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Cover Title Authors Edition Volume Genre Format ISBN Keywords The Museum of Found Mirjam, LINSCHOOTEN Exhibition Soft cover 9780968546819 Objects: Toronto (ed.), Sameer, FAROOQ Catalogue (Maharaja and - ) (ed.), Haema, SIVANESAN (Da bao)(Takeout) Anik, GLAUDE (ed.), Meg, Exhibition Soft cover 9780973589689 Chinese, TAYLOR (ed.), Ruth, Catalogue Canadian art, GASKILL (ed.), Jing Yuan, multimedia, 21st HUANG (trans.), Xiao, century, Ontario, OUYANG (trans.), Mark, Markham TIMMINGS Piercing Brightness Shezad, DAWOOD. (ill.), Exhibition Hard 9783863351465 film Gerrie, van NOORD. (ed.), Catalogue cover Malenie, POCOCK (ed.), Abake 52nd International Art Ming-Liang, TSAI (ill.), Exhibition Soft cover film, mixed Exhibition - La Biennale Huang-Chen, TANG (ill.), Catalogue media, print, di Venezia - Atopia Kuo Min, LEE (ill.), Shih performance art Chieh, HUANG (ill.), VIVA (ill.), Hongjohn, LIN (ed.) Passage Osvaldo, YERO (ill.), Exhibition Soft cover 9780978241995 Sculpture, mixed Charo, NEVILLE (ed.), Catalogue media, ceramic, Scott, WATSON (ed.) Installaion China International Arata, ISOZAKI (ill.), Exhibition Soft cover architecture, Practical Exhibition of Jiakun, LIU (ill.), Jiang, XU Catalogue design, China Architecture (ill.), Xiaoshan, LI (ill.), Steven, HOLL (ill.), Kai, ZHOU (ill.), Mathias, KLOTZ (ill.), Qingyun, MA (ill.), Hrvoje, NJIRIC (ill.), Kazuyo, SEJIMA (ill.), Ryue, NISHIZAWA (ill.), David, ADJAYE (ill.), Ettore, SOTTSASS (ill.), Lei, ZHANG (ill.), Luis M. MANSILLA (ill.), Sean, GODSELL (ill.), Gabor, BACHMAN (ill.), Yung -
Dressing for the Times: Fashion in Tang Dynasty China (618-907)
Dressing for the Times: Fashion in Tang Dynasty China (618-907) BuYun Chen Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 BuYun Chen All rights reserved ABSTRACT Dressing for the Times: Fashion in Tang Dynasty China (618-907) BuYun Chen During the Tang dynasty, an increased capacity for change created a new value system predicated on the accumulation of wealth and the obsolescence of things that is best understood as fashion. Increased wealth among Tang elites was paralleled by a greater investment in clothes, which imbued clothes with new meaning. Intellectuals, who viewed heightened commercial activity and social mobility as symptomatic of an unstable society, found such profound changes in the vestimentary landscape unsettling. For them, a range of troubling developments, including crisis in the central government, deep suspicion of the newly empowered military and professional class, and anxiety about waste and obsolescence were all subsumed under the trope of fashionable dressing. The clamor of these intellectuals about the widespread desire to be “current” reveals the significant space fashion inhabited in the empire – a space that was repeatedly gendered female. This dissertation considers fashion as a system of social practices that is governed by material relations – a system that is also embroiled in the politics of the gendered self and the body. I demonstrate that this notion of fashion is the best way to understand the process through which competition for status and self-identification among elites gradually broke away from the imperial court and its system of official ranks. -
General Interest
