erickson |first=Britta |title=Zheng Chongbin: Impulse, Matter, Form |publisher=INK studio |year=2014 |isbn=978-0615864532 |editor-last=Erickson |editor-first=Britta |location=Beijing |pages=5-17 |chapter=Establishing Spirit in the Sea of Ink: Zheng Chongbin from Impulse to Form}}</ref> Between 1980 and 1984 Zheng completed his BFA at the Chinese Painting Department at the [[Zhejiang Academy of Fine Arts]] (now China Academy of Art) in Hangzhou.<ref name=":2" /> During these years the art education system in China still largely followed the principles of Soviet Socialist Realism, but the study of classical Chinese ink art was already reinstated, following the end of the Cultural Revolution.<ref>{{Cite book |last=Kraus |first=Richard Curt |title=Brushes with Power: Modern Politics and the Chinese Art of Calligraphy |publisher=University of California Press |year=1991 |isbn=9780520072855 |location=Berkeley}}</ref> Thus, for his graduation project Zheng created a series of ''gongbi'' (refined brushwork) ink paintings, depicting Tibetan rural life and labour scenes, recorded first-hand during the artist’s field trip to Tibet in 1983.<ref name=":4">{{Cite book |last=Erickson |first=Britta |title=Zheng Chongbin: Impulse, Matter, Form |publisher=INK studio |year=2014 |isbn=978-0615864532 |editor-last=Erickson |editor-first=Britta |location=Beijing |pages=106-113 |chapter=Timeline}}</ref>


Following his graduation, between 1984 and 1988 Zheng went on to become a teacher in figurative Chinese ink painting at the Zhejiang Academy of Fine Arts.<ref name=":2" /> In the light of Open Door Policy, China’s artists in the 1980s started gaining access to various books and magazines about previously forbidden during the Cultural Revolution art forms, ranging from [[Impressionism]] to [[Abstract expressionism|American Abstract Expressionism]].<ref>{{Cite web |last=DeBevoise |first=Jane |last2=Wong |first2=Phoebe |date=2007 |title=Interview with Shen Kuiyi |url=http://www.china1980s.org/en/interview_detail.aspx?interview_id=99 |website=Asia Art Archive - Materials of the Future: Documenting Contemporary Chinese Art from 1980-1990}}</ref> In 1985 Zheng also travelled to Beijing with his friend and artist Andreas Schmid (at the time also an exchange student from Germany at the Zhejiang Academy) to see a ground-breaking exhibition [[Robert Rauschenberg|Rauschenberg]]’s Overseas Cultural Interchange, held in 1985 at Beijing’s [[National Art Museum of China]].<ref name=":1" /> The exposure to these previously forbidden art forms got translated into Zheng’s early works, such as ''[https://www.mplus.org.hk/en/collection/makers/zheng-chongbin/ Another State of Man]'' series (second half of the 1980s), where Zheng used ink and acrylic on paper to respond to [[Francis Bacon (artist)|Francis Bacon]]’s deformed anthropomorphic figures.<ref name=":5">{{Cite journal |last=Godfrey |first=Tony |date=2011 |title=Zheng Chongbin: Ten Metaphors with Which to Experience His Paintings |journal=Yishu |volume=10 |pages=27-40}}</ref>
Following his graduation, between 1984 and 1988 Zheng went on to become a teacher in figurative Chinese ink painting at the Zhejiang Academy of Fine Arts.<ref name=":2" /> In the light of Open Door Policy, China’s artists in the 1980s started gaining access to various books and magazines about previously forbidden during the Cultural Revolution art forms, ranging from [[Impressionism]] to [[Abstract expressionism|American Abstract Expressionism]].<ref>{{Cite web |last=DeBevoise |first=Jane |last2=Wong |first2=Phoebe |date=2007 |title=Interview with Shen Kuiyi |url=http://www.china1980s.org/en/interview_detail.aspx?interview_id=99 |website=Asia Art Archive - Materials of the Future: Documenting Contemporary Chinese Art from 1980-1990}}</ref> In 1985 Zheng also travelled to Beijing with his friend and artist Andreas Schmid (at the time also an exchange student from Germany at the Zhejiang Academy) to see a ground-breaking exhibition [[Robert Rauschenberg|Rauschenberg]]’s Overseas Cultural Interchange, held in 1985 at Beijing’s [[National Art Museum of China]].<ref name=":1" /> The exposure to these previously forbidden art forms got translated into Zheng’s early works, such as ''[https://www.mplus.org.hk/en/collection/makers/zheng-chongbin/ Another State of Man]'' series (second half of the 1980s), where Zheng used ink and acrylic on paper to respond to [[Francis Bacon (artist)|Francis Bacon]]’s deformed anthropomorphic figures.<ref name=":5">{{Cite journal |last=Godfrey |first=Tony |date=2011 |title=Zheng Chongbin: Ten Metaphors with Which to Experience His Paintings |journal=Yishu |volume=10 |pages=27-40}}</ref>
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== '''Recent Works''' ==
== '''Recent Works''' ==


