20th Century and Contemporary Chinese Art Bibliography

Andrews, Julia and Shen Kuiyi. A Century in Crisis: Modernity and Tradition in the Art of Twentieth Century China. New York: Guggenheim Museum Publications, 1998.

Andrews, Julia. Painters and Politics in the PRC, 1949-1979. Berkeley: University of California Press, 1994.

Andrews, Julia F. “The Avant-Garde’s Challenge to Official Art” in Urban Spaces: Autonomy and Community in Contemporary China. Ed. Deborah Davis et al. Cambridge: Cambridge University Press, 1995. 221-278.

Barmé, Geremie. “Exploit, Export, Expropriate: Artful Marketing from China, 1989-93” in China’s New Art, Post-1989. xvii-li.

Barmé, Geremie. In the Red: On Contemporary Chinese Culture. New York: Columbia University Press, 1999.

Barmé, Geremie. Shades of Mao: The Posthumous Cult of the Great Leader. New York: M.E. Sharpe, 1996.

Barthes, Roland. “The Death of the Author” in Image – Music – Text. Trans. Stephen Heath. New York: Hill and Wang, 1977. 142-148.

Bo, Songnian and David Johnson, Domesticated Deities and Auspicious Emblems: The Iconography of Everyday Life in Village China. Berkeley: Chinese Popular Culture Project, University of California, 1992.

Bordwell, David. Planet Hong Kong: Popular Cinema and the Art of Entertainment. Cambridge: Harvard University Press, 2000.

Bryson, Norman. “The Post-Ideological Avant-Garde” in Inside Out: New Chinese Art (Exhibition Catalogue). Berkeley: University of California Press, 1998.

Bürger, Peter. Theory of the Avant-Garde. Minneapolis: University of Minnesota Press, 1984.

Butterfield, Fox. “Serving the Workers and Peasants: Wang Keping,” China Alive in the Bitter Sea. New York: Times Books, 1982. 435-45.

Cai Yuan and JJ Xi. Mad For Real. London: Arts Council of England and Carrots Press, 2005.

Chan, Ching-kiu Stephen. “Split China, or, The Historical/Imaginary: Toward a Theory of the Displacement of Subjectivity at the Margins of Modernity” in Politics, Ideology, and Literary Discourse in Modern China. Liu Kang and Tang Xiaobing (eds.). Durham: Duke University Press, 1993. 70-101.

Chang, Arnold. Painting in the People’s Republic of China: The Politics of Style. Boulder: Westview Press, 1980.

Chang, Hsien-chen. “The Small Freedom of the Market: Chinese Cinema during the Period of Reform,” China Avant-Garde: Counter-Currents in Art and Culture. Hong Kong: Oxford University Press, 1994. 60-62.

Clark, John. “Official Reactions to Modern Art in China Since the Beijing Massacre” in Pacific Affairs 65.3 (Autumn 1992), 334-348.

Clunas, Craig. “Chinese Art and Chinese Artists in France, 1924-1925” in Arts Asiatiques 44 (1989). 100-106.

Cohen, Joan Lebold. The New Chinese Painting 1949-1986. New York: H.N. Abrams, 1987.

Crozier, Ralph. “From Region to Nation: The New National Painting,” and “War and Revolution: Demise of the Lingnan School, 1937-1949” in Art and Revolution: The Lingnan (Cantonese) School of Painting, 1906-1951. Berkeley: University of California Press, 1988. 107-170.

Danzker, Jo-Anne Birnie, Ken Lum, and Zheng Shengtian (eds.). Shanghai Modern 1919-1945. Ostfildern-Ruit: Hatje Cantz, 2004.

Dirlik, Arif & Zhang Xudong (eds.). Postmodernism & China. Durham: Duke University Press, 2000.

Dittmer, Lowell and Samuel S. Kim, “In Search of a Theory of National Identity" in China's Quest for National Identity. Ithaca: Cornell University Press, 1993. 1-31.

Elvin, Mark. “The Inner World of 1830” in The Living Tree: The Changing Meaning of Being Chinese Today. Stanford: Stanford University Press, 1994. 35-63.

Erickson, Britta (ed.). China Onward: The Estella Collection – Chinese Contemporary Art 1966-2006. Humlebaek, Denmark: Louisiana Museum of Modern Art, 2007.

Erickson, Britta. “Process and Meaning in the Art of Xu Bing,” Three Installations by Xu Bing, pp. 2-4, 47.

