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A young woman’s face fills this square panel, centered against a field of saturated red that is scraped, streaked, and left to drip like wet dye. Her skin is painted a cool, porcelain pale with bluish shadows as thin, dark lines run down her forehead and cheeks like fine cracks or rain trails. She looks straight out at us with heavy-lidded, dark eyes and sharply arched brows, her expression steady and unreadable. Her lips are a deep carmine red. Her dark hair frames her face and is dotted with small, thick clusters of white, lavender, and blue blossoms pressed into the paint. Below her chin, pale shapes (like a high collar or maybe hands) rise into the frame, while translucent washes and gravity-pulled drips spill downward. To the left, a simple green ring floats on the red ground like a stamped mark.

Chinese American artist Hung Liu (劉虹) built her practice from the friction between images that look authoritative as archival portraits or propaganda-era photographs and the ways memory refuses to stay fixed. She often begins with a found photograph of an anonymous woman and then “unfinishes” it with drips, stains, and veils of wash to make time visible, turning certainty into something felt. The title’s “red wash” can be taken two ways: red as luck and celebration or red as the color of revolution and violence. Is the background halo or warning ... or both. The spare green ring interrupts the field like a seal or target, hinting at what has been erased or left unsaid.

Created in 2014, when Liu was widely known for her “weeping realism,” the work also echoes her passage between worlds. Trained in Socialist Realism in China and reshaping her language after emigrating to the United States in 1984, she used portraiture to ask who is granted dignity in the art world. 

The blossoms threaded through the hair feel like offerings, but they sit on a surface that keeps slipping. To me, "Red Wash Edition" reads as a steady gaze inside a world that won’t stop dissolving.

A young woman’s face fills this square panel, centered against a field of saturated red that is scraped, streaked, and left to drip like wet dye. Her skin is painted a cool, porcelain pale with bluish shadows as thin, dark lines run down her forehead and cheeks like fine cracks or rain trails. She looks straight out at us with heavy-lidded, dark eyes and sharply arched brows, her expression steady and unreadable. Her lips are a deep carmine red. Her dark hair frames her face and is dotted with small, thick clusters of white, lavender, and blue blossoms pressed into the paint. Below her chin, pale shapes (like a high collar or maybe hands) rise into the frame, while translucent washes and gravity-pulled drips spill downward. To the left, a simple green ring floats on the red ground like a stamped mark. Chinese American artist Hung Liu (劉虹) built her practice from the friction between images that look authoritative as archival portraits or propaganda-era photographs and the ways memory refuses to stay fixed. She often begins with a found photograph of an anonymous woman and then “unfinishes” it with drips, stains, and veils of wash to make time visible, turning certainty into something felt. The title’s “red wash” can be taken two ways: red as luck and celebration or red as the color of revolution and violence. Is the background halo or warning ... or both. The spare green ring interrupts the field like a seal or target, hinting at what has been erased or left unsaid. Created in 2014, when Liu was widely known for her “weeping realism,” the work also echoes her passage between worlds. Trained in Socialist Realism in China and reshaping her language after emigrating to the United States in 1984, she used portraiture to ask who is granted dignity in the art world. The blossoms threaded through the hair feel like offerings, but they sit on a surface that keeps slipping. To me, "Red Wash Edition" reads as a steady gaze inside a world that won’t stop dissolving.

"Red Wash Edition" by 劉虹 Hung Liu (Chinese American) - Mixed media on panel / 2014 - Art Museum of the Americas (Washington, DC) #WomenInArt #art #artText #BlueskyArt #HungLiu #劉虹 #Liu #BlueskyArt #WomensArt #WomanArtist #WomenArtists #ChineseArtist #ChineseAmericanArt #AMOA #ArtMuseumoftheAmericas

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#Art #HungLiu

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#Art #HungLiu

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#Art #HungLiu

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Two artists

Two artists

Hung Liu as a child, second from right

Hung Liu as a child, second from right

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Lovely celebration for #HungLiu on what would have been her birthday.

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This painting from Liu depicts the Dowager Empress Cixi (慈禧太后 1861-1908) From the painting's surface extends a bird cage giving the painting a distinct three-dimensional aspect. Despite the an opulent, quilted dress signaling the wearer’s status, the cage shows that though she is in a position of power, she is still confined to the role of a woman of her time.

This painting from Liu depicts the Dowager Empress Cixi (慈禧太后 1861-1908) From the painting's surface extends a bird cage giving the painting a distinct three-dimensional aspect. Despite the an opulent, quilted dress signaling the wearer’s status, the cage shows that though she is in a position of power, she is still confined to the role of a woman of her time.

"The Ocean is the Dragon's World" by Hung Liu (American) - Oil on canvas, painted wood panel, metal rod, and metal bird cage with wood and ceramic, / 1995 - Smithsonian American Art Museum (Washington, D.C.) #womeninart #womanartist #hungliu #chineseamerican #chineseart #womensart #chinese #art

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White Rice Bowl (2014) - #HungLiu

White Rice Bowl (2014) - #HungLiu

White Rice Bowl (2014) - #HungLiu

#ArtSky

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