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An essential and comprehensive book on contemporary art in Vietnam today. Vietnam has developed rapidly in the last ten years with a new generation of contemporary artists who balance cultural and social issues with a very contemporary outlook, and who bring awareness of international art world trends to their work. The eighth volume of the "Eye" series, dedicated to contemporary art from Vietnam, focuses on a unique and exciting collection of artworks from emerging Vietnamese artists. The book provides a wide-ranging survey of contemporary art in Vietnam, showcasing seventy-five outstanding contemporary artists from Vietnam and their works. Like the previous Malaysian, Hong Kong, Korean, Indonesian, Singapore and Thailand "Eye" books, Vietnam Eye aims to provide a panoramic view of the situation of contemporary art in the country; it is therefore an important reference publication.
"Published in conjunction with the exhibition of the same name, on view at the Smithsonian American Art Museum, Washington, DC, March 15, 2019 to August 18, 2019."
Karaoke bars and noisy motorbikes, AIDS and capitalism, Buddhism and homosexuality, the allure of Western brands and a worn out country, marked by war?the works of Vietnamese artists Truong Tan, Nguyen Minh Thanh, Nguyen Quang Huy and Nguyen Van Cuong are both blunt and introspective, marked by fury and tenderness. Their work stands for a society on the brink of change?and they mark the beginning of a new art, the onset of contemporary art in Vietnam. Their unconventional works, their art performances and installations? the first ever in Vietnam?have established them as the most important protagonists of a free young art scene that emerged in Hanoi in the early 1990s. Their works have found their place not only in the collections of leading museums such as Singapore Art Museum and National Gallery Singapore, Solomon R. Guggenheim Foundation New York or Fukuoka Asian Art Museum; even recent art historical surveys in Vietnam itself now honor their names as ground-breaking artists. Four extensive artist sections are the core of the book. The archive of German artist Veronika Radulovic enables us to make these radical works accessible for the first time. Don?t Call it Art! tells the initial story of four artists and thereby bridge a gap in Vietnamese art history of the 20th century.
“The book addresses chronologically the most striking reactions of the art world to the rise of military engagement in Vietnam then in Cambodia.” —Guillaume LeBot, Critique d’art The Vietnam War (1964–1975) divided American society like no other war of the twentieth century, and some of the most memorable American art and art-related activism of the last fifty years protested U.S. involvement. At a time when Pop Art, Minimalism, and Conceptual Art dominated the American art world, individual artists and art collectives played a significant role in antiwar protest and inspired subsequent generations of artists. This significant story of engagement, which has never been covered in a book-length survey before, is the subject of Kill for Peace. Writing for both general and academic audiences, Matthew Israel recounts the major moments in the Vietnam War and the antiwar movement and describes artists’ individual and collective responses to them. He discusses major artists such as Leon Golub, Edward Kienholz, Martha Rosler, Peter Saul, Nancy Spero, and Robert Morris; artists’ groups including the Art Workers’ Coalition (AWC) and the Artists Protest Committee (APC); and iconic works of collective protest art such as AWC’s Q. And Babies? A. And Babies and APC’s The Artists Tower of Protest. Israel also formulates a typology of antiwar engagement, identifying and naming artists’ approaches to protest. These approaches range from extra-aesthetic actions—advertisements, strikes, walk-outs, and petitions without a visual aspect—to advance memorials, which were war memorials purposefully created before the war’s end that criticized both the war and the form and content of traditional war memorials. “Accessible and informative.” —Art Libraries Society of North America
