Hung Liu: Now and Then Catalog Preview

Hung Liu: Now & Then

Hung Liu: Now & Then

Fred Jones Jr. Museum of Art

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Liu in the Cultural Revolution

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Liu in her Oakland, California studio, 2008

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HUNG LIU Foreword

by Ghislain d’Humieres

Introduction

by Melissa Chiu

Hung Liu: Now and Then

by Alan Atkinson

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Foreword The Fred Jones Jr. Museum of Art Board of Visitors and the Weitzenhoffer Family College of Fine Arts are grateful to Mrs. Wanda Otey Westheimer for her generosity and support through the Jerome M. and Wanda Otey ­Westheimer Distinguished Visiting Artist endowment.

It is my privilege to welcome visiting artist Hung Liu as the third guest artist of this program. This is the perfect realization of the mission of a university art museum, which is to bring education and art together. The School of Art and Art History will benefit from Hung Liu’s experience and teaching and provide the students of the School of Art and Art History the opportunity to engage with the artist. The museum is proud to present an exhibition of Liu’s early work to the present. “Now and Then” shows the diversity and creativity of Hung Liu, from sketches and drawings made during the time of the Cultural Revolution in China, to the large canvases painted more recently in California.

I would like to thank Dr. Melissa Chiu, Director of the Asia Society Museum in New York, for agreeing to write the introduction to this catalogue and for giving a lecture on Chinese contemporary art during the exhibition opening.

My gratitude goes to Dr. Alan Atkinson, Oklahoma University Lecturer in History and Art History, for curating the exhibition, for writing the catalogue essay and for his lecture on contemporary China during Ms. Liu’s visit.

I also want to extend my sincere thanks to Nancy Hoffman and her staff at the Nancy Hoffman Gallery for the design of this beautiful catalogue, and for her help in organizing this exhibition.

Finally, I would like to thank the Museum Registrar, Kim Moinette, her assistant Kathy Richards, as well as Tim Ramsey and Quinn Johnson, Museum Preparators.

Ghislain d’Humieres The Wylodean and Bill Saxon Director Fred Jones Jr. Museum of Art The University of Oklahoma

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My Secret Freedom No. 21 (detail) 1972- 75 oil on paper 6 x 4 inches

Pear Blossom (detail) 2002 oil on canvas

84 x 84 inches

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Introduction Hung Liu left China twenty-four years ago during a period sometimes described by Chinese historians as a “leave the country” fever. The mid to late 1980s was a time when many Chinese artists decided to pursue opportunities abroad. Hung Liu made her home in Oakland, California, a state famous for its Chinese immigration that began in the mid nineteenth century.

In 1852, twenty thousand Chinese passed through the San Francisco Customs House. Although the intention of most Chinese was to make their fortune and return to China, many ended up staying.

Hung Liu’s paintings are as much about her own experiences growing up in China as Chinese history discovered through her research into historical photographs. Her art works have evolved in substantial ways since her residence in the United States, but one constant is a reference to being Chinese. Hung Liu creates images about China while living outside China, and as such she is uniquely poised to offer us a unique view of Chinese history and culture.

Dr. Melissa Chiu Asia Society Museum Director New York, New York

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Liu “Then”

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Hung Liu: Now and Then How To Draw and Paint

Born in Changchun, Manchuria, in what would become the People’s Republic of China a year later, Hung Liu was truly a child of China’s revolutionary era. The tumult of those times touched Hung Liu’s life early. While fleeing their war torn hometown, Liu’s father, a Nationalist army officer, was captured and subsequently imprisoned by the Red Army. She wouldn’t see him again for nearly fifty years. Forced by the prevailing political climate to “draw a clear line” between her past and her future, Hung Liu’s mother divorced her father, perhaps seeing it as the only way to guarantee that her young daughter would not be stigmatized by her father’s counter-revolutionary past. Despite the hardships of single parenthood and the privation visited upon many Chinese in those years, Hung Liu’s mother Liu Zongguang, drew upon the physical and emotional resources of her extended family to provide what Hung remembers as a “free” childhood. It was her family who first noticed an unusual level of attention to character and expression in her drawings of the people around her.1

