modern and contemporary asian art - The University of Sydney
modern and contemporary asian art - The University of Sydney
modern and contemporary asian art - The University of Sydney
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Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
MODERN AND CONTEMPORARY ASIAN ART<br />
A Working Bibliography<br />
2010 Version<br />
By John Clark<br />
With the help <strong>of</strong> Thomas Berghuis, Ann Proctor, Phoebe Scott, Gabrielle Ewington, Katharine Grube, Rhiannon Paget,<br />
M<strong>art</strong>in Polkinghorne, Helena Poropat, Kedar Vishwanathan, <strong>and</strong> contributions from Ajioka Chiaki, Edan Corkill, Michael<br />
Fitzhenry, Kikuchi Yôko, Lai Meilin, Helena Spanjaard, Alicia Volk, Gennifer Weisenfeld, Bert Winther-Tamaki.<br />
Taninaka Yasunori, Ehon Fou, 1936, <strong>University</strong> <strong>of</strong> <strong>Sydney</strong>, UA1995.28.<br />
Dep<strong>art</strong>ment <strong>of</strong> Art History & Film Studies, R.C. Mills A26, <strong>University</strong> <strong>of</strong> <strong>Sydney</strong>, NSW<br />
2006, Australia<br />
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Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
INTRODUCTORY NOTES:<br />
This is a teaching <strong>and</strong> initial research bibliography which has been established snce 1997 with Australian<br />
students who have no access to vernacular language materials in mind. For deep research, vernacular language<br />
speaking <strong>and</strong> reading ability is necessary, but this bibliography may also be useful for initial research by those<br />
without linguistic access to the <strong>art</strong> writings <strong>of</strong> the cultures concerned. Updating depends on p<strong>art</strong>icular interests<br />
<strong>and</strong> available resources. <strong>The</strong> bibliography is available as a PDF file via the website <strong>of</strong> the Dep<strong>art</strong>ment <strong>of</strong> Art<br />
History <strong>and</strong> Film at: http://www.<strong>art</strong>s.usyd.edu.au/dep<strong>art</strong>s/<strong>art</strong>history/index.php?page=staff&id=johclark<br />
Please contact the author john.clark@sydney.edu.au with any notable omissions or additions. It is desirable for<br />
speed <strong>and</strong> accuracy <strong>of</strong> updating if you can do so with a country-specific file <strong>of</strong> additions only saved in the same<br />
categories <strong>and</strong> in .doc format for PC, <strong>and</strong> only if the text mentioned is available via reasonable international<br />
circulation. <strong>The</strong>matic or <strong>art</strong>ist titles should be preceded by the name in square brackets eg [Xu Bing], [Noumea]<br />
to facilitate A-Z sorting. At the minimum a title should be held in a national library which can be accessed by<br />
international document request facilities. Some countries have valuable material in English but in obscure<br />
academic journals <strong>and</strong> some have extensive writings on <strong>modern</strong> <strong>art</strong> which are nonetheless difficult to access<br />
abroad because <strong>of</strong> small-volume <strong>and</strong> / or selective coterie circulation at home. But if a text is both important<br />
<strong>and</strong> can be found by international document search, it should be included.<br />
Entry is by Country, Topic, <strong>and</strong> Artist. In some sections which give works on specific <strong>art</strong>ists, authors follow the<br />
name <strong>of</strong> the work or <strong>art</strong>ist. Artists who cross cultural boundaries are generally given under <strong>contemporary</strong> <strong>art</strong><br />
sections by their culture <strong>of</strong> origination, although there are no hard-<strong>and</strong>-fast rules for such affiliation, <strong>and</strong> some<br />
categories <strong>of</strong> overseas <strong>art</strong>ists have been generated where there is sufficient material. <strong>The</strong>re has been no attempt<br />
to restrict the bibliography to books alone, but obviously it is not possible to include too many journal <strong>art</strong>icles,<br />
book reviews, or notes on p<strong>art</strong>icular exhibitions. Catalogues are usually included if little other material is<br />
available on a given <strong>art</strong>ist or if they contain useful general essays. Since some works not dealing specifically with<br />
<strong>modern</strong> <strong>art</strong> also refer to its important proto-history in the 19th <strong>and</strong> early 20th centuries, they are also included<br />
here. In general, the <strong>art</strong> works referred to are after 1850.<br />
This bibliography seeks a balance between <strong>art</strong> historical quality, availability, <strong>and</strong> relevance. Thus texts <strong>of</strong><br />
inadequate analytical or <strong>art</strong> historical reference have also been brought in since for some <strong>art</strong> cultures there is<br />
little other written work available in English. Areas like <strong>modern</strong> history <strong>and</strong> <strong>modern</strong> culture including literature<br />
are included on an ad hoc basis where these are available <strong>and</strong> seem relevant. Further suggestions for inclusion<br />
<strong>of</strong> minimum materials in political <strong>and</strong> cultural history adjacent to the field are welcome.<br />
For users <strong>of</strong> this bibliography in Australia:<br />
Works given are mostly those available in Australia <strong>and</strong> chiefly at the Australian National <strong>University</strong> Library,<br />
National Library <strong>of</strong> Australia, <strong>The</strong> Canberra School <strong>of</strong> Art Library, Australian National Gallery<br />
Canberra,<strong>University</strong> <strong>of</strong> <strong>Sydney</strong> Fisher Research <strong>and</strong> Schaeffer Fine Arts Libraries <strong>and</strong> private sources in<br />
Canberra <strong>and</strong> <strong>Sydney</strong>. In the <strong>Sydney</strong> area, after holdings <strong>of</strong> the <strong>University</strong> <strong>of</strong> <strong>Sydney</strong> Fisher Research <strong>and</strong><br />
Schaeffer Fine Arts Libraries, the best source for some <strong>of</strong> this material is probably the Art Gallery <strong>of</strong> New South<br />
Wales library which may be used for reference during weekdays. Fisher Research Library East Asian Collection<br />
is the recipient <strong>of</strong> an important ongoing donation <strong>of</strong> <strong>art</strong> catalogues via the National Art Center in Tokyo <strong>and</strong><br />
also benefits from purchases under the Morrissey Bequest. Details <strong>of</strong> these may be accessed <strong>of</strong>f-campus by the<br />
library’s English on-line catalogue, as well as by CJK terminals if one is available in your library for full details.<br />
<strong>The</strong> catalogues are almost all in Chinese <strong>and</strong> Japanese but frequently include many plate titles <strong>and</strong> essays in<br />
English or other European languages. <strong>The</strong>re are also quite extensive holdings <strong>of</strong> books on Asian Art at the<br />
State Library <strong>of</strong> New South Wales, <strong>and</strong> especially <strong>of</strong> pre-Second World War books on India, including important<br />
runs <strong>of</strong> early Indian <strong>art</strong> journals.<br />
John Clark, September 2010.<br />
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Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
CONTENTS<br />
Please note that pagination given below may slightly vary with printer settings<br />
CONTENTS............................................................................................................................................... 3<br />
GENERAL WORKS ON ASIAPACIFIC AS A REGION........................................................................11<br />
ASIAN-WIDE SURVEYS......................................................................................................................................................11<br />
MUSEUMS, ART CENTERS AND OTHER ART INSTITUTIONS 1990S .............................................................................11<br />
MUSEUMS, ART CENTERS AND OTHER ART INSTITUTIONS 2000+............................................................................12<br />
ASIA-WIDE NEW ART PRACTICES AND NEW MEDIA ..................................................................................................14<br />
WEB RESOURCES.........................................................................................................................................................14<br />
RELEVANT SERIALS IN ENGLISH........................................................................................................................15<br />
NORTHEAST ASIA..................................................................................................................................15<br />
BIBLIOGRAPHICAL NOTE .................................................................................................................................................15<br />
CHINA-GENERAL ..................................................................................................................................15<br />
GENERAL PROBLEMS OF MODERNITY AND ART .........................................................................................................16<br />
TEXTS AND SOME TERMS IN CHINESE:..........................................................................................................................17<br />
CHINESE ART BEFORE THE TWENTIETH CENTURY (SELECTED TEXTS) ...................................................................18<br />
EARLY CONTACTS WITH EUROPEAN ART .....................................................................................................................18<br />
CHINACOAST AND TRADE PAINTINGS ...........................................................................................................................20<br />
PHOTOGRAPHY IN CHINA................................................................................................................................................20<br />
PHOTOGRAPHY IN CHINA 1980S-1990S AND AFTER ....................................................................................................21<br />
PERFORMANCE IN CHINA 1980S-1990S AND AFTER.....................................................................................................21<br />
MAILAND CHINA, 1911 TO PRESENT................................................................................................ 22<br />
ALBUMS ...............................................................................................................................................................................22<br />
INDIVIDUAL ARTISTS ........................................................................................................................................................23<br />
COLLECTED ARTIST INTERVIEWS ...................................................................................................................................43<br />
NEO-TRADITIONAL PAINTING [GUOHUA] .....................................................................................................................43<br />
LATE QING TO REPUBLICAN CHINA BEFORE 1949......................................................................................................44<br />
CULTURE CONTACT IN NORTHEAST CHINA AND MANCHURIA.................................................................................45<br />
WARTIME PERIOD AND YAN’AN BASE AREAS ..............................................................................................................45<br />
1949-1966 ...........................................................................................................................................................................45<br />
SELECTED COMPARATIVE TEXTS ON SOCIALIST REALISM .........................................................................................46<br />
ART 1966-1976...................................................................................................................................................................46<br />
ART 1989-2000...................................................................................................................................................................49<br />
ART 2000+..........................................................................................................................................................................52<br />
RECENT INK PAINTING [SEE ALSO BY ARTIST NAME] ..................................................................................................57<br />
NEW ART PRACTICES AND NEW MEDIA [SEE ALSO UNDER PHOTOGRAPHY, PERFORMANCE] ............................58<br />
SELECTED EXHIBITIONS IN CHINA - 1990S-PRESENT .................................................................................................58<br />
SELECTED EXHIBITIONS OUTSIDE CHINA.....................................................................................................................60<br />
ART INSTITUTIONS – CHINA (ENTRIES AFTER 2005)....................................................................................................63<br />
CHINESE GRAPHIC ART SINCE THE LATE 19TH CENTURY TO 1949..........................................................................63<br />
CHINESE GRAPHIC ART AFTER 1949 ..............................................................................................................................64<br />
SELECTED WORKS ON MODERN CHINESE INTELLECTUAL AND POLITICAL HISTORY BEFORE 1949 ..................65<br />
SELECTED WORKS ON MODERN CHINESE INTELLECTUAL AND POLITICAL HISTORY AFTER 1949 .....................66<br />
WOMEN, GENDER AND ART ...........................................................................................................................................69<br />
SHANGHAI: CITY, ART, ARCHITECTURE AND VISUAL CULTURE ...............................................................................69<br />
WEB RESOURCES ...............................................................................................................................................................70<br />
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Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
CHINA-HONG KONG AND MACAO ...................................................................................................71<br />
GENERAL............................................................................................................................................................................71<br />
INDIVIDUAL ARTISTS ........................................................................................................................................................72<br />
HONG KONG INK PAINTING ..........................................................................................................................................75<br />
OIL PAINTING, PRINTS AND RELATED MIXED MEDIA...............................................................................................75<br />
SCULPTURE AND CERAMICS .............................................................................................................................................75<br />
ART IN HONG KONG IN THE 1990S................................................................................................................................75<br />
CONTEMPORARY ART SINCE 2000..................................................................................................................................75<br />
HONG KONG PHOTOGRAPHY.........................................................................................................................................77<br />
CHINA-TIBET ........................................................................................................................................ 77<br />
GENERAL WORKS..............................................................................................................................................................77<br />
INDIVIDUAL ARTISTS ........................................................................................................................................................77<br />
CHINA-TAIWAN/REPUBLIC OF CHINA.......................................................................................... 78<br />
INDIVIDUAL ARTISTS ........................................................................................................................................................78<br />
JAPANESE COLONIAL PERIOD .........................................................................................................................................81<br />
GENERAL WORKS, 1950S-1970S .....................................................................................................................................81<br />
1970S-1980S........................................................................................................................................................................82<br />
1990S ...................................................................................................................................................................................82<br />
TAIWAN PHOTOGRAPHY ..................................................................................................................................................85<br />
POLITICS, IDENTITY AND NATIONALISM ......................................................................................................................85<br />
POLITICAL AND INTELLECTUAL HISTORY OF TAIWAN ...............................................................................................85<br />
ECONOMY AND POLITICS OF TAIWAN ...........................................................................................................................85<br />
FILM TAIWAN [ENTRIES FROM 2005]..............................................................................................................................86<br />
CHINA-OVERSEAS ................................................................................................................................ 86<br />
GENERAL WORKS..............................................................................................................................................................86<br />
INDIVIDUAL ARTISTS ........................................................................................................................................................87<br />
MODERN CHINESE ART, TEXTS BY JOHN CLARK: .......................................................................................................87<br />
JAPAN....................................................................................................................................................... 89<br />
GENERAL WORKS..............................................................................................................................................................89<br />
INDIVIDUAL ARTISTS ........................................................................................................................................................90<br />
EUROPEANS IN MEIJI JAPAN............................................................................................................................................97<br />
JAPONISME AND CROSS-CULTURAL DIALOGUE .......................................................................................................... 100<br />
PHOTOGRAPHY............................................................................................................................................................... 101<br />
MEIJI ART AND INTERACTION WITH THE WEST........................................................................................................ 103<br />
NIHONGA: PAINTING IN ‘TRADITIONAL’ JAPANESE STYLE SINCE MEIJI .............................................................. 105<br />
PRINTS SINCE MEIJI........................................................................................................................................................ 106<br />
ART 1910S TO 1930S....................................................................................................................................................... 107<br />
WAR: 1930S-1940S.......................................................................................................................................................... 109<br />
ART SINCE 1945, IN GENERAL ..................................................................................................................................... 110<br />
1945 TO MID-1960S ........................................................................................................................................................ 110<br />
LATE 1960S TO 1980S..................................................................................................................................................... 111<br />
1990S ................................................................................................................................................................................ 112<br />
2000+ ............................................................................................................................................................................... 113<br />
NEW MEDIA.................................................................................................................................................................... 115<br />
CRAFTS AND MODERN DESIGN ................................................................................................................................... 115<br />
POPULAR CULTURE INCLUDING ADVERTISING AND CINEMA ................................................................................ 117<br />
POPULAR VISUAL CULTURE - INCLUDING COMICS................................................................................................... 118<br />
DOMESTIC ARCHITECTURE AND LANDSCAPE DESIGN ............................................................................................ 121<br />
JAPANESE CITIES [ALL PERIODS] ................................................................................................................................. 123<br />
MEIJI ARCHITECTURE .................................................................................................................................................... 124<br />
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Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
ARCHITECTURE SINCE 1945 [A LARGE FIELD, WORTHY OF A SEPARATE BIBLIOGRAPHY, MANY JAPANESE TEXTS<br />
ARE BILINGUAL ] ............................................................................................................................................................. 125<br />
ARCHITECTURE AND DESIGN....................................................................................................................................... 130<br />
SCIENCE, TECHNOLOGY, & THEIR REPRESENTATION............................................................................................ 132<br />
SELECTED TEXTS ON MODERN JAPANESE CULTURAL AND INTELLECTUAL HISTORY ....................................... 132<br />
MODERN JAPANESE THOUGHT.................................................................................................................................... 134<br />
GENERAL TEXTS ON AESTHETICS:.............................................................................................................................. 134<br />
MODERN JAPANESE HISTORY ...................................................................................................................................... 136<br />
SOCIETY ........................................................................................................................................................................... 136<br />
LITERARY REPRESENTATIONS [SELECTED] ................................................................................................................ 137<br />
WEB RESOURCES ............................................................................................................................................................ 138<br />
MODERN JAPANESE ART: TEXTS BY JOHN CLARK.................................................................................................... 139<br />
MODERN AESTHETICS:.................................................................................................................................................. 140<br />
KOREA-REPUBLIC OF KOREA ..........................................................................................................140<br />
GENERAL WORKS........................................................................................................................................................... 140<br />
INDIVIDUAL ARTISTS ..................................................................................................................................................... 141<br />
COLONIAL PERIOD......................................................................................................................................................... 144<br />
1950S-1960S..................................................................................................................................................................... 144<br />
1970S-1980S..................................................................................................................................................................... 144<br />
1980S AND 1990S ............................................................................................................................................................ 144<br />
CONTEMPORARY KOREAN ART SINCE 2000.............................................................................................................. 145<br />
VIDEO AND NEW MEDIA.............................................................................................................................................. 146<br />
MINJUNG MISUL ............................................................................................................................................................. 146<br />
KOREA-DEMOCRATIC PEOPLE’S REPUBLIC OF KOREA...........................................................147<br />
SOUTHEAST ASIA.................................................................................................................................147<br />
SOUTHEAST ASIAN MODERN ART IN GENERAL........................................................................................................ 147<br />
SOUTHEAST ASIAN HISTORY: SELECTED.................................................................................................................... 148<br />
MYANMAR [BURMA] ...........................................................................................................................149<br />
GENERAL WORKS........................................................................................................................................................... 149<br />
INDIVIDUAL ARTISTS ..................................................................................................................................................... 149<br />
LAOS........................................................................................................................................................150<br />
GENERAL WORKS........................................................................................................................................................... 150<br />
INDIVIDUAL ARTISTS ..................................................................................................................................................... 150<br />
THAILAND.............................................................................................................................................150<br />
GENERAL WORKS........................................................................................................................................................... 151<br />
HISTORICAL CONTEXT .................................................................................................................................................. 151<br />
BEFORE 1780S................................................................................................................................................................. 151<br />
1780S TO 1910S [RAMA I TO RAMA V]......................................................................................................................... 151<br />
ACTIVITIES AND REPORTS OF CONTEMPORARY DIPLOMATS AND MISSIONARIES:............................................... 152<br />
1910S TO 1940S [RAMA VI TO RAMA VIII]................................................................................................................. 153<br />
1950S TO PRESENT [RAMA IX] (SEE ALSO ‘THAI MENTALITIES INCLUDING RELIGION’ LATER) ...................... 153<br />
INDIVIDUAL ARTISTS ..................................................................................................................................................... 154<br />
POLITICS AND SOCIETY ................................................................................................................................................. 161<br />
PRE-MODERN THAI ART [SELECTED] ......................................................................................................................... 161<br />
PRE-MODERN THAI PAINTING [SELECTED]............................................................................................................... 161<br />
THONBURI & RATANAKOSIN (RAMA I-IV)................................................................................................................. 162<br />
RATANAKOSIN (RAMA V-VIII)..................................................................................................................................... 163<br />
AFTER 1947 (RAMA IX) ................................................................................................................................................. 163<br />
GENERAL WORKS ON NEO-TRADITIONAL ART [INCLUDING GROUP CATALOGUES] ......................................... 163<br />
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Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
GENERAL WORKS ON MODERN THAI ART................................................................................................................ 164<br />
ARCHITECTURE AND ENVIRONMENT ......................................................................................................................... 164<br />
CRAFT............................................................................................................................................................................... 165<br />
REFERENCE ..................................................................................................................................................................... 165<br />
ART COLLECTION & GALLERIES ................................................................................................................................. 165<br />
SELECTED MAJOR EXHIBITIONS IN THAILAND (BY YEAR) (MATERIAL IN SOME AUSTRALIAN PUBLIC LIBRARIES)<br />
........................................................................................................................................................................................... 166<br />
MODERN THAI ART ....................................................................................................................................................... 169<br />
PHOTOGRAPHY IN THAILAND...................................................................................................................................... 169<br />
CONTEMPORARY THAI ART SINCE 2000..................................................................................................................... 170<br />
CONTEMPORARY CINEMA, TELEVISION AND VIDEO............................................................................................... 171<br />
WORKS ON MODERN THAI LITERATURE IN ENGLISH ............................................................................................. 171<br />
THAI MUSIC..................................................................................................................................................................... 172<br />
THAI MENTALITIES INCLUDING RELIGIONS.............................................................................................................. 172<br />
THAI SOCIETY ................................................................................................................................................................. 173<br />
THAI ECONOMY ............................................................................................................................................................. 174<br />
CAMBODIA ............................................................................................................................................174<br />
GENERAL WORKS........................................................................................................................................................... 174<br />
INDIVIDUAL ARTISTS ..................................................................................................................................................... 175<br />
CONTEMPORARY ART.................................................................................................................................................... 175<br />
VIETNAM ...............................................................................................................................................175<br />
ART IN GENERAL............................................................................................................................................................ 175<br />
INDIVIDUAL ARTISTS ..................................................................................................................................................... 176<br />
ART IN THE COLONIAL PERIOD................................................................................................................................... 179<br />
ART IN WAR PERIOD...................................................................................................................................................... 180<br />
CULTURAL POLICIES ...................................................................................................................................................... 180<br />
GENERAL HISTORY........................................................................................................................................................ 180<br />
WOMEN IN VIETNAM..................................................................................................................................................... 181<br />
VIETNAMESE LITERATURE............................................................................................................................................ 181<br />
MODERN ART IN GENERAL.......................................................................................................................................... 181<br />
CONTEMPORARY VIETNAMESE ART............................................................................................................................ 183<br />
OVERSEAS VIETNAMESE ARTISTS................................................................................................................................ 185<br />
INDONESIA...........................................................................................................................................185<br />
GENERAL WORKS........................................................................................................................................................... 185<br />
INDIVIDUAL ARTISTS [INCLUDING BALI].................................................................................................................... 186<br />
RADEN SALEH, LIFE AND WORKS:................................................................................................................................ 189<br />
PAINTING IN INDONESIA IN THE 19TH CENTURY: .................................................................................................... 190<br />
ART FROM LATE 19TH CENTURY TO 1945.................................................................................................................. 191<br />
CONTEMPORARY INDONESIAN ART............................................................................................................................ 194<br />
CONTEMPORARY CINEMA AND NEW MEDIA ............................................................................................................ 195<br />
SELECTED EXHIBITIONS ............................................................................................................................................... 195<br />
INDONESIA – BIENNALES [FROM 2005] ...................................................................................................................... 196<br />
BALI .................................................................................................................................................................................. 196<br />
EUROPEAN IMAGES OF S.E. ASIA AND INDONESIA .................................................................................................. 197<br />
PHOTOGRAPHY 198<br />
CRAFT PRACTICES........................................................................................................................................................... 198<br />
EAST TIMOR..........................................................................................................................................198<br />
BRUNEI ..................................................................................................................................................198<br />
GENERAL WORKS........................................................................................................................................................... 198<br />
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Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
INDIVIDUAL ARTISTS ..................................................................................................................................................... 198<br />
MALAYSIA ..............................................................................................................................................198<br />
GENERAL WORKS........................................................................................................................................................... 198<br />
INDIVIDUAL ARTISTS ..................................................................................................................................................... 199<br />
CONTEMPORARY CINEMA AND VIDEO....................................................................................................................... 201<br />
CONTEMPORARY MALAYSIAN ART.............................................................................................................................. 202<br />
SINGAPORE...........................................................................................................................................203<br />
GENERAL WORKS ........................................................................................................................................................... 203<br />
GENERAL WORKS ON NANYANG ART AND THE MALAYAN PERIOD [NUMBER] ................................................... 205<br />
INDIVIDUAL ARTISTS ..................................................................................................................................................... 205<br />
CONTEMPORARY SINGAPOREAN ART......................................................................................................................... 209<br />
WORKS ON HISTORY AND CULTURE IN MALAYSIA AND SINGAPORE .................................................................... 213<br />
SELECTED EXHIBITIONS ............................................................................................................................................... 214<br />
CONTEMPORARY CINEMA AND VIDEO....................................................................................................................... 214<br />
PHILIPPINES ........................................................................................................................................214<br />
GENERAL HISTORY........................................................................................................................................................ 214<br />
PRE-HISPANIC PHILIPPINE MYTHS AND SOCIETY..................................................................................................... 219<br />
RIZAL, JOSÉ (1861-1896) [SHORT]................................................................................................................................ 220<br />
ART OF THE SPANISH PERIOD – GENERAL................................................................................................................. 220<br />
ART OF THE SPANISH PERIOD – ACADEMIC ART AND ITS TRANSITIONS................................................................ 222<br />
ART OF THE AMERICAN PERIOD.................................................................................................................................. 222<br />
ART SINCE 1945 IN GENERAL ....................................................................................................................................... 223<br />
1970S-1980S, INCLUDING ART WITH POLITICAL COMMITMENT............................................................................... 223<br />
CONTEMPORARY ART SINCE 1990............................................................................................................................... 223<br />
CONTEMPORARY CINEMA............................................................................................................................................. 225<br />
PRINTS.............................................................................................................................................................................. 226<br />
PHOTOGRAPHY............................................................................................................................................................... 226<br />
NEW MEDIA.................................................................................................................................................................... 226<br />
CRAFTS (INCLUDING TEXTILES, BASKETWORK, CARVING, AND CERAMICS).......................................................... 226<br />
WOMEN AND ART, WOMEN’S ART .............................................................................................................................. 226<br />
PACIFIC, OCEANIA, NEW ZEALAND...............................................................................................226<br />
GENERAL WORKS........................................................................................................................................................... 226<br />
INDIVIDUAL ARTISTS ..................................................................................................................................................... 228<br />
PAPUA NEW GUINEA ..........................................................................................................................228<br />
SOUTH ASIA ..........................................................................................................................................229<br />
GENERAL WORKS........................................................................................................................................................... 229<br />
INDIA......................................................................................................................................................229<br />
GENERAL WORKS........................................................................................................................................................... 229<br />
ART FOR THE BRITISH.................................................................................................................................................... 239<br />
URBAN POPULAR GRAPHIC ART IN THE 19TH AND 20 TH CENTURIES..................................................................... 239<br />
THE BRITISH ART SCHOOL SYSTEM............................................................................................................................. 241<br />
ART FOR THE ESTABLISHMENT .................................................................................................................................... 241<br />
FINE ART SOCIETIES...................................................................................................................................................... 241<br />
NEO-TRADITIONAL PAINTING ..................................................................................................................................... 242<br />
NASCENT COUNTER-ESTABLISHMENT ........................................................................................................................ 242<br />
IDENTITY ......................................................................................................................................................................... 243<br />
THE NEW ESTABLISHMENTS ........................................................................................................................................ 244<br />
THE FOLK AND THE MODERN..................................................................................................................................... 244<br />
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Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
STYLE, CRITICISM, AND IDENTITY............................................................................................................................... 245<br />
1990S ................................................................................................................................................................................ 246<br />
CONTEMPORARY ART SINCE 2000............................................................................................................................... 247<br />
INDIAN PHOTOGRAPHY ................................................................................................................................................ 249<br />
INDIAN CINEMA, FILM AND NEW MEDIA.................................................................................................................. 250<br />
INDIAN ARTISTS ABROAD ............................................................................................................................................. 250<br />
INDIAN CITIES: ARCHITECTURE, URBANISM ............................................................................................................. 250<br />
WEB RESOURCES:............................................................................................................................................................ 250<br />
NEPAL.....................................................................................................................................................250<br />
GENERAL WORKS........................................................................................................................................................... 250<br />
INDIVIDUAL ARTISTS ..................................................................................................................................................... 251<br />
HIMALAYAN BORDERLANDS; KASHMIR, BHUTAN, SIKKHIM, MUSTANG...........................251<br />
GENERAL WORKS........................................................................................................................................................... 251<br />
INDIVIDUAL ARTISTS ..................................................................................................................................................... 251<br />
PAKISTAN ..............................................................................................................................................251<br />
GENERAL WORKS........................................................................................................................................................... 251<br />
BANGLADESH.......................................................................................................................................252<br />
GENERAL WORKS........................................................................................................................................................... 252<br />
INDIVIDUAL ARTISTS ..................................................................................................................................................... 253<br />
SRI LANKA/CEYLON...........................................................................................................................253<br />
GENERAL WORKS........................................................................................................................................................... 253<br />
INDIVIDUAL ARTISTS ..................................................................................................................................................... 253<br />
MONGOLIA............................................................................................................................................254<br />
GENERAL WORKS........................................................................................................................................................... 254<br />
INDIVIDUAL ARTISTS ..................................................................................................................................................... 254<br />
CIS AND OTHER...................................................................................................................................254<br />
ASIAN ARTIST TRANSNATIONAL ACTIVITY ................................................................................254<br />
ASIAN ARTIST TRANSNATIONAL ACTIVITY: AUSTRALIA.......................................................................................... 254<br />
AUSTRALIA AND ASIA [SELECTED]............................................................................................................................... 255<br />
INDIVIDUAL ARTISTS ..................................................................................................................................................... 256<br />
CRITICAL AND HISTORICAL STUDIES .......................................................................................................................... 258<br />
EXHIBITIONS AND REVIEWS [SELECTED] ................................................................................................................... 259<br />
MODERNITY IN ASIAN ART, AUSTRALIA, SOUTH ASIA, SOUTHEAST ASIA: TEXTS BY<br />
JOHN CLARK.........................................................................................................................................260<br />
GENERAL WORKS........................................................................................................................................................... 260<br />
AUSTRALIA....................................................................................................................................................................... 261<br />
SOUTH ASIA..................................................................................................................................................................... 261<br />
ASIAN ART AND EURAMERICAN PRACTICE ................................................................................262<br />
ASIAN ARTISTS TRANSNATIONAL ACTIVITY – NORTH AMERICA.........................................262<br />
GENERAL WORKS........................................................................................................................................................... 262<br />
INDIVIDUAL ARTISTS ..................................................................................................................................................... 264<br />
ASIAN ARTISTS TRANSNATIONAL ACTIVITY – BRITAIN..........................................................267<br />
GENERAL WORKS........................................................................................................................................................... 268<br />
INDIVIDUAL ARTISTS ..................................................................................................................................................... 268<br />
ASIAN ARTISTS TRANSNATIONAL ACTIVITY – FRANCE ..........................................................269<br />
GENERAL WORKS........................................................................................................................................................... 269<br />
