Contemporary Chinese Art
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Adults; Age Differences; *Art Education; Art Cultural Influences
DOCUMENT RESUME ED 252 457 SO 016 108 AUTHOR Hamblen, Karen A. TITLE Artistic Development as a Process of Universal-Relative Selection Possibilities. PUB DATE lot 84 NOTE 41p.; Paper presented at the National Symposium for Research in Art Education (Champaign-Urbana, IL, October 2-5, 1984). PUB TYPE Viewpoints (120) -- Information Analyses (070) Speeches /Conference Papers (150) EDRS PRICE MF01/PCO2 Plus Postage. DESCRIPTORS Adults; Age Differences; *Art Education; Art Expression; Biological Influences; *Child Development; *Childrens Art; Cultural Context; Cultural Influences; Developmental Stages; Social Influences; *Talent Development ABSTRACT The assumptions of stage theory and major theories of child art are reviewed in order to develop an explanation of artistic expression that allows for variable andpo:nts and accounts for relationships between children's drawings and adult art. Numerous studies indicate strong similarities among children's early drawings, which suggests that primarily universal factors of influence are operative. Cross-cultural similarities and differences among adult art suggest that universal factors are still operative although relative factors predominate. A model of artistic selection possibilities is developed based on the premise that art consists of options selected from universal and relative domains, circumscribed by the imperatives of time, place, and level of skill acquisition. Similarities and differences between child and adult art as well as variable personal and cultural endpoints are accounted for when artistic development can be described as a selection process rather than a step-by-step predefined progression. (Author/KC) *********************************************************************** * Reproductions supplied by EDRS are the best that can be made * * from the original document. * ***********************************************$.*********************** Universal-Relative Selection Possibilities 1 U.S. -
Zhou Zuoren's Critique of Violence in Modern China
World Languages and Cultures Publications World Languages and Cultures 2014 The aS cred and the Cannibalistic: Zhou Zuoren’s Critique of Violence in Modern China Tonglu Li Iowa State University, [email protected] Follow this and additional works at: http://lib.dr.iastate.edu/language_pubs Part of the Chinese Studies Commons The ompc lete bibliographic information for this item can be found at http://lib.dr.iastate.edu/ language_pubs/102. For information on how to cite this item, please visit http://lib.dr.iastate.edu/ howtocite.html. This Article is brought to you for free and open access by the World Languages and Cultures at Iowa State University Digital Repository. It has been accepted for inclusion in World Languages and Cultures Publications by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. The aS cred and the Cannibalistic: Zhou Zuoren’s Critique of Violence in Modern China Abstract This article explores the ways in which Zhou Zuoren critiqued violence in modern China as a belief-‐‑driven phenomenon. Differing from Lu Xun and other mainstream intellectuals, Zhou consistently denied the legitimacy of violence as a force for modernizing China. Relying on extensive readings in anthropology, intellectual history, and religious studies, he investigated the fundamental “nexus” between violence and the religious, political, and ideological beliefs. In the Enlightenment’s effort to achieve modernity, cannibalistic Confucianism was to be cleansed from the corpus of Chinese culture as the “barbaric” cultural Other, but Zhou was convinced that such barbaric cannibalism was inherited by the Enlightenment thinkers, and thus made the Enlightenment impossible. -
Chinese Contemporary Art and the Value of Dissidence by Marie
