Art in China since 1949

China Quarterly

Volumn , Issue 159, 1999, Pages 712-722

  Sullivan, Michael ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

CULTURE;

CHINA;

EID: 0032732786     PISSN: 00094439     EISSN: None     Source Type: Journal    
DOI: None     Document Type: Article

References (36)

1. Ellen Laing, The Winking Owl: Art in the People's Republic of China (Berkeley: University of California Press, 1984), and Julia Andrews, Painters and Politics in the People's Republic of China, 1949-1979 (Berkeley: University of California Press, 1994); and Jerome Silbergeld with Gong Jisui, Contradictions: Artistic Life, the Socialist State, and the Painter Li Huasheng (Seattle: University of Washington Press, 1993).
2. Ellen Laing, The Winking Owl: Art in the People's Republic of China (Berkeley: University of California Press, 1984), and Julia Andrews, Painters and Politics in the People's Republic of China, 1949-1979 (Berkeley: University of California Press, 1994); and Jerome Silbergeld with Gong Jisui, Contradictions: Artistic Life, the Socialist State, and the Painter Li Huasheng (Seattle: University of Washington Press, 1993).
3. Ellen Laing, The Winking Owl: Art in the People's Republic of China (Berkeley: University of California Press, 1984), and Julia Andrews, Painters and Politics in the People's Republic of China, 1949-1979 (Berkeley: University of California Press, 1994); and Jerome Silbergeld with Gong Jisui, Contradictions: Artistic Life, the Socialist State, and the Painter Li Huasheng (Seattle: University of Washington Press, 1993).
4. See Liao Kaiming, "Content good: form beautiful. Selected Works from the new farmers' painting," Meishu, No. 9 (1998), pp. 6-8.
5. This issue is discussed in detail in the chapter "The politicisation of guohua," in Andrews, Painters and Politics, pp. 176-200.
6. Illustrated in ibid. Fig. 108.
7. The symposium, held in conjunction with the Second Shanghai Biennale, was sponsored by the Shanghai Art Museum and funded by the Annie Wong Art Foundation in Hong Kong.
8. His bitter experiences, when he was told to go home and study socialist realism and then come back and teach, are told in his biography by Chai Mo, Yuan liao caihong (The Consummation of the Rainbow) (Beijing: People's Cultural Publishing House, 1997).
9. It must be emphasized, however, that pressure from Party hard-liners was never quite removed. The bedraggled but defiant eagles of Pan Tianshou's last years, for example, show his state of mind, while his early death in 1973 was the direct result of harassment by Jiang Qing and her supporters. His work was included posthumously in the notorious Black Painting Exhibition held in Beijing in February/March 1974.
10. Some of the an produced during those crucial days was belatedly reproduced in Meishu, Nos. 8-12 (1979).
11. See Michael Sullivan, Art and Artists of Twentieth Century China (Berkeley: University of California Press, 1996), Plate 63.
12. See Zhang Tsong-zung, The Stars: The Years (Hong Kong: Hanart Z, 1989), which includes Geremie Barmé's critical overview "Arrière-pensée on an Avant-Garde." When I asked Jiang Feng why the gallery had given space to the Stars, he said that the aim was to show the artists how mistaken they were, and that their show would be ignored by the public. In fact, it drew crowds, and 70% of the comments in the albums provided by the gallery were favourable.
13. Their work is discussed and illustrated in Meishu zuopin, No. 7 (Beijing, 1981), and in Joan Lebold Cohen, The New Chinese Painting 1949-1986 (New York: Harry N. Abrams, 1987), pp. 76-81.
14. Their work is discussed and illustrated in Meishu zuopin, No. 7 (Beijing, 1981), and in Joan Lebold Cohen, The New Chinese Painting 1949-1986 (New York: Harry N. Abrams, 1987), pp. 76-81.
15. For a number of typical works, see Tao Yongbai, 1700-1985: Oil Painting in China (Shanghai: Jiangsu Art Publishing House, 1988).
