Art and China's Revolution
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Joan Lebold Cohen Interview Transcript
www.china1980s.org INTERVIEW TRANSCRIPT JOAN LEBOLD COHEN Interviewer: Jane DeBevoise Date:31 Oct 2009 Duration: about 2 hours Location: New York Jane DeBevoise (JD): It would be great if you could speak a little bit about how you got to China, when you got to China – with dates specific to the ‘80s, and how you saw the 80’s develop. From your perspective what were some of the key moments in terms of the arts? Joan Lebold Cohen (JC): First of all, I should say that I had been to China three times before the 1980s. I went twice in 1972, once on a delegation in May for over three weeks, which took us to Beijing, Luoyang, Xi’an, and Shanghai and we flew into Nanchang too because there were clouds over Guangzhou and the planes couldn’t fly in. This was a period when, if you wanted to have a meal and you were flying, the airplane would land so that you could go to a restaurant (Laughter). They were old, Russian airplanes, and you sat in folding chairs. The conditions were rather…primitive. But I remember going down to the Shanghai airport and having the most delicious ‘8-precious’ pudding and sweet buns – they were fantastic. I also went to China in 1978. For each trip, I had requested to meet artists and to go to exhibitions, but was denied the privilege. However, there was one time, when I went to an exhibition in May of 1972 and it was one of the only exhibitions that exhibited Cultural Revolution model paintings; it was very amusing. -
Independent Cinema in the Chinese Film Industry
Independent cinema in the Chinese film industry Tingting Song A thesis submitted in partial fulfilment of the requirements of the degree of Doctor of Philosophy Faculty of Creative Industries Queensland University of Technology 2010 Abstract Chinese independent cinema has developed for more than twenty years. Two sorts of independent cinema exist in China. One is underground cinema, which is produced without official approvals and cannot be circulated in China, and the other are the films which are legally produced by small private film companies and circulated in the domestic film market. This sort of ‘within-system’ independent cinema has played a significant role in the development of Chinese cinema in terms of culture, economics and ideology. In contrast to the amount of comment on underground filmmaking in China, the significance of ‘within-system’ independent cinema has been underestimated by most scholars. This thesis is a study of how political management has determined the development of Chinese independent cinema and how Chinese independent cinema has developed during its various historical trajectories. This study takes media economics as the research approach, and its major methods utilise archive analysis and interviews. The thesis begins with a general review of the definition and business of American independent cinema. Then, after a literature review of Chinese independent cinema, it identifies significant gaps in previous studies and reviews issues of traditional definition and suggests a new definition. i After several case studies on the changes in the most famous Chinese directors’ careers, the thesis shows that state studios and private film companies are two essential domestic backers for filmmaking in China. -
Artnet and the China Association of Auctioneers Global Chinese Antiques and Art Auction Market B Annual Statistical Report: 2012
GLOBAL CHINESE ANTIQUES AND ART AUCTION MARKET ANNUAL STATISTICAL REPORT 2012 artnet and the China Association of Auctioneers Global Chinese Antiques and Art Auction Market B Annual Statistical Report: 2012 Table of Contents ©2013 Artnet Worldwide Corporation. ©China Association of Auctioneers. All rights reserved. Letter from the China Association of Auctioneers (CAA) President ........... i About the China Association of Auctioneers (CAA) ................................. ii Letter from the artnet CEO .................................................................. iii About artnet ...................................................................................... iv 1. Market Overview ............................................................................. v 1.1 Industry Scale ............................................................................. 1 1.2 Market Scale ............................................................................. 3 1.3 Market Share ............................................................................. 5 2. Lot Composition and Price Distribution ........................................ 9 2.1 Lot Composition ....................................................................... 10 2.2 Price Distribution ...................................................................... 21 2.3 Average Auction Prices ............................................................. 24 2.4 High-Priced Lots ....................................................................... 27 3. Regional Analysis -
