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At the invitation of Liz Hammer, Director of the Hammond Museum of Art, Professor Cong Zhiyuan, Director of the Center for Chinese Art at William Paterson University, attended the Contemporary East Asian Printmaking: Explorations and Conversations exhibition on October 26, 2024. During the event, he delivered a lecture titled “Traces of Time: Contemporary Chinese Printmaking.”
Introduction and guided tour of the exhibition
The opening ceremony, hosted by curator Liz Hammer, began with an introduction and guided tour of the exhibition by co-curator Allison Tolman from New York City. Following this, Professor Cong commenced his lecture, offering an in-depth exploration of contemporary Chinese printmaking.
Professor Cong
Professor Cong began by revisiting the history of printmaking, emphasizing its role as a medium that developed alongside advancements in art and science. He noted that China is one of the birthplaces of printmaking, and the origins of contemporary Chinese printmaking can be traced back to the 1930s, with the New Woodcut Movement advocated by Lu Xun. He identified four key periods in the evolution of contemporary Chinese printmaking:
First Generation: Pioneers of Modern Chinese Printmaking (1930-1949)
The first generation primarily used black-and-white woodcuts to express deep emotions and ideas. Their works aimed to subvert objective representation with subjective expression, transforming reproduction into a new creative force.
Second Generation: Inheritors and Innovators (1950-1978)
During this period, the focus shifted to celebrating the new society and depicting the beauty of everyday life. Artists emphasized formal aesthetics and the quality of printmaking techniques, making significant advances in woodcut methods and the use of color.
Third Generation: Standard-Bearers of Contemporary Printmaking (1979-2010)
With the advent of China’s Reform and Opening-Up, artists of this generation broke free from traditional constraints, prioritizing aesthetic sensibilities and individual expression. They pioneered a new direction for contemporary Chinese printmaking, employing diverse techniques across woodcuts, lithographs, intaglio, and screen printing.
Fourth Generation: Explorers of the New Era (2010-2024)
Born during or after the late Cultural Revolution, this generation, predominantly composed of those from the 1980s and 1990s, grew up in a relatively stable environment. Their works reflect personal expression and technical sophistication, characterized by ease, diversity, and freedom. They are also embracing challenges posed by advancements in digital and AI technologies, showcasing an openness to new concepts and methods.
Lu Zhiping《A Flower in a Haze》
Dai Daquan《Horowitz》
Zhang Minjie《Untitled》
Zhu Jianxiang《section ten. strength》
In his lecture, Professor Cong not only provided a comprehensive historical and theoretical overview of contemporary Chinese printmaking but also showcased some of the most outstanding works from 1930 to 2024. The audience responded enthusiastically, posing numerous insightful questions and offering high praise. A few attendees later sent letters of gratitude, expressing how the lecture deepened their understanding of contemporary Chinese printmaking.
For more information, contact (973) 720-2799, email ccart@wpunj.edu, or visit www.wpunj.edu/ccart.
