Subversive Strategies in Contemporary Chinese Art

Subversive Strategies in Contemporary Chinese Art

Language: English

Pages: 477

ISBN: B01K918F3I

Format: PDF / Kindle (mobi) / ePub

What is art and what is its role in a China that is changing at a dizzying speed? These questions lie at the heart of Chinese contemporary art. Subversive Strategies paves the way for the rebirth of a Chinese aesthetics adequate to the art whose sheer energy and imaginative power is subverting the ideas through which western and Chinese critics think about art. The first collection of essays by American and Chinese philosophers and art historians, Subversive Strategies begins by showing how the art reflects current crises and is working them out through bodies gendered and political. The essays raise the question of Chinese identity in a global world and note a blurring of the boundary between art and everyday life.

From Filippo Lippi to Piero della Francesca: Fra Carnevale and the Making of a Renaissance Master (Metropolitan Museum of Art)

Japanese Modernisation and Mingei Theory: Cultural Nationalism and Oriental Orientalism

Michelangelo: Il David (Art dossier Giunti)












requires also being able to use them to talk and to listen, to write and to read. Two works of performance art in Inside Out can be read to say that since power in China seems no longer to reside at the level of the great ideologies, perhaps it lies in a level below them where individuals can act, where they can “intervene and innovate at their own scale and on their own terms.”13 One work is Writing the ‘Orchid Pavilion Preface’ One Thousand Times (1986/1997) by Qui Zhijie in which the artist

is a doctoral candidate. His publications include “Paintings of Classicism and Romanticism;” “Alphonse Mucha;” “Paris La Ville Lumiere;” “PaintÂ�Â�ings of Realism and the Barbizon School;” “Imaginary Ink PaintÂ�ings” in the Taiwan Modern Art Series. He has translated texts from Japanese, German, and French into Chinese and edited “Guide to Reading Rousseau’s Social Contract;” “Greek Tragic Theater and Alcestis;” and “Impressionist Paintings.” xvi about the contributors PENG FENG is professor

beliefs, thus manifesting the secret of the generation of concepts by photo-imagery art. Liu Ren’s Dream Sleeper and Sleepwalker, The Forbidden City (Figures 11 and 12) combine the real with the virtual and transform her young memories into dreams. She uses photographs taken at a site and then digitizes them to achieve vividly new spectacles that show a skillful mastery of image fabrication and the prospect of new media development. Shen Yang first sets up a virtual imaginary space and then puts

flowers.13 The use of propaganda posters intensified during the Cultural Revolution period from 1966 to 1976, as “the hyperrealist representations of ageless, larger-than life peasants, soldiers and workers and 12 ╇Stefan R.╯Lansberger, Paint it Red: Fifty Years of Chinese Propaganda Posters, Groninger Museum, December 5, 1998-February1999, 30. 13 ╇ Landsberger, Paint it Red, 40. 116 curtis l.╯carter educated youth in dynamic poses,” males and females alike, were offered as ideal

larger than life portraits of contemporary Chinese leaders and a few other world political figures. Chairman Mao, Premier Cho En Lai, Peng-Zhen, mayor of Beijing, army General Helong and other prominent party officials appear in his latest works. There are also images of western leaders including Bill Clinton and George W.╯Bush. The sources for these images are themselves historical documents including official publications and newspaper accounts of important gatherings. If there are already

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