Minglu Gao: Total Modernity and the Avant-Garde in Twentieth-Century Chinese Art (2011)

“To the extent that Chinese contemporary art has become a global phenomenon, it is largely through the groundbreaking exhibitions curated by Gao Minglu: ‘China/Avant-Garde’ (Beijing, 1989), ‘Inside Out: New Chinese Art’ (Asia Society, New York, 1998), and ‘The Wall: Reshaping Contemporary Chinese Art’ (Albright-Knox Art Gallery, 2005) among them. As the first Chinese writer to articulate a distinctively Chinese avant-gardism and modernity—one not defined by Western chronology or formalism—Gao Minglu is largely responsible for the visibility of Chinese art in the global art scene today.

Contemporary Chinese artists tend to navigate between extremes, either embracing or rejecting a rich classical tradition. Indeed, for Chinese artists, the term “modernity” refers not to a new epoch or aesthetic but to a new nation—modernity inextricably connects politics to art. It is this notion of “total modernity” that forms the foundation of the Chinese avant-garde aesthetic, and of this book.

Gao examines the many ways Chinese artists engaged with this intrinsic total modernity, including the ’85 Movement, political pop, cynical realism, apartment art, maximalism, and the museum age, encompassing the emergence of local art museums and organizations as well as such major events as the Shanghai Biennial. He describes the inner logic of the Chinese context while locating the art within the framework of a worldwide avant-garde. He vividly describes the Chinese avant-garde’s embrace of a modernity that unifies politics, aesthetics, and social life, blurring the boundaries between abstraction, conception, and representation. Lavishly illustrated with color images throughout, this book will be a touchstone for all considerations of Chinese contemporary art.”

Publisher MIT Press, 2011
ISBN 0262014947, 9780262014946
409 pages

Reviews: Craig Clunas (Artforum, 2011), David Carrier (artCritical, 2011).

Publisher

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Mary Bittner Wiseman, Liu Yuedi (eds.): Subversive Strategies in Contemporary Chinese Art (2011)

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.

Publisher Brill Academic Pub, 2011
Volume 31 of Philosophy of History and Culture
ISBN 9004187952, 9789004187955
417 pages

Publisher
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COPY, 1: Understudy (2010)

“COPY is a publication of critical/experimental writing as or in the field of visual art and performance.

This issue of COPY is launched as part of The Plaza Principle, curated by Derek Horton and Chris Bloor in the partially vacant 1980s Leeds Shopping Plaza; an exhibition that aims to acknowledge the economic context in which artists are invited to occupy vacant shop units to disguise or compensate for economic decline in the nations town, city and district centres, supplementing commercial inactivity with cultural activity.

COPY proposes understudy as a point from which to consider, reflects and interrupt this context through a collection of art writing around the stand in – the temporary, illusory, consumed or performed; smoke and mirrors; the assessed, inquired or theorized. The works in this issue address, allude to or form tangents from these ideas and present a range of approaches to the use of the page, print and the form and nature of writing as or within practice.”

Contributors include Huw Andrews, Fabienne Audeoud, David Berridge, Rachel Lois Clapham, Emma Cocker, Sam Curtis, Charlotte A Morgan, Flora Robertson and Rebecca Weeks.

Developed by Critical Writing Collective, a network and platform for art writing and critical dialogue based in the Yorkshire region, UK.
Free to take away, copy and disseminate
26 pages

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