8
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
INDIVIDUAL ARTISTS ..................................................................................................................................................... 269<br />
ASIAN ARTISTS TRANSNATIONAL ACTIVITY – ELSEWHERE IN EUROPE...........................270<br />
GENERAL WORKS........................................................................................................................................................... 270<br />
INDIVIDUAL ARTISTS ..................................................................................................................................................... 270<br />
PRE-HISTORIES OF EURAMERICAN MODERN ART ..................................................................270<br />
EURAMERICAN THEORIES OF MODERNITY (SELECTED)......................................................271<br />
THEORIES, LOGICS & IDEOLOGIES............................................................................................................................. 271<br />
TAXONOMY AND EVOLUTIONARY SPECIATION........................................................................................................ 271<br />
LITERARY AND LINGUISTIC THEORIES ....................................................................................................................... 271<br />
CULTURAL HYBRIDITY AND CULTURAL COMPARISON............................................................................................. 271<br />
CULTURAL GLOBALIZATION......................................................................................................................................... 273<br />
THEORIES OF ART [SELECTED]..................................................................................................................................... 274<br />
ART MOVEMENTS........................................................................................................................................................... 275<br />
CORPOREAL THEORIES (SELECTED)............................................................................................................................ 275<br />
ASIA, AFRICA AND ISLAM IN PRE-MODERN EURAMERICAN ART.........................................276<br />
NON-EURAMERICAN THEORIES AND POSITIONS ON MODERNITY...................................276<br />
GENERAL......................................................................................................................................................................... 277<br />
AFRICA ............................................................................................................................................................................. 277<br />
AUSTRALIA....................................................................................................................................................................... 278<br />
THE ISLAMIC WORLD..................................................................................................................................................... 278<br />
MESO- AND SOUTH AMERICA ...................................................................................................................................... 278<br />
POSTCOLONIALISM AND ‘THIRD’ CRITIQUES AT THE CENTRE ..........................................279<br />
BIENNALES AND CONTEMPORARY ASIAN ART.........................................................................282<br />
MUSEUM & EXHIBITION PRACTICE............................................................................................................................. 282<br />
AUSTRALIA, ART AND ASIA [DUPLICATES SOME SECTIONS ABOVE]........................................................................ 284<br />
MODERN & CONTEMPORARY EXHIBITION SYSTEMS............................................................................................... 285<br />
MUSEUMS, ART CENTERS AND OTHER ART INSTITUTIONS 2000+......................................................................... 287<br />
CURATORIAL PRACTICE................................................................................................................................................. 288<br />
BIENNALES IN ART EXHIBITION SYSTEMS ................................................................................................................. 289<br />
ART, MARKETS, AND THE ECONOMY ......................................................................................................................... 290<br />
ART DEALERS.................................................................................................................................................................. 292<br />
CULTURES AND COMMODITIES .................................................................................................................................... 293<br />
HYBRIDITY, POST-COLONIALITY AND GLOBALIZATION [DUPLICATES SOME SECTIONS ABOVE] ...................... 293<br />
OTHER THEORIES AND HISTORIES [DUPLICATES SOME SECTIONS ABOVE] .......................................................... 294<br />
BIENNALES AND TRIENNALES BY SITE [ONLY LISTS MATERIAL AVAILABLE TO JOHN CLARK] .......................... 295<br />
BEIJING: ........................................................................................................................................................................... 295<br />
BRISBANE: ASIA-PACIFIC TRIENNIAL OF CONTEMPORARY ART [APT]................................................................. 295<br />
CHENGDU........................................................................................................................................................................ 298<br />
FUKUOKA: ....................................................................................................................................................................... 298<br />
GUANGZHOU: GUANGZHOU TRIENNALE ................................................................................................................ 299<br />
GWANGJU/KWANGJU:................................................................................................................................................... 300<br />
ISTANBUL: INTERNATIONAL İSTANBUL BIENNIAL.................................................................................................... 302<br />
KASSEL: DOCUMENTA................................................................................................................................................... 303<br />
GENERAL TEXTS: ........................................................................................................................................................... 303<br />
JOGJAKARATA ................................................................................................................................................................. 304<br />
JOHANNESBURG.............................................................................................................................................................. 304<br />
KITAKYUSHU BIENNALE ............................................................................................................................................... 304<br />
LIVERPOOL BIENNIAL: .................................................................................................................................................. 304<br />
9
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
LYON BIENNIAL ............................................................................................................................................................. 304<br />
MANIFESTA: [SITE VARIES] ............................................................................................................................................ 304<br />
MOSCOW:......................................................................................................................................................................... 305<br />
NANJING TRIENNIAL..................................................................................................................................................... 305<br />
NEW DELHI: INDIA TRIENNALE.................................................................................................................................. 305<br />
OSAKA TRIENNALE........................................................................................................................................................ 305<br />
SÃO PAULO: SÃO PAULO BIENAL................................................................................................................................. 305<br />
SINGAPORE:..................................................................................................................................................................... 305<br />
SHANGHAI: ...................................................................................................................................................................... 306<br />
SHARJAH:.......................................................................................................................................................................... 307<br />
SYDNEY: BIENNALE OF SYDNEY: ................................................................................................................................ 308<br />
TAIPEI: TAIPEI BIENNIAL.............................................................................................................................................. 308<br />
VENICE: LA BIENNALE DI VENEZIA ........................................................................................................................... 309<br />
OVERALL: ........................................................................................................................................................................ 309<br />
MAIN CATALOGUES AND GENERAL TEXTS BY YEAR:................................................................................................ 310<br />
10
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
GENERAL WORKS ON ASIAPACIFIC AS A REGION<br />
Asian-Wide Surveys<br />
ArtAsiaPacific Almanac, annually from 2005<br />
Clark, John, ‘Inter-Asian Criteria <strong>of</strong> Institutional Modernity in Art’, 28th International Congress <strong>of</strong> the History<br />
<strong>of</strong> Art, Berlin, Kunstlerische Austausch/Artistic Exchange, Akademie Verlag, Berlin, 1993, 655-668.<br />
Clark, John, ed., Modernity in Asian Art, <strong>Sydney</strong>, Wild Peony Press, 1993.<br />
Clark, John; Peleggi, Maurizio; Sabapathy, T.K. eds., Eye <strong>of</strong> the Beholder, <strong>Sydney</strong>, Wild Peony Press, 2006.<br />
Clark, John, ‘Ajia! Ajia!’, Art Monthly Australia, April 1991.<br />
Clark, John, Modern Asian Art, <strong>Sydney</strong>, Craftsman House & Honolulu, <strong>University</strong> <strong>of</strong> Hawai’i Press, 1998<br />
Clarke, David, ‘Contemporary Asian Art <strong>and</strong> Its Western Reception’ in Third Text, Vol. 16, Issue 3 (September<br />
2002), pp. 237-242<br />
‘Contemporary Arts <strong>of</strong> the Region: Australia <strong>and</strong> South East Asia’, Special Issue, Artlink, Vol. 13, No.3&4,<br />
November-March 1993/94;<br />
Count 10 Before You Say Asia. Asian Art after Post<strong>modern</strong>ism. International Symposium 2008 Report. Tokyo: Japan<br />
Foundation, 2009.<br />
Dys<strong>art</strong>, Dinah & Fink, Hannah, eds, Asian Women Artists, <strong>Sydney</strong>, Craftsman House, 1996.<br />
Japan Cultural Forum, ed, Modern Art <strong>of</strong> Asia, Toto Shuppan, Tokyo, 1961<br />
Joubert, Lindy, ed., Educating in the Arts, <strong>The</strong> Asian: experience, Twenty-Four Essays, Dordrecht, Springer, 2008.<br />
Kirker, Anne, ‘Focus on Asian Women Artists’, Artlink, Vol. 20, No. 2, July 2000<br />
Labrador, Ana P. “<strong>The</strong> Necessity <strong>of</strong> Craft: Women <strong>and</strong> Craft in the Asia-Pacific Region” in ArtAsiaPacific, Vol.<br />
3, No. 2, 1996.<br />
Lent, John A., ‘Asian Comic Art.’ Art AsiaPacific issue 21 1999<br />
Lent, John A., ed., Asian Popular Culture, Boulder, Westview, 1995<br />
Meerali, Shaheen, ed., Re-imagining Asia: a thous<strong>and</strong> years <strong>of</strong> separation¸ Berlin; Haus der Kulturen der Welt, 2008<br />
Morris, Roslaind, ed., Photographies East: <strong>The</strong> camera <strong>and</strong> its histories in East <strong>and</strong> Southeast Asia, Durham,N.C., Duke<br />
<strong>University</strong> Press, 2009.<br />
Newton, G., Picture Paradise. Asia-Pacific Photography 1840s-1940s. Canberra: National Gallery <strong>of</strong> Australia, 2008.<br />
Takagishi, Akira. “A Twentieth-Century Dream with a Twenty-First Century Outlook: Yashiro Yukio, a<br />
Japanese Historian <strong>of</strong> Western Art, <strong>and</strong> his Conception for the Study <strong>of</strong> East Asian Art” in Asia Art<br />
History in the Twenty-First Century, Vishakha N. Desai (ed.), New Have <strong>and</strong> London: Yale <strong>University</strong> Press,<br />
2007.<br />
Thornton, Lynne. Women as Portrayed in Orientalist Painting. Paris: ACR Édition Internationale, 1985.<br />
Turner, Caroline, ed., Art <strong>and</strong> Social Change: Contemporary Art in Asia <strong>and</strong> the Pacific, Canberra, P<strong>and</strong>anus Books,<br />
2005.<br />
Winther-Tamaki, Bert, "Asian Possessions <strong>of</strong> the Cubist Body: 'Home from Home'" Cubism in Asia; Unbounded<br />
Dialogues, International Symposium Report ed. by Yasuko Furuichi. (Tokyo: Japan Foundation, 2006), pp.304-<br />
311<br />
Museums, Art Centers <strong>and</strong> other Art Institutions 1990s<br />
‘A New Cure for Asian Art Curators’, Asian Art News 9:4 1999<br />
‘Asia <strong>and</strong> Modernity’, Special Issue <strong>of</strong> Humanities Research, 2, 1999 with <strong>art</strong>icles by Clark, Lilley, Low, Labrador,<br />
Sang.<br />
‘Asian Art: Prospects for the Future.’ International Symposium 1999 with <strong>art</strong>icles by Elliott, Davenport, Mashadi,<br />
Nakamura, Poshyan<strong>and</strong>a, Rajah, Tatehata, Tokyo, Japan Foundation, 1999.<br />
Davis, A.R., ed., Search for identity: Modern Literature <strong>and</strong> the Creative Arts in Asia, <strong>Sydney</strong>, Angus <strong>and</strong> Robertson,<br />
1974.<br />
11
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Desai, Vishakha. “Re-visioning Asian Arts in the 1990s: Reflections o a Museum Pr<strong>of</strong>essional” in Art Bulletin 77,<br />
no. 2.<br />
Elliott, David. ”Framing the Frontiers: <strong>The</strong> Museum as Mediator” in Kunst & Museumsjournaal,<br />
4, No. 2, Amsterdam, 1992. [English <strong>and</strong> Dutch editions].<br />
Elliott, David. “Framing the Frontiers’: definitions <strong>of</strong> <strong>modern</strong> <strong>art</strong> <strong>and</strong> <strong>modern</strong>ist <strong>art</strong>” in H.<br />
Leyten & B. Damen, Art, Anthropology <strong>and</strong> the Modes <strong>of</strong> Re-presentation. Museums <strong>and</strong><br />
Contemporary Non-Western Art, Amsterdam, Royal Tropical Institute, 1992, pp.31-36.<br />
Elliott, David. “Art, Power <strong>and</strong> Curatorial Practice” in Stopping the Process? Contemporary Views<br />
on Art <strong>and</strong> Exhibitions, Helsinki, <strong>The</strong> Nordic Institute for Contemporary Art, 1998, pp.<br />
205-214.<br />
Elliott, David. “Asia: Black Hole or Enduring Stereotype?”, Tokyo, <strong>The</strong> Japan Foundation<br />
Asia Center, 1999 [in English <strong>and</strong> Japanese]. Republished in Japanese in Intriguing Asia,<br />
Tokyo, Bensey Publishing Inc., 2000, pp. 47-56<br />
Hou Hanru; Obrist, Hans-Ulrich, Cities on the Move, Ostfildren-Ruit, Verlag Gerg Hatje, 1997.<br />
Manton, Neil, ‘<strong>The</strong> Arts <strong>of</strong> Diplomacy’, Artlink, Vol. 20, No. 2, July 2000Art Asia Pacific, vol.3, no.4, 1996.<br />
McEvilley, Thomas, ‘Arrivederci Venice’, On the ‘Third World’ Biennials, Artforum International, Vol.32, Issue 3,<br />
November 1993<br />
Platt, Nicholas, <strong>and</strong> Desai, Vishakha N., eds, Contemporary Art Commissions at the Asia Society <strong>and</strong> Museum, New<br />
York: Conceptual Litho Reproduction, Inc, 2002.<br />
Proser, Adrianna. “<strong>The</strong> Politics <strong>of</strong> Collecting Asian Art in Post-War America” in Orientations, March 2009.<br />
Poshyan<strong>and</strong>a, Apinan et al, Traditions / Tensions: Contemporary Art In Asia, New York, Asia Society Galleries &<br />
<strong>Sydney</strong>, <strong>The</strong> Fine Arts Press, 1996 [reports: Art Asia Pacific, vol.3, no.4, 1996; Mehta in Eyeline:<br />
<strong>contemporary</strong> visual <strong>art</strong>s, no.32, summer 1996; Art in America, February 1997; Ewington, Yang, Munroe in<br />
ART AsiaPacific, no.15, 1997; Owen, Michael. ‘Contemporary Art in Asia: Traditions/Tensions.’ Third<br />
Text no.41 Winter 1997-98<br />
Poshyan<strong>and</strong>a, Apinan, ‘A new cure for Asian <strong>art</strong> curators’, Asian Art News, vol.9, no.4, 1999<br />
Seminar on Fine Arts <strong>of</strong> Southeast Asia, Bangkok; Association <strong>of</strong> Southeast Asian Institutions <strong>of</strong> Higher Learning,<br />
1964.<br />
Turner, C., ‘Getting the Message’ [Review <strong>of</strong> Adelaide Festival Sculpture Installations], Art & Australia, vol.32,<br />
no.1, Spring 1994.<br />
Museums, Art Centers <strong>and</strong> other Art Institutions 2000+<br />
Clark, John. “<strong>The</strong> Possibility <strong>of</strong> a World Art History” in Australian <strong>and</strong> New Zeal<strong>and</strong> Journal <strong>of</strong> Art, Vol. 9, No. 1/2<br />
(2008/9).<br />
‘Colonialism or Collaboration?: Intercultural Arts Practice <strong>and</strong> International Arts Organisations’, Forum<br />
Transcript, Focas (Forum on Contemporary Art & Society), no.2, July 2001<br />
Akira, Tatehatata, ‘A Trojan Horse?: Multiculturalism in International Art Exhibitions’, Yasuko, Furuichi, “Asia<br />
in Transition: Representation <strong>and</strong> Identity”, Japan Foundation Asia Center, 2002<br />
ART AsiaPacific, Issue 37 (2003), Special Issue Asian Art Now: 21 Curators <strong>and</strong> Critics Pr<strong>of</strong>ile 63 Contemporary<br />
Asian Artists<br />
Asai, Toshihiro et al ed, Promenade in Asia: Cute, Tokyo: Shiseidô/Mito: Art Tower Mito, 2001.<br />
Asia Art Society, http://www.aaa.org.hk/links.html, Links to Online: Resources; Art Organisations;<br />
Atsuo, Yamamoto, ‘From Dualism to Oneness’, Mami, Kataoka, Under Construction: New Dimensions <strong>of</strong> Asian Art,<br />
Tokyo: <strong>The</strong> Japan Foundation Asia Center, 2002<br />
Barucha, Rustom, ‘Beyond the Box: Problematising the New Asian Museum’, Focas (Forum on Contemporary Art<br />
& Society), no.2, July 2001<br />
Bharucha, Rustom, ‘<strong>The</strong> New Asian Museum Beyond the Box: Problematising the New Asian Museum’, in<br />
FOCAS: Forum on Contemporary Art & Society, No. 2, July 2001, p.223-237.<br />
Benett, Tony, ‘<strong>The</strong> Rules <strong>of</strong> Culture: Exhibition <strong>and</strong> the Politics <strong>of</strong> Knowledge’, Yasuko, Furuichi, “Asia in<br />
Transition: Representation <strong>and</strong> Identity”, Japan Foundation Asia Center, 2002<br />
12
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Berger, T., ‘Museums <strong>of</strong> the Future: Content Beats Size’ C-Arts Asian Contemporary Art <strong>and</strong> Culture, Vol 04, July-<br />
August 2008.<br />
Carroll, Alison, ‘A floating world’, Art AsiaPacific 28, 2001<br />
Chang, Alex<strong>and</strong>ra, ‘<strong>The</strong> Control <strong>of</strong> Fear: Art <strong>and</strong> the Epidemic as Excess’ in Art Asia Pacific, No. 38 (Fall 2003),<br />
pp. 54-57<br />
Clarke, David, ‘Contemporary Asian Art <strong>and</strong> Its Western Reception’, Huangfu, Binghui, ed., Site+Sight:<br />
Translating Cultures, Singapore, Lasalle-SIA, 2002.<br />
Dodd, P. ‘Shifting Sites: Cultural Desire <strong>and</strong> the Museum’, C-Arts Asian Contemporary Art <strong>and</strong> Culture, Vol 04,<br />
July-August 2008.<br />
Eley, Ge<strong>of</strong>f, ‘Politics, Culture <strong>and</strong> the Public Sphere’, positions east asia cultures critique, Vol. 10, Number 1, Spring<br />
2002<br />
Enwezor, Okwui. <strong>and</strong> Apinan Poshyan<strong>and</strong>a, ‘Looking Ahead: Dialogues in Asian Contemporary Art, November<br />
8-9, 2002’ (Asia Society <strong>and</strong> Museum, New York), in Yishu: Journal <strong>of</strong> Contemporary Chinese Art, Vol. 2 No. 2,<br />
June 2003, p.112-121<br />
Findlay, Ian, ‘Looking For A New Vision’, Asian Art News, vol. 13, no. 1, January/February 2003<br />
Furuichi Yasuko, ed., Asia in Transition: representation <strong>and</strong> identity, Tokyo, <strong>The</strong> Japan Foundation Asia Center, 2002.<br />
Gao, Shiming, ‘Symposium: Edges <strong>of</strong> the E<strong>art</strong>h, Hangzhou; <strong>The</strong> Syndrome <strong>of</strong> Asia: Experience <strong>and</strong><br />
Representation’, in Yishu: Journal <strong>of</strong> Contemporary Chinese Art, Vol. 3, No. 1, March 2004, p.83-88.<br />
Gaweewong, Gridthiya, ‘On Under Construction <strong>and</strong> Localization’, Mami, Kataoka, Under Construction: New<br />
Dimensions <strong>of</strong> Asian Art, Tokyo: <strong>The</strong> Japan Foundation Asia Center, 2002<br />
Goldfine, Gil, ‘A Cultural Assembly on Mount Carmel’, in Asian Art News, v. 17(5), September/October, 2007,<br />
pp. 76 – 81.<br />
Hoskote, Ranjit, ‘India Ink, Manila Envelope: Three Meditations on Art <strong>and</strong> the Global Media’, Mami, Kataoka,<br />
Under Construction: New Dimensions <strong>of</strong> Asian Art, Tokyo: <strong>The</strong> Japan Foundation Asia Center, 2002<br />
Hou Hanru; Obrist, Hans-Ulrich, ‘Cities on the move’, Art AsiaPacific, 25, 2000<br />
Hui, Wang, ‘<strong>The</strong> Geneology <strong>of</strong> Asian Imaginaries’, Yasuko, Furuichi, “Asia in Transition: Representation <strong>and</strong><br />
Identity”, Japan Foundation Asia Center, 2002<br />
Kember, Pamela, ‘A Report on the Asian Art Archive’, in FOCAS: Forum on Contemporary Art & Society, No. 5,<br />
January 2003, p.372-377.<br />
Lacayo, Richard, ‘<strong>The</strong> Rise <strong>and</strong> Rise <strong>of</strong> Asian Art’, Time Magazine, March 31 2003<br />
Lee Weng Choy, ‘Tomorrow’s Local Library: <strong>The</strong> Asia Art Archive in Context’, Yishu: Journal <strong>of</strong> Contemporary<br />
Chinese Art, vol. 4, no. 4, Dec. 2005.<br />
Mami, Kataoka, ‘Beyond a Progressive Asia: Under Construction Collective Exhibition’, Mami, Kataoka, Under<br />
Construction: New Dimensions <strong>of</strong> Asian Art, Tokyo: <strong>The</strong> Japan Foundation Asia Center, 2002<br />
Mania, Astrid, ‘Curation on the Move’, ArtAsiaPacific, no. 47, 2006.<br />
McNeill, David, ‘Planet Art: Aesthetics <strong>and</strong> Labour in the Era <strong>of</strong> Globalisation’, Huangfu, Binghui, ed.,<br />
Site+Sight: Translating Cultures, Singapore, Lasalle-SIA, 2002.<br />
Munroe, Alex<strong>and</strong>ra, ‚Contemporary Art in Asia’, Artforum International, Vol.35, Issue 8, April 1997<br />
Pi, Li, ‘Fantasia: an imagination towards the daily life’ Mami, Kataoka, Under Construction: New Dimensions <strong>of</strong> Asian<br />
Art, Tokyo: <strong>The</strong> Japan Foundation Asia Center, 2002<br />
Robinson, Joel D., ‘<strong>The</strong> Construction Sites <strong>of</strong> Asian Art’ (<strong>The</strong> Exhibition <strong>of</strong> Under Construction: New Dimensions <strong>of</strong><br />
Asian Art, the Japan Foundation Forum <strong>and</strong> the Opera City Art Gallery, Tokyo, 2003), in Asian Art News,<br />
Vol. 14, No. 1, January/February 2004, p.52-57.<br />
Shinkawa, Takashi, ‘Promenade in Asia, A collaborative exhibition’, Art Asia Pacific, No.34, 2002.<br />
Tavassoli, Babak A., ‘A Fresh Figure <strong>of</strong> Paradise’, in Yishu: Journal <strong>of</strong> Contemporary Chinese Art, Vol. 3, No. 1,<br />
March 2004, p.95-103.<br />
Thompson, Jonathan, ‘Without Borders’ (Sovereign Art Prize for Asia), Asian Art News, vol. 16, no. 4, 2006.<br />
Woo, Lee Yong, ‘Globalism <strong>and</strong> the Vanity <strong>of</strong> Its System’, Yasuko, Furuichi, “Asia in Transition: Representation <strong>and</strong><br />
Identity”, Japan Foundation Asia Center, 2002<br />
Yasuko, Furuichi, ed., International Symposium 2002, ‘Asia in Transition: Representation <strong>and</strong> Identity’, Report,<br />
Japan: Japan Foundation Asia Center, 2002<br />
13
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Xu, Jiang, ‘E<strong>art</strong>h Link <strong>and</strong> Cosmic Time’, in Yishu: Journal <strong>of</strong> Contemporary Chinese Art, Vol. 3, No. 1, March 2004,<br />
p.89-94<br />
Asia-Wide New Art Practices <strong>and</strong> New Media<br />
[Global Conceptualism] Global Conceptualism: Points <strong>of</strong> origin, 1950s–1980s, New York, Queens Museum <strong>of</strong> Art,<br />
1999; Meyer, James, ‘Global Conceptualism’: Points <strong>of</strong> Origin, 1950s-1980s’, Artforum International, Vol.38,<br />
Issue 1, September1999<br />
[MAAP in Beijing 2002] Machan, Kim, MAAP in Beijing 2002, Beijing: Hebei Education Publishing House<br />
[NIPAF] ‘1998 Nipaf Asian Performance Art’, Art AsiaPacific, 22, 1999<br />
[Polypolis] Chang Tsong-zung, ‘Outer l<strong>and</strong>scapes <strong>and</strong> inner dreams’, Asian Art News, vol.12, no.1, 2002;<br />
Seyf<strong>art</strong>h, Ludwig, ‘Asia in color <strong>and</strong> in black <strong>and</strong> white’, Asian Art News, vol.12, no.1, 2002<br />
[Polypolis] Seyf<strong>art</strong>h, Ludwig, ‘Asia in Color And in Black And White, Polypolis Exhibition Review, Asian Art<br />
News, vol. 12, no. 1, January/February 2002; Chang, Tsong-zung, ‘Outer L<strong>and</strong>scapes And Inner Dreams’,<br />
Polypolis Exhibition Review, Asian Art News, vol. 12, no. 1, January/February 2002<br />
[Translated Acts] Berghuis, Thomas J., ''Translated Acts': Body, Self <strong>and</strong> Performance', IIAS Newsletter, No.24,<br />
February 2001; Kerr, Merrily, ‘Translated Acts: Asian Performance Art’ Art AsiaPacific, no.35, 2002<br />
[Under Construction] Mami, Kataoka, ed., Under Construction: New Dimensions <strong>of</strong> Asian Art, Tokyo: <strong>The</strong> Japan<br />
Foundation Asia Center, 2002; Purvis, Jennifer, ‘Under Construction; New Dimensions <strong>of</strong> Asian Art’,<br />
Flash Art, Vol. XXXVI, No. 229, March-April 2003; ‘Under Construction: New Dimensions <strong>of</strong> Asian Art’<br />
He<strong>art</strong>ney, in Art Asia Pacific, No. 38 (Fall 2003), p. 74<br />
[Video] Kuraishi, Shino, ‘Serendipity’, Art AsiaPacific 28, 2001<br />
Akiko Miyake, ed., let’s talk about ART #0002, ‘Transexperiences’, Kitakyushu: Center For Contemporary Art,<br />
2002 [<strong>The</strong> conference was with Marina Abramovic, Chen Zhen, Simryn Gill, Hou Hanru, Huang<br />
Yongping, Ken Lum, Hans Ulrich Obrist on March 20, 2000].<br />
Birnbaum, Daniel, ‘How Latitudes Become Forms, Exhibition Review at Walker Art Center, Featuring Various<br />
Asian Artists, Artforum International, Vol.41, Issue 5, January 2003<br />
Clark, John, ‘Art In <strong>The</strong> Present Tense’, in Asian Art News, v. 17(6), November/December, 2007, pp. 110 – 117.<br />
Flores, Patrick D., ‘Renewing the Contemporary’, Mami, Kataoka, Under Construction: New Dimensions <strong>of</strong> Asian Art,<br />
Tokyo: <strong>The</strong> Japan Foundation Asia Center, 2002<br />
Furuichi Yasuko, ed., Out <strong>of</strong> the Window: Spaces <strong>of</strong> Distraction, Tokyo, <strong>The</strong> Japan Foundation Asia Center, 2004<br />
[recent conceptualism in China, Japan, Korea]<br />
Furuichi, Yasuko, ‘Asia: <strong>The</strong> Possibility <strong>of</strong> a Collaborative Space – Under Construction Project, Mami, Kataoka,<br />
Under Construction: New Dimensions <strong>of</strong> Asian Art, Tokyo: <strong>The</strong> Japan Foundation Asia Center, 2002<br />
Gakoumi, Dionissia, ‘Beyond Language’, Artlink, Vol. 20, No. 2, July 2000<br />
Kamiya Yukie, ‘Communicative Approach, from Asia’, Mami, Kataoka, Under Construction: New Dimensions <strong>of</strong><br />
Asian Art, Tokyo: <strong>The</strong> Japan Foundation Asia Center, 2002<br />
Kim, Sunjung, ‘In Search <strong>of</strong> an Oasis’, Mami, Kataoka, Under Construction: New Dimensions <strong>of</strong> Asian Art, Tokyo:<br />
<strong>The</strong> Japan Foundation Asia Center, 2002<br />
Levin, Kim ‘Gesture, performance, behaviour, attitude: <strong>asian</strong> influences on <strong>contemporary</strong> western <strong>art</strong>’, Art Asia<br />
Pacific, vol.3, no.4, 1996.<br />
Machan, Kim, ‘Digital Luggage <strong>and</strong> Meaningful Relationships’, Asian Art News, vol. 21, no. 3, September 2001<br />
Machan, Kim, ‘Vis.<strong>art</strong>s.online: Asian <strong>art</strong> on the internet’, Artlink, Vol. 20, No. 2, July 2000<br />
Maerkle, Andrew, ‘Focal Point: Asian Video <strong>and</strong> Media Artists Take New York’, ArtAsiaPacific, no. 48, 2006<br />
Maxwell, Simeran, ‘Paradise from Within: Asian-Born Modernist Photography’ in TAASA Review. <strong>The</strong> Journal <strong>of</strong><br />
the Asian Art Society <strong>of</strong> Australia, v.17, No. 3, September 2008, p. 13-15.<br />
Sivanesan, Haema, ‘Mirror Worlds: Contemporary Video Art from Asia in <strong>Sydney</strong>’ (review), Art Monthly<br />
Australia, no. 185, November 2005.<br />
Teh, David, ‘Mirror Worlds, Contemporary Video from Asia’ (review), Art <strong>and</strong> Australia, vol. 43, no. 1, 2005.<br />
WEB RESOURCES<br />
14
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
www.aaa.org.hk/links.html has the best set <strong>of</strong> Contemporary Asian Art links to date.<br />
http://universes-in-universe.de/asia/english.htm <strong>art</strong> resources listed by country <strong>and</strong> useful Biennale links<br />
elsewhere on the same site.<br />
http://faam.city.fukuoka.jp/cgi-bin/eng/link/link.cgi has a number <strong>of</strong> links to Asian <strong>art</strong> museums <strong>and</strong> in the<br />
same menu to other cultural organizations.<br />
http://www.<strong>modern</strong><strong>art</strong>asia.com : online journal <strong>of</strong> <strong>modern</strong> <strong>asian</strong> <strong>art</strong><br />
http://qag.qld.gov.au/research/acapa includes a menu with access to Asian-<strong>art</strong> related activities <strong>of</strong> the<br />
Queensl<strong>and</strong> Art Gallery, including the Asia-Pacific Triennale <strong>and</strong> also to the searchable Research Library<br />
catalogue.<br />
RELEVANT SERIALS IN ENGLISH<br />
[Journal <strong>art</strong>icles on Asian <strong>art</strong> <strong>and</strong> <strong>art</strong>ists are listed in the relevant sections <strong>and</strong> largely updated to March 2007]<br />
Art Asia Pacific, since 1993.<br />
Art & Culture, since 1996.<br />
ArtForum International<br />
Art in America - has Asia related matters in most issues.<br />
Art Monthly Australia, some issues.<br />
Artlink, some issues.<br />
Art & Text, <strong>art</strong>icles in some issues, especially after 1994.<br />
Asian Art News, since 1991, some feature issues, cumulative index vol.4, no.6, 1994.<br />
Contemporary Visual Art<br />
Critical Inquiry<br />
Flash Art, some issues.<br />
Parkett<br />
positions: east <strong>asian</strong> cultures critique<br />
Public Culture<br />
Orientations, some features on <strong>modern</strong> <strong>art</strong>.<br />
Res, material culture <strong>and</strong> anthropology journal.<br />
South Atlantic Qu<strong>art</strong>erly<br />
Third Text, largely theory-oriented.<br />
Trans-Asian Photographic Review, online<br />
World Art, some <strong>contemporary</strong> <strong>art</strong>ists [discontinued]<br />
Visual Art & Culture [discontinued]<br />
Yishu: Journal <strong>of</strong> Chinese Contemporary Art<br />
NORTHEAST ASIA<br />
CHINA-GENERAL<br />
Bibliographical Note<br />
<strong>The</strong>re is good but selective bibliography up to 1999 by Britta Erickson Twentieth Century Chinese Art Bibliography<br />
& Individual Artists’ Bibliographies available online at http://www.stanford.edu/dept/<strong>art</strong>/china.<br />
<strong>The</strong>re is critical bibliography in Clark, John, ‘Art <strong>and</strong> Modernism in China, 1900-97: A review <strong>and</strong><br />
documentation’, Journal <strong>of</strong> the Oriental Society <strong>of</strong> Australia, vol.29, 1997, 50-73, <strong>and</strong> Clark, John, ‘Modernity in<br />
15
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Chinese Art, 1850s-1990s: some chronological materials’, Journal <strong>of</strong> the Oriental Society <strong>of</strong> Australia, vol.29, 1997, 74-<br />
169. Some texts cited in the latter are included here.<br />
General Problems <strong>of</strong> Modernity <strong>and</strong> Art<br />
[Asian Art market] ‘Move over Van Gogh’, Far Eastern Economic Review, 22 July 1993.<br />
Andrews, Julia, <strong>and</strong> Shen Kuiyi, eds, A Century in Crisis: Modernity <strong>and</strong> Tradition in the Art <strong>of</strong> Twentieth Century China,<br />
New York, Guggenheim Museum, 1998<br />
Barnh<strong>art</strong>, Richard. Three Thous<strong>and</strong> Years <strong>of</strong> Chinese Painting. New Haven: Yale <strong>University</strong> Press, 1997.<br />
Barnh<strong>art</strong>, Richard. “Survivals, revivals, <strong>and</strong> the classical tradition <strong>of</strong> Chinese figure painting.” Proceedings <strong>of</strong> the<br />
International Symposium on Chinese Painting. Taipei: National Palace Museum, 1972. Pp. 143-205.<br />
Bush, Susan, <strong>and</strong> Murck, Christian (eds). <strong>The</strong>ories <strong>of</strong> the Arts in China. Princeton: Princeton <strong>University</strong> Press, 1983.<br />
China Modernity <strong>and</strong> Art, <strong>and</strong> a discussion <strong>of</strong> Modern Art in Japan <strong>and</strong> Korea, Taibei, Council for Cultural Planning <strong>and</strong><br />
Development, 1990.<br />
Clark, John, ‘Modernity in Chinese Art, 1850s-1990s: Some chronological materials’, Journal <strong>of</strong> the Oriental Society<br />
<strong>of</strong> Australia, vol. 29, 1997.<br />
Clark, John. Modernities <strong>of</strong> Chinese Art, Leiden: Brill, 2010.<br />
Clark, John, Asian Modernities, Chinese <strong>and</strong> Thai Art Compared, 1980-1999, <strong>Sydney</strong>: Power Publications, 2010.<br />
Clarke, David, ‘Tradition <strong>and</strong> Innovation’ [British Museum exhibition], ART AsiaPacific, no.15, 1997<br />
Clunas, Craig. Art in China. Oxford: Oxford <strong>University</strong> Press, 1997 [2009].<br />
Croizier, R., ‘Art <strong>and</strong> Society in Modern China - A Review Article’, <strong>The</strong> Journal <strong>of</strong> Asian Studies, vol.49, no.3,<br />
August 1990.<br />
de Baan, Christine, Huang Du, et.al. China Contemporary: Architecture, Art, Visual Culture (Bilingual), Rotterdam,<br />
NAI Publishers, 2006<br />
Fong, Wen C., ‘<strong>The</strong> Modern Chinese Art Debate’, Artibus Asiae, vol.53, 1/2, 1993<br />
Gao Minglu, Inside Out: New Chinese Art, Berkeley, <strong>University</strong> <strong>of</strong> California Press, 1998.<br />
Gladston, Paul, ‘(More Writing on) <strong>The</strong> Wall: Reshaping (Gao Minglu’s Vision <strong>of</strong>) Contemporary Chinese Art’,<br />
in Yishu. Journal <strong>of</strong> Contemporary Chinese Art, v. 6(3), September, 2007, pp. 103 – 110.<br />
Gladston, Paul, ‘Writing on the Wall (<strong>and</strong> Entry Gate): A Critical Response to Recent Curatorial Meditations on<br />
the “Chineseness” <strong>of</strong> Contemporary Chinese Visual Art’, in Yishu. Journal <strong>of</strong> Contemporary Chinese Art, v.<br />
6(1), March, 2007, pp. 26 – 33.<br />
Guo Hui. Writing Chinese Art History in Early Twentieth-Century China. PhD Diss.: Leiden <strong>University</strong>, 2010.<br />
Hearn, Maxwell <strong>and</strong> Smith, Judith G., eds., Chinese Art: Modern Expressions, New York, Metropolitan Museum <strong>of</strong><br />
Art, 2001<br />
Jullien, François, <strong>The</strong> Impossible Nude: Chinese Art <strong>and</strong> Western Aesthetics [tr. De la Guardia, Maev], Chicago,<br />
<strong>University</strong> <strong>of</strong> Chicago Press, 2007.<br />
Kao, Mayching, ed, Twentieth Century Chinese Painting, Hong Kong, Oxford <strong>University</strong> Press, 1988 [proceedings <strong>of</strong><br />
a 1984 Hong Kong Conference, this covers most areas <strong>of</strong> <strong>modern</strong> Chinese painting in a general manner]<br />
Kuo, Jason, C., ‘Reviews <strong>of</strong> recent books on Modern Chinese Painting’, Ars Orientalis, vol.20, 1991.<br />
Kuo, Jason C., Discovering Chinese Painting: Dialogues with Art Historians, Dubuque, Kendall/Hunt Publishing<br />
Company, 2000, 2006.<br />
Lai, Ming-Yan. Nativism <strong>and</strong> Modernity: Cultural Contestations in China <strong>and</strong> Taiwan under Global Capitalism, New York:<br />
Stae <strong>University</strong> <strong>of</strong> New York Press, 2008.<br />
Laing, E.J., An Index to Reproductions by Twentieth Century Artists, Portl<strong>and</strong>, Oregon, 1984<br />
Litzinger, Ralph A., 1959-, ‘<strong>The</strong>orizing Postsocialism: Reflections on the Politics <strong>of</strong> Marginality in Contemporary<br />
China’, <strong>The</strong> South Atlantic Qu<strong>art</strong>erly, 101.1, Winter 2002<br />
Lu Peng, Bruce Doar tr., Artists in Art History: Case Histories <strong>of</strong> Artists in Art History <strong>and</strong> Art<br />
Criticism (Changsha: Hunan Fine Arts Publishing House, 2008), 873 pp<br />
Lu, Sheldon, H., China, Transnational Visuality, Global Post<strong>modern</strong>ity, Stanford, 2001.<br />
MacDonald, James S. “<strong>The</strong> History <strong>and</strong> Development <strong>of</strong> Chinese Art” in East Asian History. Nov. 34, December<br />
2007.<br />
16
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Merewether, C. ‘Forgetting the Memory <strong>of</strong> the Word: Writing Lessons in Contemporary Chinese Art’<br />
in Re/Trace: Dialogues, pp. 62-69. Edited by Jagjit Chuhan, Angela Dimitrakaki, Emma Thomas, Liverpool:<br />
John Moores <strong>University</strong>, 2002<br />
Special Issue: fabrications, positions east asia cultures critique, vol 11. no.2 Fall 2003 [on fashion <strong>and</strong> <strong>modern</strong>ity in<br />
East Asia]<br />
Sullivan, Michael, ‘Orthodoxy <strong>and</strong> Individuality in Twentieth Century Chinese Art’, in Murck, C., ed., Artists <strong>and</strong><br />
Traditions, Princeton, Princeton UP, 1979.<br />
Sullivan, Michael, Art <strong>and</strong> Artists <strong>of</strong> Twentieth Century China, Berkeley, California <strong>University</strong> Press, 1996 [reviews:<br />
Dal Lago in ART AsiaPacific, no.15, 1997, Croizier in <strong>The</strong> Journal <strong>of</strong> Asian Studies, 1997; Clark in Asian<br />
Studies Reviews, 1999].<br />
Sullivan, Michael, Chinese Art in the Twentieth Century, London, Faber & Faber, 1959.<br />
Sullivan, Michael, <strong>The</strong> Meeting <strong>of</strong> Eastern <strong>and</strong> Western Art, Palo Alto, Stanford UP, 1969 [the research <strong>and</strong> approach<br />
<strong>of</strong> this book are highly problematic], revised version, U. California Press, 1991.<br />
‘<strong>The</strong> Modern Chinese L<strong>and</strong>scape in New media Arts: A Conversation Among Fang Xia<strong>of</strong>eng, Chen<br />
Anying, Zhao Wenbing, <strong>and</strong> Jin Jianbo’, in Yishu Journal <strong>of</strong> Contemporary Chinese Art, Vol 8, Number 2,<br />
March/April 2009, pp 65-71.<br />
Tsuruta, T., ‘Kinhyakunenrai Chûgoku Gajin Shiryô’, Bijutsu Kenkyû, nos 293-294, 303, 307; ‘Minkokuki ni okeru<br />
zenkoku kibo no bijutsu tenrankai: kinhyakunenrai chûgoku kaigashi kenkyû 1’, Bijutsu Kenkyû, no.349;<br />
‘Kaihôgo no zenkoku bijutsu tenrankai: Kinhyakunenrai Chugoku Kaigashi Kenkyû 2’, Bijutsu Kenkyû,<br />
no.350; 2, Fu 1, Bijutsu Kenkyû, no.351 [Catalogue <strong>of</strong> the 1954 Second National Fine Arts Exhibition]; 2,<br />
Fu 2, Bijutsu Kenkyû, no.352 [Catalogue <strong>of</strong> the 1960 Third National Fine Arts Exhibition].<br />
Tsuruta, T., ‘Minkokuki bijutsugakkô sotsugyôdôgakuroku, Bijutsudantai kaiinroku shûsei’, (Izumishi Kubosô<br />
Kinenbijutsukan), Kubosô Kinen bunka zaidan Tôyô Bijutsu Kenkyûjo Kiyô, 2, 3, 4, 1991.<br />
Tsuruta, T., Kindai Chûgoku no Gaka, Osaka, Osaka Shiritsu Bijutsukan, 1972.<br />
Walker, Allan <strong>and</strong> Rarfiled Raz, ‘Documenta 12 Magazines Feature on Education. Cultures <strong>of</strong> Assessment:<br />
Distinctive Characteristics <strong>of</strong> Assessment in U.K. Art <strong>and</strong> design Higher Education <strong>and</strong> their<br />
Implementation in China’, in Yishu. Journal <strong>of</strong> Contemporary Chinese Art, v. 6(1), March, 2007, pp. 73 – 84.<br />
Wan Qingli, ‘Traditionalism, Reform, <strong>and</strong> Modernism in Twentieth Century Chinese Painting’, Orientations, 23,<br />
no.7, July 1992.<br />
Wu Hung, Transience: Chinese Experimental Art at the End <strong>of</strong> the Twentieth Century, Chicago: <strong>University</strong> <strong>of</strong> Chicago<br />
Press, 1999<br />
Wu Hung, Remaking Beijing: Tiananmen Square <strong>and</strong> the Creation <strong>of</strong> Political Space, Reaktion Books, 2005<br />
Wu Hung <strong>and</strong> Katherine R. Tsiang, Body <strong>and</strong> Face in Chinese Visual Culture, Cambridge, Mass., London, Harvard<br />
<strong>University</strong> Press, 2005<br />
Yü, Christina, ‘Documenta 12 Magazines Feature on Education. Some Thoughts on Art Game: An Experience<br />
<strong>of</strong> Agency in Contemporary Art’, in Yishu. Journal <strong>of</strong> Contemporary Chinese Art, v. 6(1), March, 2007, pp. 85 -<br />
90.<br />
Zheng Shengtian, ‘Documenta 12 Magazines Feature on Education. Interview with Zhu Naizheng’, trans.<br />
Chunyee Li, in Yishu. Journal <strong>of</strong> Contemporary Chinese Art, v. 6(1), March, 2007, pp. 62 – 72.<br />
Texts <strong>and</strong> Some Terms in Chinese:<br />
MS: Meishu, Art, the only national <strong>art</strong> monthly, published by the Artists’ Association. Generally the issue number<br />
equals the month, thus 1979-3, means the issue published for March 1979. But for a brief period from<br />
1960 until about 1964 it was published bi-monthly. Publication was suspended during the Cultural<br />
Revolution <strong>and</strong> rest<strong>art</strong>ed in 1977.<br />
MSJTX: Meishujia Tongxun, Information Bulletin <strong>of</strong> the Artists’ Association, this is not usually available to nonmembers<br />
<strong>and</strong> foreigners <strong>and</strong> has only occasionally been available to this author. MSJY: Meishu Yanjiu, Art<br />
Research, qu<strong>art</strong>erly, published by CAFA.<br />
MY: Meishuyanjiu, Art Research, published by the Central Academy <strong>of</strong> Fine Arts, Beijing.<br />
RMRB: Renmin Ribao, People’s Daily, the <strong>of</strong>ficial CCP newspaper.<br />
Shijie Meishu, World Art.<br />
Xinmeishu: New Art, irregular journal <strong>of</strong> Zhejiang Academy <strong>of</strong> Fine Art.<br />
17
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
youhua: oil painting.<br />
zhongguohua: Chinese painting, sometimes used as a full form for guohua.<br />
ZMB: Zhongguo Meishubao, Fine Arts in China, published 1985-1989.<br />
ZYC: Zhongguo Yishujia Cidian, 5 Volumes, Dictionary <strong>of</strong> Chinese Artists, Changsha, Hunan Renmin Chubanshe,<br />
1981-1985<br />
[some more recent Chinese bibliography may be found in the notes to John Clark, Modernities <strong>of</strong> Chinese Art,<br />
Leiden: Brill, 2010, <strong>and</strong> in Wu Hung editor, with the assistance <strong>of</strong> Peggy Wang, Contemporary Chinese <strong>art</strong> : primary<br />
documents, Durham, N.C.: Duke <strong>University</strong> Press 2010.]<br />
Chinese Art before the Twentieth Century (selected texts)<br />
Barnh<strong>art</strong>, Richard, el al, Three Thous<strong>and</strong> ytears <strong>of</strong> Chinese Painting, New Haven: Yale <strong>University</strong> Press, 1997.<br />
Clunas, Craig, Superfluous Things: Material Culture <strong>and</strong> Social Status in Early Modern China, Urbana & Chicago,<br />
<strong>University</strong> <strong>of</strong> Illinois Press, 1991.<br />
Clunas, Craig, Pictures <strong>and</strong> Visuality in Early Modern China, London, Reaktion Books, & Princeton, Princeton<br />
<strong>University</strong> Press, 1997.<br />
Clunas, Craig, Fruitful Sites: Garden Culture in Ming Dynasty China, London: Reaktion Books, 1996<br />
Chou, Ju-hsi (ed). Art at the Close <strong>of</strong> China’s Empire. Phøebus: Occasional Papers in Art History, vol. 8, 1998.<br />
Hay, John, ed., Boundaries in China, London: Reaktion Books, 1994<br />
Hay, Jonathan, Shitao: painting <strong>and</strong> <strong>modern</strong>ity in early Qing China, Cambridge; New York: Cambridge <strong>University</strong><br />
Press, 2001.<br />
Fu, Shen <strong>and</strong> Marilyn, Studies in Chinese Connoisseurship, Princeton, Princeton <strong>University</strong> Press, 1973.<br />
Siren, O., Chinese Painting, Ronald Press, New York, 1958<br />
Sullivan, M. <strong>The</strong> Birth <strong>of</strong> L<strong>and</strong>scape Painting in China, <strong>University</strong> <strong>of</strong> California Press, 1962.<br />
Wen C. Fong, Between Two Cultures: Late Nineteenth <strong>and</strong> Twentieth-Century Chinese Paintings from the Robert H. Ellsworth<br />
Collection in the Metropolitan Museum <strong>of</strong> Art, New Haven <strong>and</strong> London, 2001.<br />
Whitfield, R., ‘L<strong>and</strong>scape Painting in the Late Ch’ing Period’ in W. Watson, editor, L<strong>and</strong>scape Style in Asia,<br />
Percival David Foundation <strong>of</strong> Chinese Art, London, 1979.<br />
Wu Hung, <strong>The</strong> Double Screen: Medium <strong>and</strong> Representation in Chinese Painting, London, 1996.; Monumentality in Early<br />
Chinese Art, Stanford <strong>University</strong> Press, 1995; Han Tang zhi jian de shi jue wen hua yu zhi wen hua, Beijing,<br />
2003.; Han Tang zhi jian wen hua yi shu de hu dong yu jiao rong, Beijing, 2001.; Art in itr ritual context: essays on<br />
ancient Chinese <strong>art</strong>, Beijing shi, 2005.; Making History: Wu Hung on Contemporary Chinese Art (Hong Kong:<br />
Timezone 8, 2008).; Body <strong>and</strong> Face in Contemporary Chinese Culture (Cambridge, MA: Harvard <strong>University</strong><br />
Press, 2005).; Wu Hung on Contemporary Chinese Art (Hong Kong: Timezone 8, 2009)<br />
Early Contacts with European Art<br />
Arnold, Lauren, Princely gifts <strong>and</strong> papal treasures: the Franciscan mission to China <strong>and</strong> its influence on the <strong>art</strong> <strong>of</strong> the West, San<br />
Francisco, Desiderata Press, 1999<br />
Bailey, Gauvin. <strong>The</strong> Art <strong>of</strong> the Jesuit Missions in Asia <strong>and</strong> Latin America, 1542 – 1773. Toronto: Toronto <strong>University</strong><br />
Press, 1999.<br />
Barmé, Geremie, ‘<strong>The</strong> Garden <strong>of</strong> Perfect Brightness: A Manchu Vision <strong>of</strong> China’, Paroissien, Leon, ed., Visual<br />
Arts <strong>and</strong> Culture, Volume 1, P<strong>art</strong> 1 (1998), see http://www.chinaheritagequ<strong>art</strong>erly.org/ No. 8, December<br />
2006: Yuanming Yuan, the Garden <strong>of</strong> Perfect Brightness<br />
Beurdeley, M. &. C, Giuseppe Castiglione, Rutl<strong>and</strong>, Tuttle, 1971.<br />
Braat, J., Filedt Kok, J.P., H<strong>of</strong>enk de Graaff, J.H., Polderva<strong>art</strong>, P., ‘Restauratie, conservatie en onderzoek van de<br />
op Nova Zembla gevonded zestiende-eeuwse prenten’, Bullet van het Rijksmuseum, vol. 28, 1980.<br />
Cahill, James, ‘Late Ming l<strong>and</strong>scape albums <strong>and</strong> European printed books’, in Rosenwald, L.J., <strong>The</strong> Early Illustrated<br />
Book, 1982.<br />
Cahill, James, <strong>The</strong> Compelling Image: Nature <strong>and</strong> Style in Seventeenth Century Chinese Painting, Cambridge, Harvard<br />
<strong>University</strong> Press, 1982<br />
18
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Delahaye, Hubert, ‘Du peu d’effet de la peinture occidentale en Chine’ in Jami, Catherine; Delahaye, Hubert,<br />
eds., L’Europe en Chine, interactions scientifiques, religieuses et culturelles aux XVII e et XVIII e siécles, Paris, Collége<br />
de France, 1993.<br />
Edgerton, S.Y., <strong>The</strong> Heritage <strong>of</strong> Giotto’s Geometry, [Chapter 8, Geometry <strong>and</strong> the Jesuits in the Far East], Ithaca,<br />
Cornell <strong>University</strong> Press, 1991.<br />
Franke, Wolfgang, China <strong>and</strong> the West, Oxford, Basil Blackwell, 1967<br />
Gilman, S.I. ‚ Lam Qua <strong>and</strong> the development <strong>of</strong> westernized medical iconography in China’, Medical History, 30<br />
(1) January 1986.<br />
Heinrich, Larissa, ‘Curing Chinese Culture: Lam Qua’s medical portraiture’, in Liu, Lydia, ed., Translating<br />
Modernity, Durham, Duke <strong>University</strong> Press, 2007.<br />
Hsiang Ta (Xiang Da), ‘European influences on Chinese Art <strong>of</strong> the Later Ming <strong>and</strong> Early Ch’ing Period’<br />
[original in Dongfang Zazhi , vol.27, no.1, January 10th, 1930, translated by Wang Teh-chao], Renditions no.6,<br />
Spring 1976.<br />
Ijezerman, Holl<strong>and</strong>sche prenten als h<strong>and</strong>els<strong>art</strong>ikel te Patani in 1602, ’s Gravenhage, Gedenksschrift Koninlijk Instituut<br />
vor Tal-, L<strong>and</strong>- en Volkenkunde van N.I., 1926<br />
Ishida Mikinosuke, ‘A Biographical Study <strong>of</strong> Giuseppe Castiglione (Lang Shih-ning), a Jesuit Painter in the Court<br />
<strong>of</strong> Peking under the Ch’ing Dynasty’, Memoirs <strong>of</strong> the Tôyô Bunko, 1960, p.79-121;<br />
Jeyns, Soame, ‘George Chinnery(1774-1852) with emphasis on the Chinese period (1825-1852) <strong>and</strong> the socalled<br />
Chinnery School <strong>of</strong> Chinese trade painting’, in Watson, W., <strong>The</strong> Westward Influence <strong>of</strong> the Chinese Arts,<br />
from the n14th to the 18 th century , London, Percival David Foundation <strong>of</strong> Chinese Art, 1973.<br />
Jullien, F. <strong>The</strong> Impossible Nude: Chinese Art <strong>and</strong> Western Aesthetics. [tr. De la Guardia, Maev], Chicago: <strong>University</strong> <strong>of</strong><br />
Chicago Press, 2007.<br />
Kôno Minoru, ed., Chûgoku Yôfû? Hyôgen no Dônyû? Meimatsu kara Shin jidai no kaiga, hanga, sashie-hon, Machida,<br />
Machida Shirtisu Kokusai Hanga Bijutsukan, 1995.<br />
Kraus, Werner, ‘Einige Bermerkungen zur chinesischen “Trade Art” ’, unpublished ‘finger exercises’, n.d.<br />
[source <strong>of</strong> some German bibliography here].<br />
Loehr, G., ‘Missionary <strong>art</strong>ists at the Manchu Court’, Journal <strong>of</strong> the Oriental Ceramic Society, 34, 1962-63;<br />
Loehr, George, ‘<strong>The</strong> Sinicization <strong>of</strong> Missionary <strong>art</strong>ists <strong>and</strong> their work at the Manchu court during the Eighteenth<br />
Century’, Cahiers d’Histoire Mondiale, vol. VII, no.3, p. 795-815, 1963;<br />
Le Comte, L., Das heutige Sina, Nürnberg 1699<br />
Pelliot, Paul, ‘La Peinture et la Gravure Européennes en Chine au temps de Mathieu Ricci’, T’oung Pao, 1922, 1-<br />
18;<br />
Pirazzoli-T’Serstevens, M., Gravures des Conquêtes de l’Empereur de Chine K’ien-Long au Musée Guimet, Paris, Musée<br />
Guimet, 1969;<br />
Qing Imperial Court Painting, 25th Anniversary Special Issue <strong>of</strong> Orientations, vol.26, no.7, Jul-Aug 1995<br />
Ricci, Matteo [Nicola Trigault ed. Latin, 1615, tr. Louis J. Gallagher] China in the 16th Century: <strong>The</strong> Journals <strong>of</strong><br />
Matteo Ricci, New York, New York, 1953<br />
S<strong>and</strong>r<strong>art</strong>, Joachim von , Teutsche Academie der Bau- Bild- und Mahlerey Künste, Amsterdam 1679, reprint, München,<br />
Saur, 1992<br />
Sullivan, Michael, ‘Some possible sources <strong>of</strong> European influence on late Ming <strong>and</strong> early Ch’ing painting’, in<br />
Proceedings <strong>of</strong> the International Symposium on Chinese Painting, Taipei, National Palace Museum, 1972,<br />
Swiderski, Richard M., ‘<strong>The</strong> dragon <strong>and</strong> the straightedge, p<strong>art</strong> 1: a semiotics <strong>of</strong> the Chinese response to<br />
European pictorial Space’, Semiotica 81-1/2, (1990); ‘p<strong>art</strong> 2: <strong>The</strong> ideological impetus <strong>of</strong> linear perspective in<br />
late Ming early Qing China’, ibid, 82-1/2 (1990); ‘p<strong>art</strong> 3: Porcelains, horses, <strong>and</strong> ink stones - the ends <strong>of</strong><br />
acceptance’, ibid, 82 -3/4, (1990).<br />
Topsfield Andrew, ‘Ketelaar’s Embassy <strong>and</strong> the Farangi theme in the <strong>art</strong> <strong>of</strong> Udaipur’, Oriental Art, new series,<br />
vol. XXX, no.4, Winter 1984/5.<br />
Vinograd, Richard, Boundaries <strong>of</strong> the Self, Chinese Portraits, 1600-1900, Cambridge, Cambridge <strong>University</strong> Press,<br />
1992;<br />
19
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Chinacoast <strong>and</strong> Trade Paintings<br />
Berry-Hill, H. <strong>and</strong> S., Chinnery <strong>and</strong> China Coast Paintings, Leigh-on-Sea, 1970.<br />
Broadbent, J., China, Australia: Trade <strong>and</strong> Society 1788-1850, <strong>Sydney</strong>, Historic Houses <strong>of</strong> New South Wales, 2003.<br />
Chen Yuhuan, zhubian, Zhongsh<strong>and</strong>axue Lishixi, Guangdong bowuguan, bian, Xifangrenyanli de zhongguo qingdiao<br />
