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Zheng Chongbin (born 1961) is a contemporary visual artist, known for his exploration of various artistic media, including ink and acrylic paintings, Light and Space installations and digital media. His artistic practice is influenced by the philosophical concept of [[New materialism|New Materialism]].<ref name=":1">{{Cite book |last=Sinelnyk |first=Alina |url=https://era.ed.ac.uk/handle/1842/38332 |title=Repositioning Contemporary Chinese-Ink Medium Art, 1978-2018: Zheng Chongbin – Migration, Internationalisation, Digitisation |publisher=University of Edinburgh |year=2021 |pages=172–176 |doi=10.7488/era/1597 |oclc=1308429766}}</ref> For over three decades, Zheng has resided in [[California]]’s [[San Francisco Bay Area]], where he draws inspiration from the region's distinctive interplay of light and space, informing his 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>
Zheng Chongbin (born 1961) is a contemporary visual artist, who explores various artistic media, including ink and acrylic paintings, Light and Space installations and digital media. His practice is influenced by [[New materialism|New Materialism]].<ref name=":1">{{Cite book |last=Sinelnyk |first=Alina |url=https://era.ed.ac.uk/handle/1842/38332 |title=Repositioning Contemporary Chinese-Ink Medium Art, 1978-2018: Zheng Chongbin – Migration, Internationalisation, Digitisation |publisher=University of Edinburgh |year=2021 |pages=172–176 |doi=10.7488/era/1597 |oclc=1308429766}}</ref> Zheng has resided in northern [[California]] for over 30 years, where he draws inspiration from the region’s surrounding nature that informs his 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>


The artist’s works can be found in worldwide museum and private collections in the USA, Europe and Asia, including New York’s [[Metropolitan Museum of Art]], London’s [[British Museum]] and 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> His latest solo exhibitions include ''Liquid Space'' at the [[Zen temple]] Ryosoku-in within the Kennin-ji temple complex in Kyoto (2019), and ''[https://exhibitions.asianart.org/exhibitions/zheng-chongbin-i-look-for-the-sky-2/ I Look for the Sky]'' at the Asian Art Museum in San Francisco (2021).<ref name=":6" /> <ref name=":12" /> In 2018 Zheng became Inaugural Artist for ''Art on theMART'' - the 30-year-long public digital art project, organised by Vornado Realty Trust in collaboration with the [[City of chicago|City of Chicago]].<ref name=":10" /> <ref>{{Cite web |last= |title=Project Summary |url=https://artonthemart.com/project-summary/ |access-date= |website=Art on theMART |language=}}</ref> In 2021 the artist 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> <ref name=":13">{{Cite web |title=2021 Asia Game Changer West Awards: Honoring Zheng Chongbin |url=https://asiasociety.org/video/2021-asia-game-changer-west-awards-honoring-zheng-chongbin |access-date= |website=Asia Society |language=}}</ref>
Zheng's works are located in museum and private collections in the USA, Europe and Asia, including New York’s [[Metropolitan Museum of Art]], London’s [[British Museum]] and 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> His latest solo exhibitions include ''Liquid Space'' at the [[Zen temple]] Ryosoku-in within the Kennin-ji temple complex in Kyoto (2019), and ''[https://exhibitions.asianart.org/exhibitions/zheng-chongbin-i-look-for-the-sky-2/ I Look for the Sky]'' at the Asian Art Museum in San Francisco (2021).<ref name=":6" /> <ref name=":12" /> In 2018 Zheng became Inaugural Artist for ''Art on theMART'' - the 30-year-long public digital art project, organised by Vornado Realty Trust in collaboration with the [[City of chicago|City of Chicago]].<ref name=":10" /> <ref>{{Cite web |last= |title=Project Summary |url=https://artonthemart.com/project-summary/ |access-date= |website=Art on theMART |language=}}</ref> In 2021 the artist 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> <ref name=":13">{{Cite web |title=2021 Asia Game Changer West Awards: Honoring Zheng Chongbin |url=https://asiasociety.org/video/2021-asia-game-changer-west-awards-honoring-zheng-chongbin |access-date= |website=Asia Society |language=}}</ref>


== '''Early Life and 1980s Works''' ==
== '''Early Life and 1980s Works''' ==
Zheng started his art training in 1970s Shanghai during the time of the [[Cultural Revolution]] (1966-1976), by taking private art classes led by 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 his formative years, China's art education system predominantly followed the principles of [[Socialist realism|Soviet Socialist Realism]].<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> Zheng's graduation project was influenced by this artistic environment, leading him to create a series of [[gongbi]] (refined brushwork) ink paintings depicting scenes of Tibetan rural life and labour, observed during his 1983 trip to Tibet.<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>
Zheng started his art training in 1970s Shanghai during the [[Cultural Revolution]] (1966-1976), taking private art classes run by 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 BFA at the Chinese Painting Department at the [[Zhejiang Academy of Fine Arts]] (now China Academy of Art) in Hangzhou.<ref name=":2" /> During his formative years China's art education system followed the principles of [[Socialist realism|Soviet Socialist Realism]].<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> Zheng's graduation project was influenced by this environment, resulting in [[gongbi]] (refined brushwork) ink paintings, depicting scenes of Tibetan rural life and labour, observed during his 1983 trip to Tibet.<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>