=== 1. Chinese Ink Media Paintings ===
=== 1. Ink Media Paintings ===
In the later 1990s Zheng started making more of ink paintings, focusing on the material possibilities of ink-on-paper works as well as site-specific spatial and lighting conditions in which they are displayed.<ref>{{Cite book |last=Agnew |first=Mary |title=Negotiating between Light and Ink |publisher=Asia Art Centre |year=2013 |editor-last=Lee |editor-first=Lynn |location=Beijing |pages=16-17 |chapter=Medium above All: Examining the Work of Zheng Chongbin |editor-last2=Xu |editor-first2=Erick |editor-last3=Zhao |editor-first3=Sunny}}</ref> To underline the impact of time-sensitive phenomenological conditions on ink paintings, Zheng often arranges them as a series of cut paper sheets, mounted at different angles, applying on them various textures of liquid ink and reflective paste-like acrylic paint, as illustrated by ''[https://www.metmuseum.org/art/collection/search/712209 Unfolding Landscape]'' (2015).<ref>{{Cite web |title=Unfolding Landscape: Zheng Chongbin |url=https://www.metmuseum.org/art/collection/search/712209 |website=The Metropolitan Museum of Art}}</ref> Another feature of Zheng’s ink paintings is related to the process of painting itself, during which the artist often lets his pictorial materials (ink, acrylic, water, paper) have material interactions of their own by, for example, moving a scraper along the surface of just-poured paint, resulting in self-emerged dots and fractal lines.<ref>{{Cite web |last=Erickson |first=Britta |date=2016 |title=The Enduring Passion for Ink – A Project on Contemporary Ink Painters |url=https://ed.kanopy.com/video/enduring-passion-ink |website=Kanopy}}</ref> This shows the artist’s interest in [[New materialism|New Materialism]], where the wider world is seen as a series of unrelated and yet interconnected interactions, as explored in the recent philosophical writings by [[Karen Barad]], [[Quentin Meillassoux]] or [[Timothy Morton]] among others.<ref name=":0" /> <ref name=":1" />
In the later 1990s Zheng started making more of ink paintings, focusing on the material possibilities of ink-on-paper works as well as site-specific spatial and lighting conditions in which they are displayed.<ref>{{Cite book |last=Agnew |first=Mary |title=Negotiating between Light and Ink |publisher=Asia Art Centre |year=2013 |editor-last=Lee |editor-first=Lynn |location=Beijing |pages=16-17 |chapter=Medium above All: Examining the Work of Zheng Chongbin |oclc=859152813 |editor-last2=Xu |editor-first2=Erick |editor-last3=Zhao |editor-first3=Sunny}}</ref> To underline the impact of time-sensitive phenomenological conditions on ink paintings, Zheng often arranges them as a series of cut paper sheets, mounted at different angles, applying on them various textures of liquid ink and reflective paste-like acrylic paint, as illustrated by ''[https://www.metmuseum.org/art/collection/search/712209 Unfolding Landscape]'' (2015).<ref>{{Cite web |title=Unfolding Landscape: Zheng Chongbin |url=https://www.metmuseum.org/art/collection/search/712209 |website=The Metropolitan Museum of Art}}</ref> Another feature of Zheng’s ink paintings is related to the process of painting itself, during which the artist often lets his pictorial materials (ink, acrylic, water, paper) have material interactions of their own by, for example, moving a scraper along the surface of just-poured paint, resulting in self-emerged dots and fractal lines.<ref>{{Cite web |last=Erickson |first=Britta |date=2016 |title=The Enduring Passion for Ink – A Project on Contemporary Ink Painters |url=https://ed.kanopy.com/video/enduring-passion-ink |website=Kanopy}}</ref> This shows the artist’s interest in [[New materialism|New Materialism]], where the wider world is seen as a series of unrelated and yet interconnected interactions, as explored in the recent philosophical writings by [[Karen Barad]], [[Quentin Meillassoux]] or [[Timothy Morton]] among others.<ref name=":0" /> <ref name=":1" />
[[File:Zheng Chongbin, Wall of Skies (2015).jpg|thumb|293x293px|Zheng Chongbin, ''Wall of Skies'', 2015, Light and Space installation]]
[[File:Zheng Chongbin, Wall of Skies (2015).jpg|thumb|293x293px|Zheng Chongbin, ''Wall of Skies'', 2015, Light and Space installation]]


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=== 3. Digital Media Works ===
=== 3. Digital Media Works ===
[[File:Projection of Zheng Chongbin's Chimeric Landscape (2015).jpg|thumb|306x306px|Projection of Zheng Chongbin's ''Chimeric Landscape'' (2015) at ''Art on theMART'', Chicago, 2018]]
[[File:Projection of Zheng Chongbin's Chimeric Landscape (2015).jpg|thumb|306x306px|Projection of Zheng Chongbin's ''Chimeric Landscape'' (2015) at ''Art on theMART'', Chicago, 2018]]
Zheng also uses digital media to interpret scientific and philosophical connotations of the world’s interconnectedness. His first major digital video work to do this was ''Chimeric Landscape'' (2015), premiered at Pallazzo Bembo in Venice in 2015.<ref name=":9">{{Cite book |last=De Jongh |first=Karlyn |title=Personal Structures: Crossing Borders |last2=Gold |first2=Sarah |last3=Romagnini |first3=Valeria |last4=Rietmeyer |first4=Rene |publisher=Global Art Affairs Foundation |year=2015 |editor-last=De Jongh |editor-first=Karlyn |location=Leiden |pages=314-317 |chapter=Zheng Chongbin |editor-last2=Gold |editor-first2=Sarah |editor-last3=Romagnini |editor-first3=Valeria |editor-last4=Rietmeyer |editor-first4=Rene}}</ref> In this work Zheng cross-paralleled various scenes taken from the natural world and scientific data (such as [[NASA]] images) alongside snapshots of liquid ink paint to show how the world is interconnected, comprising ‘[[Intra-action|intra-actions]]’ on the material and beyond-material levels.<ref>{{Cite web |last=Van Proyen |first=Mark |title=With a Sudden Vigor it Doth Possess: Zheng Chongbin’s Recent Paintings and Video Work |url=http://www.inkstudio.com.cn/press/61/ |website=INK studio}}</ref> <ref>{{Cite book |last=Barad |first=Karen |title=Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning |publisher=Duke University Press |year=2007 |location=Durham |pages=33}}</ref> The purpose of such digital works by Zheng as ''Chimeric Landscape'' is to make the viewer question various kinds of life forms and, as Timothy Morton put it, to ‘recognize our connection with them’, which makes our reality ‘a multitude of entangled strange strangers’.<ref>{{Cite book |last=Morton |first=Timothy |title=The Ecological Thought |publisher=Harvard University Press |year=2010 |location=Cambridge |pages=15, 17}}</ref> In 2018 ''Chimeric Landscape'' was also adapted for an exhibition ''Art on theMART'' – ‘the largest permanent digital art projection in the world’, displayed onto Chicago’s historic building theMART.<ref>{{Cite news |date=26 September 2018 |title=Obscura Digital, Globally-Recognized Leader in Experiential Technology, to Project Art on theMART |work=GlobeNewswire |url=https://www.globenewswire.com/news-release/2018/09/26/1576670/0/en/Obscura-Digital-Globally-Recognized-Leader-in-Experiential-Technology-to-Project-Art-on-theMART-A-Digital-Display-That-Will-Light-Up-Chicago-s-Skyline-as-the-World-s-Largest-Perman.html}}</ref> Adapting his works to new environments is an important part of Zheng’s artistic practice as it allows the artist to explore how changes in environmental lighting or spatial conditions can redescribe or transform the original work.<ref name=":1" /> Additional examples of Zheng’s digital media works include ''State of Oscillation'' (2020, Asian Art Museum, San Francisco) or ''Branches Are Roots in the Sky'' (2017, Los Angeles County Museum of Art) among others.<ref name=":8" /> <ref>{{Cite web |title=Branches are Roots in the Sky: Zheng Chongbin |url=https://collections.lacma.org/node/2264604 |website=Los Angeles County Museum of Art}}</ref>
Zheng also uses digital media to interpret scientific and philosophical connotations of the world’s interconnectedness. His first major digital video work to do this was ''Chimeric Landscape'' (2015), premiered at Pallazzo Bembo in Venice in 2015.<ref name=":9">{{Cite book |last=De Jongh |first=Karlyn |title=Personal Structures: Crossing Borders |last2=Gold |first2=Sarah |last3=Romagnini |first3=Valeria |last4=Rietmeyer |first4=Rene |publisher=Global Art Affairs Foundation |year=2015 |isbn=9789490784188 |editor-last=De Jongh |editor-first=Karlyn |location=Leiden |pages=314-317 |chapter=Zheng Chongbin |editor-last2=Gold |editor-first2=Sarah |editor-last3=Romagnini |editor-first3=Valeria |editor-last4=Rietmeyer |editor-first4=Rene}}</ref> In this work Zheng cross-paralleled various scenes taken from the natural world and scientific data (such as [[NASA]] images) alongside snapshots of liquid ink paint to show how the world is interconnected, comprising ‘[[Intra-action|intra-actions]]’ on the material and beyond-material levels.<ref>{{Cite web |last=Van Proyen |first=Mark |title=With a Sudden Vigor it Doth Possess: Zheng Chongbin’s Recent Paintings and Video Work |url=http://www.inkstudio.com.cn/press/61/ |website=INK studio}}</ref> <ref>{{Cite book |last=Barad |first=Karen |title=Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning |publisher=Duke University Press |year=2007 |isbn=9780822339014 |location=Durham |pages=33}}</ref> The purpose of such digital works by Zheng as ''Chimeric Landscape'' is to make the viewer question various kinds of life forms and, as Timothy Morton put it, to ‘recognize our connection with them’, which makes our reality ‘a multitude of entangled strange strangers’.<ref>{{Cite book |last=Morton |first=Timothy |title=The Ecological Thought |publisher=Harvard University Press |year=2010 |isbn=9780674064225 |location=Cambridge |pages=15, 17}}</ref> In 2018 ''Chimeric Landscape'' was also adapted for an exhibition ''Art on theMART'' – ‘the largest permanent digital art projection in the world’, displayed onto Chicago’s historic building theMART.<ref>{{Cite news |date=26 September 2018 |title=Obscura Digital, Globally-Recognized Leader in Experiential Technology, to Project Art on theMART |work=GlobeNewswire |url=https://www.globenewswire.com/news-release/2018/09/26/1576670/0/en/Obscura-Digital-Globally-Recognized-Leader-in-Experiential-Technology-to-Project-Art-on-theMART-A-Digital-Display-That-Will-Light-Up-Chicago-s-Skyline-as-the-World-s-Largest-Perman.html}}</ref> Adapting his works to new environments is an important part of Zheng’s artistic practice as it allows the artist to explore how changes in environmental lighting or spatial conditions can redescribe or transform the original work.<ref name=":1" /> Additional examples of Zheng’s digital media works include ''State of Oscillation'' (2020, Asian Art Museum, San Francisco) or ''Branches Are Roots in the Sky'' (2017, Los Angeles County Museum of Art) among others.<ref name=":8" /> <ref>{{Cite web |title=Branches are Roots in the Sky: Zheng Chongbin |url=https://collections.lacma.org/node/2264604 |website=Los Angeles County Museum of Art}}</ref>