Transition and Transformation: Chinese Contemporary Art and the Value of Dissidence by Marie Dorothée Leduc A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Visual Art and Globalization Department of Sociology and Art and Design University of Alberta © Marie Leduc, 2016 Abstract Transition and Transformation: Chinese Contemporary Art and the Value of Dissidence Marie Leduc Taking an interdisciplinary approach combining sociology and art history, this dissertation considers the phenomenal rise of Chinese contemporary art in the global art market since 1989. The dissertation explores how Western perceptions of difference and dissidence have contributed to the recognition and validation of Chinese contemporary art. Guided by Nathalie Heinich’s sociology of values and Pierre Bourdieu’s work on the field of cultural production, the dissertation proposes that dissidence may be understood as an artistic value, one that distinguishes artists and artwork as singular and original. Following the careers of nine Chinese artists who moved to France in and around 1989, the dissertation demonstrates how perceptions of dissidence – artistic, cultural, and political – have distinguished Chinese artists as they have transitioned into an artistic field dominated by Western liberal-democratic values and artistic taste. The transition and transformation of Chinese contemporary art and artists then highlights how the valorization of dissidence in the West is both artistic and political, and significant to the production of contemporary art. ii Preface This thesis is an original work by Marie Leduc. The research project, of which this thesis is a part, received research ethics approval from the University of Alberta Research Ethics Board, Project Name “Transition and Transformation: Contemporary Chinese Art in the Global Marketplace,” No. -
Dahuang Zhou Interview
DePaul University Via Sapientiae Asian American Art Oral History Project Asian American Art Oral History Project 2-19-2010 DaHuang Zhou Interview Julia Lin DePaul University Follow this and additional works at: https://via.library.depaul.edu/oral_his_series Part of the American Art and Architecture Commons, American Material Culture Commons, American Popular Culture Commons, Art and Design Commons, Art Practice Commons, Asian American Studies Commons, Asian Art and Architecture Commons, Asian History Commons, Asian Studies Commons, Contemporary Art Commons, Cultural History Commons, Ethnic Studies Commons, Modern Art and Architecture Commons, Other American Studies Commons, Other History of Art, Architecture, and Archaeology Commons, and the United States History Commons Recommended Citation Lin, Julia. (2010) DaHuang Zhou Interview. https://via.library.depaul.edu/oral_his_series/9 This Article is brought to you for free and open access by the Asian American Art Oral History Project at Via Sapientiae. It has been accepted for inclusion in Asian American Art Oral History Project by an authorized administrator of Via Sapientiae. For more information, please contact [email protected]. DaHuang Zhou/Julia Lin 1 Interviewer: Julia Lin Artist: DaHuang Zhou In-person Interview: Zhou B. Art Center, Chicago, IL Date: 02/19/2010 6:30 PM CST Note: The following interview was conducted by a DePaul University undergraduate student enrolled in AAS 201: Asian American Arts & Culture during Winter Quarter 2010 as part of the Asian American Art Oral History research project conducted by Laura Kina, Associate Professor Art, Media, & Design/Director Asian American Studies. Artist Biography: “The Zhou Brothers are one of the most accomplished contemporary artists in the world today renowned for their unique collaborative work process. -
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Global histories a student journal The Construction of Chinese Art History as a Modern Discipline in the Early Twentieth Century Author: Jialu Wang DOI: http://dx.doi.org/10.17169/GHSJ.2019.294 Source: Global Histories, Vol. 5, No. 1 (May 2019), pp. 64-77 ISSN: 2366-780X Copyright © 2019 Jialu Wang License URL: https://creativecommons.org/licenses/by/4.0/ Publisher information: ‘Global Histories: A Student Journal’ is an open-access bi-annual journal founded in 2015 by students of the M.A. program Global History at Freie Universität Berlin and Humboldt-Universität zu Berlin. ‘Global Histories’ is published by an editorial board of Global History students in association with the Freie Universität Berlin. Freie Universität Berlin Global Histories: A Student Journal Friedrich-Meinecke-Institut Koserstraße 20 14195 Berlin Contact information: For more information, please consult our website www.globalhistories.com or contact the editor at: [email protected]. The Construction of Chinese