After completing his studies, Zheng became a teacher in figurative Chinese ink painting at the Zhejiang Academy of Fine Arts from 1984 to 1988.<ref name=":2" /> During the 1980s, China's Open Door Policy allowed artists to gain access to various previously forbidden art forms, including [[Impressionism]] and [[Abstract expressionism|American Abstract Expressionism]].<ref>{{Cite web |last1=DeBevoise |first1=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> Zheng's artistic perspective expanded as he encountered these new influences. Notably, in 1985 he travelled to Beijing with his friend and artist Andreas Schmid, where they attended an exhibition ''[[Robert Rauschenberg|Rauschenberg]] Overseas Cultural Interchange'' at Beijing’s [[National Art Museum of China]].<ref>{{Cite book |last=Sinelnyk |first=Alina |url=https://era.ed.ac.uk/handle/1842/38332 |title=Repositioning Contemporary Chinese-Ink Medium Art, 1978-2018: Zheng Chongbin – Migration, Internationalisation, Digitisation (PhD diss.) |publisher=University of Edinburgh |year=2021 |pages=54 |doi=10.7488/era/1597 |oclc=1308429766}}</ref> These exposures to previously prohibited art forms left a lasting impact on Zheng's early works. For example, in ''[https://www.mplus.org.hk/en/collection/makers/zheng-chongbin/ Another State of Man]'' series (second half of the 1980s) he combined ink and acrylic on paper to create deformed anthropomorphic figures inspired by [[Francis Bacon (artist)|Francis Bacon]].<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>
From 1984 to 1988 Zheng worked as a teacher in figurative Chinese ink painting at the Zhejiang Academy of Fine Arts.<ref name=":2" /> During the 1980s, China's Open Door Policy allowed access to previously forbidden art forms, including [[Impressionism]] and [[Abstract expressionism|American Abstract Expressionism]].<ref>{{Cite web |last1=DeBevoise |first1=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 travelled to Beijing with artist Andreas Schmid to see an exhibition ''[[Robert Rauschenberg|Rauschenberg]] Overseas Cultural Interchange'' at Beijing’s [[National Art Museum of China]].<ref>{{Cite book |last=Sinelnyk |first=Alina |url=https://era.ed.ac.uk/handle/1842/38332 |title=Repositioning Contemporary Chinese-Ink Medium Art, 1978-2018: Zheng Chongbin – Migration, Internationalisation, Digitisation (PhD diss.) |publisher=University of Edinburgh |year=2021 |pages=54 |doi=10.7488/era/1597 |oclc=1308429766}}</ref> These exposures impacted Zheng's early works, like ''[https://www.mplus.org.hk/en/collection/makers/zheng-chongbin/ Another State of Man]'' (second half of the 1980s), where he combined ink and acrylic on paper to create deformed anthropomorphic figures inspired by [[Francis Bacon (artist)|Francis Bacon]].<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>


