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Provides a new perspective on the Chinese avant-garde through the figure of artist and activist Tian Han
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A groundbreaking book that describes a distinctively Chinese avant-gardism and a modernity that unifies art, politics, and social life. To the extent that Chinese contemporary art has become a global phenomenon, it is largely through the groundbreaking exhibitions curated by Gao Minglu: "China/Avant-Garde" (Beijing, 1989), "Inside Out: New Chinese Art" (Asia Society, New York, 1998), and "The Wall: Reshaping Contemporary Chinese Art" (Albright-Knox Art Gallery, 2005) among them. As the first Chinese writer to articulate a distinctively Chinese avant-gardism and modernity—one not defined by Western chronology or formalism—Gao Minglu is largely responsible for the visibility of Chinese art in the global art scene today. Contemporary Chinese artists tend to navigate between extremes, either embracing or rejecting a rich classical tradition. Indeed, for Chinese artists, the term "modernity" refers not to a new epoch or aesthetic but to a new nation—modernityinextricably connects politics to art. It is this notion of "total modernity" that forms the foundation of the Chinese avant-garde aesthetic, and of this book. Gao examines the many ways Chinese artists engaged with this intrinsic total modernity, including the '85 Movement, political pop, cynical realism, apartment art, maximalism, and the museum age, encompassing the emergenceof local art museums and organizations as well as such major events as the Shanghai Biennial. He describes the inner logic of the Chinese context while locating the art within the framework of a worldwide avant-garde. He vividly describes the Chinese avant-garde's embrace of a modernity that unifies politics, aesthetics, and social life, blurring the boundaries between abstraction, conception, and representation. Lavishly illustrated with color images throughout, this book will be a touchstone for all considerations of Chinese contemporary art.
Xiaobing Tang's "Origins of the Chinese Avant-Garde "is much more than its title implies, for it is both a vivid account of the conflict between Chinese artistic conservatism, freedom of expression, and political commitment in the 1920s and 1930s and a deeply researched study of the origins and development of the woodcut movement. The author ranges widely over the controversial writings of this hectic period, showing how intimately art, literature, criticism, and politics were intertwined, but gives due prominence to such key figures as Cai Yuanpei and Lu Xun. This book will attract many readers for the vigor and lucidity of Tang's style and will become an essential source for anyone concerned with the cultural history of this turbulent era.--Michael Sullivan, author of "Modern Chinese Artists: A Biographical Dictionary" "Origins of the Chinese Avant-Garde" is a genuine masterpiece of scholarship, an impressively documented cultural history of the Republican period. In five substantial chapters written in highly lucid and eloquent prose, Xiaobing Tang reconstructs, in detail, the art world of the Republican era, with all its different styles, organisations, institutions, and individuals, and provides cross-references to contemporaneous events in other fields, especially literature. Presenting the emergence of the woodblock printing movement in the context of other art movements, traditionalist and modernist, this book offers an art history of the period more comprehensive than any other, in Chinese or in English.--Michel Hockx, Professor of Chinese, School of Oriental and African Studies, University of London "This is one of the first books in English to connect the literature and the fine arts of the early twentieth century. The author follows Lu Xun, one of the leading proponents of the revival of woodblock printmaking in early republican China, as the central thread in a narrative examining the intersections of art education, visual art, literature, and the cinema. Drawing on a wide variety of published materials, Tang successfully puts avant-garde work of the 1930s into a much broader cultural perspective."--Kuiyi Shen, author of "A Century in Crisis: Modernity and Tradition in the Art of Twentieth-Century China"
This book examines the works of three leading writers-Su Tong, Yu Hua, and Ge Fei-and their significant contributions to the genre of Chinese avant-garde fiction.
Invaluable resource for anyone who wants to understand contemporary Chinese art, one of the most fascinating art scenes of the late 20th and early 21st centuries.
Book on Chinese cinema and literature
Since the mid-1980s, China has seen a flowering of artistic activity that has paralleled and often commented on the explosion in material culture brought about by economic reform. China Avant-garde provides an overview of recent cultural developments and presents examples of works by 60 ofthe most prominent and influential Chinese artists active today . Articles by prominent Chinese art historians detail recent history in the arts, as well as presenting discussions of developments in cinema, literature (including theatre and poetry), Chinese classical and popular music, and photography.
During the 1920s and 1930s, American minority artists and writers collaborated extensively with the Soviet avant-garde, seeking to build a revolutionary society that would end racial discrimination and advance progressive art. Making what Claude McKay called "the magic pilgrimage" to the Soviet Union, these intellectuals placed themselves at the forefront of modernism, using radical cultural and political experiments to reimagine identity and decenter the West. Shining rare light on these efforts, The Ethnic Avant-Garde makes a unique contribution to interwar literary, political, and art history, drawing extensively on Russian archives, travel narratives, and artistic exchanges to establish the parameters of an undervalued "ethnic avant-garde." These writers and artists cohered around distinct forms that mirrored Soviet techniques of montage, fragment, and interruption. They orbited interwar Moscow, where the international avant-garde converged with the Communist International. The book explores Vladimir Mayakovsky's 1925 visit to New York City via Cuba and Mexico, during which he wrote Russian-language poetry in an "Afro-Cuban" voice; Langston Hughes's translations of these poems while in Moscow, which he visited to assist on a Soviet film about African American life; a futurist play condemning Western imperialism in China, which became Broadway's first major production to feature a predominantly Asian American cast; and efforts to imagine the Bolshevik Revolution as Jewish messianic arrest, followed by the slow political disenchantment of the New York Intellectuals. Through an absorbing collage of cross-ethnic encounters that also include Herbert Biberman, Sergei Eisenstein, Paul Robeson, and Vladimir Tatlin, this work remaps global modernism along minority and Soviet-centered lines, further advancing the avant-garde project of seeing the world anew.