Curated by Patricia Karetzky and Shu Yang
Works by CCD Workstation, Chen Longbin, GAO Brothers, GAO Yuan, LEI Zhang, LI Xinmo, LU Feifei, LUI Wei, MA Yanling, TSAI Wenxiang, WANG Qingsong, WU Yuren, XU Ruotao, XU Yong, YANG Jinsong, ZHANG O, ZUOXIAO Zuzhou.

September  7, 2017 – November 3, 2017
Anya and Andrew Shiva Gallery
John Jay College of Criminal Justice
City University of New York
860 Eleventh Avenue
New York, NY 10019

Opening Reception:
Wednesday, September 5, 2017, 5:30 – 8PM


A Pan-Asian exploration of the many forms of the Buddhist deity of Compassion. Exquisite paintings, sculptures, ritual objects and photographs from ancient India to contemporary artists. A collaboration between the Jacques Marchais Museum of Tibetan Art and the Staten Island Museum.

October 22, 2016 – September 25, 2017
Staten Island Museum at Snug Harbor
1000 Richmond Terrace
Staten Island, NY 10301

Members only Preview:
Friday, October 21, 2016; 5-8 pm

Opening Day Festivities:
Saturday, October 22, 2016, 10-4PM
11-12PM Welcome remarks with special guests
12-4pm Tours & experiences for all ages

Infinite Compassion Curators Tour:
Sunday November 6, 2 PM
Patricia Karetzky, Guest Curator, Professor of Asian Art, Bard College


The show comprises 25 photographs of the Cultural Revolution in China from the perspective of students sent to the countryside. The photographer, a youth himself at the time, documented their lives while traveling with them throughout China for ten years.

April 1-30, 2016
Bertelsmann Campus Center
Bard College
Annandale-on-Hudson, New York

Panel Discussion:
April 13, 2016; 6-8 pm
Weis Auditorium

Panelists: Thomas Keenan, Director of the Human Rights Project and Associate Professor of Comparative Literature; Robert Berkowitz, Director, Hannah Arendt Center for Ethical and Political Thinking; Drew Thompson, Assistant Professor of Historical and Africana Studies; and Robert Culp, Associate Professor of History, Department of Asian Studies; Patricia Eichenbaum Karetzky, curator, Munsterberg Chair of Asian Art

April 14-16. 2016
23rd International Conference of Europeanists
(organized by the Council for European Studies)
DoubleTree by Hilton
Center City
Philadelphia, Pennsylvania

September 16 – October 30, 2015
Reception Wednesday Sept 16

President’s Gallery
John Jay College of Criminal Justice
Haaren Hall (6th Floor)
899 Tenth Avenue, New York City


A number of female contemporary Chinese artists are engaged with themes that relate to their role in society.  As transglobal artists, their work addresses both broad issues of cultural definition as well as more personal ones. They work in a number of media- including paper, glass, photography, painting, sculpture, and videos. Thus these nine female Chinese artists working in a number of media and disciplines interpret the world they live in through their art.

Artists: Cai Jin, Cui Xiuwen, Feng Jiali, Hu Bing, Gao Yuan, Mimi Kim, Nina Kuo, Zhu Hui

Cultural Affairs Coordinator: Nicole Shea

January 25-March 29, 2013
Center Art Gallery, Kaplan Hall
SUNY Orange, Newburgh, New York



A group of artists under the guidance of Daozi, the co-curator of this show and painter have grouped together to show their art which he terms ‘Saintism” which he defines as, “When we say Saintism art, in a broad sense we mean Christian art. In a narrow sense, Christian art emphasizes a more direct communication of the Christian faith, with clear missionary overtones. Because of this, in the contemporary semantic landscape it has been put in absolute service to theology and the essentials of the church. Thus it has appeared as confined and marginalized. However, Christian art is in its broad sense “Saintism art”. It is art that does not only face the historical gospel and the church that defends it. Rather, it also echoes the continually life-giving truth of the kingdom of God, and places importance upon the individual experience of the Christian faith, upon its characterization amidst the contemporary milieu, and upon the connections in the themes and subject matter of every work. It gives expression to the grace and truth, suffering and redemption, compassion and universal love of Christ. Thus, “Saintism art” changes with the aesthetics of the times, and on its own demonstrates free visual form and style. Through the deep spiritually moving power of Christ, people will also enter into the realm of sacred meaning. Among the mysteries of God, there is the mystery of freedom, which continually widens that which once chose a narrow field of vision, and helps us out of the woods right now.”

