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Subversive Strategies in Contemporary Chinese Art by Mary Wiseman,Liu Yuedi,Yuedi Liu Pdf
How contemporary Chinese art is creating “a philosophy of life, a philosophy of politics, and a natural philosophy,” as artist Qiu Zhijie says it must, is explored in this collection of essays by philosophers and art historians from America and China.
This book examines the rising global prominence of China’s art market throughout the twentieth and twenty-first centuries. To understand the far-reaching impact of Chinese art on global consumption, this book traces the shift from regional markets to global markets. It asks how the Chinese art market re-emerged from its politicized past, innovated within the private economy boom, remained resilient despite the global financial crisis, and flourished on the global stage despite the COVID-19 pandemic. Ultimately, it argues that cultural entrepreneurship enabled Chinese art professionals to reinvent their space and to participate in the global artworld.
Jizi and His Art in Contemporary China by David Adam Brubaker,Chunchen Wang Pdf
This interdisciplinary study promotes the thesis that some contemporary Chinese ink artists succeed in using principles of traditional Chinese aesthetics to convey the union of self with nature, others and the universe. The investigation is a case study of the writings and paintings of Jizi, an ink-wash artist in Beijing, who combines images of icy mountains, Tibetan landscapes, cosmic vistas, and enclosures of personal existence. Jizi’s success in expressing the unification of these dimensions is confirmed by developing and applying an interpretation of Jing Hao’s classic description of the authentic image, which resonates with the vitality of nature. To find words for resonance with visible nature, the inquiry extends to such writers as Li Zehou, Arthur Danto and Maurice Merleau-Ponty. In short, an account of authenticity in Chinese ink painting is offered experimentally as a means for assessing whether contemporary Chinese artworks are expressive of Chinese philosophy and culture. The text includes stylistic comparisons with artists such as E.C. Escher, Guo Xi, Jia Youfu, Liu Guosong, Rene Magritte, Piet Mondrian, and Xu Bing. The result is an appreciation of the healing influence of Chinese ink art in a global culture that is vibrant, complex, diverse and affirming of the present. In this rigorous, far-reaching, and original analysis of contemporary ink art painting, Brubaker and Wang focus our attention on the work of one independent painter, Jizi, whose work exemplifies an uncanny marriage between ink art and contemporary concerns. In the central chapters, Brubaker persuasively argues that in this work Jizi captures principles essential to traditional Chinese aesthetics articulated in terms of wholeness, emptiness, and visibility that enable the works to express the unification of the self with nature and the universe as a whole. It does this through forms that are innovative and part of artistic practices and discourses that are becoming increasingly global. Mary Wiseman, The City University of New York This important publication focuses on the evocative ink wash paintings of an artist who has, over the course of decades, demonstrated an unwavering commitment to exploring the technical, formal, philosophical and experiential dimensions of his chosen medium. The essays, commentaries and critical reflections collected in this volume present unique perspectives on Jizi's practice, significantly contributing to the growing body of scholarship on the continuing vitality of the ink wash tradition in the global contemporary. Dr. Wenny Teo, The Courtauld Institute of Art Through an in-depth study of the ink painting practice of contemporary Chinese artist Jizi, the authors discover Chinese ink painting’s philosophical perspectives, cosmic foundations, and contemporary possibilities. They also uncovered a way to enter into the artist’s rich and profound spiritual world; through Jiazi’s expansive visual patterning and refined spiritual imagery, he activates a long and great cultural tradition. Yu Yang, Central Academy of Fine Arts
Author : David Clarke Publisher : Hong Kong University Press Page : 248 pages File Size : 50,9 Mb Release : 2019-01-22 Category : Art ISBN : 9789888455911
China—Art—Modernity provides a critical introduction to modern and contemporary Chinese art as a whole. It illuminates what is distinctive and significant about the rich range of art created during the tumultuous period of Chinese history from the end of Imperial rule to the present day. The story of Chinese art in the twentieth and twenty-first centuries is shown to be deeply intertwined with that of the country’s broader socio-political development, with art serving both as a tool for the creation of a new national culture and as a means for critiquing the forms that culture has taken. The book’s approach is inclusive. In addition to treating art within the Chinese Mainland itself during the Republican and Communist eras, for instance, it also looks at the art of colonial Hong Kong, Taiwan and the Chinese diaspora. Similarly, it gives equal prominence to artists employing tools and idioms of indigenous Chinese origin and those who engage with international styles and contemporary media. In this way it writes China into the global story of modern art as a whole at a moment in intellectual history when Western-centred stories of modern and contemporary culture are finally being recognized as parochial and inadequate. Assuming no previous background knowledge of Chinese history and culture, this concise yet comprehensive and richly-illustrated book will appeal to those who already have an established interest in modern Chinese art and those for whom this is a novel topic. It will be of particular value to students of Chinese art or modern art in general, but it is also for those in the wider reading public with a curiosity about modern China. At a time when that country has become a major actor on the world stage in all sorts of ways, accessible sources of information concerning its modern visual culture are nevertheless surprisingly scarce. As a consequence, a fully nuanced picture of China’s place in the modern world remains elusive. China—Art—Modernity is a timely remedy for that situation. ‘Here is a book that offers a comprehensive account of the dizzying transformations of Chinese art and society in the twentieth and twenty-first centuries. Breaking free of conventional dichotomies between traditional and modern, Chinese and Western that have hobbled earlier studies, Clarke’s highly original book is exactly what I would assign my own students. Anyone eager to understand developments in China within the global history of modern art should read this book.’ —Robert E. Harrist Jr., Columbia University ‘Clarke’s book presents a critically astute mapping of the arts of modern and contemporary China. It highlights the significance of urban and industrial contexts, migration, diasporas and the margins of the mainland, while imaginatively seeking to inscribe its subject into the broader story of modern art. A timely and reliable intervention—and indispensable for the student and non-specialist reader.’ —Shane McCausland, SOAS University of London