16. See Joan Lebold Cohen, Yunnan: A Renaissance in Chinese Painting (Minneapolis: Fingerhut Group, 1988).
17. These were, so far as I know, never published in China, but one of them is reproduced in my Art and Artists of Twentieth Century China, Plate 62.
18. See Ibid. Fig. 22.8.
19. Since the Tianshu has been exhibited in the West, it has acquired a number of new meanings; but that the original meaning and purpose of the work was, indirectly at least, political, was expressed in a letter from Xu Bing to me in September 1997, in which he wrote, "The Tian Shu was originally created out of an anxiety over the sense of loss I felt towards my culture and personal situation that prompted me to seek anwers to some meaningful questions."
20. A good introduction to the now extensive literature on Xu Bing and Gu Wenda is Oscar Ho and T.Z. Zhang (Zhang Tsong-zung), Desire for Words: An Exhibition of Installation Works by Xu Bing and Gu Wenda (Hong Kong: Hong Kong Arts Centre, 1992).
21. On Huang Yongpin's Dadaist activities, see Valerie C. Doran (ed.), China's New Art: Post-1989 (Hong Kong: Hanart TZ Gallery, 1993), pp. xvi and xciii, and Figs. 99 and 100.
22. See Tang Shisheng and Gan Wuyan (eds.), Works of the Chinese Nude Oils Exhibition (Guilin: Guangxi People's Publishing House, 1988).
23. Illustrated in Sullivan, Art and Artists of Twentieth Century China, Fig. 256.
24. Prize-winning works from this exhibition are reproduced in Meishu, Nos. 7, 8,9, and 10 (1979), with a full list in No. 11.
25. See Li Xianting, "Major trends in the development of contemporary Chinese art," in Doran, China's New Art, pp. x-xxii.
26. This is Li Xianting's label for a collection of works that included Xu Bing's Tianshu and Holy Scriptures in Braille, Gu Wenda's "Oedipus Refound Complex" series and the New Analysts Group's charts and mathematical formulae.
27. This is Li Xianting's label for a collection of works that included Xu Bing's Tianshu and Holy Scriptures in Braille, Gu Wenda's "Oedipus Refound Complex" series and the New Analysts Group's charts and mathematical formulae.
28. See Wang Lin, "Installation and Chinese experience," Meishu yanjiu (Art Research), No. 3 (1998), pp. 44-46.
29. If it is true that, as Hou Hanru put it, "Performance ... is certainly the most direct way to express the real situation of human beings living in a culturally, politically and morally alienating society," one may wonder why reactions are often so confused and hostile. See his "Beyond the cynical: China's Avant-Garde in the 1990s," Art Asia Pacific, Vol. 3, No. 1 (1996), pp. 42-51.
30. See Shanghai Biennale (Shanghai: Shanghai Art Museum, 1996), Plates 104-106.
31. See "The faces of China's future," Limn: Magazine of International Design, No. 2 (1998), pp. 12-23. This issue also contains two articles on post-1989 Chinese art: Charles Egan, "The future of new Chinese art" (pp. 4-11), and Britta Erickson, "Made in China: is there a market for new Chinese art?" (pp. 24-30).
32. See "The faces of China's future," Limn: Magazine of International Design, No. 2 (1998), pp. 12-23. This issue also contains two articles on post-1989 Chinese art: Charles Egan, "The future of new Chinese art" (pp. 4-11), and Britta Erickson, "Made in China: is there a market for new Chinese art?" (pp. 24-30).
33. See "The faces of China's future," Limn: Magazine of International Design, No. 2 (1998), pp. 12-23. This issue also contains two articles on post-1989 Chinese art: Charles Egan, "The future of new Chinese art" (pp. 4-11), and Britta Erickson, "Made in China: is there a market for new Chinese art?" (pp. 24-30).
34. For an objective look at the Xin wenren hua, see Francesca dal Lago, "New literati painting," Art Asia Pacific, No. 19 (1998), pp. 32-34.
35. "The faces of China's future," p. 22.
36. See Fan Jingzhong, Cao Yiqiang, Huang Zhuang and Yan Shanchun, "The pessimism in art of ours," Meishu yanjiu, No. 1 (1997), pp. 19-21.