Views from the West, Beijing, Zhonghua shuju, 2001<br />
Cheng Cunjie, zhubian, Haiyi yizhen, 1820, Gems left by overseas trade: Cantonese export <strong>art</strong>s <strong>and</strong> crafts from the 18 th to<br />
early 20 th century, Shanghai, Shanghai guji chubanshe, 2005<br />
Christies’, Fine Chinatrade Paintings, Hong Kong, Christies’ Swire, sale <strong>of</strong> 26-9-1989.<br />
Conner, Patrick, <strong>The</strong> China Trade 1600-1860, Brighton, Royal Pavilion, 1986<br />
Conner, Patrick, George Chinnery 1774-1852, <strong>art</strong>ist <strong>of</strong> India <strong>and</strong> the China Coast, Woodbridge: Antique Collectors’<br />
Club, 1993<br />
Conner, Patrick, Chinese Views – Western Perspectives, 1770-1870, the Sze Yuen Tang Collection <strong>of</strong> China Coast Paintings<br />
<strong>and</strong> the Wallem Collection <strong>of</strong> China Coast Ship Portraits, London: Asia House, 1996.<br />
Conner, Patrick, & Iseki Masaki, Journey to the Far East: George Chinnery <strong>and</strong> the <strong>art</strong> <strong>of</strong> Canton, Macao <strong>and</strong> Hong Kong in<br />
the 19 th century¸ Tokyo: Tokyo Metropolitan Teien Museum, 1996<br />
Conner, P., & Leglouix, S., William Alex<strong>and</strong>er, Brighton, Royal Pavilion, 1981.<br />
Crossman, C.L., <strong>The</strong> China Trade: Paintings, Furniture, Silver, <strong>and</strong> other Objects, Princeton, 1972; Exploring Marine Art,<br />
Hong Kong, Maritime Museum, 2007<br />
Gregory, M<strong>art</strong>yn, <strong>The</strong> ‘Perry L<strong>and</strong>ing’ set <strong>of</strong> China trade paintings, London: M<strong>art</strong>yn Gregory, n.d.<br />
Gregory, M., In the Western Manner, Catalogue 53, London, M<strong>art</strong>yn Gregory Gallery, 1989.<br />
Ho Kam-chuen et al, Historical Pictures, Hong Kong Museum <strong>of</strong> Art, 1999 [3 rd ed],<br />
Hutcheon, R., Chinnery, <strong>The</strong> Man <strong>and</strong> the Legend, Hong Kong, 1975<br />
Lee, J.G., Philadelphians <strong>and</strong> the China Trade 1784-1844, Philadelphia Museum <strong>of</strong> Art/ <strong>University</strong> <strong>of</strong> Pennsylvania<br />
Press, 1984.<br />
Lee, Sai Chong Jack, China trade painting: 1750s to 1880s unpublished PhD thesis, <strong>University</strong> <strong>of</strong> Hong Kong, 2005.<br />
Leglouix, S., Image <strong>of</strong> China: William Alex<strong>and</strong>er, London; Jupiter Books, 1980<br />
Lu, Wenxue, Yuedu he lijie: 17 shiji-19shiji zhongqi ouzhoude zhongguotuxiang [Reading <strong>and</strong> underst<strong>and</strong>ing: <strong>The</strong> image <strong>of</strong><br />
China in Europe from the 17th century to the mid-19th century] unpublished PhD thesis, Chinese <strong>University</strong> <strong>of</strong><br />
Hong Kong, 2003.<br />
Orange, J. <strong>The</strong> Chater Collection; Pictures relating to China, Hong Kong, Macao, London, 1924.<br />
Tam, L.C.S., et al, Hong Kong: <strong>The</strong> Changing Scene, Hong Kong Museum <strong>of</strong> Art, 1980<br />
Thompson, Jonathan, ‘<strong>The</strong> Rake’s Progress’ (George Chinnery), Asian Art News, vol. 15, no. 4, 2005.<br />
Ting, J.S.P., Hung V.W.Y., Gateways to China, Hong Kong Museum <strong>of</strong> Art, 1987.<br />
Ting, J.S.P., George Chinnery: His Pupils <strong>and</strong> Influence, Hong Kong Museum <strong>of</strong> Art, 1985.<br />
Ting, Joseph S.P. et al, East Meets West, Cultural relics from the Pearl River Delta Region, bilingual catalogue, Hong<br />
Kong, Museum <strong>of</strong> History, 2005<br />
Warner, J., Hong Kong Illustrated: Views <strong>and</strong> News, 1840-1890, Hong Kong, John Warner, 1981<br />
Wu, L., ‘A Newly discovered school <strong>of</strong> Chinese export painting’, Orientations, vol.20, no.7, July 1989<br />
<strong>University</strong> Museum <strong>and</strong> Art gallery, <strong>The</strong> <strong>University</strong> <strong>of</strong> Hong Kong, Picturing Cathay: Maritime <strong>and</strong> Cultural Images <strong>of</strong><br />
the China Trade, Hong Kong, 2002<br />
Van der Poel, Rosalien, Twintig export olioeverschilderijen uit China in de collectie van Museum Volkenkunde. Een nadere<br />
beschouwing, unpublished BA <strong>The</strong>sis, Kunstgeshiednis, Universiteit Leiden, 2007<br />
Yangcheng Fengwu / Souvenir from Canton, Chinese Export Painting from the Victoria & Albert Museum, Guangzhou<br />
Meishuguan, 2003<br />
Photography in China<br />
Bennett, Tony. History <strong>of</strong> Photography in China. London: Quaritch, 2009.<br />
C<strong>art</strong>ier-Bresson, H., China in Transition, London, Thames <strong>and</strong> Hudson, 1956<br />
Cook, Henrietta Rose, ‘Perceptions <strong>of</strong> Tradition in Post-Imperial Chinese Photography’, unpublished<br />
undergraduate dissertation, <strong>University</strong> <strong>of</strong> London, School <strong>of</strong> Oriental <strong>and</strong> African Studies, 2006.<br />
20
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Crombie, Isobel; ‘Body Language: Contemporary Chinese Photography in TAASA Review. <strong>The</strong> Journal <strong>of</strong> the<br />
Asian Art Society <strong>of</strong> Australia, v.17, No. 3, September 2008, p. 18-19<br />
Harris, David, Of battle <strong>and</strong> beauty: Felice Beato’s photographs <strong>of</strong> China, Santa Barbara: Santa Barbara Museum <strong>of</strong> Art<br />
& London: <strong>University</strong> <strong>of</strong> California Press, 1999.<br />
Jenner, W. J. F., China: a Photohistory, London, Thames & Hudson, 1988.<br />
Lu Hanchao, <strong>The</strong> birth <strong>of</strong> a Republic:FRancisStafford’s Photographs <strong>of</strong> Chia’s 1911 Revolution <strong>and</strong> beyond, Seattle:<br />
<strong>University</strong> <strong>of</strong> Washington Press, 2010.<br />
Lum, Raymond, ‘Beijing 1933-46: <strong>The</strong> Photographs <strong>of</strong> Hedda Morrison’, in Orientations, vol. 39, no. 5, June,<br />
2008.<br />
Ma Yunzeng, Zhongguo sheyingshi, 1840-1937, Beijing, Zhongguo sheying chubanshe, 1987.<br />
Moore, Oliver, ‘Photography in China: a global medium locally appropriated’, IIAS Newsletter no.44, Summer<br />
2007.<br />
Moore, Oliver, ‘Zou Baoqi (1819-1869), Map-Maker <strong>and</strong> Photographer’, in Hammond, Kenneth, ed., <strong>The</strong> Human<br />
Tradition in Modern China, Lanham, Rowman <strong>and</strong> Littlefield, 2007<br />
Roberts, Claire, ‘In her view: Hedda Morrison’s photographs <strong>of</strong> Peking, 1933-46’, East Asian History, 4,<br />
December 1992.<br />
Roberts, Claire, ed., In her view: the photographs <strong>of</strong> Hedda Morrison in China <strong>and</strong> Sarawak 1933-67, Haymarket, N.S.W:<br />
Powerhouse Publishing, 1993.<br />
Roberts, Claire, ‘Captured city: Hedda Morrison’s Peking’, TAASA Review, vol.11, no.3, 2002<br />
Serfaty, Paul, ‘Retreat, Fantasy, Uncertainty’, in Asian Art News, v. 18(3), May/June, 2008, pp. 78 – 81.<br />
Shen, Jiawei. Old China Through G.E. Morrison’s Eyes [bilingual, collection in State Library <strong>of</strong> New South Wales],<br />
Fuzhou, Fujian Jiaoyu Chubanshe, 3 Vols., 2005; & G.E.Morrioson’s Journey in Northwesy China in 1910, 2<br />
vols, 2008.<br />
Sumner, Christina, ‘In the Public Domain: Hedda Morrison in the Powerhouse Museum’ in TAASA Review. <strong>The</strong><br />
Journal <strong>of</strong> the Asian Art Society <strong>of</strong> Australia, v.17, No. 3, September 2008, p. 16-17<br />
Thiriez, Régine, ‘Photography <strong>and</strong> Portraiture in Nineteenth-Century China’, East Asian History, nos. 17/18,<br />
June/December 1999.<br />
Thiriez, Régine, Barbarian lens: Western photographers <strong>of</strong> the Qianlong emperor’s European palaces, New York, Gordon &<br />
Breach, 1998.<br />
Thomson, J., China <strong>The</strong> L<strong>and</strong> <strong>and</strong> Its People, Hong Kong, John Warner, 1977<br />
Worswick, C., Spence, J., Imperial China, Photographs 1850-1912, London, Scolar Press, 1978.<br />
Zhongguo Sheying, 1860-1912, Taibei, Xiongshi Tushu, 1979<br />
Photography in China 1980s-1990s <strong>and</strong> after<br />
Dewar, Susan, ‘Contemporary Chinese Photography’, Art & Asia Pacific, vol.3, no.2, 1996.<br />
Dewar, Susan, ‘Photography in China’, ART AsiaPacific, no.13, 1997.<br />
Louie, Reagan, Toward a truer life: photographs <strong>of</strong> China 1980-1990, New York: Aperture Foundation & San<br />
Francisco, Friends <strong>of</strong> Photography, 1991.<br />
Tinari, Philip, ‘Review <strong>of</strong> 3030: New Photography in China’, in Yishu. Journal <strong>of</strong> Contemporary Chinese Art, v. 6(1),<br />
March, 2007, pp. 122 – 127.<br />
Wu Hung, Phantasmagoria: Recent Photographs by Miao Xiaochun, Chicago: Walsh Gallery, 2004.<br />
Wu Hung with Christopher Philips, Between Past <strong>and</strong> Future: New Chinese Photography <strong>and</strong> Video, New York <strong>and</strong><br />
Chicago: International Center <strong>of</strong> Photography <strong>and</strong> Sm<strong>art</strong> Museum <strong>of</strong> Art, 2004.<br />
Yu Shing-tak <strong>and</strong> Yang Shaoming, Contemporary Chinese photographs, Beijing, China Photographic Publishing<br />
House, 1985.<br />
Zhang, Hai’er, Fotografien aus China, 1986-1989, Heidelberg : Edition Braus, 1990.<br />
Zhang Zhaohui, ‘A return to the real: new <strong>art</strong> <strong>and</strong> new spaces’, Art AsiaPacific, 31, 2001<br />
Performance in China 1980s-1990s <strong>and</strong> after<br />
21
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
"Animalworks in China." TDR: <strong>The</strong> Journal <strong>of</strong> Performance Studies 51.1 (Spring 2007): 63-91. [A Special Issue Guestedited<br />
by Una Chaudhuri.]<br />
"Catalyst, Praxis, Habitat: Performative Objects in Chinese Time-based Art." Performance Research 12.4 (Winter<br />
2007): 147-162.<br />
"Down <strong>and</strong> Under, Up <strong>and</strong> Over: Animalworks by Sun Yuan <strong>and</strong> Peng Yu." Performance Paradigm #4 (June<br />
2008): 1-42.<br />
Berghuis, Thomas J., ‘Flesh Art: Body <strong>and</strong> Performance Art in Post-Mao China’, online Chinese Type<br />
Contemporary Art Magazine, Vol. 4, Issue 5, November, 2001.<br />
Berghuis, Thomas J., Performance Art in China, Hong Kong, Timezone 8, 2006<br />
Berghuis, Thomas, ‘Close Encounters – Performance <strong>art</strong> practices in China during the 1990s <strong>and</strong> the role <strong>of</strong> the<br />
mediated subject <strong>of</strong> the acting body in <strong>art</strong>’, Peter Lewis <strong>and</strong> Hoor Al-Qasimi, ed., Sharjah International<br />
Biennial 6 (Catalogue), United Arab Emirates: Sharjah International Biennial, 2003, pp. 034-038.<br />
Berghuis, Thomas, ‘Performance Art <strong>and</strong> <strong>The</strong> Art <strong>of</strong> Performance’, in Contemporary Visual Arts + Culture<br />
Broadsheet, vol. 36, no. 3, September, 2007, pp. 186 – 189.<br />
Cheng Meiling, "Cl<strong>and</strong>estine Interventions" in Public Art Review: International Art Issue (Fall/Winter 2004): 26-29.<br />
Cheng Meiling, "Extreme Performance <strong>and</strong> Installation from China" in <strong>The</strong>atreForum (Summer 2006): 88-96. [the<br />
cover feature]<br />
Cheng Meiling, "Indexing Death in Seven Xingwei <strong>and</strong> Zhuangzhi Pieces" in Performance Research 11.2 (June<br />
2006): 24-38.<br />
Cheng Meiling, "Violent Capital: Zhu Yu on File” in TDR: <strong>The</strong> Journal <strong>of</strong> Performance Studies 49.3 (Fall 2005): 58-<br />
77.<br />
Clapham, Rachel Lois, ‘A Chinese Frequency: Vital 07 – <strong>The</strong> Essence <strong>of</strong> Performance’, in Yishu. Journal <strong>of</strong><br />
Contemporary Chinese Art, v. 7(2), March, 2008, pp. 84 – 89.<br />
Daozi, ‘<strong>The</strong> Wisdom <strong>of</strong> the Body’, Chinese Type Contemporary Art Magazine, Vol. 4, Issue 5, November, 2001,<br />
published Online at: http://www.chinese-<strong>art</strong>.com<br />
Gao Minglu, “Private Experience <strong>and</strong> Public Happenings: <strong>The</strong> Performance Art <strong>of</strong> Zhang Huan” (Translated by<br />
Alexa Olga) in Pilgrimage to Santiago, Barcelona <strong>and</strong> Brussels, Cotthem Gallery, 2001<br />
Gao Minglu, <strong>The</strong> Wall: Reshaping Contemporary Chinese Art, New York <strong>and</strong> Beijing, Albright-Knox Art Gallery,<br />
<strong>University</strong> at Buffalo Art Galleries, <strong>and</strong> Millennium Art Museum, 2006<br />
Ling, Gao, ‘Art is Action’, , Chinese Type Contemporary Art Magazine, Vol. 4, Issue 5, November, 2001, published<br />
Online at: http://www.chinese-<strong>art</strong>.com<br />
Merewether, Charles, ‘<strong>The</strong> spectre <strong>of</strong> being human’, Yishu: Journal <strong>of</strong> Contemporary Chinese Art, vol.2, no., June<br />
2003<br />
S<strong>and</strong>erson, Lesley, ‘Male Body Fatigue’, in Yishu. Journal <strong>of</strong> Contemporary Chinese Art, v. 7(3), May, 2008, pp. 78 –<br />
85.<br />
Smith, Karen, ‘Contagious desire, the other in <strong>contemporary</strong> Chinese <strong>art</strong>’, Art AsiaPacific, 31, 2001<br />
Song Dong, Guo Shirui, Yesheng, 1997 Nian Jing zheshi, Beijing, Xi<strong>and</strong>ai YishuZhongxin, 1997 [includes a<br />
chronology for chiefly avant-garde <strong>and</strong> performance <strong>art</strong> since 1986]<br />
Xing Danwen, Danwen Xing, Wo-men: A Personal Diary <strong>of</strong> Chinese Avant Garde in the 1990s: Photographs, 1993-1998,<br />
Zurich, Scalo Publishers, 2007 (Forthcoming)<br />
MAILAND CHINA, 1911 to PRESENT<br />
Albums<br />
Between the thunder <strong>and</strong> the rain: Chinese paintings from the Opium War to the Cultural Revolution, 1840-1979, San<br />
Francisco, Asian Art Museum, 2000<br />
Bobot, M.-T., Collection des Peintures et Calligraphies Chinoises Contemporaines, Paris, Musée Cernuschi, 1985<br />
Brown, Claudia; Chou Ju-hsi; Transcending turmoil: painting at the close <strong>of</strong> China’s empire, 1796-1911, Phoenix, Phoenix<br />
Art Museum, 1992.<br />
22
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Eliséef, V., Exposition de la Peinture Moderne Chinoise, Paris, Musée Cernuschi, 1946<br />
Eliséef, V., Quatre Artistes Chinoises Contemporaines, [Pan Yu-lin, Lam Oi, Ou Seu-tan, Shing Wai], Paris, Musée<br />
Cernuschi, 1977<br />
Eliséef, V., Peintures Chinoises Traditionelles, 1975-80, Paris, Musée Cernuschi, 1981<br />
Ellsworth, R.H. et al, Later Chinese Painting <strong>and</strong> Calligraphy, 1800-1950, 3 volumes, New York, R<strong>and</strong>om House,<br />
1987<br />
Hajek, L., H<strong>of</strong>meister, A., Chinesische Malerei der Gegenw<strong>art</strong>, Prague, Artia, 1959<br />
Hua Junwu, ed., Contemporary Chinese Painting, Beijing, New World Press, 1981<br />
Moss.H., ed.,<strong>The</strong> Experience <strong>of</strong> Art, Hong Kong, Umbrella, 1983<br />
Strassberg, R.E., Nielsen, W.A., Beyond the Open Door, Pasadena, Pacific Asia Museum, 1987.<br />
Strassberg, R.E., Beyond the Open Door II, Pasadena, Pacific Asia Museum, 1991.<br />
Sun Jie, ed., A Selection <strong>of</strong> Contemporary Chinese Painting, Beijing, Zhao Hua Publishing House, 1981<br />
Tam, L.S., ed., Twentieth Century Chinese Painting, Hong Kong, Hong Kong Museum <strong>of</strong> Art, 1984<br />
Tao Yongbai, ed., Oil Painting in China 1700-1985, Jiangsu Meishu Chubanshe, 1988<br />
Whitfield, R., Chinese Traditional Painting, 1886-1966, London, Royal Academy <strong>of</strong> Arts, 1982<br />
Individual Artists<br />
For lists <strong>of</strong> albums see the bibliography in Kao, Mayching, ed, Twentieth Century Chinese Painting, Hong Kong,<br />
Oxford <strong>University</strong> Press, 1988 for a list <strong>of</strong> <strong>art</strong>ists’ albums, <strong>and</strong> for other lists <strong>of</strong> reproductions see Laing, E.J., An<br />
Index to Reproductions by Twentieth Century Artists, Portl<strong>and</strong>, Oregon, 1984. <strong>The</strong> publishing industry in both the<br />
People’s Republic <strong>and</strong> Taiwan has also produced many single-<strong>art</strong>ist multi-volume series in the 1990s.<br />
A number <strong>of</strong> <strong>art</strong>ist’s names become homonyms in English although written with different characters in Chinese.<br />
To obviate lengthy explanation in these cases I have simply identified the <strong>art</strong>ist the medium or type <strong>of</strong> work e.g.<br />
Liu Wei, painter <strong>and</strong> Liu Wei, video installation, are two different <strong>art</strong>ists working in those media whose personal<br />
names are actually written with different characters even though their surnames are identical. Sometimes the<br />
same <strong>art</strong>ists also appear in later sections by country under ‘Asian Artists Transnational Activity’.<br />
Ai Wei Wei: Chen Weiqing, ed., Fragments: Beijing, 2006, Hong Kong, Timezone 8, 2007; review, Artforum, vol. 45,<br />
Iss. 1, 2006; Adjaye, David, ‘Ai Wei Wei: House <strong>and</strong> Studio, Beijing’, Artforum, vol. 44, Iss. 3, 2005; ‘Ai<br />
Wei Wei Urs Meile Gallery’ (review) Flash Art, vol. XXXIX, no. 249, July-September, 2006; Colonello,<br />
Nataline, ‘Ai Weiwei: Beyond the Checkmate’ in Art Asia Pacific, No. 40 (Spring 2004), pp. 52-58;<br />
Merewether, Charles, ed., Ai Weiwei Works: Beijing, 1993-2003, Hong Kong, Timezone 8, 2004. ;<br />
Merewether, Charles, ‘Ai Weiwei. <strong>The</strong> Freedom <strong>of</strong> Irreverence’, in ArtAsiaPacific, No. 53, May/June, 2007,<br />
pp. 108 – 111. ; King, Natalie, ‘<strong>The</strong> is no future: An interview with Ai Weiwei’, in <strong>art</strong> & Australia, vol. 45,<br />
no. 4, Winter 2008, June/July/August, pp. 546 – 549; Coggins, David, ‘Ai Weiwei’s Human<br />
Conceptualism’, in Art in America, September 2007, pp. 126 – 131; Eccles, Jeremy, ‘Ai Weiwei: Under<br />
Construction’, in Art Monthly Australia, Issue No.: 211, July 2008, pp. 21 – 24. Berghuis, T. ‘Ai Weiwei:<br />
China’s Social Consciousness’, C-Arts Asian Contemporary Art <strong>and</strong> Culture, Vol 04, July-August 2008.;<br />
‘Interview with Ai Wei Wei’ ART iT, No. 21, Fall/Winter 2008, Birnie Danzker, J., ‘A Conversation with<br />
Ai Weiwei’, in Yishu Journal <strong>of</strong> Contemporary Chinese Art, Volume 7, No. 4, July 2008, pp. 10-19; Lee, Mabel,<br />
Ai Weiwei Under Construction, in Contemporary Visual Art + Culture Broadsheet, vol 37, no. 3, pp196-199;<br />
Ai Weiwei, Catalogue, curated by Mark Wilson <strong>and</strong> Sue-An Van Der Zijpp, with texts by Karen Smith <strong>and</strong><br />
Sue-An Van Der Zijpp, Groninger Museum-Nai Publishers, 2008; Ai Weiwei, by Karen Smith, Hans<br />
Ulrich Obrist <strong>and</strong> Bernard Fibicher, Phaidon, London, 2009; Vine, Richard, ‘<strong>The</strong> way we were, the way we<br />
are: China's most outspoken <strong>art</strong>ist reflects on the ongoing struggle for expressive freedom in the People's<br />
Republic.’ (CHINA WATCH)(Ai Weiwei)(Interview) in Art in America 96.6 (June-July 2008): 99(3).;<br />
Kóvskaya, M. “<strong>The</strong> Visual Roots <strong>of</strong> a Public Intellectual’s Social Conscience: Ai Weiwei’s New York<br />
Photographs” in Yishu Journal <strong>of</strong> Contemporary Chinese Art, Vol. 8 No. 5 (Sept/Oct 2009).<br />
Bai Yi Luo: Ling Ling Braude, ‘Bai Yi Luo. Contemporary Photographer Artist <strong>of</strong> China’, in C Arts. Asian<br />
Contemporary Art <strong>and</strong> Culture, vol. 00, November/December, 2007, pp. 88 – 91.<br />
23
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Big Tail Elephant Chiu, Melissa, ‘Static Interference: <strong>The</strong> Big Tail Elephant Group <strong>of</strong> Guangzhou.’ Art Asia Pacific<br />
24:1999; Lin, Yilin., Chen Shaoxiong, Xu Tan <strong>and</strong> Liang Juhui, ‘Big Tail Elephants in the 1990s’, in Yishu:<br />
Journal <strong>of</strong> Contemporary Chinese Art, Vol. 2 No. 2, June 2003, p.22-32.<br />
Bingyi Huang: Ikegami, Hiroko, ‘Emotions Are Beautiful: Bingyi’s Unfashionable Faith in Painting’, in Yishu.<br />
Journal <strong>of</strong> Contemporary Chinese Art, v. 6(3), September, 2007, pp. 92 – 96.<br />
Cai Guoqiang, painter <strong>and</strong> installation <strong>art</strong>, New York: Cai Guoqiang, Day Dreaming, Taipei, Cherng Pin Gallery<br />
1998; Zaya Octavio et al, Venice’s Rent Collection Courtyard, Hong Kong & Vancouver, Annie Wong Art<br />
Foundation, 1999; Zhang Zhaohui, Cultural Metamorphosis: <strong>The</strong> Art <strong>of</strong> Xu Bing <strong>and</strong> Cai Guoqiang, unpublished<br />
MA in Curatorial Studies <strong>The</strong>sis, Bard College, 1998; Zhang Qing, ‘History challenges reality: the life <strong>and</strong><br />
<strong>art</strong> <strong>of</strong> Cai Guoqiang’, Yishu, vol.1, no.1, 2002; Zhang Zhaohui, ‘Ti<strong>and</strong>i zhi ji: Cai Guoqiang yu Xu Bing<br />
Suoshi biye zhanlan jihua shuomingshu’, Jiangsu Huakan, 2, 1999; ‘Naoshima no commishon waaku: Cai<br />
Guoqiang Bunkadaikonyoku, Naoshima no tame no projekuto’, Naoshima Tsûshin, vol.1, no.2, 1988;<br />
Hirano Akihiko & Takeuchi Hiroko eds., Cai Guoqiang “From the Pan-Pacific” [translated by Dutz, Margaret<br />
E.], Iwaki, Iwaki City Art Museum, 1994; Cai Guoqiang in “Ajia Shichô no Potensharu”, Hôkokusho, Tôkyô,<br />
Kokusai Kôryûkikin ASEAN Bunka Sentaa, 1994, p.84-89; He<strong>art</strong>ney, Eleanor, ‘Cai Guoqiang:<br />
illuminating the new China’, Art in America, May 2002; Cultural Meeting Bath: Projects for the 20th century, New<br />
York, Queens Museum <strong>of</strong> Art, 1997 [review: Goodman, Art AsiaPacific,no.18, 1998.]; Huang Du. ‘Cai<br />
Guoqiang: From mystery <strong>and</strong> philosophy to reality.’ Art AsiaPacific issue 20 1998; Naylor, Stephen, ‘A<br />
Gondola In Suburbia’, Art Monthly Australia August 1999: 122; B<strong>art</strong>elik, Marek, ‘Cai Guo-Qiang’, Artforum<br />
International, Vol.40, Issue 10, Summer 2002; Stringa, Nico (ed), Terrecotte Cinesi dalla 48 a Biennale di Venezia<br />
(Chinese Terracotta at the 48 th Venice Biennial), Cornuda: Antiga Edizoni, 2003.; Cai, Guo-Qiang, Bunker<br />
Museum <strong>of</strong> Contemporary Art, Kinmen Isl<strong>and</strong>: A Permanent Sanctuary for Art in a De-Militarised Zone, Ch<strong>art</strong>a,<br />
Milan, 2006; Ng, Elaine W., ‘Where I Work : Cai Guo-Qiang’, ArtAsiaPacific, no. 47, 2006; Winchester,<br />
Rupert, ‘Zhang Lin Hai, Wang Yidong <strong>and</strong> Cai Guo-Qiang: Light <strong>and</strong> Shadow’ (review), ArtAsiaPacific, no.<br />
47, 2006; Goodbody, Bridget, ‘No Introductions Necessary’, ArtAsiaPacific, no. 45, 2005; ‘Cai Guo-Qiang:<br />
Traveller’ (review), ArtAsiaPacific, no. 45, 2005;‘Cai Guo-Qiang at Deutsche Guggenheim’ (review) World<br />
Sculpture News, vol. 12, no. 3, 2006; ‘Cai Guo-Qiang – Inopportune, Mass. MOCA’, Parachute, 119, 2005;<br />
review, Artforum, vol 43, iss. 6, February 2005; ‘Cao Guo-Qiang Galleria Continua’, (review) Flash Art, vol.<br />
XXXIX, no. 249, July-September, 2006; Xu Bing, ed., Where Heaven <strong>and</strong> E<strong>art</strong>h Meet: <strong>The</strong> Art <strong>of</strong> Xu Bing <strong>and</strong><br />
Cai Guo-qiang, Hong Kong, Timezone 8, 2006; Cai Guo-Qiang: Head On, Hatje Cantz, Ostfildern, 2005; Cai,<br />
Guoqiang. Cai Guo-Qiang: life beneath the shadow. Edinburgh; London: <strong>The</strong> Fruitmarket Gallery; Distributed<br />
by Art Data, 2005; Raspali, Thierry, Cai Guo-Qiang: Une histoire arbitraire/ An Arbitrary History, Paris, 5<br />
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Guan Wei’s Fable for a Contemporary World (<strong>Sydney</strong>: Wild Peony, 2008)<br />
Guo Hairen, neo-traditionalist painter, New York & Beijing: Lin Xiaoping, ‘Guo Hairen’s Painting: In search <strong>of</strong><br />
Old Beijing’, Orientations, no.2, 1992.<br />
Guo Jin: ‘Guo Jin: Kiddy Scheme <strong>and</strong> the Image <strong>of</strong> Man’ (review) ArtAsiaPacific, no. 48, 2006.<br />
Guo Wei, Guo Jin, Sichuan, painter <strong>and</strong> sculptor: Zhong Ming, ‘Rang huihua <strong>and</strong>ing jiushininadai, Guo Wei, Guo<br />
Jin chuangzaozhong de qiji’, Yishujie, 9/10-1998; Goodman, Jonathan, 'Guo Brothers at Michael<br />
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Han Lei: Huang Liaoyuan, et.al., Han Lei: Where is China Now?, Beijing, Beijing Art Now Gallery, 2006<br />
He Chengyao: ‘Life the Cover from Your Head’, in Yishu: Journal <strong>of</strong> Contemporary Chinese Art, Vol. 2 No. 3,<br />
September 2003, p.20-24.<br />
He Duoling: Nakayama, K. He Duoling, Fukuoka, Fukuoka Kindai Bijutsukan, 1988.<br />
He Huaishuo: Stanley-Baker, Joan, <strong>The</strong> Art <strong>of</strong> Ho Huai-shuo, Hong Kong, Hibiya Ltd., 1981.<br />
He Sen: Jordan, Francesca <strong>and</strong> Marella, Primo, China Art Now: Out <strong>of</strong> the Red, Milano: Marella Arte<br />
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He Seng: review, Asian Art News, vol. 15, no. 2, 2005.<br />
He Yunchang: Bingyi Huang, ‘Go with the Flow: He Yunchang’s Performance Art at Niagra Falls’, ArtAsiaPacific,<br />
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Hong Hao: Li Xianting, et.al., Chinese Artists <strong>of</strong> Today: Hong Hao, Beijing, Today Art Museum, 2006; Yu, Christina,<br />
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no. 2, Jun 2006.<br />
Hong Lei: Goodman, Jonathan, ‘Hong Lei at Chambers Fine Art’ Yishu: Journal <strong>of</strong> Contemporary Chinese Art, vol. 5,<br />
no. 4, Dec 2006; Gu Zhenqing, et.al., Hong Lei: Ain’t Here, Hong Kong, Timezone 8, 2006 (Distributer).<br />
Hou Hanru: Jim, Alice Ming Wah, ‘Interview with Hou Hanru’, Yishu: Journal <strong>of</strong> Contemporary Chinese Art, vol. 5,<br />
no. 1, 2006; ‘Hou Hanru <strong>and</strong> the Istanbul Biennial’, Flash Art, vol. XXXIX, no. 250, Oct 2006.<br />
Hu Jieming: “Hu Jieming” in chinese-<strong>art</strong>.com, Vol. 3 Issue 1, 2000 (http://www.chinese-<strong>art</strong>.com/<strong>art</strong>ists/hujieming.htm, last<br />
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Hu Yongkai: Binks, Hilary, ‘Refining nostalgia’, Asian Art News, vol.9, no.1, 1999<br />
Hu Youben, Baoding, neo-traditionalist painter: Liu Xiaojun, Hu Youben Huaji, Nanning, Guangxi Meishu Chubanshe,<br />
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28
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Huang Binhong, deceased, neotradtional painter: Lai,T.C., Huang Binhong, Hong Kong, Swindon Book Company,<br />
1980; Shen Fu, ‘Huang Binhong’s Shanghai Period l<strong>and</strong>scape paintings <strong>and</strong> his late floral works’,<br />
Orientations, September 1987<br />
Huang Hankang: review, Artforum, vol. 45, iss. 4, 2006.<br />
Huang Liaoyuan: Zeng Fazhi, Huang Liaoyuan, Lu Hong, Beijing, Beijing Art Now Gallery, 2006<br />
Huang Rui: Huang Rui, Ôsaka, Gallery Kaze & Chinese Modern Art Center, April 13th to 25th, 1992; Huang Rui,<br />
Tôkyô, Gallery Ueda, March 8th to 22nd, 1991; Huang Rui, Tôkyô, Gallery Ueda: Warehouse, December<br />
5th to 20th, 1986; Huang Rui, Tôkyô, Monte Gallery, September, 1990; Huang Rui in Abeno Soho, Gallery<br />
O, Ôsaka, broadsheet, November 1995.; Shu Yang, ed., Huang Rui, London, Chinese Contemporary, 2006;<br />
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Yishu: Journal <strong>of</strong> Contemporary Chinese Art, Vol 8, No. 3, May/June 2009.; Huang Rui: <strong>The</strong> Stars Times 1977-<br />
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Zacharopoulos, Denys <strong>and</strong> Hou, Hanru, Huang Yongping <strong>and</strong> Jean Pierre Bertr<strong>and</strong>, Catalogue for the French<br />
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Contemporary Art, 2002; Wei, Lilly, ‘Huang Yong Ping at Barbara Gladstone’, Art in America, Vol. 90,<br />
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Chinese Contemporary Art, March 2003, Spring Issue; Köppel-Yang, M<strong>art</strong>ina., ‘A Bat’s Life, or Big Brother Is<br />
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Yongping’s Retrospective goes on a Sordid World Tour’, ArtAsiaPacific, no. 46, 2005; Lee, Marion S.,<br />
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Huang Yongyu: Maggio, Meg, ‘<strong>The</strong> House that Huang Yongyu Built, Orientations, Volume 33, Number 1, January<br />
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Huang Zhou, deceased, neo-traditionalist painter: Huang Zhou’s Paintings/ Hong Kong, Wen Wei Po, 1986; Huang<br />
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Huang Zhou: Huang Zhou, Roma, Accademia Nazionale di San Luca, 1988; Huang Zhou’s Paintings, Hong Kong,<br />
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Jiang Bolin, Hangzhou, neo-tradtionalist painter: Chen Ruilin, ‘Yibian Qiusheng’, Guohuajia, 3, 1999.<br />
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Li Jin: Maggio, Meg, ‘A world <strong>of</strong> food <strong>and</strong> family’, Asian Art News, vol.12, no.3, 2002<br />
Li Keran, deceased, oil <strong>and</strong> neo-traditionalist painter: Li Keran Huayu, Shanghai, Shanghai Renmin Meishu<br />
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Li Meishu, deceased, oil painter, Li Meishu Huayu, Shanghai, Shanghai Renmin Meishu Chubanshe, 1997.<br />
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Li Songsong: Hsu, Stephanie ‘Projects in the making: Li Songsong – Not Your Father’s Historical Painting’,<br />
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Li Xiaoxuan Tianjin, neo-traditionalist painter: Lang Shaojun, Cong Xieshi dao Huangdan, Changsha, Hunan<br />
Meishu Chubanshe, 1997; Li Xiaoxuan, Zhongguo dangdai minghuajia shougao: Li Xiaoxuan, Changsha, Hubei<br />
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30, December 2005.<br />
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South Atlantic Qu<strong>art</strong>erly, 98.4, Fall 1999<br />
Lahusen, Thomas, ‘Dr. Fu Manchu in Harbin: Cinema <strong>and</strong> Moviegoers <strong>of</strong> the 1930s’, <strong>The</strong> South Atlantic Qu<strong>art</strong>erly,<br />
99.1, Winter 2000<br />
Lahusen, Thomas, ‘Remembering China, Imagining Israel: <strong>The</strong> Memory <strong>of</strong> Difference’, <strong>The</strong> South Atlantic<br />
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Rimer, J. Thomas, ‘Paris in Nanjing: Kishida Kunio Follows the Troops’, in Mayo, Marlene J., Rimer J. Thomas,<br />
Kerkham, H. Eleanor (eds), War, Occupation <strong>and</strong> Creativity: Japan <strong>and</strong> East Asia, 1920-1960, Honolulu,<br />
<strong>University</strong> <strong>of</strong> Hawai’i Press, 2001, p.176-187.<br />
Tamanoi, Mariko, ‘A Road to "A Redeemed Mankind": <strong>The</strong> Politics <strong>of</strong> Memory among the Former Japanese<br />
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June 1991.<br />
Benton, G., ‘<strong>The</strong> Yenan Literary Opposition’, New Left Review, no.92, July-August, 1975<br />
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Dai Qing, Wang Shiwei <strong>and</strong> “Wild Lillies”: Rectification <strong>and</strong> Purges in the CCP, 1942-1944, Armonk, M.E. Sharpe Inc.,<br />
1994.<br />
Holm, David, Art <strong>and</strong> Ideology in Communist China, Oxford, Clarendon Press, 1992 [see also unpublished chapters<br />
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Mao Zedong, Mao Tse-tung on Art <strong>and</strong> Literature, Beijing, Foreign Languages Press, 1967<br />
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McDougall, B., Mao Zedong’s “Talks at the Yanan Conference on literature <strong>and</strong> <strong>art</strong>” a translation <strong>of</strong> the 1943 text with<br />
commentary, Ann Arbor, Centre <strong>of</strong> Chinese Studies, <strong>University</strong> <strong>of</strong> Michigan, 1980<br />
Sullivan, Michael, ‘Recollections <strong>of</strong> Art <strong>and</strong> Artists in W<strong>art</strong>ime Chengdu’, <strong>The</strong> Register <strong>of</strong> the Spencer Museum <strong>of</strong> Art,<br />
<strong>University</strong> <strong>of</strong> Kansas, vol.VI, no.3, 1986.<br />
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the <strong>art</strong> <strong>and</strong> visual propag<strong>and</strong>a so <strong>of</strong>ten quoted-<strong>and</strong> satirized-by today's Chinese <strong>art</strong>ists.(FOCUS ASIA), in<br />
Art in America 96.11(Dec 2008): 120(4).<br />
Chuang Shen, ‘<strong>The</strong> Central College <strong>of</strong> Fine Arts in Peking: Its History <strong>and</strong> Function’, in Lee, N. <strong>and</strong> Leung, C-<br />
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Clark, J., ‘Realism in Revolutionary Chinese Painting’, Journal <strong>of</strong> the Oriental Society <strong>of</strong> Australia, July 1991<br />
Clark, John, ‘<strong>The</strong> Chinese Artists’ Association’, Art Monthly [UK], May 1986.<br />
Cohen, J.L., <strong>The</strong> New Chinese Painting, 1949-1986, New York, Abrams, 1987 [bibliography includes a number <strong>of</strong><br />
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China’s Revolution, Asia Society, New York in association with Yale <strong>University</strong> Press, New Haven <strong>and</strong><br />
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Fokkema, D.W., Literary Doctrine in China <strong>and</strong> Soviet Influence, 1956-1960, <strong>The</strong> Hague, Mouton, 1965.<br />
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Laing, E.J., <strong>The</strong> Winking Owl, Art in <strong>The</strong> People’s Republic <strong>of</strong> China, Berkeley, <strong>University</strong> <strong>of</strong> California Press, 1988.<br />
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Bichler, Lorenz, ‘Coming to terms with a Term: Notes on the History <strong>of</strong> the Use <strong>of</strong> Socialist Realism in China’,<br />
in In the P<strong>art</strong>y Spirit. Socialist Realism <strong>and</strong> Literary Practice in the Soviet Union, East Germany <strong>and</strong> China, Hilary<br />
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Bonnell, Victoria E., Iconography <strong>of</strong> Power. Soviet Political Posters under Lenin <strong>and</strong> Stalin, Berkeley, <strong>University</strong> <strong>of</strong><br />
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Chung, Hilary (ed.), In the P<strong>art</strong>y Spirit. Socialist Realism <strong>and</strong> Literary Practice in the Soviet Union, East Germany <strong>and</strong><br />
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Croizier, Ralph, ‘<strong>The</strong> avant-garde <strong>and</strong> the Democracy Movement; reflections on late communism in the USSR<br />
<strong>and</strong> China’, Europe-Asia Studies vol. 51, no.3, 1999<br />
Cullerne Bown, M., Art Under Stalin, Oxford, Phaidon, 1991.<br />
Cullerne Bown, M., Elliott, D., Sidorovo, A., Soviet Socialist Realist Painting, Oxford, Museum <strong>of</strong> Modern Art,<br />
1992.<br />
Cullerne Bown, M., Taylor, Br<strong>and</strong>on, eds., Art <strong>of</strong> <strong>The</strong> Soviets, Manchester, Manchester <strong>University</strong> Press, 1993.<br />
Golomstock, I., Totalitarian Art, London, Collins Harvill, 1990 [review: Clark, Newsletter, Art Association <strong>of</strong><br />
Australia, no.33, August 1991].<br />
Groys, Boris, ‘<strong>The</strong> Birth <strong>of</strong> Socialist Realism from the Spirit <strong>of</strong> the Avant-Garde’, in <strong>The</strong> Culture <strong>of</strong> the Stalin<br />
Period, Hans Gunther (ed.), Macmillan, New York, pp. 122 – 148.<br />
Jiang, Joshua JH, ‘<strong>The</strong> Extermination or Prosperity <strong>of</strong> Chinese Artists – Mass Art in Mid-Twentieth Century<br />
China” in Third Text, Vol. 18, Issue 2 (March 2004), pp. 169-182<br />
Kollwitz, Käthe. Käthe Kollwitz, Introduction by Carl Zigrosser, New York, H. Bittner <strong>and</strong> Company, 1946.<br />
L<strong>and</strong>sberger, Stefan, Bibliography on Chinese Propag<strong>and</strong>a Posters downloadable from<br />
Nagel, Otto, Käthe Kollwitz, Greenwich, Connecticut, New York, Graphic Society Ltd, 1971.<br />
Prelinger, Elisabeth, Käthe Kollwitz, Washington, National Gallery <strong>of</strong> Art, 1992.<br />
Roger, Avermaete, Frans Masereel, London, Thames <strong>and</strong> Hudson, 1977.<br />
Schapiro, D., Critical Studies in American Art Social Realism: Art as a Weapon, New York, Frederick Ungar, 1973.<br />
SOTS Art, New York, <strong>The</strong> New Museum <strong>of</strong> Contemporary Art, 1986.<br />
Art 1966-1976<br />
Asia Research Centre eds., <strong>The</strong> Great Cultural Revolution in China, Melbourne & <strong>Sydney</strong>, Paul Flesch <strong>and</strong><br />
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Baum, R., Teiwes, F.C., Ssu-Ching: <strong>The</strong> Socialist Education Movement, 1962-1966, Berkeley, Center for Chinese<br />
Studies, <strong>University</strong> <strong>of</strong> California, 1968.<br />
Chen, Elsa Hsiang-chun, ‘Rethinking Revolution’ in N Paradoxa, Vol. 10 (July 2002) London & Web Publication<br />
Chiu, Melissa <strong>and</strong> Zheng Shentian, Art <strong>and</strong> China’s Revolution, Asia Society, New York in association with Yale<br />
<strong>University</strong> Press, New Haven <strong>and</strong> London, 2008.<br />
Croizier, Ralph, ‘Chinese Art in the Chiang Ch’ing Era’, Journal <strong>of</strong> Asian Studies, vol. XXXVIII, no.2, February<br />
1979<br />
Croizier, Ralph, ‘<strong>The</strong> Crimes <strong>of</strong> the Gang <strong>of</strong> Four: A Chinese Artist’s Version’, Pacific Affairs, vol.54, no. 2,<br />
Summer 1981.<br />
Dal Largo, Francesca, ‘Personal Mao: Reshaping an Icon in Contemporary Chinese Art’, Art Journal, vol.58,<br />
no.2, Summer 1999.<br />
Daubier, J., A History <strong>of</strong> the Chinese Cultural Revolution, [1971], New York, Vintage Books, 1974.<br />
Fine Arts Collection Section, Peasant paintings from Huhsien County, Beijing, People’s Fine Art Publishing House,<br />
1974<br />
Gao Minglu, ‘No Name Group: Contemporary Recluses – the Bo Yi’s <strong>and</strong> Shu Qi’s <strong>of</strong> the Cultural Revolution<br />
Kuiyi Shen, ‘Propag<strong>and</strong>a Posters <strong>and</strong> Art during the Cultural Revolution’ in Chiu, Melissa <strong>and</strong> Zheng<br />
Shentian, Art <strong>and</strong> China’s Revolution, Asia Society, New York in association with Yale <strong>University</strong> Press, New<br />
Haven <strong>and</strong> London, 2008: 179-186..<br />
Goldman, M., ‘<strong>The</strong> Fall <strong>of</strong> Zhou Yang’, China Qu<strong>art</strong>erly, July -September, 1966<br />
Kong Shuyu, ‘For reference only: restricted publication <strong>and</strong> distribution <strong>of</strong> foreign literature during the Cultural<br />
Revolution’, Yishu, vol.1, no.2, 2002<br />
Krauss, Richard, ‘Arts Policies <strong>of</strong> the Cultural Revolution: <strong>The</strong> Rise <strong>and</strong> Fall <strong>of</strong> Culture Minister Yu Huiyong’, in<br />
Joseph, William, A.; Wong, Christopher P.; Zweig, David; eds. New Perspectives on the Cultural Revolution,<br />
Cambridge, Council on East Asian Studies/Harvard <strong>University</strong>, 1991.<br />
Kuiyi Shen, ‘Propag<strong>and</strong>a Posters <strong>and</strong> Art during the Cultural Revolution’ in Chiu, Melissa <strong>and</strong> Zheng Shentian,<br />
Art <strong>and</strong> China’s Revolution, Asia Society, New York in association with Yale <strong>University</strong> Press, New Haven<br />
<strong>and</strong> London, 2008: 149-164.<br />
Laing, E. J., ‘Chinese Peasant Painting, 1958-1976, Amateur <strong>and</strong> Pr<strong>of</strong>essional’, Art International, vol.27, no.1,<br />
1984<br />
Scheck, F.R., Chinesische Malerei seit der Kulturrevolution, München, Verlag M.Du Mont Schamberg, 1975<br />
Wang Mingxian, ‘From street <strong>art</strong> to exhibition <strong>art</strong>: the <strong>art</strong> <strong>of</strong> the Red Guard during the Cultural Revolution’,<br />
Yishu, vol.1, no.2, 2002<br />
Wang Mingxian, ‘<strong>The</strong> Red Guards’ Fine Arts Campaign’ Kuiyi Shen, ‘Propag<strong>and</strong>a Posters <strong>and</strong> Art during the<br />
Cultural Revolution’ in Chiu, Melissa <strong>and</strong> Zheng Shentian, Art <strong>and</strong> China’s Revolution, Asia Society, New<br />
York in association with Yale <strong>University</strong> Press, New Haven <strong>and</strong> London, 2008: 187-200.<br />
Yan Shanchen, ‘Political inspiration in <strong>art</strong> production: three oil paintings depicting Mao Zedong during the<br />
Cultural Revolution’, Yishu, vol.1, no.2, 2002<br />
Zheng Shengtian, ‘Brushes are weapons: <strong>art</strong> schools <strong>and</strong> <strong>art</strong>ists during the Cultural revolution’, Yishu, vol.1, no.2,<br />
2002<br />
Art 1976-1989<br />
Andrews, Julia & Gao Minglu, ‘<strong>The</strong> avant-garde's challenge to <strong>of</strong>ficial <strong>art</strong>’, in Davis, Deborah S., ed., Urban spaces<br />
in <strong>contemporary</strong> China : the potential for autonomy <strong>and</strong> community in post-Mao China, Washington, Woodrow<br />
Wilson Center Press, <strong>and</strong> Cambridge, Cambridge <strong>University</strong> Press, 2001.<br />
Ann Farrer, Chinese Printmaking Today: Woodblock Printing in China, 1980-2000, London, British Library, 2004<br />
Barmé, Geremie, ‘Exploit, export, expropriate: <strong>art</strong>ful meaning in China, 1989-93, Third Text, Winter 1993-1994.<br />
Barmé, Geremie, Jaivin, L., eds, New Ghosts, Old Dreams, Chinese Rebel Voices, New York, R<strong>and</strong>om House, 1992.<br />
Barmé, Geremie, Minford, J.eds, Seeds <strong>of</strong> Fire, Chinese Voices <strong>of</strong> Conscience, New York, Hill & Wang, 1988.<br />
Blaine, J., et al, ‘Poèmes & Art en Chine, Les “Non-Officiels”‘, Paris, DOC(K)S, Hiver, 81/82,<br />
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Blaine, J., Gipouloux, A., ‘<strong>The</strong> Stars: A New Art Movement in China’, in Benton, G., Wild Lillies: Poisonous Weeds,<br />
<strong>Sydney</strong>, Pluto Press, 1982<br />
Chan, Lauk’ung, ‘Ten Years <strong>of</strong> the Chinese Avantgarde: Waiting for the curtain to fall’, Flash Art, Jan/Feb 1992.<br />
Chang, Tsong-zung, et al., <strong>The</strong> Stars: Ten Years, Hong Kong, Han<strong>art</strong> 2 Gallery, 1989<br />
Clark, John, ‘A Tale <strong>of</strong> Two Cities’ [Beijing <strong>and</strong> Taibei], Art Monthly [Australia], no.29, April 1990<br />
Clark, John, ‘Academicism in Chinese Oil Painting <strong>and</strong> a nascent avant-garde in the 1980s’, in Duro, P., ed.<br />
Perspectives on Academic Art, Occasional Papers III, <strong>The</strong> Art Association <strong>of</strong> Australia, 1991.<br />
Clark, John, ‘<strong>The</strong> Chinese Artists’ Association’, Art Monthly [UK], May, 1986<br />
Clark, John, tr. 'Chinese Impressions <strong>of</strong> English Art Education’, Art Monthly [UK], March 1982<br />
Cohen, J.L., ‘Art in China Today: a new freedom- within limits’, Artnews, Summer 1980<br />
Cohen, J.L., ‘Braving the Currents <strong>of</strong> “Bourgeois Internationalism”, ‘Artnews, January 1984<br />
Croizier, Ralph, ‘ “Going to the World”: Art <strong>and</strong> Culture on the Cosmopolitan Tide’, China Briefing, 1989, New<br />
York, China Council <strong>of</strong> the Asia Society, 1989.<br />
Croizier, Ralph, ‘ “Opening the Mind”: Nudity <strong>and</strong> Eroticism in Chinese Art <strong>of</strong> the 1980s’, College Art Association<br />
<strong>of</strong> America paper 1989.<br />
Croizier, Ralph, ‘<strong>The</strong> avant-garde <strong>and</strong> the Democracy Movement; reflections on late communism in the USSR<br />
<strong>and</strong> China’, Europe-Asia Studies vol. 51, no.3, 1999<br />
DeBevoise, Jane. ‘Seismic States: <strong>The</strong> Changing System <strong>of</strong> Support for Contemporary Art in China, 1978-1993’,<br />
unpublished PhD Dissertation, <strong>University</strong> <strong>of</strong> Hong Kong, 2009.<br />
Deng Xiaoping, Selected Works <strong>of</strong> Deng Xiaoping (1975-1982), Beijing, Foreign Languages Press, 1984.<br />
Feaver, W., ‘A Visit to China’, Art Monthly [UK], no.44, March 1981<br />
Friend, R., ‘“Rebel <strong>art</strong>ists” in Beijing’, Eastern Horizon, November 1980<br />
Gao Minglu, ‘Chronology <strong>of</strong> Chinese Contemporary Art (1978-1989)’, Artspiral, New York, Asian American<br />
Arts Centre, Winter 1991.<br />
Gao Minglu, ‘Conceptual <strong>art</strong> with anti-conceptual attitude: Mainl<strong>and</strong> China, Taiwan <strong>and</strong> Hong Kong’, in Global<br />
Conceptualism: Points <strong>of</strong> origin, 1950s–1980s, New York, Queens Museum <strong>of</strong> Art, 1999<br />
Gladston, Paul, ‘A(n) (In)Decisive Art <strong>of</strong> Disclosure: Reflections on the ’85 New Wave Exhibition at the Ullens<br />
Centre for Contemporary Art in Beijing’, in Yishu. Journal <strong>of</strong> Contemporary Chinese Art, v. 7(2), March, 2008,<br />
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Goldblatt, H. ed., Chinese Literature for the 1980s, Armonk, M.E.Sharpe Inc., 1982<br />
Hou Hanru, ‘New self-awareness <strong>and</strong> international dialogue’, Art Monthly Australia, 40, May 1991.<br />
Jose, N., ‘Notes from the underground, Beijing Art 1985-89’, Orientations, 23, no.7, July, 1992.<br />
Köppel-Yang, M<strong>art</strong>ina, ‘Za<strong>of</strong>an Youli; Revolt is reasonable: remanifestations <strong>of</strong> the cultural revolution in Chinese<br />
<strong>contemporary</strong> <strong>art</strong> <strong>of</strong> the 1980s <strong>and</strong> 1990s’, Yishu, vol.1, no.2, 2002<br />
Laing, E. J., ‘<strong>The</strong> Persistence <strong>of</strong> Propriety in the 1980s’, in Link, Madsen, Pickowicz eds., Un<strong>of</strong>ficial China: popular<br />
culture <strong>and</strong> thought in the People’s Republic, Boulder, Westview Press, 1989<br />
Li, Xianting, ‘Notes <strong>and</strong> Illustrations to Major trends in the development <strong>of</strong> Modern Chinese Art’, in Doran, V.C., ed.<br />
China’s New Art, Post-1981, Hong Kong, Han<strong>art</strong> T Z Gallery, 1993.<br />
Lim, Lucy, ed., Contemporary Chinese Painting: An Exhibition from the Peoples Republic <strong>of</strong> China, San Francisco, Chinese<br />
Culture Foundation <strong>of</strong> San Francisco, 1984<br />
Moss, H., ed., <strong>The</strong> Experience <strong>of</strong> Art, Hong Kong, Umbrella, 1983<br />
Moss, H., Some Recent Developments in Twentieth Century Chinese Painting: A Personal View, Hong Kong, Umbrella,<br />
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Munro, R., ‘Un<strong>of</strong>ficial Art in China’, Index on Censorship, August 1982<br />
Murray, M., intro. Avant-Garde in Chinese Art, New York, Vassar College Art Gallery, 1986<br />
Peckham, R., ‘Rereading the Goddess <strong>of</strong> Democracy’, in Yishu Journal <strong>of</strong> Contemporary Chinese Art, Vol 8, Number<br />
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Roberts, Claire, New Art From China: Post-Mao Product, <strong>Sydney</strong>, Art Gallery <strong>of</strong> New South Wales, 1992;<br />
Strassberg, R.L., ed., “I don’t want to play cards with Cézanne” <strong>and</strong> other works, Pasadena, Pacific Asia Museum, 1991.<br />
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Sullivan, Michael, ‘Contemporary Chinese Painting from the People’s Republic <strong>of</strong> China’, Orientations, October<br />
1983<br />
Sullivan, Michael, ‘New Directions in Chinese Art’, Art International, vol.XXV, no.1-2, 1982.<br />
Tang, Q., ‘<strong>The</strong> Eighties in Modern Chinese Painting’, in I Don’t Want to Play Cards with Cézanne <strong>and</strong> Other Works:<br />
Selections from the Chinese New Wave <strong>and</strong> Avant-Garde Art <strong>of</strong> the Eighties, Strassberg, R. ed., Pasadena, <strong>The</strong><br />
Castle Press, 1991, pp. 5 – 18.<br />
Tsao Tsing-yuan, ‘<strong>The</strong> Birth <strong>of</strong> the Goddess <strong>of</strong> Democracy’ in Wasserstrom, Jeffrey N., Perry, Elizabeth J., eds.,<br />
Popular Protest <strong>and</strong> Political Culture in China, Boulder, Westview Press, 1994.<br />
Wang Yuejin, ‘Anxiety <strong>of</strong> Portraiture: Questioning ancestral icons in post-Mao China’, in Liu Kang; Tang<br />
Xiaobing, eds., Politics, Ideology <strong>and</strong> Literary Discourse in Modern China, Durham, Duke <strong>University</strong> Press, 1993.<br />
Watson, R.C., ‘A Revolutionary Spirit comes <strong>of</strong> Age [<strong>The</strong> Stars]’, Asian Art News, 2, no.1, Jan/Feb 1992.<br />
Wu Hong, ‘Tian’anmen Square: A Political History <strong>of</strong> Monuments’, Representations, no.35, Summer 1991.<br />
Wu Yongliu, ed., Works <strong>of</strong> the Chinese Nude Oils Exhibition, Nanning, Guangxi People’s Publishing House, 1988.<br />
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Other Works: Selections from the Chinese New Wave <strong>and</strong> Avant-Garde Art <strong>of</strong> the Eighties, Strassberg, R. ed.,<br />
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Art 1989-2000<br />
[Post-Sense sensibility] review, Smith, Karen, Asian Art News, vol.9, no.1, 1999<br />
Binks, Hilary ‘Stereotyping under attack’, [5 women <strong>art</strong>ists], Asian Art News, vol.9, no.1, 1999<br />
Ai, Weiwei, ed., Chinese Artists, Text <strong>and</strong> Interviews: Chinese Contemporary Art Awards (CCAA) 1998-2002, Hong<br />
Kong: Timezone 8 Ltd., 2002<br />
Another Long March, Breda, Chassé-Kazerne, 1997 [Review: Smith, Karen in Art AsiaPacific, no.17, 1998]<br />
Barmé, Geremie, ‘Exploit, Export, Expropriate: Artful marketing in China, 1989-93.’ Third Text, no. 25 Winter<br />
1993-94<br />
Bernell, Robert <strong>and</strong> Shimizu Toshio, ‘Chinese <strong>contemporary</strong> photography <strong>and</strong> video’, Chinese Contemporary Art<br />
Bulletin, vol.2, no.5, 1999<br />
Between the sky <strong>and</strong> the e<strong>art</strong>h [Ken Lum, Frank Tam, Yan Peiming, Yang Jiechang, Zhou Tiehai], Hong Kong,<br />
<strong>University</strong> Art Gallery, 1998.<br />
Binks, Hilary, ‘Stereotyping Under Attack’, Asian Art News 9:2 1999<br />
Chang Tsong-zung <strong>and</strong> Decrop, Marc, ed., Paris-Pekin, Paris: Chinese Century, 2002<br />
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Goodbody, Bridget, ‘Beyond the Delta’, ArtAsiaPacific, no. 46, 2005.<br />
Goodman, David S.G., ‘Contending the popular: p<strong>art</strong>y-state <strong>and</strong> culture’, positions: east asia cultures critique, vol. 9,<br />
no.1 Spring 2001.<br />
Grace, Helen., ‘Xi<strong>and</strong>ai Shufa’, in Artlink: <strong>The</strong> China Phenomenon, Vol. 23, No. 4, 2003, p.38-41.<br />
Grishin, Sasha, ‘After the Cultural Revolution: Contemporary Art in Shanghai’, Art <strong>and</strong> Australia, vol. 44, no. 2,<br />
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Gu Zhenqing, <strong>and</strong> Li Yang, ‘<strong>The</strong> Decade <strong>of</strong> the Rise’, in Artlink: <strong>The</strong> China Phenomenon, Vol. 23, No. 4, 2003,<br />
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Gu Zhenqing, ed., Back to the Future: Shanghai Arts, Timezone 8, Hong Kong, 2007<br />
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Chinese Art, Vol. 2 No. 3, September 2003, p.43-49.<br />
Gustafson, Paula, ‘Unveiled reality’, Art AsiaPacific, 25, 2000.<br />
Hantover, Jeffrey, ‘Serial Thrillers <strong>and</strong> the Art <strong>of</strong> the Steal’, ArtAsiaPacific, no. 50, 2006.<br />
Hasegawa, Yuko, ‘Yang Fudong: Beyond Reality’, Flash Art, vol. XXXVIII, no. 241, Mar-Apr, 2005.<br />
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He<strong>art</strong>ney, Eleanor, ‘<strong>The</strong> body East’, Art in America, April 2002.<br />
Hou Hanru, ‘Barricades: <strong>The</strong> Big Tail Elephants’, Hou Hanru <strong>and</strong> Andrey Powell (trans.), in Yishu: Journal <strong>of</strong><br />
Contemporary Chinese Art, Vol. 3, No. 1, March 2004, p.47-55.<br />
Hou Hanru, ‘Canton Express’, in Yishu: Journal <strong>of</strong> Contemporary Chinese Art, Vol. 3, No. 1, March 2004, p.14-16.<br />
Hou Hanru, ‘China Today: Negotiating the Real, Longing for Paradise’, Flash Art, vol. XXXVIII, no. 241, Mar-<br />
Apr, 2005.; ‘Z.O.U.-Zone <strong>of</strong> Urgency’, Yishu: Journal <strong>of</strong> Contemporary Chinese Art, vol.2, no., June 2003.;<br />
‘Living With(in) the Urban Fiction (Notes on Urbanization <strong>and</strong> Art in Post-Olympic China)’, Yishu: Journal<br />
<strong>of</strong> Contemporary Chinese Art, vol.8, no. 3, May/June 2008<br />
Hou, H., <strong>and</strong> Jouanno, E., ‘Material Performance’, in Shen Yuan, Campbell, S. <strong>and</strong> Tawadros, G., eds., London,<br />
Institute <strong>of</strong> International Visual Arts, 2001, pp. 50 – 57.<br />
Hou, H., <strong>and</strong> Jouanno, E., ‘<strong>The</strong>y Dwell in Movement…’, in On the Mid-Ground: Hou Hanru, Yu, H. H., ed., Hong<br />
Kong, Timezone 8, 2002, pp. 200 – 213.<br />
Huang Rui, ed., Beijing 798: Reflections on Art, Architecture, <strong>and</strong> Society in China, Hong Kong, Timezone 8, 2005<br />
Jia Fangzhou, ‘<strong>The</strong> Eternal Quest for Self’ (review <strong>of</strong> Ink <strong>and</strong> Sex exhibition, Beijing), Asian Art News, vol. 16,<br />
no. 5, Sep-Oct 2006.<br />
Jia Jia, ‘Female Subject Animated: A Case Study <strong>of</strong> Digital Online Animation in Contemporary China’, in<br />
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Jordan, Francesca <strong>and</strong> Marella, Primo, China Art Now: Out <strong>of</strong> the Red, Milano: Marella Arte Contemporanea, 2003.<br />
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Lai, Sally, ‘Through Popular Expression, International Project Space, Birmingham, United Kingdom’ (exhibition<br />
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Leanza, Beatrice, ‘Fancy Dreaming’ (review), Flash Art, vol. XXXIX, no. 250, Oct, 2006.<br />