== '''1990s Cultural Identity Works''' ==
== '''1990s Cultural Identity Works''' ==
In 1988 Zheng travelled to study to California, where he eventually settled. In California he completed the First International Fellowship and the MFA degree at the [[San Francisco Art Institute]] between 1989 and 1991.<ref name=":2" /> During his time at the Institute Zheng focused on studying installation art under the guidance of such local artists as [[David Ireland (artist)|David Ireland]], [[Tom Marioni]], Sam Tchakalian and [[Tony Labat]].<ref>{{Cite book |last=Sinelnyk |first=Alina |url=https://era.ed.ac.uk/handle/1842/38332 |title=Repositioning Contemporary Chinese-Ink Medium Art, 1978-2018: Zheng Chongbin – Migration, Internationalisation, Digitisation (PhD diss.) |publisher=University of Edinburgh |year=2021 |pages=97, 100 |doi=10.7488/era/1597 |oclc=1308429766}}</ref> In 1992 he received his green card and established his residence in the San Francisco Bay Area.<ref name=":4" /> During this transitional period, Zheng created a series of installation works that explored his changing cultural identity. One notable example, ''[https://aaa.org.hk/en/collections/search/archive/kong-changan-archive-zheng-chongbin/object/dual-heads Dual Heads]'' (1994), commented on the divided cultural identity experienced by Asian American migrants.<ref name=":14" /> This installation was exhibited at Zheng’s self-curated exhibition titled ''Asian/American American/Asian'', held at the Belcher Studios Gallery in San Francisco in 1994.<ref name=":14" /> This exhibition also featured works by New York-based Chinese-born artist [[Gu Wenda]] and San Francisco-based Japanese-born artist Reiko Goto.<ref name=":14">{{Cite book |last=Sinelnyk |first=Alina |url=https://era.ed.ac.uk/handle/1842/38332 |title=Repositioning Contemporary Chinese-Ink Medium Art, 1978-2018: Zheng Chongbin – Migration, Internationalisation, Digitisation (PhD diss.) |publisher=University of Edinburgh |year=2021 |pages=128–130 |doi=10.7488/era/1597 |oclc=1308429766}}</ref>
Zheng moved to California in 1988. He completed the First International Fellowship and the MFA degree at the [[San Francisco Art Institute]] between 1989 and 1991.<ref name=":2" /> Zheng studied installation art under the guidance of local artists [[David Ireland (artist)|David Ireland]], [[Tom Marioni]], Sam Tchakalian and [[Tony Labat]].<ref>{{Cite book |last=Sinelnyk |first=Alina |url=https://era.ed.ac.uk/handle/1842/38332 |title=Repositioning Contemporary Chinese-Ink Medium Art, 1978-2018: Zheng Chongbin – Migration, Internationalisation, Digitisation (PhD diss.) |publisher=University of Edinburgh |year=2021 |pages=97, 100 |doi=10.7488/era/1597 |oclc=1308429766}}</ref> In 1992 he received his green card and established his residence in the [[San Francisco Bay Area]].<ref name=":4" /> During this transitional period, his works, like ''[https://aaa.org.hk/en/collections/search/archive/kong-changan-archive-zheng-chongbin/object/dual-heads Dual Heads]'' (1994), commented on the divided cultural identity experienced by Asian American migrants.<ref name=":14" /> This installation exhibited at Zheng’s self-curated exhibition ''Asian/American American/Asian'', held at the Belcher Studios Gallery in San Francisco in 1994, also featuring works by New York-based Chinese-born artist [[Gu Wenda]] and San Francisco-based Japanese-born artist Reiko Goto.<ref name=":14">{{Cite book |last=Sinelnyk |first=Alina |url=https://era.ed.ac.uk/handle/1842/38332 |title=Repositioning Contemporary Chinese-Ink Medium Art, 1978-2018: Zheng Chongbin – Migration, Internationalisation, Digitisation (PhD diss.) |publisher=University of Edinburgh |year=2021 |pages=128–130 |doi=10.7488/era/1597 |oclc=1308429766}}</ref>


== '''Recent Works''' ==
== '''Recent Works''' ==


=== 1. Ink Media Paintings ===
=== 1. Ink Media Paintings ===
In the later 1990s, Zheng started making ink paintings that explored the material possibilities of the ink-on-paper media as well as site-specific lighting conditions in which these paintings would be 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 achieve this, Zheng often arranges his paintings as a series of cut and folded paper sheets, mounted at various angles, while applying diverse textures of ink and acrylic paint. An example of this approach can be observed in his work titled ''[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> During his painting process, Zheng allows for spontaneous material interactions among his chosen pictorial media, which include ink, acrylic, water and paper. For example, he employs techniques such as moving a scraper along the surface of just-poured paint, leading to the emergence of spontaneously created dots and fractal lines within the artwork.<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, which views the world as a realm of speculatively generated interactions.<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> This interest finds resonance in the writings of scholars like [[Karen Barad]], [[Quentin Meillassoux]] and [[Timothy Morton]].<ref name=":1" />
In the later 1990s Zheng started making ink paintings, exploring the material possibilities of the ink-on-paper media alongside site-specific lighting conditions in which these paintings would be 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> Zheng arranges his paintings, like ''[https://www.metmuseum.org/art/collection/search/712209 Unfolding Landscape]'' (2015), as a series of cut and folded paper sheets, mounted at various angles, while applying diverse textures of ink and acrylic paint.<ref>{{Cite web |title=Unfolding Landscape: Zheng Chongbin |url=https://www.metmuseum.org/art/collection/search/712209 |website=The Metropolitan Museum of Art}}</ref> During his painting process Zheng allows for spontaneous material interactions among his pictorial media, including ink, acrylic, water and paper. His techniques include moving a scraper along the surface of just-poured paint that results in the emergence of spontaneously created dots and fractal lines within the artwork.<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> The artist is interested in New Materialism, resonating in the writings of scholars like [[Karen Barad]], [[Quentin Meillassoux]] and [[Timothy Morton]].<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> <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]]


