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CHINESE ARTISTS AND CONTEMPORARY ART UNDER THE INFLUENCE OF TIANANMEN SQUARE EVENT OF JUNE, 1989 BY CHENYU WANG CHINESE ARTISTS AND CONTEMPORARY ART UNDER THE INFLUENCE OF TIANANMEN SQUARE EVENT OF JUNE, 1989 A Thesis Submitted to the Faculty of Drexel University by Chenyu Wang in partial fulfillment of the requirements for the degree of Master of Science in Arts Administration March 2017 1 ©Copyright 2017 Chenyu Wang. All Rights Reserved 2 DEDICATIONS Dedicated to Bojin Zhou for your undying support and love AND Dedicated to all the people who supported and helped me, who inspired and guided me and who shared your stories and opinions with me AND Richard H. O 3 ACKNOWLEDGEMENTS I would like to express my sincere gratitude to my thesis advisor, Dr. Andrew Zitcer for his continuous support of my study and research. Without his encouragement and guidance, the thesis wouldn’t have been possible. I am also thankful to all the faculty at Drexel University, especially dear Julie Hawkins and Neville Vakharia. They supported me for my study and life through the last year and a half of my life in Philadelphia. And I appreciate every professor who taught me throughout the graduate program. They have made the degree possible. In addition, I am grateful to every single person who I have interviewed. It is their courage that uncovered some hidden stories in the history, which was of importance for the further study of Chinese contemporary art history. Finally, I owe a deep thank to my family, friends, and you, who are reading the thesis and interested about the topic. 4 Content DEDICATIONS 3 ACKNOWLEDGEMENTS 4 Content 5 Abstract 7 Introduction 8 Purpose/Problem Statement 12 Methodology 14 Literature Review 15 Looking Backward 22 Background Discussion 22 HISTORY: 22 Brief Chinese History 22 Cultural Revolution 24 Reform and Opening up Policy 25 The Influence of Tiananmen Square Event 27 ART: 29 Cultural Context for Artists in ancient China 29 Modern and Contemporary Chinese Art History 30 Beginning of Exhibitions in 1979 32 China/Avant-Garde in 1989 32 Two Major Symbols in Chinese Political Art 35 Tiananmen Square 35 Mao 36 Interviews 39 The First Interviewee, Zhou Chi 39 Background 39 Cultural Revolution 39 Tiananmen Square Event 41 Art 42 The Second Interviewee, Wang Yang 44 Background 44 5 1989 and Tiananmen Square Event 44 Mao-craze 45 Art 46 The Third Interviewee, Cai Xing 49 Background 49 Concept 21 in 1980s 49 Performance Art, the Great Wall 51 Artist, Give up as an Artist 52 The Fourth Interviewee, Wu Guojia 54 Background 54 Abstract Ink Painting 55 Come to USA 56 Art 57 Discussion 59 Conclusion 64 References 66 6 Abstract In the year of 1989, the appalling Tiananmen Square Event happened in China, becoming a large topic of social and political research. This period became the most transformative, changing modern Chinese society, and thus Chinese art. This watershed event not only changed the social ideology of China, but also had a big influence to Chinese contemporary art history. Especially in the same year, before the event, China/Avant-garde exhibition supported by the government was held. From studying this theme, the main purpose of the thesis is to explore the relations between individuals and history, art and politics, and people’s own identity. The paper’s objective is to alleviate some misunderstandings and misinterpretations of Chinese contemporary artists and artworks. To achieve the purpose, this article will discuss the backgrounds for contemporary Chinese art: Chinese history, Chinese art history, and Chinese cultural context, along with several political events. After which, details of the interviews of four art-related workers who directly or indirectly participated in the Tiananmen Square Event, bringing a unique insight whether politics largely influences their artworks consciously or potentially. In brief, after the Tiananmen Square Event of June 1989, the art environment in China changed enormously. Consequently, the year of 1989 is of significance to study the history of contemporary Chinese art. 7 Introduction Modern China, officially the People's Republic of China (PRC) established in the year of 1949, is governed by the Communist Party of China. In recent years, the world has witnessed the dramatic economic development of this country which has become the second largest economy by nominal GDP, and sustaining its GDP growth rate at nearly 1 10%0F for over ten years. As a reaction to this astonishing development, there is stronger interest worldwide to understand all aspects of the country. Noticeably, modern and contemporary Chinese art has become a hot topic in the 21st century. The art market is increasingly willing to deepen the understanding of modern and contemporary Chinese art. Specifically, in 