- 16
Yin Zhaoyang
Estimate
400,000 - 600,000 HKD
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Description
- Yin Zhaoyang
- Qing Yan
- oil on canvas
executed in 2013, framed
Exhibited
Hong Kong, ART ONE, Dust and Glory: Three Media- Fang Lijun, Yin Zhaoyang Joint Exhibition, 24 May - 20 June, 2013
Condition
This work is generally in good condition. Please note that it was not examined under ultraviolet light.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
Among the “post-70s” artists, Yin Zhaoyang pioneered the artistic exploration on the subject of youthful sadness and began for the first time to project the self-imagery and emotional features of this generation onto the canvas. By situating grand narratives in humanistic concerns and reflection, his paintings sentimentally epitomise the plights of a particular era’s youth. In the 1990s, “Youth Cruelty” paintings as represented by Yin Zhaoyang, among others, have added an experimental dimension to the art world and enhanced its depth of thinking in terms of narrativity, concept of image and aesthetic taste, constituting a major tendency in avant-garde painting of a decade.
Yin Zhaoyang is a painter associated with the generation that followed the performance and installation-oriented works of such artists as Zhang Huan and Xu Bing. Studying at the Central Academy of Fine Arts in Beijing, Yin developed an aesthetics he calls a “collage of ideals”—a preference for powerful imagery based on such iconic presences as Mao, Tiananmen Square, and China’s flag. Yin Zhaoyang’s work, while squarely situated within the context of contemporary Chinese painting, directly references western art traditions of the 1960s and 1970s — calling to mind the works of Gerhard Richter and Andy Warhol among others. Unlike the genre of Political Pop, Gaudy Art, or kitsch, within which the image of Mao is so often positioned, Yin Zhaoyang presents these powerful images within an atmosphere of memory and ambiguous reflection. Working from photographs of the living Mao, both official and unofficial, as well as from images of monuments erected in his honour, Yin Zhaoyang explores the distanced relevance of Mao Zedong to a society that has largely repudiated the policies of the Great Leap Forward and the Cultural Revolution.
Yin Zhaoyang is a painter associated with the generation that followed the performance and installation-oriented works of such artists as Zhang Huan and Xu Bing. Studying at the Central Academy of Fine Arts in Beijing, Yin developed an aesthetics he calls a “collage of ideals”—a preference for powerful imagery based on such iconic presences as Mao, Tiananmen Square, and China’s flag. Yin Zhaoyang’s work, while squarely situated within the context of contemporary Chinese painting, directly references western art traditions of the 1960s and 1970s — calling to mind the works of Gerhard Richter and Andy Warhol among others. Unlike the genre of Political Pop, Gaudy Art, or kitsch, within which the image of Mao is so often positioned, Yin Zhaoyang presents these powerful images within an atmosphere of memory and ambiguous reflection. Working from photographs of the living Mao, both official and unofficial, as well as from images of monuments erected in his honour, Yin Zhaoyang explores the distanced relevance of Mao Zedong to a society that has largely repudiated the policies of the Great Leap Forward and the Cultural Revolution.