Australian and New Zealand Journal of Art最新文献

{"title":"Italian Modern Art in the Age of Fascism","authors":"M. Caruso","doi":"10.1080/14434318.2021.1992727","DOIUrl":"https://doi.org/10.1080/14434318.2021.1992727","url":null,"abstract":"Italian Modern Art in the Age of Fascism is an important book that helps resituate art historical studies of the Fascist period. As the title indicates, the author, Anthony White does not shy away from using the ‘F’ word that still today tends to be elided when discussing art from the 1920s and 1930s in Italy. Even Germano Celant’s highly praised exhibition Post Zang Tumb Tuuum. Art Life Politics: Italia 1918–1943 at the Prada Foundation in Milan in 2018 avoided criticising the censorship, violence and bloodshed of the period in order to exploit it as a purely productive and creative period. In his book, White invites the reader to reconsider three artists from the time in greater depth: the research he conducted in archives in Italy sheds new light on the work of Fortunato Depero, Scipione (Gino Bonichi) and Mario Radice. The author dedicates a chapter to each artist—these chapters, he explains, began their lives as separate peer-reviewed articles. In each chapter, he analyses specific aspects that intrigue him about the artist under examination: war and machinery in the work of Depero, spirituality in that of Scipione, and abstraction and architecture in Radice. By entering into their specificities, White conversely reveals the vastness of their production. The interdisciplinarity of the three artists reaches from architecture to abstraction, spirituality, choreography, tapestries, performance, poetry and painting. Although marketed exclusively at an academic audience, the book—unlike many art history academic books that tend to forego image quality over scholarship—is richly illustrated and includes eight colour plates. White is also careful to reference contemporary issues that concern the field. Depero’s work, he observes, and its connections to military combat and destruction was appropriated by the extreme right-wing group CasaPound for a conference on the artist in 2013. White, instead, aims to understand Depero more holistically by uncovering the lesserknown aspects of his production. In his first chapter, ‘The Folk Machine: Fortunato Depero’s Cloth Pictures, 1919–1927’, the author examines Depero’s early forays into set design, first working for the Ballets Russes, then developing futurist toys like Giacomo Balla for his Plastic Ballets in 1918 and eventually creating his ‘fabric mosaics’. In his detailed visual analysis of the tapestry Serrada from 1920, we learn of the effects of the destruction of men and cities during the First World War on the artist’s creativity:","PeriodicalId":29864,"journal":{"name":"Australian and New Zealand Journal of Art","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60447918","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Didi-Huberman and the Image","authors":"Giles Fielke","doi":"10.1080/14434318.2021.1992728","DOIUrl":"https://doi.org/10.1080/14434318.2021.1992728","url":null,"abstract":"The sovereignty of the idea is a defining principle for art history, yet today it appears as one amongst a more generalised set of concepts for the so-called New Art History. Resisting the post-modern compulsion to ‘pluralise the term: new art histories’, as Bill Readings admitted during a symposium on the topic at the Mus ee d’Art contemporain de Montreal in 1994, meant the discipline again asked the related question: what is history? The idea was ascribed to the nineteenth-century emergence of the discipline in continental Europe. It is supposed to have reached its apotheosis with the arrival of the German art historian, Erwin Panofsky (1892–1968), to Princeton in 1935. If only things were so straight-forward. George Didi-Huberman (b. 1953), whose work begins with this rupture, is subject to an intensive study by Chari Larsson. Against both the Platonic and neoKantian modes of art history, the French philosopher of art has carefully arranged his post-structural method upon the topology of psychoanalytic symptom. This approach could be seen as the direct result of his academic coming-of-age in the 1970s and 80 s, perhaps. Yet Didi-Huberman has also worked tirelessly to reintroduce figures from Art History’s own history—in particular, the idiosyncratic wanderings of Aby Warburg (1866–1929). This focus means that the naïve utopianism of the 1990s (as the end of history) is key for understanding Didi-Huberman’s emergence as a spokesperson for the discipline. The companion to his breakthrough work from 1990, Confronting Images, appeared as Devant le Temps in 2000. Larsson’s analysis of an exhaustive set of Didi-Huberman’s published work, mostly in French, shows the importance of Natural History by Pliny the Elder (AD23/4-79), for example, in the 2000 study yet to appear in an English translation. Two years later Didi-Huberman’s book on Warburg—the founder of the Kulturwissenschaftliche Bibliothek Warburg in Hamburg in 1926, an eccentric research library that was inaugurated by Ernst Cassirer—saw its publication in the context of the appearance of Warburg’s collected manuscripts under the title The Renewal of Pagan Antiquity (1999), a project realised by the Getty Research Center in LA. It is obvious why this latter study has since been translated into English, while