GENERAL INTEREST GeneralInterest 4 FALL HIGHLIGHTS Art 60 ArtHistory 66 Art 72 Photography 88 Writings&GroupExhibitions 104 Architecture&Design 116 Journals&Annuals 124 MORE NEW BOOKS ON ART & CULTURE Art 130 Writings&GroupExhibitions 153 Photography 160 Architecture&Design 168 Catalogue Editor Thomas Evans Art Direction Stacy Wakefield Forte Image Production BacklistHighlights 170 Nicole Lee Index 175 Data Production Alexa Forosty Copy Writing Cameron Shaw Printing R.R. Donnelley Front cover image: Marcel Broodthaers,“Picture Alphabet,” used as material for the projection “ABC-ABC Image” (1974). Photo: Philippe De Gobert. From Marcel Broodthaers: Works and Collected Writings, published by Poligrafa. See page 62. Back cover image: Allan McCollum,“Visible Markers,” 1997–2002. Photo © Andrea Hopf. From Allan McCollum, published by JRP|Ringier. See page 84. Maurizio Cattelan and Pierpaolo Ferrari, “TP 35.” See Toilet Paper issue 2, page 127. GENERAL INTEREST THE MUSEUM OF MODERN ART,NEW YORK De Kooning: A Retrospective Edited and with text by John Elderfield. Text by Jim Coddington, Jennifer Field, Delphine Huisinga, Susan Lake. Published in conjunction with the first large-scale, multi-medium, posthumous retrospective of Willem de Kooning’s career, this publication offers an unparalleled opportunity to appreciate the development of the artist’s work as it unfolded over nearly seven decades, beginning with his early academic works, made in Holland before he moved to the United States in 1926, and concluding with his final, sparely abstract paintings of the late 1980s. The volume presents approximately 200 paintings, sculptures, drawings and prints, covering the full diversity of de Kooning’s art and placing his many masterpieces in the context of a complex and fascinating pictorial practice. -
Powers C.V. November 20 2020
March, 2020 Martin Joseph Powers Professor Emeritus, University of Michigan E-mail: [email protected] Education: Ph.D. 1978 University of Chicago, Department of Art History M.A. 1974 University of Chicago, Department of Art History B.A. 1972 Shimer College, Illinois Professional Employment: University of Michigan, Ann Arbor 1999-2018 Sally Michelson Davidson Professor of Chinese Arts and Cultures, 1988 – 1999 Associate Professor, Department of the History of Art University of California, Los Angeles 1985-1988 Associate Professor, Department of Art History 1978-1985 Assistant Professor, Department of Art History 1977-1978 Visiting Professor, Department of Art History Awards; Appointments: 2020, Jan.—Dec. Honorary Professor, Guangzhou Academy of Fine Arts 10/1/19—6/15/2020 Visiting Professor, University of Chicago 1/1/19-6/15/19 Visiting Professor, University of Chicago 10/1/17-05/16/18 Visiting Professor, University of Chicago 2013 (Spring) The China Academy of Art, the Pan Tianshou Memorial Lectures (4) 2012 (Spring) Tsinghua University, the Wang Guowei Memorial Lectures (8) 2011 Center for Advanced Study in the Visual Arts Mellon Fellow, declined. 2008-2009 Fellow, School of Historical Studies, Princeton Institute for Advanced Study 2008 Joseph Levenson Prize for the best book on pre-1900 China 2006 - 2009 Member, CASVA Board of Advisors 2007 Innaurugal lecture, Shih Hsio-yen Endowed Lecture Series, Hong Kong University 2006 – 2008 (Summer) Visiting Professor, History Department, Tsinghua University 2005 (Summer) Weilun Visiting Professor, History, Tsinghua University 2000 (Summer) Resident Faculty, Summer Institute for World Art Studies, University of East Anglia 1999-2018 Sally Michelson Davidson Professor of Chinese Arts and Cultures 1997 The Sammy Lee Endowed Lecture, U.C.L.A. -
China's Strategic Modernization: Implications for the United States
CHINA’S STRATEGIC MODERNIZATION: IMPLICATIONS FOR THE UNITED STATES Mark A. Stokes September 1999 ***** The views expressed in this report are those of the author and do not necessarily reflect the official policy or position of the Department of the Army, the Department of the Air Force, the Department of Defense, or the U.S. Government. This report is cleared for public release; distribution is unlimited. ***** Comments pertaining to this report are invited and should be forwarded to: Director, Strategic Studies Institute, U.S. Army War College, 122 Forbes Ave., Carlisle, PA 17013-5244. Copies of this report may be obtained from the Publications and Production Office by calling