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Books > History > Asian / Middle Eastern history
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The Future History of Contemporary Chinese Art (Hardcover)
Loot Price: R2,726
Discovery Miles 27 260
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The Future History of Contemporary Chinese Art (Hardcover)
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A revelatory reclaiming of five iconic Chinese artists and their
place in art history During the 1980s and 1990s, a group of Chinese
artists (Zhang Xiaogang, Wang Guangyi, Sui Jianguo, Zhang Peili,
and Lin Tianmiao) ascended to new heights of international renown.
Even as their fame increased, they came to be circumscribed by
simplistic Western interpretations of their artworks as social and
political critiques, a perspective that privileged stories of
dissidence over deep engagement with the art itself. Through
in-depth case studies of these five artists, Peggy Wang offers a
corrective to previous appraisals, demonstrating how their works
address fundamental questions about the forms, meanings, and
possibilities of art. By the end of the 1980s, Chinese artists were
scrutinizing earlier waves of Western influence and turning instead
to their own heritage and culture to forge their own future
histories. As the national trauma of the 1989 Tiananmen Square
massacre converged with the mounting expansion of the global art
world, these artists turned to art as a profoundly generative site
for grappling with their place in the world. Wang demonstrates how
they consciously and energetically sought to make their own ideas
about art and art history visible in contemporary art. Wang's
argument is informed by extensive primary research, including close
examination of the artworks, analysis of Chinese language documents
and archives, and deeply personal interviews with the artists.
Their words uncover layers of meaning previously obscured by the
popular and often recycled assessments that many of these works
have received until now. Beyond Wang's reinterpretation of these
individual artists, she contributes to an urgent conversation on
the future direction of art history: how do we map engagements
between art from different parts of the world that are embedded
within different art histories? What does it mean for histories of
contemporary art-and art history more generally-to be inclusive?
The new understandings offered in this book can and should be
engaged when considering current hierarchies in histories of
Chinese art, the global art world, and the intersections between
them.
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