== Exhibitions and Collections ==
== Exhibitions and Collections ==
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* ''A 10,000-Year View'' (2022, Hong Kong Museum of Art)<ref>{{Cite web |title=Zheng Chongbin: A 10,000-Year View: A Site-Specific Art Installation |url=https://hk.art.museum/en/web/ma/exhibitions-and-events/000-Year%20View:%20A%20Site-specific%20Art%20Installation%22 |access-date= |website=Hong Kong Museum of Art |language=en-US}}</ref>
* ''A 10,000-Year View'' (2022, Hong Kong Museum of Art)<ref>{{Cite web |title=Zheng Chongbin: A 10,000-Year View: A Site-Specific Art Installation |url=https://hk.art.museum/en/web/ma/exhibitions-and-events/000-Year%20View:%20A%20Site-specific%20Art%20Installation%22 |access-date= |website=Hong Kong Museum of Art |language=en-US}}</ref>
* ''Zheng Chongbin: I Look for the Sky'' (2021, Asian Art Museum, San Francisco)<ref name=":8" />
* ''Zheng Chongbin: I Look for the Sky'' (2021, Asian Art Museum, San Francisco)<ref name=":8" /> <ref>{{Cite book |last=Chen |first=Abby |title=Zheng Chongbin: I Look for the Sky |last2=Kovskaya |first2=Maya |publisher=Asian Art Museum |year=2021 |isbn=9780939117901 |location=San Francisco}}</ref>
* ''Liquid Space'' (2019, Ryosoku-in Temple, Kennin-ji, Kyoto)<ref name=":6" />
* ''Liquid Space'' (2019, Ryosoku-in Temple, Kennin-ji, Kyoto)<ref name=":6" />
* ''Zheng Chongbin: Clusters of Memory'' (2017, Asia Society, Houston)<ref>{{Cite web |title=Zheng Chongbin: Clusters of Memory |url=https://asiasociety.org/texas/exhibitions/zheng-chongbin-clusters-memory |access-date= |website=Asia Society |language=en}}</ref>
* ''Zheng Chongbin: Clusters of Memory'' (2017, Asia Society, Houston)<ref>{{Cite web |title=Zheng Chongbin: Clusters of Memory |url=https://asiasociety.org/texas/exhibitions/zheng-chongbin-clusters-memory |access-date= |website=Asia Society |language=en}}</ref>
* ''The Pacific Project: Zheng Chongbin'' (2016, Orange County Museum of Art, New Port)<ref>{{Cite web |last= |title=Orange County Museum of Art Unveils Two New Installations as Part of its Pacific Initiative |url=https://artdaily.cc/news/89385/Orange-County-Museum-of-Art-unveils-two-new-installations-as-part-of-its-Pacific-Initiative |access-date= |website=ArtDaily |language=English}}</ref>
* ''The Pacific Project: Zheng Chongbin'' (2016, Orange County Museum of Art, New Port)<ref>{{Cite web |last= |title=Orange County Museum of Art Unveils Two New Installations as Part of its Pacific Initiative |url=https://artdaily.cc/news/89385/Orange-County-Museum-of-Art-unveils-two-new-installations-as-part-of-its-Pacific-Initiative |access-date= |website=ArtDaily |language=English}}</ref>
* ''Zheng Chongbin: Impulse, Matter, Form'' (2013, INK studio, Beijing)<ref>{{Cite web |title=Impulse, Matter, Form |url=https://www.inkstudio.com.cn/exhibitions/8-impulse-matter-form-zheng-chongbin/ |access-date= |website=INK studio |language=}}</ref>
* ''Zheng Chongbin: Impulse, Matter, Form'' (2013, INK studio, Beijing)<ref>{{Cite web |title=Impulse, Matter, Form |url=https://www.inkstudio.com.cn/exhibitions/8-impulse-matter-form-zheng-chongbin/ |access-date= |website=INK studio |language=}}</ref>
* ''White Ink: Fresharp Artists’ Series'' (2011, Chinese Culture Center of San Francisco)<ref>{{Cite book |title=Zheng Chongbin: White Ink |publisher=Chinese Culture Foundation of San Francisco & Silicon Valley Asian Art Centre |year=2011 |editor-last=Tedford |editor-first=Matthew Harrison |location=San Francisco & Santa Clara}}</ref>
* ''White Ink: Fresharp Artists’ Series'' (2011, Chinese Culture Center of San Francisco)<ref>{{Cite book |title=Zheng Chongbin: White Ink |publisher=Chinese Culture Foundation of San Francisco & Silicon Valley Asian Art Centre |year=2011 |isbn=9780982274460 |editor-last=Tedford |editor-first=Matthew Harrison |location=San Francisco & Santa Clara}}</ref>


