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10 books about Art, Chinese
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10 books about Art, Chinese
Beijing Xingwei
Contemporary Chinese Time-based Art
Meiling Cheng
Seagull Books, 2013
From cannibalism to light-calligraphy, from self-harming to animal sacrifice, from meat entwined with sex toys to a commodity-embedded ice wall, the idiosyncratic output of Chinese time-based art over the past twenty-five years has invigorated contemporary global art movements and conversation. In Beijing Xingwei, Meiling Cheng engages with such artworks created to mark China's rapid social, economical, cultural, intellectual, and environmental transformations in its post-Deng era.
Beijing Xingwei—itself a critical artwork with text and images unfolding through the author’s experiences with the mutable medium—contemplates the conundrum of creating site-specific ephemeral and performance-based artworks for global consumption. Here, Cheng shows us how art can reflect, construct, confound, and enrich us. And at a moment when time is explicitly linked with speed and profit, Beijing Xingwei provides multiple alternative possibilities for how people with imagination can spend, recycle, and invent their own time.
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Contemporary Chinese Art
Primary Documents
Wu Hung, editor
Duke University Press, 2010
Despite the liveliness and creativity of avant-garde Chinese art in the post-Mao era and its prominence in the world of international contemporary art, until now there has been no systematic introduction to this important work in any Western language. Moreover, most of the relevant primary documents have existed only in Chinese, scattered in hard-to-find publications. Contemporary Chinese Art remedies this situation by bringing together carefully selected primary texts in English translation. Arranged in chronological order, the texts guide readers through the development of avant-garde Chinese art from 1976 until 2006. Because experimental Chinese art emerged as a domestic phenomenon in the 1970s and 1980s and its subsequent development has been closely related to China’s social and economical transformation, this volume focuses on art from mainland China. At the same time, it encompasses the activities of mainland artists residing overseas, since artists who emigrated in the 1980s and 1990s were often key participants in the early avant-garde movements and have continued to interact with the mainland art world. The primary documents include the manifestos of avant-garde groups, prefaces to important exhibitions, writings by representative artists, important critical and analytical essays, and even some official documents. Each chapter and section begins with a concise preface explaining the significance of the texts and providing the necessary historical background; the volume includes a timeline summarizing important art phenomena and related political events.
Publication of the Museum of Modern Art
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Experimental Beijing
Gender and Globalization in Chinese Contemporary Art
Sasha Su-Ling Welland
Duke University Press, 2018
During the lead-up to the 2008 Beijing Olympics, the censorious attitude that characterized China's post-1989 official response to contemporary art gave way to a new market-driven, culture industry valuation of art. Experimental artists who once struggled against state regulation of artistic expression found themselves being courted to advance China's international image. In Experimental Beijing Sasha Su-Ling Welland examines the interlocking power dynamics in this transformational moment and rapid rise of Chinese contemporary art into a global phenomenon. Drawing on ethnographic fieldwork and experience as a videographer and curator, Welland analyzes encounters between artists, curators, officials, and urban planners as they negotiated the social role of art and built new cultural institutions. Focusing on the contradictions and exclusions that emerged, Welland traces the complex gender politics involved and shows that feminist forms of art practice hold the potential to reshape consciousness, produce a nonnormative history of Chinese contemporary art, and imagine other, more just worlds.
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Hong Kong Art
Culture and Decolonization
David Clarke
Duke University Press, 2002
Hong Kong Art is the first comprehensive survey of contemporary art from Hong Kong presented within the changing social and political context of the territory’s 1997 handover from British to Chinese sovereignty. Tracing a distinctive and increasingly vibrant art scene from the late 1960s through the present, David Clarke discusses a wide range of media, including painting, sculpture, photography, video, and installations, as well as other kinds of visual production such as architecture, fashion, graphic design, and graffiti.
Clarke shows how a sense of local identity emerged in Hong Kong as the transition approached and found expression in the often politicized art produced. Given the recent international exposure of mainland Chinese contemporary art, this book considers the uniqueness of the art of China’s most cosmopolitan city. With a modern visual culture that was flourishing even when the People’s Republic was still closed to the outside world, Hong Kong has established itself as an exemplary site for both local and transnational elements to formulate into brilliant and groundbreaking art.
The author writes about individual artists and art works with a detail that will appeal to artists, curators, and art historians, as well as to postcolonial scholars, cultural studies scholars, and others.
Clarke shows how a sense of local identity emerged in Hong Kong as the transition approached and found expression in the often politicized art produced. Given the recent international exposure of mainland Chinese contemporary art, this book considers the uniqueness of the art of China’s most cosmopolitan city. With a modern visual culture that was flourishing even when the People’s Republic was still closed to the outside world, Hong Kong has established itself as an exemplary site for both local and transnational elements to formulate into brilliant and groundbreaking art.
The author writes about individual artists and art works with a detail that will appeal to artists, curators, and art historians, as well as to postcolonial scholars, cultural studies scholars, and others.
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Minor China
Method, Materialisms, and the Aesthetic
Hentyle Yapp
Duke University Press, 2021
In Minor China Hentyle Yapp analyzes contemporary Chinese art as it circulates on the global art market to outline the limitations of Western understandings of non-Western art. Yapp reconsiders the all-too-common narratives about Chinese art that celebrate the heroic artist who embodies political resistance against the authoritarian state. These narratives, as Yapp establishes, prevent Chinese art, aesthetics, and politics from being discussed in the West outside the terms of Western liberalism and notions of the “universal.” Yapp engages with art ranging from photography and performance to curation and installations to foreground what he calls the minor as method—tracking aesthetic and intellectual practices that challenge the predetermined ideas and political concerns that uphold dominant conceptions of history, the state, and the subject. By examining the minor in the work of artists such as Ai Weiwei, Zhang Huan, Cao Fei, Cai Guo-Qiang, Carol Yinghua Lu, and others, Yapp demonstrates that the minor allows for discussing non-Western art more broadly and for reconfiguring dominant political and aesthetic institutions and structures.
