In China, naturally formed rocks called jiashanshiare collected in pantheistic reverence of creation and the cosmos. For the past two decades, Chinese artist Zhan Wang has been replicating these forms in stainless steel. Sometimes monumental in scale, the artist's "artificial rocks" explore the nexus of nature, industry and artifice.
"Featuring 70 works in various media--paintings, calligraphy, photographs, woodblock prints, video, and sculpture--that were created during the past three decades, Ink Art: Past as Present in Contemporary China will demonstrate how China's ancient pattern of seeking cultural renewal through the reinterpretation of past models remains a viable creative path. Although all of the artists have transformed their sources through new modes of expression, visitors will recognize thematic, aesthetic, or technical attributes in their creations that have meaningful links to China's artistic past. The exhibition will be organized thematically into four parts and will include such highlights as Xu Bing's dramatic Book from the Sky (ca. 1988), an installation that will fill an entire gallery; Family Tree (2000), a set of vivid photographs documenting a performance by Zhang Huan in which his facial features--and his identity--are obscured gradually by physiognomic texts that are inscribed directly onto his face; and Map of China (2006) by Ai Weiwei, which is constructed entirely of wood salvaged from demolished Qing dynasty temples." --
This book explores the relationship between the ongoing urbanization in China and the production of contemporary Chinese art since the beginning of the twenty-first century. Wang provides a detailed analysis of artworks and methodologies of art-making from eight contemporary artists who employ a wide range of mediums, including painting, sculpture, photography, installation, video, and performance. She also sheds light on the relationship between these artists and their sociocultural origins, investigating their provocative responses to various processes and problems brought about by Chinese urbanization. With this urbanization comes a fundamental shift of the philosophical and aesthetic foundations in the practice of Chinese art: from a strong affiliation with nature and countryside to one that is complexly associated with the city and the urban world.
Brice Marden: A Retrospective ISBN 0-87070-446-X / 978-0-87070-446-8 Hardcover, 11.5 x 9.5 in. / 240 pgs / 248 color. / U.S. $60.00 CDN $72.00 October / Art
A collection of photographs of strangely shaped stones thought to be infused with spiritual power, accompanied by a discussion of their influence on Chinese religion, art, and culture.
Almost a Hundred Design Projects: Ai Weiwei, Xu Bing, Araki Nobuyoshi, Lin Tianmiao, Wang Gongxin, RongRong & inri, Liu Zheng, Yue Minjun, Miao Xiaochun, Xu Weixin, Zhang Dali, Yang Fudong, Tim Yip, Chen Wenji, Zhan Wang, Yu Hong... An Asian Trend in Contemporary Graphic Design. An independent printmedia practitioner, He Hao has been working with distinctive and representative artists in the Chinese contemporary art world, including Ai Weiwei, Xu Bing, etc., and designed more than 100 highquality books and catalogs since 2003. Recording the current state of art development in China, his works have become an archive of significance. He Hao's practice shows an Asian trend in today's graphic design: the replacement of transplanted Modernism with a contemporaneity informed by the culture and lifestyle of contemporary Ch"a and the East. An independent printmedia practitioner, He Hao has been working with distinctive and representative artists in the Chinese contemporary art world, including Ai Weiwei, Xu Bing, etc., and designed more than 100 highquality books and catalogs since 2003. Recording the current state of art development in China, his works have become an archive of significance. "He Hao's practice shows an Asian trend in today's graphic design: the replacement of transplanted Modernism with a contemporaneity informed by the culture and lifestyle of contemporary China and the East. He Hao's designs grow organically from the content. His sole concern is the discovery and presentation of the content, and his designs show no trace of his hand. This approach might best be called 'essential design'."— Xu Bing
Revered by Chinese connoisseurs and literati since the Tang dynasty (618-907) or earlier, scholars' rocks have been little known in the West. As refined indoor kin of the more widely recognized Chinese garden stones, these rocks intended for studio display combine the charm of microcosm with sheer abstract beauty; whether regarded as fantastical miniature landscapes or as nonrepresentational sculpture, they invite and reward contemplation. The book accompanies an exhibition organized by Robert D. Mowry, curator of Chinese art, Arthur M. Sackler Museum, Harvard University Art Museums. Essays provide rich insights into the rocks' history and social context, as well as their web of poetic, religious, and philosophical associations. Along with an abundance of research on Chinese records, the book offers ground-breaking scientific analyses in an effort to establish materials and provenance of the rocks, and of their accompanying stands, which are often regarded as minor works of art in their own right. Color plates of the eighty rocks in the exhibition are accompanied by full descriptions and extensive background materials. Maps, tables, graphs, and comparative figures further enhance this striking foundation study.
Through descriptions and color photographs, Modern Chinese Scholars' Rocks introduces over 40 stone types, including their mineral compositions, typical colors, hardness on the Mohr scale, and where they are found or quarried. The qualities for which they are valued are explained as are other features for the stone connoisseur to look for. Separate chapters explain how to display stones to their best advant age and how to make display stands.
A collection of new essays addressing Foucault’s thought and its impact on thinking about the visual arts, literature and aesthetic discourse in the 21st century.