In 1989, shortly after moving to the USA from China, Zheng also landed a solo exhibition ''Introduction Show'' at San Francisco’s Bruce Velick Gallery.<ref name=":1" /> Before that, in 1988 Zheng had a solo exhibition ''Chongbin Zheng'', organised by the [[Shanghai Art Museum]], which was featured on Shanghai’s local TV channel during the primetime news.<ref>{{Cite news |last=Starr |first=Kevin |date=10 September 1989 |title=A Dream Deferred |pages=44-50 |work=The San Francisco Chronicle}}</ref>  
In 1989, shortly after moving to the USA from China, Zheng also landed a solo exhibition ''Introduction Show'' at San Francisco’s Bruce Velick Gallery.<ref name=":1" /> Before that, in 1988 Zheng had a solo exhibition ''Chongbin Zheng'', organised by the [[Shanghai Art Museum]], which was featured on Shanghai’s local TV channel during the primetime news.<ref>{{Cite news |last=Starr |first=Kevin |date=10 September 1989 |title=A Dream Deferred |pages=44-50 |work=The San Francisco Chronicle}}</ref>  
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Selected examples of group exhibitions where Zheng’s works were represented to date include:
Selected examples of group exhibitions where Zheng’s works were represented to date include:


* ''Ink Dreams: Selections from the Fondation INK Collection'' (2021, Los Angeles County Museum of Art)<ref>{{Cite web |title=Ink Dreams: Selections from the Fondation INK Collection |url=http://www.lacma.org/art/exhibition/ink-dreams |access-date= |website=Los Angeles County Museum of Art |language=}}</ref>
* ''Ink Dreams: Selections from the Fondation INK Collection'' (2021, Los Angeles County Museum of Art)<ref>{{Cite web |title=Ink Dreams: Selections from the Fondation INK Collection |url=http://www.lacma.org/art/exhibition/ink-dreams |access-date= |website=Los Angeles County Museum of Art |language=}}</ref> <ref>{{Cite book |last=Susanna |first=Ferrell |title=Ink Dreams: Selections from the Fondation INK collection |publisher=Los Angeles County Museum of Art, DelMonico Books and D.A.P. |year=2021 |isbn=9781942884989 |location=Los Angeles and New York}}</ref>
* ''Art on theMART'' (2018, Chicago’s city public art project)<ref name=":10">{{Cite web |last= |title=Zheng Chongbin |url=https://artonthemart.com/artist_pages/zheng-chongbin/ |access-date= |website=Art on theMART |language=}}</ref>
* ''Art on theMART'' (2018, Chicago’s city public art project)<ref name=":10">{{Cite web |last= |title=Zheng Chongbin |url=https://artonthemart.com/artist_pages/zheng-chongbin/ |access-date= |website=Art on theMART |language=}}</ref>
* ''Ink Worlds: Contemporary Chinese Painting from the Collection of Akiko Yamazaki and [[Jerry Yang]]'' (2018, Cantor Arts Center, Stanford University)<ref>{{Cite web |title=Ink Worlds: Contemporary Chinese Painting from the Collection of Akiko Yamazaki and Jerry Yang |url=https://museum.stanford.edu/exhibitions/mojing-ink-worlds-contemporary-chinese-painting-collection-akiko-yamazaki-and-jerry |access-date= |website=Cantor Arts Center}}</ref>
* ''Ink Worlds: Contemporary Chinese Painting from the Collection of Akiko Yamazaki and [[Jerry Yang]]'' (2018, Cantor Arts Center, Stanford University)<ref>{{Cite web |title=Ink Worlds: Contemporary Chinese Painting from the Collection of Akiko Yamazaki and Jerry Yang |url=https://museum.stanford.edu/exhibitions/mojing-ink-worlds-contemporary-chinese-painting-collection-akiko-yamazaki-and-jerry |access-date= |website=Cantor Arts Center}}</ref> <ref>{{Cite book |last=Vinograd |first=Richard |title=Ink Worlds: Contemporary Chinese Painting from the Collection of Akiko Yamazaki and Jerry Yang |last2=Huang |first2=Ellen |publisher=Stanford University Press |year=2018 |isbn=9781503606845 |location=Stanford}}</ref>
* ''Streams and Mountains without End: Landscape Traditions of China'' (2017, Metropolitan Museum of Art, New York)<ref>{{Cite web |title=Streams and Mountains without End: Landscape Traditions of China |url=https://www3.metmuseum.org/exhibitions/listings/2017/streams-and-mountains |access-date= |website=The Metropolitan Museum of Art}}</ref>  
* ''Streams and Mountains without End: Landscape Traditions of China'' (2017, Metropolitan Museum of Art, New York)<ref>{{Cite web |title=Streams and Mountains without End: Landscape Traditions of China |url=https://www3.metmuseum.org/exhibitions/listings/2017/streams-and-mountains |access-date= |website=The Metropolitan Museum of Art}}</ref>  
* ''Why Not Ask Again'' (2016, Eleventh Shanghai Biennale)<ref>{{Cite web |last=Arnold |first=Frances |date=2016 |title=Raqs Media Collective’s Shanghai Biennale Finally Ditches the Overdone Dichotomy between East and West |url=https://www.artsy.net/article/artsy-editorial-the-shanghai-biennale-finallyditches-the-overdone-dichotomy-between-east-and-west |website=Artsy News}}</ref>
* ''Why Not Ask Again'' (2016, Eleventh Shanghai Biennale)<ref>{{Cite web |last=Arnold |first=Frances |date=2016 |title=Raqs Media Collective’s Shanghai Biennale Finally Ditches the Overdone Dichotomy between East and West |url=https://www.artsy.net/article/artsy-editorial-the-shanghai-biennale-finallyditches-the-overdone-dichotomy-between-east-and-west |website=Artsy News}}</ref>
* ''Personal Structures: Crossing Borders'' (2015, organised by European Cultural Centre, held at Palazzo Bembo and Palazzo Mora, Venice)<ref name=":9" />
* ''Personal Structures: Crossing Borders'' (2015, organised by European Cultural Centre, held at Palazzo Bembo and Palazzo Mora, Venice)<ref name=":9" />
* ''From a Poem to the Sunset: Daimler Art Collection'' (2015, Daimler Contemporary Berlin)<ref>{{Cite web |date=2015 |title=From a Poem to the Sunset: First Part of an Exhibition Series with New Acquisitions of Contemporary Chinese and International Art |url=https://art.daimler.com/en/from-a-poem-to-the-sunset/ |website=Daimler Contemporary}}</ref>
* ''From a Poem to the Sunset: Daimler Art Collection'' (2015, Daimler Contemporary Berlin)<ref>{{Cite web |date=2015 |title=From a Poem to the Sunset: First Part of an Exhibition Series with New Acquisitions of Contemporary Chinese and International Art |url=https://art.daimler.com/en/from-a-poem-to-the-sunset/ |website=Daimler Contemporary}}</ref>
* ''Ink: The Art of China'' (2012, Saatchi Gallery, London)<ref>{{Cite book |title=Ink: The Art of China |publisher=Saatchi Gallery |year=2012 |location=London}}</ref>
* ''Ink: The Art of China'' (2012, Saatchi Gallery, London)<ref>{{Cite book |title=Ink: The Art of China |publisher=Saatchi Gallery |year=2012 |location=London |oclc=1358644130}}</ref>
* ''China’s Imperial Modern: The Painter’s Craft'' (2012, University of Alberta Museums, Edmonton)<ref>{{Cite book |last=Chattopadhyay |first=Collette |title=China's Imperial Modern: The Painter's Craft |last2=Chen |first2=Abby Chen |last3=Shen |first3=Kuiyi |publisher=University of Alberta Museums |year=2012 |location=Edmonton}}</ref>
* ''China’s Imperial Modern: The Painter’s Craft'' (2012, University of Alberta Museums, Edmonton)<ref>{{Cite book |last=Chattopadhyay |first=Collette |title=China's Imperial Modern: The Painter's Craft |last2=Chen |first2=Abby Chen |last3=Shen |first3=Kuiyi |publisher=University of Alberta Museums |year=2012 |isbn=9781551952918 |location=Edmonton}}</ref>
* ''Reboot'' (2007, Third Chengdu Biennale)<ref>{{Cite book |title=Reboot: The Third Chengdu Biennale |publisher=Hebei Fine Arts Publishing House |year=2007 |editor-last=Feng |editor-first=Bin |location=Shijiazhuang |editor-last2=Shen |editor-first2=Kuiyi}}</ref>
* ''Reboot'' (2007, Third Chengdu Biennale)<ref>{{Cite book |title=Reboot: The Third Chengdu Biennale |publisher=Hebei Fine Arts Publishing House |year=2007 |isbn=9787531028802 |editor-last=Feng |editor-first=Bin |location=Shijiazhuang |editor-last2=Shen |editor-first2=Kuiyi}}</ref>


