How Chinese is contemporary Chinese art? Treasured by collectors, critics, and art world cognoscenti, this art developed within an avant-garde that looked West to find a language to strike out against government control. Traditionally, Chinese artistic expression has been related to the structure and function of the Chinese language and the assumptions of Chinese natural cosmology. Is contemporary Chinese art rooted in these traditions or is it an example of cultural self-colonization? Contributors to this volume address this question, going beyond the more obvious political and social commentaries on contemporary Chinese art to find resonances between contemporary artistic ideas and the indigenous sources of Chinese cultural self-understanding. Focusing in particular on the acclaimed artist Xu Bing, this book looks at how he and his peers have navigated between two different cultural sites to establish a third place, a place from which to appropriate Western ideas and use them to address centuries-old Chinese cultural issues within a Chinese cultural discourse.

A book without words, recounting a day in the life of an office worker, told completely in the symbols, icons, and logos of modern life. Twenty years ago I made Book from the Sky, a book of illegible Chinese characters that no one could read. Now I have created Book from the Ground, a book that anyone can read. —Xu Bing Following his classic work Book from the Sky, the Chinese artist Xu Bing presents a new graphic novel—one composed entirely of symbols and icons that are universally understood. Xu Bing spent seven years gathering materials, experimenting, revising, and arranging thousands of pictograms to construct the narrative of Book from the Ground. The result is a readable story without words, an account of twenty-four hours in the life of “Mr. Black,” a typical urban white-collar worker. Our protagonist's day begins with wake-up calls from a nearby bird and his bedside alarm clock; it continues through tooth-brushing, coffee-making, TV-watching, and cat-feeding. He commutes to his job on the subway, works in his office, ponders various fast-food options for lunch, waits in line for the bathroom, daydreams, sends flowers, socializes after work, goes home, kills a mosquito, goes to bed, sleeps, and gets up the next morning to do it all over again. His day is recounted with meticulous and intimate detail, and reads like a postmodern, post-textual riff on James Joyce's account of Bloom's peregrinations in Ulysses. But Xu Bing's narrative, using an exclusively visual language, could be published anywhere, without translation or explication; anyone with experience in contemporary life—anyone who has internalized the icons and logos of modernity, from smiley faces to transit maps to menus—can understand it.

"Featuring 70 works in various media--paintings, calligraphy, photographs, woodblock prints, video, and sculpture--that were created during the past three decades, Ink Art: Past as Present in Contemporary China will demonstrate how China's ancient pattern of seeking cultural renewal through the reinterpretation of past models remains a viable creative path. Although all of the artists have transformed their sources through new modes of expression, visitors will recognize thematic, aesthetic, or technical attributes in their creations that have meaningful links to China's artistic past. The exhibition will be organized thematically into four parts and will include such highlights as Xu Bing's dramatic Book from the Sky (ca. 1988), an installation that will fill an entire gallery; Family Tree (2000), a set of vivid photographs documenting a performance by Zhang Huan in which his facial features--and his identity--are obscured gradually by physiognomic texts that are inscribed directly onto his face; and Map of China (2006) by Ai Weiwei, which is constructed entirely of wood salvaged from demolished Qing dynasty temples." --

Born in Chongqing, China, in 1955, Xu Bing is considered one of the most important artists of his generation. Between 1977 and 1987, he studied and taught at the Central Academy of Fine Arts, Beijing. He moved to the United States in 1990 and in 1999 received a MacArthur Fellowship, the celebrated "genius grant," in recognition of his "capacity to contribute importantly to society, particularly in printmaking and calligraphy." In 2008 Xu Bing was appointed vice president of the Central Academy of Fine Arts, and he now lives mostly in Beijing. Many of Xu Bing's print and calligraphic works have appeared on an unlikely but surprisingly receptive medium--the tobacco leaf. A comprehensive overview of Xu Bing's tobacco projects, this volume includes reproductions of all the tobacco works, as well as several essays. Curator John Ravenal discusses the new Virginia work, its relation to the other tobacco pieces, and its place in the context of global contemporary art. Guest authors Wu Hung, Lydia Liu, and Edward Melillo address Xu Bing's work in the context of contemporary Chinese art and the history and culture of tobacco in Virginia. Distributed for the Virginia Museum of Fine Arts

Invaluable resource for anyone who wants to understand contemporary Chinese art, one of the most fascinating art scenes of the late 20th and early 21st centuries.

Born in Sichuan in 1955, Xu Bing is widely considered to be among the most important Chinese artists workingtoday. Xu Bing's pheonixes are allegories of the tremendous changes that occured in China since the opening. Xu Bing will be unveiling his new Phoenix-2015 at the 2015 Venice Biennale this upcoming May. The 56th International Art Exhibition, titled All the World's Futures and curated by Okwui Enwezor, will be open to the public from 9 May to 22 November 2015 at the Giardini and Arsenale venues.

A puzzle, a work of art, and a collection of classic American songs, all in an innovative book by one of the world's foremost contemporary artists. Every page of this book is filled with secret code. It seems like Chinese calligraphy, but it’s not. It seems like you can’t read it, but you can. Once the pieces of the puzzle start falling into place, you will understand it all. And some of it may even strike you as strangely familiar . . . Twelve traditional American songs, such as "Take Me Out to the Ball Game" and "Yankee Doodle," as well as five classic songs from Chinese culture, are written here in artist Xu Bing's unique "square word calligraphy," which uses one-block words made of English letters. From a distance, these pieces are beautiful but unintelligible art. Up close, they are a mystery just waiting to be solved—like the fine art version of "Magic Eye." For readers ages 7 and up, Look! What Do You See? is perfect for long car rides or coded notes to friends. Incredibly intricate and visually engaging, this is a book that children and adults will return to again and again.