Total Modernity and the Avant-Garde in Twentieth-Century Chinese Art pdf epub mobi txt 电子书 下载 2025
- 高名潞
- 艺术史
- 当代艺术
- 中国
- 艺术
- 海外中国研究
- VisualCulture
- Chinese_studies
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), "InsideOut: New Chinese Art" (Asia Society, New York, 1998), and "TheWall: 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 notdefined by Western chronology or formalism -- Gao Minglu is largelyresponsible 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 "totalmodernity" that forms the foundation of the Chinese avant-gardeaesthetic, and of this book. Gao examines the many ways Chineseartists engaged withthis intrinsic total modernity, including the '85 Movement, politicalpop, cynical realism, apartment art,maximalism, and the museum age, encompassing the emergenceof local art museums and organizations as well as such major events as theShanghai Biennial. He describes the inner logic of the Chinese context whilelocating the art within the framework of a worldwide avant-garde. He vividlydescribes the Chinese avant-garde's embrace of a modernity that unifiespolitics, aesthetics, and social life, blurring the boundaries betweenabstraction, conception, and representation. Lavishly illustrated with colorimages throughout, this book will be a touchstone for all considerations ofChinese contemporary art.
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前先锋艺术与革命艺术；伤痕到学院审美派、业余先锋艺术家；八五新潮的区域梳理；禅宗与观念艺术、达达主义的结合；后八五时代，政治波普主义、玩世现实主义；理性主义到极多主义的转变。
评分大佬的书，英文的不如中文。按效率算，要看大佬，《墙》要好些。吕澎的1979年以后的中国艺术史比大佬的书要详尽一些。大佬更注重梳理各种现象和背后的观念，而不是具体作品的欣赏。
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评分这学期上了作者本人教的中国当代艺术课，此书作为前半学期的教材外加《墙》。从新文化运动作为起始点逐一梳理这一百余年的艺术变革：鲁迅推动的版画运动，川派伤痕艺术，厦门达达，八五新潮和池社，公寓艺术等等。按时间顺序解读通俗易懂，从艺术史的角度过了遍中国近代史还是蛮有意思的。
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