As part of and in addition to event programmes organised around the exhibitions, Zheng delivered a series of talks and lectures, such as a talk with ecophilosopher [[Timothy Morton]] and ecopolitical theorist Maya Kovskaya, held at the [[Asian Art Museum (San Francisco)|Asian Art Museum of San Francisco]] in 2021, or a lecture given as part of 2014 Asia Contemporary Art Week in New York.<ref>{{Cite web |date=2021 |title=Zheng Chongbin with Ecophilosopher Timothy Morton and Ecopolitical Theorist Maya Kovskaya |url=https://www.youtube.com/watch?v=kqw4uBPGJUg&ab_channel=AsianArtMuseum |website=Asian Art Museum}}</ref> <ref>{{Cite web |date=2014 |title=Field Meeting: Critical of the Future – Part 7 |url=https://www.youtube.com/watch?v=afGkI-Gt2sw&t=1138s |website=Asia Contemporary Art Week}}</ref>
As part of and in addition to event programmes organised around the exhibitions, Zheng delivered a series of talks and lectures, such as a talk with ecophilosopher [[Timothy Morton]] and ecopolitical theorist Maya Kovskaya, held at the [[Asian Art Museum (San Francisco)|Asian Art Museum of San Francisco]] in 2021, or a lecture given as part of 2014 Asia Contemporary Art Week in New York.<ref>{{Cite web |date=2021 |title=Zheng Chongbin with Ecophilosopher Timothy Morton and Ecopolitical Theorist Maya Kovskaya |url=https://www.youtube.com/watch?v=kqw4uBPGJUg&ab_channel=AsianArtMuseum |website=Asian Art Museum}}</ref> <ref>{{Cite web |date=2014 |title=Field Meeting: Critical of the Future – Part 7 |url=https://www.youtube.com/watch?v=afGkI-Gt2sw&t=1138s |website=Asia Contemporary Art Week}}</ref>
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== Additional Resources ==

* [https://aaa.org.hk/en/collections/search/search/keywords:zheng-chongbin Artist publications on Asia Art Archive]
* [https://www.worldcat.org/search?q=zheng+chongbin Artist publications on WorldCat]
* [https://discover.libraryhub.jisc.ac.uk/search?q=zheng+chongbin Artist publications on Jisc Library Hub Discover]
* [https://www.inkstudio.com.cn/artists/55-zheng-chongbin/ Artist documents and publications on INK studio]
{{Authority control|qid=Q21607972}}
[[Category:Living people]]
[[Category:San Francisco Art Institute alumni]]
[[Category:People from San Francisco]]
[[Category:Contemporary artists]]
__FORCETOC__

Revision as of 23:17, 7 March 2023

Zheng Chongbin
Born1961 (age 61)
Shanghai
NationalityAmerican
EducationSan Francisco Art Institute, USA; Zhejiang Academy of Fine Arts (now China Academy of Art), Hangzhou, China
OccupationArtist
Known forLight and Space installations, Chinese ink medium paintings, digital media works
Websitehttps://www.zhengchongbin.com/

Zheng Chongbin (born 1961) is a contemporary visual artist, whose practice comprises multimedia works, including Chinese ink and acrylic paintings, Light and Space installations and digital media works. Originally born in China and trained in ink painting, Zheng focuses on reinterpreting the centuries-old pictorial genre of Chinese ink medium art by underlining ink’s material qualities and juxtaposing them with other material and ephemeral substances, like acrylic paint or spatially-conditioned light.[1] Having lived in California’s San Francisco Bay Area for over 30 years, the region’s distinctive light and space environment is another source that informs Zheng’s works across different media.[2] Overall, Zheng’s artistic practice looks at scientific and philosophical underpinnings of New Materialism, as part of which the world is viewed as a set of complexly and often speculatively interwoven interactions (whether molecular or climatic) affecting both animate and non-animate forms of matter, like plants or objects.[3] The artist’s works can be found in museum and private collections across the USA, Europe and Asia, including New York’s Metropolitan Museum of Art, London’s British Museum or Hong Kong’s M+.[4] In 2021 Zheng also received Asia Game Changer West Award from the Asia Society’s Northern California Center.[5]