The Future History of Contemporary Chinese Art by Peggy Wang Pdf
A revelatory reclaiming of five iconic Chinese artists and their place in art history During the 1980s and 1990s, a group of Chinese artists (Zhang Xiaogang, Wang Guangyi, Sui Jianguo, Zhang Peili, and Lin Tianmiao) ascended to new heights of international renown. Even as their fame increased, they came to be circumscribed by simplistic Western interpretations of their artworks as social and political critiques, a perspective that privileged stories of dissidence over deep engagement with the art itself. Through in-depth case studies of these five artists, Peggy Wang offers a corrective to previous appraisals, demonstrating how their works address fundamental questions about the forms, meanings, and possibilities of art. By the end of the 1980s, Chinese artists were scrutinizing earlier waves of Western influence and turning instead to their own heritage and culture to forge their own future histories. As the national trauma of the 1989 Tiananmen Square massacre converged with the mounting expansion of the global art world, these artists turned to art as a profoundly generative site for grappling with their place in the world. Wang demonstrates how they consciously and energetically sought to make their own ideas about art and art history visible in contemporary art. Wang’s argument is informed by extensive primary research, including close examination of the artworks, analysis of Chinese language documents and archives, and deeply personal interviews with the artists. Their words uncover layers of meaning previously obscured by the popular and often recycled assessments that many of these works have received until now. Beyond Wang’s reinterpretation of these individual artists, she contributes to an urgent conversation on the future direction of art history: how do we map engagements between art from different parts of the world that are embedded within different art histories? What does it mean for histories of contemporary art—and art history more generally—to be inclusive? The new understandings offered in this book can and should be engaged when considering current hierarchies in histories of Chinese art, the global art world, and the intersections between them.
Chinese Contemporary Art in the Global Auction Market by Anita Archer Pdf
Chinese Contemporary Art in the Global Auction Market charts the rapid emergence of a multi-million-dollar global market for Chinese Contemporary art by revealing the strategic activities of art world agents in promoting the work of ‘avant-garde’ Chinese artists to a Western audience.
The Art of Women in Contemporary China by Patricia Eichenbaum Karetzky Pdf
This book presents in eight chapters the work of over 75 Chinese female artists, both pictorial and poetic. Their art is viewed within a framework of eight themes. The broad topics explored include the body; life; the representation of the experience of being a woman; home and the world; a view of children and other women; clothes; social conscience; fantasy; and abstraction—nonfigurative work and its viability as a medium to express the spiritual. These themes provide several lenses through which to enjoy and compare these artists’ approaches and outputs. The volume is unique in its inclusion of poetry by contemporary women whose voices articulate so many of the same concerns as the visual artists. In China, poetry has always been the prime form of artistic expression, and it remains so today. Looking at this poetry affords us a different means of appreciating the art of women in contemporary society.
A Grand Materialism in the New Art from China by Mary Bittner Wiseman Pdf
In A Grand Materialism in the New Art from China, Mary Bittner Wiseman shows that material matters in the work of Chinese artists, where the goal is to call attention to its subjects through the directness and immediacy of its material (like dust from 9/11, 1001 Chinese citizens, paintings made with gunpowder, written words) or the specificity of its sites (such as the Three Gorges Dam). Artists are working below the level of language where matter and gesture, texture and touch, instinct and intuition live. Not reduced to the words applied to them, art's subjects appear in their concrete particularity, embedded in the stories of their materials or their sites. Wiseman argues that it is global in being able to be understood by all thanks to its materials and the stories that accompany it, and the art is contemporary in having to make the case for itself that it is art. Finally, it satisfies Arthur Danto’s characterization of art as any representation that puts its subject in a new light by way of a rhetorical figure that the viewer interprets. The material art from China is the paradigm for an art that is global and contemporary.
Emphasizing the human body in all of its forms, Beauty Unlimited expands the boundaries of what is meant by beauty both geographically and aesthetically. Peg Zeglin Brand and an international group of contributors interrogate the body and the meaning of physical beauty in this multidisciplinary volume. This striking and provocative book explores the history of bodily beautification; the physicality of socially or culturally determined choices of beautification; the interplay of gender, race, class, age, sexuality, and ethnicity within and on the body; and the aesthetic meaning of the concept of beauty in an increasingly globalized world.