commercial (717) 245-4133, FAX (717) 245-3820, or via the Internet at [email protected] ***** Selected 1993, 1994, and all later Strategic Studies Institute (SSI) monographs are available on the SSI Homepage for electronic dissemination. SSI’s Homepage address is: http://carlisle-www.army. mil/usassi/welcome.htm ***** The Strategic Studies Institute publishes a monthly e-mail newsletter to update the national security community on the research of our analysts, recent and forthcoming publications, and upcoming conferences sponsored by the Institute. Each newsletter also provides a strategic commentary by one of our research analysts. If you are interested in receiving this newsletter, please let us know by e-mail at [email protected] or by calling (717) 245-3133. ISBN 1-58487-004-4 ii CONTENTS Foreword .......................................v 1. Introduction ...................................1 2. Foundations of Strategic Modernization ............5 3. China’s Quest for Information Dominance ......... 25 4. -
Curriculum Vitae
CURRICULUM VITAE Pedith Pui CHAN 陳蓓 QUALIFICATIONS: PhD SOAS, University of London 2004- 2009 Thesis title: The Making of a Modern Art World: The Institutionalisation of Guohua in Shanghai, 1929–1937 (Supervisor: Prof. Craig Clunas) M.Phil History of Chinese Art, The Chinese University of Hong Kong 2000–2002 Thesis title: 傳統的復興—吳湖帆 (1894–1968) 山水畫研究 ‘Revival of the Great Tradition: A Study of Wu Hufan's (1894–1968) Landscape Painting’ (Supervisor: Prof. Jao Tsung-i and Prof. Harold Mok) B.A. Fine Arts, The Chinese University of Hong Kong 1991–1996 AWARDS: ICAS Book Prize 2011 (Best PhD International Convention of Asia Scholars 2011 Humanities Short List) Chinese Student Award Great Britain-China Educational Trust 2007 CCK Fellowships for PhD Chiang Ching-kuo Foundation for International 2006 Dissertations Scholarly Exchange Additional Fieldwork Award SOAS, University of London 2005 Central Research Grant University of London 2005 Art Scholarship Friends of the Museum, Art Museum CUHK 2001 Oversea Research Grand Graduate School, Chinese University of Hong Kong 2001 Ting Ying Yung Academic award Department of Fine Arts, CUHK 1996 PROFESSIONAL EXPERIENCE: 1 Assistant Professor Cultural Management Programme, Faculty of Arts, The 2016- Chinese University of Hong Kong Assistant Professor Department of Chinese, Translation and Linguistics, 2010-2015 City University of Hong Kong Served as the Programme Leader (2013-2014), Deputy Programme Leader (2011-2013, 2014- 2015) for the programme Culture and Heritage Management, Class Tutor, the Study -
Global Chinese Art Auction Mar
G L O B A L C H I N E S E A R T A U C T I O N MA R K E T R E P O R T 2 0 1 5 Table of Contents Foreword . 4 About artnet . 5 About the China Association of Auctioneers (CAA) . 6 Key Findings . 7 1 The Chinese Art Market in 2015 . 11 1 .1 Market Overview . 12 1 .2 Mainland China Market . 13 1 .3 Overseas Market . 16 1 .4 Market Structure . 19 2 Lot Composition and Price Distribution . 21 2 .1 Performance by Sector . 22 2 .2 Performance by Price Segments . 26 Appendix 1: 2015 List of Global Chinese Antiques and Art Auction Houses . 29 Appendix 2: 2015 List of Lots Sold for Over 10 Million RMB . 70 Notes . 127 Contact . 130 4 Global Chinese Art Auction Market Report 2015 Foreword artnet and the China Association of Auctioneers (CAA) Over the past 10 years, the Chinese art market has seen are pleased to present the fourth edition of the Global both tremendous growth and volatilities, reaching a size Chinese Art Auction Market Report, offering together an large enough to majorly impact the global auction market . in-depth look at the market for Chinese art in 2015 . At the same time, the overseas sales of Chinese art has also more than quadrupled since 2009, with an unexpect- In a continued effort to present the most accurate repre- edly strong growth in 2015 even as the mainland market sentation of the auction market in China, artnet has again went through a cooling period . -