Li Hsiao-t’i ‘Making a name <strong>and</strong> a culture for the masses in <strong>modern</strong> China’, positions: east asia cultures critique, vol.<br />
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Lin Xiaoping, ‘Discourse <strong>and</strong> displacement’, Art AsiaPacific, 25, 2000<br />
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Low, Joni, ‘Symphony <strong>of</strong> Riddles: Wu Shanzhuan; Red Humour International’ (book review), Yishu: Journal <strong>of</strong><br />
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Low, Joni, ‘<strong>The</strong> Unreality <strong>of</strong> Trade’ (review), Yishu: Journal <strong>of</strong> Contemporary Chinese Art, vol. 5, no. 1, 2006.<br />
Lu, Carol (Yinghua), ‘Fragmented Memory <strong>and</strong> Energy: Chinese Contemporary Art <strong>and</strong> its Multiple Layers <strong>of</strong><br />
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Lu, Carol, ‘China Update’, Flash Art, vol. XXXVIII, no. 243, July-September, 2005.<br />
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Lu, Sheldon, ‘Beautiful Violence: War, Peace, Globalization’ in positions: east <strong>asian</strong> cultures critique, Vol. 12, No. 3<br />
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Ma Jun, ‘Documenta 12 Magazines Special Feature: Dispute over the “dumped” graduation theses <strong>of</strong> twelve<br />
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Maggio Meg, ‘From action to image’, Art AsiaPacific, 31, 2001<br />
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Merewether, Charles, ‘<strong>The</strong> Spectre <strong>of</strong> Being Human’, in Yishu: Journal <strong>of</strong> Contemporary Chinese Art, Vol. 2 No. 2,<br />
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Merewether, Charles, ‘Everyday Life <strong>and</strong> the Imaginaries <strong>of</strong> the Modern’, in eds. Clark, John, Peleggi, Maurizio<br />
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Meyer, James, ‘<strong>The</strong> Wall: Reshaping Chinese Contemporary Art’ (review), Artforum, vol. 44, Iss. 8, 2006.<br />
Moon, Iris, ‘Arario Gallery: Beijing or Bust’, ArtAsiaPacific, no. 47, 2006.<br />
Morgan, Robert C., ‘<strong>The</strong> New Chinese l<strong>and</strong>scape <strong>and</strong> the Avante-Garde’, in AsianArtNews, Vol. 19 No. 3<br />
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Movius, Lisa, ‘A Shanghai Spring’ in Art in America (June/July 2004), pp. 146-149<br />
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Jonathan, ‘Young Beijing’ in Art in America (June/July 2004), pp. 142-143<br />
Ng, Elaine W., ‘Continental Drift: <strong>The</strong> Ullens Center for the Arts’, ArtAsiaPacific, no. 50, 2006.<br />
Ni Tsai-chin, ‘Globalization <strong>and</strong> <strong>contemporary</strong> Chinese <strong>art</strong>’, Yishu: Journal <strong>of</strong> Contemporary Chinese Art, vol.2, no.,<br />
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Pi Li, et.al., Art Beijing 2006, Hong Kong, Timezone 8, 2006<br />
Pollack, Barbara, ‘Origins <strong>of</strong> the Chinese Avant-Garde’, in ArtAsiaPacific, No. 58, May/Jun, 2008, p. 99.<br />
Quadrio, Davide, ‘<strong>The</strong> necessary instability <strong>of</strong> hybrid cultures’ in Asia Art Archive,<br />
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Sassoli, Lorenzo, China: Contemporary Painting, Bologna, Damiani, 2005<br />
Scarlett, Ken, ‘sculpture, <strong>and</strong> yet more sculpture, at Changchun, China’ in Art Monthly Australia, No. 169 (May,<br />
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Serfaty, Paul, ‘New Generations in Chinese Photography’, Asian Art News, vol. 16, no. 3, 2006.<br />
Shen, Kuiyi., ‘L<strong>and</strong>scape as Cultural Consciousness in Contemporary Chinese Art’, in Yishu: Journal <strong>of</strong><br />
Contemporary Chinese Art, Vol. 2 No. 4, December 2003, p.33-40.<br />
Shu Yang, ed., <strong>The</strong> Roadmap to Painting, Hong Kong, Timezone 8, 2006<br />
Shu Yang, Out <strong>of</strong> the Red: <strong>The</strong> New Emerging Generation <strong>of</strong> Chinese Photographers (Catalogue), Bologna, Damiani, 2004<br />
Shu Yang, Purity – A Dip Interview with 103, Hong Kong: Culture <strong>of</strong> China Publications Co., Ltd.<br />
Silbergeld, Jerome, “Waltzing with the Censor: Private Conventions <strong>of</strong> Protest in Contemporary Chinese Art”,<br />
Seattle Art Museum, Fourth Annual Colloquium, April 2000<br />
Smith, Karen, ‘<strong>The</strong> Future: In Whose H<strong>and</strong>s’ in Yishu: Journal <strong>of</strong> Contemporary Chinese Art, June 2004, pp. 53-59<br />
Smith, Karen., ‘<strong>The</strong> Cost <strong>of</strong> Creativity’, in Artlink: <strong>The</strong> China Phenomenon, Vol. 23, No. 4, 2003, p.20-25.<br />
Sullivan, Michael, Modern Chinese Artists: A Bibliographical Dictionary, Berkeley, California, <strong>University</strong> <strong>of</strong> California<br />
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Tan, Adele, ‘A Tale <strong>of</strong> Two Performance Art Festivals: Transborder Language <strong>and</strong> the Dadao Live Art festival’,<br />
Yishu: Journal <strong>of</strong> Contemporary Chinese Art, vol. 5, no. 1, 2006.<br />
Tang, Lin-yun, ‘Mao, Money <strong>and</strong> Censorship after the “Domestic Turn” in Beijing’s Art World’, Yishu: Journal <strong>of</strong><br />
Contemporary Chinese Art, vol. 5, no. 4, Dec 2006.<br />
Tetmajer von Przerwa, Xenia ‘Mahjong: Contemporary Chinese Art from the Sigg Collection’ (review),<br />
ArtAsiaPacific, no. 47, 2006.<br />
Tetmajer von Przerwa, Xenia, ‘Zooming into Focus: Chinese Contemporary Photography <strong>and</strong> Video from the<br />
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Contemporary Chinese Art, vol. 5, no. 1, 2006.<br />
Tinari, Philip, ‘Beijing’, Artforum, vol. 45, iss. 4, 2006.<br />
Tinari, Philip, ‘<strong>The</strong> Complete Art Experience Project (Shi Qing, Wang Wei, Rania Ho, Liu Ding, Qiu Zhijie, Liu<br />
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Tinari, Philip, ‘Original Copies: on the Dafen painting village’, ArtForum, October, 2007.Tsao Hsingyuan, ‘A<br />
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Tsao, Hsingyuan, ‘Fun, Pleasure-Seeking, but Thoughtful: On Urban Popular Culture in China’ in Yishu: Journal<br />
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Ulrich Obrist, Hans, ‘<strong>The</strong> Museum <strong>of</strong> the Future: Art, Architecture, Science, <strong>and</strong> Technology’ in Yishu: Journal <strong>of</strong><br />
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Vine, Richard, ‘Report from Shanghai’, Art in America, July 2001<br />
Vine, Richard, ‘<strong>The</strong> Academy Strikes Back’ in Pollock, Barbara, ‘Mainl<strong>and</strong> Dreams on Tape’ in Art in America<br />
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Well<strong>and</strong>, Sasha K., ‘Travelling <strong>art</strong>ists, travelling <strong>art</strong>, ethnographic luggage’, Yishu, vol.1, no.2, 2002<br />
Winchester, Rupert, ‘Zhang Lin Hai, Wang Yidong <strong>and</strong> Cai Guo-Qiang: Light <strong>and</strong> Shadow’ (review),<br />
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Wu Hung, ed., <strong>The</strong> First Guangzhou Triennial, Reinterpretation: A Decade <strong>of</strong> Experimental Chinese Art, Guangdong:<br />
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Wu Hung, Making History: Wu Hung on Contemporary Chinese Art <strong>and</strong> Art Exhibition, Hong Kong, Timezone 8,<br />
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Wu Hung, Remaking Beijing. Tiananmen Square <strong>and</strong> the Creation <strong>of</strong> a Political Space. Chicago: <strong>University</strong> <strong>of</strong> Chicago<br />
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Wu Hung, Chinese Art at the Crossroads: between past <strong>and</strong> present, between East <strong>and</strong> West, New Art Media, London,<br />
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[Yan’an Forum on Art Education, 2006] Yishu: Journal <strong>of</strong> Contemporary Chinese Art, vol. 5, no. 3, Sep 2006, special<br />
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Yang Yingshi, ‘<strong>The</strong> Tongzhou <strong>art</strong>ist’s community’, Art AsiaPacific, 31, 2001.<br />
Yao, Souchou, ‘Two Faces <strong>of</strong> Contemporary Art in China’, in Artlink: <strong>The</strong> China Phenomenon, Vol. 23, No. 4,<br />
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Yap Chin Chin., ‘New Art Spaces in Beijing’, in Art AsiaPacific, Issue 38, Fall 2003, p.34-36.<br />
Ye, Sang, ‘Dragon seeds <strong>and</strong> flea circuses: moments in new Chinese <strong>art</strong>’, Artlink, Vol. 20, No. 2, July 2000<br />
Yishu: Journal <strong>of</strong> Contemporary Chinese Art, vol. 4, no. 2, Jun 2005, Special Issue on the conference ‘Displacements:<br />
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‘Yixiangju Art Group Long March Space B’, (review), Flash Art, vol. XXXIX, no. 248, May-June, 2006.<br />
Yuan Feng. <strong>and</strong> Yang Xiaoyan, ‘<strong>The</strong> Ostentatious Pearl River Delia’, Michael Fei (tran.), in Yishu: Journal <strong>of</strong><br />
Contemporary Chinese Art, Vol. 3, No. 1, March 2004, p.22-31.<br />
Zhang Qing, ‘Architectural junctions: where <strong>contemporary</strong> <strong>art</strong>ists play up the imagination <strong>of</strong> architectural space’,<br />
Yishu: Journal <strong>of</strong> Contemporary Chinese Art, vol.2, no., June 2003.<br />
Zhang Qing, ‘<strong>The</strong> Gelatin Age: Contemporary Chinese Art’s New Power’, in Yishu. Journal <strong>of</strong> Contemporary Chinese<br />
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Zhang Zhaohui, ‘Globalisation, Urbanisation, <strong>and</strong> New Chinese Art’, Huangfu, Binghui, Site+Sight: Translating<br />
Cultures, Huangfu, Binghui, Site+Sight: Translating Cultures, Singapore, LaSalle-SIA, 2002.<br />
Zhang Zhaohui, ‘N12 at the Central Academy <strong>of</strong> Art Gallery’ (review), Asian Art News, vol. 15, no. 2, 2005.<br />
Zhou Yan, ‘Chinese Br<strong>and</strong> <strong>and</strong> Chinese Method: On the Exhibition <strong>The</strong> Wall: Reshaping Contemporary Chinese Art’,<br />
Yishu: Journal <strong>of</strong> Contemporary Chinese Art, vol. 5, no. 1, 2006.<br />
Recent Ink Painting [see also by <strong>art</strong>ist name]<br />
Erickson, Britta, ‘<strong>The</strong> <strong>contemporary</strong> <strong>art</strong>istic deconstruction – <strong>and</strong> reconstruction – <strong>of</strong> brush <strong>and</strong> ink painting’,<br />
Yishu: Journal <strong>of</strong> Contemporary Chinese Art, vol.2, no., June 2003<br />
Findlay, Ian, ‘<strong>The</strong> Power <strong>of</strong> Ink’, AsianArtNews, Vol. 19 No. 1 January/February 2009, pp. 84-91.<br />
Wear, Eric, ‘Square Worlds, Round Paradigms: Contemporary Calligraphy in China’, in ArtAsiaPacific, No. 58,<br />
May/Jun, 2008, pp. 114 - 121.<br />
Yao, Pauline J., ‘Contemporary Ink: In Service <strong>of</strong> the Everyday’, in Yishu. Journal <strong>of</strong> Contemporary Chinese Art, v.<br />
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New Art Practices <strong>and</strong> New Media [see also under Photography, Performance]<br />
Berghuis, Thomas J., “’Transcending Media’ <strong>and</strong> the Role <strong>of</strong> Contemporary Art Practices in China” in Mesh: New<br />
Media Art in Australia <strong>and</strong> Asia, No. 17, www.experiemta.org/mesh/mesh 17/berghuis<br />
Berghuis, Thomas J., “Video-REAL: Video Art from China” in Videozone: 3 – <strong>The</strong> 3 rd International Video Art<br />
Biennial in Israel (Bilingual), Tel Aviv, Center for Contemporary Art, 2006<br />
Berghuis, Thomas, ‘Performance Art <strong>and</strong> its Constraints’, in eds. Clark, John, Peleggi, Maurizio <strong>and</strong> Sabapathy,<br />
T.K, Eye <strong>of</strong> the Beholder: Reception, Audience <strong>and</strong> Practice <strong>of</strong> Modern Asian Art, <strong>University</strong> <strong>of</strong> <strong>Sydney</strong> East Asian<br />
Series no. 15, Wild Peony, <strong>Sydney</strong>, 2006, pp. 186-214.<br />
Huang Du, Outside the real: a new form <strong>of</strong> video <strong>art</strong> in China, <strong>Sydney</strong>, Gallery 4A, 1998 (review, Art AsiaPacific, 25,<br />
2000<br />
Lu, Carol, ‘Clothes <strong>and</strong> Capsules: New Installation Art From China’ in Flash Art, Vol. XXXVI, No. 231 (July-<br />
September 2003), pp.94-96<br />
Maerkle, Andrew, ‘Furong Jiejie’s 15 Minutes’, ArtAsiaPacific, no. 48, 2006.<br />
Ni Haifeng <strong>and</strong> Zhu Jia, ed., Synthetic Reality, Hong Kong, Timezone 8, 2005<br />
Ou Ning, ‘Revealing Keys to the Riddle <strong>of</strong> Reality: Moving Images <strong>of</strong> the Pearl River Delta From 1999 to 2003’<br />
in Yishu: Journal <strong>of</strong> Contemporary Chinese Art, June 2004, pp. 15-21<br />
Ou Ning., ‘Shadows <strong>of</strong> Time’, Simon Young (tran.), in Yishu: Journal <strong>of</strong> Contemporary Chinese Art, Vol. 3, No. 1,<br />
March 2004, p.63-69.<br />
Pi Li, ‘Chinese Contemporary Video Art’ in Third Text, Volume 23, Issue 3 May 2009, pp.303 – 307.<br />
Selected Exhibitions in China - 1990s-Present<br />
1993<br />
Gilbert & George, Nieuwenhuizen van, M<strong>art</strong>ijn, Les Infos du Paradis – Gilbert & George in China’ Parkett, No.<br />
38, 1993<br />
1994<br />
Shui Tianzhong, Shao Dazhen et al, Meishu pipingjia ni<strong>and</strong>u timingzhan, (1994 Youhua), Chengdu, Sichuan<br />
Meishuchubanshe, 1994.<br />
1995<br />
Liao Wen, Zhongguo dangdai yishuzhong de nuxing fangshi / Women’s approach to Chinese Contemporary Art, Beijing,<br />
Zhongguo Yishu Bowuguan, 1995, May.<br />
1996<br />
Huang Zhan et al, Shouceng Dangdai Yishu Xueshu Yaoqingzhan, 1996/1997, Guangzhou, Guangdong Lingnan<br />
Meishu chubanshe, 1996. [see reports in Hualangnos 5&6, 1996].<br />
Qiu Zhijie, Wu Meichun, ‘Xianxiang/Yingxiang’ luxiang yishuzhan: Yishu yu lishi yizhi& Lu Xiang Yishu Wenxian,<br />
Hangzhou, <strong>The</strong> Authors, 1996.<br />
1997<br />
Leng Lin, Feng Boyi, Qian Zhijian, Zhang Xu, Zhongguo zhi Meng, ‘97 ZhongguoDangdai Yishu, Beijing, Sungari<br />
International Auctions, 1997.<br />
Song Dong, Guo Shirui, Yesheng, 1997 Nian Jing zheshi, Beijing, Xi<strong>and</strong>ai YishuZhongxin, 1997 [includes a<br />
chronology for chiefly avant-garde <strong>and</strong> performance <strong>art</strong> since 1986]<br />
Wu Meichun, ‘97 Zhongguo Luxiang Yishu Guanmo, Beijing, Zhongyang MeishuXueyuan Hualang, 1997.<br />
Zhu Qi, Xinyazhou, Xinchengshi, Xinyishu: ‘97 Zhonghan dangdai yishuzhan, Shanghai, Shanghai Dangdai Meishuguan,<br />
1997.<br />
1998<br />
Feng Boyi, Cai Qing, Shengcun Hengji: ‘98 Zhongguo Dangdai Yishu NeibuGuanmozhan / Trace <strong>of</strong> Existence: A Private<br />
Showing <strong>of</strong> China Contemporary Art ‘98, Beijing, Art Now Studio, January 1998.<br />
0431.1998 Luxiang, Dian’nao yishuzhan, Changchun, Jilinsheng Gongyeshiji Xuexiao, see Huang Yan in Yishujie,<br />
11/12-1998.<br />
Huang Du, Kongjian yu Shijue/Space <strong>and</strong> Vision: <strong>The</strong> impression <strong>of</strong> transmuting daily lives in Beijing, 1998, Beijing,<br />
Dangdai Meishuguan, July<br />
Leng Lin, Shi Wo/It’s Me [unrealized], Beijing, Xi<strong>and</strong>ai Yishu Zhongxin, November.<br />
58
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Liao Wen, Liang Xing Pingdai’ Yishu zhan (Personal Touch) Tianjin, Taida DangdaiYishu Bowuyuan, 1998.<br />
Fan Di’an et al, ‘98 [Fuzhou] Yataidiqu Dangdai Yishu Yaoqingzhan Zuopinji, Fuzhou, 1998.<br />
‘98 Shanghai Meishu Shuang Nianzhan [review by Gu Zhengfeng, ‘Tayue biangu deyichang sheng’, Jiangsu Huakan,<br />
no.1, 1999].<br />
Jia Fangzhou, Lin Lin et al, Fanshi –Zishen yu Huangjing zhan, Beijing, BeijingshiJianshe Daxue, November 1998.<br />
Pi Daojian et al, 90 Ni<strong>and</strong>ai Zhongguo Shiyan Suimo / Experimental Wash Painting <strong>of</strong> China in the 90s, Hong Kong,<br />
Shijie Huaren Meishu Chubanshe, 1998.<br />
Schneider, Eckhard R., et al, Chuantong / Fansi: Zhonguo dangdai Yishuzhan; ImSpiegel der Eigenen Tradition, Austellung<br />
Zeitgenössischer Chinesischer Kunst, Beijing, Botschaft der Bundesrepublik Deutschl<strong>and</strong>, November 1998.<br />
[report by FengHuanian in Jiangsu Huakan, 2, 1999]<br />
Yin Shuangxi, Beijing Qingnian Diaosujia Zuopin Lianzhan, Beijing Qingnian Diaosujia Chuangzuo Yanjiuzu, 1998.<br />
Zhang Zhaohui, Shu Hewen, Pianzhi/<strong>The</strong> Corruptionists, Beijing, <strong>The</strong> Curators, November 1998.<br />
1999<br />
Chang, Tsong-zung, Fast>>Forward: New Chinese Video Art, Macao, Centro de ArteContemporãnea de Macau &<br />
Hong Kong, TZ Han<strong>art</strong>, 1999.<br />
Zhang Xiaogang, ed., Shanghe Meishuguan ‘99 Xueshu Yaoqing zhan, Chengdu, Shanghe Meishuguan, [16 th April to<br />
15th May].<br />
Zhang Zhaohui, Cong Zhongguochufa xin yishu zhan / Dep<strong>art</strong>ure from China; A New Chinese Art Exhibition, Beijing,<br />
Shiji Bowuguan, 1999 [unrealized, catalogue includes a chronology for 1995-1999]<br />
Li Xianting, Fenbenyixi / Poly Phenolrene, Beijing, Bow Gallery [May 8 th ].<br />
Xu Zhen, Yang Zhenzhong, Alex<strong>and</strong>er Br<strong>and</strong>t, curators, Chaoshi / Art for Sale, [held in Shanghai], Beijing,<br />
Xi<strong>and</strong>ai Yishu Zhongxin.<br />
Wu Meichun, Qiu Zhijie et al, Houganxing: Yixing yu Wangxiang / Post sensibility: Alien Bodies <strong>and</strong> Delusion, Beijing,<br />
1999.<br />
Wu Shixiong, Kong Ying, A Tour <strong>of</strong> Chinese Arts at the End <strong>of</strong> the 20 th Century, Beijing Xinshikong Club, Asian<br />
Games Village.<br />
2000<br />
Ai Weiwei, Feng Boyi, Buhezuo Fangshi /Fuck Off, catalogue, 2000<br />
Gu Zhenqing, Yichang yu Richang / Unusual & Usual, Shanghai, Yuangong Xi<strong>and</strong>ai Meishu Zhanlanguan, 2000<br />
2001<br />
Weng Lin, Towards a New Image: Twenty Years <strong>of</strong> Contemporary Chinese Painting, [bilingual] Beijing, Beijing Visual Art<br />
Development Co., Ltd., 2001 [Cai Jin, Ding Yi, Fang Lijun, Liu Wei, Liu Xiaodong, Luo Zhongli, Mao<br />
Yan, Sun Liang, Wang Guangyi, Xu Jiang, Ye Yoingqing, Yu Hong, Yue Minjun, Yan Peiming, Yang<br />
Jiecang, Zeng Fanzhi, Zeng Hao, Zhang Xiaogang, Zheng Zaidong, Zhou Chunya].<br />
Navarra, Enrico, et al, Made by Chinese, Paris, Galerie Enrico Navarra & Hong Kong, Han<strong>art</strong> TX.<br />
Pijnapppel, Johan, ‘Wang Jianwei, Material for Thinking’, Art Asia Pacific, No.34, 2002.<br />
2002<br />
[Beijing Afloat], Feng Boyi curator, BTAP, Pijnappel, Johan, ‘Beijing Afloat at Beijing Tokyo Art Projects’, Asian<br />
Art News, vol. 13, no. 1, January/February 2003<br />
Huang Zhuan <strong>and</strong> Pi Li, ed., Image is Power, Hunan: Hunan Fine Arts Publishing House, 2002<br />
Gao Minglu, ed., Chinese Maximalism, Beijing: Chongqing Publishing House<br />
Lim, Michelle., ‘History from Wood’ (<strong>The</strong> Exhibition <strong>of</strong> Half a Century <strong>of</strong> Chinese Woodblock Prints: From the<br />
Communist Revolution to the Open Door Policy <strong>and</strong> Beyond, 1945-1998), in Asian Art News, Vol. 14, No. 1,<br />
January/February 2004, p.60-65.<br />
Machan, Kim, MAAP in Beijing 2002, Beijing: Hebei Education Publishing House<br />
Stringa, Nico, Terrecotte Cinesi dalla 48 a Biennale di Venezia, Cornuda, Grafiche Antiga, 2003 [English essays by Dal<br />
Largo, Erickson, Stringa]<br />
2003<br />
[Chinese Maximalism] Yap, Chin Chin, ‘Chinese Maximalism’ in Art Asia Pacific, No. 38 (Fall 2003), p. 37<br />
[Left Wing (Cao Fei, Fang Lijun, Gu Dexin, Song Dong, Sui Jiangguo, Zhuang Hui, Du Zhenjun, Huang<br />
Yongping, Shen Shaomin)], Zhang, Zhaohui., ‘Left Wing at Left Bank Gallery’, in Asian Art News, Vol. 14,<br />
59
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
No. 1, January/February 2004, p.76-77; ‘Left Wing: An Exhibition <strong>of</strong> Contemporary Chinese Art’<br />
(Review) in Art Asia Pacific, No. 40 (Spring 2004), pp. 80-81<br />
[Twenty Year Anniversary <strong>of</strong> Han<strong>art</strong> T.Z. Gallery] Thomson, Jonathan, ‘<strong>The</strong>mes <strong>and</strong> Variations’, in History’ in<br />
Asian Art News, Vol. 14, Number 4 (July/August 2004), pp.46-53<br />
Gao Minglu, Chinese Maximalism, Chongqing, Chongqing Publishing House, 2003<br />
Li Xianting, Curator’s Notes on Prayer Beads <strong>and</strong> Brush Strokes, Beijing, Beijing Tokyo Art Projects, 2003<br />
Scarlett, Ken., ‘Changchun, China: to Confront or Confirm’ in Artlink: <strong>The</strong> China Phenomenon, Vol. 23, No. 4,<br />
2003, p.72.<br />
Shao Dazhen, et.al., eds., Symposium Papers for the First Beijing International Art Biennale, China, 2004 (Bilingual),<br />
Beijing, Renmin meishu chubanshe, 2003.<br />
Tetmajer, Xenia., ‘<strong>The</strong> Power <strong>of</strong> the Public Realm at the 2500 Cultural Transmission Space’ (review), in Asian Art<br />
News, Vol. 14, No. 2, March/April 2004, p.85.<br />
2004<br />
Coleman, Julia, ed. Critical Mass, London, Chinese Contemporary, 2004<br />
Zhang Zhaohui, Concrete Horizons, Wellington, Adam Art Gallery, 2004<br />
2005<br />
Ni Haifeng <strong>and</strong> Zhu Jia, ed., Synthetic Reality, Hong Kong, Timezone 8, 2005<br />
2006<br />
Absolute Images: Chinese Contemporary Art [Fang Lijun, Zhang Xiaogang, Yue Minjun, et.al.], Beijing, Arario<br />
Gallery, 2006<br />
Beautiful Cynicism [Anselm Kiefer, Wang Guangyi, et.al.], Beijing, Arario Gallery, 2006<br />
Chen Chieh-Jen, Hong Hao, et. al., Double –Kick Cracker: An Exhibition <strong>of</strong> Chinese Contemporary Art, Beijing, Tang<br />
Contemporary Art, 2006<br />
Fan Fang, et.al., Naughty Kids: <strong>The</strong> Chinese New Generation Born After 1970, Beijing, 2006<br />
Gu Zhenqing, et.al., Two Asias, Two Europes: An International Exhibition <strong>of</strong> Contemporary Arts, Hong Kong,<br />
Timezone 8 (Distributor)<br />
Gu Zhenqing, To Each His Own, Hong Kong, Timezone 8, 2006 (Distributor)<br />
Gu Zhenqing, Visual Production, Hong Kong, Timezone 8, 2006<br />
Köppel-Yang, M<strong>art</strong>ina, et.al, Surplus Value, Beijing, Tang Contemporary Art Gallery, 2006<br />
Kung, Samuel, ed., Entry Gate: Chinese Aesthetics <strong>of</strong> Heterogeneity: 2006 MoCA Envisage, Shanghai, Museum <strong>of</strong><br />
Contemporary Art, 2006<br />
Ng, Joseph, <strong>The</strong> Naked Truth: Six Chengdu-based Chinese Artists, Beijing, Tang Contemporary Art, 2006<br />
Pi Li, Art Unforbidden: <strong>The</strong> <strong>The</strong>me Exhibition <strong>of</strong> Art Beijing, Beijing, Tang Contemporary Art, 2006<br />
Pi Li, et.al., In the View, Beijing, Tang Contemporary Art, 2006<br />
Zhang Yonglin, ed., Second Shanghai Duolun Exhibition <strong>of</strong> Young Artists, Duolun Art Museum 2006<br />
Zhu Qi, Woman in a Society <strong>of</strong> Dual Sexuality, Beijing, Tang Contemporary Art Gallery, 2006<br />
Selected Exhibitions outside China<br />
1989<br />
Jean-Hubert M<strong>art</strong>in¸ Les Magiciens de la Terre, Centre Pompidou, 1989 [exhibited Huang Yongping, Gu Dexin,<br />
Yang Jiechang]<br />
1990<br />
Fei Dawei, ed, Art Chinois: Chine Demain pour Hier, [Cai Guoqiang, Yang Jiechang, Yan Peiming, Gu Wenda,<br />
Huang Yongping, Chen Zhen], Aix en Provence, Les Domaines de l’<strong>art</strong> & Editions C<strong>art</strong>e Segrete, 1990<br />
1992<br />
‘Chinese Mainl<strong>and</strong> Artists Exhibition’(?), at California Institute <strong>of</strong> Art, September [report by Wang Shouzhi in<br />
Mingbao Yuekan, September 1993.<br />
1993<br />
Andrews, Julia, F.; Gao Minglu, Fragmented Memory: <strong>The</strong> Chinese Avant Garde in Exile Columbus, Ohio State<br />
<strong>University</strong>, Wexner Center for the Arts, 1993.<br />
1995<br />
60
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Ballegeer, Jan Pieter, Ink <strong>and</strong> Light: Collision Dialogue Blending, Gent, Line<strong>art</strong>, 1995.<br />
Wang Luyan, Chen Shaoping, Gu Dexin, Arbeit der Gruppe “Neuer Maßstab” (4), Berlin, New Gallery Association<br />
Wang Luyan, Chen Shaoping, Gu Dexin, Grup Xin Kedu (“Nova Mida”), Obra V<br />
1996<br />
Zhu Zhu, Zhongguo Banhua Jiezuo / Meisterwerke Chinesischer Grafik, Aachen, Ludwigforum für Internationale<br />
Kunst & Beijing, Zhongyang Meishuxeueyuan, n.d. [1996].<br />
1997<br />
Another Long March: Chinese Conceptual <strong>and</strong> Installation Art in the Nineties, Breda, Fundament Foundation.<br />
Hou Hanru, Parisien(ne)s, London, Camden Arts Centre & INIVA, 1997.<br />
1998<br />
Colman, Julia; Bois, Ludovic, Chinese Contemporary, 96-98, London, Chinese Contemporary Limited, 1998.<br />
Fibicher, Bernard, Großschwanzelefan / Big Tail Elephant, Bern, Kunsthalle, 1998<br />
Gao Minglu, ed., Inside Out, San Francisco, Museum <strong>of</strong> Modern Art & New York, Asia Society.<br />
Keusen, Elle; Schmidt, Inge; Weihs, Helge, Per Video, Köln, Museum Ludwig, 1998.<br />
Solomon, Andrew, ‘China: 5,000 Years’, Artforum International, Vol.36, Issue 9, May 1998.<br />
Werner, Chris; Qiu Ping; Pitzen, Marianne, Die Hälfte des Himmels, Bonn, Frauenmuseum, 1998.<br />
1999<br />
Asian Art Triennale, Fukuoka, 1999.<br />
Biennale di Venezia, 1999.<br />
Smith, Karen & Pi Li, Representing the People, Beijing, <strong>The</strong> Courtyard Gallery & Newcastle, Tyne <strong>and</strong> Weir<br />
Museums, 1999.<br />
Tang Xin & Urle U, 1999 Cologne-Beijing, Beijing-Cologne Exchange Exhibition, Köln, Gothaer Kunstforum, 1999.<br />
Wu Hong, Transience: Chinese Art at the End <strong>of</strong> the 20th Century, <strong>The</strong> Sm<strong>art</strong> Museum <strong>of</strong> Art, <strong>University</strong> <strong>of</strong> Chicago,<br />
1999.<br />
Logan Collection, San Francisco, Limn Gallery, 1999.<br />
China 1999, San Francisco, Limn Gallery, 1999.<br />
Wu Meichun, Zheng Shengtian, Truths from the Open Door: Chinese Conceptual Photography, (Supported by the Annie<br />
Wong Foundation), Bangkok, Art Gallery <strong>of</strong> Chulalongkorn <strong>University</strong>, 1999.<br />
Fu Shen, Nouveau reflets de la terre natale – six peintres de Taiwan, Paris, Centre Culturel et d’information de Taïpei à<br />
Paris, 1999.<br />
2000<br />
Jouanno, Evelyine; Hou Hanru, Paris pour escale, [incl. Chen Zhen, Huang Yongping, Shen Yuan, Wang Du,<br />
Yang Jiechang] Paris, ARC- Musée d’Art Moderne de la Ville de Paris, 2000<br />
2001<br />
Nuridstany, Michel, Next Generation / Art Contemporain d’Asie, Paris, [Galerie] Passage de Retz, 2001<br />
Storer, Russell, ‘Shanghai Star’, Art Asia Pacific, No.34, 2002.<br />
2002<br />
[Paris-Pekin] Chang Tsong-zung <strong>and</strong> Decrop, Marc, ed., Paris-Pekin, Paris: Chinese Century, 2002; Ullens, Baronn<br />
Guy F <strong>and</strong> Binks, Hillary, ‘<strong>The</strong> Collecting Instinct’, Asian Art News, vol. 12, no. 4, July/August, 2002;<br />
Croës, Marcel, ‘An Interview with Guy Ullens’ [Paris-Pekin exhibition focus], Orientations, Volume 33,<br />
Number 8, October 2002<br />
2003<br />
[Alors la Chine?] Berghuis, Thomas J., ‘Alors la Chine? Paris’ (Review) in Art Asia Pacific, No. 38 (Fall 2003), pp.<br />
79-80<br />
[Between Past <strong>and</strong> Future] Wu Hung, ‘About Between Past <strong>and</strong> Future: New Photography <strong>and</strong> Video from China’ in<br />
Yishu: Journal <strong>of</strong> Contemporary Chinese Art, June 2004, pp. 5-14; Vine, Richard, ‘Sixty Ways <strong>of</strong> Looking at<br />
China’ (Review) in Art in America (June/July 2004), pp. 124-129<br />
[Chinese Maximalism] Yap, Chin Chin, ‘Chinese Maximalism’ in Art Asia Pacific, No. 38 (Fall 2003), p. 37<br />
[Public Space <strong>and</strong> Personal Eyes – A New Vision in China] Vnuk, Gordana, Public Space <strong>and</strong> Personal Eyes – A<br />
New Vision in China (Catalogue) Hamburg: Kampnagel, 2003<br />
61
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
[Rong Rong], Goodman, Jonathan., ‘Rong Rong’s East Village at Chambers Fine Art’, in Yishu: Journal <strong>of</strong><br />
Contemporary Chinese Art, Vol. 2 No. 3, September 2003, p.106-108.<br />
[Wang Wei], Tinari, Philip, ‘If It Isn’t Built, It Can’t Be Torn Down: Notes on Wang Wei’s Temporary Space’, in<br />
Yishu: Journal <strong>of</strong> Contemporary Chinese Art, Vol. 2 No. 3, September 2003, p.72-73.<br />
Chang, Tsongzung, ‘A Strange Heaven: Contemporary Chinese Photography’ (A Strange Heaven: Contemporary<br />
Chinese Photography), in Yishu: Journal <strong>of</strong> Contemporary Chinese Art, Vol. 2 No. 4, December 2003, p.59-67.<br />
Chiu, Melissa, ‘China Reinvented: <strong>The</strong> Art <strong>of</strong> Overseas Chinese Artists in the United States’, in Clark, John,<br />
‘Alors, la Chine?’, in Artlink: <strong>The</strong> China Phenomenon, Vol. 23, No. 4, 2003, p.68-71<br />
Geczy, Adam, ‘Yang Jiechang’ (review), in Art AsiaPacific, Issue 38, Fall 2003, p.77-78.<br />
Goodman, Jonathan, ‘Chen Zhen At P.S.1’ (review), in Yishu: Journal <strong>of</strong> Contemporary Chinese Art, Vol. 2 No. 3,<br />
September 2003, p.105-106.<br />
Goodman, Jonathan, ‘Chopsticks: Song Dong <strong>and</strong> Yin Xiuzhen at Chambers Fine Art’ (review), in Yishu: Journal<br />
<strong>of</strong> Contemporary Chinese Art, Vol.2, No.1, March 2003, p.93-94.<br />
Goodman, Jonathan, ‘Guo Brothers at Michael Goedhuis’, in Yishu: Journal <strong>of</strong> Contemporary Chinese Art, Vol.2,<br />
No.1, March 2003, p.98-100.<br />
Goodman, Jonathan, ‘Tseng Kwong Chi at Chambers Fine Art’, in Yishu: Journal <strong>of</strong> Contemporary Chinese Art, Vol.<br />
2 No. 4, December 2003, p.91-93.<br />
He<strong>art</strong>ney, Eleanor, ‘One to One: Visions – Recent Photographs From China at Chambers’ (Review) in Art in<br />
America (June/July 2004), pp. 172-173<br />
Köppel-Yang, M<strong>art</strong>ina, ‘<strong>The</strong> Ping-Pong Policy <strong>of</strong> Contemporary Chinese Art’ in Yishu: Journal <strong>of</strong> Contemporary<br />
Chinese Art, June 2004, pp. 60-66<br />
Lemonnier, A., ed. Alors, la Chine?, Paris, Centre Pompidou, 2003.<br />
Lu, Carol, ‘Chinese Pavilion Abolished’ in Flash Art, Vol. XXXVI, No. 231 (July-September 2003), p. 51<br />
Przerwa, Xenia Tetmajer Von., ‘Too Much Flavor at Chambers Fine Art, New York’ (review), in Yishu: Journal <strong>of</strong><br />
Contemporary Chinese Art, Vol. 2 No. 2, June 2003, p.122-123.<br />
Pollock, Barbara, ‘Mainl<strong>and</strong> Dreams on Tape’ in Art in America (June/July 2004), pp. 130-134<br />
Ulrich Obrist, Hans, ‘Madacity’ (Review) in Yishu: Journal <strong>of</strong> Contemporary Chinese Art, June 2004, pp. 103<br />
2004<br />
Fei Dawei, et.al., <strong>The</strong> Monk <strong>and</strong> the Demon, Lyon <strong>and</strong> Guangzhou, Guy & Myriam Ullens Foundation, 2004<br />
Köppel-Yang, M<strong>art</strong>ina, Odyssey (s) 2004, (Catalogue), Shanghai: Shanghai Gallery <strong>of</strong> Art, 2004<br />
Wu Hung <strong>and</strong> Christopher Phillips, Between Past <strong>and</strong> Future: New Photography <strong>and</strong> Video from China, Chicago, Sm<strong>art</strong><br />
Museum <strong>of</strong> Art <strong>and</strong> <strong>The</strong> <strong>University</strong> <strong>of</strong> Chicago, 2004<br />
2006<br />
Cohen, Joan Lebold, ‘Chinese Art on Edge’ (exhibition review), ArtAsiaPacific, no. 51, 2007.<br />
de Baan, Christine, Huang Du, et.al., China Contemporary: Architecture, Art, Visual Culture (Bilingual), Rotterdam,<br />
NAI Publishers, 2006<br />
Gao Minglu, <strong>The</strong> Wall: Reshaping Contemporary Chinese Art, New York <strong>and</strong> Beijing, Albright-Knox Art Gallery,<br />
<strong>University</strong> at Buffalo Art Galleries, <strong>and</strong> Millennium Art Museum, 2006<br />
van Broekhuizen, Dick, Xianfeng: Chinese Avant Garde Sculpture (Bilingual), <strong>The</strong> Hague, Wa<strong>and</strong>ers, 2006<br />
2007<br />
Goodman, Jonathon, ‘Breakout: Chinese Art Outside China’, in Yishu. Journal <strong>of</strong> Contemporary Chinese Art, v. 7(2),<br />
March, 2008, pp. 91 – 97.<br />
Haq, Nav, ‘China Power Station: P<strong>art</strong> 1 – Serpentine Gallery Offsite Project at the Battersea Power Station’, in<br />
Yishu. Journal <strong>of</strong> Contemporary Chinese Art, v. 6(1), March, 2007, pp. 119 – 121.<br />
Mitchelson, Andrew, ‘VITAL: International Chinese Live Art Festival – Reflecting on Contemporary Practices’,<br />
in Yishu. Journal <strong>of</strong> Contemporary Chinese Art, v. 6(1), March, 2007, pp. 111 – 118.<br />
Tinari, Philip, ‘<strong>The</strong> Real Thing: Contemporary Art from China’, in ArtForum, vol. 46, no. 1, September, 2007,<br />
pp. 454 – 456.<br />
2008<br />
Art <strong>and</strong> China’s Revolution. [Exhibition Catalogue. Chiu, M. <strong>and</strong> Zheng Shengtian]. New York: Asia Society <strong>and</strong><br />
Museum, 2008.<br />
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Silbergeld, Jerome, ‘Double Vision: Art Out Of Joint’ [Reason’s Clue], in Asian Art News, v. 18(5), Sept/Oct, 2008,<br />
pp. 64-72.<br />
Yao, Pauline J., ’85 New Wave: <strong>The</strong> Birth <strong>of</strong> Chinese Contemporary Art’, Exhibition, Ullens Center for<br />
Contemporary Art, Feb. 2008, in Flash Art, Vol. XLI, No. 258, Jan-Feb 2008, p. 145<br />
2009<br />
Hatch, Michael, Outside In: Chinese x American x Contemporary Art, Review in Yishu. Journal <strong>of</strong> Contemporary Chinese<br />
Art, vol 8, no. 4, July/August 2009, pp. 74-87.<br />
Hatch, Michael, <strong>The</strong> Third Mind: American Artists Contemplate Asia, 1860-1989, Review in Yishu. Journal <strong>of</strong><br />
Contemporary Chinese Art, vol 8, no. 4, July/August 2009, pp. 74-87.<br />
Lee, Sohl, Outside In: Chinese x American x Contemporary Art, in Yishu. Journal <strong>of</strong> Contemporary Chinese Art, vol 8, no.<br />
4, July/August 2009, pp. 74-87.<br />
<strong>The</strong> China Project. [Exhibition Catalogue comprising three exhibitions: Three Decades, <strong>The</strong> Contemporary Chinese<br />
Collection; Zhang Xioagang Shadows in the Soul, William Yang, Life Lines], Brisbane: Queensl<strong>and</strong> Art<br />
Gallery, 2009.<br />
Art Institutions – China (entries after 2005)<br />
Fouraux, Alain, ‘Guangdong Museum <strong>of</strong> Art’, Yishu: Journal <strong>of</strong> Contemporary Chinese Art, vol. 5, no. 1, 2006.<br />
Movius, Lisa, ‘Shanghai gets Contemporary’ Art in America, vol. 93, iss. 10, Nov 2005.<br />
Movius, Lisa, ‘Art Centre Opens in Shanghai’, Art in America, vol. 93, iss. 6, Jun-Jul 2005.<br />
Norton, Lisa, ‘Documenta 12 Magazines Feature on Education. A Response to the Yan’an Forum on Education<br />
in China’ in Yishu. Journal <strong>of</strong> Contemporary Chinese Art, v. 6(1), March, 2007, pp. 57 - 61.<br />
Wallace, Brian, et.al., eds., To the Watchtower: Red Gate Gallery <strong>and</strong> Contemporary Art in China, Hong Kong,<br />
Timezone 8, 2007 (Forthcoming)<br />
Zheng Shengtian, ‘Interview with Samuel Kung, Chairman <strong>and</strong> Director, Museum <strong>of</strong> Contemporary Art,<br />
Shanghai’, Yishu: Journal <strong>of</strong> Contemporary Chinese Art, vol. 5, no. 4, Dec 2006.<br />
Chinese Graphic Art since the Late 19th Century to 1949<br />
Barbizet-Lemmonnier, Laure. La colletion de gravures sur bois chinoises du Musee de Deux Guerres Mondiales, 1937 –<br />
1948. Paris, Université de Paris, Bibliothèque de documentation internationale contemporaine, 1981.<br />
Bo Songian, <strong>and</strong> Johnson, David. Domesticated Deities <strong>and</strong> Auspicious Emblems: <strong>The</strong> Iconography <strong>of</strong> Everyday Life in<br />
Village China. Berkeley: <strong>University</strong> <strong>of</strong> California at Berkeley Chinese Popular Culture Project, 1992.<br />
Buck, P.S., China in Black <strong>and</strong> White, New York, Asia Press/John Day, 1944<br />
Cathc<strong>art</strong>, Adam, ‘Atrocities, Insults, <strong>and</strong> “Jeep Girls”: Depictions <strong>of</strong> the U.S. Military in China 1945 – 1949’, in<br />
International Journal <strong>of</strong> Comic Art, vol. 10, no. 1, Spring, 2003, pp. 140 – 154.<br />
Clark, John, ‘Progress in Prints’ Asian Art News, vol.7, no.1, Jan/Feb 1997<br />
Dal Lago, Francesca, Between High <strong>and</strong> Low: Modernism, Continuity, <strong>and</strong> Moral Mission in Chinese Printmaking Practices,<br />
1930 – 1945, Unpublished PhD <strong>The</strong>sis, Institute <strong>of</strong> Fine Arts, New York <strong>University</strong>, 2005.<br />
Dixon, Christine, ‘Peter Townsend in China <strong>and</strong> Canberra: <strong>The</strong> Peter Townsend Collection <strong>of</strong> Chinese<br />
Woodcuts in the National Gallery <strong>of</strong> Australia’, Art Monthly Australia, no. 193, September 2006.<br />
Dixon, C., Chinese Woodcuts <strong>of</strong> the Thirties <strong>and</strong> Forties, [checklist], Canberra, Australian National Gallery, 1987<br />
Epstein, I., I visit Yenan, Bombay, People’s Publishing House, April 1945, [reproductions <strong>of</strong> woodblocks <strong>and</strong><br />
New York Times reports <strong>of</strong> 1944].<br />
Holm, D., Art <strong>and</strong> Ideology in Revolutionary China, Oxford, Clarendon Press, 1991 [also see ‘<strong>The</strong> woodcut<br />
movement, 1930-1943’, Chapter Four in his Oxford <strong>University</strong> Ph.D. thesis which was not included in<br />
this published version].<br />
Flath, James A., Printing Culture in Rural North China, PhD diss., <strong>University</strong> <strong>of</strong> British Columbia, 2000<br />
Flath, James, <strong>The</strong> Cult <strong>of</strong> Happiness: Nianhua, Art, <strong>and</strong> History in Rural North China. Vancouver, <strong>University</strong> <strong>of</strong> British<br />
Columbia, 2004.<br />
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within the Chinese Revolution, 1966-1982, Cambridge, Cambridge <strong>University</strong> Press, 1991, see chapters by<br />
Fokkema, Whyte, <strong>and</strong> Birch.<br />
MacFarquar, Roderick, ed., <strong>The</strong> Politics <strong>of</strong> China, 2 nd edition, Cambridge <strong>University</strong> Press, 1997.<br />
McDougall, B., ed., Popular Chinese Literature <strong>and</strong> the Performing Arts, Berkeley, <strong>University</strong> <strong>of</strong> California Press, 1984.<br />
McDougall, B., Mao Zedong`s “Talks at the Yanan Conference on literature <strong>and</strong> <strong>art</strong>” a translation <strong>of</strong> the 1943 text with<br />
commentary, Ann Arbor, Centre <strong>of</strong> Chinese Studies, <strong>University</strong> <strong>of</strong> Michigan, 1980 .<br />
Otani Ichirô, et al, hen, Tenkeiki ni okeru Chûgoku Chishikijin, Jiko Shoin, 1999.<br />
Pickowicz, Paul, ‘Ch’ü Ch’iu-pai <strong>and</strong> the Chinese Marxist Conception <strong>of</strong> Revolutionary Literature <strong>and</strong> Art’, in<br />
Chinese Qu<strong>art</strong>erly 70, June 1977, pp. 298 – 301.<br />
Schram, S., Mao Tse-tung, Harmondsworth, Penguin, 1967.<br />
Schram, S.R., <strong>The</strong> Political Thought <strong>of</strong> Mao Tse-tung, New York, Frederick A. Praeger, 1963.<br />
Spence, J., <strong>The</strong> Gate <strong>of</strong> the Heavenly Peace: <strong>The</strong> Chinese <strong>and</strong> their revolution, 1895-1980, New York, Viking Press, 1981,<br />
<strong>and</strong> London, Faber <strong>and</strong> Faber, 1982.<br />
Tang Xiaobing, ‘Decorating culture: Notes on Interior Design, Interiority, <strong>and</strong> Interiorization’, Public Culture,<br />
vol.10, no.3, Spring 1998.<br />
Tang Xiaobing, ‘Orientalism <strong>and</strong> the question <strong>of</strong> Universality: <strong>The</strong> language <strong>of</strong> Contemporary Chinese Literary<br />
<strong>The</strong>ory’, Positions, vol. 1, no.2, 1993.<br />
Tang Xiaobing, ‘<strong>The</strong> function <strong>of</strong> new theory: what does it mean to talk about post-<strong>modern</strong>ism in China’, Public<br />
Culture, vol.4, no.1, 1991.<br />
Tang Xiaobing: Global space <strong>and</strong> the nationalist discourse <strong>of</strong> <strong>modern</strong>ity: the historical thinking <strong>of</strong> Liang Qichao, Stanford,<br />
Stanford <strong>University</strong> Press, 1996<br />
Teiwes, F., Sun, W., <strong>The</strong> Road to Disaster: Mao, Central Politicians <strong>and</strong> Provincial Leaders in the emergence <strong>of</strong> the Great Leap<br />
Forward, 1955-1959, Armonk, N.Y., M.E. Sharpe, 1997.<br />
Teiwes, F., Sun, W., <strong>The</strong> tragedy <strong>of</strong> Lin Biao, riding the tiger during the cultural revolution, London, C. Hurst & Bathurst,<br />
Crawford Publishing, 1996.<br />
68
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Van Crevel, M., Language Shattered: Contemporary Chinese Poetry <strong>and</strong> Duoduo, Leiden, Research School CNWS, 1996.<br />
Wang Gongwu, Annual Sir Herman Black Lecture <strong>of</strong> the Research Institute for Asia <strong>and</strong> the Pacific, <strong>University</strong><br />
<strong>of</strong> <strong>Sydney</strong>, 1993.<br />
Wang Hui, China’s New Order: society, politics, <strong>and</strong> economy in transition, Cambridge, Mass.: Harvard <strong>University</strong> Press, 2003.<br />
Wang Hui, ‘Zhang Taiyan, the Individual <strong>and</strong> Modern Identity in China’, <strong>The</strong> Stockholm Journal <strong>of</strong> East Asian<br />
Studies, vol.7, 1996<br />
Wang Jing, High Culture Fever, Politics, Aesthetics <strong>and</strong> Ideology in Deng’s China, Berkeley, <strong>University</strong> <strong>of</strong> California<br />
Press, 1996.<br />
Wang Jing ‘Culture as leisure <strong>and</strong> culture as capital’, positions: east asia cultures critique, vol. 9, no.1 Spring 2001.<br />
Wang Jing, introduction to ‘Special Issue: Chinese popular culture <strong>and</strong> the state’, positions: east asia cultures critique,<br />
vol. 9, no.1 Spring 2001.<br />
Wei Jingsheng, <strong>The</strong> courage to st<strong>and</strong> alone, New York, Viking, 1997.<br />
Xu Ben, ‘ “From Modernity to Chineseness”: <strong>The</strong> Rise <strong>of</strong> Nativist Cultural <strong>The</strong>ory in Post-1989 China’, Positions,<br />
vol.6, no.1, 1998.<br />
Xu, Ben, “<strong>The</strong> Cultural Revolution <strong>and</strong> Modernity: the contradictory political implications <strong>of</strong> post<strong>modern</strong>ism in<br />
China” in Journal <strong>of</strong> Contemporary China, 8 21 (1999), pp. 241-261<br />
Zha Jianying, China Pop, New York, New Press, 1995.<br />
Zhang Xudong, Chinese Modernism in the Era <strong>of</strong> Reforms, Durham, Duke <strong>University</strong> Press, 1997.<br />
Women, Gender <strong>and</strong> Art<br />
Ayscough, Florence. Chinese Women: Yesterday <strong>and</strong> Today. New York: Da Capo, 1975.<br />
Bryan, Kate, ‘<strong>The</strong> Personal Creative process’, [group show by 14 female <strong>art</strong>ists in Hong Kong], in Asian Art<br />
News, v. 18(5), Sept/Oct, 2008, pp. 80-81.<br />
Croizier, Ralph, ‘Nine Straws in the Wind’, [Young women <strong>art</strong>ists in Beijing], Third Text, 31, Summer 1995.<br />
Dai Jinhua, ‘Gender <strong>and</strong> Narration: Women in Contemporary Chinese Film’, in Jing Wang <strong>and</strong> Barlow, Tani E.,<br />
eds., Cinema <strong>and</strong> Desire: Feminist Marxism <strong>and</strong> Cultural Politics in the Work <strong>of</strong> Dai Jinhua, London <strong>and</strong> New<br />
York, 2002, pp. 99 - 138.<br />
Dal Lago, Francesca, ‘A Silent Revolution? Chinese Women’s Art in Beijing’, Art AsiaPacific, No.21, 1999.<br />
L<strong>and</strong>au, Julie tr., Beyond spring : tz'u poems <strong>of</strong> the Sung dynasty, New York: Columbia <strong>University</strong> Press, 1994.<br />
Wang Ping, Aching for Beauty: Footbinding in China, New York: Anchor, 2002.<br />
Xu, Hong, ‘Dialogue; the awakening <strong>of</strong> women’s consciousness’, Art & Asia Pacific, vol.2, no.2, 1995.<br />
Xu, Hong, ‘<strong>The</strong> Spotted Leopard’, Art & Asia Pacific, vol.1, no.2, 1994.<br />
Shanghai: City, Art, Architecture <strong>and</strong> Visual Culture<br />
All About Shanghai: A st<strong>and</strong>ard guidebook, Shanghai: <strong>University</strong> Press, 1934-5, <strong>and</strong> Hong Kong, Oxford <strong>University</strong><br />
Press, 1986 [introduction by H.J.Lethbridge].<br />
Barmé, G., An Artistic Exile: a life <strong>of</strong> Feng Zikai (1898-1975), Berkeley: <strong>University</strong> <strong>of</strong> California Press, 2002<br />
Baum, Vicki, Shanghai, ’37, New York,: Oxford <strong>University</strong> Press, 1987<br />
Bergère, Marie-Claire, ‘<strong>The</strong> other China: Shanghai from 1919 to 1949’ in Howe, Christopher, ed., Shanghai:<br />
Revolution <strong>and</strong> Development in an Asian metropolis, Cambridge: Cambridge <strong>University</strong> Press, 1981.<br />
Catching, R. “Lost <strong>and</strong> Found: In Search <strong>of</strong> Shanghai’s Art History.” in Yishu Journal <strong>of</strong> Contemporary Chinese Art,<br />
Vol. 9. No. 1 (Jan/Feb 2010).<br />
Claypool, Lisa. “Where is Shanghai?” in Orientations January/February 2010 Vol. 41 No. 1.<br />
Danzker, Jo-Anne Birnie. Ken Lum <strong>and</strong> Zheng Shengtian. Shanghai Modern: 1919-1945. Munich: Hatje Cantz,<br />
1995.<br />
Dal Lago, Francesca, ‘Crossed Legs in 1930s Shanghai: How “Modern” the Modern Woman?’, East Asian<br />
History, no.19, June 2000.<br />
Dong, Stella, Shanghai: the rise <strong>and</strong> fall <strong>of</strong> a decadent city, New York: Harper Perennial, 2000.<br />
Knight, Michael. “’Shanghai’: Celebrating the Cisual Cultural <strong>of</strong> a Global City” in Orientations Orientations<br />
January/February 2010 Vol. 41 No. 1.<br />
Knight, Michael <strong>and</strong> Dany Chan. Shanghai: Art <strong>of</strong> the City. San Francisco: Asian Art Museum, 2010.<br />
69
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Lee, Leo Ou-Fan, Shanghai <strong>modern</strong>: the flowering <strong>of</strong> a new urban culture in China, 1930-1945, Cambridge, Mass.:<br />
Harvard <strong>University</strong> Press, 1999.<br />
McCoy, Micki. “Shanghai: Art <strong>of</strong> the City” in Yishu Journal <strong>of</strong> Contemporary Chinese Art. Vol 9 no 4 July/Aug 2010.<br />
Phillips, Christopher ed. Shanghai Kaleidoscope. Toronto: Royal Ontario Museum <strong>of</strong> Art, 2009.<br />
[Shanghai, Parachute Special Issue] Parachute 114 (2004): Wright, Stephen, ‘Shanghai/Shanghai: Spaces without<br />
Qualities/ Spaces <strong>of</strong> Promise’ in Parachute 114 (2004), pp. 8-35; Ken Lum, ‘«I Don’t Know’ (Visual Essay)<br />
in Parachute 114 (2004), pp. 36-39; Merewether, Charles, ‘<strong>The</strong> Long Striptease: Desiring Emancipation’ in<br />
Parachute 114 (2004), pp. 40-57; Tang Maohong, Song Tao <strong>and</strong> Yang Zhengzhong, ‘2004.1.1 SHANGHAI’<br />
in Parachute 114 (2004), pp. 58-61; Wright, Stephen, ‘A City Without Leftovers’ (Conversation with Ma<br />
Qingyun) in Parachute 114 (2004), pp.62-80; Jim, Alice Ming Wai, ‘Tourism, Art <strong>and</strong> Shanghai’s Urban<br />
Skyline’ in Parachute 114 (2004), pp.81-101; de Vito, Natalie, ‘Pranks <strong>and</strong> Prohibitions: On the Art <strong>of</strong> Xu<br />
Zhen’ in Parachute 114 (2004), pp. 102-115, Zhang, Zhen, ‘Suzhou River (Urban Memory <strong>and</strong> Tactile<br />
Cinema) in Parachute 114 (2004), pp. 116-129; Chu, Ingrid, ‘Shanghai <strong>and</strong> Beyond (A Roundtable with Ken<br />
Lum, Davide Quadrio, Xu Tan <strong>and</strong> Zhang Weiwei) in Parachute 114 (2004), pp. 130-136<br />
[Yuefenpai posters] Dal Largo, Francesca, ‘Crossed legs in 1930s Shanghai: How ‘Modern’ the Modern Woman?’,<br />
East Asian History, no.19, June 2000<br />
Zheng, Jane. “<strong>The</strong> Shanghai Fine Arts College <strong>and</strong> Modern Artists in the Public Sphere (1913-1937)” in East<br />
Asian History, No. 32/33, December 2006/June 2007.<br />
Web Resources<br />
<strong>The</strong>re are a large number <strong>of</strong> web sites dealing with <strong>contemporary</strong> Chinese <strong>art</strong>. For updates links see in p<strong>art</strong>icular<br />
the Asian Art Archives links page given under the Web Resources section.<br />
Websites: [some <strong>of</strong> these sites close down after a period]<br />
http://www.<strong>art</strong>beatus.com<br />
Published by Artbeatus Gallery, Vancouver <strong>and</strong> Hong Kong.<br />
http://<strong>art</strong>.great-china.com/gallery.html<br />
Japan site, mostly in Chinese, titled Chinese Art Gallery.<br />
http://www.<strong>asian</strong><strong>art</strong>now.de<br />
Leading continental European gallery focusing on Chinese <strong>contemporary</strong> <strong>art</strong>.<br />
http://www.asiasociety.org/<strong>art</strong>s/insideout/<br />
Asia Society online section on the groundbreaking Inside Out exhibition.<br />
http://www.CCAA-association.org<br />
Chinese Contemporary Art Association (Switzerl<strong>and</strong>).<br />
http://www.chinaheritagequ<strong>art</strong>erly.org/<br />
Qu<strong>art</strong>erly on heritage <strong>and</strong> history issues from ANU, Canberra<br />
http://www.chinese-<strong>art</strong>.com<br />
Chinese Contemporary Art Bulletin<br />
http://www.connect-<strong>art</strong>e.com/archive/china/chinac.htm<br />
Image archive <strong>of</strong> top name <strong>art</strong>ists.<br />
http://egg.tokyoweb.or.jp/comdex/newcc/new/guide.htm<br />
Japan since early 1997, New China Cybertown.<br />
http://kaladarshan.<strong>art</strong>s.ohio-state.edu/exhib/gug/intr/china.html<br />
Ohio State <strong>University</strong> works <strong>of</strong> Guggenheim exhibition, ‘China: 5000 Years’..<br />
http://www.stanford.edu/dept/<strong>art</strong>/china/<br />
Britta Erickson bibliography.<br />
http://www.the-people.org<br />
Chinese Arts Centre London.<br />
http://www.nd.edu/~enisly/ogrady/index.htm<br />
Online photography gallery <strong>of</strong> early Asian portraiture<br />
http://www.<strong>art</strong>speakchina.org/<br />
Wikipedia-based resource<br />
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©John Clark, 2010<br />
CHINA-HONG KONG AND MACAO<br />
General<br />
Web site <strong>of</strong> Hong Kong Art Archive which includes bibliography: http://web.hku.hk/~hkaa/<br />
‘Supplement: Hong Kong, Macau, China’, Asian Art News, vol.3, no.3, May-June 1993.<br />
Abbas, M. A., Hong Kong: culture <strong>and</strong> the politics <strong>of</strong> disappearance, Minneapolis: <strong>University</strong> <strong>of</strong> Minnesota Press, 1997.<br />
Acret, Susan, ‘An Archive <strong>of</strong> Visions’, in Asian Art News, Vol.13, No.5, Sep/Oct, 2003, p.68-69.<br />
Art’78, Hong Kong, Fung Ping Shan Museum, 1978<br />
Art’81, Hong Kong, Fung Ping Shan Museum, 1981<br />
Benson <strong>and</strong> Hedges, Selection <strong>of</strong> Hong Kong Art, Hong Kong, Arts Centre, 1981.<br />
Chang, Tsong-zung, ‘A pact <strong>of</strong> separate peace’, Art & Asia Pacific, no.1, supplement to Art & Australia, March<br />
1993.<br />
Chang, Tsong-zung, ‘Art <strong>and</strong> <strong>art</strong> dealing in Hong Kong <strong>and</strong> Taipei’, Art Monthly, 40, May 1991.<br />
Chang, Tsong-zung, ‘Visionaries <strong>and</strong> Icon Painters: One Aspect <strong>of</strong> Hong Kong Contemporary Art’, Renditions,<br />
1988.<br />
Chang, Tsongzung., ‘Economic Downturn in Hong Kong Breathes New Life into culture’, in Artlink: <strong>The</strong> China<br />
Phenomenon, Vol. 23, No. 4, 2003, p.73.<br />
Chen, M., Ten Years <strong>of</strong> Hong Kong Painting, Hong Kong, Arts Centre, 1987<br />
Cheng, Scarlett, ‘At the cutting edge’, [on women <strong>art</strong>ists], Asian Art News, July/August 1994.<br />
Clarke, David, ‘Aspects <strong>of</strong> Art <strong>and</strong> Public Space in Hong Kong during the H<strong>and</strong>over Period. TAASA Review 8:1<br />
March 1999<br />
Clarke, David, ‘Between East <strong>and</strong> West; Negotiations with Tradition <strong>and</strong> Modernity in Hong Kong Art’, Third<br />
Text [to appear 1995]<br />
Clarke, David, ‘Hong Kong Art <strong>and</strong> the transfer <strong>of</strong> sovereignty’, Journal <strong>of</strong> the Oriental Society <strong>of</strong> Australia, vol. 29,<br />
1997.<br />
Clarke, David, ‘Insular Expressions: Art in Hong Kong’, Art Monthly Australia, no.17, December 1988.<br />
Clarke, David, Art & Place: Essays on <strong>art</strong> from a Hong Kong perspective, Hong Kong, Hong Kong <strong>University</strong> Press,<br />
1996 [review: Clark, Art AsiaPacific, no.18, 1998.<br />
Clarke, David, Hong Kong Art; Culture <strong>and</strong> Decolonization, London, Reaktion Books, 2001.<br />
Contemporary Hong Kong Art Biennial Exhibition, Hong Kong, Urban Council, 1989<br />
Contemporary Hong Kong Art Biennial Exhibition, Hong Kong, Urban Council, 1979, 1981, 1989<br />
Fung, Anthony, ‘Hong Kong as the Asian <strong>and</strong> Chinese Distributor <strong>of</strong> Pokemon’, in International Journal <strong>of</strong> Comic<br />
Art, Vol. 7, No. 1, Spring 2005, pp. 432-448.<br />
Ho, H-K., Turn <strong>of</strong> a Decade: A new generation <strong>of</strong> <strong>art</strong>ists in the 80s, Hong Kong, Arts Centre, 1989<br />
Joliffee, H., ‘Macau Marvels’, Asian Art News, vol.4, no.6, Nov-Dec 1994.<br />
Júnior, Antonio Conceicão., ‘Contemporary Art in Macao’, in Yishu: Journal <strong>of</strong> Contemporary Chinese Art, Vol. 3,<br />
No. 1, March 2004, p.70-73.<br />
Kee, Joan, ‘Art, Hong Kong, <strong>and</strong> Hybridity: A Task <strong>of</strong> Reconsideration’, in Yishu: Journal <strong>of</strong> Contemporary Chinese<br />
Art, Vol. 2 No. 2, June 2003, p.90-98.<br />
Lamain, Kitty, ‘Art at the h<strong>and</strong>over’ [London exhibition reviews], Art AsiaPacific, no.17, 1998.<br />
Lau, Jaspar K. W., ‘Documenta 12 Magazines Feature on Education. Potentially Wise: <strong>The</strong> Boom in Hong Kong<br />
Contemporary Arts Education’, in Yishu. Journal <strong>of</strong> Contemporary Chinese Art, v. 6(1), March, 2007, pp. 103 –<br />