Miao Xiaochun, Cui Xiuwen, Gao Yuan, The Gao Brothers, Zhao Suikang, Li Qiang, Cao Yuanming, Gao Ge

Co-Curated by Daozi

Essay by Wang Yun
September 2011
Bard College, Annandale-on-Hudson, New York



An Exhibition of Work by Significant Contemporary Chinese Artists

An exhibition organized in conjunction with Focus on China, a series of exhibitions, demonstrations and lectures during the month of November 2010 at The University of Tennessee at Chattanooga.

Artists living though the tumult of the last quarter of the twentieth century experienced conflicting ideals when both fraternal and communal values and the heroic model of Mao as their leader were suddenly recast. The icons and ideology that they grew up with, which had been beyond reproach for a half a century were now openly criticized and considered naive in the light of the new goal of becoming a great modern nation. The rush to economic success drove most social programs and even the meager safeguards of the communist society were abandoned in the rush to be rich and glorious: once there was an iron rice bowl, barefoot doctors, assured employment and housing. In contemporary China such comforts are long gone and the age-old problems of homelessness, disease, lack of health care, prostitution and other vices of modern society bloom again. The growing gap between those successful in capitalist society and those who are being left behind is a well-recognized aspect of daily life. The monuments of the past, which escaped destruction during the Cultural Revolution, have been torn down in the rush to build offices, housing and shopping centers. Rapid urbanization is deleting the past and displacing large numbers of the population for little recompense. Artists startled by this rapid change, from communist to capitalist and communal to individual, consider these new problems in their art with the hope of altering the direction of social growth by exposing the difficulties and promoting humanitarian values. In addition, they consider the ecological consequences of industrialization and urbanization such as environmental pollution and waste. While the artists in this exhibition share the goal of exposing the problems of modern society in the hopes of improving the quality of life for all Chinese citizens, they work within the restrictions of the law that seeks to maintain a “peaceful” society.

Artists: The Gao Brothers, Longbin Chen, Pang Yongjie, Zhang O, Li Qiang, Liu Fenghua and  Liuyong Bing Ma Yong, Zhao Suikang, Dao Zi, Ciu Xiuwen, Miao Xiaochu, Xu Yong, Zhao Liang, Nina Kuo with Lorin Rosen

Curatorial assistance from Ruth Grover, Cress Gallery of Art
November 9-December 14, 2010
Cress Gallery of Art, University of Tennessee at Chattanooga



The state of the Dao in contemporary China is in disrepair and some artists are seeking to restore the balance. In this way they are fulfilling the ancient function of the artist in society. Such ideas are inherent in the poetic renditions of the Daodejing ascribed to the hand of Laozi who lived around sixth century bce. This beloved work was as much a blueprint for utopian society as a guide to self-cultivation. Government, it explains, should not interfere in its citizens’ life: left alone society, will fi nd a peaceful coexistence; laws make criminals. In early imperial China Daoists presented copies of the text to emperors to enlighten them and they continued to do so throughout subsequent dynasties. For the text explains, a good government works in concert with the forces of nature-the Dao. This type of philosophy can also be applied to self-government:

With an essay contributed by Wang Yun: Fire is Consumed and poems by Zhang Er

February 3-May 4, 2010
Lehman College Art Gallery, Lehman College, CUNY
Bronx, New York

Review: Benjamin Genocchio, “View of Mao’s China and What it Became,” New York Times, N.Y./Region, April 8, 2010: click here to read