Foster, Hal. “Re: Post” in Art After Modernism: Rethinking Representation. Brian Wallis (ed.). New York: The New Museum of Contemporary Art, 1984.

Fu, Shen and Jan Stuart. “A New Era in China” in Challenging the Past: The Paintings of Chang Dai-chien. Seattle: University of Washington Press, 1991. 17-31.

Fu, Shen, “Huang Binhong’s Shanghai Period Landscapes and His Late Floral Works” in Orientations 18.9 (1987). 66-78.

Gao, Minglu (ed.). Inside Out: New Chinese Art. Berkeley: University of California Press, 1998.

Geertz, Clifford. "Art as a Cultural System," Local Knowledge. New York: Basic Books, 1983. 94-120.

Guldemond, Jaap. “Nieuwe urbane realiteit (New Urban Realities) in China Contemporary – 中国当代: Architectuur, kunst, beeldcultur. Rotterdam: NAi Uitgevers, 2006. 52-69.

Harris, Clare. "The Chinese Image of Tibet," "The Tibetan Image of the Tibet Autonomous Region," and "'Tibets' in Collision: Conclusions," in In the Image of Tibet. London: Reaktion Books, 1999. 120-149; 150-191; and 192-202.

Hay, Jonathan. “Ambivalent Icons: Works by Five Chinese Artists Based in the United States,” Orientations 23.7 (1992). 37-43.

He Weimin and Shelagh Vainker. Chinese Prints (1950-2006) in the Ashmolean Museum. Oxford: Ashmolean Museum, 2007.

Hill, Katie. “Why the Manic Grin? Hysterical Bodies: Contemporary Art as (Male) Trauma in Post-Cultural Revolution China” in Burden or Legacy: From the Chinese Cultural Revolution to Contemporary Art. Jiang Jiehong (ed.). Hong Kong: Hong Kong University Press, 2007.

Hou Hanru. “Towards an Un-Unofficial Art: De-ideologicalization of China’s Contemporary Art in the 1990s” in Thirt Text. 10.34 (Spring 1996). 37-52.

Hunt, Michael. "Chinese National Identity and the Strong State: The Late Qing -- Republican Crisis" in China's Quest for National Identity. Ithaca: Cornell University Press, 1993. 62-79.

Jiang Jiehong (ed.). Burden or Legacy: From the Chinese Cultural Revolution to Contemporary Art. Hong Kong: Hong Kong University Press, 2007.

Jiang Jiehong. “Introduction” in The Revolution Continues: New Art from China. London: Saatchi Gallery and Jonathan Cape, 2008.

Jing, Wang, “High Culture Fever: The Cultural Discussion in the Mid-1980’s and the Politics of Methodologies” in High Culture Fever: Politics, Aesthetics, and Ideology in Deng’s China. Berkeley: University of California Press, 1996. 37-117.

Jing, Wang. “The Pseudoproposition of ‘Chinese Postmodernism’: Ge Fei and the Experimentalist Showcase,” High Culture Fever: Politics, Aesthetics, and Ideology in Deng’s China. Berkeley: University of California Press, 1996. 233-260.

Köppel-Yang, Martina. “75% Red, 20% Black and 5% White: Pop Aesthetics in Post-Revolutionary China” in Pop Art and Vernacular Cultures. Kobena Mercer (Ed.). Cambridge, Massachusetts: The MIT Press, 2007.

Laing, Ellen Johnston. The Winking Owl: Art and Political Expression in China. Berkeley: University of California Press, 1988.

Laing, Ellen Johnston. “Chinese Peasant Painting, 1958-1976: Amateur and Professional,” Art International 27.1. 2-64.

Larson, Wendy. “Female Subjectivity and Gender Relations: The Early Stories of Lu Yin and Bing Xin” in Politics, Ideology, and Literary Discourse in Modern China. Liu Kang and Tang Xiaobing (eds.). Durham: Duke University Press, 1993. 124-143.

Latham, Kevin et al. (Eds.). Consuming China: Approaches to Cultural Change in Contemporary China. Abingdon, Oxon: Routledge, 2006.

Lee, Leo Ou-fan, "Remapping Shanghai" and "The Construction of Modernity in Print Culture," Shanghai Modern: The Flowering of a New Urban Culture in China, 1930-1945. Cambridge: Harvard University Press, 1999. 3-42, 43-81.

