Asian Traditions/Modern Expressions presents the achievements of a selected group of Asian American artists in the context of a broad and vital trend in American art: the increasing importance of abstraction in the mid-20th century.
60 artists of the time of Franz Kline, Jackson Pollock and Mark Tobey who were not, but deserved to be, recognised. Paintings, works on paper and sculptures.
This first survey of Asian American modernists active during the era of Abstract Expressionism reevaluates an entire generation of neglected but important artists. The works of 58 artists, including Isamu Noguchi and Kenzo Okada, reveal the strong tradition in Asian art of abstract techniques and show how East Asian art prefigured or paralleled "modern" stylistic developments in the West. 194 illustrations, 84 in color.
Featuring examples across many media and extending beyond ethnicity, 'Asian/American/Modern Art' brings into focus an underrepresented and vital group within American art.
Psychoanalysis and the Image brings together an influential team of international scholars who demonstrate innovative ways to apply psychoanalytical resources in the study of international modern art and visual representation. Examines psychoanalytic concepts, values, debates and controversies that have been hallmarks of visual representation in the modern and contemporary periods Covers topics including melancholia, sex, and pathology to the body, and parent-child relations Advances theoretical debates in art history while offering substantive analyses of significant bodies of twentieth century art Edited by internationally renowned art historian Griselda Pollock.
It was the conflict that shocked America and the world, but the struggle for peace is central to the history of the Vietnam War. Rejecting the idea that war between Hanoi and the US was inevitable, the author traces North Vietnam's programs for a peaceful reunification of their nation from the 1954 Geneva negotiations up to the final collapse of the Saigon government in 1975. She also examines the ways that groups and personalities in South Vietnam responded by crafting their own peace proposals, in the hope that the Vietnamese people could solve their disagreements by engaging in talks without outside interference. While most of the writing on peacemaking during the Vietnam War concerns high-level international diplomacy, Sophie Quinn-Judge reminds us of the courageous efforts of southern Vietnamese, including Buddhists, Catholics, students and citizens, to escape the unprecedented destruction that the US war brought to their people. The author contends that US policymakers showed little regard for the attitudes of the South Vietnamese population when they took over the war effort in 1964 and sent in their own troops to fight it in 1965.A unique contribution of this study is the interweaving of developments in South Vietnamese politics with changes in the balance of power in Hanoi; both of the Vietnamese combatants are shown to evolve towards greater rigidity as the war progresses, while the US grows increasingly committed to President Thieu in Saigon, after the election of Richard Nixon. Not even the signing of the 1973 Paris Peace Agreement could blunt US support for Thieu and his obstruction of the peace process. The result was a difficult peace in 1975, achieved by military might rather than reconciliation, and a new realization of the limits of American foreign policy.
While in some cases modernity may dominate 'traditional' forms of expression, in others, the modern is embraced as a welcome source of new ideas that can modify 'tradition' while still keeping it within its own bounds. Maintaining a strong and distinct cultural identity with the help of modernity helps representatives of that identity cope with the modern world more generally. By contrast, assimilation to a dominant culture marked as modern is clearly associated with not only the loss of a distinct identity, but also its specific forms of cultural expression. This book explores the consequences of the interface between modernity and tradition in selected societies in Taiwan, mainland China and Vietnam. The contributors examine how traditions are themselves exploiting modernity in creative ways, in the interests of their own further cultural developments, and to what extent this approach is likely to help a tradition survive.
Bringing to light the largely overlooked female participation in domestic and international art worlds, this book offers the first comprehensive study of how women embroiderers, traditionalist calligraphers and painters, including Shen Shou, Wu Xingfen, Jin Taotao, and members of Chinese Women’s Society of Calligraphy and Painting, shaped the terrain of the modern art world and gender positioning during China’s important moments of social-cultural transformation from empire to republic. Drawing on a wealth of previously unexhibited artworks, rare artist’s monographs, women’s journals, personal narratives, diaries, and catalogs of international expositions, Doris Sung not only affirms women’s significant roles as guardian and innovator of traditionalist art forms for a modern nation, but she also reveals their contribution to cultural diplomacy and revaluation of Chinese artistic heritage on the international stage in the early twentieth century.