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Complementary Modernisms in China and the United States: Art as Life/Art as Idea
- Bruce Robertson (editor)
- Zhang Jian (editor)
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| Title | Complementary Modernisms in China and the United States |
|---|---|
| Subtitle | Art as Life/Art as Idea |
| Contributor | Bruce Robertson (editor) |
| Zhang Jian (editor) | |
| DOI | https://doi.org/10.21983/P3.0269.1.00 |
| Landing page | https://punctumbooks.com/titles/complementary-modernisms-in-china-and-the-united-states-art-as-life-art-as-idea/ |
| License | https://creativecommons.org/licenses/by-nc-sa/4.0/ |
| Copyright | Zhang, Jian; Robertson, Bruce |
| Publisher | punctum books |
| Publication place | Earth, Milky Way |
| Published on | 2020-09-10 |
| ISBN | 978-1-950192-57-1 (Paperback) |
| 978-1-950192-58-8 (PDF) | |
| Long abstract | 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. 《交互视野下的中国和美国的现代艺术: 艺术/生活或观念》这一会议论文集收录了中美艺术史家对现代主义在各自传统下的发展进行研究所得的成果。这些文章并置历史发展，而非试图详述其中的关联或影响。相反，两个国家的现代主义都被展现为全球现代主义大背景中的一部分，并被认为是在特定环境中产生的。这种并置显示了重要的差异性以及任何特殊情况下的联系或相似之处，打破了一般强调法国（或欧洲）先锋派首要地位及其对周围团体产生影响的标准论述。中国与美国现代主义发展上的差异，并不仅仅是由于两国进入不同历史轨道发展现代化而导致的。相反，关注点和方法论的差异也同样重要，尤其是关注八十年代后中国艺术的发展，将其作为中国文化与经济现代化的一部分，而不是从美国视角来看待八十年代后的后现代价值。同时，也出现了重要的趋同关注点：城市中心与城市化的重要性，政治或科技解体所造成的深远影响，以及自我认同的问题。本论文集所收录的文章，彰显了当今重要的中美艺术史家研究的多样性，从资深到青年一代，从阿什坎学派至当代艺术，（并与任何当下对二十世纪作出的概括论述相一致，）将重点放在二十世纪六十年代。 |
| Print length | 696 pages |
| Language | Chinese (Original) |
| English (Original) | |
| Dimensions | 184 x 235 mm | 7.25" x 9.25" (Paperback) |
| LCCN | 2020940865 |
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Contents
- Bruce Robertson
- Bruce Robertson
平行/互补: 对美国和中国的现代主义的思考
(pp. 28–44)- 布鲁斯·罗伯森
多元的现代主义“探索交互视野下的中美现代艺术”的实验”
(pp. 45–61)- 张坚
- Zhang Jian
- Reva Wolf
- Kou Huaiyu
宇宙的玩笑与橙色亮片漆: 译介安迪·沃霍尔的《波普主义》
(pp. 99–121)- 列娃·沃尔夫
- 寇淮禹
中西现代主义绘画的会通之路: 论塞尚与黄宾虹
(pp. 122–129)- 沈语冰
- Shen Yubing
- Rebecca Zurier
谁的大都市?谁的精神生活?: 城市图像中的空间与本地居民
(pp. 158–178)- 瑞贝卡·泽瑞尔
都市景观: 印象派和垃圾箱画派画作中的纽约图像
(pp. 179–192)- 陈瑶
- Chen Yao
进化抑或革命: 沃尔特·帕克与1913年美国军械库艺术展
(pp. 206–211)- 陆豪
- Lu Hao
巴黎美院之往，包豪斯之后: 梁思成与“现代主义”的镜花缘
(pp. 219–228)- 刘晨
- Liu Chen
决澜社艺术研究: 作为国际艺术资源的中国现代美术
(pp. 237–258)- 李超
A Study of “the Storm Society”: Chinese Modernism as a Resource of International Modern Art
(pp. 259–282)- Li Chao
Joseph Cornell at the Museum of Modern Art
(pp. 283–292)- Marci Kwon
通俗现代主义: 约瑟夫·康奈尔与民粹主义文化
(pp. 293–308)- 权玛西
- Jason Weems
描绘大地: 中美现代主义的乡土渊源
(pp. 321–329)- 詹森·维姆斯
- Ellen G. Landau
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
(pp. 346–364)- 艾伦·G·兰道
纽约画派与意识形态
(pp. 365–378)- 毛秋月
The New York School and Ideology
(pp. 379–387)- Mao Qiuyue
转义和建树: 中美艺术交互影响的若干个案
(pp. 388–399)- 丁宁
- Ding Ning
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
(pp. 413–423)- 张坚
Modeling People and Identifying the Self in History Painting: Cai Liang and Others in the Early 1960s
(pp. 424–434)- Zhang Jian
Rethinking the 1960s: The History of Art History
(pp. 435–446)- Bruce Robertson
反思60年代: 艺术史的历史
(pp. 447–461)- 布鲁斯·罗伯森
Louise Nevelson’s Modernisms
(pp. 462–481)- Julia Bryan-Wilson
路易斯·尼维尔森的现代主义延滞性
(pp. 482–491)- 朱丽·布莱恩 – 威尔逊
Because Night Time Is the Right Time: Tactics, Popular Resistance and the Formation of the Black Arts Council
(pp. 492–500)- John Vincent Decemvirale
夜晚好时光: 策略、公众抗拒与黑人艺术委员会的形成
(pp. 501–510)- 约翰·文森特·德赛穆维拉
Hippie Modernism
(pp. 511–519)- Lawrence Rinder
嬉皮现代主义
(pp. 520–530)- 劳伦斯·林德
建构vs.解构: —旅美中国当代艺术家作品中的“传统”困局
(pp. 531–541)- 章锐
Construction vs. Deconstruction: Different “Chineseness” in Chinese Diaspora Artists’ Works
(pp. 542–552)- Zhang Rui
现代美术的再发现: 回溯与借鉴—从吴冠中到“新潮美术”运动
(pp. 553–563)- 张坚
- Zhang Jian
无尽的社会风景
(pp. 576–580)- 邵亦杨
- Shao Yiyang
对中国概念艺术的几点认识
(pp. 589–593)- 朱青生
Some Remarks on Conceptual Art in China
(pp. 594–598)- Zhu Qingsheng
替罪的肉身—中国行为艺术的意义
(pp. 599–609)- 王端廷
- Wang Duanting
- 吕澎
- Lu Peng
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
(pp. 687–695)- 张坚
- Zhang Jian
Author Biographies
(pp. 707–711)- Bruce Robertson
- Zhang Jian
Contributors