A century of Chinese art: Oberlin exhibit explores evolution through communist era

OBERLIN — The evolution of Chinese art over more than a century of war and cultural upheaval is the subject of a new exhibition at the Allen Memorial Art Museum. "Riding the Strong Currents" features more than 30 pieces from the Oberlin College museum's collection, many now on public display for the first time. Kevin Greenwood, the Joan L. Danforth Curator of Asian Art, said Chinese art from 1900 to today reflects tempestuous times. Paintings evolved through European and Japanese imperialism, devastation caused by the fighting between communist and nationalist forces and the cultural and economic revolutions. "So I wanted to show how painters in China have in a sense expressed all those changes, all those turbulent times, all those ins and outs of history," he said Wednesday. From the beginning of the 20th century to the 1960s, painting was an elite art form purchased by the educated and wealthy, Greenwood said. While some Chinese artists adhered to traditionalist landscapes, others experimented with new styles from around the globe. In the latter camp was Zao Wou-Ki, born in Beijing in 1920. He journeyed to France to practice aspects of Western style, and eventually became a French citizen. "Visually, you can see this dramatic difference between those two eras and those two styles," Greenwood said, showing works in the AMAM's Stern Gallery. In the 1960s and 1970s, Chinese art had shifted to depict soldiers, workers and farmers — socialist "superheroes" working for the communist revolution. Greenwood said the style was inspired by Soviet art and China was viewed "as kind of the younger brother in the communist world order." American viewers can have a hard time looking at the era's paintings, he said — they are blatant propaganda designed to stir patriotic emotions. Several such pieces are by Shen Jiawe, including a 1977 work titled "Climbing Over the Great Snow Mountain." It romanticizes Zhou Enlai, who helped Mao Zedong consolidate the Communist Party's control. "He had just died just before this painting was made," Greenwood said. "Where Mao was a problematic person in history, people have a much more appreciative memory of Zhou Enlai. … He softened a lot of the decisions of Mao and tried to help the people out." During the same period, traditional Chinese art styles were looked down upon. Greenwood said some artists defied convention by using those forms to send subversive messages. Among them was Liu Haisu. After traveling to France as a young man, Liu established the first Western-style art academy in Shanghai, and was one of the first to use nude models, which was controversial in China at the time, Greenwood said. Liu's works seem like they could have originated anytime over the course of 300 years. But Greenwood said the artist used them to show the nation's spirit could not be broken. Excitedly waving at a wall covered with Liu's paintings and sketches, he said they were gifts from the family of Shih-Yen "Sam" Wu. Several generations of the family attended Oberlin College, he said. Handwritten letters between Liu and Wu are also on display. The final portion of the exhibit features reform-era paintings from the 1980s into the 2000s. They are generally much larger and colorful. Some use Western advertising motifs to critique the Chinese government and comment on social issues. "You're seeing things that are using things of tradition, but moving them in real interesting ways," Greenwood said. Strikingly different from the rest is "Mask Series #7," a 2000 painting by Zeng Fanzhi. Greenwood called Zeng "one of the most important Chinese painters working today" and said the painting came into the museum's collection when he was just an up-and-coming artist. It is deceptively simple, showing a man sitting on a bench. The subject seems to be wealthy and part of China's economic "gilded age" of prosperity. But when viewed up close, it's apparent that he's not comfortable — the man's back is rigid, his hands stiff and his face covered by a mask. Greenwood said the painting reveals "a performance. This is all just his outside surface, where behind the mask there is tension." Today, many Chinese artists are moving to installation art, video and immersive 3D environments, he said. Two events related to "Riding the Strong Currents" have been planned in the coming months at the Allen Memorial Art Museum. The first is a talk by artist Mansheng Wang at 5:30 p.m. on Thursday, March 9. He will discuss the balance "between the refined and the natural" that he strives for in his artistic practice. The second is a Tuesday Tea at 3 p.m. on May 9. Greenwood will discuss 1970s-era Chinese art in the "socialist realism" style. Jason Hawk can be reached at (440) 329-7122 or news@lcnewspapers.com.