At age twelve Hung moved with her aunt to attend school in Beijing, her mother following several years later. During Hung Liu’s early years in Beijing, China passed through the trying period known as the “Great Leap Forward” (1958-1960) and its aftermath, which resulted in mass starvation in China’s countryside during the early 1960s. Mrs. Liu was fortunate enough to secure her only daughter a place at one of Beijing’s most prestigious girls boarding schools. There, some of Hung Liu’s classmates were children of the Communist Party elite, but more importantly for Hung, her artistic talents were recognized and further encouraged. Mao Zedong’s desire to radically transform China would impact Hung Liu’s life again when the nation’s high schools and colleges were closed so students could participate in the “Great Proletarian Cultural Revolution” (1966-1976), leaving her without a high school diploma. At this time, the old fear of being marked by past circumstances led Hung Liu’s mother to burn all of the family photographs in her possession. This loss of family history, this destruction of memories, was to have a profound effect on young Hung. It fixed the photograph in her consciousness as an object with almost talismanic properties—both a forbidden fruit and a tangible link to an unknowable past.

In 1968 Hung Liu joined millions of her fellow “educated youth” in a mass migration to the countryside where they were to be “re-educated by the

With mother Liu Zongguang, 1949

With class and teacher at a Soviet Union Momument, late 1950s

Mid 1950s

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Liu in the Cultural Revolution

Liu in her studio, Oakland, California, 2008

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Sketch Book Drawing (Portrait of Jiujiang no. 1) October 11, 1974 gouache and charcoal on paper 10 1/2 x 7 3/4 inches

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Sketch Book Drawing (Portrait of Jiujiang no. 2) October 30, 1973 gouache and charcoal on paper 10 3/4 x 8 inches

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Sketch Book Drawing (Baby with Topknot) November 1973 pen on paper 2 1/2 x 4 1/8 inches

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Secret Freedom

A series of small plein air landscapes Hung Liu also painted between 1972 and 1975 was given the title My Secret Freedom by an admirer who saw them after Liu immigrated to the United States. The series title is apt since these paintings were all created clandestinely while Hung Liu was studying at Beijing Teacher’s College. Their small size is a result of Liu’s need to fit them inside her tiny paint box when she went out into the countryside to paint. These paintings were never displayed and lived secretly under her dormitory bed. Hung Liu reports that “When I was caught I was publicly scolded and had to stand up in a meeting and say things like ‘I will really dig into my proletarian heart and try to do better.’”6

Despite, or perhaps more accurately, because of, the constrained circumstances in which they were created, these tiny jewel-like paintings exhibit a remarkable degree of artistic freedom in terms of the handling of paint, and in Hung Liu’s choice of decidedly “unrevolutionary” subject matter: a grove of trees, a trash can, a lean-to in a field, a pile of bricks. None of these would have been considered acceptable subject matter for a “People’s artist,” but they allowed Liu to explore the plastic qualities of paint in an uninhibited manner. They also made it possible for her to record in a very personal way the subtle and intimate pleasures of being a visual artist—the play of light on a variety of surfaces, the excitement of color for its own sake, the poignant reality of the everyday.

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My Secret Freedom No. 8 is a case in point. As with many of the paintings in this series, the time of year, even the time of day, is discernable through the quality of light and color. It is a summer afternoon, the sky is high and pale and the sharp summer sun picks out the tree trunks against the strong shade of the background foliage. The dusty green of the sun soaked middle ground contrasts with the deeply shaded patch of green in the foreground. The foliage of the trees is strongly painted with a few deft strokes of green spanning the carefully limited range of Hung Liu’s palette.

The pastoral quality of this tiny corner of north China becomes even more remarkable when we consider the absence of the human element. There is no sign of cultivation, no sign of human activity, no evidence at all of the great human drama, which was radically transforming rural China at this exact time in history. It is not simply the fact that it would have been hard to find even a small patch of rural China this “wild,” it is Hung Liu’s decision to completely ignore the demand that art should glorify the socialist transformation of the countryside. While renowned masters of traditional Chinese landscape painting were being beaten and jailed for failing to include power pylons or new tractors and other signs of the advances made under socialism in their paintings, Hung Liu was secretly recording a Chinese countryside touched by the summer sun, but not at all by politics.