Lee, Leo Ou-fan. "Face, Body, and the City: The Fiction of Liu Na'ou and Mu Shiying," and "Decadent and Dandy: Shao Xunmei and Ye Lingfeng," Shanghai Modern: The Flowering of a New Urban Culture in China, 1930-1945, pp. 190-231; 232-266.
Li, Fenglan, "How I Began to Paint the Countryside,” China Reconstructs (Jan. 1974). 21-23.

Li, Xiantang, “The Imprisoned Heart: Ideology in an Age of Consumption,” Art and Asia Pacific 1.2 (1994). 25-30.

Liang, Heng and Judith Shapiro. Son of the Revolution. New York: Knopf, 1983.

Liao, Ping-hui. “Postmodern Literary Discourse and Contemporary Public Culture in Taiwan” in boundary 2. 41-64.

Liu, Kang. Aesthetics and Marxism: Chinese Aesthetic Marxists and Their Western Counterparts. Durham: Duke University Press, 2000.

Liu, Kang, “Aesthetics and Chinese Marxism,” Positions 3:2 (1995). 595-629.

Liu, Kang. “Popular Culture and the Culture of the Masses in Contemporary China” in boundary 2: an international journal of literature and culture, Vol. 24, No. 3, Autumn 1997, 99-122.

Mao, Tse-Tung. “Yenan Forum on Literature and Art” in Selected Works of Mao Tse-Tung Volume III. Peking: Foreign Languages Press, 1965. 69-98.

McClintock, Anne. Imperial Leather: Race, Gender, and Sexuality in the Imperial Conquest. New York: Routledge, 1995.

Min, Anchee, Duo Duo, and Stephan R. Landsberger. Chinese Propaganda Posters. Köln: Taschen, 2003.

Mirzoeff, Nicholas. The Visual Culture Reader. London: Routledge, 2002.

Nuridsany, Michael. China Art Now. Paris: Flammarion, 2004.

Puchner, Martin. “The Avant-Garde is Dead; Long Live the Avant-Garde!” in Neo-Avant-Garde. Ed. David Hopkins. Amsterdam: Rodopi B.V., 2006.

Said, Edward. “Overlapping Territories, Intertwined Histories” in Culture and Imperialism. New York: Vintage Books, 1994. 3-61.

Sandywell, Barry. “Specular Grammar: The Visual Rhetoric of Modernity” in Interpreting Visual Culture: Explorations in the Hermeneutics of the Visual. Barry Sandywell and Ian Heywood (eds.) London: Routledge, 1999. 30-56.

Scalapino, Robert. "China's Multiple Identities in East Asia: China as a Regional Force," China's Quest for National Identity. Ithaca: Cornell University Press, 1993. 215-236.

Schwartz, Benjamin I. “Themes in Intellectual History: May Fourth and After” in An Intellectual History of Modern China, ed. Merle Goldman and Leo Ou-Fan Lee. Cambridge: Cambridge University Press, 2002. 97-141.

Silbergeld, Jerome. China Into Film: Frame of Reference in Contemporary Chinese Cinema. London: Reaktion Books, 1999.

Silbergeld, Jerome. Contradictions: Artistic Life, the Socialist State, and the Chinese Painter Li Huasheng. Seattle: University of Washintgon Press, 1993.

Silbergeld, Jerome. Mind Landscapes: The Paintings of C.C. Wang. Seattle: University of Washington Press, 1987.

Smith, Karen. Nine Lives: The Birth of Avant-Gard Art in New China (The Updated Edition). New York: Timezone 8, 2009.

Stephenson, Shelley. "'Her Traces Are Found Everywhere:' Shanghai, Li Xianglan, and the 'Greater East Asia Film Sphere'" in Cinema and Urban Culture in Shanghai, 1922-1943. Ed. Zhang Yijin. Stanford: Stanford University Press, 1999. 222-248.

Sturman, Peter. “Measuring the Weight of the Written Word: Reflections on the Character Paintings of Chu Ko and the Role of Writing in Contemporary Chinese Art” in Orientations 23.7 (1992). 44-52.

Sullivan, Michael. Art and Artists of Twentieth Century China. Berkeley: University of California Press, 1996.

Sullivan, Michael. Modern Chinese Artists: A Biographical Dictionary. Berkeley: University of California Press, 2006.

Sullivan, Michael. The Meeting of Eastern and Western Art. Berkeley: University of California Press, 1989.

Tang, Xiaobing. Chinese Modern: The Heroic and the Quotidian. Durham: Duke University Press, 2000.

Tang Xiaobing. Origins of the Chinese Avant-Garde: The Modern Woodcut Movement. Berkeley: University of California Press, 2008.