110.<br />
Lau, Jaspar K. W., ‘HistoriCITY – A Roundtable on Art Historical Writing in <strong>and</strong> on Hong Kong’, in Yishu.<br />
Journal <strong>of</strong> Contemporary Chinese Art, v. 7(1), January, 2008, pp. 38 – 51.<br />
Lee, Quentin, ‘Delineating ‘Hong Kong’ Intellectuals: speculations on intellectual problematics <strong>and</strong> Post /<br />
Coloniality’, Third Text, 28/29, Autumn/Winter 1994.<br />
71
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Leung, Po Shan, ‘In Anticipation <strong>of</strong> Men’s Art: Re-reading Women’s Art in Hong Kong’, Sasha S. Well<strong>and</strong><br />
(tran.), in Yishu: Journal <strong>of</strong> Contemporary Chinese Art, Vol. 2 No. 3, September 2003, p.8-14.<br />
Ma, Eric Kit-Wai, ‘Re-Advertising Hong Kong: Nostalgia Industry <strong>and</strong> Popular History’ in positions: east asia<br />
cultures critique, volume 9, number 1 (spring 2001), pp. 131-159<br />
Ma Lin et al, Contemporary Chinese Painting, Hong Kong, Chinese <strong>University</strong> <strong>of</strong> Hong Kong, 1986<br />
Man Fung-yi <strong>and</strong> Mok Yat-san, ‘Space Constraints <strong>and</strong> Re-creation: Interchangeability between Outdoor<br />
Sculpture <strong>and</strong> Public Art in Hong Kong’, in Hong Kong Visual Arts Yearbook, Harold Mok ed., v. 1, 2008,<br />
pp. 167 – 179.<br />
Mok, Patrick, ‘<strong>The</strong> Invisible City’, in Hong Kong Visual Arts Yearbook, Harold Mok ed., v. 1, 2008, pp. 135 – 153.<br />
Pai, Maggie, ‘ Perspectives on 20th century Chinese Painting’, [Xubaizhui International Symposium], Asian Art<br />
News, vol.6, no.1, Jan/Feb 1996.<br />
Tam, L.S., Hong Kong Artists: <strong>The</strong> Early Generation, Hong Kong, Urban Council, 1978<br />
Tam, L.S., Urban Council Art Award Winners, Hong Kong, Urban Council, 1978<br />
Tan Zhicheng, Dangdai Xiangang Yishujia Shuangnianzhan Xiangang Shizhengju 1979<br />
Tan Zhicheng, Xiangang Qianbei Yishujia, Xiangang Shizhengju, 1978<br />
Turn <strong>of</strong> a Decade: A New Generation <strong>of</strong> <strong>art</strong>ists <strong>of</strong> the Eighties, Hong Kong, Arts Centre, 1989.<br />
Visual Art Society Annual Exhibition, Catalogue, Hong Kong Arts Centre, 1979.<br />
Visual Arts Society, Annual Exhibition, Hong Kong, Arts Centre, 1979<br />
Wong, A., Hong Kong Arts Centre Inaugural Exhibition, 1977<br />
Wong, Wendy Siuyi, <strong>and</strong> Cuklanz, Lisa M., <strong>The</strong> Emerging Image <strong>of</strong> the Modern Woman in Hong Kong Comics<br />
<strong>of</strong> the 1960s & 1970s’, in International Journal <strong>of</strong> Comic Art, vol. 2, no. 2, Fall, 2000, pp. 33 – 53.<br />
Individual Artists<br />
Chan, Chris: Thomson, Jonathan, ‘Sculpture Non-Sculpture at Cattle Depot Artists Village (Review), in World<br />
Sculpture News, Vol. 10, No. 2 (Spring 2004), pp. 48-49<br />
Chan Kouchiang: Oliva, Achille Bonito. ‘Between East <strong>and</strong> West.’ Asian Art News 8:6 November/December 1998<br />
Chan, David T.W.: Findlay, Ian, ‘the breath <strong>of</strong> the dragon’, Asian Art News, vol.10, no.1, 2000<br />
Chan, Luis: Clarke, David, ‘Psychic Decolonization’ Art Asia Pacific, vol.3, no.4, 1996.<br />
Chan, Paul: review, Asian Art News, vol. 16, no. 5, 2006; review, Artforum, vol 46, iss. 5, Jan 2005; Bellini, Andrea,<br />
‘Paul Chan: Where Form Ends <strong>and</strong> Content Begins’, Flash Art, vol. XXXVIII, no. 241, Mar-Apr, 2005;<br />
review, Flash Art, vol. XXXVIII, no. 240, Jan-Feb, 2005.<br />
Chen Fushan/Luis Chan: Lai, Mei-Lin, ‘A Short Review <strong>of</strong> From Reality to Fantasy: <strong>The</strong> Art <strong>of</strong> Luis Chan’, Yishu:<br />
Journal <strong>of</strong> Contemporary Chinese Art, vol. 5, no. 4, Dec 2006; Chen Fushan de shijie, Taibei, Xiongshi Meishu,<br />
1973/4 Chen Fushan / Luis Chan, <strong>The</strong> World <strong>of</strong> Luis Chan, Singapore, National Museum, 1987; Chen<br />
Fushan/ Luis Chan, Luis Chan: Fifty Years <strong>of</strong> Artistic Career, Hong Kong, Urban Council, 1984<br />
Chen, Michael: Michael Chen, Hong Kong, Arts Centre, 1980<br />
Chen Yusheng: Gaylord Chan Hong Kong, Han Art 2, 1989; : review, Asian Art News, vol.9, no.6, 1999; Thompson,<br />
Jonathan, ‘<strong>The</strong> Romantic Raconteur’, Asian Art News, vol. 15, no. 6, 2005.<br />
Chiu, Caroline: ‘Caroline Chiu: A Chinese Wunderkammer’ (review), ArtAsiaPacific, no. 47, 2006; review, Asian<br />
Art News, vol. 15, no. 1, 2005.<br />
Choi Tsang Tsou: Clarke, David, ‘Suspended in Ambivalence’, Art AsiaPacific 29, 2001; Thomson, Jonathan, ‘A<br />
Vision From the Margins’, Asian Art News, Vol. 13, Number 2, March/April 2003<br />
Choi Yan-chi: Choi Yan Chi’s Painting , 1976-1986, <strong>and</strong> works <strong>of</strong> <strong>art</strong> in dialogue with poetry <strong>and</strong> dance, Hong Kong,<br />
Dep<strong>art</strong>ment <strong>of</strong> Fine Arts, <strong>University</strong> <strong>of</strong> Hong Kong, 1987; Senn, Rolf, Th., Turner, Mathew, Choi Yan-Chi,<br />
Künstler der Welt Series from Haus der Kulturen der Welt, Stuttg<strong>art</strong>, Edition Cantz, 1993.<br />
Chu Hing-wah: Binks, Hilary, ‘Poignant Interactions’, Asian Art News, vol.9, no.1, 1999<br />
Chu Honsun: Chu Honsun, Hong Kong, Arts Centre, 1983<br />
Chui Tze-hung, Kan Tai-keung, Ng Yiu-chung: Chui Tze-hung, Kan Tai-keung, Ng Yiu-chung Hong Kong, Arts<br />
Centre, 1981<br />
Ding Yanyong; Only a Lifework would a triumph score, Hong Kong Plum Blossoms Gallery, 1988; Wang Runsheng,<br />
Ding Yanyong zuopin huiguzhan, Xiangang, Yishuzhongxin, 1979.<br />
72
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Fang Zhaoling, Hong Kong, Fang Zhaoling, 1981; Clarke, David, ‘<strong>The</strong> insufficiency <strong>of</strong> tradition; paintings by<br />
Fang Zhaolin <strong>and</strong> Chu hing-Wah’, Art & Asia Pacific, vol.2, no.3, 1995<br />
Fung Ming Chip: ‘Fung Ming Chip’ (exhibition review), ArtAsiaPacific, no. 49, 2006; Serfaty, Paul ‘Chinese<br />
tradition in the Modern World’, ArtAsiaPacific, no. 43, 2005.; Binks, Hilary, ‘Reordering tradition’, Asian<br />
Art News, vol.11, no.6, 2001<br />
Ha Bikchuen: Findlay, Ian, ‘A Singular Life’, in Asian Art News, Vol.13, No.1, January/February 2003, p.68-69.<br />
Ha Bik-chuen: Pong, Melanie, ‘Sculptor at Work’ Asia-Pacific Sculpture News, vol.1, no.1, Winter, 1995; Findlay, Ian,<br />
‘Ha Bik-chuen at Grotto Fine Art, Exhibition Reviews, Asian Art News, vol. 12, no. 2, March/April 2002;<br />
Findlay, Ian, ‘A Singular Life’, On Ha Bik-Chuen, Asian Art News, vol. 13, no. 1, January/February 2003<br />
Henderson, Gerald: Binks, Hilary, ‘Art <strong>and</strong> Alchemy’ Asian Art News, vol.7, no.4, July/August 1997.<br />
Ho, Oscar: Millichap, John, ‘<strong>The</strong> Problem with Politics: An Interview with Oscar Ho’, Yishu: Journal <strong>of</strong><br />
Contemporary Chinese Art, vol. 4, no. 4, Dec. 2005.<br />
Hon, Chi-fun: Thompson, Jonathan, ‘Cycles <strong>of</strong> Time’ Asian Art News, vol. 16, no. 1, 2006.<br />
Hu Yongkai: Binks, Hilary, ‘Refining Nostalgia’, Asian Art News 9:1 1999<br />
Kan Taikeung, Kan Taiqiang huaji, Xinshiyushe, Xianggang, 1979<br />
Kong Ho: Brown, Glen R., ‘Toward Complexity’, in Asian Art News, Vol. 14, Number 4 (July/August 2004), pp.<br />
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Koo Mei: Koo Mei, Hong Kong, City Hall, 1980; Koo Mei, Hong Kong, Arts Centre, 1981<br />
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Pai, Maggie, ‘A Glimpse <strong>of</strong> Sculpture: sculpture at the Taipei Biennial.’ Asia-Pacific Sculpture News 2:3 Summer<br />
1996<br />
Pai, Maggie, ‘A steady Program’ [Taiwan <strong>art</strong> galleries], Asian Art News, vol.7, no.1, Jan/Feb 1997<br />
Pai, Maggie, ‘Fifth Moon turns Forty’, Asian Art News, vol.6, no.5, September / October, 1996.<br />
Pai, Maggie, ‘Making the visible the invisible’[Women’s <strong>art</strong> including Wu Mali, Lin Chun-ji, Maggie Wei Hsau,<br />
Lulu Shur-tzy Hou], Asian Art News, vol. 8, no.2, March/April 1998<br />
Pai, Maggie, ‘Searching for new directions’ [Taipei Art Fair], Asian Art News, vol. 8, no.1, January/February<br />
1998<br />
Pai, Maggie, ‘Taiwan at Venice’, Asian Art News, vol.9, no.6, 1999<br />
Pai, Maggie, ‘Taking Taiwan Art to the World’, Asian Art News, vol.4, no.6, Nov-Dec 1994.<br />
Rowley, Sue, ‘Experiencing Taipei’, ART AsiaPacific, no.15, 1997<br />
Schwabsky, Barry, ‘Tracing Taiwan’, Artforum International, Vol.36, Issue 2, October 1997<br />
Shih J.J., ‘Images <strong>of</strong> Hong Kong, Made in Taiwan’, ART AsiaPacific, no.15, 1997<br />
Shih, J.J., ‘From anguish to irony: <strong>The</strong> Chinese identity complex in Taiwanese <strong>art</strong>’, Art & Asia Pacific, vol.2, no.3,<br />
1995<br />
Shih, Jui-jen, ‘Bright Prospects for the New Milennium: <strong>The</strong> Taiwanese Art Scene Present <strong>and</strong> Future’, Kuroda,<br />
Raiji, ed., <strong>The</strong> First Fukuoka Asian Art Triennale, Fukuoka: Fukuoka Asian Art Museum, 1999<br />
Tsong Pu [Zhuang Pu] & Chen Hui-chiao, ‘Coming to terms with change’, Asian Art News, vol.7, no.1, Jan/Feb<br />
1997<br />
Wechsler, Jeffrey, “Toward a New Tradition’, Asian Art News, vol.8, no.3, May/June 1998.<br />
Yishu: Journal <strong>of</strong> Chinese Contemporary Art, Special Issue on Contemporary Taiwan Art, March 2003, Spring Issue<br />
2000+<br />
Art Taipei: ‘An Exp<strong>and</strong>ing Presence’, , in Asian Art News, v. 18(4), July/August, 2008, pp. 102-107.<br />
[1 st International Women’s Art Festival] Chen, Elsa Hsiang-chun, ‘Cultural Transitions in the Technological<br />
Age’ in From My Fingers: Living in the Technological Age (Exhibition Catalogue), Kaohsiung Museum <strong>of</strong> Fine<br />
Arts, 2004; Chen, Elsa Hsiang-chun, ‘A Brief Discussion on Women’s Intervention in Taiwan’s<br />
Contemporary Art in the Light <strong>of</strong> the 1 st International Women’s Art Festival in Taiwan’ in Women, Art,<br />
Technology (Essay Collection Symposium), Kaohsiung Museum <strong>of</strong> Fine Arts, forthcoming<br />
Chang-de Liu, ‘Negative Impact <strong>of</strong> Digital Technologies on Artists: A Case Study <strong>of</strong> Taiwanese C<strong>art</strong>oonists <strong>and</strong><br />
Illustrators’, in International Journal <strong>of</strong> Comic Art, vol. 8, no. 1, Spring/Summer, 2006, pp. 456 – 465.<br />
Chen, Elsa Hsiang-chun, ‘Complexities <strong>of</strong> Cultural Identities – Differencing the Subjectivities <strong>of</strong> Contemporary<br />
Women’s Art in Taiwan’ in Journey <strong>of</strong> the Spirit: Taiwanese Women <strong>and</strong> Contemporary Representations (Catalogue),<br />
Kaohsiung Museum <strong>of</strong> Fine Arts, 2001<br />
Chen, Elsa Hsiang-chun, ‘Reading Feminist Dimensions <strong>of</strong> Contemporary Art in Taiwan’ in Text & Subtext –<br />
Contemporary Art <strong>and</strong> Asian Women Conference, LaSalle SIA College <strong>of</strong> the Arts, Singapore, 2000<br />
Chen, Elsa Hsiang-chun, ‘Wu Mali: My Skin is My Country’ in Wu Mali (Catalogue), Kaoshiung: Kaohsiung<br />
Museum <strong>of</strong> Fine Arts, 2003<br />
Chen, Elsa Hsiang-chun, ‘Cultural Transitions in the Technological Age’, From My Fingers: Living in the<br />
Technological Age, 1 st International Women’s Art Festival in Taiwan, exhibition catalog, Kaoshiung<br />
Museum <strong>of</strong> Fine Arts, 2004.<br />
Chen, Elsa Hsiang-chun, ‘A Brief Discussion on Women's Intervention in Taiwan's Contemporary Art in Light<br />
<strong>of</strong> the "1 st International Women's Art Festival in Taiwan"’, Women, Art <strong>and</strong> Technology, 1 st International<br />
Women’s Art Festival in Taiwan, collection <strong>of</strong> symposium essays, Kaoshiung Museum <strong>of</strong> Fine Arts,<br />
forthcoming.<br />
Cheng, Amy Huei-Hua, 'Invisible City', Yishu: Journal <strong>of</strong> Chinese Contemporary Art, March 2003, Spring Issue<br />
Clark, John, ‘Global Intentions’, Asian Art News, vol. 17, no. 1, Jan-Feb 2007 (Taipei biennial).<br />
Conl<strong>and</strong>, Natasha, ‘Ahoy L<strong>and</strong>! Curating on the Shoreline’, Broadsheet, vol. 35, no. 2, 2006.<br />
Frazier, David, ‘Hyper reality: Contemporary Images from the Museum Collection – Taipei Fine Arts Museum’,<br />
(exhibition review) ArtAsiaPacific, no. 50, 2006.<br />
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Huang Hai-Ming, '<strong>The</strong> Shaping <strong>of</strong> the Contemporary Taiwanese Art World: A Review <strong>of</strong> Contemporary<br />
Taiwanese Art Events from the 1980s to the Present', Yishu: Journal <strong>of</strong> Chinese Contemporary Art, March<br />
2003, Spring Issue.<br />
Huang, Andrew, ‘Pseudo Hackers’ Art at Parallel Zones at the Museum <strong>of</strong> Modern Art’ (review), Asian Art News,<br />
vol. 15, no. 2, 2005.<br />
Jose, Nicholas, ‘Penumbra: Contemporary Art from Taiwan, Samstage Museum <strong>of</strong> Art, <strong>University</strong> <strong>of</strong> South<br />
Australia’, in Art Monthly Australia, No. 209, May 2008, pp. 9 – 11.<br />
Kenduzak, Susan, ‘Aperto Taiwan’, Flash Art, vol. XXXIX, no. 248, May-June, 2006.<br />
Kendzulak, Susan, ‘Working Out the Tension: Taipei Biennial 2004 <strong>and</strong> Taiwan Pavilion at the Venice Biennale<br />
2005’, ArtAsiaPacific, no. 46, 2005.<br />
Lee, Yulin ‘Contemporary Taiwanese Art in the Era <strong>of</strong> Contention’ (review), ArtAsiaPacific, no. 43, 2005.<br />
Lin Ping, ‘Documenta 12 Magazines Feature on Education. Building a Contemporary Art “Campus Aircraft<br />
Carrier” – A Discourse on How to Encourage Contemporary Questions About Art Among Tawainese<br />
Youth’, trans. Blewett, Stan, in Yishu. Journal <strong>of</strong> Contemporary Chinese Art, v. 6(1), March, 2007, pp. 91 – 102.<br />
Lin Shu-min ‘Limbo Zone’, Yishu: Journal <strong>of</strong> Contemporary Chinese Art, vol.2, no., June 2003<br />
Lin, Poshin., ‘<strong>The</strong> Discursive Formation <strong>of</strong> Contemporary Art Curation in the Late 1990s with a Discussion <strong>of</strong><br />
the Continual Evolution <strong>of</strong> the Subject Position <strong>of</strong> Taiwan Art’ in Yishu: Journal <strong>of</strong> Contemporary Chinese Art,<br />
Vol.2, No.1, March 2003, p.27-46.<br />
Lui, Charles, ‘Taiwan: From Within the Mist’, in Yishu. Journal <strong>of</strong> Contemporary Chinese Art, v. 6(3), September,<br />
2007, pp. 100 – 102.<br />
McIntyre, Sophie, ‘‘A Different Reality’ – ‘Very Fun Park’ ’, Art AsiaPacific, 32, 2001<br />
McIntyre, Sophie, ‘A Space in Time: Reflections on Developments in Contemporary Art in Taiwan’, in Yishu.<br />
Journal <strong>of</strong> Contemporary Chinese Art, v. 7(1), January, 2008, pp. 104 – 107.<br />
McIntyre, Sophie. ‘A View Into Contemporary Art from Taiwan’, Taiwan Contemporary Art Link, 2009<br />
McIntyre, Sophie. Penumbra: Contemporary Art from Taiwan, catalogue essay, Samstag Museum <strong>of</strong> Art, <strong>University</strong> <strong>of</strong><br />
South Australia, 2008.<br />
McIntyre, Sophie. Isl<strong>and</strong>ed: Contemporary Art from New Zeal<strong>and</strong>, Singapore <strong>and</strong> Taiwan. (essays by Sophie McIntyre,<br />
Lee Weng Choy <strong>and</strong> Dr Eugene Tan), ICAS , Singapore, 2005.<br />
McIntyre, Sophie. Penumbra: Contemporary Art from Taiwan, Samstag Museum <strong>of</strong> Art, <strong>University</strong> <strong>of</strong> South<br />
Australia, 2008<br />
McIntyre, Sophie. Still Present: Exploring Psychiatric Institutions in Photography (essays on works by Anne Ferran,<br />
Chang Chien Chi <strong>and</strong> Jono Rotman), Adam Art Gallery, Wellington, 2005.<br />
McIntyre, Sophie. ‘A View Into Contemporary Art from Taiwan’, Taiwan Contemporary Art Link, 2009 (book<br />
still to be published)<br />
Miller, Jeffrey, ‘A Response to Kobayashi Yoshinori's On Taiwan’, in International Journal <strong>of</strong> Comic Art, Vol. 6, No.<br />
1, Spring 2004, pp. 266-280.<br />
Nickerson, Peter, ‘A Poetics <strong>and</strong> Politics <strong>of</strong> Possession: Taiwanese Spirit-Medium Cults <strong>and</strong> Autonomous<br />
Popular Cultural Space’ in positions: east asia cultures critique, volume 9, number 1 (spring 2001), pp. 187-217<br />
Pai, Maggie., ‘A Fusion <strong>of</strong> Art <strong>and</strong> Science’ (<strong>art</strong> project at the Nankang S<strong>of</strong>tware Park, Taipei), in World Sculpture<br />
News, Vol.9, No.3, Summer 2003, p.44-49.<br />
Seiz, Natalie, ‘Mapping Taiwan: Activism in the Work <strong>of</strong> Wu Mali’, in TAASA Review. <strong>The</strong> Journal <strong>of</strong> the Asian Art<br />
Society <strong>of</strong> Australia, v. 17 (1) March, 2008, pp. 14 – 17.<br />
Taipei National <strong>University</strong> <strong>of</strong> the Arts ed., Waves Striking: One Hundred Years <strong>of</strong> Taiwanese Arts, Taipei: Yishujia,<br />
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Vine, Richard, ‘Taiwan’s New Bunker Museum’, Art in America, vol. 93, iss. 6, Jun-Jul, 2005.<br />
Wan-Wen Day, ‘Being P<strong>art</strong> <strong>of</strong> Digital Hollywood: Taiwan's Online Gaming & 3D Animation Industry Under<br />
the New International Division <strong>of</strong> Cultural Labor’, in International Journal <strong>of</strong> Comic Art, Vol. 7, No. 1, Spring<br />
2005, pp. 449-461.<br />
Wang, Chia Chi Jason, ‘From iconoclasm to neo-iconolatry: Taiwan’s <strong>contemporary</strong> <strong>art</strong> in the post-m<strong>art</strong>ial law<br />
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Hsu, B., ‘Fifteen Decades <strong>of</strong> Photography’, Free China Review, October, 1987<br />
Harmon, Tim D., <strong>The</strong> l<strong>and</strong> & the people-the Republic <strong>of</strong> China, Hillsboro, Beyond Words, 1992.<br />
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Chiba Shigeo in “Chûgoku”: Ajia no Nami, Fan Zhongming, Cai Guoqiang, Wang Xinping, Tôkyô, Tôkyô Gallery, 11-<br />
23 March 1991.<br />
Chiba Shigeo in Seisei 15-Nen, Chûgoku Gendai Bijutsu no Ayumi, Tôkyô, Tôkyô Gallery, 29 November to 18<br />
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reprinted as Chapter Three here.<br />
Clark, John, ‘A Tale <strong>of</strong> Two Cities’ [Beijing <strong>and</strong> Taibei], Art Monthly [Australia], no.29, April 1990,<br />
Clark, John, ‘Academicism in Chinese oil painting <strong>and</strong> a nascent avant-garde in the 1980s’, in Duro, Paul, ed.,<br />
Perspectives on Academic Art, Occasional Papers III, <strong>The</strong> Art Association <strong>of</strong> Australia, 1991.<br />
Clark, John, ‘<strong>The</strong> Chinese Artists’ Association’, Art Monthly [UK], May 1986<br />
Clark, John, ‘Art <strong>and</strong> Modernism in China, 1900-97: A review <strong>and</strong> documentation’, Journal <strong>of</strong> the Oriental Society <strong>of</strong><br />
Australia, vol.29, 1997, 50-73.<br />
Clark, John, ‘Beyond Exile’ in Modern Chinese Art Foundation, Provincie Bestuur van Oost-Vla<strong>and</strong>eren, 1999;<br />
Clark, John, ‘Chinese Artists in Paris’, Far Eastern Economic Review, 16.12.1986. [Chinese translation: Meishu<br />
Shichao, Nanjing, no.4, 1987, 31-33].<br />
Clark, John, ‘Histories in the Modern’, in Murray, Graeme; Syme, Meg; Knight, June; eds, Reckoning with the past:<br />
Contemporary Chinese Painting, Edinburgh, Fruitmarket Gallery, 1996, 17-20<br />
Clark, John, ‘La Peinture <strong>modern</strong>e à Taiwan’ [traduit par Pierre-Étienne Will et Anne Cheng], Études Chinoises,<br />
vol.VII, no.1, Printemps, 1988, 29-63,<br />
Clark, John, ‘Liu Guosong’s: <strong>The</strong> Road <strong>of</strong> Chinese Painting’, Journal <strong>of</strong> the Oriental Society <strong>of</strong> Australia, vols 27 &<br />
28, 1995-96, 33-56.<br />
Clark, John, ‘Modernity in Chinese Art, 1850s-1990s: some chronological materials’, Journal <strong>of</strong> the Oriental Society <strong>of</strong><br />
Australia, vol.29, 1997, 74-169, reprinted as Chapter Twenty Three here.<br />
Clark, John, ‘Official Reactions to Modern Art in China since the Beijing Massacre’, Pacific Affairs, September,<br />
1992, 334-352.<br />
Clark, John, ‘Dilemmas <strong>of</strong> (Dis-) attachment in the Chinese Diaspora’, Paroissien, Leon, ed., Visual Arts <strong>and</strong><br />
Culture, Volume 1, P<strong>art</strong> 1 (1998)<br />
Clark, John, ‘Playing with the Stars: Guan Wei’s styles’, essay for Guan Wei Exhibition Catalogue, Dr. Earl Lu<br />
Gallery, La Salle SIA, Singapore, 2000, 6-11.<br />
Clark, John, ‘Pop goes the Maosell’, [Review <strong>of</strong> Mao Goes Pop, see Jose ed., below 1993], Art Monthly Australia,<br />
no.61, July [see also letters by Nicholas Jose & Huangfu Binghui in no.62 <strong>and</strong> Clark in no.63];<br />
Clark, John, ‘Problems <strong>of</strong> Modern Painting beyond Byzantium’, Papers in Far Eastern History, Australian National<br />
<strong>University</strong>, Dep<strong>art</strong>ment <strong>of</strong> Far Eastern History, no.41, March 1990, pages 109-123.<br />
Clark, John, ‘Realism in Revolutionary Chinese Painting’, Journal <strong>of</strong> the Oriental Society <strong>of</strong> Australia, July 1991.<br />
Clark, John, ‘Some sketches <strong>of</strong> Modern Chinese Painting I, Beijing; II, Hong Kong, 1981; previously<br />
unpublished.<br />
Clark, John, ‘Swimming in the Transcultural Sea: John Young’, Asian Art News, vol.4, no.3, May/June, 66-69,<br />
1994..<br />
Clark, John, ‘Taiwanese Painting <strong>and</strong> Europe’, in Shaw, Yu-ming ed., China <strong>and</strong> Europe, Institute <strong>of</strong> International<br />
Affairs, Taibei, 1986, 43-60.<br />
Clark, John, ‘Taiwanese Painting under the Japanese occupation’, Journal <strong>of</strong> Oriental Studies, XXV, no.1, 1987, 63-<br />
105.<br />
Clark, John, ‘<strong>The</strong> Exile’s Return’, Far Eastern Economic Review, June 28, 1984.<br />
Clark, John, 1998 ‘Dilemmas <strong>of</strong> [dis-]attachment in the Chinese diaspora’, Visual Arts + Culture, vol.1, no.1,<br />
1998.<br />
Clark, John, Ed., Chinese Art at the end <strong>of</strong> the Millenium, Beijing & Hong Kong, New Art Media, 2000<br />
Clark, John, Modern Asian Art, <strong>Sydney</strong>, Craftsman House & Honolulu, <strong>University</strong> <strong>of</strong> Hawai’i Press, 1998<br />
Clark, John, Stylistics section from ‘Modernity in Chinese <strong>and</strong> Thai Art <strong>of</strong> the 1980s <strong>and</strong> 1990s: Artists, Works,<br />
Institutions; A preliminary work-in-progress report on the Chinese Case’ delivered in 1999 at the Annual<br />
Conference <strong>of</strong> the Art Association <strong>of</strong> Australia <strong>and</strong> New Zeal<strong>and</strong>.<br />
Clark, John., ‘Alors, la Chine?’, in Artlink: <strong>The</strong> China Phenomenon, Vol. 23, No. 4, 2003, p.68-71.<br />
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Clark, John., ‘Painting in Taiwan after 1945: A Political <strong>and</strong> Economic Background’, in Yishu: Journal <strong>of</strong><br />
Contemporary Chinese Art, Vol. 2, No.1, March 2003, p.62-76.<br />
JAPAN<br />
General Works<br />
Busson, Dominique, L'<strong>art</strong>isanat du Japon, Paris, Hermé, 2004, 123 p.<br />
Collectif, Butô(s), textes réunis et présentés par Colette Aslan et Béatrice Picon-Vallin, Paris, CNRS Editions,<br />
2002, 288 p.<br />
Collectif, Casques, masques et armures des seigneurs de l’ancien Japon /Helmets, Masks <strong>and</strong> armor <strong>of</strong> the Lords <strong>of</strong> old Japan,<br />
éd. bilingue, Paris, Torii links, 2003, 207 p.<br />
Collectif, Estampes japonaises : splendeurs du monde flottant au Gr<strong>and</strong> Palais, Paris, nº hors-série de " Télérama ",<br />
septembre 2004. 98 p.<br />
Collectif, Images du monde flottant. Peintures et estampes japonaises, XVIIe-XVIIIe siècles, Galeries nationales du<br />
Gr<strong>and</strong> Palais, Paris, 27 septembre 2004-3 janvier 2005, commissaire Hélène Bayou, Paris : Réunion des<br />
musées nationaux, 2004, 398 p.<br />
Collectif, Isamu Noguchi Sculptural Design, Maison de la Culture du Japon à Paris, Vitra Design Museum, 2002, 320<br />
p.<br />
Collectif, Kuroda, Paris, Maeght, 2002, 230 p.<br />
Collectif, Les <strong>art</strong>s du Japon à l’époque d’Edo, 1603-1868 : peinture, sculpture, estampe, porcelaine, textile, laque, armure, cat.<br />
d’expo. Musée des beaux-<strong>art</strong>s de Valenciennes, Tournai (Belgique), La Renaissance du livre, 2003, 189 p.<br />
Collectif, Moriyama Daidoh, cat. d’expo. à la Fondation C<strong>art</strong>ier pour l’<strong>art</strong> contemporain, Paris / Arles, Fondation<br />
C<strong>art</strong>ier / Actes Sud, 2003, 160 p.<br />
Collectif, Narahara Ikko : photographies 1954-2000, catalogue d’expo. à la MEP, Paris, Maison européenne de la<br />
photographie, 2003, 211 p.<br />
Collectif, On Kawara. Consciousness, Meditation, Watcher on the Hills, cat. de l’exposition au Consortium et à l’Ikon<br />
Gallery, Dijon / Birmingham, Presses du réel / Ikon, 2002, 334 p.<br />
Collectif, Petites natures ?, installations de Kôichi Kurita et Yoshihiro Suda, texte de Dominique Truco, Paris,<br />
Maison de la culture du Japon, 2004, 16 p.<br />
Collectif, Ukiyo-e : 1730-1830 à Edo, Paris, Galerie Tanakaya, 2004, 84 p.<br />
Collectif, Within shops, éd. trilingue franç.-angl.-néerl<strong>and</strong>ais, Berlin, Feierabend, 2003.<br />
Collectif, Yôkaï — Bestiaire du fantastique japonais, Paris, Maison de la culture du Japon, 2005, 144 p.<br />
Collectif, Yokoo Tadanori, catalogue d’exposition, trad. Dominique Palmé, co-édition Fondation C<strong>art</strong>ier et Actes<br />
Sud, 2006.<br />
Conant, Ellen P (ed.), Challenging Past <strong>and</strong> Present : the metamorphosis <strong>of</strong> nineteenth-century Japanese <strong>art</strong>, Honolulu,<br />
<strong>University</strong> <strong>of</strong> Hawai’i Press, 2006.<br />
Clark, J., ‘Modernity in Japanese Painting’, Art History, vol.9, no.2, June 1986, pp.213-231.<br />
Clark, J., ‘Some Models in Japanese Art History’, <strong>The</strong> Burlington Magazine, vol.CXXVIII, no.1005, December<br />
1986.<br />
Genshoku Gendai Nihon no Bijutsu [Modern Japanese Art in Natural Colours, text in Japanese only but large full<br />
colour plates have a clear English index.<br />
Date, Toshio, Outils japonais : tradition, esprit et usages, Vial, 2004.<br />
Delay, Nelly, Le regard audacieux : Peintres japonais de la tradition non conformiste, Paris, Phébus, 2005.<br />
Delay, Nelly, L’estampe japonaise, Hazan, Paris, 2001, 328 p.<br />
Delay, Nelly, Le jeu de l'éternel et de l'éphémère, Arles, P. Picquier, 2004.<br />
Delay, Nelly, Le monde des estampes japonaises, Paris, Gallimard, collection " Découvertes ", 2004.<br />
Delay, Nelly, Le regard audacieux : Peintres japonais de la tradition non conformiste, Paris, Phébus, 2005.<br />
Deneyer, Marc, Kujoyama, Cognac, Le Temps qu’il fait, 2005, 146 p.<br />
Elisseef, Danielle, Les <strong>art</strong>s de l’Extrême-Orient, Paris, PUF, coll. Que-sais-je ?, n° 77, 2003, 128 p.<br />
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©John Clark, 2010<br />
Fahr-Becker, Gabriele, Les estampes japonaises, Cologne, Taschen, 2003, 208 p.<br />
Fahr-becker, Gabrielle, Hatano, Narami, <strong>and</strong> Frahm, Klauss, Ryokan, Séjour dans le Japon traditionnel, Cologne,<br />
Könemann, 2005, 335 p.<br />
Faure, Robert, L'esprit du geste : philosophie et pratique de la peinture à l'encre de Chine tch'an et sumi-e, Éd. du Chêne,<br />
2004.<br />
Fei Ling <strong>and</strong> Pons, Philippe, Jeunes Japonais : vertige des corps, Paris, Autrement, 2002, 158 p.<br />
Fujieda, Teruo, ‘Jokyo toshide no sakuhin, monoha’, Nihon kingendai bijutsushi jiten, Tokyo Shoten, 2007, p.236.<br />
Ge<strong>of</strong>froy-Schneiter, Bérénice, Arts d’Asie : Inde, Chine, Japon : images et symboles, Paris, Assouline, 2002, 199 p.<br />
Gonse, Louis, L’<strong>art</strong> japonais, Paris, You-Feng, (1ère éd., Paris, A. Quantin, 1883), 2005, 368 p.<br />
Held, Suzanne, Michel RANDOM, Japon : vision des formes et des couleurs, Hermé, vision, Paris, 2001.<br />
Higashiyama, Kaii, Les quatre saisons de Kyôto, Paris, Le Seuil, 2003, 200 p.<br />
Hirasawa, caroline, ‘<strong>The</strong> Inflatable, Collapsible Kingdom <strong>of</strong> Retribution: A Primer on Japanese Hell Imagery <strong>and</strong><br />
Imagination ’ in Monumenta Nipponica 63/1: 1-50, 2008<br />
Kanno, Hachiro, Une promenade au Japon, Paris, Albin Michel, 2003, 64 p.<br />
Kawakita, M., Modern Currents in Japanese Art, Tôkyô, Weatherhill, 1974<br />
Kimura, Rieko, et. Al., Dance in Japanese Modern Art (Catalogue), Tochigi Prefectural Museum <strong>of</strong> Fine Arts, 2003<br />
Kitano, Takeshi, Rencontres du septième <strong>art</strong>, Paris, Arléa, 2003, 96 p.<br />
Koyama-Richard, Brigitte, Kodomo-e. L'estampe japonaise et l'univers des enfants, Paris, Hermann, 2004, 115 p.<br />
Koyama-Richard, Brigitte, La magie des estampes japonaises, Paris, Hermann, 2003, 208p.<br />
Lucken, Michael, L’<strong>art</strong> du Japon au vingtième siècle - pensée, formes, résistances, Paris, Hermann, 2001, 350 p.<br />
Miyagawa, T., Modern Japanese Painting, Tôkyô, Kôdansha, 1967.<br />
Mostow, Josua S.; Bryson, Norman; <strong>and</strong> Graybill, Maribeth, ed., Gender <strong>and</strong> Power in the Japanese Visual Field,<br />
Honolulu: <strong>University</strong> <strong>of</strong> Hawai’i Press, 2003<br />
Munsterberg, H., <strong>The</strong> Art <strong>of</strong> Modern Japan, 1868-1968, New York, Hacker, 1978<br />
O, Kwangsu, ‘Jeom gwa seon i hengwihanun segeseong (<strong>The</strong> globality where lines <strong>and</strong> the dots perform)’, Space<br />
(May, 1978), pp.38-43.<br />
Ringgenberg, Patrick, L'union du ciel et de la terre : la peinture de paysage en Chine et au Japon, Les Deux océans, 2004.<br />
Sale, Giovanni S.J. (dir.), L’<strong>art</strong> des jésuites, Paris, Mengès, 2003, 318 p.<br />
Shimizu, Christine, L’<strong>art</strong> japonais, Paris, Flammarion, coll. Tout l’<strong>art</strong>, 2001, 448 p.<br />
Shimizu, Christine, Le grès japonais, Paris, Massin, 2001, 171 p.<br />
Stanley-Baker Joan, <strong>and</strong> Dider, Jacqueline, L'<strong>art</strong> japonais, Thames & Hudson, 2004.<br />
Takumi, H. et al, Japanische Malerei im Westlichen Stil, Köln, Museum für Orientalische Kunst, 1985.<br />
Wasserman, Michel, Le Sacre de l’hiver - La Neuvième Symphonie de Beethoven, un mythe de la <strong>modern</strong>ité japonaise, Paris,<br />
Les Indes savantes, 2006, 129 p.<br />
Winther-Tamaki, Bert, "Oriental Coefficient: <strong>The</strong> Role <strong>of</strong> China in the Japanization <strong>of</strong> Yôga" in Modern Chinese<br />
Literature & Culture 18:1 (Summer 2006), pp.85-119<br />
Ueda, Makoto. Literary <strong>and</strong> Art <strong>The</strong>ories in Japan. Clevel<strong>and</strong>: Press <strong>of</strong> Western Reserve <strong>University</strong>, 1991.<br />
Yoshida, Kimiko, Marry me: les mariées intangibles, Arles, Actes Sud, 2003, 128 p.<br />
Individual Artists<br />
Ai Mitsu: Ai-Mitsu, Tokyo, <strong>The</strong> Mainichi Newspapers, 2007<br />
Aida, Makoto: ‘Makoto Aida: Donki-hote’ (review), ArtAsiaPacific, no. 47, 2006; Charlesworth, J.J, ‘Makoto Aida:<br />
Man in the Holocene (at IBID Projects)’ (review), Flash Art, vol. XXXVIII, no. 244, October, 2005. ;<br />
Maerkle, Andrew, ‘Makoto Aida. No more War; Save Water; Don’t pollute the Sea’, in ArtAsiaPacific, No.<br />
59, July/August, 2008, pp. 132 - 141.<br />
Akasegawa Genpei: review Robinson, Joel, ‘Genpei Akasegawa at SCAI <strong>The</strong> Bathhouse’, Exhibition Reviews,<br />
Thail<strong>and</strong> Feature, Asian Art News, vol. 12, no. 1, January/February 2002<br />
Aki Kuroda: Collectif, Kuroda, Paris, Maeght, 2002<br />
Ando Tadao: ‘Ando Tadao Special Issue’, <strong>The</strong> Japan Architect, vol 1, no. 1991; Pare, Richard & Ando Tadao, Tadao<br />
Ando: couleurs de lumière, Paris, Phaidon, 2001.<br />
Aoki, Ryoko: (review) ArtAsiaPacific, no. 48, 2006.<br />
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©John Clark, 2010<br />
Aoshima, Chiho: K<strong>and</strong>ell, Susan, ‘Chiho Aoshima: Oops, I Dropped My Dumplings’, Art & Text 73, May-July<br />
2001. ; review, Art in America, vol. 93, iss. 9, Oct 2005.<br />
Arai Shin-ichi: Angramy, Bérénice, Social Tensions: Arai Shin-ichi – Creativity <strong>and</strong> Abject Nationalism’ in Art<br />
Asia Pacific, No. 40 (Spring 2004), pp. 70-73<br />
Araki Nobuyoshi: Sawaragi Noi, ‘Desire <strong>and</strong> Decay’, World Art, no.2, 1995; Silva, Arturo, ‘Tokyo: Nobuyoshi<br />
Araki’, Artforum International, Vol.30, Issue 5, January 1992; Decter, Joshua, ‘Nobuyoshi Araki’, Artforum<br />
International, Vol.36, Issue 6, February 1998. ; Araki Nobuyoshi, Love Hotel, trad. du japonais par Karine<br />
Chesneau, Denoël, 2004, 240 p.; Ammann, Jean-Christophe, Araki Nobuyoshi, Araki Mythologie, Paris,<br />
Images <strong>modern</strong>es, 2001, 252 p.; ‘Nobuyoshi Araki: Self. Life. Death’ (review), ArtAsiaPacific, no. 48, 2006;<br />
Zhang Wubin, ‘Of Love <strong>and</strong> Flowers’, Asian Art News, vol. 15, no. 3, 2005; review, Artforum, vol 44, no. 1,<br />
Sep 2005; Sans, Jérôme, Araki par Araki, Taschen, Berlin, 2001, 600 p.; Sans, Jérôme, Araki, Cologne,<br />
Taschen, 2002, 632 p. ; Okazaki, Manamai, ‘Shashinjinsei: Nobuyoshi Araki’s photo journey’, in Art<br />
Monthly Australia, Issue No.: 211, July 2008, pp. 17 – 19. ; Sans, Jérôme, Araki par Araki, Taschen, Berlin,<br />
2001, 600 p.; Sans, Jérôme, Araki, Cologne, Taschen, 2002, 632 p.<br />
Ban, Chinatsu: review, Art in America, vol. 93, iss. 9, Oct 2005.<br />
Ciezo, Taro: Spring, Justin, ‘New York: Taro Chiezo’, Artforum International, Vol.34, Issue 10, Spring1996<br />
Dumb Type: Hagenberg, R., ‘He<strong>art</strong>beat with a hiccup’, Asian Art News, vol.5, no.2, March/April 1995; Tripp,<br />
Laura, ‘Dumb Type, sm<strong>art</strong> noise’, World Art, no.2, 1996. ; Shikata Yukiko, ‘White out’, Art AsiaPacific, 27,<br />
2000<br />
Emi Kinuko: Emi Kinuko: Retrospective, Momiyama Masao (ed), Kamakura & Hayama: Museum <strong>of</strong> Modern Art,<br />
Kanagawa, 2004.<br />
Enoki, Chu: review, Artforum, vol. 45, Iss. 2, 2006.<br />
Ezawa, Kota: review, Parachute, 121, 2006.<br />
Faret Tachikawa: ‘Art into Function’, Asia-Pacific Sculpture News, vol.1, no.1, Winter, 1995.<br />
Fuji Hiroshi, Nakamura Masato, Nishiyama Minako: Kuroda Raiji, ‘Something strange in the cities - Three Japanese<br />
<strong>art</strong>ists living in Japan’ in Fukuoka Art Museum, 4th Asian Art Show Fukuoka: Realism as an Attitude,<br />
Fukuoka, Fukuoka Art Museum, 1994; Grout, Catherine, ‘Masato Nakamura, What Goes on Between’ in<br />
Parachute, 115 (2004), pp. 72-83<br />
Fujiwara, Yasuko: ‘Yasuko Fujiwara Contemporary Art Factory’ (review), Flash Art, vol. XXXIX, no. 248, May-<br />
June, 2006.<br />
Fukami, Sueharu: Ebony, David, 'Sueharu Fukami at G<strong>art</strong>h Clark', Art in America, Vol. 90, Issue 12, December<br />
2002<br />
Furuhashi, Teiji: Brown, Azby, ‘Tokyo: Teiji Furuhashi’, Artforum International, Vol.34, Issue 1, September 1995. ;<br />
London, Barbara, ‘Teiji Furuhashi: Diamonds are Forever’, ArtAsiaPacific, no. 51, 2007.<br />
Gim Gichang: Joohyun Lee, ‘In Search <strong>of</strong> Identity: <strong>The</strong> Figurative <strong>and</strong> Abstract Works <strong>of</strong> Gim Gichang from<br />
1945 to 1970’, in Orientations, vol. 35, no. 5, June, 2007.<br />
Higashida, Zero: Borum, Jenifer P., ’Reviews: Zero Higashida’, Artforum International, Vol.30, Issue 6, February<br />
1992<br />
Higashionna Yuichi: review, Contemporary Visual Art, 29, 2000<br />
Hirakawa Noritoshi, Kitagawa Yuji, Bulbous Plants: Shikata, Y., ‘Breaking Tokyo’s Taboos’ World Art, November<br />
1993; Lumby, Catherine, ‘Public Image’, World Art, no.1, 1996; Decter, Joshua, ‘Noritoshi Hirakawa’,<br />
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Hiroshi, Kitao: Mami, Kataoka, ed., Under Construction: New Dimensions <strong>of</strong> Asian Art, Tokyo: <strong>The</strong> Japan Foundation<br />
Asia Center, 2002<br />
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Imamura, Shohei: Niogret, Hubert, Shohei Imamura - entretiens et témoignages, Paris, Dreaml<strong>and</strong>, 2002, 215 p.<br />
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Isozaki Arata: ‘Arata Isozaki’, <strong>The</strong> Japan Architect, 1993-4;<br />
Itô, Tôyô : Itô, Tôyô, Tôyô Itô : structures légères, détails, trad. du japonais par Kae Oki et Carine Cheval, Paris,<br />
Moniteur, 2003, 263 p.<br />
Kaihatsu, Yoshiaki: ‘Yoshiaki Kaihatsu: Ceiling’ (review), ArtAsiaPacific, no. 47, 2006.<br />
Kaneko, Jun: Yood, James, ‘Chicago: Jun Kaneko’, Artforum International, Vol.34, Issue 5, January 1996<br />
Kaoru Arima: Vergne, Phillipe, ‘Kaoru Arima’ in Art Asia Pacific, Issue 37 (2003), p. 88<br />
Kaoru, Isima: Griffin, Tim, ‘Billboard: Isima Kaoru, Traffic Accident’, Art & Text 74, Aug.-Oct. 2001<br />
Kasahara, Emiko: Cheung, Stephanie, ‘Seeing Self’, Asian Art News, vol. 15, no. 5, 2005.; Volk, A. in Contemporary<br />
Artists, 5th ed. (Detroit: St. James Press, 2002), 1: 843-844.<br />
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Kitagawara, Atsushi: Brown. Azby, ‘Tokyo: Atsushi Kitagawara’, Artforum International, Vol.30, Issue 4, December<br />
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Kudo, Tesumi: Holmberg, Ryan, ‘Dystopia man: Tesumi Kudo: nuclear angst <strong>and</strong> ecological breakdown are<br />
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1997<br />
Kurokawa Kisho: ‘Kisho Kurokawa’, <strong>The</strong> Japan Architect 1995-2;<br />
Kusama Yayoi: Friis-Hansen, Dana, ‘Yayoi Kusama’s Feminism’, Art & Text 49, September 1994; Love Forever,<br />
Yayoi Kusama, 1958-1968, Los Angeles, Los Angeles County Museum, 1998 [rev: Chattopadhyay,<br />
Charlotte , Asian Art News, vol.8, no.3, May/June 1998]; Munroe, Alex<strong>and</strong>ra, ‘Radical Will: Yayoi<br />
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International, Vol.40, Issue 4, December 2001; Matsui, Midori, ‘Beyond Oedipus: Desiring Production <strong>of</strong><br />
Yayoi Kusama’, Parkett, No. 59, 2000; Panhaus-Bühler, Ursula, ‘Between Heaven <strong>and</strong> E<strong>art</strong>h: This Languid<br />
Weight <strong>of</strong> Life’, Parkett, no.59, 2000; Pollock, Griselda, ‘Three Thoughts <strong>of</strong> Femininity, Creativity <strong>and</strong><br />
Elapsed Time’, Parkett, no.59, 2000. ; Flanagan, Sue Morrow ‘International Bonds’, ArtAsiaPacific, no. 48,<br />
2006; ‘Yayoi Kusama’ (review), ArtAsiaPacific, no. 45, 2005; review, Asian Art News, vol. 15, no. 3, 2005;<br />
Kuresawa Tkaemi, ‘An unwritten biography’, Art AsiaPacific, 30, 2001; King, Natalie, ‘In full bloom’, Art<br />
AsiaPacific, 26, 2000.<br />
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[Kyoto&Osaka]‘Kyoto & Osaka’, <strong>The</strong> Japan Architect ,1993-3;<br />
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Aida, Takefumi, Takefumi Aida, buildings <strong>and</strong> projects, New York, NY : Princeton Architectural Press, c1990.<br />
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Ando, Tadao, ‘From self-enclosed architecture to universality’, <strong>The</strong> Japan Architect, 301, May 1982; Rokko housing<br />
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Shively, Donald, ed., Tradition <strong>and</strong> Modernization in Japanese Culture, Princeton, Princeton <strong>University</strong> Press, 1971.<br />
Silverberg, M, ‘Modern Girl as Militant’, in Berstein, Gail Lee, ed. Recreating Japanese Women, 1600-1945,<br />
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Toyama, S., ‘Reformers <strong>of</strong> the Meiji Restoration <strong>and</strong> the Birth <strong>of</strong> Modern Intellectuals’, Acta Asiatica, 13, 1967<br />
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Yanagita, K., tr Morse, R.S., <strong>The</strong> Legends <strong>of</strong> Tono, Japan Foundation, 1975<br />
Yanagita, K., About our Ancestors: <strong>The</strong> Japanese Family System, UNESCO, Japanese Ministry <strong>of</strong> Education, 1970.<br />
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Yoshimoto, Mitsuhiro, 1961-, ‘<strong>The</strong> <strong>University</strong>, Disciplines, National Identity: Why is <strong>The</strong>re No Film Studies in<br />
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General Texts on Aesthetics:<br />
Hume. Nancy G. Japanese Aesthetics <strong>and</strong> Culture: A Reader. Albany: State <strong>University</strong> <strong>of</strong> New York Press: 1995.<br />
Ishimaru, H. “<strong>The</strong> Aesthetic Principle <strong>of</strong> Shibumi.” Chanoyu, Spring 1971.<br />
Izutsu, T. & T. <strong>The</strong> <strong>The</strong>ory <strong>of</strong> Beauty in the Classical Aesthetics <strong>of</strong> Japan. <strong>The</strong> Hague: M<strong>art</strong>inus Nijh<strong>of</strong>f, 1981.<br />
Iwaki, Ken’ichi. “A Proposal for Contemporary Aesthetics Beyond Traditional Metaphysics.: Research Group<br />
CANONE (ed.), Image <strong>and</strong> Interpretation. Kyoto: Kyoto <strong>University</strong> Press, 1993.<br />
Marra, Michele, Modern Japanese Aresthetics: A Reader, Honolulu, <strong>University</strong> <strong>of</strong> Hawai’i Press, 1999.<br />
Marra, Michael F., A History <strong>of</strong> <strong>modern</strong> Japanese Aesthetics, Honolulu, <strong>University</strong> <strong>of</strong> Hawai’i Press, 2001.<br />
Marra, Michael F., Japanese Hermeneutics: Current Debates on Aesthetics <strong>and</strong> Interpretation, Honolulu, <strong>University</strong> <strong>of</strong><br />
Hawai’i Press, 2002.<br />
Odin, Steve, Artistic Detachment in Japan <strong>and</strong> the West: Psychic Distance in Comparative Aesthetics, Honolulu, <strong>University</strong><br />
<strong>of</strong> Hawai’i Press, 2001.<br />
Sakai, Naoki. “On Romantic Love <strong>and</strong> Military Violence: Transpacific Imperialism <strong>and</strong> U.S.–Japan Complicity.”<br />
Militarized Currents: Toward a Decolonized Future in Asia <strong>and</strong> the Pacific. Ed Setsu Shigematsu <strong>and</strong> Keith L. Camacho.<br />
Minneapolis: U <strong>of</strong> Minnesota P, 2010, 205-221.<br />
Sakai, Naoki. “Subject <strong>and</strong> Substratum: On Japanese Imperial Nationalism.” Cultural Studies 14:3/4 (2000):<br />
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Sakai, Naoki. “On Romantic Love <strong>and</strong> Military Violence: Transpacific Imperialism <strong>and</strong> U.S.–Japan Complicity.”<br />
Militarized Currents: Toward a Decolonized Future in Asia <strong>and</strong> the Pacific. Ed Setsu Shigematsu <strong>and</strong> Keith L.<br />
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Tansman, Alan. <strong>The</strong> Aesthetics <strong>of</strong> Japanese Fascism Berkeley: <strong>University</strong> <strong>of</strong> California Press, 2009.<br />
Tansman, Alan. “Catastrophe, Memory, <strong>and</strong> Narrative: Teaching Japanese <strong>and</strong> Jewish Responses to Twentieth-<br />
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Kuki Shûzô:<br />
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Kuki Shûzô [tr. Maeno Toshiyuki], Structure de l’Iki, Tôkyô, Maison Franco-Japonaise, 1984.<br />
Kuki Shûzô, An essay on Japanese Taste: <strong>The</strong> Structure <strong>of</strong> ‘Iki’ [tr. Clark, J.; ed. Matsui Sakuko & Clark, J.], <strong>Sydney</strong>,<br />
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Kuki Shûzô, <strong>The</strong> structure <strong>of</strong> detachment : the aesthetic vision <strong>of</strong> Kuki Shûzô, (translated by Nara Hiroshi; with essays by<br />
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Kuki <strong>and</strong> His Times:<br />
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Clark, J., ‘Sovereign Domains: <strong>The</strong> Structure <strong>of</strong> Iki’, Japan Forum, vol.10, no.2, 1998.<br />
Dale, Peter N., <strong>The</strong> Myth <strong>of</strong> Japanese Uniqueness, London, Croom Helm, 1986 & London, Routledge, 1990.<br />
Heidegger, M<strong>art</strong>in, ‘A Dialogue on Language’ in his On the Way to Language, [translated by Peter D. Hertz], New<br />
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Kuno Akira, ‘L’esthétique de Shûzô Kuki’ in Tamba Akira, ed., L’Esthétique contemporaine du Japon, Paris, CNRS<br />
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Light, Stephen, Shûzô Kuki <strong>and</strong> Jean-Paul S<strong>art</strong>re: Influence <strong>and</strong> Counter-Influence in the Early History <strong>of</strong> Existential<br />
Phenomenology, Carbondale, South Illinois <strong>University</strong> Press, 1987.<br />
Marra, Michael, Kuki Shuzo: a philospher’s poetry <strong>and</strong> poetics, Honolulu, <strong>University</strong> <strong>of</strong> Hawai’i Press, 2004.<br />
Nakano Hajimu, ‘Kuki Shûzô <strong>and</strong> <strong>The</strong> Structure <strong>of</strong> Iki’ in Rimer, J. Thomas, ed., Culture <strong>and</strong> Identity: Japanese<br />
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Nomura Masaichi, ‘Sulla struttura dell’ “iki” di Kuki Shûzô e il sistema del gusto estetico giapponese’ in<br />
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Pincus, Leslie, ‘In a Labyrinth <strong>of</strong> Western Desire: Kuki Shuzo <strong>and</strong> the discovery <strong>of</strong> Japanese being’, in Miyoshi<br />
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Nishida Kitarô:<br />
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Watsuji Tetsurô:<br />
Befu Harumi, ‘Watsuji Tetsurô’s Ecological Approach : its philosophical foundation’, in Kall<strong>and</strong>, A. & Asquith,<br />
Pamela J., Japanese Images <strong>of</strong> nature: Cultural Perspectives, London, Curzon Press, 1997.<br />
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Sakai Naoki, ‘Return to the West / Return to the West: Watsuji Tetsurô’s anthropology <strong>and</strong> discussions <strong>of</strong><br />
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Watsuji Tetsurô, A Climate, [tr.Bownas, G.], Tôkyô, Japanese Government Printing Bureau, about 1961.<br />
Watsuji Tetsurô, ‘<strong>The</strong> significance <strong>of</strong> ethics as the study <strong>of</strong> man’, [tr. Dilworth David, A.], Monumenta Nipponica,<br />
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Austin, L., Japan: <strong>The</strong> Paradox <strong>of</strong> Progress, New Haven, Yale <strong>University</strong> Press, 1976<br />
Barshay, Andrew, State <strong>and</strong> Intellectual in Imperial Japan: <strong>The</strong> public man in crisis, Berkeley, <strong>University</strong> <strong>of</strong> California<br />
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Berger, Gordon Mark, P<strong>art</strong>ies Out <strong>of</strong> Power in Japan, 1931-1941, Princeton, Princeton <strong>University</strong> Press, 1977.<br />
Burks, A.W., ed. <strong>The</strong> Modernizers, Boulder, Westview, 1985<br />
Crowley, James B., ed., Dilemmas <strong>of</strong> growth in pre-war Japan, Princeton, Princeton <strong>University</strong> Press, 1971<br />
Duus, Peter, P<strong>art</strong>y Rivalry <strong>and</strong> Political Change in Taishô Japan, Cambridge, Harvard <strong>University</strong> Press, 1968.<br />
Duus, Peter, Scheiner, Irwin, ‘Socialism, Liberalism, <strong>and</strong> Marxism, 1901-1931’, in Duus, Peter, ed., <strong>The</strong> Cambridge<br />
History <strong>of</strong> Japan, vol.6, Cambridge, Cambridge <strong>University</strong> Press, 1988.<br />
Duus, Peter, <strong>The</strong> Rise <strong>of</strong> Modern Japan, Boston, Houghton Mifflin, 1976.<br />
Garon, S., Molding Japanese Minds: <strong>The</strong> State <strong>of</strong> Everyday Life, Princeton: Princeton <strong>University</strong> Press, 1997.<br />
Gordon, Andrew, Labor <strong>and</strong> Imperial Democracy in Prewar Japan, Berkeley, <strong>University</strong> <strong>of</strong> California Press, 1991.<br />
Halliday, Jon, A Political History <strong>of</strong> Japanese Capitalism, New York, Pantheon, 1975.<br />
Hane, M., Peasants, Rebels <strong>and</strong> Outcasts: <strong>The</strong> Underside <strong>of</strong> Modern Japan, Pantheon, 1982.<br />
Hoston, G., Marxism <strong>and</strong> the crisis <strong>of</strong> development in prewar Japan, Princeton, Princeton <strong>University</strong> Press, 1986.<br />
Jones, H.J., Live Machines, Vancouver, <strong>University</strong> <strong>of</strong> British Columbia / Croydon, Paul Norbury, 1980<br />
Koschmann, J.V. ed. Authority <strong>and</strong> the Individual in Japan, Tôkyô, <strong>University</strong> <strong>of</strong> Tôkyô Press, 1978.<br />
Mackie, Vera, ‘Liberation <strong>and</strong> light: the language <strong>of</strong> opposition in Imperial Japan’, East Asian History, no.9, June<br />
1995.<br />
Mitchell, R.H., Thought Control in Prewar Japan, Itahca, Cornell <strong>University</strong> Press, 1976.<br />
Myers, R.H. & Peattie, M.R., <strong>The</strong> Japanese Colonial Empire, 1895-1945, Princeton, Princeton <strong>University</strong> Press,<br />
1984.<br />
Najita Tetsuo, Hara Kei in the Politics <strong>of</strong> Compromise, 1905-1915, Cambridge, Harvard <strong>University</strong> Press, 1967.<br />
Najita Tetsuo, ‘Japan’s Industrial Revolution in Historical Perspective’, in Miyoshi Masao & Harootunian, H.D.<br />
eds., Japan in the World, Durham, Duke <strong>University</strong> Press, 1993.<br />
Nolte, Sharon H., Liberalism in Modern Japan: Ishibashi Tanzan <strong>and</strong> His Teachers, 1905-1960, Berkeley, <strong>University</strong> <strong>of</strong><br />
California Press, 1987.<br />
Notehelfer, F.G., Kotoku Shusui: Portrait <strong>of</strong> a Japanese Radical, Cambridge UP, 1971.<br />
Silberman, Bernard S. & Harootunian, Harry D., eds, Japan in Crisis: Essays in Taishô Democracy, Princeton,<br />
Princeton <strong>University</strong> Press, 1974.<br />
Smethurst, Richard J., A Social Basis <strong>of</strong> Japanese Militarism: <strong>The</strong> Army <strong>and</strong> the Rural Community, Berkeley, <strong>University</strong><br />
<strong>of</strong> California Press, 1974.<br />
Tanaka, Stefan, Japan’s Orient: Rendering Pasts into History, Berkeley, <strong>University</strong> <strong>of</strong> California Press, 1993.<br />
Umetani, N., <strong>The</strong> Role <strong>of</strong> Foreign Employees in the Meiji Era in Japan, Tokyo, Institute for the Developing<br />
Economies, 1971.<br />
Yoshioka Hiroshi, ‘Samurai <strong>and</strong> self-colonization in Japan’, in Pieterse, J.N. & Parekh, B. Eds., <strong>The</strong> decolonization<br />
<strong>of</strong> the imagination, London: Zed Books, 1995.<br />
Society<br />
DeVos, G.A., Socialization for Achievement, Berkeley, <strong>University</strong> <strong>of</strong> California Press, 1973<br />
Fuse, A., ‘Japanese Family in Transition’, Japan Foundation Newsletter, XIII, 3, 4, 1984.<br />
Hardacre, Helen, Marketing the Menace Fetus in Japan, <strong>University</strong> <strong>of</strong> California Press, Berkeley, 1997<br />
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Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Lewell John, Modern Japanese Novelists: A Biographical Dictionary,Tôkyô, Kôdansha International, 1993.<br />
See also:<br />
Araki, Nobuyoshi, Love Hotel, trad. du japonais par Karine Chesneau, Denoël, 2004, 240 p.<br />
Copel<strong>and</strong>, Rebecca L., Lost Leaves: Women writers <strong>of</strong> Meiji Japan, <strong>University</strong> <strong>of</strong> Hawai’i Press, Honolulu,<br />
2000<br />
Doak, K.M., Dreams <strong>of</strong> Difference: <strong>The</strong> Japanese Romantic School <strong>and</strong> the crisis <strong>of</strong> Modernity, Berkeley, <strong>University</strong> <strong>of</strong><br />
California Press, 1994.<br />
Dodd, Stephen, ‘Fantasies, Fairies, <strong>and</strong> Electric Dreams: Satô Haruo’s critique <strong>of</strong> Taishô’, Monumenta Nipponica,<br />
vol.49, no.3, 1994.<br />
Fowler, E., <strong>The</strong> Rhetroic <strong>of</strong> Confession: Shishôsetsu in Early Twentieth century Japanese Fiction, Berkeley, <strong>University</strong> <strong>of</strong><br />
California Press, 1988.<br />
Ivy, Marilyn, <strong>The</strong> Discourse <strong>of</strong> Vanishing: Modernity, Phantasm, Japan, Chicago, <strong>University</strong> <strong>of</strong> Chicago Press, 1995.<br />
Jameson, Frederic, ‘Sôseki <strong>and</strong> Western Modernism’, in Miyoshi Masao & Harootunian, H.D. eds., Japan in the<br />
World, Durham, Duke <strong>University</strong> Press, 1993.<br />
Karatani Kôjin, Origins <strong>of</strong> Modern Japanese Literature, Durham, Duke <strong>University</strong> Press, 1993<br />
Karatani, Kôjin, Architecture as Metaphor, Cambridge, MIT Press, 1995.<br />
Lippet, Noriko Misuta, Reality <strong>and</strong> Fiction in Modern Japanese Literature, New York, M.E.Sharpe, 1980.<br />
Maeda Ai, <strong>The</strong> Text <strong>and</strong> the City, Fujii, J.A. (ed), Duke <strong>University</strong> Press, Durham, 2004<br />
Minear, Richard H., ‘Review Symposium: Orientalism <strong>and</strong> the Study <strong>of</strong> Japan’, Journal <strong>of</strong> Asian Studies, XXXIX,<br />
no.3, May 1980<br />
Miyoshi Masao, Accomplices <strong>of</strong> Silence, Berkeley, <strong>University</strong> <strong>of</strong> California Press, 1974.<br />
Monnet, Lisa, Gender <strong>and</strong> Performance <strong>of</strong> Culture: Reading Contempoirary Japanese Fiction, Stanford, Stanford <strong>University</strong><br />
Press, 1997.<br />
Monnet, Lisa, ‘Violence, gender, <strong>and</strong> sexuality,’ Japan Forum, vol.8., no.1, 1996.<br />
Monnet, Lisa, ‘Montage, cinematic subjectivity <strong>and</strong> feminism in Ozaki Midori’s Drifting in the World <strong>of</strong> the<br />
Seventh Sense’, Japan Forum 11:1 1999<br />
Moritmer, Maya. Meting the Sensei: <strong>The</strong> Role <strong>of</strong> Master in Shirakaba Writers. Leiden: Brill, 2000.<br />
Morris, Mark, ‘B<strong>art</strong>hes/Japan: <strong>The</strong> texture <strong>of</strong> Utopia’, in Rix, Alan & Mouer, Ross, ed., Japan’s Impact on the<br />
