Related papers
Modern Art Asia: Selected Research Papers, Issues 1-8
Majella Munro
2012
The most incisive and important research papers from the first two years of Modern Art Asia, now in print for the first time. Founded to address the need within art history and art journalism for a space dedicated to the arts of Asia from the eighteenth century to the present, Modern Art Asia is the most significant and innovative inter-regional and inter-disciplinary resource for the discussion of Asian art and culture. For the rising generation of Asian art scholars, this production exists in a globalized interdisciplinary context at the intersection of scholarship, criticism, and the market. Modern Art Asia reflects this discourse through the combination of peer-reviewed research, insightful commentary, presentations by leading contemporary artists and international exhibition reviews. To celebrate the second anniversary of our foundation, Modern Art Asia makes its most incisive original contributions to the field available in print for the first time, in a volume that is a vital addition to any research collection on Asian art.
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Looking at Asian Art. Edited by Katherine R. Tsiang and Martin J. Powers. Chicago: University of Chicago and Art Media Services, 2012. 90 figs., 208 pp. $40.00 (cloth)
Elizabeth C Brotherton
The Journal of Asian Studies, 2013
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Modern Asian Art: its construction and reception
John Clark
Symposium: “Asian Contemporary Art Reconsidered", 1998
1998 ‘Modern Asian Art: its construction and reception’ in Furuichi Yasuko, ed., Symposium: “Asian Contemporary Art Reconsidered”, Tokyo, The Japan Foundation, 1998. The institutional and intellectual construction of modern Asian art at its sites of origin will be summarized and comparison made with recent circuits of reception in other-than-Asian sites. In particular the role of receiving cultural formations-including funding bodies such as government and corporate foundations, museums, gatekeeper figures and gatekeeping functions, as well as the mediating function of artists themselves as major institutions of reception-will be examined in art historical perspective. A. The construction of a modern Asian art 0 The notion that there might be a modern art outside Euramerica is a beguiling but not necessarily a bewitching one. This paper will not discuss the interesting historical analogies between modern art in Asia and that in the Middle East, in Africa, or in Latin America, but will geographically confine itself to that area constructed as 'Asia' which is geographically East of the Indus valley, South of the Siberian tundra, and North of the Arafura Sea. To summarize briefly, Asian modern art can be constructed from various positions which include: 1. It is seen as a reflexive 'other' of Euramerican modernity, in some projection and extension of an'Orientalist' mis-construal of what might be the negative essence of Euramerican modernity. 2. It is seen as a 'local' or 'peripheral' modernity which negotiates a space within an overall modernism with its 'centre' in Euramerica. This is a realistic-if self-limiting-reinsertion of Asian modern art into a genealogy which privileges Euramerican origination and thereby unavoidably accepts its hegemony, if not its neo-colonial domination, as a basic premise. Elements of this modernity have been discussed as 'reverse Orientalism' or 'counterappropriation'. 3. It can be hermeneutically understood as a parallel case to the results of the transfer of Euramerican academy realism, where the 'modern' is an attribute of a stylistic penumbra the acceptance of whose various shadings can be historically traced. This approach treats modernism as a society and culture-neutral style, and tracks its distribution by art historical or quasi-archaeological methods. 4. It can be accepted as a series of discontinuous and heterogenous modernities arising from a specific structure of contact and conflict with Euramerican powers from about 1750 to 1950, where various conditions of contact, from absolute domination to precarious-if succesful-maintenance of state and cultural autonomy, led to mapping by local discourses themselves 5. It can be seen as a modality-among others-by which the world beyond Euramerica has resisted and finally overcome Euramerican impredations since the Renaissance. 6. It can be seen as a relatively isolated and autonomous series of phenomena which appear in the guise of transfers from Euramerican modernity, but are in fact reactions against it from deep strata of culture which always had their own dynamics isolated from Euramerica or indeed any other 'external' source. There is no space here to offer a critique of these six positions. My own lies between four and five. But one should note that these not purely intellectual constructs of discrete art historical data in works and artists' lives resting beyond them, just to be subsequently deployed as 'neutral' mapping constructs. These sorts of position underly the institutional practice of defining 'modern Asian art' by many modern artists and specifically many modern curators and critics since the 1950s. As such they are linked to the functions of those institutions which define them and-if it is not premature to make the Foucauldian extension-to regimes of practice which function in a broader sense as discourses of knowledge above and beyond any particular institution which may support them. Indeed if there were no institutions whose
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DaCosta Kaufmann, Thomas, Catherine Dossin, and Béatrice Joyeux-Prunel, eds., Circulations in the Global History of Art. Burlington, VT: Ashgate, 2015.
Béatrice Joyeux-Prunel, Catherine Dossin
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A World Art History and Its Objects
John Rapko
The British Journal of Aesthetics, 2010
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“A New Life for Literati Painting in the Early Twentieth Century: Eastern Art and Modernity, a Transnational Narrative,” Artibus Asiae 60, no. 2 (2000): 297-326.
Aida Y Wong
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Approaching Modernity in Art Outside Europe and America
John Clark
2016
2016 ‘Parallel Modernities: approaching modernity in art outside Europe and America’, 240-247 [publisher unidentified]. I would particularly like to thank T.K. Sabapathy and Patrick D. Flores for their friendship and inspiration in understanding modern and contemporary art in Southeast Asia over a number of years.
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"Introduction: new perspectives on the arts of East Asia and beyond", Orientations, 44, no. 3 (2013), pp. 46-47.
Yuka Kadoi
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Chinese Painting Between Modernity and Tradition: Reflections on an Exhibition and a Conference
Charles Haxthausen
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DAVID-NEEL Alexandra [EN] (In: Connoisseurs, Collectors and Dealers of Asian Art in France 1700-1939, 2022)
Samuel Thévoz
Connoisseurs, Collectors and Dealers of Asian Art in France 1700-1939, 2022
Biographical note and collection description (in English)
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