The Chinese Cultural Revolution did what centuries of civil war, foreign invasion, and periods of chaos and uncertainty could not. Overnight Chinese religions were extirpated. With the Cultural Revolution in 1966-1976, the youth of China were led on a rampage destroying all monuments-secular and religious–that belonged to the past. In a zealous attack Confucius’ grave was ripped open, icons were smashed, and temples befouled. In the aftermath China has become a capitalist society with deep affiliations with the west, and western influences are evident in all aspects of everyday life. Beginning in 1980 the Chinese government afforded freedom to practice native religions; with a central bureau established to administer funds and to regulate restoration of the great temples of Buddhism, Daoism and to a lesser extent Confucianism. This is in part an effort to help people find spiritual solace in a modern world bereft of Mao (who died in 1976) in order to maintain social stability. In contrast Christianity and Islam are considered foreign religions and are only marginally supported. For several decades faith in Dear Chairman Mao provided comfort and guidance for the population, but after Mao’s death his failures became apparent. The disastrous Leap Forward of the 50s which focused on technological progress and steel production discouraged farmers from planting their crops leading to a vast shortage of food: it is estimated that over thirty million people starved to death. The Cultural Revolution of the 60s-70s obliterated historical monuments, humiliated and abused the educated members of society, closed the universities, and brought China to a standstill. In the 80’s following Deng Xiaoping’s dictum “to be rich is glorious” there began a rush to modernization and capitalism. Lost in the ripples of the wake of Western capitalism were the Communist social programs that previously provided for healthcare, housing, food, and unemployment: the population of China was now left to its own resources. Feeling increasingly fragile in the new struggle for survival, the Chinese have been turning to religion. Worshippers are now familiar at the refurbished Buddhist and Daoist temples, where newly ordained monks and priests instruct them in the old beliefs and rituals. There are also several important schools of Christianity — both official and unofficial. Perhaps it is natural that such responses are visible in the contemporary art being produced. This exhibit seeks to present a variety of artists whose art is imbued with spiritual images and ideals.

May 21, 2009-June 27, 2009
Frederieke Taylor Gallery
535 West 22nd Street, New York City

see also: Microcosm — A Modern Allegory
(Huang Du, Curator)



The title of this show alludes to the name of Mondrian’s 1943 painting “Broadway Boogie Woogie”, (now in the Modern Museum of Art): the excited and frenetic pace of New York in the 40s that he hoped to convey in that work has inspired this exhibition of art from China. Contemporary Chinese artists living on the mainland are responsive to the dramatic societal changes that are taking place in the heated environment of life in Beijing.  Issues important in their art involve the rapid commercialization and booming economy with its deleterious effects: the destruction of older monuments to make way for the new developments of impossibly tall towers and mega shopping malls, pollution of the environment, as well as devastating social consequences: the uprooting and marginalization of large segments of the population, the alienation of urban life, and widespread consumerism. Though the themes that characterize this art are critical of the society, the works are nonetheless beautiful, skillfully made, and powerful. The range of artistic expression includes painting, photography, sculpture, and video.

Contributions from Daozi & Wang Yun

June 28-July 26, 2007
Chinese American Arts Council
Gallery 456, 456 Broadway, New York City



Curator: Patricia Eichenbaum Karetzky. Catalogue text by Patricia Eichenbaum Karetzky with contributions by Zhang Er, Ying Lihua, and Harrison Xinshi Tu
Artists: Guo Dan, Xing Fei, Zhang O, Zhao Zui Suikang, Wenda Gu, Xu Bing, Chiu Chunchao, Meng Hsienchi, Harrison Xinshi Tu

Bertelsmann Campus Center
George Ball Lounge
Bard College
Annandale-on-Hudson, New York

October 28-November 11, 2004


This exhibition addresses the important questions posed by contemporary Chinese female artists whose work explores the themes of personal, cultural, and artistic identity. As artists throughout the world struggle to decide how to make art for the contemporary artistic arena, they contemplate the issue of relevant formats. Should they try installation art? Performance art? Film or animation? How does one make the figurative tradition viable? Themes and techniques of Chinese cultural heritage are pitted against those of the West. These artists have taken a stance in expressing their personal feelings about their cultural, artistic, and personal identity by using the body as the subject of their art. They have rejected the format of abstract art for a more personal statement.

