Chinese Contemporary Art ‘Political Pop Art’, what the word ‘Political’ directs to

2019 ◽  
Vol 35 ◽  
pp. 211-242
Author(s):  
Youngmi Kim ◽  
Keyword(s):  
Contemporary Art ◽  
Pop Art ◽  
Chinese Contemporary Art

Contemporary art and fashion: from Pop to Populist

1989 ◽  
Vol 14 (4) ◽  
pp. 17-21
Author(s):  
Darlene Tong
Keyword(s):  
Popular Culture ◽  
Contemporary Art ◽  
Performing Arts ◽  
Pop Art ◽  
American Artists

During the 1970s and 1980s, a number of American artists have made use of clothing as an art medium. Their work constitutes a new art movement, drawing on, and straddling divisions between, Pop Art, performing arts, popular culture, and fashion; it merits more thorough and accessible documentation, and there is a need for art libraries to make available the elusive information which does exist.

Pop as Translation Strategy: Makishi Tsutomu's Political Pop in Okinawa

ARTMargins ◽  
2018 ◽  
Vol 7 (2) ◽  
pp. 42-71
Author(s):  
Hiroko Ikegami
Keyword(s):  
Vietnam War ◽  
Contemporary Art ◽  
Economic Benefits ◽  
Pop Art ◽  
Cocktail Party ◽  
Lingua Franca ◽  
Avant Garde ◽  
Japanese Imperialism ◽  
Translation Strategy ◽  
The Vietnam War

This essay makes the first sustained study of the Okinawan artist Makishi Tsutomu (1941–2015) who used American Pop Art vocabularies to describe the complex realities of US-occupied Okinawa. Focusing on his 1972 installation Commemorating the Reversion to the Great Empire of Japan, the essay examines the critical ambivalence of Makishi's Political Pop as a translation strategy. Despite his critique of both American and Japanese imperialism, Makishi was aware that Okinawa was inseparably entangled in it, especially in the context of the Vietnam War, which brought violence, but also economic benefits, to Okinawa. Despite his use of the American Pop idiom as a new lingua franca for contemporary art, Makishi's work did not reach either mainland or international audiences as the artist exhibited almost exclusively in Okinawa. By comparing Makishi's artistic strategies with those of a representative Okinawan novelist, Ōshiro Tatsuhiro, especially as articulated in his 1967 novella The Cocktail Party, the essay situates the significance of Makishi's project within the emerging discourse on the global neo-avant-garde.

‘Playing the Chinese card’: Globalization and the aesthetic strategies of Chinese contemporary artists

2015 ◽  
Vol 20 (6) ◽  
pp. 567-584 ◽  
Author(s):  
Lin Zhang ◽  
Taj Frazier
Keyword(s):  
Contemporary Art ◽  
Chinese Identity ◽  
Chinese Contemporary Art ◽  
Western Art ◽  
Chinese State ◽  
The Aesthetic ◽  
And Control ◽  
Art Industry ◽  
Contemporary Chinese ◽  
Contemporary Artists

This article examines the art and travels of two contemporary Chinese artists – Ai Weiwei and Cai Guo-Qiang – to explore how each of them successfully navigates the rapidly shifting terrains and interests of the Chinese state and the global high art industry while simultaneously articulating a distinct politics and practice of creative ambivalence. We argue that these two artists’ creative productions and strategies: (1) refute various western critics’ critique of Chinese artists as inauthentic imitators of western art who produce exotic representations of China and Chinese identity for western consumption; (2) call into question the Chinese government’s numerous efforts to simultaneously promote and control Chinese contemporary art for nationalist/statist purposes. Furthermore, we unpack how both artists deploy various resources to produce complex works that interrogate and demonstrate the clashes of power, culture and identity in global spaces of encounter.

scholarly journals Materialising Markets: The Agency of Auctions in Emergent Art Genres in the Global South

Arts ◽  
2020 ◽  
Vol 9 (4) ◽  
pp. 106
Author(s):  
Anita Archer
Keyword(s):  
Contemporary Art ◽  
Local Governments ◽  
Developing Economies ◽  
Supply And Demand ◽  
Art Market ◽  
Global South ◽  
Chinese Contemporary Art ◽  
Market Expansion ◽  
Auction Houses ◽  
Art Auction

For the last two decades, the international auction houses Sotheby’s and Christie’s have been at the forefront of global art market expansion. Their world-wide footprints have enabled auction house specialists to engage with emerging artists and aspiring collectors, most notably in the developing economies of the Global South. By establishing their sales infrastructure in new locales ahead of the traditional mechanisms of primary market commercial galleries, the international auction houses have played a foundational role in the notional construction of new genres of art. However, branding alone is not sufficient to establish these new markets; the auction houses require a network of willing supporters to facilitate and drive marketplace supply and demand, be that trans-locational art market intermediaries, local governments, and/or regional auction businesses. This paper examines emerging art auction markets in three Global South case studies. It elucidates the strategic mechanisms and networks of international and regional art auction houses in the development of specific genres of contemporary art: Hong Kong and ‘Chinese contemporary art’, Singapore and ‘Southeast Asian art’, and Australia and ‘Aboriginal art’. Through examination and comparison of these three markets, this paper draws on research conducted over the past decade to reveal an integral role played by art auctions in the expansion of broader contemporary art world infrastructure in the Global South.

The “Global” Contemporary Art Canon and the Case of China

ARTMargins ◽  
2014 ◽  
Vol 3 (3) ◽  
pp. 77-97
Author(s):  
Francesca Dal Lago
Keyword(s):  
New York ◽  
Contemporary Art ◽  
Museum Of Modern Art ◽  
Chinese Art ◽  
American Modernism ◽  
Chinese Contemporary Art ◽  
Primary Documents ◽  
English Speaking ◽  
Academic Painting ◽  
Art Canon

This essay reviews the book Contemporary Chinese Art: Primary Documents edited by Wu Hung and published by the New York Museum of Modern Art in 2010, as part of an ongoing series aiming to introduce art critical texts produced in non-mainstream art locales to an English-speaking audience. Gathering a large number of translated critical essays, the book outlines the production of Chinese Contemporary Art since what is normally accepted as its onset in the late 1970s. This essay argues that this process of definition, legitimized by the prominent publisher of this book, amounts to a form of canonization performed at the expenses of other contemporaneous artistic forms—ink and academic painting—whose culturally and historically specific nature de facto excludes them from a concept of art globalization still largely determined and rooted by Euro-American modernism.

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