Art History as a Modern Discipline in the Early Twentieth Century by: WANG JIALU Wang Jialu Construction of Chinese Art | 65 | VI - 1 - 2019 Nottingham Ningbo China. ABOUT THE AUTHOR degree in Transcultural Studies at the Studies degree in Transcultural with a particular focus on China and its are Visual, Media and Material Cultures, global art history, and curating practices. global art history, She also holds an MA degree in Identity, She also holds an MA degree in Identity, London and a BA degree in International London contemporary media and cultural studies, Jialu Wang is currently pursuing a Master’s is currently pursuing a Master’s Jialu Wang Culture and Power from University College Culture and Power Communications Studies from University of Communications Studies University of Heidelberg. -
Shanghai, China Overview Introduction
Shanghai, China Overview Introduction The name Shanghai still conjures images of romance, mystery and adventure, but for decades it was an austere backwater. After the success of Mao Zedong's communist revolution in 1949, the authorities clamped down hard on Shanghai, castigating China's second city for its prewar status as a playground of gangsters and colonial adventurers. And so it was. In its heyday, the 1920s and '30s, cosmopolitan Shanghai was a dynamic melting pot for people, ideas and money from all over the planet. Business boomed, fortunes were made, and everything seemed possible. It was a time of breakneck industrial progress, swaggering confidence and smoky jazz venues. Thanks to economic reforms implemented in the 1980s by Deng Xiaoping, Shanghai's commercial potential has reemerged and is flourishing again. Stand today on the historic Bund and look across the Huangpu River. The soaring 1,614-ft/492-m Shanghai World Financial Center tower looms over the ambitious skyline of the Pudong financial district. Alongside it are other key landmarks: the glittering, 88- story Jinmao Building; the rocket-shaped Oriental Pearl TV Tower; and the Shanghai Stock Exchange. The 128-story Shanghai Tower is the tallest building in China (and, after the Burj Khalifa in Dubai, the second-tallest in the world). Glass-and-steel skyscrapers reach for the clouds, Mercedes sedans cruise the neon-lit streets, luxury- brand boutiques stock all the stylish trappings available in New York, and the restaurant, bar and clubbing scene pulsates with an energy all its own. Perhaps more than any other city in Asia, Shanghai has the confidence and sheer determination to forge a glittering future as one of the world's most important commercial centers. -
Introduction
INTRODUCTION During the twentieth century, museums in America amassed and exhibited distinguished collections of Asian art. In the decades following World War II, the United States blos- somed as an international hub for the study and presentation of Chinese art. International political, economic, and social changes affected the art market, prompting a new wave of collecting and, with it, the production of new scholarship and the formation of canons of Chinese art in the United States. Exhibitions held at American museums and serious scholarly publications produced by experts living in the United States helped shape the field of Chinese art history. Among the individuals behind these developments, American curator and museum director Sherman E. Lee (1918–2008) stands out as one of the most influential. This book uses Lee as a lens through which to investigate the “inner history” of collecting and exhibiting Chinese art in postwar America.1 It examines the distinctive historical circumstances of the era that encouraged a surge in collecting and presenting Chinese art in American museums. It not only articulates Lee’s pivotal role in introducing Euro-American audiences to Chinese art but also presents a behind-the-scenes history of collecting in the postwar decades, contributing to the historiography of Chinese art and adding to our understanding of the history of collecting and exhibiting East Asian art beyond its countries of origin. Through his collecting, exhibitions, and writings, Lee achieved legendary stature in the field of Asian art history during the second half of the twentieth century. His acquisi- tions of Asian art for museums in Detroit, Seattle, and Cleveland gave him a leading role in collecting during the postwar era. -
