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View / Open Mickle Oregon 0171N 11557.Pdf ART BEYOND THE GENERIC CITY: YANG YONGLIANG’S PHOTO COMPOSITES 2007-2012 by ALEXANDRA W. MICKLE A THESIS Presented to the Department of the History of Art and Architecture and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts June 2016 THESIS APPROVAL PAGE Student: Alexandra W. Mickle Title: Art Beyond the Generic City: Yang Yongliang’s Photo Composites 2007-2012 This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the Department of the History of Art and Architecture by: Dr. Jenny Lin Chairperson Dr. Charles Lachman Member Dr. Kate Mondloch Member and Scott L. Pratt Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2016 ii © 2016 Alexandra W. Mickle iii THESIS ABSTRACT Alexandra W. Mickle Master of Arts Department of the History of Art and Architecture June 2016 Title: Art Beyond the Generic City: Yang Yongliang’s Photo Composites 2007-2012 This thesis examines the digital photo composites of Chinese artist Yang Yongliang (b. 1980, Shanghai) from 2007-2012 by selecting three distinct series that focus on three cities. This thesis approaches Yang’s Shanghai-based digital landscape prints (shuma shanshui), his 2012 series A Bowl of Taipei, and his 2010 series Greece, Greece and investigates how they relate to Asian art history, contemporary art discourse, and urban theories, including Rem Koolhaas’s 1995 essay “The Generic City.” This thesis moves beyond the simple binaries with which Yang’s works are often described – past versus present, nature versus city, tradition versus modernity – dichotomies similar to those used to characterize recent urbanization in most major cities, as observed in Koolhaas’s writing. This thesis argues that Yang’s works inhabit multiple positions simultaneously and offer new potentials for expanding beyond the generic city. iv CURRICULUM VITAE NAME OF AUTHOR: Alexandra W. Mickle GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon, Eugene, Oregon Saint Olaf College, Northfield, Minnesota East China Normal University, Shanghai, China DEGREES AWARDED: Master of Arts, History of Art, 2016, University of Oregon Bachelor of Arts, Art History, Asian Studies, 2014, Saint Olaf College AREAS OF SPECIAL INTEREST: Contemporary art Chinese art PROFESSIONAL EXPERIENCE: Graduate Teaching Fellow, University of Oregon, Department of the History of Art and Architecture, March 2015 – June 2016 ARH 210: Contemporary Asian Art, Architecture, and Film ARH 323: Art of Ancient Rome ARH 208: History of Chinese Art Curatorial Intern, Jordan Schnitzer Museum of Art, October 2015 – June 2016 Art Show Co-Chair, University of Oregon, Art History Association, October 2015 – June 2016 Education Intern, Jordan Schnitzer Museum of Art, March 2015 – June 2016 Research Assistant, University of Oregon, Department of Architecture, November 2014 – March 2015 v GRANTS, AWARDS, AND HONORS: The Ellen Johnston Laing Book Prize in Chinese and Japanese Art History, University of Oregon, 2016 Maude I. Kerns Endowment, University of Oregon, 2015 The Ellen Johnston Laing Book Prize in Chinese and Japanese Art History, University of Oregon, 2015 The Mr. & Mrs. Eric G. Clarke Scholarship in Oriental Art, University of Oregon, 2015 Marion C. Donnelly Graduate Student Travel Grant, University of Oregon, 2015 Ina McClung Scholarship in Art History, University of Oregon, 2014 Distinction in Art History, Saint Olaf College, 2014 Asian Studies Scholarship, Saint Olaf College, 2013-2014 Wildung Scholarship, Saint Olaf College, 2013-2014 Saint Olaf Grant, Saint Olaf College, 2010-2014 Dean’s List, Saint Olaf College, 2011, 2013 Lawrence Groot Scholarship, Saint Olaf College, 2012 PUBLICATIONS: Mickle, Alexandra. “Things as They Were.” In 2015 UO Art MFA Thesis Exhibition. Eugene: University of Oregon Department of Art, 2016. Mickle, Alexandra. “Wakō Shūji.” In Expanding Frontiers: The Jack and Susy Wadsworth Collection of Postwar Japanese Prints, 64. Eugene: Jordan Schnitzer Museum of Art, 2015. vi ACKNOWLEDGMENTS I wish to express sincere appreciation to Dr. Jenny Lin for her continuous support, guidance, encouragement and patience throughout this process. I would also like to thank the members of my thesis committee, Dr. Charles Lachman and Dr. Kate Mondloch, whose helpful ideas greatly shaped the structure and larger understanding of this thesis. I offer special thanks to the Department of the History of Art and Architecture at the University of Oregon for its generous funding that made research and conference travel possible. In addition, many thanks to my cohort, friends, and family for their help and support. vii TABLE OF CONTENTS Chapter Page I. INTRODUCTION .................................................................................................... 