others by Didi-Huberman, such as Devant le Temps, are yet to be. Warburg’s collected writings had originally appeared posthumously in German in 1932. Of course, this nexus of German and French theory and its influence on English Art History still engulfs the discipline today, dwarfing its Florentine origins.","PeriodicalId":29864,"journal":{"name":"Australian and New Zealand Journal of Art","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41757390","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Eco-phenomenology and the Maintenance of Eco Art: Agnes Denes’s A Forest for Australia","authors":"C. Chevalier","doi":"10.1080/14434318.2021.1992726","DOIUrl":"https://doi.org/10.1080/14434318.2021.1992726","url":null,"abstract":"Agnes Denes (b. 1931) is a Hungarian-born, New York–based multidisciplinary artist who has created an extensive body of art and writing since the 1960s. Denes’s practice transcends mediums and disciplines, informed by decades spent researching mathematics, physics, linguistics, philosophy, and anthropology, among numerous other subjects. Over the course of her career, Denes has engaged a range of mediums, including sculpture, drawing, architectural plans, holograms, fields, and forests. In her work, the artist sketches future worlds reimagined by new laws of physics, surveys timelines of evolutionary biology, and visually interprets the space-time continuum. Her artistic practice manifests in forms that include, but are certainly not limited to, metallic-ink graphs, largescale drawings, colossal pyramidal sculptures, and magnetic levitating masses. These explorations are often underpinned by astute environmental awareness. This can be traced back to the late 1960s, when Denes pioneered an early form of environmentalism called ‘eco-logic’, which she defines as an approach to artmaking that combines philosophical concepts and ecological concerns. Denes first engaged eco-logic in Rice/Tree/Burial (1968–79), a temporary work that included planting a field of rice, chaining trees, and burying a time capsule. She went on to create three more significant public ecological works: Wheatfield—A Confrontation (1982), a shimmering field of wheat temporarily planted in downtown Manhattan; Tree Mountain—A Living Time Capsule (1992–96), a permanent, spiralling forest of 11,000 trees planted in Yl€ oj€arvi, Finland; and A Forest for Australia (1998), a circular series of 6000 trees planted outside Melbourne, Australia. When surveying the artist’s body of work through a twenty-first-century lens of eco art informed by climate crisis, no other series seems more urgent, prophetic, and underexamined than these four realised public works. Through their creation, Denes developed a unique form of eco art that combines myriad disciplines with the goal of forging an improved and sustainable relationship","PeriodicalId":29864,"journal":{"name":"Australian and New Zealand Journal of Art","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41845573","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Editorial Foreword: Pandemia, Materiality and the Wind in the Trees","authors":"A. Archer, David M. Challis, Chris Marshall","doi":"10.1080/14434318.2021.1992719","DOIUrl":"https://doi.org/10.1080/14434318.2021.1992719","url":null,"abstract":"The cover of Issue 21.2 of the Australian and New Zealand Journal of Art (ANZJA) features a still from the short film, Left, Right & Centre (2017) by British contemporary artist, Cornelia Parker. Parker’s film follows on from her role as an ‘Official Artist’ commissioned to produce creative responses to the 2017 United Kingdom general election. All the tragedy, tedium and dismay of that phenomenally divisive period is here reduced to a series of long shots showing a mysteriously empty chamber of the dispatch box of the House of Commons. Midway through the film, a drone flies into view, scattering hundreds of sheets of British press commentary in the process, each highlighting the chaos and acrimony of those inflammably toxic pre-Brexit days. So the editors thought that this image might constitute an appropriate cover. Not because of its heavily imperialist associations. But rather by virtue of its ability to capture the current mood: viz, the hopeless mess that we’re all in at the moment (or so at least, one of the editors cheerfully suggested). The image also chimed with us on a more prosaic level as we struggled with one of the last duties on the customary list of the journal’s editorial tasks: to arrange the articles into an ordered sequence of numbered contributions. While recognising the necessity of this job, it did nonetheless strike us as a somewhat irrelevant undertaking. Who, after all, reads journals in sequence anymore? And who will ever access this journal as a hard copy, paper-bound artefact stretching from cover to cover? Our piecemeal engagement with journals is especially prevalent nowadays given the pandemic’s tendency to hasten the widespread shutting down of libraries as physical spaces, and thus to refocus our attention onto the atomised process of downloading individual pdfs from a wide array of digital libraries and journal aggregators. So, as we wistfully beheld all that physical newsprint wafting through the House of Commons, the idea of exerting editorial control over the order and experience of reading this journal did strike us as a rather quaint notion. If it is still