Hung Liu Artwork

The following sample essay on “Hung Liu Artwork” talks about an artist whose graphics is based on exposure and memories she has from China and exposure she’s taken in the United States.

“The head alterations. the word alterations. clip doesn’t stay still. history is a verb. it is ongoing. there is no past tense. future tense. history is constant” Hung Liu told interviewer Rachelle Riechart ( Riechart ) . Hung Liu is a Chinese adult female who was born in Changchun. China in 1948.

She was born during the age which we call the Chinese Cultural Revolution. which to a great extent impacted her life. She lived in China for 36 old ages and so left for the United States. She now resides in Oakland. CA. where she teaches art at Mills College ( “A World of Art” ) .

A batch of her graphics is based on exposure and memories she has from China and exposure she’s taken in the United States. She takes exposure of images.

repaints them. normally oil pigment on canvas. and somewhat alters them by go forthing washes and trickles to demo how history can’t be remembered to the full from a image. She besides does artwork for American history such as a piece she did in South Carolina for Chinese people who owned laundry mats ( Riechart ) . I find most of Hung Liu’s graphics to be really historical and personal. because most of her graphics comes from her ain exposure.

I’d like to concentrate on how she addresses the battles of being an immigrant throughout the state.

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how Hung Liu maintains her cultural traditions in about all of her graphics. and how she defines the word “history” . Hung Liu came to the United States during the 1980s. which was a unsmooth clip to be Asiatic in the United States. During this clip we were holding a recession and many car industries were traveling out of concern due to Nipponese imports. Aside from that. it was non excessively long after the Vietnam War had ended. Many factors contributed to the racism targeted against Asian-Americans.

Although it was the Nipponese doing the autos and the Vietnamese during the war. nescient Americans would apologize by stating they all look the same and would fault Chinese. Filipinos or any Asiatic people. There was a adult male named Vincent Chin in 1983. one twelvemonth before Hung Liu immigrated to the United States. who was beaten to decease with a baseball chiropteran by a white adult male named Ebens. because Ebens believed Vincent Chin and his people were at mistake for the autumn of American car industry. “One terpsichorean heard Ebens say explicitly ’It’s because of you motherfu*kers that we’re out of work’” was the accusal he made.

Vincent was a immature adult male who was approximately to acquire married in a few hebdomads before he was murdered. His male parent was a Chinese immigrant who worked difficult and owned laundry mats. and subsequently served in the armed forces for his citizenship and was later able to convey his married woman and adopted boy. Vincent. to the free land ( Yung ) . Hung Liu worked difficult with extended research to happen that her fellow Chinese people who had been populating in America before her had owned many laundry mats and were really involved in the wash concern.

When asked by a college in South Carolina to make a piece for them. she designed vesture and had her household make them and this piece subsequently turned into a commemoration for the wash concerns in the South ( Riechart ) . Figure 1: “Forbidden City” Figure 1: “Forbidden City” Another battle that Hung Liu addressed that might hold affected her life in California was that in the 1800s. Chinese adult females were shipped in and used as cocottes around San Francisco for mineworkers ( Tedford ) . In 1991 Hung Liu painted the “Forbidden City” . shown in figure 1. which shows exposed adult females in the Forbidden City of China.

I feel like this picture is called Forbidden for multiple grounds. one being the Palace in China was known as the Forbidden City. and besides the picture seems “Forbidden” because of the bare adult females on the image. Besides I think that because San Francisco is known as “The City” . the Forbidden City could mention to San Francisco every bit good. This piece addresses her apprehension of the trouble of being a Chinese-American adult female at the clip. Hung Liu is really proud of her cultural background and is non afraid to demo it.

About all of her work has Chinese civilization in it. from the scenery such as edifices or flowers to something smaller like penmanship. A good illustration is the Forbidden City piece that I antecedently mentioned. It addresses an issue that originated in California. but it shows the scenery of a Chinese Palace. She could hold done this because the issue likely affects some people in China. She besides does some installing art called “Resident Alien”.

The manner she sees it is that although you can hold a memory from a image. you can’t retrieve every item from that image. such as the words you spoke that 2nd or what happened precisely 20 seconds before that image was taken. or even 20 seconds after. There are ever losing mystifier pieces with history. She besides believes history is a verb. because it is ever go oning and ever traveling. History ne’er ends and is ever being made. The manner she depicts her attitude towards history in her graphics is by go forthing washes and trickles of pigment when she repaints a exposure.

She’s good cognizant of the battles of being a Chinese Immigrant in America where violent actions were taken on all Asians. Regardless of the hazard it takes to be an Asian-American. she still proudly represents her Chinese civilization in her art pieces. and she teaches the Chinese history through her art. She’s created her ain manner and uses a trickle technique to demo how she defines history. and to demo from her point of position how she sees the universe and she uses exposure to demo things that really happened and were caught on camera. Overall. she is a really influential adult female to other Asian-Americans and draw a bead oning creative persons.