Art and Society in Modern China--A Review Article

Croizier, Ralph; Cohen, Joan; Ellsworth, Robert; Kao, Mayching; Laing, Ellen Johnston; Li, Shusheng; Strassberg, Richard E.; Shaoxia, Zhang; Li, Xiaoshan

doi:10.2307/2057772

Cited by 1 publication

(1 citation statement)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Ralph Croizier (1990) explains that access of foreign collectors to Chinese modern art was accelerated in the 1980s and this resulted in a wider audience and broad appeal for Chinese art in general. This coincided with the opening up of China to the West.…”

Section: The Sino-centric Ideological Modelmentioning

confidence: 99%

The Evolution of a Consolidated Market for Neo-Traditional Chinese Contemporary Art

Robertson¹

2020

Arts

View full text Add to dashboard Cite

The purpose of this paper is to determine whether there is an incipient market in China strong enough to replace the global market for Chinese contemporary art. The (informal) market I have identified supports traditional methods of transaction and practice. It charts a course twixt slavish emulation of the past and unqualified acceptance of the present. To demonstrate the contemporary application of this trend, I introduce three case studies, which examine the attitude and behaviour of three Chinese artists active between 2005 and 2015. This period marks the transformation of China from an aspirant economic power to a self-confident advocate of Chinese values. The premise of this paper is that the China market today is moving towards a harmonious ideal rooted in Chinese thought. In the nineteenth-century art movement known as the Shanghai School, I have found a precedent for the evolutionary transformation of Chinese art from the traditional to the modern. This study will reveal how the Shanghai School market might be an exemplar for today’s Chinese contemporary art market. I will refer to this historical model to show how conventional methods of creation, distribution and consumption can effectively be modernised. Another effort to culturally transform China was attempted a generation later in the southern city of Guangzhou. The movement, known as the Lingnan School, attempted to fuse Western-style realism with Chinese techniques and media. I argue that these two early attempts to amalgamate the traditional with the modern failed to metamorphose into a consolidated Chinese contemporary art market model. They have, instead, resulted in the co-existence of two corrupted models; the one, a diffident fusion of the past and the modern world, and the other a concerted alliance of nationalism and globalism.

show abstract

Section: The Sino-centric Ideological Modelmentioning

confidence: 99%

The Evolution of a Consolidated Market for Neo-Traditional Chinese Contemporary Art

Robertson¹

2020

Arts

View full text Add to dashboard Cite

show abstract

Art and Society in Modern China--A Review Article

Cited by 1 publication

References 0 publications

The Evolution of a Consolidated Market for Neo-Traditional Chinese Contemporary Art

The Evolution of a Consolidated Market for Neo-Traditional Chinese Contemporary Art

Contact Info

Product

Resources

About