nonetheless considered helpful for us to proffer an at least notional order to the sequence of articles in this open issue of ANZJA, then here’s what we","PeriodicalId":29864,"journal":{"name":"Australian and New Zealand Journal of Art","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47575080","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Raising the Spectre: Contemporary Art and Print Culture in the Aftermath of Colonialism","authors":"Deidre Brollo","doi":"10.1080/14434318.2021.1992722","DOIUrl":"https://doi.org/10.1080/14434318.2021.1992722","url":null,"abstract":"In recent decades attention has turned to the role played by print culture in the expansion and expression of imperial power. Print is, in large part, the way in which empire represented itself to itself. With its ability to reproduce and therefore mobilise information, the printing press became an indispensable tool of empire, its operations extending beyond colonial administration into areas such as anthropology, botany, and cartography for the purposes of defining and controlling people, space, and the natural world. Whether in terms of literal boundary demarcations, artistic renderings of landscape, scientific accounts, administrative records, or popular broadsides, the printing press afforded these representations of empire an expansive reach that traced the geographical extent of empire itself. In doing so, it projected constructions of imperial identity, culture, and power to distant locations and populations. At the same time, print imbued such artefacts with an authority that bolstered and fortified efforts to claim, organise, and control these ‘new’ lands and their inhabitants. Such an interrogation of print’s historical role, however, is not well developed within the critical discourse of fine art printmaking. Emerging as they did within an art economy that valued the unique and singular artwork, master printers and publishers found it fruitful to shelter printmaking from the stigma of industrial reproduction. As noted by Gerardo Mosquera, fine art printmaking is a ‘reproductive medium that self-limits its reproductive possibilities’. Such a demarcation has contributed to a critical lens which is less sharply attuned to the overlaps between fine art printmaking and print culture, and therefore to the social, cultural, and political operations and histories they share. While A. Hyatt Mayor’s 1971 work Prints and People: A Social History of Printed Pictures remains a foundational work internationally, in recent years there have been some notable local developments in this area. Exhibitions such as The Story of Australian Printmaking 1801–2005 (National Gallery of Australia, 2007), Colony: Australia 1770–1861 and Colony: Frontier Wars (National Gallery of Victoria, 2018),","PeriodicalId":29864,"journal":{"name":"Australian and New Zealand Journal of Art","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45733883","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Language and Chinese Art History","authors":"Mingyu Hu","doi":"10.1080/14434318.2021.1934774","DOIUrl":"https://doi.org/10.1080/14434318.2021.1934774","url":null,"abstract":"I would like to offer a consciously partial reflection, based on personal practice, on the teaching of Chinese art history at two universities, hoping it may lead to more general discussions. When I taught art history at the University of Glasgow (2008–11) and the University of Leeds (2015–17), I sometimes showed, in historiography and methodology classes, two uncaptioned landscapes and asked students for educated guesses on the dates and for their reasoning (figs 1 and 2). Always, the first was judged to have been painted earlier (because it was ‘more classical’) and the second, later (because it was ‘more modern’). Both landscapes were painted in the first half of the twentieth century by Huang Binhong黃賓虹 (1865–1955), the ‘more modern’ one predating the other. Designed to unsettle teleological assumptions of a linear, progressive stylistic evolution (and of the notion of stylistic evolution altogether), this exercise moved on to a probing into the poverty of our vocabulary. Simply by utilising ‘modern’ as a description, one situates an image in contextually charged terms, at once loaded and vacant. And so we experimented with ways of discussing the two Huang Binhongs. For instance, can we analyse by way of brushwork or pictorial space? What are the implicit references when we look at space in these landscapes, as opposed to space in a Constable, a C ezanne, or a Hockney? In doing so, we were obliged to pay attention to the very language with which to think, because, as quickly became salient, we thought in given lexical settings, and our ways of looking were (at least partly) linguistically conditioned. This three-way investigation of looking, thinking, and speaking as it happened, teasing out the limits of our language and those of our perception, through art historical debates no less, was a Wittgensteinian moment lived. To glimpse a different fly-bottle, so to speak, I then gave translated examples of writings on landscape painting by artists in eleventhand seventeenth-century China, where a sophisticated system of rhetoric was mobilised to picture the picturing of the world. If the students wondered, then yes, these artists wrote and theorised; they were critics, connoisseurs, historians, and collectors at the