=== 2. Light and Space Installations ===
=== 2. Light and Space Installations ===
Zheng's Light and Space installations further exemplify the influence of New Materialism, as evident in his works, such as ''[https://www.zhengchongbin.com/liquid-space Liquid Space]'' (2019), exhibited in 2019 at the Ryosoku-in temple within the Kennin-ji temple complex in Kyoto, and ''Wall of Skies'' (2015), shown at the 2016 Eleventh [[Shanghai Biennale]].<ref name=":6">{{Cite journal |last=Claypool |first=Lisa |date=2019 |title=Liquid Space: A Conversation with Zheng Chongbin |journal=Yishu |volume=18 |pages=100–107}}</ref> <ref name=":7">{{Cite book |last=Erickson |first=Britta |title=Zheng Chongbin: Wall of Skies |publisher=INK studio |year=2015 |location=Beijing}}</ref> These installations demonstrate Zheng's expansion into a broader range of materials, fostering interactions with light effects and spatial conditions. For instance, he incorporates see-through scrims, optical light films and custom-built reflective surfaces, like the specular floor used in ''Wall of Skies''.<ref name=":6" /> <ref name=":7" /> Zheng's approach to his Light and Space installations is rooted in the idea that experiencing the world is an inherent cognitive journey.<ref name=":8" /> As a result, his installations intentionally activate viewers' cognitive and proprioceptive reactions, encouraging them to engage with and explore the environment that surrounds them.<ref name=":8">{{Cite web |date=2021 |title=Exhibition: Zheng Chongbin: I Look for the Sky |url=https://exhibitions.asianart.org/exhibitions/zheng-chongbin-i-look-for-the-sky/ |website=Asian Art Museum}}</ref>
Examples of Zheng's Light and Space installations include ''[https://www.zhengchongbin.com/liquid-space Liquid Space]'' (2019), exhibited in 2019 at the Ryosoku-in temple within the Kennin-ji temple complex in Kyoto, and ''Wall of Skies'' (2015), shown at the 2016 Eleventh [[Shanghai Biennale]].<ref name=":6">{{Cite journal |last=Claypool |first=Lisa |date=2019 |title=Liquid Space: A Conversation with Zheng Chongbin |journal=Yishu |volume=18 |pages=100–107}}</ref> <ref name=":7">{{Cite book |last=Erickson |first=Britta |title=Zheng Chongbin: Wall of Skies |publisher=INK studio |year=2015 |location=Beijing}}</ref> Zheng expands into a broader range of materials, fostering interactions with light effects and spatial conditions. He incorporates see-through scrims, optical light films and custom-built reflective surfaces, like the specular floor used in ''Wall of Skies''.<ref name=":6" /> <ref name=":7" />


=== 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's first digital video work that shows the influence from New Materialism is ''Chimeric Landscape'' (2015), installed at Pallazzo Bembo in Venice in 2015.<ref name=":9">{{Cite book |last1=De Jongh |first1=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 combined footage from the natural world, such as splashing waves, with scientific imagery like topographical NASA images and microscopic views of molecules.<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> By juxtaposing these contrasting visual elements, the artwork prompts viewers to contemplate various life forms, both visible and invisible to the human eye, fostering a sense of connection with the broader environment, as articulated by Timothy Morton.<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 exemplifies an essential aspect of Zheng's artistic practice. Through this exploration, he investigates how changes in lighting and spatial conditions can transform his original works, offering viewers new dynamic experiences.<ref>{{Cite book |last=Sinelnyk |first=Alina |url=https://era.ed.ac.uk/handle/1842/38332 |title=Repositioning Contemporary Chinese-Ink Medium Art, 1978-2018: Zheng Chongbin – Migration, Internationalisation, Digitisation (PhD diss.) |publisher=University of Edinburgh |year=2021 |pages=174, 178 |doi=10.7488/era/1597 |oclc=1308429766}}</ref> Additional examples of Zheng’s digital media installations include ''State of Oscillation'' (2020), exhibited at the Asian Art Museum in San Francisco, and ''Branches Are Roots in the Sky'' (2017), exhibited at the Los Angeles County Museum of Art.<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's first digital video work that shows the influence from New Materialism is ''Chimeric Landscape'' (2015), installed at Pallazzo Bembo in Venice in 2015.<ref name=":9">{{Cite book |last1=De Jongh |first1=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> Zheng used footage of various life forms, combining snapshots of the natural world, such as splashing waves, with scientific materials, like topographical NASA images and microscopic views of molecules.<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> In 2018 ''Chimeric Landscape'' was adapted for an exhibition ''Art on theMART'', 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 essential aspect of Zheng's practice. He investigates how changes in lighting and spatial conditions transform his works, resulting in new viewing experiences.<ref>{{Cite book |last=Sinelnyk |first=Alina |url=https://era.ed.ac.uk/handle/1842/38332 |title=Repositioning Contemporary Chinese-Ink Medium Art, 1978-2018: Zheng Chongbin – Migration, Internationalisation, Digitisation (PhD diss.) |publisher=University of Edinburgh |year=2021 |pages=174, 178 |doi=10.7488/era/1597 |oclc=1308429766}}</ref> Additional examples of Zheng’s digital media installations include ''State of Oscillation'' (2020), exhibited at the Asian Art Museum in San Francisco, and ''Branches Are Roots in the Sky'' (2017), exhibited at the Los Angeles County Museum of Art.<ref name=":8">{{Cite web |date=2021 |title=Exhibition: Zheng Chongbin: I Look for the Sky |url=https://exhibitions.asianart.org/exhibitions/zheng-chongbin-i-look-for-the-sky/ |website=Asian Art Museum}}</ref> <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 ==
Line 61: Line 61:
* ''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>
* ''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 had a solo exhibition ''Introduction Show'' at San Francisco’s Bruce Velick Gallery, marking an early milestone in his artistic career in the USA.<ref>{{Cite book |last=Sinelnyk |first=Alina |url=https://era.ed.ac.uk/handle/1842/38332 |title=Repositioning Contemporary Chinese-Ink Medium Art, 1978-2018: Zheng Chongbin – Migration, Internationalisation, Digitisation (PhD diss.) |publisher=University of Edinburgh |year=2021 |page=91 |doi=10.7488/era/1597 |oclc=1308429766}}</ref> Before that, in 1988 Zheng had another solo exhibition titled ''Chongbin Zheng'', organised by the [[Shanghai Art Museum]], which received significant local attention, being featured on Shanghai’s local TV channel.<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 had a solo exhibition ''Introduction Show'' at San Francisco’s Bruce Velick Gallery.<ref>{{Cite book |last=Sinelnyk |first=Alina |url=https://era.ed.ac.uk/handle/1842/38332 |title=Repositioning Contemporary Chinese-Ink Medium Art, 1978-2018: Zheng Chongbin – Migration, Internationalisation, Digitisation (PhD diss.) |publisher=University of Edinburgh |year=2021 |page=91 |doi=10.7488/era/1597 |oclc=1308429766}}</ref> In 1988 Zheng had a solo exhibition ''Chongbin Zheng'', organised by the [[Shanghai Art Museum]] and featured on Shanghai’s local TV channel.<ref>{{Cite news |last=Starr |first=Kevin |date=10 September 1989 |title=A Dream Deferred |pages=44–50 |work=The San Francisco Chronicle}}</ref>  