1 II. OMINOUS TRANQUILITY: SHUMA SHANSHUI ............................................ 6 The “Paris of the East” Returns ............................................................................. 8 Digital Landscapes As Contemporary Critique ..................................................... 10 “Let the Hills be Hills and Rivers be Rivers” ........................................................ 18 III. PLEASING URBANITY: A BOWL OF TAIPEI ................................................. 23 Taipei, the City of Displacement ........................................................................... 24 Bowls and Bonsai .................................................................................................. 27 To Do Yet Never Overdo: A Sprinkle of Salt........................................................ 33 IV. FUTURE HARMONY: GREECE, GREECE ....................................................... 38 Greece’s Historical Loss ........................................................................................ 39 Potential Growth from Dilapidated Ruins ............................................................. 40 Thessaloniki Biennale: The Rise of a Generic Biennial? ...................................... 45 CONCLUSION ............................................................................................................ 47 APPENDIX: FIGURES ............................................................................................... 50 REFERENCES CITED ................................................................................................ 66 viii LIST OF FIGURES Figure Page 1. Yang Yongliang, Phantom Landscape II – No. 1, 2007 ........................................ 50 2. Yang Yongliang, On the Quiet Water: View of Tide, 2008 ................................... 50 3. Yang Yongliang, Phantom Landscape II – No. 3, 2007 ........................................ 50 4. Yang Yongliang, Industrial Pollution, 2009 ......................................................... 51 5. Yang Yongliang, Global Warming, 2009 .............................................................. 51 6. Yang Yongliang, Automotive Pollution, 2009 ....................................................... 52 7. Yang Yongliang, A Bowl of Taipei No. 1, 2012 .................................................... 53 8. Yang Yongliang, A Bowl of Taipei No. 2, 2012 .................................................... 54 9. Yang Yongliang, A Bowl of Taipei No. 3, 2012 .................................................... 55 10. Yang Yongliang, A Bowl of Taipei No. 4, 2012 .................................................... 56 11. Yang Yongliang, A Bowl of Taipei No. 5, 2012 .................................................... 57 12. A Bowl of Taipei No. 2 detail ................................................................................. 58 13. A Bowl of Taipei No. 2 detail ................................................................................. 58 14. A Bowl of Taipei No. 4 detail ................................................................................. 59 15. Yang Yongliang, Greece, Greece – Greece 1, 2010 ............................................. 60 16. Greece, Greece – Greece 1 detail .......................................................................... 61 17. Yang Yongliang, Greece, Greece – Greece 2, 2010 ............................................. 62 18. Greece, Greece – Greece 2 detail .......................................................................... 63 19. Yang Yongliang, Greece, Greece – Greece 4, 2010 ............................................. 64 20. Yang Yongliang, Greece, Greece – Greece 3, 2010 ............................................. 65 ix CHAPTER I INTRODUCTION Over the past three decades, as the landscape of the People’s Republic of China has become increasingly urbanized, many contemporary Chinese artists have appropriated traditional imagery as a means of commenting on modern city life.1 Either troubled by the chaotic and fragmented situation within urbanizing cities or excited by the rapid development and attendant opportunities, these artists utilize the city as their subject and inspiration.2 In various artworks that address physical urbanization (construction, pollution, and consumption), or psychological issues (anxiety, alienation, and despair), the overarching messages in general have been mournful, satirical, or foreboding.3 Shanghai-based artist Yang Yongliang (杨泳梁) explores his understanding of urbanization through both of these lenses in his digital photo composite prints. Yang often
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