2013, the Metropolitan Museum in New York City held its first major exhibition of contemporary Chinese art, Ink Art: Past as Present in Contemporary China. It presented both old, permanent Chinese collections and works by new contemporary artists. Concurrently, Chinese artists are exploring the mainstream works of Chinese art and engaging in countless artistic events and exhibitions - small and large, scholarly and commercially. Most of them endeavor to re-examine the not-so- distant Socialist Realist past, referencing ancient philosophy, revisiting the conventional mediums of Chinese art, and reflecting on relevant issues in the country’s rapidly changing environment. The past is showing as the focus for recent exhibitions of Chinese art, as if seemingly trying to reveal ownership over the future. This year, the Guggenheim Museum just 1 "GDP growth (annual %)." GDP growth (annual %) | Data. Accessed February 16, 2017. http://data.worldbank.org/indicator/NY.GDP.MKTP.KD.ZG?locations=CN 8 opened the exhibition, Tales of Our Time, with the emphasis on often-overlooked historical and cultural Chinese narratives. With the expansion of globalization and international exchanges, the country’s nonprofit systems are growing and there are numerous private museums being established, welcoming artworks to be exhibited from all around the world. Meanwhile, Chinese collectors are now keen in breaking the auction records for both Chinese and Western art masterpieces. Last year, a Chinese billionaire bought 2 Modigliani painting, resulting in a record breaking $170 million1F . Although it was said the flailing Chinese economy caused the slowing of Asian buying, there were reports of 3 “very strong” bidding from American and European clients and from Asian clients 2F . Despite the prosperous art world pouring over contemporary Chinese art, there are inevitably some misunderstandings and misinterpretations. Inundated in the fast consumerism world, Chinese artworks’ value may easily be biased by the artists’ country, sex or personal identity. When it comes to the gallery-oriented contemporary Chinese art, paintings with clear symbols or political issues of China, such as Mao or Tibetan Independence, sell better than other themes. This is in part because of the clear signs easily exhibiting the artwork’s exoticness differences from 2 Ellis-Petersen, Hannah. "Modigliani painting sells to Chinese billionaire for record breaking $170m." The Guardian. November 10, 2015. Accessed February 16, 2017. https://www.theguardian.com/artanddesign/2015/nov/10/modigliani-painting-reclining-nude-chinese- billionaire. 3Martinez, Alanna. "$57M Basquiat Breaks Auction Record at Christie’s." Observer. May 17, 2016. Accessed February 16, 2017. http://observer.com/2016/05/57m-basquiat-breaks-auction-record-at- christies/. 9 the West. The bias influencing the buyers’ purchasing preferences demonstrates their desire for typical oriental styles, and lack thereof for abstract artworks created by Chinese artists following a more Western style. In Art in America’s July 2001 issue, the article assertively criticized that contemporary Chinese artists have “the urge for practitioners to ‘catch up’ with the West and to stand out from the overwhelming competition which leads many to a strategy of shock”, and are “obsessed with testing the limits of tolerance.” Without understanding the real cultural context of both old and modern social structure in China, these unkind judgments on contemporary Chinese artists will not stop. The corresponding reasons for this judgment varies greatly. From the historic perspective, modern China has experienced political, economic, and cultural calamities, and then transformed disturbingly under the influence of complicated factors. It is hard to demonstrate contemporary Chinese art simply because art-oriented ideas and reflections are conflicting. In addition, because of the peculiar nature of the previous feudal empire and its long duration, it is still difficult for Westerners to even truly understand “where” or “what happened” when contemporary Chinese art is considered. Moreover, due to the different or opposite political ideologies between China and the West, Chinese modern art is often introduced with different perceptions and ideas in a brief, fragmented, and arbitrary manner. As Ai Weiwei mentioned in his blog, though Western standards tend to absolutely dictate hypocritical and sanctimonious actions, art following the Western standard boasts political correctness, tries to deal with small and 10 4 big affairs, and simplifies the way of addressing politics and ideology. 3F Globalization, in fact, has not eliminated the difference between China and the West in terms of their art history, art development, culture and
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