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:
Line 76: Line 76:
* ''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>
* ''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>


In addition to his exhibition programmes, Zheng also delivers public talks and lectures. Key examples include 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, and 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>
Zheng also delivers public talks and lectures. Examples include 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, and a lecture given during 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>


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)|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+|M+ Museum]] (Hong Kong), [[Art Institute of Chicago]] (Chicago) and [[Hong Kong Museum of Art]] (Hong Kong).<ref name=":2" />
Zheng’s works can be found in public and private collections, including those of [[British Museum]] (London), [[Metropolitan Museum of Art]] (New York), [[Asian Art Museum (San Francisco)|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+|M+ Museum]] (Hong Kong), [[Art Institute of Chicago]] (Chicago) and [[Hong Kong Museum of Art]] (Hong Kong).<ref name=":2" />


== Publications ==
== 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.<ref>{{Cite web |title=Publication: Zheng Chongbin: Impulse, Matter, Form |url=https://www.inkstudio.com.cn/publications/3-zheng-chongbin-impulse-matter-form/ |access-date= |website=INK studio |language=}}</ref> 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.<ref>{{Cite book |last=Sinelnyk |first=Alina |url=https://era.ed.ac.uk/handle/1842/38332 |title=Repositioning Contemporary Chinese-Ink Medium Art, 1978-2018: Zheng Chongbin – Migration, Internationalisation, Digitisation (PhD diss.) |publisher=University of Edinburgh |year=2021 |doi=10.7488/era/1597 |oclc=1308429766}}</ref> 
In 2014 INK studio published ''Zheng Chongbin: Impulse, Matter, Form'', distributed in the USA by D.A.P. and edited by scholar and curator Britta Erickson.<ref>{{Cite web |title=Publication: Zheng Chongbin: Impulse, Matter, Form |url=https://www.inkstudio.com.cn/publications/3-zheng-chongbin-impulse-matter-form/ |access-date= |website=INK studio |language=}}</ref> Zheng’s art was 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.<ref>{{Cite book |last=Sinelnyk |first=Alina |url=https://era.ed.ac.uk/handle/1842/38332 |title=Repositioning Contemporary Chinese-Ink Medium Art, 1978-2018: Zheng Chongbin – Migration, Internationalisation, Digitisation (PhD diss.) |publisher=University of Edinburgh |year=2021 |doi=10.7488/era/1597 |oclc=1308429766}}</ref> 


Selected examples of journal article publications about Zheng’s works include:
Selected examples of journal article publications about Zheng’s works include:
Line 93: Line 93:


