Date of Award

2026

Document Type

Thesis - Restricted Access (SIA Only)

Degree Name

Master of Arts (MA)

Department

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First Advisor

Zhang Jin

Abstract

This thesis explores the intertwined artistic and commercial paths of four prominent Chinese painters—Zeng Fanzhi, Liu Ye, Zhang Enli, and Mao Yan—represented by major blue-chip galleries (Gagosian, David Zwirner, Hauser & Wirth, and Pace, respectively) in the U.S. art market. By focusing solely on painting as a medium, the study places these artists within broader macroeconomic, institutional, and discursive forces that influence how contemporary Chinese art is received and valued globally. Using a mixed-methods approach—combining critical literature review, auction data analysis, exhibition and collection mapping, and close visual readings—this study examines how artistic practice, institutional mediation, and market dynamics intersect in the careers of four leading artists. It explores how gallery strategies and institutional endorsements have helped the artists transition from domestic prominence to global, blue-chip recognition. The research also analyzes patterns in secondary-market performance and their relationship to macroeconomic cycles, especially the rise, growth, and recalibration of China’s art market. Finally, it considers how the artists’ thematic development and aesthetic strategies interact with institutional and market narratives to create both economic value and cultural significance within the global art system. The thesis shows that although each artist follows a unique aesthetic path influenced by personal, national, and international factors, their commercial success is closely linked to intentional gallery positioning, museum recognition, and broader economic trends. Zeng’s rapid auction results illustrate how market excitement, institutional presence, and narratives of national pride can reinforce one another. Liu Ye and Zhang Enli demonstrate alternative models where consistent museum backing and international curatorial interest lead to steady growth, while Mao Yan represents a case of strong critical respect with a relatively modest market response. The study concludes by reflecting on the limits of market influence and the ongoing negotiation between critical opinion and commercial infrastructure in shaping the careers of contemporary Chinese artists.

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