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"On Mao Zedong's Model of Popular Art"
Ming-Lu Gao 高名潞
高名潞
In this essay, Gao Ming-lu analyzes the state of avant-garde and modern art during the era of Mao Zedong's regime. Written in traditional Chinese, the essay is broken up into two subsections: "Maoist Pop-Art and Authoritarian Art" and "The Development of Maoist Pop-Art". (Nicole Wang '26)
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A Total Modernity and Alternative Avant-Garde Art in China
Ming-Lu Gao 高名潞
In this paper, Gao discusses "twentieth century Chinese avant-garde in two major periods: the avant-garde of the 1920s and 1930s; and the contemporary avant-garde of Post-Mao era - the 1980s and 1990s." (Nicole Wang '26)
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Essay by Huang Du "Impermanence, Zhu Jinshi: Toward Cultural Relativism"
Jin-Shi ZHU 朱金石
In this essay, Huang Du, s Beijing-based critic and curator, argues that the work "Impermanence" (1996) represents the instability Zhu Jinshi experiences as a Chinese artist working in Berlin in the late 1980s. Huang focuses on the materiality of the work to pull his critical analysis. According to the critic, the use of Chinese traditional rice paper in the work evokes a relationship between "systematic cyclicity, textuality, material installation, and a return to nature". Finally, he draws his argument back to the artist claiming that Zhu Jinshi subverts the expectations of contemporary art, reinvesting in history and spirituality in a way that elevates meaning in his multicultural identity. Both English and Chinese texts are available. Huang published this essay in a catalogue called "Impermanence" that included work by the artist, analytical essays, and the artist's resume. (Nicole Wang '26)
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Passionate Animists: Xin Cang and Yi Lan 激情返魅的泛灵论者：苍鑫和兰一
Xin CANG 苍鑫
Xi-Yun HU 杜曦云
This art critique examines and analyzes the artists Xin CANG and Yi LAN from the perspective of animism. It indicates an era in which “rationality” has become the prevailing call, and humans are no longer seen as part of the world or as creations of the divine. And explore how these artists use their art to “re-enchant” and rebuild the world of their own. (Angela Tan '28)
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