== Awards ==
== Awards ==
In 2021 Zheng received Asia Game Changer West Award from the Asia Society’s Northern California Center.<ref name=":3" /> <ref name=":13" /> In 2018 Zheng was also awarded Inaugural Artist for a Chicago-based digital art project ''Art on theMART''.<ref name=":10" /> This appointment made him one of the four American artists to inaugurate the project.<ref name=":10" /> Zheng’s earlier awards include Artist Excellence Exhibition Series Grant by the San Francisco Chinese Cultural Foundation (2010-2011), and the commission from [[Moshe Safdie|Moshe Safdie Associates]] and Singapore’s [[Marina Bay Sands]] for a site-specific installation ''Rising Forest'' (2008-2010).<ref name=":2" /> This installation was displayed at Marina Bay Sands alongside works by artists [[Antony Gormley]] and [[Sol LeWitt]]. <ref>{{Cite web |last=Chin |first=Andrea |date=2010 |title=Moshe Safdie: Marina Bay Sands Opens |url=https://www.designboom.com/architecture/moshe-safdie-marina-bay-sands-opens/ |access-date= |website=designboom |language=}}</ref> In 1989 Zheng was also a recipient of the [[San Francisco Art Institute]]’s First International Fellowship.<ref name=":2" /> 
In 2021 Zheng received Asia Game Changer West Award from the Asia Society’s Northern California Center.<ref name=":3" /> <ref name=":13" /> In 2018 Zheng was awarded Inaugural Artist for a Chicago-based digital art project ''Art on theMART''.<ref name=":10" /> This appointment made him one of the four American artists to inaugurate the project.<ref name=":10" /> His earlier awards include Artist Excellence Exhibition Series Grant by the San Francisco Chinese Cultural Foundation (2010-2011), and the commission from [[Moshe Safdie|Moshe Safdie Associates]] and Singapore’s [[Marina Bay Sands]] for a site-specific installation ''Rising Forest'' (2008-2010).<ref name=":2" /> This installation was displayed at Marina Bay Sands alongside works by artists [[Antony Gormley]] and [[Sol LeWitt]]. <ref>{{Cite web |last=Chin |first=Andrea |date=2010 |title=Moshe Safdie: Marina Bay Sands Opens |url=https://www.designboom.com/architecture/moshe-safdie-marina-bay-sands-opens/ |access-date= |website=designboom |language=}}</ref> In 1989 Zheng became a recipient of the [[San Francisco Art Institute]]’s First International Fellowship.<ref name=":2" /> 


== References ==
== References ==

Revision as of 19:50, 28 July 2023

  • Comment: Many part of this article still reads like promotion. Please use less flowery language and simplify the descriptions. For example, instead of saying The exploration of ink's material qualities and their interaction with the wider environment in which they are set shows Zheng’s engagement with the philosophical field of New Materialism, just say "His artworks show influence from New Materialism". Maybe look at the other existing Wikipedia articles on contemporary artists to see how neutral tones can be achieved. The lede section is too long and should be simplified as well. Tutwakhamoe (talk) 02:11, 8 July 2023 (UTC)
  • Comment: Quote: 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. This is Deep Thought. When I try to work out what it actually means, I get lost. Is climatic interaction not molecular? When the interactions are speculatively interwoven, is it Zheng, the viewer, or the writer of the PhD thesis who is speculating? Et cetera. And if I want to look in the source for all this, well, PhD theses are big; can't we be given the page number(s) of the relevant section? Hoary (talk) 09:08, 22 March 2023 (UTC)
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, ink paintings, digital media works
Websitehttps://www.zhengchongbin.com/

Zheng Chongbin (born 1961) is a contemporary visual artist, who explores various artistic media, including ink and acrylic paintings, Light and Space installations and digital media. His practice is influenced by New Materialism.[1] Zheng has resided in northern California for over 30 years, where he draws inspiration from the region’s surrounding nature that informs his works across different media.[2]

Zheng's works are located in museum and private collections in the USA, Europe and Asia, including New York’s Metropolitan Museum of Art, London’s British Museum and Hong Kong’s M+.[3] His latest solo exhibitions include Liquid Space at the Zen temple Ryosoku-in within the Kennin-ji temple complex in Kyoto (2019), and I Look for the Sky at the Asian Art Museum in San Francisco (2021).[4] [5] In 2018 Zheng became Inaugural Artist for Art on theMART - the 30-year-long public digital art project, organised by Vornado Realty Trust in collaboration with the City of Chicago.[6] [7] In 2021 the artist received Asia Game Changer West Award from the Asia Society’s Northern California Center.[8] [9]

Early Life and 1980s Works

Zheng started his art training in 1970s Shanghai during the Cultural Revolution (1966-1976), taking private art classes run by artists Mu Yilin and Chen Jialing.[10] Between 1980 and 1984 Zheng completed BFA at the Chinese Painting Department at the Zhejiang Academy of Fine Arts (now China Academy of Art) in Hangzhou.[3] During his formative years China's art education system followed the principles of Soviet Socialist Realism.[11] Zheng's graduation project was influenced by this environment, resulting in gongbi (refined brushwork) ink paintings, depicting scenes of Tibetan rural life and labour, observed during his 1983 trip to Tibet.[12]