World, Japanese Studies Association <strong>of</strong> Australia, 1984.<br />
Murphey, Joseph ‘Economies <strong>of</strong> culture: the Taishô bundan dallies with the Movies.’ Japan Forum 11:1 1999<br />
Murayama Masao, Thought <strong>and</strong> Behaviour in Modern Japanese Politics, London, Oxford <strong>University</strong> Press, 1963<br />
Napier, Susan, <strong>The</strong> Logic <strong>of</strong> Inversion: Twentieth Century Japanese Utopias, Oxford, Nissan Occasional Papers, no.15,<br />
1991.<br />
Napier, Susan, <strong>The</strong> fantastic in <strong>modern</strong> Japanese literature : the subversion <strong>of</strong> <strong>modern</strong>ity, London : Routledge, 1996.<br />
Reichert, Jim, In the Company <strong>of</strong> Men: Representations <strong>of</strong> Male-Male Sexuality in Meiji Literature, Stanford<br />
<strong>University</strong> Press, Stanford, 2006.<br />
Reyns-Chikuma, Chris, Images du Japon en France et ailleurs : Entre japonisme et multiculturalisme, Paris, L’Harmattan,<br />
2005, 250 p.<br />
Suzuki Tomi, Narrating the Self: Fictions <strong>of</strong> Japanese Modernity, Palo Alto, Stanford <strong>University</strong> Press, 1996<br />
Tanizaki Jun’ichiro, Childhood Years: a Memoir, trans. by McC<strong>art</strong>hy, P., Kodansha, Tokyo, 1988<br />
Web Resources<br />
General sites:<br />
http://www.aaa.org.hk<br />
http://www.universes-in-universe.de/asia/jpn/english.htm<br />
Specific sites:<br />
http://www.dnp.co.jp/<strong>art</strong>scape/ mostly about <strong>contemporary</strong> <strong>art</strong>, has Japanese <strong>and</strong> English interface <strong>and</strong><br />
sections on "<strong>art</strong> words"<br />
http://www.dnp.co.jp/<strong>art</strong>scape/reference/<strong>art</strong>words/index.html<br />
http://www.dnp.co.jp/museum/nmp/nmp_j/people/people_frame.htmlhttp://www.hiho.ne.jp/gallery/index.htm<br />
people lists<br />
138
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
http://www.kodomo.go.jp/gallery/KODOMO_WEB/introduction/introduction_e.html National Diet<br />
Library, International Library <strong>of</strong> Children’s Literature, visited 14 November 2008.<br />
http://rarebook.ndl.go.jp/ National Diet Library, Rare books database<br />
http://www.mfa.org/ Boston Museum <strong>of</strong> Fine Arts<br />
http://www.musabi.co.jp/list.html Musashino Bijutsu list <strong>of</strong> contributors http://www.momat.go.jp/search/<br />
National Museum <strong>of</strong> Modern Art collection database<br />
http://plaza.bunka.go.jp/index.html new media, need to register (for free)<br />
http://www.mecenat.or.jp/doko/doko.html Association for Corporate Support <strong>of</strong> the Arts (Mecenat) list <strong>of</strong><br />
newspaper <strong>art</strong>icles about <strong>art</strong> but no links directly to the <strong>art</strong>icles.<br />
http://www.asiasociety.org/<strong>art</strong>s/japan_guide/ <strong>The</strong> Asia Society’s introduction to Japanese <strong>art</strong> page.<br />
http://www.<strong>art</strong>-museum.city.yokohama.jp/bizyutu/bizy03.html gallery& museum information.<br />
Modern Japanese Art: Texts by John Clark<br />
‘Modernity in Japanese Painting’, Art History, vol.9, no.2, June 1986, 213-231<br />
‘Yôga in Japan: Model or Exception? Modernity in Japanese <strong>art</strong>, 1850s-1940s: an international comparison’, Art<br />
History, vol.18, no.2, June 1995, 253-285.<br />
‘Modernism <strong>and</strong> Traditional Japanese-style Painting’, Semiotica, 1, 1989, 1-18;<br />
‘Charles Wirgman (1832-1891), recent discoveries <strong>and</strong> re-evaluations’, Proceedings <strong>of</strong> the 1988 Japan Studies<br />
Colloqium, London, <strong>The</strong> British Library, 1990, 261-276.<br />
‘Charles Wirgman’, in Daniels, G., editor, Britain <strong>and</strong> Japan: <strong>The</strong>mes <strong>and</strong> Personalities, 1859-1991, [Japan Society <strong>of</strong><br />
London Centennial Volume], London, Routledge <strong>and</strong> Kegan Paul, <strong>The</strong> Japan Society, 1991, 54-63<br />
Japanese Exchanges in Art [with other contributions by Luke G<strong>art</strong>lan, Colin Osman, <strong>and</strong> John Fraser], <strong>Sydney</strong>,<br />
Power Publications, 2001.<br />
‘Indices <strong>of</strong> Modernity: Changes in Popular Reprographic representation’, in Elise K. Tipton <strong>and</strong> John Clark eds.,<br />
Being Modern in Japan: Culture <strong>and</strong> Society from the 1910s to the 1930s, <strong>Sydney</strong>, Australian Humanities Research<br />
Foundation & Honolulu, <strong>University</strong> <strong>of</strong> Hawai’i Press, 2000, 25-49.<br />
‘Artist <strong>and</strong> the State: <strong>The</strong> Image <strong>of</strong> China in Japanese Painting, 1890s - 1940s’, in Elise Tipton, ed., Society <strong>and</strong> the<br />
State in Interwar Japan, London, Routledge, 1997.<br />
[translation, unpublished] Kumasaka Atsuko, ‘Sanshirô <strong>and</strong> British Painting’, 1985, [Japanese original in Nihon<br />
Joshidagaku Kiyô, no.34, March 1985].<br />
‘Surrealism in Japan’, in Surrealism: Revolution by Night, Lloyd, M., Gott, T., Chapman, C., Australian National<br />
Gallery, Canberra, 204-215.<br />
‘Dilemmas <strong>of</strong> Selfhood: Public <strong>and</strong> Private discourses <strong>of</strong> Japanese Surrealism in the 1930s’, published as ‘Artistic<br />
Subjectivity in the Taisho <strong>and</strong> early Showa avantgarde 1945’, chapter for Monroe, Alex<strong>and</strong>ra, ed., Scream<br />
against the sky: Japanese Art after 1945, New York, Abrams & <strong>The</strong> Guggenheim Museum, 1995, 40-53.<br />
Modern Boy, Modern Girl: Modernity in Japanese Art, 1910-1935 <strong>Sydney</strong>, Art Gallery <strong>of</strong> New South Wales, 1998.<br />
[originator <strong>of</strong> exhibition concept, writer <strong>of</strong> catalogue texts, translator <strong>of</strong> catalogue texts].<br />
“Okakura Tenshin (Kakuzo) <strong>and</strong> Aesthetic Nationalism” in East Asian History, no. 29, June 2005<br />
Surrealism in Japan, [a consolidation <strong>of</strong> the two earlier papers with extensive, previously unpublished materials]<br />
Occasional paper no 28, <strong>of</strong> Japan Studies Centre, Monash Asia Institute, 1997, 80 pages.<br />
‘<strong>The</strong> Art <strong>of</strong> Modern Japan Three Wars’, Bulletin <strong>of</strong> the Japanese Studies Association <strong>of</strong> Australia, vol.11, no.2, August<br />
1991, 38-42.<br />
‘Surface <strong>and</strong> Subterranean monuments in Modern Japanese Art’ for <strong>The</strong> Nature <strong>of</strong> the Masterpiece in Europe <strong>and</strong><br />
Japan, Sainsbury Centre <strong>of</strong> the <strong>University</strong> <strong>of</strong> East Anglia, Norwich, September 1997 [to date only<br />
published in Japanese translation].<br />
[Translation] Akasegawa Genpei’s ‘<strong>The</strong> <strong>art</strong> that destroyed itself’ in Reconstructions, Oxford, Museum <strong>of</strong> Modern<br />
Art, 1985;<br />
[Translation] Iida Yoshikuni, ‘Sense <strong>of</strong> liberation in a black-market age’, [unpublished paper for Reconstructions<br />
Exhibition Symposium, as above].<br />
139
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
‘Obscenity Deleted’, 1979, [unpublished lecture to Institute <strong>of</strong> Contemporary Art on Japanese pornographic<br />
comics].<br />
‘<strong>The</strong> Conditions for Post-Modernity in Japanese Art <strong>of</strong> the 1980s’, shortened version without tables in<br />
Sugimoto, Y., & Arnanson, ed., <strong>The</strong> Post<strong>modern</strong>ity Debate <strong>and</strong> the Japanese Experience, London, Kegan Paul<br />
International, 1994, 154-175;; French translation <strong>of</strong> a shortened form as ‘Modernisme et post<strong>modern</strong>isme<br />
au Japon (Quelques notes à propos des années 1980)’ in Tamba Akira ed., L’Esthétique contemporaine du<br />
Japon, Paris, CNRS Editions, 1997, 139-146.<br />
Review <strong>of</strong> the ‘Ôsaka Triennale’, Art & Asia Pacific, 1996, vol.3, no.1.<br />
‘Modernities, Histories: the Japanese Case’, 1995 [unpublished original <strong>of</strong> following shortened version];<br />
‘Modernités, Histoires; le cas japonais’, [traduit par Lacoste, J.) in Harry Belleter, ed., Face à l’Histoire ,<br />
Paris, Centre Georges Pompidou, 1996,.<br />
‘Asian Modernisms’ [reprinted from Humanities Research, no.2, 1999] in Marg, Spring, vol. 53, no.2, 2002, pp. 102-<br />
111.<br />
‘Art History <strong>and</strong> Alterity: ‘Othering’ as Process in Modern Asian Art Discourses’ in Flores, Patrick D. ed.,<br />
Commemorative Anthology on the retirement <strong>of</strong> Pr<strong>of</strong>essor Alice G. Guillermo, Manila, <strong>University</strong> <strong>of</strong> the Philippines,<br />
scheduled 2003.<br />
Modern Aesthetics:<br />
Cox, R. <strong>The</strong> Zen Arts: An Anthropological Study <strong>of</strong> the Culture <strong>of</strong> Aesthetic Form in Japan. London: Royal Asiatic Society<br />
Books <strong>and</strong> Routledge Curzon, 2003.<br />
McCormick, J. P. “Japan: <strong>The</strong> Mask <strong>and</strong> the Mask-Like Face” in <strong>The</strong> Journal <strong>of</strong> Aesthetic ad Art Criticism, vol. 15,<br />
no. 2, 1956.<br />
‘<strong>The</strong> Structure <strong>of</strong> "Iki" by Kuki Shûzô’, Asian Culture Qu<strong>art</strong>erly, 1984, XII, 1, 45-51.<br />
Review <strong>of</strong> Leslie Pincus, Authenticating Culture in Imperial Japan, Berkeley, <strong>University</strong> <strong>of</strong> California Press, 1996, in<br />
<strong>The</strong> Australian Journal <strong>of</strong> Art, vol.XVI, 1997.<br />
Translator <strong>and</strong> annotator, Kuki Shûzô, An Essay on Japanese Taste - <strong>The</strong> Structure <strong>of</strong> Iki, [with a foreword by<br />
Nakano Hajimu, Co-edited with notes by John Clark <strong>and</strong> by Sakuko Matsui], 168 pages, <strong>Sydney</strong>, Power<br />
Publications, 1997.<br />
‘Sovereign Domains: <strong>The</strong> Structure <strong>of</strong> Iki’, Japan Forum, vol.10, no.2, 1998, 197-209<br />
“Okakura Kakuzô [Tenshin] <strong>and</strong> Aesthetic Nationalism’, forthcoming 2003-06-01<br />
Japanese Architecture:<br />
‘Japanese Architecture’, Nuttgens, P., World’s Great Architecture, Paul Hamlyn, London, 1980, 163-179.<br />
Review <strong>of</strong> Chris Fawcett, <strong>The</strong> New Japanese House, London, Granada Publishing, 1980, Architects’ Association<br />
Qu<strong>art</strong>erly, vol.14, no.2, 1982, 83-84.<br />
‘Japanese Houses’, Architects’ Association Qu<strong>art</strong>erly, vol.10, no.4, 1978, 46-47;<br />
Guide Notes:<br />
‘Art Sites in Japan: I Around Ueno’, TAASA Review, vol.3, no.3, September 1994, 5-6. (507-508))<br />
‘Art sites around Japan II’, TAASA Review, 1995. (509-511)<br />
KOREA-REPUBLIC OF KOREA<br />
General Works<br />
Ahn, En-Young, Translatability <strong>and</strong> 20th century Korean <strong>art</strong> (1930s to 1990s), Unpublished PhD thesis, Australian<br />
National <strong>University</strong>, 2003<br />
Ahn [En], Young-An, ‘South Korea, democracy <strong>and</strong> <strong>art</strong>’, in Art Monthly Australia, Issue No.: 207, March 2008,<br />
pp. 29 – 33.<br />
‘Introduction to the Modern Oriental Painting <strong>of</strong> Korea’, Han'guk Kundae Tongyanghwa, Seoul, Hwarang<br />
Namkyong, 1976<br />
140
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Kim, Youngna, “Modern Korean Painting <strong>and</strong> Sculpture” in Clark, John, ed. Modernity in Asian Art, <strong>Sydney</strong>:<br />
Wild Peony Press, 1993, pp. 155-168; “<strong>The</strong> Nude in Modern Korean Painting” in Hitono Katachi, Hitono<br />
Karada (Human Figure in the Visual Arts in Asia), Tokyo: Heibonsham 1994, pp. 305-319 (in Japanese);<br />
“Modern Development” in Korea: Painting, <strong>The</strong> Dictionary <strong>of</strong> Art, vol. 18, London: Macmillam, 1996, pp.<br />
325-327; “Korean Art Today: Contemporary Art <strong>and</strong> Social Change” in Visual Arts <strong>and</strong> Culture, 1998;<br />
“Recent Contemporary Art <strong>and</strong> Social Change in Korea” in Lee, Sang-oak <strong>and</strong> Park, Duk-soo, ed.,<br />
Perspectives on Korea, <strong>Sydney</strong>: Wild Peony Press, 1998, pp. 137-143; “Yi In-song’s Local Colors: Nationalism<br />
or Colonialism” in Oriental Arts, Vol. XLVI, no. 4, 2000, pp. 20-30; “Korean Art <strong>and</strong> Culture at the End <strong>of</strong><br />
the Century” in Oh, Kyong-dan, ed., Korean Briefing 1997-1999, <strong>The</strong> Asia Society, New York: M.E. Sharp,<br />
2000; “Artistic Trends in Korean Painting During the 1930s” in Mayo, Marlene <strong>and</strong> Rimer, Thomas, ed.,<br />
Japan <strong>and</strong> East Asia: War, Occupation, <strong>and</strong> Creativity, Hawaii: <strong>University</strong> <strong>of</strong> Hawaii Press, 2001, 121-146;<br />
“Millet’s Peasant Image: <strong>The</strong> Receptive Phenomenon in Asia” in Seoul Journal <strong>of</strong> Korean Studies, Vol. 14,<br />
2001, pp. 233-262; “Korean Students in Tokyo in the 1930s: <strong>The</strong>ir Activities with Avant Garde Art”<br />
(Japanese Language) in Gendai Geijutsu Genkyu, Tsukuba <strong>University</strong>, Vol. 4, 2001, pp. 3-22; “Let’s Pause<br />
<strong>and</strong> Talk, Let’s Pause <strong>and</strong> Drik” in IIAS Newsletter, Leiden: International Institute for Asian Studies,<br />
August 2000, p. 40; Modernity <strong>and</strong> Identity: Mod/Modern <strong>and</strong> Contemporary Korean Art, Seoul: Hollym Publisher<br />
with Korea Foundation, 2004 (Forthcoming); ‘Postwar Abstract Art <strong>and</strong> Korea’s Informel’ in Woo,<br />
Hyesoo, Postwar Abstract Art in Korea <strong>and</strong> the West: Passion <strong>and</strong> Expression, Seoul: Samsung Museum <strong>of</strong><br />
Modern Art, 2000; Twentieth-Century Korean Art. London: Laurence King Publishing Ltd., 2005.<br />
Lee, Jiyoon, ‘Beyond Korea: Post 1989 Korean Contemporary Art’, in TAASA Review. <strong>The</strong> Journal <strong>of</strong> the Asian<br />
Art Society <strong>of</strong> Australia, v. 17 (1) March, 2008, pp. 9 – 11.<br />
Modern Korea Art Exhibition for the Past 60 years, Seoul, Ministry <strong>of</strong> Information, 1973 [bilingual catalogue]<br />
National Museum <strong>of</strong> Contemporary Art, ed., 100 Masterpieces <strong>of</strong> Modern Korean paintings (1900-1960), Seoul,<br />
National Museum <strong>of</strong> Contemporary Art, 2002.<br />
National Museum <strong>of</strong> Contemporary Art, ed., A glimpse into Korean Modern Painting,[1920s-1960s] Seoul, National<br />
Museum <strong>of</strong> Contemporary Art, 1998<br />
Pak, Syeung-Gil, ed., Modern Korean Painting, Seoul, Korean National Commission for UNESCO, 1971<br />
Roe, Jae-Ryung, <strong>The</strong> representation <strong>of</strong> national identity in Korean Art Exhibitions, 1951-1994, Ph D thesis, New York<br />
<strong>University</strong>, 1995.<br />
Roe, Jae-ryung, Contemporary Korean Art, <strong>Sydney</strong>, Australian Humanities Research Foundation, 2001<br />
Selected Works <strong>of</strong> 100 Modern Korean Sculptors <strong>and</strong> Painters, Seoul, 1965, [series <strong>of</strong> one volume per <strong>art</strong>ist in Korean<br />
with some details in English]<br />
Selz, P.ed., Contemporary Korean Painting, Berkeley, Asian Humanities Press, 1979.<br />
So Chong-Ae, Public Funding for the Arts in the Republic <strong>of</strong> Korea, unpublished MA <strong>The</strong>sis,<br />
Teachers’ College, Columbia <strong>University</strong>, 2000<br />
Woo, Hyesoo, Postwar Abstract Art in Korea <strong>and</strong> the West: Passion <strong>and</strong> Expression, Seoul: Samsung Museum <strong>of</strong><br />
Modern Art, 2000<br />
Yi Kyong-song, ‘Sixty years <strong>of</strong> Modern Korean Art’, <strong>and</strong> accompanying chronology by Yi Ku-yol, English texts<br />
in the Korean catalogue Han'guk Kundae Misul, Seoul, National Museum <strong>of</strong> Modern Art, 1973.<br />
Yi Kyong-song, Modern Korean Painting, Seoul, Korean National Commission for UNESCO, 1971.<br />
Yoon, Jin-sup, A study on Korean <strong>modern</strong>ism: with emphasis on avant-garde movement since 1956,<br />
Unpublished PhD <strong>The</strong>sis, <strong>University</strong> <strong>of</strong> Western <strong>Sydney</strong>, 2000<br />
Individual Artists<br />
Bae Bien-U: Chung, Shinyoung, ‘Where I Work – Bae Bien-U’, ArtAsiaPacific, no. 48, 2006.<br />
Bahc Yiso: Moon, Iris, ‘Divine Comedy: A Retrospective <strong>of</strong> Bahc Yiso’ (exhibition review), ArtAsiaPacific, no. 50,<br />
2006.<br />
Blupers (Rhie Joongjae): Kuroda, Raiji, ed., <strong>The</strong> First Fukuoka Asian Art Triennale, Fukuoka: Fukuoka Asian Art<br />
Museum, 1999<br />
Cho Duck-hyun: Fouser, Robert J., ‘Duck-Hyun Cho <strong>and</strong> the <strong>art</strong> <strong>of</strong> “Memories”‘, Third Text, no.33, Winter 1995-<br />
1996. ; Fouser, Robert J., ‘<strong>The</strong>rapy <strong>and</strong> Psyche’, Asian Art News, vol.6, no.2, Mar/Apr 1996.<br />
141
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Cho Seihon: Fusco, Cass<strong>and</strong>ra, ‘A Dialogue Of People And Place’, in Asian Art News, v. 17(3), May/June, 2007,<br />
pp. 50 – 56.<br />
Choi Hyunsoo: Seo Sounjpu, ‘Choi Hyunsoo, a Korean <strong>art</strong>ist in Paris’, Art AsiaPacific, vol.3, no.3, 1996.<br />
Choi Jeong-hwa: Lee, James B., ‘ Flim-flam <strong>and</strong> fabrication: an interview with Korean <strong>art</strong>ist Choi Jeong-hwa’, Art<br />
AsiaPacific, vol.3, no.3, 1996 Asia Pacific, vol.3, no.4, 1996.<br />
Choi Jian: Kuroda, Raiji, ed., <strong>The</strong> First Fukuoka Asian Art Triennale, Fukuoka: Fukuoka Asian Art Museum, 1999<br />
Choi, Sunah: review, Flash Art, vol. XXXVIII, no. 244, October, 2005.<br />
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Sueen Noh, ‘”To Be or Not to Be, That Is the Question”: What Is Happening with Korean Comics, (Mauhwa),<br />
Today?’, in International Journal <strong>of</strong> Comic Art, vol. 9, no. 2, Fall, 2007, pp. 454 – 477.<br />
Sueen Noh, ‘<strong>The</strong> Gendered Comics Market in Korea: An Overview <strong>of</strong> Korean Girls' Comics, Soonjung<br />
Manhwa’, in International Journal <strong>of</strong> Comic Art, Vol. 6, No. 1, Spring 2004, pp. 281-298.<br />
Minjung Misul<br />
Choi, Tae-man, ‘Min Joong Art <strong>and</strong> its Testing Ground’, Art & Asia Pacific, vol.1, no.4, 1994.<br />
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©John Clark, 2010<br />
Choi, Tae-man, ‘Min Joong <strong>art</strong> in Korea: Realism as a communication’, in Fukuoka Art Museum, 4th Asian Art<br />
Show Fukuoka: Realism as an Attitude, Fukuoka, Fukuoka Art Museum, 1994.<br />
KOREA-DEMOCRATIC PEOPLE’S REPUBLIC OF KOREA<br />
<strong>The</strong> 6 th Asia-Pacific Triennial <strong>of</strong> Contemporary Art. Brisbane: Queensl<strong>and</strong> Gallery <strong>of</strong> Art, 2009)<br />
Jana, Reena, ‘Art Under Control in North Korea’ (book review), Artforum (Bookforum), vol 12, iss. 2, June-Sep<br />
2005.<br />
Joren, G., ‘Artists at Work’, Asian Art News, 2, no.3, May-June 1992.<br />
Korean Paintings <strong>of</strong> Today, Pyongyang, Foreign Languages Publishing House, 1980.<br />
<strong>The</strong> Korean Art Gallery, Pyongyang, Foreign Languages Publishing House, 1985.<br />
Portal, Jane, Art Under Control in North Korea, Reaktion Books, London, 2005.<br />
Suh Sung-rok, ‘<strong>The</strong> Battlefield is just in front <strong>of</strong> us’, Art AsiaPacific, vol.3, no.3, 1996.<br />
SOUTHEAST ASIA<br />
Southeast Asian Modern Art in General<br />
[ARX5], Farnay, Rachel, ‘Minds <strong>of</strong> their own’ Asian Art News, vol.9, no.1, 1999<br />
[ASEAN, 1989] First ASEAN Symposium on Aesthetics, Kuala Lumpur, Balai Seni Lukis Negara, 1989.<br />
[ASEAN, 1997 ] ‘ASEAN <strong>art</strong> awards 1996’, Asian Art News, vol.7, no.1, Jan/Feb 1997.<br />
[ASEAN, 1998 ] Farnay, Rachel, ‘An ASEAN success story’, Asian Art News, vol. 8, no.1, January/February<br />
1998; Galligan, Gregory, ‘<strong>The</strong> ASEAN Art Awards’, Art AsiaPacific,no.18, 1998.<br />
[ASEAN, 1999] Jay, Sian E., ‘<strong>The</strong> Face <strong>of</strong> the new’, [Philip Morris ASEAN Art Awards], Asian Art News, vol.9,<br />
no.1, 1999; Sian E, Jay, ‘<strong>The</strong> Face <strong>of</strong> the New’, [ASEAN Art Awards] Asian Art News, 9:1 1999.<br />
[ASEAN, 2001] Jay, Sian E., ‘An ASEAN looking-glass’, Asian Art News, vol.11, no.1, 2001; Lenzi, Iola,<br />
‘Twelve ASEAN <strong>art</strong>ists’, Art AsiaPacific, 31, 2001<br />
[ASEAN, 2002] ‘An engaging vision’[8 th Philip Morris ASEAN Art Awards], Asian Art News, vol.12, no.4, 2002;<br />
Jay, Sian E., ‘Sixth Sense’ [Philip Morris ASEAN Art Awards], Asian Art News, vol.10, no.1, 2002<br />
Clark, J, ‘Modern Art in S.E.Asia’, Special Null Issue <strong>of</strong> Art & Asia Pacific, 1993.<br />
‘Contemporary Arts <strong>of</strong> the Region: South East Asia <strong>and</strong> Australia’, ARTLINK, vol.13, nos 3 & 4, Nov/Mar,<br />
1993/1994. [Thail<strong>and</strong>, Indonesia, Vietnam, the Philippines, Malaysia, Singapore, Australia].<br />
Asian Modernism: Diverse Development in Indonesia, the Philippines <strong>and</strong> Thail<strong>and</strong>, Tokyo, Asia Center, 1995, [reviews by<br />
Clark John, Asian Art News, vol.6, no.1, Jan/Feb 1996; Shimizu Toshio, ‘Asian Modernism’, Art & Asia-<br />
Pacific, vol.3, no.1, 1996].<br />
Baumgärtel, Tilman. ‘Generation Piracy: media piracy <strong>and</strong> independent film in Southeast Asia’, in Ingawanij <strong>and</strong><br />
Mackay (forthcoming volume).<br />
Cooke, Anna Zeitlin, ‘<strong>The</strong> weavings <strong>of</strong> war: textiles from Vietnam, Laos, <strong>and</strong> Thail<strong>and</strong>’, Art AsiaPacific, no.18,<br />
1998.<br />
Dissanayake, Wimal.‘Cinema, Nation, <strong>and</strong> Culture in Southeast Asia: Enframing a Relationship’, East-West Film<br />
Journal 6.2 (July, 1992): 1-22.<br />
Eagle, M., ‘Shadows cast by others’ [Adelaide Festival Installations], Art Monthly Australia, no.68, April 1994.<br />
Ewington, Julie, ‘Between the cracks: Art <strong>and</strong> method in SE Asia’, Art AsiaPacific, vol.3, no.4, 1996.<br />
Fairley, G. “Rech<strong>art</strong>ed Waters: <strong>The</strong> Mekong Project” in Asian Art News, Vol. 20 No. 1 (Jan/Feb 2010).<br />
Findlay, Ian., ‘Underst<strong>and</strong>ing Contemporary Southeast Asian Art by Marjorie Chu’ (book review), in Asian Art<br />
News, Vol. 14, No. 2, March/April 2004, p.99-100.<br />
Furuichi, Y., Ushiroshoji, M., Sakonaka, Y., New Art from South-East Asia 1992, [bilingual], Tokyo, <strong>The</strong> Japan<br />
Foundation, 1992.<br />
147
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©John Clark, 2010<br />
Gaweewong, Jeab Gridthiya., ‘Towards a New Paradigm: Contemporary Art from Thail<strong>and</strong> <strong>and</strong> Nan Yang’, in<br />
Yishu: Journal <strong>of</strong> Contemporary Chinese Art, Vol. 3, No. 1, March 2004, p.104-107.<br />
Gaweewong, Gridthiya <strong>and</strong> David Teh, excerpts from Unreal Asia catalogue essay <strong>and</strong> programme<br />
introductions, especially ‘Unreal Asia’ <strong>and</strong> ‘Present Tense: State Fictions, Fictional States’, pp81-85, in<br />
Festivalkatalog 55. Internationale Kurzfilmtage Oberhausen (catalogue <strong>of</strong> the 55 th International Short<br />
Film Festival Oberhausen, 2009).<br />
Hajdu, Sue. “Missing the Mekong” in Broadsheet Vol. 38.4, December 2009.<br />
Kalpagam, U. ‘Counterfeit Consciousness <strong>and</strong> the Joy <strong>of</strong> Ab<strong>and</strong>onment’ in SARAI Reader 07: Frontiers (Delhi:<br />
Centre for the Study <strong>of</strong> Developing Societies, 2007). Available online via:<br />
http://www.sarai.net/publications/readersJay, Sean E., ‘In search <strong>of</strong> the future’, other [Nokia awards],<br />
Asian Art News, vol.10, no.2, 2000<br />
Jay, Sian E, ‘Other Voices, Other Views’, Asian Art News, 9:1 1999.<br />
Jay, Sian E, ‘A Winning Way’, Asian Art News, 9:1 1999.<br />
Jones, Jason, ‚Could Installation Art be the New Mdium for Southeast Asia’ in Explorations in Southeast Asian<br />
Studies (A Journal <strong>of</strong> the Southeast Asian Studies Student Association), Vol. 4 (Fall 2000)<br />
Little, Andrews, ‘Mekong Art & Culture Project: Bridging the regional divide’, in ArtAsiaPacific, No. 59,<br />
July/August, 2008, pp. 86 - 87.<br />
Löschmann, Jörg, curaor, Identities versus Globalization?, Chiang Mai, Heinrich Böll Foundation, 2003<br />
Paras-Perez, Rod, ‘South-East Asian Sense <strong>and</strong> Sensibility: <strong>The</strong> well-filled space, the well-cut silence’, Art &<br />
Asia Pacific, vol.1, no.4, 1994.<br />
Poshyan<strong>and</strong>a, Apinan, ‘“Con Art” seen from the edge: the meaning <strong>of</strong> conceptual <strong>art</strong> in South <strong>and</strong> Southeast<br />
Asia’, in Global Conceptualism: Points <strong>of</strong> origin, 1950s –1980s, New York, Queens Museum <strong>of</strong> Art, 1999<br />
Sabapathy, T.K., et al, Modernity <strong>and</strong> Beyond: <strong>The</strong>mes in South East Asian Art, Singapore, Singapore Art Museum,<br />
1995.<br />
Sabapathy, T.K., ed., Past, Present, Beyond: Re-nascence <strong>of</strong> an Art Collection, Singapore: South <strong>and</strong> Souteast Asian<br />
Asian Gallery/ NUS Museums, 2002<br />
Seminar on Fine Arts <strong>of</strong> Southeast Asia, Bangkok; Association <strong>of</strong> Southeast Asian Institutions <strong>of</strong> Higher Learning,<br />
1964.<br />
Tatehata Akira, ‘Crossroads <strong>of</strong> Culture: A survey <strong>of</strong> recent Southeast Asian <strong>art</strong> in Tokyo’, Art AsiaPacific, no.17,<br />
1998.<br />
Torres, Emmanuel, ‘<strong>The</strong> Coupling <strong>of</strong> Word <strong>and</strong> Image’, Asian Art News, 9:1 1999.<br />
Turner, Caroline, ‘Asian Modernisms: <strong>The</strong> Birth <strong>of</strong> the <strong>modern</strong> in Southeast Asia’, Art AsiaPacific, no.17, 1998.<br />
Ushiroshôji Masahiro et al, <strong>The</strong> Birth <strong>of</strong> Modern Art in Southeast Asia: Artists <strong>and</strong> Movements, Fukuoka, Fukuoka Art<br />
Museum, 1997.<br />
Zhuang Wubin, ‘Spotlight on Another Asia’ (review), Asian Art News, vol. 17, no. 1, Jan-Feb 2007<br />
Zhuang Wubin <strong>and</strong> Wim Melis, ‘Between Art <strong>and</strong> Documentary’, Asian Art News, vol. 17, no. 1, Jan-Feb 2007<br />
Southeast Asian History: selected<br />
Anderson, Benedict, <strong>The</strong> Spectre <strong>of</strong> Comparisons: Nationalism, Southeast Asia <strong>and</strong> the World, London, Verso, 1998.<br />
C<strong>art</strong>er Bentley, G. “Indigenous States in Southeast Asia.” Annual Review <strong>of</strong> Anthropology 15, 1986.<br />
Coedès, George. <strong>The</strong> Indianized States <strong>of</strong> Southeast Asia. Honolulu: East-West Center Press, 1968.<br />
Hall, G.G.E., A History <strong>of</strong> South-East Asia, London, Macmillan, 1955, 1994<br />
Heine-Geldern, R., Concepts <strong>of</strong> State <strong>and</strong> Kingship in Southeast Asia, Ithaca, Data Paper no.18, South East Asia<br />
Program, Cornell <strong>University</strong>, 1956.<br />
Lagirarde F. <strong>and</strong> Paritta Chalermpow Koanantakool eds. Buddhist Legacies in Mainl<strong>and</strong> Southeast Asia: Mentalities,<br />
Interpretations <strong>and</strong> Practices. Paris: École Française d’Extrême-Orient Études Thématiques, 2006.<br />
Trankell, Ing-Britt <strong>and</strong> Summers, ed., Laura, Facets <strong>of</strong> Power <strong>and</strong> Its Limitations: Political Culture in Southeast Asia,<br />
Uppsala Press, 1998<br />
Yao, Souchou, House <strong>of</strong> Glass: Culture, Modernity, <strong>and</strong> the State in Southeast Asia, Singapore: <strong>The</strong> Insitute <strong>of</strong><br />
Southeast Asian Studies, 2001<br />
148
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
MYANMAR [BURMA]<br />
General Works<br />
Ahrens, H. <strong>and</strong> Kunlabutr, P. Burmese Court Textiles. Bankok: Hans Peter Ahrens, 2004.<br />
Baily, J. T., ‘Some Burmese Paintings <strong>of</strong> the 17 th Century <strong>and</strong> Later – P<strong>art</strong> 3: Nineteenth Century Murals at<br />
Taung Thaman Kyang tawgyi’, in Artibus Asiae, 1979.<br />
Dautremer, J. Burma under British Rule, London: T. Fisher Unwin, 1913.<br />
Daw Ohn Kyi, ‘M<strong>and</strong>alay Under the British, 1886 – 1895’, in Myanmar Historical Research Jounral, no. 4,<br />
December, 1999.<br />
Falconer, J. et al. Myanmar Style. London: Thames <strong>and</strong> Hudson, 1963.<br />
Furnivall, J. Colonial Policy <strong>and</strong> Practice. New York: New York <strong>University</strong> Press, 1948.<br />
Findlay, Ian, ‘Notes From Yangon’, Asian Art News, vol. 12, no. 2, March/April 2002<br />
Jay, Sian E., ‘Changing times’, Asian Art News, vo.11, no.4, 2001<br />
Jill Sheng Mei ‘In a World <strong>of</strong> <strong>The</strong>ir Own’, Asian Art News, July/Aug 1998 [Aung Myint, M.P.P. Yei Myint,<br />
Myanmar]<br />
Koh, Jay, ‘Art Activism <strong>and</strong> Cross-cultural Projects in Thail<strong>and</strong> <strong>and</strong> Myanmar: <strong>The</strong> Need to Open up Structures<br />
for Engagement’, Focas (Forum on Contemporary Art & Society), no.2, July 2001<br />
Lee, Terry & Win, Min Chan, ‘Contemporary Art Scene <strong>of</strong> Myanmar’, Kuroda, Raiji, ed., <strong>The</strong> First Fukuoka Asian<br />
Art Triennale, Fukuoka: Fukuoka Asian Art Museum, 1999<br />
Lefferts, L. “<strong>The</strong> Bun Phra Wet, Painted Scrolls <strong>of</strong> Northeastern Thail<strong>and</strong> in the Walters Art Museum” in <strong>The</strong><br />
Journal <strong>of</strong> the Walters Art Museum No. 64/65. [also online at www.buddha-images.com/bunphrawet.pdf; last<br />
checked 4 June 2010]<br />
Ma, Thanegi ed. Myanmar Painting. Vietnam: Education Publishing House, 2006.<br />
McGill, Forrest, Chirapravati, M.L. Pattaratorn <strong>and</strong> Kazuhiro Tsuruta. Emerald Cities: Arts <strong>of</strong> Siam <strong>and</strong> Burma 1775<br />
– 1950. San Francisco: Asian Art Museum, 2009.<br />
Min Naing U, U Ba Nyan i bawa, Rangoon [?], 1974.<br />
O’Connor, V.C. Scott. <strong>The</strong> Silken East. London: Hutchinson & Co., 1904.<br />
O’Connor, V.C. Scott M<strong>and</strong>alay <strong>and</strong> Other Cities <strong>of</strong> the Past in Burma. London: Hutchinson & Co., 1907.<br />
Pearn, B. A History <strong>of</strong> Rangoon. Rangoon: American Baptist Mission Press, 1939.<br />
Pettifor, Steven, ‘Contemporary Art from Myanmar at Dhara Dhevi Gallery’ (review), Asian Art News, vol. 16,<br />
no. 4, 2006.<br />
Ranard, A. Burmese Painting. Silkworm Books, 2009.<br />
Scott, J. <strong>The</strong> Burman. New York: W.W. Norton, 1963.<br />
Sengpan Pannywamsa. “Recital <strong>of</strong> the Tham Vesssantara-jataka: A Social Phenomenon in Kengtung, Eastern<br />
Shan State, Myanmar” in Contemporary Buddhism 10:1.<br />
Singer. N. Burmah. United Kingdom: Kiscadale, 1993.<br />
Smith, J. Ten Years in Burma. Cincinnati: Jennings & Pye, 1902.<br />
Stadner, Donald M. ed. <strong>The</strong> Art Of Burma: New Studies. Mumbai: Marg Publications <strong>and</strong> National Centre for the<br />
Performing Arts, 1999.<br />
Wong, Hong Suen. “Picturing Burma: Felice Beato’s Photographs <strong>of</strong> Burma 1886 – 1905” in History <strong>of</strong><br />
Photography Vol. 32 No. 1.<br />
Individual Artists<br />
Aung Myint: Ma Thanegi, ‘ A bridge to the future’, Asian Art News, vol.12, no.4, 2002<br />
Aye Ko: Ma, <strong>The</strong>negi,’Breaking Free’, On Aye Ko, Asian Art News, vol. 12, no. 5, September/October, 2002<br />
M.P.P. Yei Myint: Kuroda, Raiji, ed., <strong>The</strong> First Fukuoka Asian Art Triennale, Fukuoka: Fukuoka Asian Art Museum,<br />
1999<br />
Moe, Soe: review, Asian Art News, vol. 15, no. 4, 2005.<br />
149
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Muang Di: review, Ma, Thanegi, ‘Muang Di at New Treasure Gallery’, Exhibition Reviews, Asian Art News, vol.<br />
12, no. 2, March/April 2002<br />
Nay Nyo Say: Ma, Thanegi, ‘On Nay Nyo Say, Asian Art News, vol. 12, no. 5, September/October, 2002<br />
Nyein Chan Su: Kuroda, Raiji, ed., <strong>The</strong> First Fukuoka Asian Art Triennale, Fukuoka: Fukuoka Asian Art Museum,<br />
1999<br />
Po Po: Kuroda, Raiji, ed., <strong>The</strong> First Fukuoka Asian Art Triennale, Fukuoka: Fukuoka Asian Art Museum, 1999; Jin,<br />
Matsuura <strong>and</strong> Masae, Kamachi, <strong>The</strong> 1 st Fukuoka Asian Art Triennale 1999 [<strong>The</strong> 5 th Asian Art Show]: Document<br />
<strong>of</strong> Art Exchange Programme, Fukuoka: Fukuoka Asian Art Museum, 1999<br />
Say, Nay Myo: review, Asian Art News, vol. 15, no. 3, 2005.<br />
Soe Moe: Ma Thanegi, ‘A narrative <strong>of</strong> light’, Asian Art News, vol.12, no.4, 2002<br />
U Lun Gwye: Jay, Sian E., ‘In the footsteps <strong>of</strong> the masters’, Asian Art News, vo.11, no.4, 2001<br />
________________________________________________________________________________<br />
LAOS<br />
General Works<br />
Campbell, Bronwyn, ‘Dreams <strong>and</strong> Reality in Laos’, TAASA Review, vol.11, no.3, 2002<br />
Hyles, C., ‘Revolutionary street pictures <strong>of</strong> Laos’, <strong>The</strong> Journal <strong>of</strong> the Asian Arts Society <strong>of</strong> Australia, 2, 3, August<br />
1993.<br />
Phoummachanh, Nousay ‘Modern <strong>art</strong> in Laos’, Fukuoka Art Museum, 4th Asian Art Show Fukuoka: Realism as an<br />
Attitude, Fukuoka, Fukuoka Art Museum, 1994.<br />
Sikounnavong, Kanha, ‘Loa Art: A Continuation from Tradition to Modern Life’, Kuroda, Raiji, ed., <strong>The</strong><br />
First Fukuoka Asian Art Triennale, Fukuoka: Fukuoka Asian Art Museum, 1999<br />
Tanabe, Shigeharu <strong>and</strong> Keyes, Charles F., ed., Cultural Crisis <strong>and</strong> Social Memory: Modernity <strong>and</strong> Identity in Thail<strong>and</strong> <strong>and</strong><br />
Laos, Hawai’i: <strong>University</strong> <strong>of</strong> Hawai’i Press, 2002<br />
Individual Artists<br />
Douangdy Khanthavilay: Kuroda, Raiji, ed., <strong>The</strong> First Fukuoka Asian Art Triennale, Fukuoka: Fukuoka Asian Art<br />
Museum, 1999; Jin, Matsuura <strong>and</strong> Masae, Kamachi, <strong>The</strong> 1 st Fukuoka Asian Art Triennale 1999 [<strong>The</strong> 5 th Asian<br />
Art Show]: Document <strong>of</strong> Art Exchange Programme, Fukuoka: Fukuoka Asian Art Museum, 1999<br />
Kham Tanh Saliankham: Kham Tanh Saliankham: Winds <strong>of</strong> Artists in Residence 2001-, Fukuoka: Fukuoka Asian Art<br />
Museum, 2001<br />
Phouvanh Thammavong: Kuroda, Raiji, ed., <strong>The</strong> First Fukuoka Asian Art Triennale, Fukuoka: Fukuoka Asian Art<br />
Museum, 1999<br />
THAILAND<br />
All personal names are given as habitually romanized by the <strong>art</strong>ist or writer in question in Thai with the sequence<br />
<strong>of</strong> first or personal name first. Romanization is frequently, but not always, a transcription into roman<br />
letters <strong>of</strong> Thai orthography whose pronunciation rules in Thai are unfamiliar in English. For example,<br />
‘Kamol’ is actually pronounced ‘Gamon’ in Thai, ‘Poshyan<strong>and</strong>a’ is pronounced as ‘Posyanorn’ et cetera.<br />
That is, final ‘l’ in transcription is usually pronounced ‘n’, <strong>and</strong> final consonants are <strong>of</strong>ten unpronounced,<br />
only semi-voiced, or otherwise varied. Thai romanizations thus vary considerably <strong>and</strong> usually transliterate<br />
Thai orthography without directly transposing Thai sounds. For convenience, romanization here largely<br />
follows Haas, Mary, Thai-English Students Dictionary, Stanford, Stanford <strong>University</strong> Press, 1964.<br />
150
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
General Works<br />
Brereton, Bonnie Pacala, ‘Images <strong>of</strong> heaven <strong>and</strong> Hell in Thai literature <strong>and</strong> painting’, in Bickner R.J.; Hudak T.J.;<br />
Patcharin Peyasantiwong, Papers from a conference on Thai Studies in Honor <strong>of</strong> William J. Gedney, Ann Arbor,<br />
<strong>University</strong> <strong>of</strong> Michigan Centre <strong>of</strong> South <strong>and</strong> Southeast Asian Studies, 1986.<br />
Brown Robert, “Narrative as Icon: the Jataka Stories in Ancient Indian <strong>and</strong> Southeast Asian architecture’, in<br />
Schober, J., Sacred Biography in the Buddhist Traditions <strong>of</strong> South <strong>and</strong> Southeast Asia, Honolulu, <strong>University</strong> <strong>of</strong><br />
Hawai’i Press, 1997<br />
Cohen, Paul, ‘A Bodhisattva on Horseback: Buddhist Ethics <strong>and</strong> Pragmatism in Northern Thail<strong>and</strong>’, Mankind,<br />
14, 2, 1983<br />
Dehejia, V., ‘On modes <strong>of</strong> visual narration in early Buddhist <strong>art</strong>’, Art Bulletin, 72, 1991, 374-392.<br />
Dehejia, V., ‘Aniconism <strong>and</strong> the multivalence <strong>of</strong> emblems’, Ars Orientalis, 21, 1992, 45-64<br />
Gray, Christine E., ‘Hegemonic Images: language <strong>and</strong> silence in the Royal Thai Polity’, Man¸26, 1991, 43-65.<br />
Gray, Christine E, ‘Royal words <strong>and</strong> their unroyal consequences’, Cultural Anthropology, 7, 4, 1992, 448-463.<br />
Grey, L., A concordance <strong>of</strong> Buddhist birth stories,Oxfrod, <strong>The</strong> Pali Text Society, 1990.<br />
Huntington, Susan E., ‘Early Buddhist <strong>art</strong> <strong>and</strong> the theory <strong>of</strong> Aniconism’, College <strong>art</strong> Journal, 49, 4, 1990, 401-408<br />
Huntington, Susan E., ‘Aniconism <strong>and</strong> the multivalence <strong>of</strong> emblems: another look’, Ars Orientalis, 22, 1992, 111-<br />
156.<br />
K<strong>asian</strong> Tejapira, ‘<strong>The</strong> Post<strong>modern</strong>ization <strong>of</strong> Thainess’ in Proceedings <strong>of</strong> the International Conference on Thai Studies,<br />
<strong>The</strong>me II,: Cultural crisis <strong>and</strong> the Thai capitalist transformation, Chiangmai, October 1996.<br />
Lefferts, L. “<strong>The</strong> Bun Phra Wet, Painted Scrolls <strong>of</strong> Northeastern Thail<strong>and</strong> in the Walters Art Museum” in <strong>The</strong><br />
Journal <strong>of</strong> the Walters Art Museum No. 64/65. [also online at www.buddha-images.com/bunphrawet.pdf; last<br />
checked 4 June 2010]<br />
McGill, Forrest, Chirapravati, M.L. Pattaratorn <strong>and</strong> Kazuhiro Tsuruta. Emerald Cities: Arts <strong>of</strong> Siam <strong>and</strong> Burma 1775<br />
– 1950. San Francisco: Asian Art Museum, 2009.<br />
Marcus George E.; Myers, Fred R., eds., Traffic in Art <strong>and</strong> Culture: refiguring <strong>art</strong> <strong>and</strong> anthropology, Berkeley, <strong>University</strong><br />
<strong>of</strong> California Press, 1995.<br />
Schober, J., ‘<strong>The</strong> <strong>The</strong>ravada Buddhist engagement with <strong>modern</strong>ity in Southeast Asia; whither the social<br />
paradigm <strong>of</strong> the galactic polity?’ Journal <strong>of</strong> Sutheast<strong>asian</strong> Studies,2, 1995, 307-325.<br />
Historical Context<br />
Before 1780s<br />
Facts <strong>and</strong> Fantasies [written records <strong>and</strong> book illustrations from the Zoomers <strong>and</strong> Kramers collections], Bangkok,<br />
National Library <strong>of</strong> Thail<strong>and</strong>, 2006<br />
Skilling, P.‘For merit <strong>and</strong> Nirvana: <strong>The</strong> production <strong>of</strong> <strong>art</strong> in the Bangkok Period.’ Arts Asiatiques 62: 76–94.<br />
1780s to 1910s [Rama I to Rama V]<br />
Abeel, David, Journal <strong>of</strong> a residence in China <strong>and</strong> the neighbouring countries from 1830 to 1833, London: Nisbet, 1835.<br />
Akin Rabibhadana, M.R., <strong>The</strong> organization <strong>of</strong> Thai Society in the early Bangkok Period, 1782-1873, [1969], republished<br />
Bangkok: Wisdom <strong>of</strong> the L<strong>and</strong> Foundation & Thai Association <strong>of</strong> Qualitative Researchers¸1996.<br />
Bowring, J., <strong>The</strong> Kingdom <strong>and</strong> People <strong>of</strong> Siam [1857], reprint with foreword by Wyatt, D., Kuala Lumpur, Oxford<br />
<strong>University</strong> Press, 1969.<br />
Chomchai, Prachoom, Chulalongkorn the Great, Tokyo, Centre for East Asian Cultural Studies, 1965.<br />
Griswold, Alex<strong>and</strong>er B., King Mongkut <strong>of</strong> Siam, New York: Asia Society, 1961<br />
L<strong>and</strong>on, K.P., Siam In Transition, London, Oxford <strong>University</strong> Press, 1939.<br />
Leonowens, Anna, <strong>The</strong> English Governess at the Siamese Court (1870) Singapore, Oxford <strong>University</strong> Press, 1989.<br />
Lingat, R., ‘History <strong>of</strong> Wat Pavaraniveça’, [Wat Bowonniwet], Journal <strong>of</strong> the Siam Society, vol.26, 1933.<br />
M<strong>of</strong>fat, Abbot Low, Mongkut, the King <strong>of</strong> Siam, Ithaca, Cornell U. P. 1961<br />
Low M<strong>of</strong>fat, A., Mongkut, King <strong>of</strong> Siam, Ithaca, Cornell <strong>University</strong> Press, 1961.<br />
Lysa, Hong, Thail<strong>and</strong> in the Nineteenth Century, Singapore, Institute South East Asian Studies, 1984.<br />
151
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<strong>University</strong> Micr<strong>of</strong>ilms, 1971.<br />
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[PhD, Cornell <strong>University</strong>, 1970], Ann Arbor: <strong>University</strong> Micr<strong>of</strong>ilms, 1971.<br />
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Foundation Asia Center, 2002; Gaweewong, Gridthiya, ‘Apichatpong Weerasethakul’ in Art Asia Pacific,<br />
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Araya Rasdjarmrearnsook, Araya Rasdjarmrearnsook, Solo Exhibition, the National Gallery, Bangkok,<br />
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Bhusit Poodsongkram: Bhusit Poodsongkram & Boonkwang Noncharoen, Impressionist Painting Exhibition,<br />
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Cang Saee Tang [Tang Zhang]: Cang Saee Tang, Thadsanasin Kawiiniphon Cang Saee Tang, Published in Cang Sae<br />
Tang’s funeral at Meeru Wadsuthaaraam, December 2, 2533 (1990); Cang Saee Tang, Visual Art-Poems by<br />
Tang Chang, 2nd ed. Bangkok, Samnakphim Sawaeng Haa, 2533 (1990); Cang Saee Tang, ‘Chiiwid<br />
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Tang, Jaam Chaw, Baang Bod Khong Bodkawii Phoor Kab Maee Phor Sor 2503-2514, Poets in Tang Chang’s Institute<br />
<strong>of</strong> Modern Art, Bangkok, Saaj Song Syk Sid Borrisad Khled Thai Camkad, .2528 (1985); review, Asian Art<br />
News, vol.11, no.5, 2001.<br />
Chakraphan Posyakrit: Tira Intravutr, Chakrabh<strong>and</strong> Posayakrit:Thail<strong>and</strong>’s Renaissance Man, Bangkok, Nuang-Nuang<br />
Books, 1985.<br />
Chalermchai Khosidphipat: ‘Anaakhod Cidtrakam Thai Naj Mum Morng, Chalermchai Khosidphipat’, Phu Cadkaan<br />
Raj Wan, no date.<br />
Chalermchai Khositpipat: Hoskin, John, ‘A Question <strong>of</strong> attitude’, Chalermchai Kositpipat, Panya Vijinthanasarn’,<br />
Art & Asia Pacific, vol.2, no.3, 1995.<br />
Chalood Nimsamer: Silpakorn <strong>University</strong>, ‘Khyy Kab Aachaan Chalood, Sinlapin Haeng Chaad Saa Khaa<br />
Thudsanasin Pracampii 2541’ Wang Tha Phra Art Forum, n.d.; Krom Sinlapaakorn ed. ‘Rabi<strong>and</strong>phab,<br />
Ngaan Sinlapa Khong Chalood Nimsamer’, Sinlapaakorn, Vol 29 No.4, pp.1-27 September 2528 (1985);<br />
Krom Sinlapaakorn ed. ‘Kiaw Kab Ngaan Sinlapa Khong Chalood Nimsamer’, Sinlapaakorn, Vol 29 No.4,<br />
pp.28-42, September 2528 (1985).<br />
Chatchai Puipia: Chatchai Puipia, Siamese Smile, <strong>The</strong> Lotus Hasn’t Bloomed Yet, the Japan Cultural Center, Bangkok,<br />
December, 2-23, 1995; Chatchai Puipia, Paradise Perhaps, A Painting Exhibition, Bangkok <strong>University</strong> Art<br />
Gallery, Bangkok, December 8-20, 1997; Chatchai Puipia, Sa-Loke Fai, Silom Art Space, Bangkok, August<br />
21 - September 26, 1993; Chatchai Puipia & Pinaree Sanpitak, Recent Works, the National Gallery,<br />
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Chavalit Soemprunsuk: Chavalit Soemprunsuk, Exhibition with Rity Jansen Heijtmajer, Bangkkok, Bhirasri Institute <strong>of</strong><br />
Modern Art, 1986. ; Karnjariya Sukrung, ‘Chavalit’s exhibitions display freedom <strong>and</strong> fear’, Bangkok Post,<br />
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Chumporn Apisuk: Apisuk, Chumpon, ‘At Concrete House..’, Art & Asia Pacific, vol.2, no.3, 1995<br />
Damrong Wong-Uparaj; Damrong Wong-Uparaj, Damrong Wong-Uparaj, 30 Years <strong>of</strong> Printmaking,<br />
British Council, Bangkok, October 8-31, 1991; Damrong Wong Uparaj, exhibition <strong>of</strong> paintings <strong>of</strong> the Japan period,<br />
Bangkok, German Cultural Institute, December 1987<br />
Den Warnjing: Den Warnjing, Chiiwid Thai Chonnabod Naj Cidthrakam Thai, Marsi Gallery, Bangkok, April 30 -<br />
May 31, 1999.<br />
Fua Haribhitak: Fua Haribhitak, Exhibition <strong>of</strong> Art by Dr.Fua Haribhitak, the National Gallery, Bangkok, March 2-<br />
31, 1981.<br />
Hem Vejakorn: Cakkaphan Posayakrid, Nithadsakaan Phabwaadwicid, Khru Hem Vejakorn,the Art Center,<br />
Chulalongkorn <strong>University</strong>, March 21 - April 26, 1996<br />
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Jakapan Vilasineekul: Mountain <strong>and</strong> Sea, Bangkok, Chulaongkorn <strong>University</strong> Art Centre, 1997 Review: Pettifor,<br />
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Jiradaj Meemalai, Pornpilai Jongsoontornturakij: As big as it’s small, Bangkok, Tadu, 2002<br />
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Kamin Lertchaiprasert: Kamin Lertchaiprasert, Bangkok, Visual Dhamma Gallery & Dialogue Gallery, 1991;<br />
Kamin Lertchaiprasert, Normal & Nature, Tadu Contemporary Art, Bangkok, August 9 - September 31,<br />
1997; Kamin Lertchaiprasert, Kamin Lertchaiprasert, Problem - Wisdom,Queensl<strong>and</strong> Art Gallery 1993 – 1995\;<br />
Kamin Lertchaiprasert, Nirad Thail<strong>and</strong> in Drawing (to spirit), the Art Gallery <strong>of</strong> Faculty <strong>of</strong> Painting, Sculpture<br />
& Graphic Arts, Silpakorn <strong>University</strong>, November, 2-21, 1992; Kamin Lertchaiprasert, Gaw Ery Gaw Gai,<br />
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Kamol Phaosavasdi: Kamol Phaosavasdi & Montien Boonma, Content Sense,the National Gallery, Bangkok, January<br />
14 - February 3, 1995; Khetsirin Knithichan, ‘A Sensible Approach to Nature’, <strong>The</strong> Nation, November 23,<br />
1995; Kamol Phaosavasdi & Vichoke Mukdamanee, Kamol & Vichoke Contemporary Art Exhibition, the<br />
Faculty <strong>of</strong> Painting Sculpture <strong>and</strong> Printmaking, Silpakorn <strong>University</strong> Bangkok, November 25- December<br />
12, 1992; Pettifor, Steven, ‘Kamol Phaosavasdi at Bangkok <strong>University</strong>, Asian Art News, vol. 13, no. 1,<br />
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Kamol Tassananchalee: Manid Sriiwanidchapuum, ‘Kamol Tassananchalee, dhek di heng wonkkaan silbhakaam<br />
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Kanya Chareonsupkul: Brown, Glen, R., ‘Practical Spirutalism’ Asian Art News, vol.5, no.6, Nov/Dec 1995.<br />
Khien Yimsiri: Fine Arts Dep<strong>art</strong>ment, A Retrospective Art Exhibition <strong>of</strong> Khien Yimsiri, the National Gallery, Bangkok<br />
September 7 - November 7, 2522 (1979); Somporn Rodboon, <strong>The</strong> Life <strong>and</strong> Works <strong>of</strong> Khien Yimsiri, Bangkok,<br />
SITCA Investment & Securities Public Company Limited, 1994<br />
Kosit Juntaratip: Kosit Juntaratip & Navin Rawanchaikul, Substanceaboutnonsubstance, Goethe Institut, Bangkok,<br />
January 11 - February 9, 1995.<br />
Kritsana Chaikitiwattana: Pettifor, Steven., ‘Grim Reality’, in Asian Art News, Vol. 13, No. 3, May/June 2003, p.44-<br />
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Krue-on, Sakarin: Pettifor, Steven, ‘Something Old, Something new’, World Sculpture News, vol. 12, no. 2, 2006;<br />
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Asian Art News, vol. 15, no. 6, 2005.<br />
Limthamrong, Peerapong: review, Asian Art News, vol. 15, no. 4, 2005.<br />
Manit Poo-Aree: Manit Poo-Aree, Contemporary Art Exhibition by Manit Poo-Aree,<strong>The</strong> Gallery <strong>of</strong> Faculty <strong>of</strong> Painting<br />
Sculpture <strong>and</strong> Printmaking, Silpakorn <strong>University</strong>, Bangkok, April 8-30, 1999.<br />
Manit Sriwanichpoom: Knithichan, Khetsirin, ‘City <strong>of</strong> Hell’ ART AsiaPacific, no.13, 1997. ; Pettifor, Steven,<br />
‘Looking glass reality’, Asian Art News, vol.12, no.2, 2002. ; Manit Sriwanichpoom, paradise@the.mall, July -<br />
August, 1998 no place <strong>of</strong> exhibition; Manit Sriwanichpoom, This Bloodless War, Greed, Globalization, <strong>and</strong> the<br />
End <strong>of</strong> Independence, the Roadside Photo Exhibition, November, 1997. Cit no place <strong>of</strong> exhibition; Kuroda,<br />
Raiji, ed., <strong>The</strong> First Fukuoka Asian Art Triennale, Fukuoka: Fukuoka Asian Art Museum, 1999; Pettifor,<br />
Steven, ‘Looking Glass Reality’, On Manit Sriwanichpoon, Asian Art News, vol. 12, no. 2, March/April<br />
2002; Pontzen, Rutger. Manit Sriwanichpoom. Montreuil: les édtions de l'oeil, carnets de la creation, 2002.<br />
Mareeya Dumrongphol: Mami, Kataoka, ed., Under Construction: New Dimensions <strong>of</strong> Asian Art, Tokyo: <strong>The</strong> Japan<br />
Foundation Asia Center, 2002<br />
Michael Shaowanasai: Chua, Ferreolus., ‘Interview with Michael Shaowanasai’, in Vehicle: Contemporary Visual Arts,<br />
No.10, 2003, p.18-21.<br />
Michael Shaowanasai: Mami, Kataoka, ed., Under Construction: New Dimensions <strong>of</strong> Asian Art, Tokyo: <strong>The</strong> Japan<br />
Foundation Asia Center, 2002<br />
Mitree Parahom: Pettifor, Steven ‘Defender <strong>of</strong> Tradition.’ Asian Art News 9:5 September/October 1999<br />
Montien Boonma: Montien Boonma, Anusorn Naj Ngaan Phraradchathaan Phlerng Sob Naj Montien Boonma, Published<br />
in Montien Boonma’s funeral at Meru Wad Chonlaprathaan Rangsarid, Nonthaburi, August 24, 2543<br />
(2000); Montien Boonma, Works, 1990-1993, the National Gallery, Bangkok, February 25, - March 22,<br />
1993. 2 books; Montien Boonma, Arte Amazonas, Goethe Institut, Bangkok, June 4 - 27, 1992; Montien<br />
Boonma & Kamol Phaosavasdi, Content Sense,the National Gallery, Bangkok, January 14 - February 3, 1995;<br />
Montien Boonma, ThaiiahT, the National Gallery, Bangkok, September 7 - October 3, 1990; Richard,<br />
Frances, ‘Montien Boonma’, Artforum International, Vol.36, Issue 6, February 1998; Kuroda, Raiji, ed., <strong>The</strong><br />
First Fukuoka Asian Art Triennale, Fukuoka: Fukuoka Asian Art Museum, 1999; Montien Boonma, Report<br />
at <strong>The</strong> First Fukuoka Asian Art Trienale [<strong>The</strong> 5 th Asian Art Show], Seminar: “Asian Art – Towards the 21 st<br />
Century”, Fukuoka: Fukuoka Asian Art Museum, 1999; Poshyan<strong>and</strong>a, Apinan, Melissa Chiu, <strong>and</strong> Sulak<br />
Sivaraksa. Montien Boonma: Temple <strong>of</strong> the mind. New York: Asia Society <strong>and</strong> Museum, <strong>and</strong> London: Asia Ink,<br />
2003; Desai, Vishakha N., ‘Montien Boonma’ in Art Asia Pacific, Issue 37 (2003), p. 34; He<strong>art</strong>ney, Eleanor,<br />
‘Parallel Lives’ (Montien Boonma at Asia Society <strong>and</strong> Chen Zhen at P.S. 1) in Art Asia Pacific, No. 38 (Fall<br />
2003), pp. 50-52; Koplos, Janet, ‘Mindfull Living’ in Art in America (May 2004), pp. 90-95; Poshyan<strong>and</strong>a,<br />
Apinan, Montien Boonma: Temple <strong>of</strong> the mind, New York & Asia Society & London, Artis, 2003. ;<br />
Kunavichavanont, Sutee <strong>and</strong> Apinan Poshyan<strong>and</strong>a eds., Death Before Dying: <strong>The</strong> Return <strong>of</strong> Montien Booma,<br />
Thail<strong>and</strong> Office <strong>of</strong> Contemporary Art <strong>and</strong> Culture, 2006; Pettifor, Steven, ‘An uncommon spirit’, Asian<br />
Art News, vol.11, no.1, 2001; Wongchirachai, Albert Paravi, ‘ Montien Boonma’, Art & Asia Pacific, vol.2,<br />
no.3, 1995; Poshyan<strong>and</strong>a, Apinan, a tribute, Art AsiaPacific, 31, 2001; Koh, Jay, ‘Art Activism <strong>and</strong> Cross-<br />
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©John Clark, 2010<br />
cultural Projects in Thail<strong>and</strong> <strong>and</strong> Myanmar: <strong>The</strong> Need to Open up Structures for Engagement’, Focas<br />
(Forum on Contemporary Art & Society), no.2, July 2001.<br />
Montri Toesombat: Kuroda, Raiji, ed., <strong>The</strong> First Fukuoka Asian Art Triennale, Fukuoka: Fukuoka Asian Art Museum,<br />
1999Narin Ruttanachun: Narin Ruttanachun, Serenity 1987-1990, Goethe Institute, Bangkok, December 20 -<br />
March 15, 1991; Jin, Matsuura <strong>and</strong> Masae, Kamachi, <strong>The</strong> 1 st Fukuoka Asian Art Triennale 1999 [<strong>The</strong> 5 th Asian<br />
Art Show]: Document <strong>of</strong> Art Exchange Programme, Fukuoka: Fukuoka Asian Art Museum, 1999; Mami,<br />
Kataoka, ed., Under Construction: New Dimensions <strong>of</strong> Asian Art, Tokyo: <strong>The</strong> Japan Foundation Asia Center,<br />
2002; Pettifor, Steven., ‘Dressing Up Nature’, in Asian Art News, Vol. 13, No. 1, January/February 2003,<br />
p.48-51.<br />
Naraphong Charassri: Mietinen, Juuka O. Naraphong Charassri. Montreuil: les édtions de l'oeil, carnets de la<br />
creation, 2002<br />