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. -
James Cox Interview Transcript
www.china1980s.org INTERVIEW TRANSCRIPT JAMES COX Interviewer: Jane DeBevoise Date:10 Nov 2009 Duration: about 1 hr 27 mins Location: New York Jane DeBevoise (JD): I would love for you to talk a little bit about Grand Central Gallery, what it represented, whom it represented, your impressions about the exhibition, and how relationships were developed. You can tell any stories you want to tell. To begin, can you talk a little bit about Grand Central Gallery, how it was positioned and how you came upon these artists? James Cox (JC): I came to New York in 1976, and the reason my wife and I came was that I got a job, which is always a wonderful opportunity. I was 30 years old. I met my wife in Oklahoma City when we were in college together. Her father was an artist who showed in Chicago, New York, and Santa Fe. The New York gallery that represented him was the Grand Central Gallery. He was very familiar with the staff but more importantly he was familiar with the first Director of Grand Central Galley, who founded the gallery in 1922. He had been director for 56 years and was ready to retire. My father-in-law kept saying, ‘You really ought to go to New York and get in touch with the board; let them know that you are available…’, and so on. So I did that. I was very lucky to be hired. In brief, the gallery was set up to showcase American art, and was backed up by prominent American businessman including very major names in business, banking, and law. -
ART in TURMOIL
ART in TURMOIL King hi_res.pdf 1 12/21/2009 3:15:46 PM Contemporary Chinese Studies This series, a joint initiative of UBC Press and the UBC Institute of Asian Research, Centre for Chinese Research, seeks to make available the best scholarly work on contemporary China. Volumes cover a wide range of subjects related to China, Tai- wan, and the overseas Chinese world. Glen Peterson, The Power of Words: Literacy and Revolution in South China, 1949-95 Wing Chung Ng, The Chinese in Vancouver: The Pursuit of Power and Identity, 1945-80 Yijiang Ding, Chinese Democracy after Tiananmen Diana Lary and Stephen MacKinnon, eds., Scars of War: The Impact of Warfare on Modern China Eliza W.Y. Lee, ed., Gender and Change in Hong Kong: Globalization, Postcolonialism, and Chinese Patriarchy Christopher A. Reed, Gutenberg in Shanghai: Chinese Print Capitalism, 1876-1937 James A. Flath, The Cult of Happiness: Nianhua, Art, and History in Rural North China Erika E.S. Evasdottir, Obedient Autonomy: Chinese Intellectuals and the Achievement of Orderly Life Hsiao-ting Lin, Tibet and Nationalist China’s Frontier: Intrigues and Ethnopolitics, 1928-49 Xiaoping Cong, Teachers’ Schools in the Making of the Modern Chinese Nation- State, 1897-1937 Diana Lary, ed., The Chinese State at the Borders Norman Smith, Resisting Manchukuo: Chinese Women Writers and the Japanese Occupation Hasan H. Karrar, The New Silk Road Diplomacy: China’s Central Asian Foreign Policy since the Cold War King hi_res.pdf 2 12/21/2009 3:16:06 PM ART in TURMOIL The Chinese Cultural Revolution 1966-76 Edited by Richard King With Ralph Croizier, Shengtian Zheng, and Scott Watson King hi_res.pdf 3 12/21/2009 3:16:06 PM © UBC Press 2010 All rights reserved. -
A Study of Xu Xu's Ghost Love and Its Three Film Adaptations THESIS
Allegories and Appropriations of the ―Ghost‖: A Study of Xu Xu‘s Ghost Love and Its Three Film Adaptations THESIS Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Qin Chen Graduate Program in East Asian Languages and Literatures The Ohio State University 2010 Master's Examination Committee: Kirk Denton, Advisor Patricia Sieber Copyright by Qin Chen 2010 Abstract This thesis is a comparative study of Xu Xu‘s (1908-1980) novella Ghost Love (1937) and three film adaptations made in 1941, 1956 and 1995. As one of the most popular writers during the Republican period, Xu Xu is famous for fiction characterized by a cosmopolitan atmosphere, exoticism, and recounting fantastic encounters. Ghost Love, his first well-known work, presents the traditional narrative of ―a man encountering a female ghost,‖ but also embodies serious psychological, philosophical, and