Hung Liu was born in China in 1948 in the regime of Mao Zedong. In 1966, having endured many hardships under the regime, she witnessed the beginning of the Cultural Revolution when she was about to graduate from high school.
She recalls, “Suddenly, overnight, the revolution had started. I saw these Red Guards, who had been very modest, even shy girls, friendly and sensitive, who studied hard, and who respected their teachers, transformed into demons. They used a belt to beat people and even set up a detention center at school.” The Red Guards were to purge Chinese society of Western influences.
Two years later, she was sent to work among the peasants in the countryside in Mao Zedong’s “re-education” program. She worked in the fields seven days a week for four years. She filled sketchbooks with drawings of her co-workers and had also smuggled a camera in with her.
When schools began to reopen, she studied art, eventually applying and being accepted at the University of California, San Diego in 1981. The Chinese government refused her bid for a passport, however. In 1984 she was granted a passport, left for the United States, and began her graduate studies at UCSD.
Diese Geschichte stammt aus der August 2021-Ausgabe von American Art Collector.
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Diese Geschichte stammt aus der August 2021-Ausgabe von American Art Collector.
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FULL EXPOSURE
Photographer Conor Martin documents the present using photographic methods of the past.
Autumnal Light
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Art for All
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Modern Marketplace
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An Enchanting Evening
Scottsdale Artists’ School knows how to throw an art party.
Timeless Tales
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Coming off his series that focused on San Francisco and Los Angeles freeway signs, artist Eric Nash’s sights are now set on New York. Now on view at George Billis Gallery's Manhattan location are seven of Nash's new oil paintings and two drawings that explore the signage of New York City freeways. Although Nash's work is tightly rendered, he doesn’t consider himself a photorealist, but rather someone who utilizes those techniques to express ideas.
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