Skip to main content

Complementary Modernisms in China and the United States: Art as Life/Art as Idea

  • Edited by Bruce Robertson, Zhang Jian

Published on September 10, 2020 by punctum books

SUBSCRIBE
Pages
696 pages
Languages
Chinese, English
Dimensions
7.25⤫9.25 in.
ISBN (Paperback)
ISBN: 978-1-950192-57-1 (Paperback)
ISBN (PDF)
ISBN: 978-1-950192-58-8 (PDF)
DOI
DOI: 10.21983/P3.0269.1.00(opens in new tab)
LCCN
LCCN: 2020940865
BISAC subject codes
BISAC: ART009000, ART015110
Thema subject codes
THEMA: 1FPC, 1KBB-US-W, 6MC, AGC

Complementary Modernisms in China and the United States: Art as Life/Art as Idea is the result of a conference where Chinese and Americanist art historians addressed the development of modernism in their respective cultural traditions. The chapters juxtapose historical developments without attempting to map connections or influences. Instead, both national modernisms are presented as part of the larger terrain of global modernism, but generated within specific, localized circumstances. This juxtaposition reveals significant differences as much as any particular moments of connection or similarities, disrupting any standard narrative of the primacy of French (or European) avant-garde art and its influence on more belated and peripheral communities.

The differences that are revealed are not merely the result of the very different historical trajectories of each country’s moves into modernity. Rather, differences in attention and methodology are just as important, in particular the focus on the post-1980 development of Chinese art as part of the modernization of Chinese culture and economy, rather than the American perspective on post-1980s postmodern qualities. At the same time, significant convergent concerns emerge, such as the importance of urban centers and urbanization, the profound effect of political and technological disruption, and the question of identity.The volume represent a cross-section of Chinese and Americanist art historians, both early career and senior scholars, working on a wide variety of subjects, such as the Ashcan School, Impressionism, Cai Liang, Liang Sicheng, Huang Binhong, Cézanne, Bauhaus, Joseph Cornell, Andrew Wyeth, Louise Nevelson, Jackson Pollock, Andy Warhol, and contemporary art more broadly, with (as is usual in any survey of the 20th century these days) a concentration on the 1960s.

Contents

  1. Frontmatter

    Bruce Robertson

  2. Parallel/Complementary: Thinking through American and Chinese Modernisms (15–27)

    Bruce Robertson

  3. 平行/互补: 对美国和中国的现代主义的思考 (28–44)

    布鲁斯·罗伯森

  4. 多元的现代主义“探索交互视野下的中美现代艺术”的实验” (45–61)

    张坚

  5. Multi-Modernisms: Exploring “Complementary Modernisms in China and the United States” (62–81)

    Zhang Jian

  6. Cosmic Jokes and Tangerine Flake: Translating Andy Warhol’s "POPism" (82–98)

    Reva Wolf, Kou Huaiyu

  7. 宇宙的玩笑与橙色亮片漆: 译介安迪·沃霍尔的《波普主义》 (99–121)

    列娃·沃尔夫, 寇淮禹

  8. 中西现代主义绘画的会通之路: 论塞尚与黄宾虹 (122–129)

    沈语冰

  9. The Converging Way of Modern Art between China and the West: Cézanne and Huang Binhong (130–137)

    Shen Yubing

  10. Whose Metropolis, Whose Mental Life? Rethinking Space and the Local in Urban Imagery (138–157)

    Rebecca Zurier

  11. 谁的大都市?谁的精神生活? 城市图像中的空间与本地居民 (158–178)

    瑞贝卡·泽瑞尔

  12. 都市景观: 印象派和垃圾箱画派画作中的纽约图像 (179–192)

    陈瑶

  13. The Urban Spectacle: New York City, Impressionist Painting, and the Ashcan School (193–205)

    Chen Yao

  14. 进化抑或革命: 沃尔特·帕克与1913年美国军械库艺术展 (206–211)

    陆豪

  15. Evolution or Revolution: Walter Pach and the Armory Show in 1913 (212–218)

    Lu Hao

  16. 巴黎美院之往，包豪斯之后: 梁思成与“现代主义”的镜花缘 (219–228)

    刘晨

  17. After the École des Beaux-Arts and Bauhaus: Liang Sicheng and the Utopia of Modernism in Chinese Architecture of the Twentieth Century (229–236)

    Liu Chen

  18. 决澜社艺术研究: 作为国际艺术资源的中国现代美术 (237–258)

    李超

  19. A Study of “the Storm Society”: Chinese Modernism as a Resource of International Modern Art (259–282)

    Li Chao

  20. Joseph Cornell at the Museum of Modern Art (283–292)

    Marci Kwon

  21. 通俗现代主义: 约瑟夫·康奈尔与民粹主义文化 (293–308)

    权玛西

  22. Picturing the Good Earth: Modernism’s Rural Roots in China and the United States (309–320)

    Jason Weems

  23. 描绘大地: 中美现代主义的乡土渊源 (321–329)

