LEADER 04851oam 22005294a 450 001 9910411919203321 005 20250211162928.0 010 $a9781950192588 010 $a195019258X 035 $a(CKB)4100000011373491 035 $a(OCoLC)1195042810 035 $a(MdBmJHUP)muse91764 035 $a(oapen)https://directory.doabooks.org/handle/20.500.12854/31723 035 $a(oapen)doab31723 035 $a(EXLCZ)994100000011373491 100 $a20200618d2020 uy 0 101 0 $aeng 135 $aur|||||||nn|n 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 00$aComplementary Modernisms in China and the United States$eArt as Life/Art as Idea /$fBruce Robertson, Jian Zhang 210 $aBrooklyn, NY$cpunctum books$d2020 210 1$aSanta Barbara :$cPunctum Books,$d2020. 210 4$d©2020. 215 $a1 online resource 311 08$a9781950192571 311 08$a1950192571 330 $aComplementary Modernisms in China and the United States: Art as Life/Art as Idea is the result of a conference where Chinese and Americanist art historians addressed the development of modernism in their respective cultural traditions. The chapters juxtapose historical developments without attempting to map connections or influences. Instead, both national modernisms are presented as part of the larger terrain of global modernism, but generated within specific, localized circumstances. This juxtaposition reveals significant differences as much as any particular moments of connection or similarities, disrupting any standard narrative of the primacy of French (or European) avant-garde art and its influence on more belated and peripheral communities.The differences that are revealed are not merely the result of the very different historical trajectories of each country?s moves into modernity. Rather, differences in attention and methodology are just as important, in particular the focus on the post-1980 development of Chinese art as part of the modernization of Chinese culture and economy, rather than the American perspective on post-1980s postmodern qualities. At the same time, significant convergent concerns emerge, such as the importance of urban centers and urbanization, the profound effect of political and technological disruption, and the question of identity.The volume represent a cross-section of Chinese and Americanist art historians, both early career and senior scholars, working on a wide variety of subjects, such as the Ashcan School, Impressionism, Cai Liang, Liang Sicheng, Huang Binhong, Cézanne, Bauhaus, Joseph Cornell, Andrew Wyeth, Louise Nevelson, Jackson Pollock, Andy Warhol, and contemporary art more broadly, with (as is usual in any survey of the 20th century these days) a concentration on the 1960s.?????????????????: ??/???????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? 606 $aArt & design styles: from c 1960$2bicssc 610 $amodernism 610 $aart history 610 $aChina 610 $aUnited States 610 $aart criticism 610 $apostmodernism 610 $aavantgarde 615 7$aArt & design styles: from c 1960 700 $aZhang$b Jian$4edt$0652044 702 $aZhang$b Jian 702 $aRobertson$b Bruce 801 0$bMdBmJHUP 801 1$bMdBmJHUP 906 $aBOOK 912 $a9910411919203321 996 $aComplementary Modernisms in China and the United States$94419063 997 $aUNINA