Subversive Strategies in Contemporary Chinese Art

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 ...

Author: Mary Wiseman

Publisher: BRILL

ISBN: 9789004187955

Category: Philosophy

Page: 417

View: 301


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.

Subversive Strategies in Contemporary Chinese Art

sUBVersIVe sTrATeGIes IN CHINese AVANT-GArde ArT* Mary Bittner Wiseman The following review of an underground exhibition held alongside the shanghai Biennale 2000, After Exoticism—review of art festival, Shanghai, China, appeared in the ...

Author: Mary Wiseman

Publisher: BRILL

ISBN: 9789004201477

Category: Philosophy

Page: 476

View: 127


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.

Jizi and His Art in Contemporary China

In Subversive strategies in contemporary chinese art. Leiden: Brill. Liu, Chengji, and Lei Yongqiang. 2008. The body and its image in classical Chinese aesthetics. Frontiers of Philosophy in China 3 (4 Dec.): 577–594. Lu, Hong. 2012.

Author: David Adam Brubaker

Publisher: Springer

ISBN: 9783662449295

Category: Social Science

Page: 155

View: 885


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

The Future History of Contemporary Chinese Art

In Subversive Strategies in Contemporary Chinese Art, edited by Mary Bittner Wiseman and Liu Yuedi, 21–34. Leiden: Brill, 2011. Yin Jinan. “Xianzhuang guanhuai: Hou xinchao yu xin shengdai” [Concern for the current situation: Post–New ...

Author: Peggy Wang

Publisher: U of Minnesota Press

ISBN: 9781452963341

Category: Art

Page: 264

View: 300


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.

China Art Modernity

On subversive meanings in contemporary Chinese art see Martina Köppel-Yang, Semiotic Warfare: The Chinese Avant-Garde ... Mary Bittner Wiseman and Liu Yuedi, eds., Subversive Strategies in Contemporary Chinese Art (Leiden: Brill, 2011).

Author: David Clarke

Publisher: Hong Kong University Press

ISBN: 9789888455911

Category: Art

Page: 256

View: 643


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 Art of Women in Contemporary China

Man, Eva Kit Wah “Expression Extreme And History Trauma In Women Body Art In China: The Case of He Chengyao,” Subversive Strategies In Contemporary Chinese Art (Leiden, Brill Publ. 2011):171-188. Mandel, Hannah. “The Boot as Art: Sergio ...

Author: Patricia Eichenbaum Karetzky

Publisher: Cambridge Scholars Publishing

ISBN: 9781527545014

Category: Art

Page: 350

View: 966


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

Bryson's insight that since power in China seems no longer to reside at the level of the great ideologies, ... A different version appeared in Subversive Strategies in Contemporary Chinese Art edited by Mary Bittner Wiseman with Liu ...



ISBN: 9781498596916



View: 560


"Material matters in new Chinese art, which presents its subjects through the directness and immediacy of its material. This book applies theories by Osborne and Danto to new Chinese art to show how artists are working below the level of language to make each work of art prove that it is art"--

Beauty Unlimited

Melissa Chiu, Breakout: Chinese Art outside China (Milan: Charta Art Books, 2006), 92. 8. For the importance in contemporary Chinese art of the particular material used in a work, see my “Subversive Strategies in Chinese Avant-Garde Art ...

Author: Peggy Zeglin Brand

Publisher: Indiana University Press

ISBN: 9780253006424

Category: Philosophy

Page: 427

View: 303


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.

The Sociology of Arts and Markets

Princeton: Princeton University Press. Wiseman, Mary and Yuedi Liu, ed. 2011. Subversive Strategies in Contemporary Chinese Art. Leiden: Brill. Wu, Hung, and Peggy Wang, eds. 2010. Contemporary Chinese Art: Primary Documents.

Author: Andrea Glauser

Publisher: Springer Nature

ISBN: 9783030390136

Category: Social Science

Page: 431

View: 776


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

In To Life: Eco Art in Pursuit of a Sustainable Planet, ed. Linda Weintraub, 43–50. ... “Subversive Strategies in Chinese Avant-Garde Art.” In Subversive Strategies in Contemporary Chinese Art, ed. Mary Bittner Wiseman and Liu Yuedi, ...

Author: Chia-ju Chang

Publisher: Springer

ISBN: 9783030186340

Category: Literary Criticism

Page: 344

View: 131


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.