By Wu Hung

ISBN-10: 0822349434

ISBN-13: 9780822349433

Regardless of the liveliness and creativity of avant-garde chinese language paintings within the post-Mao period and its prominence on the planet of foreign modern paintings, earlier there was no systematic advent to this crucial paintings in any Western language. in addition, many of the appropriate basic files have existed basically in chinese language, scattered in hard-to-find guides. modern chinese language paintings treatments this example by way of bringing jointly conscientiously chosen basic texts in English translation. prepared in chronological order, the texts advisor readers in the course of the improvement of avant-garde chinese language artwork from 1976 till 2006. simply because experimental chinese language artwork emerged as a family phenomenon within the Seventies and Nineteen Eighties and its next improvement has been heavily regarding China’s social and competitively priced transformation, this quantity specializes in artwork from mainland China. whilst, it encompasses the actions of mainland artists living in another country, in view that artists who emigrated within the Nineteen Eighties and Nineteen Nineties have been usually key members within the early avant-garde events and feature persevered to engage with the mainland paintings international. the first files comprise the manifestos of avant-garde teams, prefaces to special exhibitions, writings by means of consultant artists, vital serious and analytical essays, or even a few respectable records. every one bankruptcy and part starts off with a concise preface explaining the importance of the texts and delivering the required old heritage; the quantity features a timeline summarizing very important artwork phenomena and similar political occasions.

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Additional info for Contemporary Chinese Art: Primary Documents (MoMA Primary Documents)

Example text

Several paintings had spontaneous color choices, and some even used chalk. Quite a few works are painted on silk or polyester, such as Lin Wei’s Angel ( Tianshi ). In this painting, in order to depict the white-cloaked emissary, the artist sprinkled white powder on a subtle yellow silk ground. The angel’s hair is painted gray, and the entire surface is as spotless as a blanket of snow, producing the feeling that both the images within the painting and the thoughts outside the picture frame are lucid and pure.

This represents another concept of art, a concept that is produced against a crosscultural background. Zhang Xiaoling ( Graduate Student in Art Theory, Chinese National Academy of Arts ): Whether art is good or bad is determined by particular aesthetic ideals. Without these aesthetic ideals, there is no way to evaluate art. In fact, the reason that many viewers Art is infiltrating the field of production and the sphere of our lives. At the same time, production and life are orienting themselves toward art.

Zhang Rongfu’s Childhood Memories ( Tongnian de huiyi ), Li Di’s Doves ( Gezi ), Zhou Changjiang’s Window ( Chuangkou ), and a nude painting that adopts Dalí’s style of Surrealism, all possess their own individual attributes in their explorations in spatiotemporal construction. In the printmaking category, Zhang Jun’s April 5, 1976 ( 1976 nian siyue wuri ) is a striking new work. The artist cut out a horizontal strip from a photograph of a young military troop marching shoulder-to-shoulder. Using this as a basic unit, he added the text “April 5, 1976,” and repeatedly positioned it throughout the work like a pattern.

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Contemporary Chinese Art: Primary Documents (MoMA Primary Documents) by Wu Hung


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