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Literati Lenses
Chinese cinema has a long history of engagement with China’s art traditions, and literati (wenren) landscape painting has been an enduring source of inspiration. Literati Lenses explores this interplay during the Mao era, a time when cinema, at the forefront of ideological campaigns and purges, was held to strict political guidelines. Through four films—Li Shizhen (1956), Stage Sisters (1964), Early Spring in February (1963), and Legend of Tianyun Mountain (1979)—Mia Liu reveals how landscape offered an alternative text that could operate beyond political constraints and provide a portal for smuggling interesting discourses into the film. While allusions to pictorial traditions associa...
China
At the entrance of The Field Museum’s Cyrus Tang Hall of China, two Chinese stone guardian lions stand tall, gazing down intently at approaching visitors. One lion’s paw rests upon a decorated ball symbolizing power, while the other lion cradles a cub. Traditionally believed to possess attributes of strength and protection, statues such as these once stood guard outside imperial buildings, temples, and wealthy homes in China. Now, centuries later, they guard this incredible permanent exhibition. China’s long history is one of the richest and most complex in the known world, and the Cyrus Tang Hall of China offers visitors a wonderful, comprehensive survey of it through some 350 artifac...
Chinese Ways of Seeing and Open-Air Painting
"How did modern Chinese painters see landscape? Did they depict nature in the same way as premodern Chinese painters? What does the artistic perception of modern Chinese painters reveal about the relationship between artists and the nation-state? Could an understanding of modern Chinese landscape painting tell us something previously unknown about art, political change, and the epistemological and sensory regime of twentieth-century China? Yi Gu tackles these questions by focusing on the rise of open-air painting in modern China. Chinese artists almost never painted outdoors until the late 1910s, when the New Culture Movement prompted them to embrace direct observation, linear perspective, a...
Negative Exposures
When nations decide to disown their troubled pasts, how does this strategic disavowal harden into social fact? In Negative Exposures, Margaret Hillenbrand investigates the erasure of key aspects of such momentous events as the Nanjing Massacre, the Cultural Revolution, and the Tiananmen Square protests from the Chinese historical consciousness, not due to amnesia or censorship but through the operations of public secrecy. Knowing what not to know, she argues, has many stakeholders, willing and otherwise, who keep quiet to protect themselves or their families out of shame, pragmatism, or the palliative effects of silence. Hillenbrand shows how secrecy works as a powerful structuring force in Chinese society, one hiding in plain sight, and identifies aesthetic artifacts that serve as modes of reckoning against this phenomenon. She analyses the proliferation of photo-forms—remediations of well-known photographs of troubling historical events rendered in such media as paint, celluloid, fabric, digital imagery, and tattoos—as imaginative spaces in which the shadows of secrecy are provocatively outlined.
Greater American Camera
An engaging investigation of how the relationships between four U.S. photographers and Mexican artists forged new developments in modernism Photographers Edward Weston, Tina Modotti, Paul Strand, and Helen Levitt were among the U.S. artists who traveled to Mexico during the interwar period seeking a community more receptive to the radical premises of modern art. Looking closely at the work produced by these four artists in Mexico, this book examines the vital role of exchanges between the expatriates and their Mexican contemporaries in forging a new photographic style. Monica Bravo offers fresh insights concerning Weston’s friendship with Diego Rivera; Modotti’s images of labor, which she published alongside the writings of the Stridentists; Strand’s engagement with folk themes and the work of composer Carlos Chávez; and the influence of Manuel Álvarez Bravo on Levitt’s contributions to a New World surrealism. Exploring how these dialogues resulted in a distinct kind of modernism characterized by inter-American interests, the book reveals the ways in which cross-border collaboration shaped a new “greater American” aesthetic.
Survey Practices and Landscape Photography Across the Globe
This edited volume considers the many ways in which landscape (seen and unseen) is fundamental to placemaking, colonial settlement, and identity formation. Collectively, the book’s authors map a constellation of interlocking photographic histories and survey practices, decentering Europe as the origin of camera-based surveillance. The volume charts a conversation across continents - connecting Europe, Africa, the Arab World, Asia, and the Americas. It does not segregate places, histories, and traditions but rather puts them in dialogue with one another, establishing solidarity across ever-shifting national, linguistic, racial, religious, and ethnic. Refusing the neat organization of survey...
Transmedial Landscapes and Modern Chinese Painting
Chinese ink painters of the Republican period (1911–1949) creatively engaged with a range of art forms in addition to ink, such as oil painting, drawing, photography, and woodblock prints. They transformed their medium of choice in innovative ways, reinterpreting both its history and its theoretical foundations. Juliane Noth offers a new understanding of these compelling experiments in Chinese painting by studying them as transmedial practice, at once shaped by and integral to the modern global art world. Transmedial Landscapes and Modern Chinese Painting shines a spotlight on the mid-1930s, a period of intense productivity in which Chinese artists created an enormous number of artworks an...
Drawing from Life
Drawing from Life explores revolutionary drawing and sketching in the early People’s Republic of China (1949–1965) in order to discover how artists created a national form of socialist realism. Tracing the development of seminal works by the major painters Xu Beihong, Wang Shikuo, Li Keran, Li Xiongcai, Dong Xiwen, and Fu Baoshi, author Christine I. Ho reconstructs how artists grappled with the representational politics of a nascent socialist art. The divergent approaches, styles, and genres presented in this study reveal an art world that is both heterogeneous and cosmopolitan. Through a history of artistic practices in pursuit of Maoist cultural ambitions—to forge new registers of experience, new structures of feeling, and new aesthetic communities—this original book argues that socialist Chinese art presents a critical, alternative vision for global modernism.
The Full-Length Mirror
Beautifully illustrated, a stirring and wide-ranging reflection on art, technology, culture—and the full-length mirror. This book tells two stories about the full-length mirror. One story, through time and space, crisscrosses the globe to introduce a broad range of historical actors: kings and slaves, artists and writers, merchants and craftsmen, courtesans, and commoners. The other story explores the connections among objects, painting, and photography, the full-length mirror providing a new perspective on historical artifacts and their images in art and visual culture. The Full-Length Mirror represents a new kind of global art history in which “global” is understood in terms of both geography and visual medium, a history encompassing Europe, Asia, and North America, and spanning over two millennia from the fourth century BCE to the early twentieth century.
The Full-Length Mirror
Beautifully illustrated, a stirring and wide-ranging reflection on art, technology, culture—and the full-length mirror. This book tells two stories about the full-length mirror. One story, through time and space, crisscrosses the globe to introduce a broad range of historical actors: kings and slaves, artists and writers, merchants and craftsmen, courtesans, and commoners. The other story explores the connections among objects, painting, and photography, the full-length mirror providing a new perspective on historical artifacts and their images in art and visual culture. The Full-Length Mirror represents a new kind of global art history in which “global” is understood in terms of both geography and visual medium, a history encompassing Europe, Asia, and North America, and spanning over two millennia from the fourth century BCE to the early twentieth century.