    詹森·维姆斯

  24. Peggy’s “War Babies”: Pollock, Motherwell, and Baziotes at Art of This Century (330–345)

    Ellen G. Landau

  25. 佩吉的“战争之子”: “本世纪艺术展”上的波洛克、 马瑟韦尔和巴齐奥特 (346–364)

    艾伦·G·兰道

  26. 纽约画派与意识形态 (365–378)

    毛秋月

  27. The New York School and Ideology (379–387)

    Mao Qiuyue

  28. 转义和建树: 中美艺术交互影响的若干个案 (388–399)

    丁宁

  29. Artistic Tropes: Some Cases of Mutual Chinese–American Influence (400–412)

    Ding Ning

  30. 塑造人民形象与认识自我: 20世纪60年代的蔡亮和其他历史画家 (413–423)

    张坚

  31. Modeling People and Identifying the Self in History Painting: Cai Liang and Others in the Early 1960s (424–434)

    Zhang Jian

  32. Rethinking the 1960s: The History of Art History (435–446)

    Bruce Robertson

  33. 反思60年代: 艺术史的历史 (447–461)

    布鲁斯·罗伯森

  34. Louise Nevelson’s Modernisms (462–481)

    Julia Bryan-Wilson

  35. 路易斯·尼维尔森的现代主义延滞性 (482–491)

    朱丽·布莱恩 – 威尔逊

  36. Because Night Time Is the Right Time: Tactics, Popular Resistance and the Formation of the Black Arts Council (492–500)

    John Vincent Decemvirale

  37. 夜晚好时光: 策略、公众抗拒与黑人艺术委员会的形成 (501–510)

    约翰·文森特·德赛穆维拉

  38. Hippie Modernism (511–519)

    Lawrence Rinder

  39. 嬉皮现代主义 (520–530)

    劳伦斯·林德

  40. 建构vs.解构: —旅美中国当代艺术家作品中的“传统”困局 (531–541)

    章锐

  41. Construction vs. Deconstruction: Different “Chineseness” in Chinese Diaspora Artists’ Works (542–552)

    Zhang Rui

  42. 现代美术的再发现: 回溯与借鉴—从吴冠中到“新潮美术”运动 (553–563)

    张坚

  43. Rediscovering Modern Art in the 1980s: Diachronic Enquiring and Synchronic Borrowing from Wu Guanzhong to the 1985 New Wave Movement (564–575)

    Zhang Jian

  44. 无尽的社会风景 (576–580)

    邵亦杨

  45. An Imagined Utopia: Chinese Contemporary Art through the Perspective of Globalization (581–588)

    Shao Yiyang

  46. 对中国概念艺术的几点认识 (589–593)

    朱青生

  47. Some Remarks on Conceptual Art in China (594–598)

    Zhu Qingsheng

  48. 替罪的肉身—中国行为艺术的意义 (599–609)

    王端廷

  49. Redemption of Sins through the Human Body: Meanings of Action Art in China (610–621)

    Wang Duanting

  50. 艺术史: 趣味、图像与身份—从何多苓VS怀斯到王广义VS 沃霍尔两对个案看艺术的出发点与针对性对艺术史书写的作用 (622–655)

    吕澎

  51. Taste, Image, and Identity: He Duoling and Andrew Wyeth; Wang Guangyi and Andy Warhol. A Comparative Analysis of the Role of Artistic Approaches and Directions in Art History (656–686)

    Lu Peng

  52. 抽象或视觉逼真: 历史画创作的新趋向—— “国家重大历史题材美术创作工程”中的视觉表达问题 (687–695)

    张坚

  53. Abstract or Optical Fidelity: New Trends in History Painting after the 1980s (696–705)

    Zhang Jian

  54. Author Biographies (707–711)

    Bruce Robertson, Zhang Jian

Biographies

  • Bruce Robertson

    (Editor)

    University of California, Santa Barbara

    Bruce Robertson (PhD, Yale University) is Professor Emeritus, History of Art and Architecture, as well as Director Emeritus, Art, Design & Architecture Museum, University of California, Santa Barbara. He is the author of many books on Winslow Homer, Marsden Hartley, and other American artists, as well as the curator and co-curator of exhibitions on Georgia O’Keeffe, American genre painting, and other subjects. In addition, he has published in museum and dance history.

  • Zhang Jian

    (Editor)

    China Academy of Art

    Zhang Jian (PhD, China Academy of Art) is Professor of Modern Art History in the School of Art and Humanities at the China Academy of Art in Hangzhou, as well as Director of the Library. He is the author of Life in Visual Forms of Art (China Academy of Art Press, 2004), Western Modern Art History (Shanghai People’s Fine Arts Publishing House 2009), and An Exploration of the Humanistic and Critical Perspectives of Western Modern Art Historiography (Peking University Press, 2017).

Usage metrics

Funding

Genres

  • Art+Aesthetics
  • Languages+Translations

Keywords

  • art criticism
  • art history
  • avantgarde
  • China
  • modernism
  • postmodernism
  • United States