Early Life and 1980s Works

Zheng started his artistic training back in 1970s Shanghai during the time of the Cultural Revolution (1966-1976), taking private art classes with artists Mu Yilin and Chen Jialing.[6] Between 1980 and 1984 Zheng completed his BFA at the Chinese Painting Department at the Zhejiang Academy of Fine Arts (now China Academy of Art) in Hangzhou.[4] During these years the art education system in China still largely followed the principles of Soviet Socialist Realism, but the study of classical Chinese ink art was already reinstated, following the end of the Cultural Revolution.[7] Thus, for his graduation project Zheng created a series of gongbi (refined brushwork) ink paintings, depicting Tibetan rural life and labour scenes, recorded first-hand during the artist’s field trip to Tibet in 1983.[8]

Following his graduation, between 1984 and 1988 Zheng went on to become a teacher in figurative Chinese ink painting at the Zhejiang Academy of Fine Arts.[4] In the light of Open Door Policy, China’s artists in the 1980s started gaining access to various books and magazines about previously forbidden during the Cultural Revolution art forms, ranging from Impressionism to American Abstract Expressionism.[9] In 1985 Zheng also travelled to Beijing with his friend and artist Andreas Schmid (at the time also an exchange student from Germany at the Zhejiang Academy) to see a ground-breaking exhibition Rauschenberg’s Overseas Cultural Interchange, held in 1985 at Beijing’s National Art Museum of China.[3] The exposure to these previously forbidden art forms got translated into Zheng’s early works, such as Another State of Man series (second half of the 1980s), where Zheng used ink and acrylic on paper to respond to Francis Bacon’s deformed anthropomorphic figures.[10]

1990s Cultural Identity Works

In 1988 Zheng travelled to study to California, where he eventually settled, following the completion of the First International Fellowship and the MFA degree at the San Francisco Art Institute between 1989 and 1991.[4] At the Institute Zheng focused on studying installation art that was taught by such local artists as David Ireland, Tom Marioni, Sam Tchakalian or Tony Labat among others.[3] In 1992 Zheng received his green card and settled in San Francisco Bay Area.[8] During this transitional period of settling in the USA, Zheng created a series of installation works that explored questions of cultural belonging and diasporic identity, such as Dual Heads (1994) – the installation commenting on the divided cultural identity of the diasporic Asian American subject, exhibited at Zheng’s self-curated exhibition Asian/American American/Asian, held at the Belcher Studios Gallery in San Francisco in 1994, and featuring works by New York-based Chinese-born artist Gu Wenda from New York and by San Francisco-based Japanese-born artist Reiko Goto.[3]

Recent Works

1. Ink Media Paintings

In the later 1990s Zheng started making more of ink paintings, focusing on the material possibilities of ink-on-paper works as well as site-specific spatial and lighting conditions in which they are displayed.[11] To underline the impact of time-sensitive phenomenological conditions on ink paintings, Zheng often arranges them as a series of cut paper sheets, mounted at different angles, applying on them various textures of liquid ink and reflective paste-like acrylic paint, as illustrated by Unfolding Landscape (2015).[12] Another feature of Zheng’s ink paintings is related to the process of painting itself, during which the artist often lets his pictorial materials (ink, acrylic, water, paper) have material interactions of their own by, for example, moving a scraper along the surface of just-poured paint, resulting in self-emerged dots and fractal lines.[13] This shows the artist’s interest in New Materialism, where the wider world is seen as a series of unrelated and yet interconnected interactions, as explored in the recent philosophical writings by Karen Barad, Quentin Meillassoux or Timothy Morton among others.[1] [3]

Zheng Chongbin, Wall of Skies, 2015, Light and Space installation

2. Light and Space Installations

Similar to Zheng’s ink paintings, his Light and Space installations also focus on exploring the philosophical and scientific fields of Phenomenology and New Materialism, as can be seen in Liquid Space (2019, Ryosoku-in temple, Kennin-ji temple complex, Kyoto) or Wall of Skies (2015, Eleventh Shanghai Biennale).[14] [15] In these installations Zheng expanded the range of materials that he uses to have an interaction with light effects and wider spatial conditions, resorting to see-through scrims, optical light films or specially-built reflective surfaces, like a specular floor that was installed as part of Wall of Skies.[14] [15] According to Zheng, ‘experiencing the world is a cognitive journey’ – that is why, through the expanded materiality of his Light and Space installations he focuses on activating the viewers’ cognitive and proprioceptive reactions, inviting them to acknowledge and explore, as Diana Coole and Samantha Frost put it, ‘a multitude of interlocking systems and forces’ that impact us and which we impact back.[16] [17]

3. Digital Media Works

Projection of Zheng Chongbin's Chimeric Landscape (2015) at Art on theMART, Chicago, 2018

Zheng also uses digital media to interpret scientific and philosophical connotations of the world’s interconnectedness. His first major digital video work to do this was Chimeric Landscape (2015), premiered at Pallazzo Bembo in Venice in 2015.[18] In this work Zheng cross-paralleled various scenes taken from the natural world and scientific data (such as NASA images) alongside snapshots of liquid ink paint to show how the world is interconnected, comprising ‘intra-actions’ on the material and beyond-material levels.[19] [20] The purpose of such digital works by Zheng as Chimeric Landscape is to make the viewer question various kinds of life forms and, as Timothy Morton put it, to ‘recognize our connection with them’, which makes our reality ‘a multitude of entangled strange strangers’.[21] In 2018 Chimeric Landscape was also adapted for an exhibition Art on theMART – ‘the largest permanent digital art projection in the world’, displayed onto Chicago’s historic building theMART.[22] Adapting his works to new environments is an important part of Zheng’s artistic practice as it allows the artist to explore how changes in environmental lighting or spatial conditions can redescribe or transform the original work.[3] Additional examples of Zheng’s digital media works include State of Oscillation (2020, Asian Art Museum, San Francisco) or Branches Are Roots in the Sky (2017, Los Angeles County Museum of Art) among others.[16] [23]

Exhibitions and Collections

Installation of Zheng Chongbin's I Look for the Sky (2020) at the Asian Art Museum, San Francisco, 2021

Selected examples of Zheng’s solo exhibitions include:

  • A 10,000-Year View (2022, Hong Kong Museum of Art)[24]
  • Zheng Chongbin: I Look for the Sky (2021, Asian Art Museum, San Francisco)[16] [25]
  • Liquid Space (2019, Ryosoku-in Temple, Kennin-ji, Kyoto)[14]
  • Zheng Chongbin: Clusters of Memory (2017, Asia Society, Houston)[26]
  • The Pacific Project: Zheng Chongbin (2016, Orange County Museum of Art, New Port)[27]
  • Zheng Chongbin: Impulse, Matter, Form (2013, INK studio, Beijing)[28]
  • White Ink: Fresharp Artists’ Series (2011, Chinese Culture Center of San Francisco)[29]

In 1989, shortly after moving to the USA from China, Zheng also landed a solo exhibition Introduction Show at San Francisco’s Bruce Velick Gallery.[3] Before that, in 1988 Zheng had a solo exhibition Chongbin Zheng, organised by the Shanghai Art Museum, which was featured on Shanghai’s local TV channel during the primetime news.[30]  

Selected examples of group exhibitions where Zheng’s works were represented to date include:

  • Ink Dreams: Selections from the Fondation INK Collection (2021, Los Angeles County Museum of Art)[31] [32]
  • Art on theMART (2018, Chicago’s city public art project)[33]
  • Ink Worlds: Contemporary Chinese Painting from the Collection of Akiko Yamazaki and Jerry Yang (2018, Cantor Arts Center, Stanford University)[34] [35]
  • Streams and Mountains without End: Landscape Traditions of China (2017, Metropolitan Museum of Art, New York)[36]  
  • Why Not Ask Again (2016, Eleventh Shanghai Biennale)[37]
  • Personal Structures: Crossing Borders (2015, organised by European Cultural Centre, held at Palazzo Bembo and Palazzo Mora, Venice)[18]
  • From a Poem to the Sunset: Daimler Art Collection (2015, Daimler Contemporary Berlin)[38]
  • Ink: The Art of China (2012, Saatchi Gallery, London)[39]
  • China’s Imperial Modern: The Painter’s Craft (2012, University of Alberta Museums, Edmonton)[40]
  • Reboot (2007, Third Chengdu Biennale)[41]

As part of and in addition to event programmes organised around the exhibitions, Zheng delivered a series of talks and lectures, such as a talk with ecophilosopher Timothy Morton and ecopolitical theorist Maya Kovskaya, held at the Asian Art Museum of San Francisco in 2021, or a lecture given as part of 2014 Asia Contemporary Art Week in New York.[42] [43]

Zheng’s works can be found in worldwide public and private collections, including those of British Museum (London), Metropolitan Museum of Art (New York), Asian Art Museum (San Francisco), Los Angeles County Museum of Art (Los Angeles), Philadelphia Museum of Art (Philadelphia), Brooklyn Museum (New York), Orange County Museum of Art (Costa Mesa), Marina Bay Sands (Singapore), Mercedes-Benz Art Collection (Berlin), DSL Collection (Paris), M+ Museum (Hong Kong), Art Institute of Chicago (Chicago) and Hong Kong Museum of Art (Hong Kong).[4]

Publications

In 2014 INK studio published a book Zheng Chongbin: Impulse, Matter, Form, distributed in the USA by D.A.P. and edited by scholar and curator Britta Erickson.[44] Zheng’s art was also the subject of Alina Sinelnyk’s doctoral thesis Repositioning Contemporary Chinese-Ink Medium Art, 1978-2018: Zheng Chongbin – Migration, Internationalisation, Digitisation, completed at the University of Edinburgh (Scotland, UK) in 2021.[3]   

Selected examples of journal articles publications about Zheng’s works include:

  • Tony Godfrey, ‘Zheng Chongbin: Ten Metaphors with Which to Experience His Paintings’, Yishu, 10 (2011), 27-40.[10]
  •  Lisa Claypool, ‘Architectonic Ink: Zheng Chongbin in Conversation with Lisa Claypool’, Yishu, 10 (2011), 41-53.[45]
  • Maya Kovskaya, ‘Becoming Landscape: Diffractive Unfoldings of Light, Space, and Matter in the New Work of Zheng Chongbin’, Yishu, 14 (2015), 6-21.[1]
  • Tiffany Wai-Ying Beres, ‘Zheng Chongbin: Boundless Ink’, ArtAsiaPacific, 97 (2016), 124-131.[46]
  • Lisa Claypool, ‘Liquid Space: A Conversation with Zheng Chongbin’, Yishu, 18 (2019), 100-107.[14]
  • Alina Sinelnyk, ‘Curating the International Profile of Contemporary Chinese Ink Medium Art: The Third Chengdu Biennale (2007) and The Met’s Ink Art (2013–14)’, Journal of Contemporary Chinese Art, 9 (2022), 289-312.[47]

Awards

In 2021 Zheng received Asia Game Changer West Award from the Asia Society’s Northern California Center.[5] In 2018 Zheng was also awarded Inaugural Artist for a Chicago-based digital art project Art on theMART, becoming one of the four American artists to inaugurate the project.[33] Zheng’s earlier awards include Artist Excellence Exhibition Series Grant by the San Francisco Chinese Cultural Foundation (2010-11) as well as the commission from Moshe Safdie Associates and Singapore’s Marina Bay Sands for a site-specific installation Rising Forest (2008-2010), displayed at Marina Bay Sands alongside works by artists Antony Gormley and Sol LeWitt.[4] [48] In 1989 Zheng also became a recipient of the San Francisco Art Institute’s First International Fellowship.[4] 