Neither the international nor Chinese scene has been receptive to art made by women of Chinese heritage. This show presents both the works of Chinese and Chinese American women: those brought up in the West, or here as adult artists, (one of whom recently returned to China), and those who have never lived outside of China. Although awareness of feminist issues and women’s art has been prevalent for several decades in the West, the situation for these women has not improved dramatically. For those living abroad, as well as those pursuing an artist’s life on the mainland, living in an alien culture poses many challenges. Western artistic movements take time before they are brought East and adopted; as such, feminist art has only recently been introduced to China. But the issue of women making art in China is not dependent on Western socio-political art movements. Indeed the long tradition of women artists was well established by the time of the Ming dynasty (1368-1644). But exhibiting modern art by women in China has been rather difficult, as the careers of these women demonstrate. Moreover, China is engaged in a great upheaval. With the speed of sound it is espousing the enterprises of the West, engulfing its own traditions in its wake. Their cultural values are being inundated by Western influences with rampant commercialization, new social freedoms and their attendant problems. Looking at the art of these women, the confrontation with this new high speed present and the conflict with Chinese society becomes evident. Many of the freedoms from gender distinction promulgated by the egalitarian underpinnings of Communism, which were only partly realized, are being undermined in this new youth oriented society. Thus the resonant question Who am I? is posed in the work of these women living in dynamically changing environments.

With essays by Daozi, Wang Yun, and a poem by Zhang Er

Chinese-American Arts Council, Inc.
Gallery 456
456 Broadway, New York City
opening reception: November. 9, 2004
Artists: Zhang O, YaQin Betty Chou, Chen Lingyang, Xing Fei, Yuan Yaomin, Li Hong, Feng Jyali, Cui Xiuwen; poem by Zhang Er; essays by Daozi, Wang Yun


Seventeen Asian women have contributed to this exhibition of contemporary art. The group is quite varied, comprising Chinese, Japanese, Korean and Indian ancestry, some live in the United States; others are abroad. Some of the artists are middle aged; others are quite young. The artists’ work utilizes a number of media and materials: painting, drawing. sculpture, photography, ceramics, textile, video and installation art. Central to the exhibition are the issues of both Western feminine identity and Asian notions of femininity. Several of these women chose to illustrate the “sexy ideal” of native movie stars of Shanghai, Hong Kong or Mumbai (Bollywood); others portray women as young contemporaries in modern day (MTV) attire. Some use multi-ethnic representations of women to illustrate their belief in the universality of their situation.

Lehman College Art Gallery, Lehman College, CUNY



Hammond Museum, North Salem, New York,


China has experienced major shifts in its policies with regards to the west in the last twenty years. These changes have created a greater reception to outside ideas and trends, and for the artists in Contemporary Chinese Art and the Literary Culture of China. This has allowed exposure to the international art community. These artists, whether living in the United States or China, have asslmilated the strategies of postmodermism. This exhibition examines the mingling of two influences-the centuries old literary culture of China and postmodernism. The exhibition includes the work of Xu Bing, Longbin Chen, Zhao Suikong, and Xjng Fei. A second related installation, Six Artists from China, explores these issues in the work of Shang Yang, Zhang Dali, Liu Yan, Huang Yan, Zhu Jingshi, ond Wang Huaxiang – still based in China. Their work is represented by digital reproductions in this exhibition.

Bard College, Annandale-on-Hudson, New York
Lehman College Art Gallery, Lehman College, CUNY



Blum Gallery, Bard College, Annandale-on-Hudson, New York


Grey Gallery, New York University