My Secret Freedom No. 9 1972-75 oil on paper 4 x 6 inches

My Secret Freedom No. 6 1972-75 oil on paper 4 x 6 inches

In other paintings of the series the presence of humans is clear, but in several instances the mark of their passing serves more as a formal element in a carefully conceived compositional problem than as testimony to the transforming power of human labor. In No. 6 the silvery green of the rain drenched morning fields is punctuated by the small red door of an underground storage bunker. In No. 9 the nebular green clouds of foliage hovering over a small adobe storage hut balance the insistent horizontal elements of fields, distant mountains, and lowering sky. The contrast between its shaded and sun-lit sides and the dark line marking the shadow under the eaves create the only “solid” three-dimensional shape in the whole composition, providing a clear reference point for all that surrounds it. Even in paintings that might be seen as testaments to the positive changes taking place in the countryside such as No. 17, a depiction of one of the “new houses” being built of cinder block to replace the mud-brick construction of most peasant homes, the focus is clearly on the effect of strong light and the power of color as visual punctuation rather than as revolutionary symbol. The untidy brushwood fence and line of laundry dispel any propaganda value Hung Liu’s painting might otherwise have held.

My Secret Freedom No. 8 1972-75 oil on paper 5 x 7 inches

My Secret Freedom No. 17 1972-75 oil on paper 4 x 6 inches

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Biography Born in Changchun, China, 1948 Education 1986 1981

1975

University of California, San Diego, M.F.A. in Visual Arts Graduate Student (M.F.A. equivalent) Mural Painting, Central Academy of Fine Arts, Beijing, China Beijing Teachers College, Beijing, China, B.F.A. in Education

Grants and Awards 2008

2000 1999

1998

1996

1995

1992

1991 1989

Distinguished Artist in Residence, Jerome M. and Wanda Otey Westheimer Chair, University of Oklahoma, Norman Outstanding Alumna Award, University of California, San Diego Joan and Robert Danforth Distinguished Professorship in the Arts Endowed Chair, Mills College, Oakland, California National Endowment for the Arts, Painting Fellowship The Joan Mitchell Foundation, Painters Sculptors Grant, New York, New York “Hometown Heroes, Oakland Artists Who Have Made a Difference,” proclaimed by Elihu M. Harris, Mayor of the City of Oakland, California San Francisco Women’s Center Humanities Award, California Eureka Fellowship, The Fleishhacher Foundation, San Francisco, California Society for the Encouragement of Contemporary Art (SECA) Award, San Francisco Museum of Modern Art, California National Endowment for the Arts, Painting Fellowship National Endowment for the Arts, Painting Fellowship

Selected Solo Exhibitions 2008

“Music of the Great Earth,” New Beijing Gallery, China “Prodigal Daughter,” F-2 Gallery, Beijing, China.

“Now and Then,” Fred Jones Jr. Museum of Art, The University of Oklahoma, Norman; traveling to The Butler Institute of American Art, Youngstown, Ohio

2007 “Daughter of China, 1938,” Rena Bransten Gallery, San Francisco

”Hung Liu: New Work,” Turner Carroll Gallery, Santa Fe, New

Mexico

“Old Road, West Wind,” iPreciation Gallery, Singapore

“Za Zhong: Bastard Paintings,” Nancy Hoffman Gallery, New York 2006 “Full Circle: Revolutions in the Paintings of Hung Liu,” Paul

Robeson Gallery, Rutgers University, Newark, New Jersey

“Hung Liu: New Work,” Walter Maciel Gallery, Los Angeles,

California

“Intersections: Shifting Identity in Contemporary Art,” John Michael

Kohler Arts Center, Sheboygan, Wisconsin

“Matriarchy: Hung Liu’s New Work,” ArtScene China Warehouse,

Shanghai, China 2005-06 “Hung Liu: A Decade of Paintings,” Guilford College Art Gallery,

Hege Library, Guilford College, Greensboro, North Carolina;

Prichard Art Gallery, University of Idaho, Moscow 2005 “Female Radical Nu Zi Pang,” Nancy Hoffman Gallery, New York

“Polly, Portrait of a Pioneer,” Rena Bransten Gallery, San Francisco 2004-06 “The Vanishing: Re-presenting the Chinese in the American West,”

Sun Valley Center for the Arts, Ketchum, Idaho. Traveling to

Prichard Art Gallery, University of Idaho, Moscow; Salt Lake Art

Center, Salt Lake City, Utah; University of Wyoming Art Museum,

Laramie; Schneider Museum of Art, Southern Oregon University,

Ashland 2004-05 “Relic: New Paintings,” Bernice Steinbaum Gallery, Miami

“Lament,” ArtScene China Gallery, Shanghai, China 2003 “Geography of Memory,” Monterey Museum of Art, California 2002-03 “Strange Fruit,” Arizona State University Art Museum, Tempe; Boise