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Ordinary Images
Stanley K. Abe
University of Chicago Press, 2002
This richly illustrated book explores the large body of sculpture, paintings, and other religious imagery produced for China's common classes from the third to the sixth centuries C.E. In contrast to the works made for imperial patrons, illustrious monastics, or other luminaries, these ordinary images-modest in scale, mass produced, and at times incomplete-were created for those of lesser standing. Because they cannot be related to well-known historical figures or social groups, these images have been considered a largely nebulous, undistinguished mass of works.
Situating his study in the gaps between conventional categories such as Buddhism, Daoism, and Chinese popular art, Abe examines works—including some of the earliest known examples of Buddha-like images in China—that were commissioned by patrons of modest standing and produced by nameless artists and artisans. Sophisticated and lucidly written, Ordinary Images offers an unprecedented exploration of the lively and diverse nature of image making and popular practices.
Situating his study in the gaps between conventional categories such as Buddhism, Daoism, and Chinese popular art, Abe examines works—including some of the earliest known examples of Buddha-like images in China—that were commissioned by patrons of modest standing and produced by nameless artists and artisans. Sophisticated and lucidly written, Ordinary Images offers an unprecedented exploration of the lively and diverse nature of image making and popular practices.
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Pictures and Visuality in Early Modern China
Craig Clunas
Reaktion Books, 2005
Pictures and Visuality in Early Modern China is not simply a survey of sixteenth-century images, but rather, a thorough and thoughtful examination of visual culture in China's Ming Dynasty, one that considers images wherever they appeared—not only paintings, but also illustrated books, maps, ceramic bowls, lacquered boxes, painted fans, and even clothing and tomb pictures.
Clunas's theory of visuality incorporates not only the image and the object upon which it is placed but also the culture which produced and purchased it. Economic changes in sixteenth-century China—the rapid expansion of trade routes and a growing class of consumers—are thus intricately bound up with the evolution of the image itself. Pictures and Visuality in Early Modern China will be a touchstone for students of Chinese history, art, and culture.
Clunas's theory of visuality incorporates not only the image and the object upon which it is placed but also the culture which produced and purchased it. Economic changes in sixteenth-century China—the rapid expansion of trade routes and a growing class of consumers—are thus intricately bound up with the evolution of the image itself. Pictures and Visuality in Early Modern China will be a touchstone for students of Chinese history, art, and culture.
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Picturing Heaven in Early China
Lillian Lan-ying Tseng
Harvard University Press, 2011
Tian, or Heaven, had multiple meanings in early China. It had been used since the Western Zhou to indicate both the sky and the highest god, and later came to be regarded as a force driving the movement of the cosmos and as a home to deities and imaginary animals. By the Han dynasty, which saw an outpouring of visual materials depicting Heaven, the concept of Heaven encompassed an immortal realm to which humans could ascend after death.
Using excavated materials, Lillian Tseng shows how Han artisans transformed various notions of Heaven—as the mandate, the fantasy, and the sky—into pictorial entities. The Han Heaven was not indicated by what the artisans looked at, but rather was suggested by what they looked into. Artisans attained the visibility of Heaven by appropriating and modifying related knowledge of cosmology, mythology, astronomy. Thus the depiction of Heaven in Han China reflected an interface of image and knowledge.
By examining Heaven as depicted in ritual buildings, on household utensils, and in the embellishments of funerary settings, Tseng maintains that visibility can hold up a mirror to visuality; Heaven was culturally constructed and should be culturally reconstructed.
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Transience
Chinese Experimental Art at the End of the Twentieth Century
Wu Hung
University of Chicago Press, 2006
In a groundbreaking approach to avant-garde Chinese art, the 1999 exhibition "Transience: Chinese Experimental Art at the End of the Twentieth Century" established a historical framework for current artistic production in China. Organized by the David and Alfred Smart Museum of Art at the University of Chicago, the show and its catalog highlighted the diverse responses of twenty-two artists to Chinas recent history and current social transformation.
These detailed essays on the artists and their works are now available in a revised edition of the exhibition catalog. Written by Wu Hung, a leading authority and the curator of the exhibit, Transience explores contemporary Chinese art through the themes of demystification, ruins, and transience, and represents an original perspective in the continuing discussion on Chinese experimental art.
These detailed essays on the artists and their works are now available in a revised edition of the exhibition catalog. Written by Wu Hung, a leading authority and the curator of the exhibit, Transience explores contemporary Chinese art through the themes of demystification, ruins, and transience, and represents an original perspective in the continuing discussion on Chinese experimental art.
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Visual Arts, Representations and Interventions in Contemporary China
Urbanized Interface
Edited by Minna Valjakka and Meiqin Wang
Amsterdam University Press, 2018
This edited volume provides a multifaceted investigation of the dynamic interrelations between visual arts and urbanization in contemporary Mainland China with a focus on unseen representations and urban interventions brought about by the transformations of the urban space and the various problems associated with it. Through a wide range of illuminating case studies, the authors demonstrate how innovative artistic and creative practices initiated by various stakeholders not only raise critical awareness on socio-political issues of Chinese urbanization but also actively reshape the urban living spaces. The formation of new collaborations, agencies, aesthetics and cultural production sites facilitate diverse forms of cultural activism as they challenge the dominant ways of interpreting social changes and encourage civic participation in the production of alternative meanings in and of the city. Their significance lies in their potential to question current values and power structures as well as to foster new subjectivities for disparate individuals and social groups.
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