Cambridge University Press 978-1-107-02450-2 — Art and Artists in China Since 1949 Ying Yi , in Collaboration with Xiaobing Tang Index More Information
Cambridge University Press 978-1-107-02450-2 — Art and Artists in China since 1949 Ying Yi , In collaboration with Xiaobing Tang Index More Information Index Note: The artworks illustrated in this book are oil paintings unless otherwise stated. Figures 1–33 will be found in Plate section 1 (between pp. 49 and 72); Figures 34–62 in section 2 (between pp. 113 and 136); Figures 63–103 in section 3 (between pp. 199 and 238); Figures 104–161 in section 4 (between pp. 295 and 350). abstract art (Chinese) 163, 269–274, art market see commercialization of art 279 art publications (new) 86, 165–172 early 1980s 269–271 Artillery of the October Revolution 42 ’85 Movement –“China/Avant-Garde” Arts and Craft Movement 268 269–271 Attacking the Headquarters (Fig. 27) 1989 – present (post-modern) stage 273 avant-garde art (Chinese) 141, 146, 169, conceptual abstraction 273–274, 277–278 176, 181, 239, 245, 258, 264–265 expressive abstraction 273–274, 276 see also “China/Avant-Garde” material abstraction 277 exhibition schematic abstraction 245, 274 avant-garde art (Russian) 3–4 abstract art (Western) 147–148, 195–196, avant-garde art (Western) 100, 101, 267–268 see also Abstract 255–256, 257, 264 see also Modernism Expressionism; Hard-Edge / Structural Abstraction Bacon, Francis 243 Abstract Expressionism 256, 269, 274 Bao Jianfei 172 academic realism 245, 270 New Space No.1 167 academies see art academies Barbizon School 87 Ai Xinzhong 14 Bauhaus School 269 Ai Zhongxin 5 Beckmann, Max 246 amateur art/artists 35, 74–75, 106–108, Bei Dao 140 137–138, 141, -
Diplomarbeit Daniela Dahlke
DIPLOMARBEIT Titel der Diplomarbeit „Der Sozialistische Realismus in der VR China unter Mao Zedong und in der DDR, 1949-1976 - ein Vergleich.“ Verfasserin Daniela Dahlke angestrebter akademischer Grad Magister der Philosophie (Mag.phil.) Wien, im September 2009. Studienkennzahl lt. Studienblatt: A 315 Studienrichtung lt. Studienblatt: Kunstgeschichte Betreuerin: Univ.-Doz. Dr. phil. Dr. habil. Jorinde Ebert 1 * Gewidmet: All jenen Künstlern, die im Gefecht der Politik mit der Kunst ums Leben kamen. * Der Geist macht den Menschen zum Menschen. Zum Menschen, doch die Kunst zielt darauf hin, das Übermenschliche auszusagen. Sie ist Intuition. Sie ist der reine Ausdruck jener unbegreiflichen Kraft, die universal wirkt und die wir deshalb das Universale nennen können. Piet Mondrian 2 Inhaltsverzeichnis Vorwort S. 3 1. Einleitung: 1.1. Thema S. 4 1.2. Methode S. 5 1.3. Forschungsstand S. 6 2. Die Kunstdoktrin des Sozialistischen Realismus 2.1. Die Anfänge in Russland/ Sowjetunion S. 8 2.2. Umrisse des Sozialistischen Realismus in der DDR: Weimarer Republik und Sowjetische Besatzungszone (SBZ) S. 13 2.3. Der Sozialistische Realismus innerhalb der chinesischen Kunst des 20. Jahrhunderts S. 17 2.4. Zusammenfassung: Charakteristika des Sozialistischen Realismus sowjetischer Prägung S. 24 3. Die Volksrepublik China und die Deutsche Demokratische Republik 3.1. Kulturpolitik VR China, 1949-1976. S. 27 3.1.1. Erste Phase: Reformen und Optimismus, 1949-1956. S. 28 3.1.2. Zweite Phase: Unsicherheit, 1957-1965. S. 32 3.1.3. Dritte Phase: Frustration in der Kulturrevolution, 1966-1976. S. 35 3.1.4. Zusammenfassung: Höhen, Tiefen und Stillstand in der Kulturpolitik der VR China S. -
Art and China's Revolution
