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Survey of contemporary Hong Kong art.
'Hong Kong Artists' is an international publication dedicated to the emerging generation of artists born between the late 1970s and the mid 1980s, and introduces 20 artists working in a variety of media from pencil drawing to public performance, from painting to computer-animated video work.
This imaginative and innovative study by Daniel Miles Amos, begun in 1976 and completed in 2020, examines sociocultural changes in the practices of Chinese martial artists in two closely related and interconnected southern Chinese cities, Hong Kong and Guangzhou. The initial chapters of the book compare how sociocultural changes from World War II to the mid-1980s affected the practices of Chinese martial artists in the British Crown Colony of Hong Kong and neighboring Guangzhou in mainland China. An analysis is made of how the practices of Chinese martial artists have been influenced by revolutionary sociocultural changes in both cities. In Guangzhou, the victory of the Chinese Communist Party lead to the disappearance in the early 1950s of secret societies and kungfu brotherhoods. Kungfu brotherhoods reappeared during the Cultural Revolution, and subsequently were transformed again after the death of Mao Zedong, and China’s opening to capitalism. In Hong Kong, dramatic sociocultural changes were set off by the introduction of manufacturing production lines by international corporations in the mid-1950s, and the proliferation of foreign franchises and products. Economic globalization in Hong Kong has led to dramatic increases both in the territory’s Gross Domestic Product and in cultural homogenization, with corresponding declines in many local traditions and folk cultures, including Chinese martial arts. The final chapters of the book focus on changes in the practices of Chinese martial arts in Hong Kong from the years 1987 to 2020, a period which includes the last decade of British colonial administration, as well as the first quarter of a century of rule by the Chinese government.
In late 2014, the prodemocracy demonstrations that were called the "Umbrella Movement" revealed to the world that Hong Kong was not the moneyobsessed society it had often been portrayed as. Hong Kong Soft Power is a description of the complex relationship the artists and activists of this city have had with the country it has been part of since 1997. Trying to understand all the varied forms of art practices possible in the Special Administrative Region by locating them within a relational model, and situating them within the dynamic and changing art ecosystem that has developed over the last decade, Hong Kong Soft Power describes the local art field as a site of struggle where the connections with Chinese Mainland institutions and art practices play a fundamental role. This is not to say that this influence has entirely dominated the local art field, and this book also emphasizes how the artists of the city have engaged in practices ranging from the most personal to the most sociallyoriented. With the analysis of the works of about fifty local art practitioners and a representative range of art institutions, Hong Kong Soft Power is the portrait of a culture going through the trials and tribulations of rapid political and economic changes in both its negative and positive effects.
Hong Kong has the once in a generation opportunity to assert itself as the creative and cultural hub of Asia, and to rival the established centres of New York and London. In providing an angle unique to the city, Hong Kong could play a pivotal role in redefining the concept of a 'global' art world. But, is it ready to take on the challenge? Magnus Renfrew, art expert and one of the driving forces behind the city's ascent in the art world, outlines the recent past and paints the future of Hong Kong's creative scene, all while reflecting on his own experiences and the new buzz around Hong Kong's endless possibilities.
Contemporary Chinese art is nowadays a subject area widely taught and researched in academic and nonacademic publications, but it has not yet been studied by 'localizing' the research in specific cultural areas within the Chinese world. Selecting Hong Kong for a first such study was an obvious choice, since Hong Kong culture has had for already quite a long time very specific features which have put it apart from the generally accepted definition of Chinese national culture. Although it is not a survey of 'Hong Kong art,' as such a study would demand many more books, the works of about eighty artists working in Hong Kong (and sometimes outside) have been analyzed and contextualized in these pages.
"Creating Across Cultures is a collection of stories about visionary Asian women who have journeyed outside their comfort zones to expand their artistic horizons. It celebrates the achievements of sixteen women in the arts from China, Hong Kong, Macau, and Taiwan-a region of diverse cultures, languages, and histories. Creating in a range of literary, visual, and performing arts, these women must often defy cultural and social expectations in order to heed their artistic drive. Their personal histories open windows onto the larger, historical trajectory of Greater China over three generations while their art work delves into social realities and challenges of the day. The stories are based on personal interviews and professional archives and written by a team of arts specialists, journalists, and academics who bring these accounts to light in English for the first time. Richly illustrated with images of artworks and performances as well as historical photographs, the collection reveals the vibrancy, relevance, and universality of the work of creative women in the region. In bringing these women's stories together in one book, editor Michelle Vosper illuminates the value of the exchange of arts and ideas across borders and cultures, while offering inspiring role models for women aspiring to careers in the arts."--Publisher's description.
"Sullivan presents a wealth of material that has never before appeared in a Western language. I expect it will be the standard book on twentieth-century Chinese art for the foreseeable future."--Julia F. Andrews, author of Painters and Politics in the People's Republic of China "A most sympathetic and useful guide to twentieth-century Chinese art. Long the leading scholar on the subject, Professor Sullivan has presented a lucid account of a most dramatic chapter in Chinese art in a complex interplay of aesthetics, politics, cultural, and social history."--Wen C. Fong, Princeton University "So much of China's art in the twentieth century has to do with artistic (and political) ideas from the West that is is appropriate that one of its first comprehensive histories should be written by a Western scholar--especially one who has known personally many of China's leading artistic figures of the last fifty years. Not only does Professor Sullivan tell the complex story of twentieth century China art with lucidity and style, his learned text is also illuminated with witty anecdotes and incisive observations that can only come from an indsider."--Johnson Chang (Chang Tson-zung), Director, Hanart Tz Gallery, Hong Kong