Geoforum 46 (2013) 16–24
Geoforum 46 (2013) 16–24 Contents lists available at SciVerse ScienceDirect Geoforum journal homepage: www.elsevier.com/locate/geoforum Making things irreversible. Object stabilization in urban planning and design ⇑ Martijn Duineveld a, , Kristof Van Assche b,c, Raoul Beunen d a Cultural Geography Group, P.O. Box 47, 6700 AA Wageningen, The Netherlands b Communication & Innovation Studies, Wageningen University, The Netherlands c ZEF/Center for Development Research, Bonn University, Germany d Land Use Planning Group, Wageningen University, P.O. Box 47, 6700 AA Wageningen, The Netherlands article info abstract Article history: Based on a detailed reconstruction of the planning process of a controversial major building in the Dutch Received 6 July 2011 city of Groningen, we develop a theoretical and conceptual framework for studying object formation and Received in revised form 26 November 2012 stabilisation. We argue that the many forms of resistance against the object itself triggered a variety of Available online 11 January 2013 counter-strategies of object formation. We make a distinction between sites, paths and techniques of object formation. To study object formation in more detail we distinguish three techniques: reification, Keywords: solidification and codification. The techniques of object formation are accompanied by three techniques Object formation that produce a relative stability of the object, that increases its irreversibility, the likelihood of object sur- Foucault vival: objectification, naturalisation and institutionalisation. We conclude that complete irreversibility is Actor-Network Theory Governance an illusion in governance and planning processes. Civil resistance Ó 2012 Elsevier Ltd. All rights reserved. Urban planning Irreversibility 1. Introduction the intention of the local government has been to redesign the eastern side of this square (Gemeente Groningen, 2009; Duineveld, According to Nigel Thrift the spatial turn in Geography ‘has 2011). -
Yin Xiuzhen: Mapping the Fabric of Life
Yin Xiuzhen: Mapping the Fabric of Life A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Cynthia A. Strickland June 2009 © 2009 Cynthia A. Strickland. All Rights Reserved. 2 This thesis titled Yin Xiuzhen: Mapping the Fabric of Life by CYNTHIA A. STRICKLAND has been approved for the School of Art and the College of Fine Arts by Marion Lee Assistant Professor of the Arts Charles A. McWeeny Dean, College of Fine Arts 3 ABSTRACT STRICKLAND, CYNTHIA A., M.A., June 2009, Art History Yin Xiuzhen: Mapping the Fabric of Life (90 pp.) Director ofThesis: Marion Lee This thesis examines the circumstances of production and layers of meaning in the installation works of Beijing-based contemporary artist Yin Xiuzhen (b. 1963, Beijing). The approach is to analyze several groups of Yin Xiuzhen’s installations to read how the artist has chosen to map the transformations of the economy, culture, built environment, and power structures, first of her native Beijing and then concentrically outward into the global arena. The result will chronicle the journey of the artist’s successful negotiation of place, space, materials, and message: what I call mapping the fabric of life. As an academically trained oil painter, the 1989 graduate of Capitol Normal University in Beijing initially had limited opportunities to explore a new creative path in art production. During the 1990s, she emerged along with other experimental artists in China who worked to create conceptual art. This thesis focuses on the choices both taken and resisted by Yin Xiuzhen as she developed her artistic voice and located her message within homegrown installations, using as materials fragments and remnants of lives and places. -
ZENG FANZHI B