: january / february 9 January/February 2009 | Volume 8, Number 1 Inside Special Feature: The Phenomenon of Asian Biennials and Triennials Artist Features: Yang Shaobin, Li Yifan Art and the Cultural Revolution US$12.00 NT$350.00 6 VOLUME 8, NUMBER 1, JANUARY/FEBRUARY 2009 CONTENTS 2 Editor’s Note 32 4 Contributors Autumn 2008 Asian Biennials 6 Premature Farewell and Recycled Urbanism: Guangzhou Triennial and Shanghai Biennale in 2008 Hilary Tsiu 16 Post-West: Guangzhou Triennial, Taipei Biennial, and Singapore Biennale Jo-Anne Birnie Danzker Contemporary Asian Art and the Phenomenon of the Biennial 30 Introduction 54 Elsa Hsiang-chun Chen 32 Biennials and the Circulation of Contemporary Asian Art John Clark 41 Periodical Exhibitions in China: Diversity of Motivation and Format Britta Erickson 47 Who’s Speaking? Who’s Listening? The Post-colonial and the Transnational in Contestation and the Strategies of the Taipei Biennial and the Beijing International Art Biennale Kao Chien-hui 54 Contradictions, Violence, and Multiplicity in the Globalization of Culture: The Gwangju Biennale 78 Sohl Lee 61 The Imagined Trans-Asian Community and the Fukuoka Asian Art Triennale Elsa Hsiang-chun Chen Artist Features 67 Excerpts fom Yang Shaobin’s Notebook: A Textual Interpretation of X-Blind Spot Long March Writing Group 78 Li Yifan: From Social Archives to Social Project Bao Dong Art During the Cultural Revolution 94 84 Art and China’s Revolution Barbara Pollack 88 Zheng Shengtian and Hank Bull in Conversation about the Exhibition Art and China’s Revolution, Asia Society, New York 94 Red, Smooth, and Ethnically Unified: Ethnic Minorities in Propaganda Posters of the People’s Republic of China Micki McCoy Reviews 101 Chen Jiagang: The Great Third Front Jonathan Goodman 106 AAA Project: Review of A-Z, 26 Locations to Put Everything 101 Melissa Lam 109 Chinese Name Index Yuan Goang-Ming, Floating, 2000, single-channel video, 3 mins. -
Proquest Dissertations
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction k dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversee materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6* x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 WU CHANGSHI AND THE SHANGHAI ART WORLD IN THE LATE NINETEENTH AND EARLY TWENTIETH CENTURIES DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Kuiyi Shen, M.A. ***** The Ohio State University 2000 Dissertation Committee: Approved by Professor John C. -
Chapter Nine the Balance of Darkness
Chapter Nine The balance of darkness and light: selected works from 1952 to 1955 Calligraphy and painting are like strong medicine: they can cure those with illness and prevent illness in those who are not ill.1 Through painting the landscape Huang Binhong followed historical artists in creating an ideal world, detached from or abstracted from reality, governed by geomancy (fengshui 風 水) and dominated by the symbolic motifs of mountains and water (shan 山, shui 水). On a philosophical level painting enabled the scholar-artist to understand his place in the cosmos through the interaction of yin and yang, which in painting are solid and void, darkness and light. According to traditional Chinese thought, all life is governed by this fundamental principle. Chinese brush and ink painters drew on historical models, type forms and brush techniques to produce an image of the natural world. The best artists, especially those who lived long, like Huang Binhong, transformed the historical models, painting their own paintings, drawing on their own life experience. Solitary figures, or a pair of figures in conversation, animate many of Huang Binhong’s paintings, giving them a self-reflexive dimension as an abstract synthesis of thought and feeling. Painting was the means by which Huang Binhong nourished mind and spirit. Like martial arts, which Huang Binhong practiced from a young age, it was a highly disciplined, physical art, a manifestation of the artist’s life-breath (qi 氣) and an emulation of the vitality or life-breath of the cosmos. Painting and calligraphy benefited from a strong, healthy body.