same time as they were painters, calligraphers, and poets. Such a mention in passing was my preferred way of bringing into evidence that art history as a history of writing did not begin with Vasari, as students are often taught and as we are supposed to ‘put to rights’, the raison d’̂etre for","PeriodicalId":29864,"journal":{"name":"Australian and New Zealand Journal of Art","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49468841","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Rethinking/Relinking Colonial Ruptures: On Recent Works by Musquiqui Chihying and Hao Jingban","authors":"Yu-Chieh Li","doi":"10.1080/14434318.2021.1934777","DOIUrl":"https://doi.org/10.1080/14434318.2021.1934777","url":null,"abstract":"Introduction: Ruptures in Colonial Histories This article analyses recent essay films directed by Musquiqui Chihying and Hao Jingban, which deploy colonial archives and collaboration in the research process. These essay films offer alternative perspectives to reveal previously underexplored narratives––which in this article I call ‘ruptures’. In literatures on postcolonial conditions, the rupture describes the borders separating cultures as a result of colonisation. Colonial ruptures thus cast previous connections among the non-Western world (e.g. Asia–Africa and other sites of exploitation and extraction) into oblivion. The frictions and fissures are not merely discussed in a temporal sense of colonial–postcolonial division here. Such missing links result in the binary system of coloniser/colonised and North/South. These barriers were the architecture of colonial political economic systems, the deprivation and suppression of indigenous cultures, and displacement and disconnections from natural habitats. These ruptures must be fixed and relinked in decolonial discourses. Through examining undercurrents within colonial histories, I will investigate how creative research seeks to bridge such ruptures. My aim is to reveal how the narrative complicates the gaze between self and other, without romanticising or victimising the other. Towards this end, I first summarise the current status of postcolonial discourses in the Chinese-speaking world, the critique of essentialism, and the Deleuzian notion of aion (holes and ruptures) as reinterpreted and enriched by curator and theorist Huang Chien-Hung. The second section analyses several moving image works that explore China’s relationships with Africa and Japan under colonialism. Essay film emerged as a major medium for recording artist-led research on global conflicts due to its documentary nature and adaptability to global exhibition formats. The flexibility of style and approaches accommodates various forms of storytelling and is often used to encourage the participation of different","PeriodicalId":29864,"journal":{"name":"Australian and New Zealand Journal of Art","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46863638","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"From Purgation to Remembrance: Memorialising the May 1998 Violence in Post-Authoritarian Indonesian Visual Art","authors":"W. Dirgantoro","doi":"10.1080/14434318.2021.1934780","DOIUrl":"https://doi.org/10.1080/14434318.2021.1934780","url":null,"abstract":"Introduction In Yogyakarta, on 18 October 1998, Chinese Indonesian artist FX Harsono performed Korban (Burned Victims) as part of his solo exhibition at Cemeti Art House. In a disused construction site near the gallery, Harsono planted nine torso-shaped wooden sculptures attached to steel poles. Harsono explained to the audience that he wanted to show the processes behind his works and, specifically, how his works dealt with ‘the current happenings in Jakarta’. He then brought out five picket signs and proceeded to tell the audience about the challenges in finding out the truth about what happened during the riots of May 1998. As the artist began his speech, he pulled out the signs one by one, punctuating his narrative on every second sentence until four signs were placed opposite the torsos. Written on these signs were the words Rusuh (Riot), Kerusuhan (Rioting), Dibuat rusuh (The riot was made up), and Rekayasa agar rusuh (The riot was manipulated). The artist then burned the signs one by one with a torch gun before proceeding to burn the torsos. When most of the picket signs had turned into ashes, Harsono then pulled out the last sign, which stated, Siapa yang bertanggung jawab? (Who was responsible?) (fig. 1). He then walked, with his knees bent, along the line of the burning torsos and slowly lowered himself to the ground carrying the sign, while stating, ‘we lowered ourselves until we nearly crawled on the ground to ask this question, but we will never know who was responsible for this’. The burned sculptures were then displayed as part of his solo exhibition in the gallery space (fig. 2). This article starts with Harsono’s evocative work as it highlights a turning point in his artistic imperative to document and memorialise instances of antiChinese violence in Indonesia. In Harsono’s performance installation, the artist depicted the most recent incidence: the riots of 12–14 May 1998 in Medan, Jakarta, Solo, and a few other cities. At the end of the authoritarian New Order regime","PeriodicalId":29864,"journal":{"name":"Australian and New Zealand Journal of Art","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45963597","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Reclaiming