ZENG FANZHI b. 1964, Wuhan, China Lives and works in Beijing, China EDUCATION 1991 BFA, Hubei Institute of Fine Arts, Hubei, China SELECTED SOLO EXHIBITIONS 2018 Zeng Fanzhi: In the Studio, Hauser & Wirth, Zurich, Switzerland; London, England; Hong Kong, China 2017 Zeng Fanzhi/Van Gogh, Van Gogh Museum, Amsterdam, Netherlands 2016 Zeng Fanzhi: Parcours, Ullens Center for Contemporary Art, Beijing, China 2015 Zeng Fanzhi: Paintings, Drawings, and Two Sculptures, Gagosian Gallery, New York, USA Zeng Fanzhi: The Louvre Project, ShanghART Beijing, Beijing, China 2014 Musée du Louvre, Paris, France 2013 Musee d’Art Moderne de la Ville de Paris, Paris, France 2012 Gagosian Gallery, London, UK 2011 Gagosian Gallery, Hong Kong, China Zeng Fanzhi: Being, Hong Kong Convention and Exhibition Centre, Hong Kong, China 2010 2010: Zeng Fanzhi, Rockbund Art Museum, Shanghai, China National Gallery for Foreign Art, Sofia, Bulgaria 2009 Fundación Godia, Barcelona, Spain Acquavella Gallery, New York, NY Narcissus looks for Echo, Suzhou Museum, Suzhou, China 2008 Tai Ping You Xiang, ShanghART Beijing, Beijing, China 2007 Musée d’Art Moderne de Saint- É tienne de Métropole, Saint-É tienne, France Zeng Fanzhi: Idealism, Singapre Art Museum, Singapore Zeng Fanzhi 1989–2007, Gallery Hyundai, Seoul, Korea 2006 Zeng Fanzhi: Paintings, ShanghART H-Space, Shanghai, China Hero—Zeng Fanzhi, Art Basel Miami, Miami, USA Zeng Fanzhi: Paintings, Gallery Wedel, London, UK 2005 New Paintings by Zeng Fanzhi, Hanart TZ Gallery, Hong Kong, China Sky: The Paintings of Zeng -
Art and Culture Committee HIGHLY RECOMMENDED the SHAPE of TIME CENTRE POMPIDOU X WEST BUND MUSEUM
Art and Culture Committee HIGHLY RECOMMENDED THE SHAPE OF TIME CENTRE POMPIDOU X WEST BUND MUSEUM Daily except Mon until May 9 2021 2600 Longteng Dadao, near Longteng Lu 龙腾大道2600号, 近龙腾路 The Shape of Time takes us on a journey through the shapes and forms that defined art in the 20th century. Displayed in a linear and educational form, the exhibition illustrates a chain of influences across painting and sculptures HIGHLY RECOMMENDED OBSERVATIONS CENTRE POMPIDOU X WEST BUND MUSEUM Daily except Mon until May 9 2021 2600 Longteng Dadao, near Longteng Lu 龙腾大道2600号, 近龙腾路 With the second most extensive collection of modern art in the world, Centre Pompidou can undoubtedly present a his- torical perspective for any medium. In a nonlinear maze-like form, this exhibition brings works by artists that pioneered in video art and experimented with digital imagery spanning from the early 70s to the present day. HIGHLY RECOMMENDED HUGO BOSS ASIA ART 2019 ROCKBUND ART MUSEUM Daily except Mon until Jan 5 2020 20 Huqiu Lu, near Beijing Dong Lu 虎丘路20号, 近北京东路 The Rockbund Art Museum and HUGO BOSS are presenting the exhibition of the HUGO BOSS ASIA ART AWARD. The show will open on October 18th presenting the works of the four finalists from Vietnam, The Philippines, Taiwan, and China. Based on this exhibition, a jury comprised of international experts will select a winner that will take home an award of 300,000rmb. The focus of the selection is always on young artists whose works contribute to the redevelopment of the regional art scene. This year, the public can expect an inter- esting mix of paintings, videos and sound Installations, and performances. -
Chinese New Year Is a Time to Connect with Family and Friends China's President Hu Visits the United States, Attends State
FosteringC BusinessHINA and Cultural HarmonyINSIGHT between China and the U.S. VOL. 10 NO. 2 www.chinainsight.info February 2011 China’s President Hu visits the Chinese New Year United States, attends state dinner at The White House By Greg Hugh, Staff Writer president has attended a u Jinato, the state dinner at the White U.S.-China Relations President of House. Hu’s last visit was HChina, spent 4 April 20, 2006 when he re- days visiting the United ceived a South Lawn Arrival States last month in what Ceremony [Hu’s scheduled some has described as an Sept. 2005 visit was post- historic visit. It is obvious poned because of Hurricane that the media in China and Katrina] and Hu had lunch the United States noted the with Pres. Bush rather than importance of this visit since a state dinner; Bush labeled every aspect of Hu’s visit the visit an “official visit” was covered, from what he not a “state visit”. Culture ate, to who was invited to Because of the signifi- the state dinner, to what Mi- cance of this being an of- chelle Obama wore, to what ficial state visit, there was Hu and President Obama so much demand for press spoke about. credentials that it was im- President Barack Obama and President Hu Jintao of China stand together It has been five years possible to meet the needs during the playing of the national anthem on the South Lawn of the White since President Hu has been of the media so most of the House, Jan.