Tang, Xiaobing, “The Function of New Theory: What Does It Mean to Talk about Postmodernism in China?” in Politics, Ideology, and Literary Discourse in Modern China. Liu Kang and Tang Xiaobing (eds.). Durham: Duke University Press, 1993. 278-300.

Tinari, Philip, and Mario Ciampi. Artists in China. London: Thames and Hudson, 2007.

Tu, Wei-ming, “Cultural China: The Periphery as the Center,” The Living Tree: The Changing Meaning of Being Chinese Today. Stanford: Stanford University Press, 1994. 1-14.

van Dijk, Hans and Andreas Schmid. “The fine arts after the Cultural Revolution: stylistic development and cultural debate” in China Avant-Garde: Counter-Currents in Art and Culture. Hong Kong and Berlin: Oxford University Press and Haus der Kulturen der Welt, 1993.

Varnadoe, Kurt (ed.). ”Introduction” in High and Low: Modern Art and Popular Culture. New York: The Museum of Modern Art, 1990. 15-21.

Vine, Richard. New China New Art (中国当代艺术). Munich: Prestel Verlag, 2008.

Wang Mingxian. “From Red Guard Art to Contemporary Art” in Burden or Legacy: From the Chinese Cultural Revolution to Contemporary Art. Jiang Jiehong (ed.). Hong Kong: Hong Kong University Press, 2007.

Wang Ning. “The Mapping of Chinese Postmodernity” in Postmodernism & China. Ed. Arif Dirlik and Zhang Xudong. Durham: Duke University Press, 2000.

Wang, Yuejin [Eugene Wang], “Anxiety of Portraiture: Quest for/Questioning Ancestral Icons in Post-Mao China,” Politics, Ideology, and Literary Discourse in Modern China. Liu Kang and Tang Xiaobing (eds.). Durham: Duke University Press, 1993. 243-272.

Wollen, Peter. Raiding the Icebox. London: Verso, 1993.

Wu, David Yen-ho. “The Construction of Chinese and Non-Chinese Identities,” The Living Tree: The Changing Meaning of Being Chinese Today. Stanford: Stanford University Press, 1994. 148-167.

Wu Hung. Remaking Beijing: Tiananmen Square and the Creation of a Political Space. London: Reaktion Books, 2005.

Wu, Hung, “Ruins, Fragmentation, and the Chinese Modern/Postmodern” in Inside Out: New Chinese Art. Berkeley: University of California Press, 1998. 59-66.

Wu Hung. Transience: Chinese Experimental Art at the End of the Twentieth Century. Chicago: The David and Albert Smart Museum of Art, The University of Chicago, 1999.

Xiao, Zhiwei. Constructing a New National Culture: Film Censorship and the Issues of Cantonese Dialect, Superstition, and Sex in the Nanjing Decade" in Cinema and Urban Culture in Shanghai, 1922-1943. Ed. Zhang Yijin. Stanford: Stanford University Press, 1999. 222-248, 183-199.

Yang, Alice. “Modernism and the Chinese Other in Twentieth-Century Art,” Why Asia: Contemporary Asian and Asian American Art. New York: New York University Press, 1998. 129-146.

Yun Chea Gab. “Wang Guangyi: An Intensive Portraiture of Modernity” in Wang Guangyi: Selected Works from 2003-2006. Seoul: Arrario, 2006.

Zhang Xudong. Chinese Modernism in the Era of Reforms. Durham: Duke University Press, 1997.

Zhang Xudong. Postsocialism and Cultural Politics: China in the Last Decade of the Twentieth Century. Durham: Duke University Press, 2008.

Zhang Xudong. Whither China? Intellectual Politics in Contemporary China. Durham: Duke University Press, 2001.

Zhang, Yingjin. "Introduction: Cinema and Urban Culture in Republican Shanghai," Cinema and Urban Culture in Shanghai, 1922-1943. Ed. Zhang Yijin. Stanford: Stanford University Press, 1999. 3-26.

Zhang, Zhen. "Teahouse, Shadowplay, Bricolage: Laborer's Love and the Question of Early Chinese Cinema," Cinema and Urban Culture in Shanghai, 1922-1943. Ed. Zhang Yijin. Stanford: Stanford University Press, 1999. 27-50.

Zhang, Zhen. An Amorous History of the Silver Screen: Shanghai Cinema 1896-1937. Chicago: University of Chicago Press, 2005.