even political meanings. The approach applied to this thesis is semiotic and focuses on how each text reflects the particular reality and ethos of its time. In other words, in analyzing how Xu‘s original text and the three film adaptations present the same ―ghost story,‖ as well as different allegories hidden behind their appropriations of the image of the ―ghost,‖ the thesis seeks to broaden our understanding of the history, society, and culture of some eventful periods in twentieth-century China—prewar Shanghai (Chapter 1), wartime Shanghai (Chapter 2), post-war Hong Kong (Chapter 3) and post-Mao mainland (Chapter 4). ii Dedication To my parents and my husband, Zhang Boying iii Acknowledgments This thesis owes a good deal to the DEALL teachers and mentors who have taught and helped me during the past two years at The Ohio State University, particularly my advisor, Dr. -
CHEN Yifei Comprehensive Index Starts in Volume 5, Page 2667
◀ CHEN Yifei Comprehensive index starts in volume 5, page 2667. CHEN Yun Chén Yún 陈 云 1905–1995 Early Communist leader Chen Yun, one of the most influential of Chi- policies, heavily based on the Soviet model of industrial- na’s early Communist leaders, occupied a cen- ization, provided the basis for economic development into tral place in the inner circle of leadership for the mid- 1950s. But when the Chinese leadership decided much of the history of the Chinese Commu- to abandon the Soviet model to follow a more Chinese path to socialism, conflict between Mao and Chen began nist Party (CCP). He served on the Central to emerge. Committee for 56 years and on the Politburo Chen rejected Mao’s view that economic development for over four decades—longer than Deng could be attained through the revolutionary enthusiasm Xiaoping—but was never a contender for the of the masses. Instead, Chen argued for slower and more party’s top post. stable economic growth, saying that the market, rather than mass political mobilization, should play a role in boosting agricultural production. Mao’s view won out, however, in 1956 when he pushed through a plan for col- onsidered to be one of China’s “eight immortals,” lectivization of agriculture and rapid industrialization a group of Chinese Communist Party (CCP) that eventually led to the Great Leap Forward and the patriarchs who held significant power after the deaths of 40 million Chinese from starvation between death of Mao Zedong in 1976, Chen Yun was perhaps 1958 and 1961. most famous for his theory of the “bird-cage economy.” Following the Great Leap Forward, Chen toured the He held that China’s market should be allowed to perform countryside to assess the movement’s failures and later like a bird in a cage. -
Table of Contents and Contributors
Contents List of Entries viii List of Contributors ix Introduction and Acknowledgments xxx Joan Lebold Cohen xxxviii Volume 1 Abacus to Cult of Maitreya Volume 2 Cultural Revolution to HU Yaobang Volume 3 Huai River to Old Prose Movement Volume 4 Olympics Games of 2008 to TANG Yin Volume 5 Tangshan Earthquake, Great to ZUO Zongtang Image Sources Volume 5, page 2666 Index Volume 5, page 2667 © 2009 by Berkshire Publishing Group LLC List of Entries Abacus Asian Games BORODIN, Mikhail Academia Sinica Asia-Pacific Economic Cooperation Boxer Protocol (Xinchou Treaty) Acrobatics Atheism Boxer Rebellion Acupuncture Australia China Friendship Society Boycotts and Economic Adoption Australia-China Relations Nationalism Africa-China Relations Auto Industry BRIDGMAN, E. C. Agricultural Cooperatives Autonomous Areas British American Tobacco Movement BA Jin Company Agriculture Bamboo British Association for Chinese Agro-geography Bank of China Studies American Chamber of Commerce Banking—History British Chamber of Commerce in in China Banking—Modern China Ami Harvest Festival Banque de l’Indochine Bronzes of the Shang Dynasty An Lushan (An Shi) Rebellion Baojia Brookings Institution Analects Baosteel Group Buddhism Ancestor Worship Beijing Buddhism, Chan Anhui Province Beijing Consensus Buddhism, Four Sacred Sites of Antidrug Campaigns Bian Que Buddhism, Persecution of Anti-Spiritual Pollution Campaign Bianzhong Buddhism, Pure Land Anyang Bishu Shanzhuang Buddhism, Tibetan Aquaculture Black Gold Politics Buddhist Association of China Archaeology and -
An Examination of the Significance of Soviet Socialist Realist Art and Practice in the Asia Pacific Region