Art Museum, Idaho; Crocker Art Museum, Sacramento, California;

Laguna Art Museum, Laguna Beach, California 2002 “Painterly Proofs,” de Saisset Museum, Santa Clara University,

California

Polk Museum of Art, Lakeland, Florida 2001 “Between History and Me,” Arizona State University Art Museum,

Tempe; Boise Art Museum, Idaho

“Beyond the Frame: Hung Liu,” Knoxville Museum of Art,

Tennessee

“Hiu Yin (Echoes),” Mabel Smith Douglass Library, Rutgers

University, New Brunswick, New Jersey

“A Retrospective of Contemporary Paintings by Hung Liu,” Ellen

Noel Art Museum of the Permian Basin, Odessa, Texas

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2000 “Where is Mao? 2000,” The Art Center, Center of Academic

Resources, Chulalongkom University, Bangkok, Thailand 1999 “Hung Liu, New Work,” Steinbaum Krauss Gallery, New York 1998-99 “Hung Liu: A Survey, 1988-1998,” The Ackland Art Museum, Chapel

Hill, North Carolina; Bowdin College Museum of Art, Brunswick,

Maine; University of California, San Diego, La Jolla; Kemper

Museum of Contemporary Art, Kansas City, Missouri; Muscarelle

Museum of Art, College of William and Mary, Williamsburg,

Virginia; The College of Wooster Art Museum, Wooster, Ohio 1998 “Chinese Types,” Rena Bransten Gallery, San Francisco, California

“Unfolding Memory-Picturing History,” Bard Center for Curatorial

Studies, Annandale-on-Hudson, New York 1997 “The Last Dynasty,” Steinbaum Krauss Gallery, New York 1994 “Jiu Jin Shan,” M.H. de Young Memorial Museum, Fine Arts

Museums of San Francisco, California

“Year of the Dog,” Steinbaum Krauss Gallery, New York 1991 “Bad Women,” Rena Bransten Gallery, San Francisco, California 1989 “Goddess of Love and Liberty,” Nahan Contemporary Gallery, New

York 1988 “Resident Alien,” Capp Street Project, Monadnock Building, San

Francisco, California Selected Group Exhibitions 2008 The Half-Life of a Dream: Chinese Contemporary Art from the

Logan Collection,” San Francisco Museum of Modern Art, California 2007 “Contemporary Combustion: Chinese Artists in America,” New

Britain Museum of Art, Connecticut 2006 “Visual Politics: The Art of Engagement,” American University

Museum, Katzen Arts Center, Washington, D.C. 2005 “A Motion Picture,” M.H. de Young Memorial Museum, Fine Arts

Museums of San Francisco, California 2003 “At Work: the Art of California Labor,” Fine Arts Gallery, San

Francisco State University, California 2002 “Art/Woman/California: Parallels and Intersections, 1950-2000,”

San Jose Museum of Art, California

“Millennium Message-Time Capsules,” Heckscher Museum of Art,

Huntington, New York; Smithsonian Institution, Washington, D.C. 2000-03 “Text and Subtext-Contemporary Art and Asian Women,” Artspace,

Sydney, New South Wales, Australia; Ivan Dougherty Gallery,

University of New South Wales, Sydney, Australia; Earl Lu Gallery,

La Salle-Sia College of the Arts, Singapore; Ostasiatiska Museet,

Stockholm, Sweden; Stenersenmuseet, Oslo, Norway; Taipei Fine

Arts Museum, Taiwan, X-Ray Art Centre, Beijing, China 1997-98 “American Stories--Amidst Displacement and Transformation,”

Setagaya Art Museum, Tokyo; Chiba City Museum of Art, Chiba;

Fukui Fine Arts Museum, Fukui; Kurashiki City Museum of Art,

Kurashiki; Atorion, Akita Prefectural Cultural Hall, Akita, Japan 1997 “American Kaleidoscope: Themes and Perspectives in Recent Art,”

National Museum of American Art, Washington, D.C. 1996 “Gender Beyond Memory: The Works of Contemporary Women

Artists,” Tokyo Metropolitan Museum of Photography, Japan 1994 “Asia/America: Identities in Contemporary Asian American Art,”

Asia Society Galleries, New York 1993-94 “43rd Corcoran Biennial of Contemporary American Painting,”

Washington, D.C.