From 1984 to 1988 Zheng worked as a teacher in figurative Chinese ink painting at the Zhejiang Academy of Fine Arts.[3] During the 1980s, China's Open Door Policy allowed access to previously forbidden art forms, including Impressionism and American Abstract Expressionism.[13] In 1985 Zheng travelled to Beijing with artist Andreas Schmid to see an exhibition Rauschenberg Overseas Cultural Interchange at Beijing’s National Art Museum of China.[14] These exposures impacted Zheng's early works, like Another State of Man (second half of the 1980s), where he combined ink and acrylic on paper to create deformed anthropomorphic figures inspired by Francis Bacon.[15]

1990s Cultural Identity Works

Zheng moved to California in 1988. He completed the First International Fellowship and the MFA degree at the San Francisco Art Institute between 1989 and 1991.[3] Zheng studied installation art under the guidance of local artists David Ireland, Tom Marioni, Sam Tchakalian and Tony Labat.[16] In 1992 he received his green card and established his residence in the San Francisco Bay Area.[12] During this transitional period, his works, like Dual Heads (1994), commented on the divided cultural identity experienced by Asian American migrants.[17] This installation exhibited at Zheng’s self-curated exhibition Asian/American American/Asian, held at the Belcher Studios Gallery in San Francisco in 1994, also featuring works by New York-based Chinese-born artist Gu Wenda and San Francisco-based Japanese-born artist Reiko Goto.[17]

Recent Works

1. Ink Media Paintings

In the later 1990s Zheng started making ink paintings, exploring the material possibilities of the ink-on-paper media alongside site-specific lighting conditions in which these paintings would be displayed.[18] Zheng arranges his paintings, like Unfolding Landscape (2015), as a series of cut and folded paper sheets, mounted at various angles, while applying diverse textures of ink and acrylic paint.[19] During his painting process Zheng allows for spontaneous material interactions among his pictorial media, including ink, acrylic, water and paper. His techniques include moving a scraper along the surface of just-poured paint that results in the emergence of spontaneously created dots and fractal lines within the artwork.[20] The artist is interested in New Materialism, resonating in the writings of scholars like Karen Barad, Quentin Meillassoux and Timothy Morton.[21] [1]

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

2. Light and Space Installations

Examples of Zheng's Light and Space installations include Liquid Space (2019), exhibited in 2019 at the Ryosoku-in temple within the Kennin-ji temple complex in Kyoto, and Wall of Skies (2015), shown at the 2016 Eleventh Shanghai Biennale.[4] [22] Zheng expands into a broader range of materials, fostering interactions with light effects and spatial conditions. He incorporates see-through scrims, optical light films and custom-built reflective surfaces, like the specular floor used in Wall of Skies.[4] [22]

3. Digital Media Works

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

Zheng's first digital video work that shows the influence from New Materialism is Chimeric Landscape (2015), installed at Pallazzo Bembo in Venice in 2015.[23] Zheng used footage of various life forms, combining snapshots of the natural world, such as splashing waves, with scientific materials, like topographical NASA images and microscopic views of molecules.[24] In 2018 Chimeric Landscape was adapted for an exhibition Art on theMART, displayed onto Chicago’s historic building theMART.[25] Adapting his works to new environments is an essential aspect of Zheng's practice. He investigates how changes in lighting and spatial conditions transform his works, resulting in new viewing experiences.[26] Additional examples of Zheng’s digital media installations include State of Oscillation (2020), exhibited at the Asian Art Museum in San Francisco, and Branches Are Roots in the Sky (2017), exhibited at the Los Angeles County Museum of Art.[27] [28]

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)[29]
  • Zheng Chongbin: I Look for the Sky (2021, Asian Art Museum, San Francisco)[27] [5]
  • Liquid Space (2019, Ryosoku-in Temple, Kennin-ji, Kyoto)[4]
  • Zheng Chongbin: Clusters of Memory (2017, Asia Society, Houston)[30]
  • The Pacific Project: Zheng Chongbin (2016, Orange County Museum of Art, New Port)[31]
  • Zheng Chongbin: Impulse, Matter, Form (2013, INK studio, Beijing)[32]
  • White Ink: Fresharp Artists’ Series (2011, Chinese Culture Center of San Francisco)[33]

In 1989, shortly after moving to the USA from China, Zheng had a solo exhibition Introduction Show at San Francisco’s Bruce Velick Gallery.[34] In 1988 Zheng had a solo exhibition Chongbin Zheng, organised by the Shanghai Art Museum and featured on Shanghai’s local TV channel.[35]  

