Total Modernity and the Avant-Garde in Twentieth-Century Chinese Art pdf epub mobi txt 電子書 下載2025
- 高名潞
- 藝術史
- 當代藝術
- 中國
- 藝術
- 海外中國研究
- 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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pitt prof.
评分大佬的書，英文的不如中文。按效率算，要看大佬，《牆》要好些。呂澎的1979年以後的中國藝術史比大佬的書要詳盡一些。大佬更注重梳理各種現象和背後的觀念，而不是具體作品的欣賞。
评分大佬的書，英文的不如中文。按效率算，要看大佬，《牆》要好些。呂澎的1979年以後的中國藝術史比大佬的書要詳盡一些。大佬更注重梳理各種現象和背後的觀念，而不是具體作品的欣賞。
评分Arthistory Contemporary
评分這學期上瞭作者本人教的中國當代藝術課，此書作為前半學期的教材外加《牆》。從新文化運動作為起始點逐一梳理這一百餘年的藝術變革：魯迅推動的版畫運動，川派傷痕藝術，廈門達達，八五新潮和池社，公寓藝術等等。按時間順序解讀通俗易懂，從藝術史的角度過瞭遍中國近代史還是蠻有意思的。
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