Silenced Voices: Feminist Interventions in the Ink Tradition","authors":"Luise Guest","doi":"10.1080/14434318.2021.1934781","DOIUrl":"https://doi.org/10.1080/14434318.2021.1934781","url":null,"abstract":"Introduction: Women Artists and the ‘Empire of Signs’ In the continuing re-examination of cultural history that inflects much contemporary art in the People’s Republic of China (PRC), there has to date been insufficient acknowledgement that powerful notions of filial duty, self-sacrifice and the equation of femininity with fragility, served to constrain women’s participation in the pursuits of the imperial scholar class such as calligraphy, painting and connoisseurship. Craig Clunas’ analysis of the ‘gendering of the act of spectatorship as male’ and ‘male anxieties around women and painting in the Ming period’ reveals that the act of looking at paintings by the literati was as important as the act of producing them. Similarly, with very few exceptions, women artists have been absent from avantgarde前卫 (qianwei) ink practices that developed in the late twentieth century, as has been their work from scholarly discourses around those practices. Specifically, in the genres of ‘unreadable’ calligraphy and performative applications of ink in canonical works such as Gu Wenda’s 1985Mythos of Lost Dynasties series, Wu Shanzhuan’s 1986 Red Humour installations, Xu Bing’s c. 1987–91 Book from the Sky and Yang Jiechang’s 1989–99 100 Layers of Ink, it is the contention of this article that the appropriation and transformation of previously elite artforms left the historically masculinist nature of literati 文人 (wenren) culture essentially unquestioned. The post–Cultural Revolution re-examination, translation, and transformation of ink and text traditions have been documented and analysed by scholars from various disciplines. Artists were wrestling with their memories of High-Maoist China and the instability of language as part of the revolutionary apparatus of the state—in Barm e’s memorable phrase, they were examining the ‘empire of signs that had bedevilled so many writers and thinkers in China’s twentieth century’. Installations and performance works featuring altered calligraphy, books, and the materiality of ink were not only vehicles for the reassertion of Chinese identity and signifiers of contemporaneity but also reflections on past trauma. Wu Hung’s","PeriodicalId":29864,"journal":{"name":"Australian and New Zealand Journal of Art","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46216400","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Shifting the Ground: Rethinking Chinese Art","authors":"C. Roberts, Mark Erdmann, Genevieve Trail","doi":"10.1080/14434318.2021.1938932","DOIUrl":"https://doi.org/10.1080/14434318.2021.1938932","url":null,"abstract":"This special open-call issue of the Australian and New Zealand Journal of Art (ANZJA) presents papers that examine issues relating to art of the Greater China region encompassing mainland China, Hong Kong and Taiwan as well as Chinese diasporas. Here, Greater China is understood as an active cultural space defined by historical, multi-directional flows of people and ideas rather than territorial boundaries, with Chinese diaspora connecting China to all parts of the world. The aim in encouraging writers to think about the Greater China cultural space is to recover forgotten or marginalised histories and suggest alternatives to monolithic national narratives in order to reconfigure the field of Chinese art history in more complex and connected ways. The writers here are rethinking the frameworks that inform art history, notably the way both art and history are conceptualised, its periodisation, its pedagogical assumptions, and notions of linear progress informed by political events emanating from dominant sources of power. As editors we posed the following questions: What are the limitations of and gaps in the current art historical record? What are the discrepancies and interventions that are generally not acknowledged? How do extant histories of Chinese art intersect with world art history? What is the contribution of art produced in Greater China and its diasporas to modern and contemporary international art? To what extent can new or reconsidered case studies of art produced in this cultural space point to alternative ways to think about the mobility of artists, ideas, and artworks and the writing of art history today? These questions and the ideas that they raise originated from issue editor Claire Roberts’ Australian Research Council Future Fellowship ‘Reconfiguring the World: China. Art. Agency. 1900s to Now’ (FT140100743) based in the School of Culture and Communication at the University of Melbourne. This fellowship was conceived in 2013 to consider the international context of modern and contemporary Chinese art. Over the past eight years the idea of ‘Reconfiguring the world’ through the agency of artists and art works has become more urgent and relevant, and in ways that were difficult to anticipate back in 2013. Today, the world community faces serious challenges arising from geo-political power shifts, the ongoing scourge of","PeriodicalId":29864,"journal":{"name":"Australian and New Zealand Journal of Art","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49309701","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}