References

  1. ^ a b c Kovskaya, Maya (2015). "Becoming Landscape: Diffractive Unfoldings of Light, Space, and Matter in the New Work of Zheng Chongbin". Yishu. 14: 6–21.
  2. ^ Wayne, Kenneth (2014). "Zheng and Abstract Expressionism: An Introduction". In Erickson, Britta (ed.). Zheng Chongbin: Impulse, Matter, Form. Beijing: INK studio. pp. 19–29. ISBN 978-0615864532.
  3. ^ a b c d e f g h Sinelnyk, Alina (2021). "Repositioning Contemporary Chinese-Ink Medium Art, 1978-2018: Zheng Chongbin – Migration, Internationalisation, Digitisation (PhD diss.)". University of Edinburgh. OCLC 1308429766.
  4. ^ a b c d e f g "Zheng Chongbin". INK studio.
  5. ^ a b "2021 Asia Game Changer West Awards Virtual Gala: Honoring Innovative Leaders Impacting Asia and the World". Asia Society. 2021.
  6. ^ Erickson, Britta (2014). "Establishing Spirit in the Sea of Ink: Zheng Chongbin from Impulse to Form". In Erickson, Britta (ed.). Zheng Chongbin: Impulse, Matter, Form. Beijing: INK studio. pp. 5–17. ISBN 978-0615864532.
  7. ^ Kraus, Richard Curt (1991). Brushes with Power: Modern Politics and the Chinese Art of Calligraphy. Berkeley: University of California Press. ISBN 9780520072855.
  8. ^ a b Erickson, Britta (2014). "Timeline". In Erickson, Britta (ed.). Zheng Chongbin: Impulse, Matter, Form. Beijing: INK studio. pp. 106–113. ISBN 978-0615864532.
  9. ^ DeBevoise, Jane; Wong, Phoebe (2007). "Interview with Shen Kuiyi". Asia Art Archive - Materials of the Future: Documenting Contemporary Chinese Art from 1980-1990.
  10. ^ a b Godfrey, Tony (2011). "Zheng Chongbin: Ten Metaphors with Which to Experience His Paintings". Yishu. 10: 27–40.
  11. ^ Agnew, Mary (2013). "Medium above All: Examining the Work of Zheng Chongbin". In Lee, Lynn; Xu, Erick; Zhao, Sunny (eds.). Negotiating between Light and Ink. Beijing: Asia Art Centre. pp. 16–17. OCLC 859152813.
  12. ^ "Unfolding Landscape: Zheng Chongbin". The Metropolitan Museum of Art.
  13. ^ Erickson, Britta (2016). "The Enduring Passion for Ink – A Project on Contemporary Ink Painters". Kanopy.
  14. ^ a b c d Claypool, Lisa (2019). "Liquid Space: A Conversation with Zheng Chongbin". Yishu. 18: 100–107.
  15. ^ a b Erickson, Britta (2015). Zheng Chongbin: Wall of Skies. Beijing: INK studio.
  16. ^ a b c "Exhibition: Zheng Chongbin: I Look for the Sky". Asian Art Museum. 2021.
  17. ^ Coole, Diana; Frost, Samantha (2010). "Introducing the New Materialisms". In Coole, Diana; Frost, Samantha (eds.). New Materialisms: Ontology, Agency and Politics. Durham: Duke University Press. pp. 9, 3–4.
  18. ^ a b De Jongh, Karlyn; Gold, Sarah; Romagnini, Valeria; Rietmeyer, Rene (2015). "Zheng Chongbin". In De Jongh, Karlyn; Gold, Sarah; Romagnini, Valeria; Rietmeyer, Rene (eds.). Personal Structures: Crossing Borders. Leiden: Global Art Affairs Foundation. pp. 314–317. ISBN 9789490784188.
  19. ^ Van Proyen, Mark. "With a Sudden Vigor it Doth Possess: Zheng Chongbin's Recent Paintings and Video Work". INK studio.
  20. ^ Barad, Karen (2007). Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning. Durham: Duke University Press. p. 33. ISBN 9780822339014.
  21. ^ Morton, Timothy (2010). The Ecological Thought. Cambridge: Harvard University Press. pp. 15, 17. ISBN 9780674064225.
  22. ^ "Obscura Digital, Globally-Recognized Leader in Experiential Technology, to Project Art on theMART". GlobeNewswire. 26 September 2018.
  23. ^ "Branches are Roots in the Sky: Zheng Chongbin". Los Angeles County Museum of Art.
  24. ^ "Zheng Chongbin: A 10,000-Year View: A Site-Specific Art Installation". Hong Kong Museum of Art.
  25. ^ Chen, Abby; Kovskaya, Maya (2021). Zheng Chongbin: I Look for the Sky. San Francisco: Asian Art Museum. ISBN 9780939117901.
  26. ^ "Zheng Chongbin: Clusters of Memory". Asia Society.
  27. ^ "Orange County Museum of Art Unveils Two New Installations as Part of its Pacific Initiative". ArtDaily.
  28. ^ "Impulse, Matter, Form". INK studio.
  29. ^ Tedford, Matthew Harrison, ed. (2011). Zheng Chongbin: White Ink. San Francisco & Santa Clara: Chinese Culture Foundation of San Francisco & Silicon Valley Asian Art Centre. ISBN 9780982274460.
  30. ^ Starr, Kevin (10 September 1989). "A Dream Deferred". The San Francisco Chronicle. pp. 44–50.
  31. ^ "Ink Dreams: Selections from the Fondation INK Collection". Los Angeles County Museum of Art.
  32. ^ Susanna, Ferrell (2021). Ink Dreams: Selections from the Fondation INK collection. Los Angeles and New York: Los Angeles County Museum of Art, DelMonico Books and D.A.P. ISBN 9781942884989.
  33. ^ a b "Zheng Chongbin". Art on theMART.
  34. ^ "Ink Worlds: Contemporary Chinese Painting from the Collection of Akiko Yamazaki and Jerry Yang". Cantor Arts Center.
  35. ^ Vinograd, Richard; Huang, Ellen (2018). Ink Worlds: Contemporary Chinese Painting from the Collection of Akiko Yamazaki and Jerry Yang. Stanford: Stanford University Press. ISBN 9781503606845.
  36. ^ "Streams and Mountains without End: Landscape Traditions of China". The Metropolitan Museum of Art.
  37. ^ Arnold, Frances (2016). "Raqs Media Collective's Shanghai Biennale Finally Ditches the Overdone Dichotomy between East and West". Artsy News.
  38. ^ "From a Poem to the Sunset: First Part of an Exhibition Series with New Acquisitions of Contemporary Chinese and International Art". Daimler Contemporary. 2015.
  39. ^ Ink: The Art of China. London: Saatchi Gallery. 2012. OCLC 1358644130.
  40. ^ Chattopadhyay, Collette; Chen, Abby Chen; Shen, Kuiyi (2012). China's Imperial Modern: The Painter's Craft. Edmonton: University of Alberta Museums. ISBN 9781551952918.
  41. ^ Feng, Bin; Shen, Kuiyi, eds. (2007). Reboot: The Third Chengdu Biennale. Shijiazhuang: Hebei Fine Arts Publishing House. ISBN 9787531028802.
  42. ^ "Zheng Chongbin with Ecophilosopher Timothy Morton and Ecopolitical Theorist Maya Kovskaya". Asian Art Museum. 2021.
  43. ^ "Field Meeting: Critical of the Future – Part 7". Asia Contemporary Art Week. 2014.
  44. ^ "Publication: Zheng Chongbin: Impulse, Matter, Form". INK studio.
  45. ^ Claypool, Lisa (2011). "Architectonic Ink: Zheng Chongbin in Conversation with Lisa Claypool". Yishu. 10: 41–53.
  46. ^ Beres, Tiffany Wai-Ying (2016). "Zheng Chongbin: Boundless Ink". ArtAsiaPacific. 97: 124–131.
  47. ^ Sinelnyk, Alina (2022). "Curating the International Profile of Contemporary Chinese Ink Medium Art: The Third Chengdu Biennale (2007) and The Met's Ink Art (2013–14)". Journal of Contemporary Chinese Art. 9: 289–312.
  48. ^ Chin, Andrea (2010). "Moshe Safdie: Marina Bay Sands Opens". designboom.

Additional Resources

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