During the Vietnam War, the country was divided at the 17th parallel. About 140 kilometres north of this dividing line is a mountain pass called Ngang pass. The land south of this pass, about 60 per cent of present-day Vietnam, was occupied for centuries by the kingdoms of Linyi, Funan and Zhenla. But most people either have not heard of them or have only vague ideas about them. This book is about these kingdoms. North of Ngang pass, Giao Châu, was ruled by northern dynasties for over a thousand years from the 2nd century BCE to the 10th century CE, barring a few intervals of independence. This volume also tells how the people of Giao Châu came out of this long period to become an independent nation and why they did not want to become part of dynastic China. This is Volume II of the book series, “A Traveller’s Story of Vietnam’s Past”; it continues where Volume I, “The Bronze Drums and The Earrings”, ends. The book contains 73 figures and illustrations. It tells the stories of familiar Vietnamese heroes like the Trưng sisters, Lady Triệu, the Black Emperor and Ngô Quyền. It also discusses the beginning of Buddhism in Vietnam and the stories of Shi Xie’s clan. The stories of Linyi’s kings and how the bloodthirsty Fan Wen and his successors prevented the Northern Dynasties from going beyond the Ngang pass are also explained. The expansion of the Funan territory from southern Vietnam to the Malay Peninsula by Fan Shiman is included. The little-known Nanzhao-An Nam War is also told with some details. The battle of the Bạch Đằng river in 938, when Giao Châu (Vietnam) gained independence, is recounted. Like Volume I, many places associated with historical events are also described in the book, including the sanctuary of Mỹ Sơn and its donation by King Bhavavarman. Chapter 1 – A summary of this book Chapter 2 – Under the Han - Giao Châu I Chapter 3 – Shi Xie and the beginning of Buddhism in Vietnam - Lady Triệu rebellion - Giao Châu II Chapter 4 – A forest town - the kingdom of Linyi and the Fans - A Generation of Raiders - Linyi I Chapter 5 – One hundred years of raids and plunders (336 to 446) - Linyi II Chapter 6 – The end of Linyi - Linyi III Chapter 7 – The inscriptions and the Varman’s - Linyi IV Chapter 8 – The Roman medals and the Óc Eo culture - Funan/Zhenla I Chapter 9 – The Kingdoms of Funan and Zhenla - Funan/Zhenla II Chapter 10 ̶ Pre-Angkor Inscriptions and three Khmer towers - Funan/Zhenla III Chapter 11 – Ten thousand springs or Vạn Xuân (542-602) - Giao Châu III Chapter 12 – The Black Emperor - The Great Father and Mother King or Bố Cái Đại Vương - Giao Châu IV Chapter 13 – Surrounded by rivers - A city of lakes: Hanoi, a nation capital - Giao Châu V Chapter 14 – The Nanzhao-An Nam war - Giao Châu VI Chapter 15 – Prelude to independence - Giao Châu VII Chapter 16 – The Dawn of Independence - Giao Châu VIII Chapter 17 – Conclusions Appendix 1 – Sources of Vietnamese history in the Chinese language used in this book Appendix 2 – Sources of Vietnamese history by Vietnamese authors written before the 19th century Appendix 3 – Names in Pinyin Chinese, English, and Vietnamese Appendix 4 – Polities under the Northern Rule period Appendix 5 – Giao Chỉ (Jiaozhi), Giao Châu (Jiaozhou), Luy Lâu (Leilou) and Long Biên (Longbian) Appendix 6 – List of Governors, Prefects etc. Appendix 7 – In Search of ancient Hanoi Appendix 8 – Ma Yuan’s expeditions Appendix 9 – The Kings of Linyi Appendix 10 ̶ The Kings of Funan and Zhenla Appendix 11 – The land that was Linyi Appendix 12 – Citadels of blood and gold Appendix 13 – An eyewitness account of the Nanzhao-An Nam war Appendix 14 – The population question Appendix 15 – Of li, bu, chi, liang, and jin Appendix 16 – Museums in Southern Vietnam Bibliography
Full-color photography and a host of practical information highlight this series of user-friendly travel guides, which also include descriptions of local sites, restaurants, hostels, shops, and nightspots; ratings of sites for value, historic interest, family friendly appeal, and other criteria; local itineraries and shopping suggestions; travel suggestions; transportation options; and colorful maps.