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Kaikodo Journal XVIII

Unperturbed: the Art of Huang Zhongfang (Harold Wong)

Corresponding to the exhibition held between November 11 and December 2, 2000. 22 paintings by the Hong Kong-based artist Harold Wong (22 color plates). Preface by Howard Rogers. 91 pages.

Includes the essays:
Chu-tsing Li:
“Cultural Life in Hong Kong During the Late
Twentieth Century: a Personal
Reminiscence”
James Cahill:
“Seeing Paintings in Hong Kong” (Ching
Yuan Chai so-shih
III)
Julia M. White:
“From the Artist’s Collection”
Arnold Chang:
“Reading Between the Lines — Recent
Paintings by Harold Wong”
Harold Wong:
“The Education of Harold Wong”

The evolutionary process by which Harold Wong’s distinctive style came into being and some of the forces that shaped that development are examined from a variety of viewpoints by several essays by eminent art historians, including one by the painter himself. Professor Chu-tsing Li, Professor Emeritus at the University of Kansas, outlines some of the major features of cultural life in Hong Kong during the past half-century. Having made significant contributions of his own to that development, Professor Li gives eloquent testimony on the cultural environment in which Harold grew to maturity. Professor James Cahill, Professor Emeritus at the University of California at Berkeley, provides a fascinating glimpse into Hong Kong collecting circles as these developed from the 1950s onward. Dr. Julia White, at the time of this journal’s publication Curator at the Honolulu Academy of Arts and subsequently Curator of Asian Art at the Berkeley Art Museum and long-time friend of the artist, focuses on Harold’s own collection of paintings, identifying some of the classic masters admired and collected by the artist as well as the modern painters regarded by Harold as having measured up to his rigorous standards of taste and quality. Focus is shifted in an essay by Arnold Chang from the cultural environment of the artist to the artist himself, providing an articulate account of how one learns to paint in the traditional Chinese manner. Harold Wong’s essay is a document very moving in its simple and direct account of how and why he became an artist and of the sometimes winding path he has traveled in pursuit of personal and aesthetic goals.

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Kaikodo Journal XXXIII - Spring 2017 (web)Online only
Kaikodo Journal XXXII - Spring 2016 (web)Online only
Kaikodo Journal XXXI - Spring 2015Available
Kaikodo Journal XXX - Spring 2014Available
Kaikodo Journal XXIX - Spring 2013Available
Kaikodo Journal XXVIII - Spring 2012Available
Kaikodo Journal XXVII - Spring 2011Available
Kaikodo Journal XXVI - Spring 2010available
Kaikodo Journal XXV - Spring 2009Available
Kaikodo Journal XXIV - Spring 2008Available
Kaikodo Journal XXIII - Spring 2007
Spring in Jinling - Spring 2004
Kaikodo Journal XXII - Spring 2002
Kaikodo Journal XXI - Autumn 2001
Kaikodo Journal XX - Autumn 2001Available
Kaikodo Journal XIX - Spring 2001Available
Kaikodo Journal XVIII - November 2000
Kaikodo Journal XVII - Autumn 2000
Kaikodo Journal XVI - May 2000Available
Kaikodo Journal XV - Spring 2000Available
Kaikodo Journal XIV - November 1999Available
Kaikodo Journal XIII - Autumn 1999Available
Kaikodo Journal XII - Autumn 1999
In Two Dimensions - Spring 1999
Kaikodo Journal XI - Spring 1999
Kaikodo Journal X - November 1998Out of Print
Kaikodo Journal IX - Autumn 1998Available
Kaikodo Journal VIII - May 1998Available
Kaikodo Journal VII - Spring 1998Available
Kaikodo Journal VI - October 1997Not Available
Kaikodo Journal V - Autumn 1997
Kaikodo Journal IV - May 1997OUT OF PRINT
Kaikodo Journal III - Spring 1997OUT OF PRINT
Kaikodo Journal II - Autumn 1996OUT OF PRINT
Kaikodo Journal I - Spring 1996OUT OF PRINT
Backward Glances - February 1996
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