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)[36] [37]
  • Art on theMART (2018, Chicago’s city public art project)[6]
  • Ink Worlds: Contemporary Chinese Painting from the Collection of Akiko Yamazaki and Jerry Yang (2018, Cantor Arts Center, Stanford University)[38] [39]
  • Streams and Mountains without End: Landscape Traditions of China (2017, Metropolitan Museum of Art, New York)[40]  
  • Why Not Ask Again (2016, Eleventh Shanghai Biennale)[41]
  • Personal Structures: Crossing Borders (2015, organised by European Cultural Centre, held at Palazzo Bembo and Palazzo Mora, Venice)[23]
  • From a Poem to the Sunset: Daimler Art Collection (2015, Daimler Contemporary Berlin)[42]
  • Ink: The Art of China (2012, Saatchi Gallery, London)[43]
  • China’s Imperial Modern: The Painter’s Craft (2012, University of Alberta Museums, Edmonton)[44]
  • Reboot (2007, Third Chengdu Biennale)[45]

Zheng also delivers public talks and lectures. Examples include a talk with ecophilosopher Timothy Morton and ecopolitical theorist Maya Kovskaya, held at the Asian Art Museum of San Francisco in 2021, and a lecture given during 2014 Asia Contemporary Art Week in New York.[46] [47]

Zheng’s works can be found in 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).[3]

Publications

In 2014 INK studio published Zheng Chongbin: Impulse, Matter, Form, distributed in the USA by D.A.P. and edited by scholar and curator Britta Erickson.[48] Zheng’s art was 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.[49] 

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

  • Tony Godfrey, ‘Zheng Chongbin: Ten Metaphors with Which to Experience His Paintings’, Yishu, 10 (2011), 27-40.[15]
  •  Lisa Claypool, ‘Architectonic Ink: Zheng Chongbin in Conversation with Lisa Claypool’, Yishu, 10 (2011), 41-53.[50]
  • Maya Kovskaya, ‘Becoming Landscape: Diffractive Unfoldings of Light, Space, and Matter in the New Work of Zheng Chongbin’, Yishu, 14 (2015), 6-21.[21]
  • Tiffany Wai-Ying Beres, ‘Zheng Chongbin: Boundless Ink’, ArtAsiaPacific, 97 (2016), 124-131.[51]
  • Lisa Claypool, ‘Liquid Space: A Conversation with Zheng Chongbin’, Yishu, 18 (2019), 100-107.[4]
  • 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.[52]

Awards

In 2021 Zheng received Asia Game Changer West Award from the Asia Society’s Northern California Center.[8] [9] In 2018 Zheng was awarded Inaugural Artist for a Chicago-based digital art project Art on theMART.[6] This appointment made him one of the four American artists to inaugurate the project.[6] His earlier awards include Artist Excellence Exhibition Series Grant by the San Francisco Chinese Cultural Foundation (2010-2011), and the commission from Moshe Safdie Associates and Singapore’s Marina Bay Sands for a site-specific installation Rising Forest (2008-2010).[3] This installation was displayed at Marina Bay Sands alongside works by artists Antony Gormley and Sol LeWitt. [53] In 1989 Zheng became a recipient of the San Francisco Art Institute’s First International Fellowship.[3] 

References

  1. ^ a b Sinelnyk, Alina (2021). Repositioning Contemporary Chinese-Ink Medium Art, 1978-2018: Zheng Chongbin – Migration, Internationalisation, Digitisation. University of Edinburgh. pp. 172–176. doi:10.7488/era/1597. OCLC 1308429766.
  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 "Zheng Chongbin". INK studio.
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  11. ^ Kraus, Richard Curt (1991). Brushes with Power: Modern Politics and the Chinese Art of Calligraphy. Berkeley: University of California Press. ISBN 9780520072855.
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  14. ^ Sinelnyk, Alina (2021). Repositioning Contemporary Chinese-Ink Medium Art, 1978-2018: Zheng Chongbin – Migration, Internationalisation, Digitisation (PhD diss.). University of Edinburgh. p. 54. doi:10.7488/era/1597. OCLC 1308429766.
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  17. ^ a b Sinelnyk, Alina (2021). Repositioning Contemporary Chinese-Ink Medium Art, 1978-2018: Zheng Chongbin – Migration, Internationalisation, Digitisation (PhD diss.). University of Edinburgh. pp. 128–130. doi:10.7488/era/1597. OCLC 1308429766.
  18. ^ 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.
  19. ^ "Unfolding Landscape: Zheng Chongbin". The Metropolitan Museum of Art.
  20. ^ Erickson, Britta (2016). "The Enduring Passion for Ink – A Project on Contemporary Ink Painters". Kanopy.
  21. ^ a b Kovskaya, Maya (2015). "Becoming Landscape: Diffractive Unfoldings of Light, Space, and Matter in the New Work of Zheng Chongbin". Yishu. 14: 6–21.
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