Natee Utarit: review, Art AsiaPacific, 27, 2000 ; Lenzie, Iola, ‘A Versatile Stylist’, in Asian Art News, v. 17(6),<br />
November/December, 2007, pp. 73 – 77. ; review, Asian Art News, vol.9, no.4, 1999; Pettifor, Steven,<br />
‘Out Of His Own’, On Natee Utarit, Asian Art News, vol. 12, no. 6, November/December, 2002<br />
Navin Production Co., Ltd. / Navin Rawanchaikul: Navin Rawanchaikul & Kosit Juntaratip,<br />
Substanceaboutnonsubstance, Goethe Institut, Bangkok, January 11 - February 9, 1995; Khetsirin Knithichan, ‘<br />
“Substance” is intended to shock’ <strong>The</strong> Nation, January 16, 1995 ; Navin Production Co.,Ltd., Another day in<br />
<strong>Sydney</strong>, Published for the 11th Biennale <strong>of</strong> <strong>Sydney</strong>, Navin Production Co.,Ltd., 1998.<br />
Nawin Rawanchaikul: Pettifor, Steven, ‘An <strong>art</strong> world in a taxi’, Asian Art News, vol.11, no.6, 2001; Farquharson,<br />
Alex. Navin Rawanchaikul. . Montreuil: les édtions de l'oeil, carnets de la creation, 2002<br />
Nipan Oranniwesa: Pettifor, S. “Searching for Balance” in Asian Art News, Vol. 19 No. 6 (Nov/Dec 2009).<br />
Nim Kruasaeng: review, Asian Art News, vol.11, no.5, 2001; Pettifor, Steven, ‘In search harmony’, Asian Art News,<br />
vol.10, no.2, 2000<br />
Nimmalaikaew, Uttaporn: Thompson, Jonathan, ‘Inevitable Cycles’, Asian Art News, vol. 16, no. 4, 2006.<br />
Niti Wattaya: Niti Wattaya, Return <strong>of</strong> the Goldern Era, Dialogue 1991, Bangkok, May 21 - June 11, 1992; Pettifor,<br />
Steven., ‘Tracing Changes’, in Asian Art News, Vol. 14, No. 1, January/February 2004, p.44-47.<br />
Nittaya Ueareeworakul: review, Pettifor, Steven, ‘Nittaya Ueareeworakul at Si-am Art Space’, Exhibition Reviews,<br />
Asian Art News, vol. 12, no. 2, March/April 2002; Pettifor, Steven, ‘A mantra <strong>of</strong> unity’, Asian Art News,<br />
vol.10, no.6, 2000<br />
Paitun Muangsomboon: Fine Arts Dep<strong>art</strong>ment, Paitun Muangsomboon National Artist Retrospective,the National Gallery,<br />
Dec. 25, 1989 – Feb. 15, 1990.<br />
Panya Vijinthanasarn: Panya Vijinthanasarn, Subversion <strong>of</strong> Truth, Tadu Contemporary Art, January 30 - March 8,<br />
1998. ; review: Clark, Asian Art News, vol. 8, no.2, March/April 1998<br />
Paretas Hutangura: Paretas Hutangura, Facing the Alien, Solo Exhibition, January 3-22, 2538 (1995); Manid<br />
Sriiwanidchapuum, Mahadsacan Wan Samniak, Syaam Rath Sabhdaawicaan, p.58, April 11-17, 2542 (1999).<br />
(2<strong>art</strong>icles); Paretas Hutangura, <strong>The</strong> Miracle Days <strong>of</strong> Awakening, Tadu Contemporary Art, Bangkok, February<br />
12 - March 14, 1999.<br />
Phaiboon Suwannakuud: Anusorn Ngaanphraraadchathaan Phlerngsob Phajboon Suwannakuud, March 21, 2526 (1983):<br />
Praajta, ‘Samphad Siriwanna Suwannakuud, Raw Maj Daj Tung Caj Ca Con’, Ploy Kaem Phed, no date;<br />
Phajboon Suwannakuud, ‘Som Porj Dork Lyang’, Laeng Khen Ruam Ryang San, 2nd Bangkok, Samnakphim<br />
Duangkamon, 2518 (1975).<br />
Phaosavasdi, Kamol: Pettifor, Steven, ‘Media Man with a Conscience’, Asian Art News, vol. 15, no. 6, 2005.<br />
Phaptawan Suwannakudt [daughter <strong>of</strong> Phaiboon] C<strong>art</strong>er, Michael & Gezcy, Framing Art, <strong>Sydney</strong>, <strong>University</strong> <strong>of</strong><br />
New South Wales Press, 2005; Pettifor, Steven, ‘Between Tradition <strong>and</strong> Modernity: Phaptawan<br />
Suwannakudt’, Asian Art News, September/October, 2004; Ewington, Julie, ‘Thai Vision, Australian<br />
Painter, in Recent Painting, Numthong Gallery, Bangkok, 2004; Power, Kevin; Flores, Patrick, in El Poder de<br />
Narrar / <strong>The</strong> Power <strong>of</strong> Narration, Espai d’Art Contemporani de Castello, Valenciana, Spain, 2000; Datuin,<br />
Flaudette May, ‘<strong>The</strong> Queen, the Goddess, <strong>and</strong> the mural painter’, Art Asiapacific, no.14, April 1997;<br />
Gampell, Jennifer, ‘Pr<strong>of</strong>ile’, Far Eastern Economic Review, December 21, 1995.<br />
Phunsombatlert, Bundith: Pettifor, Steven, ‘Searching Out Obsessions’, Asian Art News, vol. 17, no. 1, Jan-Feb<br />
2007.<br />
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Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Pichit Tangcharoen, Sumet Pongchinrit, Kongsak Gulgalngdon: Different Angles, Bangkok, Tadu, 2002<br />
Pinaree Sanpitak: Pinaree Sanpitak, Mother & Child, A Dialogue, Silom Art Space, Bangkok October 2-31, 1993;<br />
Pinaree Sanpitak & Chatchai Puipia, Recent Works, the National Gallery, Bangkok, March 3-20, 1991:<br />
Pinaree Sanpitak, <strong>The</strong> Cross, the Egg, the Cow& the Squash, An Exhibition <strong>of</strong> Eclectic Works,Silom Art Space,<br />
Bangkok, November 9 - December 7, 2534 (1991): Pinaree Sanpitak, Womanly Abstract, About Studio/<br />
About Caf / A Reading Room, Bangkok, February 13, - April 17, 1999. ‘Body <strong>and</strong> Soul: Pinaree<br />
Sanpitak <strong>and</strong> the <strong>art</strong> <strong>of</strong> life’, Art AsiaPacific, no.21, 1999; review Art AsiaPacific, 33, 2002. ; Mertens, Brian,<br />
‘Pinaree Sanpitak – Where I Work’, ArtAsiaPacific, no. 51, 2007. ; Lenzi, Iola, ‘Pinaree Sanpitak: Art<br />
through <strong>The</strong> Breast’, in C Arts. Asian Contemporary Art <strong>and</strong> Culture, vol. 02, March/April, 2008, pp. 62 – 67.<br />
; Pettifor, Steve, ‘Making <strong>of</strong>ferings’, Asian Art News, vol.9, no.6, 1999.; Bertr<strong>and</strong>, Valerie. Pinaree Sanpitak.<br />
Montreuil: les édtions de l'oeil, carnets de la creation, 2002<br />
Piwat Nophiran: Jay, Sian, E., ‘All in a smile’, Asian Art News, vol.10, no.1, 2000<br />
Plastic (& other) waste: review, Art AsiaPacific, 22, 1999<br />
Prajad Phongdam: Silpakorn <strong>University</strong>, ‘Chiiwid Lae Phonngaan Sinlapin Haeng Chaad Saa Khaa Thudsanasin<br />
Pracampii 2541’ Wang Tha Phra Art Forum, n.d.<br />
Prasong Luemuang:Prasong Luemuang, Diary <strong>of</strong> a Village, Bangkok, British Council, 1991; Prasong Luemuang,<br />
Naam Thip - Pla Thong, Bangkok, Silom Art Space, 1991; Prasong Luemuang, Likhid Cak Muubaan, British<br />
Council Bangkok, December 9, 1991 - January 9, 1992: Prasong Luemuang, Water Moon,, Goethe Institut,<br />
Bangkok, November 23 - December 15, 1990.<br />
Prasong Padmanuja: Prasong Padmanuja, PRASONG PADMANUJA Retrospective, the National Gallery, Bangkok,<br />
July 14 - August 7, 1986.<br />
Pratuang Emchareon: Phatarawadee Phataranwik, ‘Pratuang & Bunying’, <strong>The</strong> Nation, February 14, 1995.<br />
Prawat Laucharoen: review, Asian Art News, vol.11, no.5, 2001<br />
Rasdjarmrearnsook, Araya: Pettifor, Steven, ‘Embracing Taboos’, Asian Art News, vol. 16, no. 4, 2006.<br />
Rawid Terdwong: Pinanong Paanchyyn, ‘Duaj Huachaj Khong Cidtrakorn’, Krungthep Wanaathid, May 30, 2542<br />
(1999).<br />
Rirkrit Tiravanija: Rirkrit Tiravanija, Museum Studies 4, Rirkrit Tiravanija, Philadephia Museum <strong>of</strong> Art, April 1 -<br />
May 31, 1998; Yang, Alice, ‘<strong>The</strong> <strong>art</strong>ist as chef - Rirkit Tiravanija’, Art & Asia Pacific, vol.3, no.2, 1996;<br />
Rirkrit Tiravanija, Hyde-Antwi, Frank, Supermarket, Zürich, migros museum für gegenw<strong>art</strong>skunst, 1998;<br />
Kuroda, Raiji, ed., <strong>The</strong> First Fukuoka Asian Art Triennale, Fukuoka: Fukuoka Asian Art Museum, 1999;<br />
Galligan, Gregory. “Follow the Screenplay.” ArtAsiaPacific Issue 63 May/Jun 2009.<br />
Sabai, Soi: Teh, David, ‘Soi Sabai’s Temporary Art Connections’, ArtAsiaPacific, no. 50, 2006.<br />
Sakarin Khrue-on: review, Asian Art News, vol.10, no.6, 2000 ; Pettifor, Steven, Harvesting Art, in Asian Art News,<br />
v. 18(2), March/April, 2008, pp. 96 – 99.<br />
Sansern Milindasuta: Sansern Milindasuta, <strong>The</strong> Gardener, Bangkok, National Gallery 1993.<br />
Santi Thongsook: Yvan Cohen, ‘Artistic Witness to a Helter Skelter Urban Nightmare’, <strong>The</strong> Nation, January 5,<br />
1995.<br />
Saravudth Duangjumpa: West, Andrew. ‘Saravudth Duangjumpa: A Contemporary Thai Artist.’ TAASA Review,<br />
7:3 1998<br />
Sermsuk Thiensoonthorn: Sermsuk Thiensoonthorn, Outbound Conversation Between 1993-1998, Bangkok, the National<br />
Gallery, 6-28 February.<br />
Shaowanasai, Michael: Teh, David, ‘Michael Shaowanasai: Good: New Paintings 2549’ (exhibition review),<br />
ArtAsiaPacific, no. 50, 2006.<br />
Silpa Phirasri [Corrado Feroci]: Silpa Bhirasri, Articles from the Catalogues <strong>of</strong> the Annual National Art Exhibition.<br />
Published in Silpa Bhirasri’s funeral at Meero Naa Phlabphla Idsariyaaporn, Wat <strong>The</strong>bsirintharaawaad,<br />
January 17, 2506 (1963): Silpa Bhirasri, Comments <strong>and</strong> Articles on Art, Bangkok, <strong>The</strong> National Association <strong>of</strong><br />
Plastic Arts <strong>of</strong> Thail<strong>and</strong>, 1963; Silpa Bhirasri, Contemporary Art in Thail<strong>and</strong>, Bangkok, the Promotion <strong>and</strong><br />
Public Relations Sub-division, the Fine Arts Dep<strong>art</strong>ment, 2532 (1989); ‘Chabap phiset 100 bi sastracaan<br />
silpa phirasri’, Warasaan Mahawithayalaay Slipakorn, no.12, 2535 (1992); Damrong Wonguparad,<br />
Nithadsakaan Cidthrakam Phabthaj Lae Khormuun Kiawkab Chiiwid Lae Phonngaan Khong Pr<strong>of</strong>essor Silpa Bhirasri,<br />
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Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Suun Thadsanasin Damrong Wonguparad, May 14 - June 30, 2541 (1998); Leesuan, Viboon, 1996, <strong>The</strong> Life<br />
<strong>and</strong> Works <strong>of</strong> Silpa Bhirasri, Bangkok: Sitca Group <strong>of</strong> Companies.<br />
Siriput Pullarp: Siriput Pullarp, <strong>The</strong> Elements <strong>of</strong> Humankind, Ceramic Art Exhibition,Queen Sirikit Naitonal<br />
Convention Center, Bangkok, November 25 - December 15, 1992<br />
Sittichai Pratchayaratikun: Sittichai Pratchayaraticun, Art Exhibition by Sittichai Pratchayaraticun, Design Line Gallery,<br />
Bangkok, January 6 - February 6, 1992.<br />
Somboon Hormienthong: review, Asian Art News, vol.12, no.3, 2002; review, Asian Art News, vol.11, no.6, 2001.<br />
Somboon Hormthienthong: Khetsirin Knithichan, ‘When is a stone not just a stone’, <strong>The</strong> Nation, January 30, 1995:<br />
Somboon Hormthienthong Work 1968-1989, Bangkok, National Gallery, 1989; Somboon<br />
Hormthienthong, Paper Work 1990-1992, Bangkok, Contempus Gallery 1993.<br />
Somchai Hattakitakosol: Somchai Hattakitakosol, Paintings, Bangkok, Monthien Hotel, 1993<br />
Sompop Budtarad: Sompop Budtarad, <strong>The</strong> Art Exhibition by Sompop Budtarad, Phonngaan 2535-2539, October, 4-31,<br />
1996; Sompop Budtarad, Contemporary Art 2528-2535, December 21, 1992- January 30, 1993.<br />
Somporn Rodboon: interview, Asian Art News, vol.9, no.5, 1999<br />
Srithongdee, Thaweesak: review, Asian Art News, vol. 16, no. 5, 2006.<br />
Srivilasa, Vipoo: Pettifor, Steven, ‘Ceramic Narratives’, World Sculpture News, vol. 11, no. 3, 2005.<br />
Sriwan Janehuttakarnkit: Sriwan Janehuttakarnkit, Sriwan Janehuttakarnkit 1993, Dialogue 1991, Bangkok, n.d.<br />
Supoj Sirirajanikorn Supoj Sirirajanikorn, <strong>The</strong> Lost Soul, Studio Xang, February 24 - March 31, 1996.<br />
Surasi Kusolwong, Gaweewong, Gridthiya, ‘Surasi Kusolwong’ in Art Asia Pacific, Issue 37 (2003), p. 48Surasit<br />
Saowakong: John Hoskin, ‘Surasit Saouakong, Recapturing the old Chiang Saen style <strong>of</strong> Buddhist <strong>art</strong>’,<br />
Sawsdee, n.d.; Rooseum, Malmö, ‘Surasi Kosolwon’ (Review) in Frieze, Issue 83 (May 2004), pp. 91-92;<br />
Sans, Jerome. Surasi Kusolwong.. Montreuil: les édtions de l'oeil, carnets de la creation, 2002<br />
Surojana Sethabutr: Pettfior, Steven, ‘Cracking potted traditions’, Asian Art News, vol.12, no.1, 2002<br />
Sutee Kunavichayanont: Sutee Kunavichayanont, Works 1995 - 1998, Tadu Contemporary Art, Bangkok, 1995 –<br />
1998; Sutee Kunavichayanont, Flowing Tide, Silom Art Space, Bangkok, May 7 - June 18, 1994. 2 books;<br />
Sutee Kunavichayanont, Flowing Tide, Allen Street Gallery, <strong>Sydney</strong>, Australia, no date; Sutee<br />
Kunavichayanont, Time <strong>and</strong> Mind, Drawing Installation by Sutee Kunavichayanont, Tin Sheds Gallery, <strong>Sydney</strong>,<br />
Australia, 1993; Sutee Kunavichayanont, Flowing Tide, unpublished MVA Research Paper, <strong>Sydney</strong> College<br />
<strong>of</strong> the Arts, 1993; Somrak Bunlung, ‘ “Phawa Un Naaryynrom” Pherm Chiiwid Chiiwaa Phaan Hun<br />
Silikhon’, **** no data; Pettifor, Steven, ‘For All Times’, On Sutee Kunavichayanont, Thail<strong>and</strong> Feature,<br />
Asian Art News, vol. 12, no. 1, January/February 2002; Rodriguez, Hilda Maria, ‘Sutee Kunavichayanont’<br />
in Art Asia Pacific, Issue 37 (2003), p. 81. ; review Art AsiaPacific, 22, 1999. ; in Kee, Joan, ‘Transience <strong>and</strong><br />
Time’, Art AsiaPacific 28, 2001; Pettifor, Steven, ‘For all times’ Asian Art News, vol.12, no.1, 2002. ; Manit<br />
Sriwanichpoom, Ing Kaanchanawich: History & Memory, Bangkok, Tadu, 2002.<br />
Taweesak Srithongdee: review, Asian Art News, vol.11, no.6, 2001; Lena., ‘Inflated Nostalgia: Solo Exhibition by<br />
Sutee Kunavichayonont’, in Vehicle: Contemporary Visual Arts, No.2, 2001, p.6-8.<br />
Teerawat Kanama: Findlay, Ian, ‘ Teerawat Kanama at Surapon Gallery’, Asiaweek, Exhibition Reviews, Thail<strong>and</strong><br />
Feature, Asian Art News, vol. 12, no. 1, January/February 2002<br />
Thaiwijit Puangkasemsomboon: Thaiwijit Puangkasemsomboon, Recent Paintings, Bangkok, Visual Dhamma Gallery,<br />
1991.<br />
Thammasak Boomcherd: Thammasak Boomcherd, Three Dimension Work, the National Gallery, Bangkok, January 8 -<br />
31, 1999.<br />
Thanom Chakpadee: critic Pettifor, Steven, ‘Studios exposed’, Asian Art News, vol.12, no.1, 2002<br />
Thasnai, Sethaseree: Mami, Kataoka, ed., Under Construction: New Dimensions <strong>of</strong> Asian Art, Tokyo: <strong>The</strong> Japan<br />
Foundation Asia Center, 2002<br />
Thavorn Ko-Udomvit: Phatarawadee Phataranawik, ‘In search <strong>of</strong> new horizons’, <strong>The</strong> Nation, January 9, 1995;<br />
Thavorn Ko-Udomvit, Art Exhibition by Thavorn Ko-Udomvit1989-1990, Seven Seas Gallery. <strong>The</strong> National<br />
Gallery, Fukuda Gallery, 1990; Thavorn Ko-Udomvit, Prints 1990-1992, Gallery APA, Japan; Silom Art<br />
Space, Bangkok, 1992; Thavorn Ko-Udomvit, Thavorn Ko-Udomvit1990-1991, Bangkok, NOB Gallery, n.d.<br />
Thawan Duchanee: Thawan Duchanee, Fukuoka, Fukuoka Art Museum, 1990; <strong>The</strong> Buddhist Art <strong>of</strong> Thawan Ducahnee/<br />
Wenk, K/ Zurich 1981 [ NLA ef741.9593 T368W]; Thawan Duchanee, Thail<strong>and</strong> -- In Quest <strong>of</strong> the Ultimate<br />
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©John Clark, 2010<br />
Sacredness, Fukuoka Art Museum, the Japan Foundation ASEAN Culture Center Gallery, Japan, 1990;<br />
Ciraaporn Carernded & Pinanong Paanchyyn, ‘Man <strong>of</strong> GM, Thawan Duchanee’, GM Magazine, Pak Lung,<br />
October 2535 (1992) unknown word; Joubert, Lindy, ‘Thawan Duchanee’, Artlink, Vol. 13, No.3&4,<br />
November-March 1993/94<br />
Thawii Nanthakhwuang: Thawii Nanthakhwuang, Retrsopective 1949-1990, Bangkok, National Gallery, 1990.<br />
Time <strong>and</strong> Being Group: review, Asian Art News, vol.11, no.1, 2001<br />
Tiravanija, Rikrit: Rirkrit Tiravanija, R. Stange & F. Waldvogel, Soccer Half Time Cookery Book, Verlag fur Moderne<br />
Kunst, Nurnberg, 2006; Birnbaum, Daniel, ‘<strong>The</strong> Lay <strong>of</strong> the L<strong>and</strong>’ Artforum, vol 43, no. 10, 2005; Cornwell-<br />
Smith, Philip, ‘Ramakien Unplugged’, ArtAsiaPacific, no. 51, 2007; Griffin, Tim, ‘Remote Possibilities’,<br />
Artforum, vol 43, no. 10, 2005; Leffingwell, Edward, ‘Rikrit Tirivanija at the Guggenheim’ (review), Art in<br />
America, vol. 93, iss. 10, Nov 2005; Mertens, Brian, ‘Rikrit Tiravani Launches New Bangkok Venture’,<br />
ArtAsiaPacific, no. 51, 2007; review, Parachute, 121, 2006; review, Artforum, vol 43, iss. 6, February 2005;<br />
‘Rikrit Tiravanija – ARC/Musee d’Art Moderne’, (review), Flash Art, vol. XXXVIII, no. 242, May-Jun,<br />
2005.<br />
Titapol Suwankusolsong: Phatarawadee Phataranawik, ‘A Structural Approach to Space’, <strong>The</strong> Nation, February 20,<br />
1995.<br />
Toi Ungkavatanapong: Toi Ungkavatanapong & Anurak Chatanan, Fact VS Fiction, Tadu Contemporary Art,<br />
Bangkok, March 25 - April 19, 1998.<br />
Udomsak Krisanamis: Udomsak Krisanamis, An Exhibition <strong>of</strong> Work by Udomsak Krisanamis, Goethe-Institut,<br />
Bangkok, January 9-31, 1990.<br />
Vane Group: Namtaa Rungaruun, ‘Rorj Jab Tii Khorbfaa Lae Bangsuan Caak Bantyk Khong “Kanghan”‘, no<br />
date <strong>and</strong> publication’s name<br />
Vasan Sitthiket: Wasan Sitthiket, Farmers Are Farmers, Tadu Contemporary Art, Bangkok, October 22 -<br />
November 29, 1998; Wasan Sitthiket, No Future, Sunday Gallery, December - January, 1996; Khetsirin<br />
Knithichan, ‘Vasan falls foul <strong>of</strong> the censors’, <strong>The</strong> Nation, pp.c7-c8, February 13, 1995; I Love Thai Culture,<br />
the National Gallery, February 7 - March 3, 2538 (1995). <strong>The</strong> Nation January 14, 1995 ; Wasan Sitthiket,<br />
Inferno, the National Gallery, June 5-7, 2534 (1991); Lenzi, Iola, ‘Activist, Anarchist, Artist: Vasan<br />
Sitthiket’, ART AsiaPacific, Issue 36 (2002). ; Rooney, Sarah, ‘<strong>The</strong> agony <strong>and</strong> the ego’, Art & Asia Pacific,<br />
vol.2, no.3, 1995. ; Pettifor, Steven, ‘Visual insurrection’, Asian Art News, vol.11, no.2, 2001; review, Asian<br />
Art News, vol.12, no.3, 2002; review, Asian Art News, vol.10, no.5, 2000; Lenzi, Iola., ‘Vasan Sitthiket at<br />
Atelier Frank & Lee’ (Singapore, review), in Asian Art News, Vol.13, No.1, January/February 2003, p.86-<br />
87.<br />
Viboon Leesuwan: Viboon Leesuwan, Poetic Colours on Sa-Paper, the Art Forum Gallery, Bangkok, March 4-25,<br />
1992; Viboon Leesuwan, Poetic Colours on Sa-Paper, Pacific Asia Museum & Dep<strong>art</strong>ment <strong>of</strong> Art, CA, USA,<br />
March - April , 1990;<br />
Vichoke Mukdamanee: Vichoke Mukdamanee, <strong>The</strong> Worldview <strong>of</strong> Vichoke Mukdamanee, the National Gallery,<br />
Bangkok, October 5-31, 1998; Thomas Brecelic, ‘An Exp<strong>and</strong>ing Universe <strong>of</strong> E<strong>art</strong>hly Junk’, Bangkok Post,<br />
May 25, 1996; Vichoke Mukdamanee, Modern Existence 1992, Solo Art Exhibition by Vichoke Mukdamanee, the<br />
National Gallery, Bangkok, February 6-28, 1992: Vichoke Mukdamanee & Kamol Phaosavasdi, Kamol &<br />
Vichoke Contemporary Art Exhibition, the Faculty <strong>of</strong> Painting Sculpture <strong>and</strong> Printmaking, Silpakorn<br />
<strong>University</strong> Bangkok, November 25- December 12. ; 1992. review, Asian Art News, vol.11, no.3, 2001<br />
Vijinthansarn, Panya: Pettifor, Steven, ‘A Painterly Pairing’, Asian Art News, vol. 16, no. 3, 2006.<br />
Wannaa Juukhong: Pinanong Paanchyyn, ‘Duaj Huachaj Khong Cidtrakorn’, Krungthep Wanaathid, May 30, 2542<br />
(1999).<br />
Watchara Parayoonkum: Pettifor, Steven, ‘Imprisoned In Time’, in World Sculpture News, v. 14(1), Winter, 2008, pp.<br />
46 – 49.<br />
Wipawee Boriboon: Wipawee Boriboon, Solo Exhibition <strong>of</strong> Art by Wipavee Boriboon, Dialogue Gallery, Bangkok,<br />
December 7-26, 1991.<br />
Wiroon Thangjaroen: Wiroon Thangjaroen, A New Essence, Bangkok, Tadu Contemporary Art, May-June.<br />
Womanifesto: Nair, Varsha, ‘Womanifesto’, Art AsiaPacific, 26, 2000; Pettifor, Steven, ‘A communion <strong>of</strong><br />
underst<strong>and</strong>ing’, Asian Art News, vol.12, no.1, 2002<br />
160
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Yuree Kensaku Pettifor, Steven, ‘Polished Darkness’ in Asian Art News, Vol. 14, Number 3 (May/June, 2004), pp.<br />
50-53<br />
Politics <strong>and</strong> Society<br />
Basham, R., Political Authority in Thail<strong>and</strong>, <strong>University</strong> <strong>of</strong> <strong>Sydney</strong>, RIAP Occasional Paper no.20, 1992.<br />
Brummelhuis, H. ten, Kemp, J.K., eds., Strategies <strong>and</strong> Structures in Thai Society, Amsterdam, Antropologisch-<br />
Sociologisch Centrum, 1984<br />
Brummelhuis, H. ten, ‘Abundance <strong>and</strong> avoidance: an interpretation <strong>of</strong> Thai individualism’ in above.<br />
Embree, J.F., ‘Thail<strong>and</strong> - a loosely structured social system’, American Anthropologist, vol.52, 1950.<br />
Hanks, L.M., ‘Merit <strong>and</strong> power in the Thai social order’, American Anthropologist, vol.64, 1962.<br />
Hanks, L.M.,, ‘<strong>The</strong> Thai Social Order as Entourage <strong>and</strong> Circle’ Skinner, G.W., Kirsch, A.T., eds., Change <strong>and</strong><br />
Persistence in Thai Society, Ithaca, Cornell <strong>University</strong> Press, 1975.<br />
Hewison, K. ed., Political change in Thail<strong>and</strong>, democracy <strong>and</strong> p<strong>art</strong>icipation, London, Routledge, 1997.<br />
Ishii, Y., ‘Church <strong>and</strong> State in Thail<strong>and</strong>’, Asian Survey, vol. VII, no.10, October 1968.<br />
Moore, Frank, J., Thail<strong>and</strong>, New Haven, HRAF Press, 1974.<br />
Mulder, N., Inside Thai Society: an interpretation <strong>of</strong> everyday life,Bangkok, Duang Kamol, 1979, reprint 1990.<br />
Mulder, N., Inside Southeat Asia: Thai, Javanese <strong>and</strong> Filipino interpretations <strong>of</strong> everyday life, Bangkok, Duang Kamol,<br />
1992.<br />
Phillips, H., ‘<strong>The</strong> Culture <strong>of</strong> Siamese Intellectuals’, in Skinner & Kirsch, below.<br />
Reynolds, Craig J.,ed., National Identity <strong>and</strong> Its Defenders: Thail<strong>and</strong> Today, Thail<strong>and</strong>: Silkworm Books, 2000<br />
(1991,1993)<br />
Skinner, G.W., Kirsch, A.T., eds., Change <strong>and</strong> Persistence in Thai Society, Ithaca, Cornell <strong>University</strong> Press, 1975.<br />
Terwiel, B.J., ‘Formal structures <strong>and</strong> informal rules: an historical perspective on hierarchy, bondage <strong>and</strong> the<br />
patron-client relationship’ in Brummelhuis, 1984<br />
Ungpakorn, Giles J., A Coup for the rich: Thail<strong>and</strong>’s politicial crisis¸Bangkok, Workers Democracy Publishing, 2007.<br />
Vaddhanaputi, C., ‘Cultural Dependency in Thai Society: Problems <strong>and</strong> Prospectives’, New Asian Views, vol.3,<br />
no.2, United Nations <strong>University</strong>.<br />
Pre-Modern Thai Art [selected]<br />
Boisselier, Jean, <strong>The</strong> Heritage <strong>of</strong> Thai Sculpture, New York, Weatherhill, 1975.<br />
Bowie, T., ed. [essays by Griswold, Lyons, Subhadradis Diskul], <strong>The</strong> Arts <strong>of</strong> Thail<strong>and</strong>: A H<strong>and</strong>book <strong>of</strong> the<br />
Architecture, Sculpture <strong>and</strong> Painting <strong>of</strong> Thail<strong>and</strong> (Siam), Bloomington, Indiana <strong>University</strong> Press, 1960.<br />
Brown, Robert L., ed., Art from Thail<strong>and</strong>, Mumbai, India, Marg Publications, 1999.<br />
Cummings, Mary, <strong>The</strong> Lives <strong>of</strong> the Buddha in the Art <strong>and</strong> Literature <strong>of</strong> Asia, Michigan Papers on South <strong>and</strong> Southeast<br />
Asia No. 20, Center for South <strong>and</strong> Southeast Asian Studies, <strong>The</strong> <strong>University</strong> <strong>of</strong> Michigan, 1982.<br />
Elizabeth Lyons, Thai Traditional Painting, Thai Culture, New Series No.20, Bangkok, the Fine Arts Dep<strong>art</strong>ment,<br />
1990.<br />
Fickle, D.H., Images <strong>of</strong> the Buddha in Thail<strong>and</strong>, Singapore, Oxford <strong>University</strong> Press, 1989.<br />
Rita Ringis, Thai Temples <strong>and</strong> Temple Murals, Singapore, Oxford <strong>University</strong> Press, 1990.<br />
Subhadradis Diskul, M.C., Art in Thail<strong>and</strong>, A Brief History, Bangkok, Amarin Press, 1986.<br />
Woodward, H.W.Jnr., ‘History <strong>of</strong> Art: Accomplishments <strong>and</strong> Opportunities, Hopes <strong>and</strong> Fears’, Ayal, Eliezer B.,<br />
ed. <strong>The</strong> Study <strong>of</strong> Thail<strong>and</strong>: Analyses <strong>of</strong> Knowledge, Approaches, <strong>and</strong> Prospects in Anthropology, Art History,Economics,<br />
History <strong>and</strong> Political Science, Athens, Ohio, Center for International Studies, 1978.<br />
Pre-Modern Thai Painting [selected]<br />
Boisselier, J., Thai Painting, Tôkyô, Kôdansha International, 1976.<br />
Ginsburg, H., Thai Manuscript Painting, London, <strong>The</strong> British Library, 1989.<br />
Lyons, E., <strong>The</strong> Tosachât in Thai Painting, Bangkok, Fine Arts Dep<strong>art</strong>ment, 2nd.ed., 1990.<br />
Lyons, E., Thai Traditional Painting, Bangkok, Fine Arts Dep<strong>art</strong>ment, 2nd ed., 1990.<br />
Rajadhon, Phya Anuman, <strong>The</strong>t Mahâ Chât, Bangkok, Fine Arts Dep<strong>art</strong>ment, 1990.<br />
Ringis, R., Thai Temples <strong>and</strong> Temple Murals, Singapore, Oxford <strong>University</strong> Press, 1990.<br />
161
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Wenk, K., Thailändische Miniaturmalereien, Wiesbaden, Franz Steiner Verlag, 1965.<br />
Thonburi & Ratanakosin (Rama I-IV)<br />
Brudiyakara, Prince Bidyalabh, Accounts <strong>of</strong> the Gilt Lacquer Screen in the Audience Hall <strong>of</strong> Dusit displayed in the Museum<br />
<strong>of</strong> the Emerald Buddha Temple, Bangkok, Museum <strong>of</strong> Emerald Buddha Temple, n.d.<br />
Committee for the Rattanakosin Bicentennial Celebration, Rattanakosin Painting, Bangkok, 1982.<br />
Ishizawa Yoshiaki, Tai no Ji’inhekiga to sekizô kenchiku, Tokyo, Mekon, 1989.<br />
Meechai Thongthiep, comp., Ramakien: <strong>The</strong> Thai Raamayana, Bangkok, Naga Books, 1993.<br />
No Na Pak Nam, Wat Dusidaram, Mural Paintings <strong>of</strong> Thail<strong>and</strong> Series, Bangkok, Muang Boran Publishing House,<br />
June 2526 (1983).<br />
No Na Pak Nam, Cidtrakam Law Ryang, Somded Phracaw Taksin Mahaaraad Phra Phuu Kuu Caad, Bangkok, Muang<br />
Boran Publishing, 2536 (1993).<br />
No Na Pak Nam, Khru Khongpae & Khru Thongyu, Khrong Kaarn Nangsyy Cidtrakam Faphanang Series 3,<br />
Bangkok, Muang Boran Publishing House, March 2530 (1987).<br />
No Na Pak Nam, Phra Acharn Nak, <strong>The</strong> Foremost Muralist <strong>of</strong> the Reign <strong>of</strong> King Rama I, Khrong Kaarn Nangsyy<br />
Cidtrakam Faphanang Series3.2, Bangkok, Muang Boran Publishing House, July 2530 (1987).<br />
No Na Pak Nam, Buddhaisawan Chapel,[R1, after 1795] Mural Paintings <strong>of</strong> Thail<strong>and</strong> Series, Bangkok, Muang<br />
Boran Publishing House, February 2526 (1983).<br />
No Na Pak Nam, Farang Naj Sinlapa Thai, Bangkok, Muang Boran Publishing House 2529 (1986).<br />
No Na Pak Nam, Sinlapa Ciin Lae Khon Ciin Naj Thai, Bangkok, Muang Boran Publishing House 2530 (1987).<br />
No Na Pak Nam, Wat Bangkae Yai, Mural Paintings <strong>of</strong> Thail<strong>and</strong> Series, Bangkok, Muang Boran Publishing<br />
House, June 2534 (1991).<br />
No Na Pak Nam, Wat chong Nonsi, Mural Paintings <strong>of</strong> Thail<strong>and</strong> Series, Bangkok, Muang Boran Publishing<br />
House, January 2525 (1982).<br />
No Na Pak Nam, Wat Maithepnimit,, Mural Paintings <strong>of</strong> Thail<strong>and</strong> Series, Bangkok, Muang Boran Publishing<br />
House, July 2526 (1983).<br />
No Na Pak Nam, Wat Matchimawat, Mural Paintings <strong>of</strong> Thail<strong>and</strong> Series, Bangkok, Muang Boran Publishing<br />
House, October 2526 (1983).<br />
No Na Pak Nam, Wat Pathumwanaram, Mural Paintings <strong>of</strong> Thail<strong>and</strong> Series Bangkok, Muang Boran Publishing<br />
House, February 2539 (1996).<br />
No Na Pak Nam, Wat Phra Sing, Mural Paintings <strong>of</strong> Thail<strong>and</strong> Series, Bangkok, Muang Boran Publishing House,<br />
March 2526 (1983).<br />
No Na Pak Nam, Wat Phrachetuphon, Mural Paintings <strong>of</strong> Thail<strong>and</strong> Series, Bangkok, Muang Boran Publishing<br />
House, March 2537 (1994).<br />
No Na Pak Nam, Wat Phumin <strong>and</strong> Wat Nong Bua, Mural Paintings <strong>of</strong> Thail<strong>and</strong> Series No. 2, Bangkok, Muang<br />
Boran Publishing House, October 2529 (1986).<br />
No Na Pak Nam, Wat Pradu Song Tham, Mural Paintings <strong>of</strong> Thail<strong>and</strong> Series No. 2, Bangkok, Muang Boran<br />
Publishing House, July 2528 (1985).<br />
No Na Pak Nam, Wat Ratchasittharam,Mural Paintings <strong>of</strong> Thail<strong>and</strong> Series No. 2, Bangkok, Muang Boran<br />
Publishing House, June 2525 (1982).<br />
No Na Pak Nam, Wat Somanat Wihan, Mural Paintings <strong>of</strong> Thail<strong>and</strong> Series Bangkok, Muang Boran Publishing<br />
House, July 2538 (1996).<br />
No Na Pak Nam, Wat Suthat Dhepwararam, Mural Paintings <strong>of</strong> Thail<strong>and</strong> Series Bangkok, Muang Boran<br />
Publishing House, March 2539 (1996).<br />
No Na Pak Nam, Wat Suwannaram, Mural Paintings <strong>of</strong> Thail<strong>and</strong> Series, 2nd eds., Bangkok, Muang Boran<br />
Publishing House, February 2540 (1997).<br />
No Na Pak Nam, Wat Thong Thammachat, [R3] Paintings <strong>of</strong> Thail<strong>and</strong> Series No. 2, Bangkok, Muang Boran<br />
Publishing House, May 2525 (1982).<br />
No Na Pak Nam, Wat Yai Intharam, Mural Paintings <strong>of</strong> Thail<strong>and</strong> Series, Bangkok, Muang Boran Publishing<br />
House, October 2525 (1982).<br />
No Na Pak Nam, Wiwadthanaakaan Laj Thaj, Bangkok, Muang Boran Publishing House, February 2534 (1991).<br />
162
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Paritta Chalermpow Koanantakool, Dance <strong>and</strong> Painting in 19th century Siam, Bangkok, Faculty <strong>of</strong> Sociology <strong>and</strong><br />
Anthropology, Thammasat <strong>University</strong>, Country Report P<strong>art</strong> 2, Traditional Performing Art in Southeast<br />
Asia, USM, Penang, Malaysia, 10-13 August, 1999.<br />
Phya Anuman Rajadhon, <strong>The</strong>t Maha Chat, Thai Culture, New series No.21, Bangkok, <strong>The</strong> promotion <strong>and</strong> Public<br />
Relations Sub-Division, the Fine Arts Dep<strong>art</strong>ment, 2533 (1990).<br />
Poshyan<strong>and</strong>a, A., Western-Style Painting <strong>and</strong> Sculpture in the Royal Thai Court, 2 vols., Bangkok, Amarin Printing<br />
Group, 1993 [review by Clark, J., Art & Asia Pacific, vol.1, no.3, 1994].<br />
Subhadradis Diskul, M.C., History <strong>of</strong> the Temple <strong>of</strong> the Emerald Buddha, Bangkok, the Bureau <strong>of</strong> the Royal<br />
Household, n.d.<br />
Subhadradis Diskul, M.C., Rice, C.S., <strong>The</strong> Ramakian [Ramayana] Mural Paintings alongthe Galleries <strong>of</strong> the Temple <strong>of</strong> the<br />
Emerald Buddha, Bangkok, Government Lottery Office, 1981.[bilingual]<br />
Wiyada Thongmitr, Khrua In Khong’s Westernized School <strong>of</strong> Thai Painting, Thai Painting Series No.1, Bangkok,<br />
Muang Boran Publishing House, 2522 (1979)<br />
Wyatt, Donald K., Temple Murals as an Historical Source, <strong>The</strong> case <strong>of</strong> Wat Phumin, Nan, Bangkok, Chulalongkorn<br />
<strong>University</strong>, 1993.<br />
Ratanakosin (Rama V-VIII)<br />
Chulathat Phayakharanon, Patterns <strong>and</strong> Evolution <strong>of</strong> Mural Paintings in Rattanakosin Period, from Technical Seminar on the<br />
Evolution <strong>of</strong> Arts <strong>and</strong> Culture <strong>of</strong> Rattanakosin Bicentennial, Bangkok, Thail<strong>and</strong> Information Center, Academic<br />
Resource Center, Chulalongkorn <strong>University</strong>, 17 August 2525 (1982).<br />
Italians at the Court <strong>of</strong> Siam, <strong>The</strong> 50th Anniversary Celebration <strong>of</strong> His Majesty’s Accession to the Throne,<br />
Bangkok, Amarin Printing <strong>and</strong> Publishing Public Compary Limited<br />
Kana Kammakaan Cadngaan Somphod Krung Radtanakoosin 200 Pii, Sculptures <strong>of</strong> Rattanakosin, Bangkok, A<br />
Publication <strong>of</strong> the Committee for the Rattanakosin Bicantennial Celebration to Commemorate the<br />
Rattanakosin Bicentennial, 2525 (1983).<br />
National Committee for Organizing the Celebrations for the 50th Anniversary <strong>of</strong> His Majesty’s Accession to the<br />
Throne, Rattanakosin Art, the Reign <strong>of</strong> King Rama I-VIII, 2nd eds. Published in Commemoration <strong>of</strong> the 50th<br />
Anniversary <strong>of</strong> His Majesty’s Accession to the Thorne, Bangkok, Amarin Printing <strong>and</strong> Publishing Public<br />
Company Limited, 1998.<br />
Pairote Samosorn, E-Sarn Mural Paintings,Bangkok, E-Sarn Cultural Center, 2532 (1989).<br />
Peleggi, Maurizio, Lords <strong>of</strong> Things, Honolulu, <strong>University</strong> <strong>of</strong> Hawai’i Press, 2002.<br />
Peleggi, Maurizio, ‘Royal antiquarianism, European Orientalism <strong>and</strong> the production <strong>of</strong> archaeological knowledge<br />
in Modern Siam’, in Goh Ben Lan; Ravi, Srilata; Rutten, Mario, eds., Europe in Asia, Asia in Europe, Leiden:<br />
KITVL & Singapore: ISEAS, 2005<br />
After 1947 (Rama IX)<br />
<strong>The</strong> Mural Painting <strong>of</strong> Wat Buddhapadipa, Bangkok, Amarin Printing Group, 1987.<br />
Art in the Reign <strong>of</strong> King Rama IX, Volume 1, Bangkok, Golden Jubilee Art Celebration Committee <strong>and</strong> Rama IX<br />
Art Museum Foundation, Published On the Occasion <strong>of</strong> the 50th Anniversary <strong>of</strong> HM King Bhumibol<br />
Adulyadej’s Accession to the Throne, 1996.<br />
Art in the Reign <strong>of</strong> King Rama IX, Volume 2, Bangkok, Golden Jubilee Art Celebration Committee <strong>and</strong> Rama IX<br />
Art Museum Foundation, Published On the Occasion <strong>of</strong> the 50th Anniversary <strong>of</strong> HM King Bhumibol<br />
Adulyadej’s Accession to the Throne, 1996.<br />
Art in the Reign <strong>of</strong> King Rama IX, Volume 3, Bangkok, Golden Jubilee Art Celebration Committee <strong>and</strong> Rama IX<br />
Art Museum Foundation, Published On the Occasion <strong>of</strong> the 50th Anniversary <strong>of</strong> HM King Bhumibol<br />
Adulyadej’s Accession to the Throne, 1996.<br />
Peleggi, Maurizio, <strong>The</strong> Politics <strong>of</strong> Ruins <strong>and</strong> the Business <strong>of</strong> Nostalgia, Bangkok, White Lotus, 2002.<br />
General Works on Neo-traditional Art [including Group Catalogues]<br />
Art <strong>and</strong> Environment, Bangkok, Silpakorn <strong>University</strong> & Goethe Institut, 1991.<br />
163
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Art Exhibition by the members <strong>of</strong> the Faculty <strong>of</strong> Painting, Sculpture <strong>and</strong> Graphic Arts, Bangkok, Silpakorn <strong>University</strong><br />
[6th], 1989, [7th] 1990, [8th] 1991.<br />
Change <strong>and</strong> Modernism in Thai Art, Canberra, Contemporary Art Space, 1991.<br />
Eight Visions in Thai Contemporary Drawing, Bangkok, Dialogue Gallery, 1991.<br />
Hoskin, J., Ten Contemporary Thai Artists, Bangkok, Graphis, 1984<br />
Leesuwan, V., An Exhibition <strong>of</strong> Thai Art in the People’s Republic <strong>of</strong> China Beijing, Centre <strong>of</strong> Fine Arts, 1985 [some<br />
<strong>modern</strong> works illustrated]<br />
Pawlin, A., Dhamma Vision, Bangkok, Visual Dhamma Gallery, 1984.<br />
Thai-Australian Cultural Space, <strong>Sydney</strong>, Art Gallery <strong>of</strong> New South Wales, 1994.<br />
<strong>The</strong> New Path, Bangkok, Con-tempus 1992.<br />
Third Thai Art ‘80, Bangkok, Bhirarsi Institute <strong>of</strong> Modern Art, 1980.<br />
White Group 4th Contemporary Water Colour Exhibition/ Bangkok, National Gallery, March 1985.<br />
General Works on Modern Thai Art<br />
Apinan Poshyan<strong>and</strong>a, ‘Thai MODERNism to (post?) <strong>modern</strong>ISM, 1970s <strong>and</strong> 1980s (Seeing "Yellow" from a<br />
Thai perspective)’, in Clark, J., ed., Modernity in Asian Art, <strong>Sydney</strong>, Wild Peony, 1993.<br />
Apinan Poshyan<strong>and</strong>a, Modern Art in Thail<strong>and</strong>, Singapore, Oxford <strong>University</strong> Press, 1992.<br />
Bhirasri, S. [Thai name <strong>of</strong> Ferroci, Corrado], Contemporary Art in Thail<strong>and</strong>, Bangkok, Fine Arts Dep<strong>art</strong>ment, B.E.<br />
2532 [1989].<br />
Cate, S<strong>and</strong>ra, Making Merit, Making Art: A Thai Temple in Wimbledon, Honolulu, <strong>University</strong> <strong>of</strong> Hawai’i Press, 2003<br />
Clark, John, Asian Modernities, Chinese <strong>and</strong> Thai Art Compared, 1980-1999, <strong>Sydney</strong>: Power Publications, 2010.<br />
Michaelsen, H., ‘State Building <strong>and</strong> Thai Painting <strong>and</strong> Sculpture in the 1930s <strong>and</strong> 1940s’, in Modernity in Asian<br />
Art, 1993.<br />
Michaelsen, H., ‘Thail<strong>and</strong> in the 1980s’, Art Monthly Australia, no.41, June 1991.<br />
Michaelsen, H., Die Entwicklung und die Konsequenzen der westlichen Einflüsse auf die zeitgenössische thailändische Malerie,<br />
Magisterarbeit, Ruhr Universität-Bochum, 1987.<br />
Pawlin, A., ‘Reaching beyond Tradition’, Asian Art News, 1, no.3, Nov/Dec 1991.<br />
Pettifor, Steven, Flavours: Thai Contemporary Art, Bangkok, Thavibu Gallery, 2003<br />
Phillips, H., <strong>The</strong> Integrative Art <strong>of</strong> Modern Thail<strong>and</strong>, Berkeley, Lowie Museum <strong>of</strong> Anthropology <strong>and</strong> California<br />
<strong>University</strong> Press, 1992. [Review by Murray, S.E., Asian Art News, 2, no.2 Mar/ Apr 1992].<br />
Piriya Krairiksh & Thongchua, P., Art in Thail<strong>and</strong> since 1932, Bangkok, Thamasat <strong>University</strong>, Thai Khadi<br />
Research Institute, 1982.<br />
Piriya Krairiksh, Thai Reflections on American Experiences, Bangkok, Bhirasri Institute <strong>of</strong> Modern Art, 1986<br />
Poshyan<strong>and</strong>a, Apinan, ‘Portraits <strong>of</strong> Modernity in the Royal Thai Court’, in Asian Art & Culture V(VIII, 1),<br />
Winter, 1995.<br />
Rodboon, Somporn, ‘Contemporary Art Scene in Thail<strong>and</strong>’, Kuroda, Raiji, ed., <strong>The</strong> First Fukuoka Asian Art<br />
Triennale, Fukuoka: Fukuoka Asian Art Museum, 1999<br />
Smithies, M., ‘<strong>The</strong> Bangkok Art Scene in the Early 1960s: A personal souvenir’, Journal <strong>of</strong> the Siam Society,<br />
vol.66, July 1978.<br />
Wong-Uparaj, Damrong, Pr<strong>of</strong>essor Silpa Bhirasri, 1978.<br />
Architecture <strong>and</strong> Environment<br />
Kana Kammakaan Cadngaan Somphod Krung Radtanakoosin 200 Pii, Architectures <strong>of</strong> Rattanakosin, Bangkok, A<br />
Publication <strong>of</strong> the Committee for the Rattanakosin Bicantennial Celebration to Commemorate the<br />
Rattanakosin Bicentennial, 2525 (1983).<br />
Aasen, Clarence, Architecture <strong>of</strong> Siam, A Cultural History Interpretation, Kuala Lumpur, Oxford <strong>University</strong> Press,<br />
1996.<br />
Askew, Marc, Interpreting Bangkok, <strong>The</strong> Urban Question in Thai Studies, Bangkok, Chulalongkorn <strong>University</strong> Printing<br />
House, 1994.<br />
Askew, Marc, Bangkok: Place, Practice <strong>and</strong> Representation, London, Routledge, 2002.<br />
164
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Dumarçay, Jacques, <strong>The</strong> House in South-East Asia, (Tr.& Ed. Smithies, M.), Singapore, Oxford <strong>University</strong> Press,<br />
1990.<br />
Dumarçay, Jacques, <strong>The</strong> Palaces <strong>of</strong> Southeast Asia, Architecture <strong>and</strong> Customs [tr., ed. Michael Smythies], Singapore,<br />
Oxford <strong>University</strong> Press, 1991.<br />
Fox, James J., ed. Inside Austronesian Houses, Canberra, Australian National <strong>University</strong>, 1993.<br />
Sumet Jumsai, Naga, Cultural, Origins in Siam <strong>and</strong> the West Pacific, Singapore, Oxford <strong>University</strong> Press, 1989.<br />
Moore, Elizabeth, et.al, Ancient Capitals <strong>of</strong> Thail<strong>and</strong>, Bangkok, Asia Books Co.,Ltd., 1996.<br />
Smithies, Michael, Old Bangkok, Singapore, Oxford <strong>University</strong> Press, 1993.<br />
Waterson, Roxana, <strong>The</strong> Architecture <strong>of</strong> South-East Asia through Travellers’ Eyes, Kuala Lumpur, Oxford <strong>University</strong><br />
Press, 1998.<br />
Roxana Waterson, <strong>The</strong> Living House, An Anthropology <strong>of</strong> Architecture in South-East Asia, Singapore, Thames <strong>and</strong><br />
Hudson, 1997.<br />
Craft<br />
Bhirasri, Silpa, Thai Lacquer Works, Bangkok, <strong>The</strong> Promotion <strong>and</strong> Public Relations Sub-Division, the Fine Arts<br />
Dep<strong>art</strong>ment, 2532 (1989).<br />
Cohen, E., <strong>The</strong> Commercialized Crafts <strong>of</strong> Thail<strong>and</strong>: Hill tribes <strong>and</strong> lowl<strong>and</strong> villages, Richmond, Curzon & Honolulu,<br />
<strong>University</strong> <strong>of</strong> Hawaii Press, 2000.<br />
Connors, Mary F., Lao Textiles <strong>and</strong> Traditions, Kuala Lumpur, Oxford <strong>University</strong> Press, 1996.<br />
Conway, Susan, Thai Textiles, London, British Museum Press, 1992.<br />
Fraser-Lu, Sylvia, H<strong>and</strong>woven Textiles <strong>of</strong> South-East Asia,2nd Impression, Singapore, Oxford <strong>University</strong> Press,<br />
1990.<br />
Songsak Prangwatthanakun & Patricia Naenna, Lan Na Textiles, Yuan Lue Lao, Chiang Mai, the Center for the<br />
Promotion <strong>of</strong> Arts <strong>and</strong> Culture, Chiang Mai <strong>University</strong>, 2533 (1990).<br />
Subhadradis Diskul, M.C. ,<strong>The</strong> Lacquer Pavilion at Suan Pakkad Palace, Bangkok Princess Chumbhot <strong>of</strong> Nagara<br />
Svarga.<br />
Thai Textiles, Threads <strong>of</strong> a Cultural Heritages, Chiang Mai, Center for the Promotion <strong>of</strong> Arts <strong>and</strong> Culture, Chiang<br />
Mai <strong>University</strong>, 1996.<br />
Wiboon Liisuwan, Directory <strong>of</strong> ThaiFolk H<strong>and</strong>icrafts, Bangkok ,<strong>The</strong> Industrial Finance Corporation <strong>of</strong> Thail<strong>and</strong>,<br />
2532 (1989).<br />
Reference<br />
Joti Kalyanamitra, Six Hundred Years <strong>of</strong> Work by Thai Artists & Architecture, Bangkok, <strong>The</strong> Fine Arts Commission<br />
<strong>of</strong> the Association <strong>of</strong> Siamese Architects Under Royal Patronage, 1977.<br />
Art Collection & Galleries<br />
<strong>The</strong> Thai Farmers Bank Art Collection, ‘Award from Contemporary Art Competition in the Year 1979-1995 <strong>and</strong> Realistic<br />
Paintings in the Year 1994’<br />
Moonlanithi Thanaakaan Krongtheb, Bua Luang Paintings, A Collection <strong>of</strong> Prize Winning Paintings from the 1st to 19th<br />
Bua Luang Painting Competitions To Mark the 50th Anniversary (Golden Jubilee) Celebrations <strong>of</strong> His Majesty the King’s<br />
Accession to the Throne, Bangkok, Amarin Printing <strong>and</strong> Publishing Co., ltd. (plc), 2539 (1996).<br />
Pettifor, Steven, ‘A New Art Center For A New Era’ [Bangkok Art <strong>and</strong> Culture Centre], in AsianArtNews, vol.<br />
18, no. 6, Nov/Dec 2008, p. 96-99<br />
Pettifor, Steven, ‘A Fresh Face For Thai Art [Apinan Poshyan<strong>and</strong>a on Bangkok Art <strong>and</strong> Culture Centre], in<br />
AsianArtNews, vol. 18, no. 6, Nov/Dec 2008, p. 100-101<br />
Sombat Permpoon Gallery, Amazingly fine, Amazingly Thai, Bangkok, Sombat Permpoon Gallery.<br />
Subhadradis Diskul M.C. et al.,<strong>The</strong> Suan Pakkad Palace Collection, 2nd printing, Bangkok, Princess Chombhot <strong>of</strong><br />
Nagara Svarga, 1991.<br />
Thavibu Gallery, Numthong Gallery, Bangkok, Art AsiaPacific, no.34, 2002.<br />
165
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
TISCO 25 Anniversary,TISCO Contemporary Art Collection, Bangkok, Thai Investment <strong>and</strong> Securities Public<br />
Company Limited.<br />
Selected Major Exhibitions in Thail<strong>and</strong> (by Year) (material in some Australian public libraries)<br />
1951<br />
National Exhibition <strong>of</strong> Art, Bangkok, Silpakorn <strong>University</strong>, 10 November - 10 December.<br />
1958<br />
National Exhibition <strong>of</strong> Art, Bangkok, ‘Hor Sin Trong Khaam Anudsaawarii Thahaanaasaa’, 15 March - 15 April.<br />
1979<br />
Kaan Sadaeng Sinlapakam Haeng Chaad Khrang Thii 1, Bangkok, 15-30 November. Circulated Exhibition<br />
1982<br />
Vane Group, 3rd Exhibition <strong>of</strong> Paintings by Vane Group, Bangkok, the Bhirasri Institute <strong>of</strong> Modern Art, 12-31<br />
January.<br />
1984<br />
20 Artists, Paperwork,Bangkok, the Silpakorn <strong>University</strong> Art Gallery, 25 February - 12 March.<br />
Dhamma Vision, Bangkok, Visual Dhamma Gallery.<br />
1987<br />
Thai Farmers Bank, Thai Farmers Bank Painting Competition in the Celebrations for the Auspicious Occasion <strong>of</strong> His Majesty<br />
the King’s Sixtieth Birthday Anniversary, Bangkok, Thai Cultural Center, no date.<br />
1988<br />
5 Young Artists <strong>of</strong> the Year’88, Bangkok, the Art Gallery Silpakorn <strong>University</strong>, 2-14 June.<br />
1989<br />
5 Young Artists <strong>of</strong> the Year’89, Bangkok, the Art Gallery Silpakorn <strong>University</strong>, 1-19 June.<br />
1990<br />
Asian International Art Exhibition, Kuala Lumpur, National Art Gallery, 17 December,1990-6 January 1991.<br />
1991<br />
Bangkok Bank Ltd. Biographies <strong>of</strong> Thai Artists, Printed for IBRD/IMF Meeting, Bangkok, Thail<strong>and</strong>, 1991.<br />
Parallel Views, An Exhibition <strong>of</strong> Contemporary Thai Art, Victoria, Australia, Luba Bilu Gallery, 4-28 September.<br />
Somporn Rodboon, ‘Thai Contemporary, Works on Paper’, no date.<br />
Change <strong>and</strong> Modernism in Thai Art, Canberra, Australia, Galleries 1 <strong>and</strong> 2, Gorman House, 14 March - 6 April.<br />
<strong>The</strong> 8th Exhibition <strong>of</strong> Contemporary Art by Young Artists, On the Occasion <strong>of</strong> “Silpa Bhirasri Day”, Bangkok, the<br />
Silpakorn <strong>University</strong> Art Gallery, 15 September - 8 October.<br />
8th Art Exhibition by the Members <strong>of</strong> the Faculty <strong>of</strong> Painting Sculpture <strong>and</strong> Graphic Arts Silpakorn <strong>University</strong>, <strong>The</strong> Centennial<br />
Celebration <strong>of</strong> Pr<strong>of</strong>essor Silpa Bhirasri, Bangkok, Faculty <strong>of</strong> Painting Sculpture <strong>and</strong> Graphic Arts Silpakorn<br />
<strong>University</strong>, 15 September - 5 October.<br />
3th Toshiba “Brings Good Things to Life” Art Competition 1991, no date<br />
Thai Farmers Bank Painting Competition in the Celebrations for the Auspicious Occasion <strong>of</strong> the Thirty Sixth Birthday<br />
Anniversary <strong>of</strong> Her Royal Highness Princess Maha Chakri Sirindhorn in the Year 1991, Bangkok, Thai Cultural<br />
Center, sponsored by Thai Farmers Bank, no date.<br />
Art <strong>and</strong> Environment, Bangkok, the Gallery <strong>of</strong> the Faculty <strong>of</strong> Painting Sculpture <strong>and</strong> Graphic <strong>art</strong>s, Silpakorn<br />
<strong>University</strong>, 6-28 February.<br />
8 Actual Visions in Thai Contemporary Drawing, Bangkok, Dialogue Gallery, 10-24 November.<br />
Kaan Prakuad Sinlapakam Por Tor Thor Khrang Thii 6, Bangkok, the Art Gallery Silpakorn <strong>University</strong>, 2-19<br />
December.<br />
1992<br />
Krom Sinlapakorn, 73 Sinlapin Thaj Sid Silp Bhirasri, Bangkok, Phiphidtaphansathaan Haeng Caad, August -<br />
September.<br />
White Group, A Decade <strong>of</strong> White Group , Individual Project 1992.Bangkok, Silom Art Space Gallery 15 October - 15<br />
November, National Art Gallery 4 - 29 November<br />
Charity Auction for Special Olympics <strong>of</strong> Thail<strong>and</strong>, Bangkok, Dialogue 1991, 14-16 November<br />
166
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Isan Group, <strong>The</strong> Sky Without Birds, <strong>The</strong> E<strong>art</strong>h Without Animals Bangkok, River City Dep<strong>art</strong>ment Store, 13-23<br />
November.<br />
<strong>The</strong> New Path, Bangkok, Queen Sirikit National Convention Center, 5-31 January.<br />
Creative Feminity, Bagnkok, Queen Sirikit National Convention Center, 3 May - 3 June.<br />
Modern Thai Prints & Works on Paper, An Exhibition to Mark Thail<strong>and</strong> Update 1992, <strong>Sydney</strong>, Australia, <strong>University</strong> <strong>of</strong><br />
<strong>Sydney</strong> Staff Club, 8-15 October.<br />
Bangkok <strong>art</strong>ists, Bangkok Matters, Bangkok, Silom Art Space, 28 March - 23 May.<br />
<strong>The</strong> 9th Exhibition <strong>of</strong> Contemporary Art by Young Artists, In Commemoration <strong>of</strong> “<strong>The</strong> Centennial Celebration <strong>of</strong> Pr<strong>of</strong>essor<br />
Silpa Bhirasri”, Bangkok, the Silpakorn <strong>University</strong> Art Gallery, 21 August - 8 September.<br />
4th Toshiba “Brings Good Things to Life” Art Competition 1994, no date.<br />
9th Art Exhibition by the Members <strong>of</strong> the Faculty <strong>of</strong> Painting Sculpture <strong>and</strong> Graphic Arts Silpakorn <strong>University</strong>, <strong>The</strong> Centennial<br />
Celebration <strong>of</strong> Pr<strong>of</strong>essor Silpa Bhirasri, Bangkok, Faculty <strong>of</strong> Painting Sculpture <strong>and</strong> Graphic Arts Silpakorn<br />
<strong>University</strong>, 15 September - 5 October.<br />
Melancholic Trance, Bangkok, Visual Dhamma Gallery, 23 May - 30 June.<br />
Painting <strong>and</strong> Sculptures Exhibitions on the Occasion <strong>of</strong> the Bank <strong>of</strong> Thail<strong>and</strong>’s 50th Anniversary, Bangkok, Bangkhunprom<br />
Palace 2-4 December 1992, Thail<strong>and</strong> Cultural Center 15-31 January 1993. (book)<br />
Painting <strong>and</strong> Sculptures Exhibitions on the Occasion <strong>of</strong> the Bank <strong>of</strong> Thail<strong>and</strong>’s 50th Anniversary, Bangkok, Bangkhunprom<br />
Palace 2-4 December 1992, Thail<strong>and</strong> Cultural Center 15-31 January 1993. (pamphlet)<br />
Cries from theHills, Children’s Art Exhibition from 6 tribes(Karen, Hmong, Mien, Lisu, Lahu, Akha), 17-24 October 2535<br />
(1992) Circulated Exhibition in Thail<strong>and</strong>.<br />
<strong>The</strong> Decade <strong>of</strong> Printmaking, Bangkok, Queen Sirikit National Convention Center, 21 July - 10 August.<br />
Thai Farmers Bank, Thai Farmers Bank Painting Competition in the Celebrations for the Auspicious Occasion <strong>of</strong> Her Majesty<br />
the Queen’s Sixtieth Birthday Anniversary, Bangkok, Thai Cultural Center, no date.<br />
Multiple Drawing, Bangkok, the Gallery <strong>of</strong> the Faculty <strong>of</strong> Painting Sculpture <strong>and</strong> Graphic Arts Silpakorn<br />
<strong>University</strong>, 24 August - 9 September.<br />
Thai Farmers Bank, Contemporary Art Exhibition 1992,Bangkok, the National Gallery, 8 June - 8 July.<br />
Exhibition <strong>of</strong> Art Instructors 1992 Faculty <strong>of</strong> Fine Arts Chiangmai <strong>University</strong>,Bangkok, the National Gallery, 18<br />
September - 10 October.<br />
Bangkok-Nagoya, Bangkok, the Art Gallery Silpakorn <strong>University</strong>, 7-28 October.<br />
1993<br />
Sai-Nam-Tai Contemporary Art Exhibition, Bangkok, Tridhos Gallery, 11 November - 31 December.<br />
Four Painters, Bangkok, the National Gallery, 9-28 December.<br />
White Group, People, Bangkok, the Silapkorn <strong>University</strong> Art Gallery, 1-25 December.<br />
<strong>The</strong> 38th National Exhibition <strong>of</strong> Art, the Centennial Celebration <strong>of</strong> Pr<strong>of</strong>essor Silpa Bhirasri, Bangkok, the Silpakorn<br />
<strong>University</strong> <strong>art</strong> Gallery, 15 September - 5 October.<br />
<strong>The</strong> 10th Exhibition <strong>of</strong> Contemporary Art by Young Artists, Commemorating Silpakorn <strong>University</strong>’s 50th Anniversary,<br />
Bangkok, the Silpakorn <strong>University</strong> Art Gallery, 25 August - 10 September.<br />
Contemporary Thai/Japanese Art Exhibition, Beyond the Border, Tokyo, P3 <strong>art</strong> <strong>and</strong> environment, 9-23 December;<br />
Bangkok, Silpakorn <strong>University</strong> Art Gallery, 14-27 February.<br />
Thail<strong>and</strong> -- L<strong>and</strong> <strong>of</strong> Thous<strong>and</strong>s Ideas, Bangkok, the National Gallery, 9-30 January.<br />
1994<br />
Cobalt Blue Group, <strong>The</strong> 2nd Contemporary Art Exhibition by Cobalt Blue Group, Bangkok, the Imperial Queen’s Park<br />
Hotel, 6-23 January.<br />
6th Toshiba “Brings Good Things to Life” Art Competition 1994, no date.<br />
1st Art Exhibition by the Members <strong>of</strong> the College <strong>of</strong> Fine Arts, Bangkok, the National Gallery, 10-31 August.<br />
Tadsawat Group, 1st Art Exhibition, Bangkok, Place <strong>of</strong> Art, 30 October - 20 November.<br />
Water Group, Art Exhibition by Water Group, Bangkok, Art Forum Gallery, 4-25 February.<br />
2537 Art Exhibition, Bangkok, the Changing Exhibition Hall, Thail<strong>and</strong> Cultural Center, 21 November - 18<br />
December, sponsored by Bangkok <strong>University</strong>. cit<br />
Saang Saan Tamnaan Sin, 20 Pii Naew Ruam Sinlapin Haeng Prathed Thai 2517-2537, Bangkok, Queen Sirikit<br />
National Convention Center, October.<br />
167
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
1995<br />
Thai Farmers Bank, Contemporary Art Exhibition 1995, Bangkok, the National Gallery, 9-30 June.<br />
Thai Tensions, Bangkok, the Art Center, Center <strong>of</strong> Academic Resources, Chulalongkorn <strong>University</strong>, 1-30<br />
September.<br />