“In Transit,” The New Museum of Contemporary Art, New York 1991 “Mito y Magia en America: Los Ochenta,” Museum of Contemporary Art, Monterrey, Mexico 1980 “National Fine Arts Colleges Exhibition”, traveling in China” 1978 “Portraiture Exhibition,” Winter Palace Gallery, Beijing, China Public Collections Allen Memorial Art Museum, Oberlin College, Ohio Arizona State University Art Museum, Tempe Asian Art Museum, San Francisco, California Baruch College, William & Anita Newman Library, City University of New

York Boise Art Museum, Idaho Brooklyn Museum of Art, Brooklyn, New York City & County of San Francisco, Moscone Convention Center, California City of San Francisco Public Art Program, California Crocker Art Museum, Sacramento, California Dallas Museum of Art, Dallas, Texas de Saisset Museum, Santa Clara University, California Fort Wayne Museum of Art, Indiana The Herbert F. Johnson Museum, Cornell University, Ithaca, New York Kemper Museum of Contemporary Art & Design, Kansas City, Missouri Library of Congress, Washington, D.C. Los Angeles County Museum of Art, California

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M.H. de Young Memorial Museum, Fine Arts Museums of San Francisco,

California Meade Art Museum, Amherst College, Massachusetts Mills College, Oakland, California Muscarelle Museum of Art, College of William and Mary, Williamsburg,

Virginia National Museum of American Art, Washington, D.C. The Oakland Museum of Art, California Rutgers Archives, Jane Voorhees Zimmerli Art Museum, New Brunswick,

New Jersey San Francisco Museum of Modern Art, California San Jose Museum of Art, California Santa Barbara Museum of Art, California Smith College Museum of Art, Northampton, Massachusetts Spencer Museum of Art, University of Kansas, Lawrence The St. Paul Companies, St. Paul, Minnesota University of Arizona, Museum of Art, Tucson The Walker Art Center, Minneapolis, Minnesota The Whitney Museum of American Art, New York

1981

“The Music of the Great Earth,” permanent mural, Foreign Students Dining Hall, Center Academy of Fine Arts, Beijing, China

Academic Positions 2001-Present 1995-2001

1990-95 1989-90

1987

1981-84

Professor of Art, Mills College, Oakland, California Associate Professor of Art, Mills College, Oakland, California Assistant Professor of Art, Mills College, Oakland, California Assistant Professor of Art, University of North Texas, Denton, Texas Adjunct Professor, Chinese Art History, University of Texas, Arlington Professor of Art, Central Academy of Fine Arts, Beijing, China

Public Art Projects 2008 “ Take Off,” San Francisco International Airport Project, California 2006 “Going Away, Coming Home,” Oakland International Airport

Terminal 2 Window Project, 10’x160’, Oakland, California 2004 “Hearts in San Francisco,” Civic Center, Exterior Entrance of the

Asian Art Museum, San Francisco, California 2001-02 “Above the Clouds,” Cerritos Library, commissioned by the City of

Cerritos, California 1996 “The Long Wharf,” #1 Embarcadero Center, SkyDeck, 41st floor, San

Francisco, California 1995 “Fortune Cookie,” a public art work, San Jose Museum of Art and

the City of San Jose Collection, California 1992 “Map No. 33,” Esplanade Ballroom Lobby, Moscone Convention

Center, San Francisco, California 1988 “Reading Room,” a permanent, public, off-site mural installation of

the Capp Street Project, at the Community Room of “Chinese for

Affirmative Action,” Kuo Building, Chinatown, San Francisco,

California 1986 “Up and Tao,” permanent mural installation, interior stairwell,

Media Center and Communications Building, University of

California, San Diego

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Bibliography “American Kaleidoscope: Themes and Perspectives in Recent Art,” National Museum of American Art, Washington, D.C., 1996 “Asia/America: Identities in Contemporary Asian American Art,” Asia Society Galleries, New York, New York, undated.

“At Work: The Art of California Labor,” Fine Arts Gallery, San Francisco State University, California, September 2-October 11, 2003.

Bullis, Douglas. 100 Artists of the West Coast, Schiffer Publishing Ltd., Atglen, Pennsylvania, 2003, pp. 96, 97 (illus.).

Clark, Trinkett. “Parameters,” The Chrysler Museum of Art, Norfolk, Virginia, Mills College Art Gallery, Oakland, California, 1995-97 (illus.).

“Contemporary Combustion: Chinese Artists in America,” New Britain Museum of American Art, Connecticut, July 18-October 14, 2007, essay by Douglas K.S. Hyland, Director; essay by Alice R. Hyland, Chase Visiting Curator (illus.).