An examination of the significance of Soviet Socialist Realist art and practice in the Asia Pacific region. Alison Carroll Student Number: 196621690 ORCID Number: 0000-0001-8068-2694 Thesis Submission for Doctor of Philosophy degree October 2016 This thesis is submitted in total fulfilment of the degree. School of Culture and Communication University of Melbourne Supervisors: Associate Professor Alison Inglis (University of Melbourne) Professor Anthony Milner (University of Melbourne and Australian National University) 1 An examination of the significance of Soviet Socialist Realist art and practice in the Asia Pacific region. Table of contents: 2 Abstract 4 Declaration 5 Acknowledgements 6 List of illustrations 7 Preface 20 Introduction: Western art historical practice and recent Asian art; some alternative ways of thinking. 22 1. Art and politics: Soviet Socialist Realism and art history in the Asia Pacific region. 46 2. Policy and practice: The significance of the new policies and practices created in the Soviet Union in the direction for art in Asia. 70 1. Political leaders on art 70 2. Arts leaders on politics 77 3. The Soviet practice of art in Asia: organisation 80 4. The Soviet practice of art in Asia: ideological innovations 95 5. The transmission of information from West to East 103 3. The Art: The influence of Soviet Socialist Realism on the art of the Asia Pacific region, 1917-1975. 113 1. Social realism in the Asia Pacific region 114 2. Socialist Realism in the Asia Pacific region 1. Russia and China: (a) Socialist in content 121 Russia and China: (b) Realist in style 131 2. -
Shanghai 1979-2006
Place: Sun Liang studio in Shanghai Interview by Biljana Ciric Date: 2009 Length: Unknow HISTORY OF EXHIBITIONS: SHANGHAI 1979-2006 Interview with Sun Liang BC: You were born in Hangzhou? SL: Yes. At first it was nothing serious. The factory organized classes for us to learn some basic painting skills. I SL: Yes. My family is from the north but I never went back. never learned painting before and found I had a liking for it. My father was a military officer and my family moved to I was not sure what to learn or from whom to learn. I liked Fujian Province when I was two. We lived there for ten years Chinese painting. A classmate’s father was a Chinese painter and then came to Shanghai. so sometimes I went to his home to find some paintings to imitate. BC: When was that? BC: Did you still work in the factory then? SL: 1969. SL: I worked in daytime and painted in the evening. BC: The Cultural Revolution already started then? BC: Who were among your classmates? SL: Yes, it was in the middle of the Cultural Revolution. We lived in an air force neighborhood compound in the Pudong SL: Most of them stopped painting. A subordinate of my area. In the 70s we moved out, because I was too naughty. father once came to my home and saw me painting. He introduced me to a teacher, Meng Guang. Chen Yifei and Xia BC: You were about fifteen and in middle school, right? Baoyuan were his students. I’m very grateful to teacher Meng. -
The Wage Grade System--The Breeding Ground of Revisionism
The Wage Grade System--The Breeding Ground of Revisionism By “A Fictitious Old Man” [Note: This article is available on the Internet in Chinese. It is a defense of the supply system and an attack on the wage system in the China. The author says that the main attacks on the supply system came from the army and from people returning from the USSR and trying to imitate Soviet methods. The article says that the data on the supply system comes from the works of Yang Kuisong, a well- know historian in China. The Chinese text appears to have been OCRed, and has some errors. Some doubtful translations are marked in the text.] In dealing with the Gao-Rao incident [of 1953]1, cratic system, and forming its own political Liu [Shaoqi] and Deng [Xiaoping], Zhou Enlai, power base. In the Cultural Revolution an un- and Chen Yun made up the first-line party dying fight took shape, continuously cutting off leadership, and Chairman Mao retired to the all kinds of corpses [doubtful translation]. second line, concentrating his attention on Chairman Mao launched the Great Proletarian studying the question of opposing and prevent- Cultural Revolution, which opposed their vest- ing revisionism from reaching China's imple- ed interests, thus of course moving back the mentation of socialist revolution. In his old age direction of the Liu-Deng side. Mao Zedong said that the greatest mistake of his life had been setting up these two head- Two years before his death, Chairman Mao quarters, the first and second lines. He published a series of sayings about wage stressed that this was the central reason for grades, such as: "China is a socialist country, the Cultural Revolution, but opposition to the about the same as capitalism before liberation.