A History of Contemporary Chinese Art by Yan Zhou Pdf
Chinese art has experienced its most profound metamorphosis since the early 1950s, transforming from humble realism to socialist realism, from revolutionary art to critical realism, then avant-garde movement, and globalized Chinese art. With a hybrid mix of Chinese philosophy, imported but revised Marxist ideology, and western humanities, Chinese artists have created an alternative approach – after a great ideological and aesthetic transition in the 1980s – toward its own contemporaneity though interacting and intertwining with the art of rest of the world. This book will investigate, from the perspective of an activist, critic, and historian who grew up prior to and participated in the great transition, and then researched and taught the subject, the evolution of Chinese art in modern and contemporary times. The volume will be a comprehensive and insightful history of the one of the most sophisticated and unparalleled artistic and cultural phenomena in the modern world.
Negotiating Difference by John Clark,Juliane Noth,Birgit Hopfener,Brianne Cohen,Silke von Berswordt,Wang Ching-ling,Doris Ha-lin Sung,Adele Tan,Zheng Bo,Beatrice Leanza,Thomas Berghuis,Peggy Wang,Pauline Yao,Paul Gladston,Joe Martin Hill,Lee Ambrozy,Wenny Teo,Franziska Koch,Andreas Schmid,Davide Quadrio Pdf
Contemporary Chinese art is still a young field now being opened up to critical academic research. Negotiating Difference is a pioneering collection of articles which engage with contemporary Chinese art in a global context. The contributions collectively address the urgent methodological question of how to describe, contextualize and theorize artworks and artistic processes in and beyond the People's Republic of China since the end of the Cultural Revolution. The studies break new ground as they chalk out the transcultural entanglements of which art and its practices partake and which they in turn reconfigure. The book features 20 essays written by a select group of international junior and senior scholars engaged in ambitious and methodologically innovative research on contemporary Chinese art. Their multi-faceted, in part interdisciplinary approaches are complemented by four contributions by distinguished practitioners in the field, who - as art curators and critics - are located in China and explore key developments within Chinese art and the changing art scene of the last three decades.
The Sociology of Arts and Markets by Andrea Glauser,Patricia Holder,Thomas Mazzurana,Olivier Moeschler,Valérie Rolle,Franz Schultheis Pdf
This edited collection offers an in-depth analysis of the complex and changing relationship between the arts and their markets. Highly relevant to almost any sociological exploration of the arts, this interaction has long been approached and studied. However, rapid and far-reaching economic changes have recently occurred. Through a number of new empirical case studies across multiple artistic, historic and geographical settings, this volume illuminates the developments of various art markets, and their sociological analyses. The contributions include chapters on artistic recognition and exclusion, integration and self-representation in the art market, sociocultural changes, the role of the gallery owner, and collectives, rankings, and constraints across the cultural industries. Drawing on research from Japan, Switzerland, France, Italy, China, the US, UK, and more, this rich and global perspective challenges current debates surrounding art and markets, and will be an important reference point for scholars and students across the sociology of arts, cultural sociology and culture economy.
Chinese Environmental Humanities by Chia-ju Chang Pdf
Chinese Environmental Humanities showcases contemporary ecocritical approaches to Chinese culture and aesthetic production as practiced in China itself and beyond. As the first collaborative environmental humanities project of this kind, this book brings together sixteen scholars from a diverse range of disciplines, including literary and cultural studies, philosophy, ecocinema and ecomedia studies, religious studies, minority studies, and animal or multispecies studies. The fourteen chapters are conceptually framed through the lens of the Chinese term huanjing (environment or “encircling the surroundings”), a critical device for imagining the aesthetics and politics of place-making, or “the practice of environing at the margin.” The discourse of environing at the margins facilitates consideration of the modes, aesthetics, ethics, and politics of environmental inclusion and exclusion, providing a lens into the environmental thinking and practices of the world’s most populous society.
Contemporary Chinese Art: Primary Documents by Wu Hung Pdf
Invaluable resource for anyone who wants to understand contemporary Chinese art, one of the most fascinating art scenes of the late 20th and early 21st centuries.
Deconstructing Contemporary Chinese Art by Paul Gladston Pdf
The book presents a range of articles and discussions that offer critical insights into the development of contemporary Chinese art, both within China and internationally. It brings together selected writings, both published and unpublished, by Paul Gladston, one of the foremost international scholars on contemporary Chinese art. The articles are based on extensive first-hand research, much of which was carried out during an extended residence in China between 2005 and 2010. In contrast to many other writers on contemporary Chinese art, Gladston analyses his subject with specific reference to the concerns of critical theory. In his writings he consistently argues for a “polylogic” (multi-voiced) approach to research and analysis grounded in painstaking attention to local, regional and international conditions of artistic production, reception and display.