“Family Ties: A Contemporary Perspective,” Peabody Essex Museum, Salem, Massachusetts, July 1-September 21, 2003, pp. 48, 61.

“The 43rd Biennial Exhibition of Contemporary American Painting, “The Corcoran Gallery of Art, Washington D.C., 1994

“Hung Liu: A Ten Year Survey,” The College of Wooster Art Museum, Wooster, Massachusetts, Traveling to: Muscarelle Museum or Art, College of William and Mary, Williamsburg, Virginia, Kemper Museum of Contemporary Art, Kansas City, Missouri, 1998.

“In Plural America: Contemporary Journeys, Voices and Identities,” Hudson River Museum, Yonkers, New York, 1992.

Kienzle, Karen. “Painterly Proofs: Prints by Hung Liu,” deSaisset Museum, Santa Clara University, California, 2002 (illus.)

“Narratives of Loss: The Displaced Body,” University of Wisconsin, Milwaukee, undated.

“Objects of Personal Significance,” Exhibits USA and Eastern Illinois University, Charleston, IL, national tour through 1999, 1996.

“Self-Portrait: The Changing Self,” The New Jersey Center for Visual Arts, Summit, New Jersey, 1992.

“Painting: An Asian American Perception,” Marjorie Barrick Museum, University of Nevada, Las Vegas and Nevada Museum of Art, Reno, 1994.

Splash! Art Association of Jackson Hole, Center for the Arts, Jackson Hole, Wyoming, Winter-Spring 2007.

“Full Circle: Revolutions in the Paintings of Hung Liu,” Paul Robeson Gallery, Rutgers, the State University of New Jersey, Newark Campus, January 17-February 23, 2006, essay by Jorge Daniel Veneciano (ilus).

“Strange Fruit: New Paintings by Hung Liu,” Arizona State University Art Museum, Tempe, traveling to Boise Art Museum, Idaho, Crocker Art Museum, Sacramento, California, Laguna Art Museum, Laguna Beach, California, 2002-03 (illus). Essays by Sandy Hartorn and Heather Sealy Lineberry.

“Gender Beyond Memory: The Works of Contemporary Women Artists,” Tokyo Metropolitan Museum of Photography, Tokyo, Japan, 1996.

“The Vanishing: Re-presenting the Chinese in the American West,” Sun Valley Center for the Ars, Ketchum, Idaho, 2004 (illus.).

“Geography of Memory: Selected Works by Hung Liu,” Monterey Museum of Art, California, September 13-December 31, 2003.

“The Year of the Dog,” Steinbaum Krauss Gallery, New York 1994 (illus.). Essays by Robert Atkins, Roslyn Bernstein, Eleanor Heartney, and Philip Verre.

“Global Elegies: Art and Ofrendas for the Dead,” Oakland Museum of California, Oakland, California, October 11-December 7, 2003.

Film

“Hung Liu: A Decade of Paintings,” Guilford College Art Gallery, Hege Library, Guilford College, Greensboro, North Carolina, March 21-May 6, 20005.

“Hung Liu Towards Peng-Lai,” by David Bransten and Bay Package Productions in association with Rena Bransten Gallery, San Francisco, California, 2006.

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Š 2008 The University of Oklahoma This catalogue has been published in conjunction with the exhibition, Hung Liu, Now and Then, presented by The University of Oklahoma School of Art at the Fred Jones Jr. Museum of Art, Norman, Oklahoma , March 29 - July 6, 2008.

Published by: The University of Oklahoma School of Art and Art History 520 Parrington Oval, Room 202 Norman, Oklahoma 73019 Telephone: 405-325-2691 http://art.ou.edu No part of this publication may be reproduced or used in any form without the written consent of The University of Oklahoma School of Art and Art History .

This catalogue, printed by the University of Oklahoma Printing Services, is issued by The University of Oklahoma.

1,000 copies have been printed and distributed at no cost to the taxpayers of the State of Oklahoma.

The University of Oklahoma is an equal opportunity institution.

For information and accommodations on the basis of disability, please call (405) 325-4938.

Catalogue Text: Alan Atkinson Design: Scott Navicky Photography: Chris Watson, Ben Blackwell, Dane Sponberg Front cover: My Secret Freedom No. 16 (detail) 1972–75 oil on paper 3 x 5 inches.

Back cover: China Mary (detail) 2006 oil on canvas 66 x 66 inches.

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