<strong>The</strong> Members <strong>of</strong> the Dep<strong>art</strong>ment <strong>of</strong> Graphic Arts, Faculty <strong>of</strong> Painting Sculpture <strong>and</strong> Graphic Arts, Graphic Arts<br />
Exhibition, Bangkok, Faculty <strong>of</strong> Painting Sculpture <strong>and</strong> Graphic Arts, 5-31 July.<br />
Nithadsakaan Cidtrakam Thai, 10 Pii Klum Thaan Kuud, Bangkok, Place <strong>of</strong> Art, 19 March - 9 April. 2 books<br />
Exhibition <strong>of</strong> Contemporary Art, Toshiba “Bring Good Things to Life”, Bangkok, no date, no place <strong>of</strong> exhibition<br />
1996<br />
Into the Next Decade, Tadu Contemporary Art, November 28, 1996.<br />
Into the Next Decade, Tadu Contemporary Art, 29 November 1996 - 25 January 1997.<br />
Cobalt Blue Group, <strong>The</strong> 3rd Art Exhibition by Cobalt Blue Group, Bangkok, the National Gallery, 8-30 March.<br />
Symbolist, 1996 Art Exhibition, Bangkok, Place <strong>of</strong> Art, 5-24 January 1997.<br />
Live<strong>art</strong>, Thail<strong>and</strong> First Performance Art Event, Bangkok, Concrete House, 6 July.<br />
W O M A N?, Bangkok, the Art Center, Center <strong>of</strong> Academic Resources, Chulalongkorn <strong>University</strong>, 8-31 August.<br />
Third Art <strong>and</strong> Cultural Festival, Temples, Cemeteries, Private-Residences, Public Buildings, Streets, Bridges, Walls, rivers <strong>and</strong><br />
Canals, Open Spaces, Chiang Mai, Thail<strong>and</strong>, Chiangmai Social Installation, Faculty <strong>of</strong> Fine Arts, Chiang Mai<br />
<strong>University</strong>, 19 November - 19 February.<br />
1997<br />
Absolute Abstract, Bangkok, Tadu Contemporary Art, 28 March - 25 May.<br />
Painters’ Pursuit, Bangkok, Tadu Contemporary Art, 7 June - 31 July.<br />
14th Art Exhibition by the Members <strong>of</strong> the Faculty <strong>of</strong> Painting Sculpture <strong>and</strong> Graphic Arts, In Commemoration <strong>of</strong> 55th<br />
Aniiversary <strong>of</strong> the Faculty <strong>of</strong> Painting Sculpture <strong>and</strong> Graphic Arts, Silpakorn <strong>University</strong>, Bangkok, the Gallery <strong>of</strong> the<br />
Faculty <strong>of</strong> Painting Sculpture <strong>and</strong> Graphic Arts, 15 September - 15 October.<br />
Hanoi Fine Arts Institute, Silpakorn <strong>University</strong>, Hue College <strong>of</strong> Arts, <strong>and</strong> Chiang Mai <strong>University</strong>, Contemporary<br />
Fine Arts Exhibition, no date.<br />
Golden Jubilee Art Exhibition, 50 Years <strong>of</strong> Thai Art on the Occasion <strong>of</strong> the 50th Anniversary <strong>of</strong> HM King Bhumibol<br />
Adulyadej’s Accession to the Throne,Bangkok, Queen Sirikit National Convention Center. December 1996 -<br />
January 1997<br />
1998<br />
Hers Group, Woman Opportunity, Bangkok, Tadu Contemporary Art, 18 December-18 January. 2 posters<br />
the pink, the bad & the ugly, the Art Center, Centers <strong>of</strong> Academic Resources, Chulalongkorn <strong>University</strong>, 13-30<br />
October 1998.<br />
Bangkok Art Project 1998, January Events 2542 (1999) cit<br />
73 Thai <strong>art</strong>ists & 7 Asian <strong>art</strong>ists, Bangkok Art Project 1998, Bangkok, Public Art in Community Lives Across the<br />
Ratanakosin Isl<strong>and</strong>, 8 December 1998 - 31 January 1999. 2 books<br />
Master Thai Artists in Japan, Bangkok, the Art Gallery, the Faculty <strong>of</strong> Painting Sculpture <strong>and</strong> Graphic Arts,<br />
Silpakorn <strong>University</strong>, 27 June - 15 July.<br />
5 Decades <strong>of</strong> the National Exhibition <strong>of</strong> Art 1949-1998, Bangkok, the Art Gallery Silpakorn <strong>University</strong>, 1-30 June.<br />
Plastic (&other) Waste, Bangkok, the Art Center, Center <strong>of</strong> Academic Resources, Chulalongkorn <strong>University</strong>, 7<br />
April - 1 May.<br />
1999<br />
New Essence, Bangkok, Tadu Contemporary Art, 13 May - 13 June.<br />
Womanifesto-II, Second International Women’s Art Exchange, Bangkok, Saranrom Park, 13 March - 4 April.<br />
Vasha Nair, ‘Womanifesto II-- jogging ahead’, n.paradoxa, Vol. 4., 1999.<br />
No Guarantee, <strong>Sydney</strong>, Australia, SCA Gallery, 30 September - 6 November.<br />
<strong>The</strong> members <strong>of</strong> Thai Art Dep<strong>art</strong>ment, Faculty <strong>of</strong> Painting Sculpture & Graphic Arts, Silpakorn <strong>University</strong>, Thai<br />
Art Exhibition, Bangkok the Art Gallery Silpakorn <strong>University</strong>, 24 May -11 June.<br />
<strong>The</strong> members <strong>of</strong> Thai Art Dep<strong>art</strong>ment, Faculty <strong>of</strong> Painting Sculpture & Graphic Arts, Silpakorn <strong>University</strong>, Thai<br />
Art Exhibition, Bangkok the Art Gallery Silpakorn <strong>University</strong>, 24 May -11 June, price list.<br />
2004<br />
168
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Löschmann, Jörg, ed. Identities, versus Globalisation (Cat.), Chiangmai, Heinrich Böll Foundation, 2004<br />
2007<br />
Pettifor, Steven, ‘In Praise <strong>of</strong> the Spirit’, in Asian Art News, v. 18(1), Jan/Feb, 2008, pp. 74 - 79.<br />
Modern Thai Art<br />
Apinan Poshyan<strong>and</strong>a, Modern Art in Thail<strong>and</strong>, Singapore, Oxford <strong>University</strong> Press, 1992.<br />
Apisuk, Chumpon, ‘Art <strong>of</strong> Dissent’, Artlink, Vol. 13, No.3&4, November-March 1993/94<br />
Clark, John, Modernities compared: Chinese <strong>and</strong> Thai Art in the 1980s <strong>and</strong> 1990s, <strong>Sydney</strong>, Power Publications, 2007.<br />
First International Conference on Modern Art in Thail<strong>and</strong> “Modern Art in Thail<strong>and</strong> 1932-1992, Changing Perspectives”,<br />
organised by the Faculty <strong>of</strong> Fine <strong>and</strong> Applied Arts, Chulalongkorn <strong>University</strong>, 31 July - 2 August, 1992<br />
National Committee for Organizing the Celebrations for the 50th Anniversary <strong>of</strong> His Majesty’s Accession to the<br />
Throne, Rattanakosin Art, the Reign <strong>of</strong> King Rama IX 2nd eds. Published in Commemoration <strong>of</strong> the 50th<br />
Anniversary <strong>of</strong> His Majesty’s Accession to the Thorne, Bangkok, Amarin, 1997<br />
Pettifor, Steven, ‘<strong>The</strong> Drama <strong>of</strong> Animals’, [Peter Woytuk in Bangkok], in World Sculpture News, vol 14, no 4,<br />
Autumn 2008, pp.52-56<br />
Phillips, Herbert P.<strong>The</strong> Integrative Art <strong>of</strong> Modern Thail<strong>and</strong>, Berkeley, <strong>University</strong> <strong>of</strong> California at Berkeley, 1992.<br />
Piriya Krairiksh & Pishnu Supanimit, Art since 1932, Research Document No. 17 Bangkok, Thai Khadi Research<br />
Institute, Thammas<strong>art</strong> <strong>University</strong> (1982).<br />
Poshyan<strong>and</strong>a, Apinan, ‘Introduction to Thai Modernism’, Artlink, Vol. 13, No.3&4, November-March 1993/94<br />
Thomson, Jonathon, ‘A Confident Vision’, in Asian Art News, v. 17(6), November/December, 2007, pp. 78 –<br />
82.<br />
Photography in Thail<strong>and</strong><br />
Anake, Naawikkamuun, Photography in Thail<strong>and</strong>, Bangkok, Sangdad Publishing Co.,Ltd., 2530 (1987).<br />
Anake, Nawigamune. Taay rup muang Thay samayreek [<strong>The</strong> Early History <strong>of</strong> Photography in Thail<strong>and</strong>], Bangkok,<br />
Catpim Khrangreek Thay, 1987.<br />
Cary, Caverlee, ‘In the image <strong>of</strong> the King: two photographs from nineteenth century Thail<strong>and</strong>’, in Taylor Nora<br />
E. ed, Studies in Southeast Asian Art: Essays in honor <strong>of</strong> Stanley J.O’Connor, Ithaca, SEAP Cotrnell <strong>University</strong>,<br />
2000.<br />
Nawigamune, Anake, Prawat kaan thaay ruup yut reek khong Thay [<strong>The</strong> Early History <strong>of</strong> Photography in Thail<strong>and</strong>],<br />
Bangkok, Sarakadee Press, 2005.<br />
Sakda Siripant, King <strong>and</strong> Camera, Evolution <strong>of</strong> Photography in Thail<strong>and</strong> 1845-1992, Bangkok, Pr<strong>of</strong>. Sakda Siriopant,<br />
2535 (1992).<br />
White, Stephen. John Thomson, life <strong>and</strong> photographs: the Orient, Street life in London, Through Cyprus with the camera.<br />
London: Thames & Hudson, 1985. [includes 1865 photographs <strong>of</strong> Siam <strong>and</strong> Cambodia]<br />
1980s<br />
S<strong>and</strong>ra Cate, Long-Distance Merit-Making, Art at a Thai Buddhist Temple in Wimbledon, unpublished PhD <strong>The</strong>sis,<br />
<strong>University</strong> <strong>of</strong> California, Berkeley, 1998.<br />
Virginia Henderson, <strong>The</strong> Social Production <strong>of</strong> Art in Thail<strong>and</strong>, Patronage <strong>and</strong> Commoditisation, 1980-1998, unpublished<br />
MA in Thai Studies <strong>The</strong>sis, Chulalongkorn <strong>University</strong>, 1998.<br />
Sodchuen Chaiprasathna, Surrealistic Trends in Painting <strong>and</strong> Literature in Thail<strong>and</strong> 1964-1984, Bangkok, <strong>The</strong> Siam<br />
Society, 1996.<br />
1990s<br />
Apinan Poshyan<strong>and</strong>a, ‘Behind Thai Smiles: Three Contemporary Thai Artists’, Art & Asia Pacific, no.1,<br />
supplement to Art & Australia, March 1993.<br />
Apinan Poshyan<strong>and</strong>a, ‘Smile-a-while campaigns for cultural correctness’, Art & Asia Pacific, vol.2, no.3, 1995.<br />
Chanjaraen, Chanyaporn, ‘Chiang Mai Art Festival’, Art & Asia Pacific, vol.1, no.4, 1994.<br />
Chanjaroen, Chanyaporn, ‘Testing the Audience’, Artlink, Vol. 13, No.3&4, November-March 1993/94<br />
Clark, John, ‘Fifty years <strong>of</strong> National Art Exhibitions’, Asian Art News, vol.9, no.6, 1999<br />
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Clark, John’, ‘Decoration <strong>and</strong> distance: <strong>The</strong> work <strong>of</strong> Damrong Wong-Upparaj’, Art & Asia Pacific, vol.2, no.3,<br />
1995.<br />
Datuin, Flaudette May V., ‘ <strong>The</strong> Goddess <strong>and</strong> the Mural Painter: Phaptawan Suwannakudt’s murals’, ART<br />
AsiaPacific, no.14, 1997<br />
Fink, Hannah. ‘Rythmic Air: <strong>The</strong> Fine Art <strong>of</strong> Savanhdary Vongpoothorn.’ Art Asia Pacific 24:1999<br />
Gampell, Jennifer, ‘Sale Time, Spaceless Art in Bangkok’, Art & Asia-Pacific, vol.3, no.1, 1996.<br />
Grounds, John, ‘Learning About Difference’, Artlink, Vol. 13, No.3&4, November-March 1993/94<br />
Hoskin, John, ‘Looking Ahead’, Artlink, Vol. 13, No.3&4, November-March 1993/94<br />
Johnson, David. ‘Chiang Mai Changes: Thail<strong>and</strong>’s celebrated installation Festival.’ Asia-Pacific Sculpture News 2:2<br />
Spring 1996<br />
Kirker, Anne, ‘Daring to Confront’, Artlink, Vol. 13, No.3&4, November-March 1993/94<br />
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Suadi, Haryadi: Subarnas, Bambang, Haryadi Suadi <strong>and</strong> T. Sutano: Tension <strong>and</strong> Harmony, Jak<strong>art</strong>a, Nadi Gallery, 2002<br />
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Heri Memprovokasi Heri / Heri provokes Heri, Jak<strong>art</strong>a, Nadi Gallery 2002.<br />
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Wardani, Farah, Moetididjo, Ugeng, <strong>and</strong> Darmawan, Ade, Karbon: Mempertanyakan Tindakan: Antara Raga dan<br />
Verba/Questioning the Act: Between the Body <strong>and</strong> the Verb, Jak<strong>art</strong>a, Ruangrupa, 2002<br />
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Contemporary Cinema <strong>and</strong> New Media<br />
Murti, Krisna. Esai Tentang Seni Video dan Media Baru(Essays on Video Art <strong>and</strong> New Media: Indonesia <strong>and</strong><br />
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Selected Exhibitions<br />
Achmad, Laila, Jak<strong>art</strong>a 32˚C, Jak<strong>art</strong>a, Ruangrupa, 2006<br />
Choices <strong>of</strong> the he<strong>art</strong>. Modern Indonesian paintings from Toeti Herati’s collection. 50 th anniv. Republic <strong>of</strong> Indonesia.’.<br />
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Kurniawan, Agung, Budiman in Wonderl<strong>and</strong>, Yogyak<strong>art</strong>a, Kedai Kebun, 2005<br />
Mamanmoor, Re-Reading L<strong>and</strong>scape, Jak<strong>art</strong>a, Nadi Gallery, 2005<br />
Marianto, Dwi M. <strong>and</strong> Susanto, Mikke, eds., Young Arrows: Rhythem & Passion, Yogyak<strong>art</strong>a, Jogja Gallery, 2006<br />
P<strong>art</strong>a, Seriyoga, Trans-it: A Sense <strong>of</strong> Two Cities, Bali, Biasa Art Space, 2005<br />
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Sugih<strong>art</strong>o, Bambang, Beyond the Familiar: Riosid <strong>and</strong> Yus Herdiawan, Jak<strong>art</strong>a, Nadi Gallery, 2006<br />
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Supriyanto, Enin, Equatorial Heat: Indonesian Paintersb Exhibition at Sichuan Museum, Jak<strong>art</strong>a, Edwin’s<br />
Gallery, 2004<br />
Supriyanto, Enin, AKU, Chairil, <strong>and</strong> aku, Jak<strong>art</strong>a, Nadi Gallery, 2005<br />
Susanto, Mikke, How Red is Red, Jak<strong>art</strong>a, Nadi Gallery, 2004<br />
Susanto, Mikke, Ambarwati, Nunuk, et.al., eds., Biennale Jogja VIII: Di Sini&Kini (Bilingual), Yogyak<strong>art</strong>a, Taman<br />
Budaya Yogyak<strong>art</strong>a, 2006<br />
Susanto, Mikke, Ambarwati, Nunuk, <strong>and</strong> Suseno, Indro, Icon: Retrospective [Indonesian Art <strong>of</strong> the 1970s to<br />
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Wiyanto, Hendra, Fantasy <strong>of</strong> Body, Jak<strong>art</strong>a, Nadi Gallery, 2000<br />
Wiyanto, Hendra, Reading Frida Kahlo, Jak<strong>art</strong>a, Nadi Gallery, 2001<br />
Wiyanto, Hendra, Pink Project, Jak<strong>art</strong>a, Nadi Gallery, 2001<br />
Wiyanto, Hendra, Boat, Jak<strong>art</strong>a, Nadi Gallery, 2001<br />
Wiyanto, Hendro, Eye, Jak<strong>art</strong>a, Nadi Gallery, 2002<br />
Wiyanto, Hendro, Exodus <strong>of</strong> Objects, Jak<strong>art</strong>a, Nadi Gallery, 2005<br />
Wiyanto, Hendro, et.al., <strong>The</strong> Broken Mirror: Portrait <strong>of</strong> the Self, Magelang, Langgeng Gallery, 2005<br />
Wiyanto, Hendro, ‘Contemporary Coziness’, in C Arts. Asian Contemporary Art <strong>and</strong> Culture, vol. 00,<br />
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Zaelani, Rizky A. Object(ify), Jak<strong>art</strong>a, Nadi Gallery, 2004<br />
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[7 th Yogyak<strong>art</strong>a Biennial] Effendy, Rifky, ‘7 th Yogyak<strong>art</strong>a Biennial’ (Review) in Art Asia Pacific, No. 40 (Spring<br />
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Review (Yogyak<strong>art</strong>a Biennale 2006), Asian Art News, vol. 16, no. 1, 2006.<br />
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Wardani, Farah, ‘Indonesia’s Biennale Bubble’, ArtAsiaPacific, no. 50, 2006.<br />
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Curnow, Heather, ‘Women Artists in Bali’, Artlink, Vol. 13, No.3&4, November-March 1993/94<br />
Couteau, Jean, Bali Today 2. Love <strong>and</strong> Social Life. Jak<strong>art</strong>a, Kepustakaan Populer Gramedia, 2008<br />
Djelantik, A.A. M., Balinese Painting, Singapore, Oxford <strong>University</strong> Press, 1990.<br />
Djelantik, A.A.M., essay in Contemporary Balinese Art, Jak<strong>art</strong>a, National Museum, 1995.<br />
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Imply Pilapil: Guillermo, Alice G., ‘Reaching Skyward’, in World Sculpture News, Vol. 10, No. 2 (Spring 2004), pp.<br />
22-27<br />
Javier, Geraldine: Achcoso, Ronald, ‘Fragmented Tales’, in Asian Art News, v. 18(5), Sept/Oct, 2008, pp. 110-113.<br />
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Aguilar, ‘<strong>The</strong> other Luna: He was a romantic, not a revolutionary’, date <strong>and</strong> publication tbc; Da Silva,<br />
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In general see:<br />
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Rizal, José, El Filibusterismo, Subversion [1891, Lacson-Locsin Ma. Soledad, tr.], Makati City, Bookmark, 1996<br />
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<strong>University</strong> <strong>of</strong> Hawai’i Press, 1997<br />
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Art <strong>of</strong> the Spanish Period – general<br />
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Dep<strong>art</strong>ment <strong>of</strong> Education, Culture <strong>and</strong> Sports, 1986.<br />
Pilar, Santiago Albano, ‘Mariano Asuncion: the “Dean <strong>of</strong> native painters”, Archipelago, vol. 6, September 1979<br />
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Pilar, Santiago Albano, ‘<strong>The</strong> Evolution <strong>of</strong> the Filipino Still-Life’, in Archipelago, vol.6, May 1979.<br />
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Pilar, Santiago Albano, ‘Miniature Portraits: Small Wonders’, in Archipelago, February 1976.<br />
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Santiago, Luciano, P.R., ‘Damian Domingo <strong>and</strong> the First Philippine Art Academy (1821-1834)’, Philippines<br />
Qu<strong>art</strong>erly <strong>of</strong> Culture <strong>and</strong> Society, vol.19, 1991, 264-280.<br />
Santiago, Luciano P.R., ‘<strong>The</strong> beginnings <strong>of</strong> higher education in the Philippines (1601-1772), Philippines Qu<strong>art</strong>erly <strong>of</strong><br />
Culture <strong>and</strong> Society, vol.19, 1991, 135-145.<br />
Santiago, Luciano P.R., ‘Don Rafael Baboom: Collector <strong>of</strong> Rainbows’, Philippines Qu<strong>art</strong>erly <strong>of</strong> Culture <strong>and</strong> Society,<br />
vol.18, 1990, 118-121.<br />
Santiago, Luciano, P. R., ‘<strong>The</strong> Quest for Identity in Filipino Portraiture’, Larawan, Manila: Ayala Museum, 1989.<br />
Santiago, Luciano, P. R., 1992, ‘1521 – 1890: <strong>The</strong> Loom <strong>of</strong> Colonial Art’, Art Philippines, Juan T. Gatbonton et al<br />
eds., Manila: <strong>The</strong> Crucible Workshop, 1992.<br />
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Santiago, Luciano, P. R., ‘Philippine Academic Art: <strong>The</strong> Second Phase (1845 – 98)’, in Philippine Qu<strong>art</strong>erly <strong>of</strong><br />
Culture <strong>and</strong> Society 17, March 1989.<br />
Santiago, Luciano, P. R., ‘<strong>The</strong> Painters <strong>of</strong> Flora de Filipinas (1877 – 1883)’, in Philippine Qu<strong>art</strong>erly <strong>of</strong> Culture <strong>and</strong><br />
Society 21, 1993<br />
Santo – Holy Sculptures from the Philippines, [ASEAN-Japan Exchange Year 2003, Arts <strong>of</strong> the People III], Fukuoka:<br />
Fukuoka Asian Art Museum, 2003<br />
Sta Maria, Felice, ed., Reales Ordenes para establacimiento de las Escuela de Pintura y Academia de Bellas Artes en las Islas<br />
Filipinas, Madrid/Manila, 1848 [mimeo, ANU]<br />
Torralba, Fr. Milan Ted D., curator, Kísame: Visions <strong>of</strong> Heaven on E<strong>art</strong>h, photographs <strong>of</strong> ceiling paintings from Bohol<br />
colonial churches, Manila, Ayala Foundation inc, 2008<br />
Zóbel, Fern<strong>and</strong>o, Philippine Religious Imagery, Manila, Ateneo de Manila, 1963<br />
Art <strong>of</strong> the Spanish Period – academic <strong>art</strong> <strong>and</strong> its transitions<br />
[see also entries for individuals below under Flores <strong>and</strong> Luna]<br />
Ayzelá Montserrat M<strong>art</strong>i, Carlos González y, Pintores Españoles en Roma (1850-1900), Barcelona, Tusquets<br />
Editores, 1987.<br />
Bedat, Claude, La Real Academia de Bellas Artes de San Fern<strong>and</strong>o (1704-1808), Madrid, Fundacion Universitaria<br />
Española, 1989<br />
Blanco, José, Flora de Filipinas, Barcelona, 1878.<br />
Caso, Edoardo Dizy, Les Orientalistses de L’École Espagnole, Courbevoie (Paris), 1997.<br />
Duldulao, M.D., A Century <strong>of</strong> realism in Philippine <strong>art</strong>, Manila, Fine Arts Corp. 1982.<br />
Flores, Patrick D., ‘ “A Piece <strong>of</strong> History”: Juan Luna’s Parisian Life <strong>and</strong> the Production <strong>of</strong> Property’, in Clark,<br />
John; Peleggi, Maurizio; <strong>and</strong> Sabapathy, T.K.; eds., Eye <strong>of</strong> the Beholder: Reception, Audience <strong>and</strong> Practice <strong>of</strong><br />
Modern Asian Art, Wild Peony, <strong>Sydney</strong>, Wild Peony, <strong>Sydney</strong>, 2006.<br />
Flores, Patrick D., ‘Painting as Colonial Reconversion’ in Power, Kevin, ed., ’98 Cien Años Despues, Communitat<br />
Valenciana & Manila, Cultural Center <strong>of</strong> the Philippines, 1998.<br />
Flores, Patrick D., ed., Perspectives on the Vargas Museum Collection: from Revolution to Republic: the <strong>art</strong> <strong>of</strong> Luna, Amorsolo,<br />
Edades, Quezon City, Dep<strong>art</strong>ment <strong>of</strong> Art Studies, <strong>University</strong> <strong>of</strong> the Philippines, 1999<br />
Flores. Patrick D., Painting History: revisions in Philippines Colonial Art, Manila, National Commission for Culture<br />
<strong>and</strong> the Arts, 1998.<br />
Muller, Priscilla & Burke, Marcus, Sorolla, New York, Hispanic Society <strong>of</strong> America, 2004.<br />
Nuño, Juan Antonio Gaya, Arte del Siglo XIX, Madrid, Editorial Plus Ultra, 1966<br />
Peel, Edmund, <strong>The</strong> Painter Joaquín Sorolla y Bastida, San Diego, San Diego Museum <strong>of</strong> Art, 1989<br />
Prelude to Spanish Modernism: Fortuny to Picasso, Albuquerque, Albuquerque Museum & Dalla, <strong>The</strong> Dallas Museum,<br />
2005<br />
Pilar, Santiago Albano, Pamana: <strong>The</strong> Jorge B. Vargas Collection, Quezon City, <strong>University</strong> <strong>of</strong> the Philippines, Jorge B.<br />
Vargas Museum, 1992<br />
Santiago, Luciano, P. R., ‘<strong>The</strong> Painters <strong>of</strong> Flora de Filipinas (1877 – 1883)’, in Philippine Qu<strong>art</strong>erly <strong>of</strong> Culture <strong>and</strong><br />
Society 21, 1993.<br />
Santiago, Luciano, P. R., ‘Philippine Academic Art: <strong>The</strong> Second Phase (1845 – 98)’, in Philippine Qu<strong>art</strong>erly <strong>of</strong><br />
Culture <strong>and</strong> Society , vol. 17, March 1989.<br />
Santos Moro, Francisco de, La Vida en papel de arroz, Madrid, Museo Nacional de Antropología, 2007<br />
Sastres, Luis, et al, Cien Años de Pintura en España y Portugal (1830-1930), Tomo V, Madrid,1991.<br />
Sta Maria, Felice, ed., Reales Ordenes para establacimiento de las Escuela de Pintura y Academia de Bellas Artes en las Islas<br />
Filipinas, Madrid/Manila, 1848 [mimeo, ANU]<br />
Tejada, Pilar Romero de, Frutas y Castas Illustradas, Madrid, Museo Nacional de Antropología, 2004.<br />
Vera, Alejo, entry in Enciclopedia Universal Illustrada, Barcelona, Hijos de J. Espasa, 1929 vol. LXVII, p.1341-2.<br />
Art <strong>of</strong> the American Period<br />
[see in general Edades <strong>and</strong> Francisco below]<br />
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Bautista, Donna Aelred C., Modernism in Philippine Art: a study <strong>of</strong> Polemical Texts 1928-1955, MA <strong>The</strong>sis, College <strong>of</strong><br />
Arts <strong>and</strong> Letters, <strong>University</strong> <strong>of</strong> the Philippines, May 1992.<br />
Art since 1945 in general<br />
Carroll, Alison, ‘East <strong>and</strong> West? A different story: the impact <strong>of</strong> Mexico on 20 th century Asian <strong>art</strong> [largely<br />
Philippines’], Art Monthly Australia, issue 213, September 2008.<br />
Coseteng, A. M. L., ed., Philippine Modern Art <strong>and</strong> Its Critics, Manila, UNESCO National Commission <strong>of</strong> the<br />
Philippines,1972 [Anthology <strong>of</strong> Critical Reviews]<br />
Duldulao, M. D., Contemporary Philippine Art from the 50s to the 70s, Quezon City, Vera-Reyes, 1972<br />
Duldulao, M. D., <strong>The</strong> Philippine Art Scene, Hong Kong, Toppan Printing Co., 1987.<br />
Flores, Patrick, ‘Post-war, Pre-M<strong>art</strong>ial Law: Neo-realism, Late Abstraction (Philippine Art, 1945-1965)’ [lecture<br />
given in Madrid & Barcelona, 2006], in Luz: Traces <strong>of</strong> Depiction, Manila, National Museum <strong>of</strong> the<br />
Philippines, 2007<br />
Guillermo Alice G., Sining Biswal: an essay on Philippine Visual Arts, Manila, Cultural Center <strong>of</strong> the Philippines,<br />
1989<br />
Guillermo Alice G., et al, Sculpture in the Philippines: from Anito to Assemblage <strong>and</strong> other essays, Manila, Metropolitan<br />
Museum <strong>of</strong> Manila, 1991.<br />
Reyes, C., Conversations on Philippine Art, Manila, Cutural Center <strong>of</strong> the Philippines, 1989.<br />
1970s-1980s, including <strong>art</strong> with political commitment<br />
Benesa, Leonidas V., et al, Contemporary Philippine Art, Hong Kong, Hong Kong Museum <strong>of</strong> Art, 1980<br />
Dementillo, Ricaredo, ‘Filipino Artists in the early 1970s’, Solidarity, 1973<br />
Guillermo, A.G. ‘A decade <strong>of</strong> fruition <strong>and</strong> renewal’, Art Monthly Australia, 41, June 1991.<br />
Guillermo, A.G., ‘<strong>The</strong> Eye is the Silent Witness: Political <strong>art</strong> in the post Marcos Era’, Art & Asia Pacific, vol.1,<br />
no.1, 1993.<br />
Guillermo, Alice G., Protest Revolutionary Art in the Philippines, 1970-1990, Quezon City, <strong>University</strong> <strong>of</strong> the<br />
Philippines Press, 2001.<br />
Ledesma, Purita Kalaw, <strong>The</strong> struggle for Philippine <strong>art</strong>, Manila, Purita Kalaw Ledesma, 1974<br />
Reyes, Cid, Conversations on Philippine Art, Manila, Cultural Center <strong>of</strong> the Philippines, 1989<br />
Roces, M.P., Exchange Manila-Berlin, Berlin, RAAB Galerie, 1988<br />
Torres, E., Philippine abstract painting, Manila, Cultural Center <strong>of</strong> the Philippines, 1994.<br />
Contemporary Art Since 1990<br />
Baluyut, Pearlie S., ‘A Judge’s Observation’, in Pananaw 4: Philippine Journal <strong>of</strong> Visual Arts, 2002, p.75-78.<br />
‘Bose, Santiago, ‘Struggle in Baguio: <strong>The</strong> Arts Guild Makes a Difference’, Artlink, Vol. 13, No.3&4, November-<br />
March 1993/94<br />
Cañete, Reuben Ramas., ‘Bridges Across Rivers: Art as Systemic Practice Among Bulakenyos’, in Pananaw 4:<br />
Philippine Journal <strong>of</strong> Visual Arts, 2002, p.27-31.<br />
Canta, Marilyn R., ‘Installation Art in the Philippines: Sourcing Traditional <strong>and</strong> Contemporary Aesthetics’, in<br />
Pananaw 4: Philippine Journal <strong>of</strong> Visual Arts, 2002, p.49-55.<br />
Capistrano-Baker, Florina H., ‘Mapping the New Millennium: Ethnicity, Alterity, Identity [Imag(in)ing Self <strong>and</strong><br />
the Other in a Post<strong>modern</strong> World’, in Pananaw 4: Philippine Journal <strong>of</strong> Visual Arts, 2002, p.8-10.<br />
Chua, Ferreolus, ‘Mula sa Puso: Filipino Art Sweeps into Town’ (review), in Vehicle: Contemporary Visual Arts,<br />
No.7, 2002, p.52-56.<br />
Conde-Prieto, Ma Teodora., ‘From Punla to Sibol: <strong>The</strong> Growth <strong>of</strong> Regional Art’, in Pananaw 4: Philippine Journal<br />
<strong>of</strong> Visual Arts, 2002, p.32-33.<br />
Datuin, Flaudette May V., ‘L<strong>and</strong>, Locality, <strong>and</strong> Communion: <strong>The</strong> International Baguio Arts Festival’, in Pananaw<br />
4: Philippine Journal <strong>of</strong> Visual Arts, 2002, p.34-40.<br />
Defoe, Ruben, D.F., ‘Heroism wears new hats’, Asian Art News, vol. 6, no.3, May / June 1996.<br />
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Ewington, J., ‘Archipelago Art’, Art & Asia Pacific, vol.1, no.1, 1993.<br />
Ewington, J., ‘Cross-Currents- Salubungang Agos’, Art & Asia Pacific vol.1, no.3, 1994.<br />
Fajardo, Brenda V., ‘Contemporary Visual <strong>art</strong>s in the Philippines’, in Japan Foundation ed., Contemporary<br />
Philippine Culture: Selected papers on Art <strong>and</strong> Education, Manila Japan Foundation, 1998.<br />
Flores, Patrick & Bromfield, David, ‘<strong>The</strong> perils <strong>of</strong> performance: Mike Parr in the Philippines’, Art & Asia-Pacific,<br />
vol.3, no.1, 1996.<br />
Flores, Patrick, ‘Sorties into the City: <strong>The</strong> Art <strong>of</strong> Elmer Borlongan <strong>and</strong> Emmanuel Garibay’, Artlink, Vol. 19,<br />
No. 3 September1999<br />
Fairley, Gina, ‘Alternative X: Creating a Scene in the Philippines’, Eyeline, no. 61, Spring 2006.<br />
Fairley, Gina, ‘Cultural Malling in Manila: the New Ayala Museum Bridges Culture <strong>and</strong> Consumerism’, Art<br />
Monthly Australia, no. 179, May 2005.<br />
Fairley, Gina, ‘Manila 2006’, Art <strong>and</strong> Australia, vol. 44, no. 3, 2006.<br />
Fairley, Gina, ‘An award <strong>of</strong> its time’ [2008 Ateneo Art Award], Asian Art News, vol.18, no.4, July/August 2008.<br />
Fairley, Gina, ‘Photography Rising’, in Asian Art News, v. 18(4), July/August, 2008, pp. 69-73.<br />
Florentino, Eric., ‘Four Postmortems <strong>and</strong> an Ominous Carnival (or, <strong>The</strong> Freak Show Manifesto)’, in Pananaw 4:<br />
Philippine Journal <strong>of</strong> Visual Arts, 2002, p.71-73.<br />
Flores, Patrick D., ed.,. Pananaw no.6, Philippine Journal <strong>of</strong> Visual Arts, 2007 [on criticism <strong>and</strong> curation]<br />
Flores, Patrick D.; Cajipe-Endaya, Imelda; Cruz, Joselina, Koh, Jay, convenors, Locus: Interventions in Art Practice,<br />
Manila, National Commission for Culture <strong>and</strong> the Arts, Lopez Museum & Pananaw ng Sining Bayan,<br />
2005.<br />
Flores Patrick D., Crafting Economies, Tokyo, <strong>The</strong> Japan Foundation, 2001.<br />
Flores, Patrick D., ‘At the crossroads’, Asian Art News, vol.10, no.3, 2000<br />
Flores, Patrick D., ‘Central Station’, in Pananaw 4: Philippine Journal <strong>of</strong> Visual Arts, 2002, 11-16.<br />
Flores, Patrick D., ‘Loss <strong>and</strong> leaving’, Art AsiaPacific 28, 2001<br />
Garcia, Nona., ‘Luck’, in Pananaw 4: Philippine Journal <strong>of</strong> Visual Arts, 2002, p.74.<br />
Guillermo, Alice G., ‘Bamboo in the Sea Wind’ (<strong>The</strong> First Bagabas International Eco-Arts), in World Sculpture<br />
News, Vol.9, No.3, Summer 2003, p.50-52.<br />
Guillermo, Alice G., ‘From the Familiar to the Abstract’, in Asian Art News, Vol. 14, No. 2, March/April 2004,<br />
p.58-63.<br />
Guillermo, Alice G., ‘Yankee Doodles’, in Asian Art News, Vol. 13, No. 6, November/December 2003, p.52-55.<br />
Guillermo, Alice G., ‘Witnesses to unfolding history’, Asian Art News, vol.10, no.3, 2000<br />
Guillermo, Alice, ‘Visions <strong>of</strong> the Millennium’, Asian Art News 9:3 1999<br />
Guillermo, Alice, ‘<strong>The</strong> essence <strong>of</strong> form’, [Philippines’ Sculpture] Asia-Pacific Sculpture News, vol.1, no.2, Spring<br />
1995.<br />
Guillermo, Alice G., ‘An Iconography <strong>of</strong> Political Art’, in Asian Art News, Vol. 14, Number 4 (July/August<br />
2004), pp. 58-61<br />
Hildawa, Sid Gomez, ‘An Overview <strong>of</strong> the Philippine Contemporary Art Scene (1994-1998), Kuroda, Raiji, ed.,<br />
<strong>The</strong> First Fukuoka Asian Art Triennale, Fukuoka: Fukuoka Asian Art Museum, 1999<br />
H<strong>of</strong>fie, P., ‘Accounting for Fun’, [Baguio Art Festival 1993] Art Monthly Australia, no.67, March 1994;<br />
Ho<strong>of</strong>man, Ingrid, ‘Enjoin to the Philippines’, Artlink, Vol. 18, No. 4 December 1996<br />
Javelosa, Jeannie E., ‘Introduction to Philippines Art & Culture’, Artlink, Vol. 13, No.3&4, November-March<br />
1993/94<br />
Javelosa, Jeannie E., ‘Indigenous Statements Now’, Artlink, Vol. 13, No.3&4, November-March 1993/94<br />
Labrador, Ana P., ‘Eating their words’, Art AsiaPacific 29, 2001<br />
Labrador, Ana P., ‘Out <strong>of</strong> order’, Art AsiaPacific, 25, 2000<br />
Legaspi-Ramirez, Eileen C., ‘Traversing Centre <strong>and</strong> Fringe: Problems <strong>of</strong> Engagement in Unstable Democratic<br />
Spaces’, Focas (Forum on Contemporary Art & Society), no.3, January 2002<br />
Labarador, Anna, ‘Weaving impressions: the Bontoc people <strong>of</strong> the Philippines’, Art AsiaPacific, no.18, 1998.<br />
Labrador, A.P., ‘A most unfashionable frill: Restringing multicultural beads into one national str<strong>and</strong>’, Art & Asia<br />
Pacific, vol.1, no.1, 1993.<br />
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Labrador, A.P., ‘Beyond <strong>The</strong> fringe: making it as a Filipina <strong>contemporary</strong> <strong>art</strong>ist’, Art & Asia Pacific, vol. 2, no.2,<br />
1995.<br />
Labrador, Ana, P., ‘<strong>The</strong> projects <strong>of</strong> nationalism: celebrating the centenary in Philippines <strong>contemporary</strong> <strong>art</strong>.’<br />
Humanities Research 2: 1999<br />
Looby, Keith, ‘Does the Avant-Garde begin or end in Asia?’, Art & Asia Pacific, vol.1, no.4, 1994.<br />
Mayo, Rachel, ‘Replanting Culture: <strong>The</strong> indigenous Art Movement’, Art & Asia Pacific, vol.1, no.1, 1993.<br />
Mayo, Rachel, ‘Pillow Talk’ [Dan Raralio], Art & Asia Pacific, vol.3, no.2, 1996.<br />
Mayo, Rachel, ‘Salingpusa: Manila on Canvas’, Art & Asia Pacific, vol.2, no.3, 1995<br />
Pastor Roces, Marian, ‘Letter to an Artist concerning her Death’, in Huangfu, Binghui, Site+Sight: Translating<br />
Cultures, Singapore, La Salle-SIA, 2002.<br />
Pereira, Sharmini, ‘To talk with a degree <strong>of</strong> serendipity’, Artlink, Vol. 20, No. 2, July 2000<br />
Pettifor, Steven, ‘Arkuiris at Art Centre SM Megamall’ (review), Asian Art News, vol. 15, no. 3, 2005.<br />
Philippines Feature’, including ‘Coming into a new phase’; Orlina, Ramon ‘Facing up to Change’; Diaz, Silvana,<br />
‘Art to the People’; Asian Art News, vol. 7, no. 3, May/June 1997.<br />
Radok, Stephanie <strong>and</strong> Roberts, Neil, ‘An Australian Creates Space in Manila’, Artlink, Vol. 13, No.3&4,<br />
November-March 1993/94<br />
Ramirez, Eileen Lagaspi, ‘Living <strong>and</strong> Dying. Somber Memoir <strong>and</strong> Other Fictions in Contemporary Philippine<br />
Art’, in C Arts. Asian Contemporary Art <strong>and</strong> Culture, vol. 02, March/April, 2008, pp. 114 – 116.<br />
Roces, M.P, ‘Ethos Bathos Pathos: Contemporary Art Practice in the Philippines’, Art & Asia Pacific, no.1,<br />
supplement to Art & Australia, March 1993.<br />
Ruiz, Jose Tence, ‘Atras /Avant: Lessons from a Continuing Reinvention <strong>of</strong> the Thirteen Artists Award’, in<br />
Pananaw 4: Philippine Journal <strong>of</strong> Visual Arts, 2002, p.56-65.<br />
Samson, Ditas R., ‘<strong>The</strong> Beauty <strong>and</strong> the Bounty: Angono Recalled <strong>and</strong> Reinterpreted’, in Pananaw 4: Philippine<br />
Journal <strong>of</strong> Visual Arts, 2002, p.17-26.<br />
‘Supplement: <strong>The</strong> Philippines’, Asian Art News, vol.3, no.5, Sept-Oct 1993.<br />
‘Surry <strong>of</strong> Exhibitions 2000-2002’, in Pananaw 4: Philippine Journal <strong>of</strong> Visual Arts, 2002, p.90-100.<br />
Tan, Pearl, ‘<strong>The</strong> Philippine Art Awards: An Observer’s Evaluation’, in Pananaw 4: Philippine Journal <strong>of</strong> Visual Arts,<br />
2002, p.66-70.<br />
Torres, Emmanuel, ‘One Face <strong>of</strong> Filipino Art’, in Asian Art News, Vol.13, No.1, January/February 2003, p.56-60.<br />
Tuazon, Wire Rommel G., ‘Artist-Run-Spaces: Art Initiatives in the Case <strong>of</strong> Surrounded by Water’, in Vehicle:<br />
Contemporary Visual Arts, No.6, 2002, p.44-47.<br />
Torres, E., ‘Internationality: Towards a New Internationalism’, Art & Asia Pacific, vol.1, no.1, 1993.<br />
Torres, Emmanuel, ‘Drawing takes its place’, Asian Art News, vol.10, no.4, 2000<br />
Torres, Emmanuel, ‘Upbeat <strong>and</strong> kicking into the new millennium’, Asian Art News, vol.10, no.3, 2000<br />
Valeriano, Lourdes Lee., ‘Identity <strong>and</strong> Invisibility: Contemporary Filipino-American Art in New York’, in<br />
Pananaw 4: Philippine Journal <strong>of</strong> Visual Arts, 2002, p.41-48.<br />
Willie Valentine, Faith + <strong>The</strong> City: a survey <strong>of</strong> <strong>contemporary</strong> Filipino <strong>art</strong>, Kuala Lumpur, Valentine Willie Fine Art,<br />
2000<br />
Zaballero, Phyllis; ‘Vermont Works’, Asian Art News, vol. 7, no. 3, May/June 1997.<br />
Contemporary Cinema<br />
Capino, Jose B. “Philippines: Cinema <strong>and</strong> its Hybridity.” In Contemporary Asian Cinema: popular culture in a global<br />
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Jameson, Fredric, ‘”Art naïf” <strong>and</strong> the Admixture <strong>of</strong> Worlds’, in <strong>The</strong> Geopolitical Aesthetic: Cinema <strong>and</strong> Space in the<br />
World System, London: BFI Publishing <strong>and</strong> Indiana UP, 1992, pp.186-213.<br />
San Juan Jr, E., ‘Kidlat Tahimik: Cinema <strong>of</strong> the “naïve” subaltern in the shadow <strong>of</strong> global capitalism’,<br />
Communal/Plural 6.2 (1998): 171-185.<br />
Antonio S. Sison, ‘Perfumed Nightmare Through the lens <strong>of</strong> Third Cinema’, in Political Holiness in Third Cinema,<br />
<strong>The</strong> Netherl<strong>and</strong>s: Katholieke Universiteit Nijmegen, 2004, p.73-130.<br />
Stam, Robert, “Third Cinema Revisited,” in Film <strong>The</strong>ory: an Introduction. Mass: Blackwell, 2000, pp. 281-291.<br />
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Rol<strong>and</strong>o B. Tolentino, ‘Kidlat Tahimik in the Rhetoric <strong>of</strong> First World Critical <strong>The</strong>ory’, in National/Transnational:<br />
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Prints<br />
Benesa, Leonidas V., <strong>The</strong> Printmakers, Manila, Dep<strong>art</strong>ment <strong>of</strong> Public Information, 1975<br />
Cajipe-Endaya, Imelda et al, Filipino Engraving 17th to 19th Century, Manila: Ylang Ylang Graphic Group, 1980<br />
Cajipe-Endaya, Imelda, ‘Notes on an Unknown Artist <strong>of</strong> the 18 th century’, Archipelago, ca.1979<br />
Pilar, Santiago Albano & Cajipe-Endaya, Imelda, Limbag Kamay: 400 Years <strong>of</strong> Philippine Printmaking, Manila,<br />
Cultural Center <strong>of</strong> the Philippines, 1993<br />
Photography<br />
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Guardiola, Juan, El Imaginario Colonial: Fotografía en Filipinas durante el periodo español, 1860-1898, Manila, National<br />
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Vergara, Benito M., Displaying Filipinos: Photography <strong>and</strong> Colonialism in early 20 th century Philippines, Quezon City,<br />
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New Media<br />
Crafts (including textiles, basketwork, carving, <strong>and</strong> ceramics)<br />
Anderson, Nola, ‘Writing about Craft’, Artlink, Vol. 13, No.3&4, November-March 1993/94<br />
Baradas, David B., ‘Woven Textiles the Enduring Tradition’, Artlink, Vol. 13, No.3&4, November-March<br />
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Capistrano-Baker, Florina H., et al, Basketry <strong>of</strong> the Luzon Cordillera, Philippines, Los Angeles, UCLA Fowler<br />
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Lane, Robert, Philippine Basketry: an appreciation, Manila, Bookmark, 1986<br />
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Chattopadhyay, Colette, ‘At home <strong>and</strong> abroad, <strong>contemporary</strong> Filipina views’, Art AsiaPacific, 22, 1999<br />
Cajipe-Endaya, Imelda, ‘Images <strong>of</strong> Women by Women’, Artlink, Vol. 13, No.3&4, November-March 1993/94<br />
Datuin, Flaudette, ‘At the fringes in the Philippines’, Artlink, Vol. 20, No. 2, July 2000.<br />
Datuin, Flaudette M.V., Home, Body, Memory, Filipina <strong>art</strong>ists in the visual <strong>art</strong>s, 19 th century to present, Quezon City,<br />
<strong>University</strong> <strong>of</strong> the Philippines Press, 2002.<br />
Herrera, Ma. Victoria T., ‘Women in the Philippine Art World’, paper for conference Women Imagining Women¸<br />
Manila, Cultural Center <strong>of</strong> the Philippines, 1999.<br />
Kintanar, <strong>The</strong>lma B., Ventura, Sylvia M., Self-Portraits: twelve Filipina Artists Speak, Manila, Ateneo de Mainal<br />
<strong>University</strong> Press, 1999.<br />
PACIFIC, OCEANIA, NEW ZEALAND<br />
[<strong>The</strong>re is a flourishing <strong>art</strong> press in New Zeal<strong>and</strong> which is too large to index here]<br />
General Works<br />
[Devotion: the religious, the domestic, the pacific] review, Art AsiaPacific, 24, 1999<br />
226
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
[Fiji] Teaiwa, Tersia K., ‘Our Pacific: Contemporary Art in Fiji’, Art AsiaPacific, no.17, 1998.<br />
[New Zeal<strong>and</strong>] ‘Focus on New Zeal<strong>and</strong>’, Art AsiaPacific, 23, 1999 [many <strong>art</strong>icles & reviews]; Dale, Richard,<br />
‘Going East: post-orientalism in <strong>contemporary</strong> New Zeal<strong>and</strong> Art’, Art AsiaPacific, 23, 1999; Davis, Leigh,<br />
‘Maori Bay Quarry: Maori prophets in the work <strong>of</strong> Colin McCahon’, Art Asia Pacific, no 23, 1999 Focus<br />
on New Zeal<strong>and</strong>. Art AsiaPacific, no 23, 1999 Focus on New Zeal<strong>and</strong>; Fraser, Virginia, ‘Te Papa<br />
Tongarewa’, Art Monthly Australia, no.110, June 1998; Leonard, R. & Vercoe, C., ‘Sisters are doing it:<br />
fashion, dance, <strong>art</strong>: New Zeal<strong>and</strong>’s Pacific Sisters’, Art AsiaPacific, no.14, 1997; McAloon, William,<br />
‘Casino Art in New Zeal<strong>and</strong>’, Art Asia Pacific, vol.3, no.4, 1996.<br />
[Noumea] Lewis-Harris, Jacky, ‘Our identity lies ahead’, Art AsiaPacific, 31, 2001; Giakoumi, Dionissia, ‘A New<br />
Meeting Place in the Pacific: Centre Culturel Tjiboau, Noumea’, Art AsiaPacific, no.21, 1999; Kasarherou,<br />
Emmanuel, ‘Portraits Kanak’, Art AsiaPacific, vol.3, no.3, 1996; S<strong>and</strong>ra, Maillot Win-Nemou, ‘An<br />
exhibition <strong>of</strong> Torres Strait Isl<strong>and</strong>er Art in Noumea’, Art AsiaPacific, no.14, 1997; Stevenson, Karen,<br />
‘Creating Together: <strong>The</strong> inaugural exhibition at Centre Culturel Tjibaou, Noumea’, Art AsiaPacific, no.21,<br />
1999; Ewington, Julie, ‘Noumea-Tokyo’, Art AsiaPacific, 23, 1999<br />
[Samoa] Mallon, Sean, ‘Samoan <strong>art</strong> histories’, Art AsiaPacific, 32, 2001; Stevenson, Karen, ‘Picturing Paradise’,<br />
Art AsiaPacific, no.13, 1997; Stevenson, Karen, ‘<strong>The</strong> 7th Pacific Festival <strong>of</strong> Art in Samoa’, Art AsiaPacific,<br />
no.14, 1997; Vanya Taule’alo, ‘Ua sii matalalaga: Creating New Patterns in Pacific Art’, Art Monthly<br />
Australia,<br />
[Torres Straits] Thomas, Nicholas, ‘Isl<strong>and</strong>s <strong>of</strong> History’, Art AsiaPacific 28, 2000<br />
[Vanuatu] Bolton, Lissant, ‘<strong>The</strong> New Vanuatu Cultural Centre’, Art AsiaPacific, vol.3, no.3, 1996; Thomas,<br />
Nicolas, ‘Dance p<strong>art</strong>y’, <strong>The</strong> Vanuatu Cultural Centre Mini National Arts Festival, Art AsiaPacific, vol.3,<br />
no.3, 1996.<br />
‘Indigenous Arts <strong>of</strong> the Pacific’, Special Issue, Artlink, vol.16, no.4, Summer 1996<br />
‘New colours from old worlds’ review, Art AsiaPacific, 24, 1999<br />
‘Pacific Arts Symposium’, Art & Asia Pacific, vol.1, no.1, 1993.<br />
‘Pacific <strong>art</strong>s, 8 th Festival <strong>of</strong>’ Cochrane, Susan, ‘Undercurrents’, Art AsiaPacific, 31, 2001<br />
‘Tatutai sculpture symposium’ Vercoe, Caroline, ‘Navigating pacific Art’, Art AsiaPacific, 22, 1999<br />
Auckl<strong>and</strong> Art Gallery Toi O Tâmaki, Art Asia Pacific supplement no.23, 1999<br />
Cochrane, Susan, ‘We are the <strong>art</strong>ists <strong>of</strong> today: recent sculpture from the Solomon Isl<strong>and</strong>s <strong>and</strong> Vanuatu’, Art<br />
AsiaPacific, no.18, 1998.<br />
Cochrane, Susan, Bérétara: Contemporary Pacific Art, <strong>Sydney</strong>, Halstead Press, 2001.<br />
Craw, R., ‘Anthropology or the other’, Art & Asia Pacific, supplement to Art & Australia, September 1993.<br />
Elias, Ann, ‘Kowtowing to Commerce’, Art & AsiaPacific, vol.3, no.1, 1996.<br />
Hayes, Michael, ‘Burning Bridges, <strong>The</strong> contentious California conference “Rewriting the Pacific”’, Art<br />
AsiaPacific, vol.3, no.3, 1996<br />
Jahnke, Robert, ‘Tribal Art <strong>and</strong> its Incorporation into Contemporary Art’, in eds. Clark, John, Peleggi, Maurizio<br />
<strong>and</strong> Sabapathy, T.K, Eye <strong>of</strong> the Beholder: Reception, Audience <strong>and</strong> Practice <strong>of</strong> Modern Asian Art, <strong>University</strong> <strong>of</strong><br />
<strong>Sydney</strong> East Asian Series no. 15, Wild Peony, <strong>Sydney</strong>, 2006, pp. 9-28.<br />
Jose, Nicholas, ‘Asia & Oceania Influence - <strong>Sydney</strong>’, Artlink, Vol. 16, No. 4 Summer 1996<br />
Kaino, Lorna, <strong>The</strong> Necessity <strong>of</strong> Craft: Development <strong>and</strong> Women’s Craft Practices in the Asia-Pacific Region, Perth,<br />
<strong>University</strong> <strong>of</strong> Western Australia Press, 1995. [Review, Labrador, Ana P., in Art AsiaPacific, vol.3, no.1,<br />
1996.]<br />
Kidd, Courtney. ‘Oceans <strong>and</strong> Others: Navigating Pacific Territory.’ Art Monthly Australia, December 1998 to<br />
February 1999 no. 116.<br />
Lewis-Harris, J., ‘Printed, beaten, <strong>and</strong> coiled’, Art & Asia Pacific, vol.2, no. 2, 1995.<br />
Menzies, Louise, ‘Isl<strong>and</strong>ed: Contemporary Art from New Zeal<strong>and</strong>, Singapore <strong>and</strong> Taiwan, Adam Art Gallery’,<br />
(exhibition review) ArtAsiaPacific, no. 50, 2006.<br />
Morse, Marcia, ‘Not Venice, Hawaii: <strong>The</strong> Contemporary Museum Biennial <strong>of</strong> Hawaii <strong>art</strong>ists’, Art & Asia-Pacific,<br />
vol.3, no.1, 1996.<br />
Mosby, Tom Byra Mixie, ‘Playthings: Dance machines from the Torres Strait Isl<strong>and</strong>s’, Art AsiaPacific, no.14,<br />
1997.<br />
227
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Naylor, Stephen, ‘Public/Private Tumatanui/Tumataiti: <strong>The</strong> 2 nd Auckl<strong>and</strong> Triennial, Art Monthly Australia, No.<br />
170 (June, 2004), pp. 16-18<br />
Page, Maude, ‘Contemporary Art at the Pacific Festival <strong>of</strong> Arts’, Art AsiaPacific, no.14, 1997.<br />
Pirating the Pacific, <strong>Sydney</strong>, Powerhouse Museum, 1993, [review by M<strong>art</strong>in Terry in Art Monthly Australia, no.66,<br />
December-February 1993-94].<br />
Rees, Simon, ‘1 st Auckl<strong>and</strong> Triennial’, Art AsiaPacific, no.33, 2002.<br />
Rosi, Pamela, ‘Shigeyuki Kihara: Subverting Dusky Maidens <strong>and</strong> Exotic Tropes <strong>of</strong> Pacific Paradise’,<br />
ArtAsiaPacific, no. 51, 2007.<br />
Searle, R., ‘Melanesia’, Art Monthly Australia, no.66, December-February 1993-94.<br />
Teaiwa, <strong>The</strong>resa <strong>and</strong> Launiuvao, Juliette, ‘Canoe Culture’, ArtAsiaPacific, no. 47, 2006.<br />
Thomas, Nicholas & Losche, Diane, Double Vision: Art Histories <strong>and</strong> Colonial Histories in the Pacific, Cambridge,<br />
Cambridge <strong>University</strong> Press, 1999.<br />
Thomas, Nicolas, ‘Marked men’, Art AsiaPacific, no.13, 1997.<br />
Thomas, Nicolas, ‘Pacific Presences’, Art Monthly Australia, no.86, Dec 1995-Feb 1996.<br />
Thomas, Nicolas, ‘What shall we tell them? Pacific Art, politics <strong>and</strong> culture’, Art & Asia Pacific, vol.1.no.4, 1994.<br />
Vercoe, Corline, ‘Postcards as a signature <strong>of</strong> place’, Art & Asia-Pacific, vol.3, no.1, 1996.<br />
Von Reiche, Steven, “Pacific festival <strong>of</strong> Arts Workshop report’, Art AsiaPacific, no.14, 1997.<br />
Individual Artists<br />
Baerh<strong>art</strong>, Laurence: Batten, John, ‘Laurence Aberh<strong>art</strong>: Macau <strong>and</strong> China’ [Photography], Art AsiaPacific, no.33,<br />
2002.<br />
Cotton, Shane: Tillers, Imants, ‘Locating Shane Cotton’, Art AsiaPacific no.21 1999.<br />
Fong, Luise: Vaigro, W., ‘Luise Fong: cosmographies; a pathologist’s diary’, Art & Asia Pacific, vol.2, no.2, 1995.<br />
Hammond, Bill: Smith, Allan, ‘Bill Hammond Paints New Zeal<strong>and</strong>’, Art AsiaPacific, no 23, 1999 Focus on New<br />
Zeal<strong>and</strong>.<br />
Jahnke, Robert: Thomas, Nicolas, ‘Shadow <strong>and</strong> Substance: the recent work <strong>of</strong> Robert Jahnke’, Art & Asia Pacific,<br />
vol.1, no.1, 1993.<br />
Kahukiwa, Robyn: Diamond, Jo, ‘Robyn Kahukiwa: Nurturing Maori Identity’, Art AsiaPacific, no.33, 2002.<br />
Kuage, Mathias: review, Art AsiaPacific, 25, 2000<br />
Laita, Lily; O’Neill, Anne: Stevenson, Karen, ‘Negotiating ‘tradition’: the <strong>art</strong> <strong>of</strong> Lily Laita <strong>and</strong> Anne O’Neill’, Art<br />
AsiaPacific, no. 18, 1998.<br />
Parekowhai, Michael: Barr, Jima <strong>and</strong> Mary, ‘<strong>The</strong> Indefinite Article: Michael Parekowhai’s riff on representation’,<br />
Art Asia Pacific, no 23, 1999 Focus on New Zeal<strong>and</strong>.<br />
Pule, John: Thomas, Nicolas, ‘Lost Gods: <strong>The</strong> paintings <strong>of</strong> John Pule’, Art & Asia Pacific, vol.1.no.4, 1994;<br />
Thomas, Nicolas, ‘Oceans Ap<strong>art</strong>’, Asian Art News, vol.7, no.3, May/June 1997.<br />
Reihana, Lisa: Page, Maude, ‘Interdigitatimg Reihanamations: Lisa Reihana’s Video Weavings.’ Art AsiaPacific<br />
no.21, 1999.<br />
Tan Yukking, ‘Individual Experience’, in Asian Art News, v. 18(5Sept/Oct, 2008, pp. 82-3.<br />
PAPUA NEW GUINEA<br />
Mel, Michael, ‘Tradition <strong>and</strong> bilas in New Guinea’, Art & Asia-Pacific, vol.3, no.1, 1996.<br />
Simons, Susan; Stevenson, Hugh, Luk Luk Gen! Look Again: Contemporary Art from Papua New Guinea, Townsville,<br />
Perc Tucker Regional Gallery, 1990.<br />
Smalley, S.F., Contemporary Art <strong>of</strong> Papua New Guinea, New York, Bridgewater State College, 1989.<br />
Waiko, John, ‘Through our own eyes: Contemporary Art in Papua New Guinea", Art & Asia Pacific, vol.1, no.4,<br />
1994.<br />
228
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©John Clark, 2010<br />
SOUTH ASIA<br />
General Works<br />
Jacob, Preminda S. “Between Modernism <strong>and</strong> Modernisation: Locating Modernity in South Asian Art” in Art<br />
Journal 58, no. 3.<br />
INDIA<br />
General Works<br />
Appasamy, J., An Introduction to Modern Indian Sculpture, New Delhi, Indian Council for Cultural Relations & Vikas<br />
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Appasamy, J., <strong>The</strong> Critical Vision: Selected Writings, New Delhi, Lalit Kala Akademi, 1985.<br />
Appasamy, Jaya ed. Twenty-Five Years <strong>of</strong> Indian Art: Painting, Sculpture, <strong>and</strong> Graphics in the Post-Independence Era. New<br />
Delhi: Lalit Kala Akademi, 1972.<br />
Archer, W.G., India <strong>and</strong> Modern Art, London, George Allen & Unwin, 1959.<br />
Award Winners: National Exhibition <strong>of</strong> Art, 1955-1990, New Delhi: Lalit Kala Akademi, n.d. (probably 1990 or<br />
soon after, given the publication is an exhibition catalogue).<br />
Bhatt, Vikram <strong>and</strong> Peter Scriver. After the Masters. Ahmedabad: Mapin, 1990.<br />
Bhattacharyya, S.K. Trends in Modern Indian Art. New Delhi: M.D. Publications, 1994.<br />
Boner, Alice. Principles <strong>of</strong> Composition in Hindu Sculpture, Cave Temple Period. Leiden: Brill, 1962.<br />
Borden, Carla. Contemporary Indian Tradition: Voices on Culture, Nature <strong>and</strong> the Challenge <strong>of</strong> Change. Washington:<br />
Smithsonian Institute Press, 1989.<br />
Brown, Rebecca M. Art for a Modern India, 1947-1980. Durham: Duke <strong>University</strong> Press, 2009.<br />
Chaudhuri, N.C., <strong>The</strong> Autobiography <strong>of</strong> an Unknown Indian, [London, Macmillan, 1951] Berkeley, <strong>University</strong> <strong>of</strong><br />
California Press, 1968.<br />
Chaudhuri, N.C., Thy H<strong>and</strong> Great Anarch!, India 1921-1952, London, [Chatto & Windus 1987], <strong>The</strong> Hog<strong>art</strong>h<br />
Press, 1990.<br />
Clark, J., ‘Modern Indian Art: Some Literature <strong>and</strong> Problematics’, Occasional Paper, no.21, Research Institute for<br />
Asia <strong>and</strong> the Pacific, 81-page Review, ISBN 0 86758 916 7, 1994.<br />
Clark, John, ‘Recent books on Indian <strong>and</strong> Pakistani <strong>art</strong>’, in <strong>art</strong> & Australia, v. 45(1), Spring, 2007, p. 129.<br />
Coomaraswamy. An<strong>and</strong>a K. <strong>The</strong> Transformation <strong>of</strong> Nature in Art. New York: Dover, 1934.<br />
Coomaraswamy, An<strong>and</strong>a K. <strong>The</strong> Dance <strong>of</strong> the Shiva: Fourteen Indian Essays. New York: Noonday, 1957.<br />
Dalmia, Yashodhara, <strong>The</strong> Making <strong>of</strong> Modern Indian Art: <strong>The</strong> Progressives, New Delhi: Oxford, 2002.<br />
Dalmia, Yashodhara <strong>and</strong> Sambrani, Chaitanya, et. al, Indian Contemporary Art Post-Independence, New Delhi:<br />
Vadehra Art Gallery, 1997.<br />
Dalmia, Yashodhara, et.al., Contemporary Indian Art: Other Realities, Bombay: Marg, 2002.<br />
Dehejia, Harsha V. Despair <strong>and</strong> <strong>modern</strong>ity : reflections from <strong>modern</strong> Indian painting, New Delhi,: Motilal Banarasidass<br />
Publishers, 2000.<br />
Dhamija, R., ed., Sixty Years <strong>of</strong> Writing on Arts & Crafts in India [from Roopa-lekha 1928-1988], New Delhi, Sterling<br />
Publishers, 1988.<br />
Ellias, Bina Sinkar. Fifty Years <strong>of</strong> Indian Art. Mumbai: Mohile-Parikh Centre for the Visual Arts, 1998.<br />
Elliott, D., Musgrave, V., Alkazi, E., India: myth <strong>and</strong> reality, Aspects <strong>of</strong> Contemporary Art, Oxford, Museum <strong>of</strong><br />
Modern Art, 1982.<br />
Fischer, Eberhard & Pathy Dinanath, Amorous delight: the Amarushataka Palm Leaf Manuscript, Zürich, Artibus<br />
Asiae Publishers at Museum Rietberg, 2006 [<strong>art</strong>ibusasiae@rietb.stzh.ch]<br />
Ghose, D.C., Bibiliography <strong>of</strong> Modern Indian Art, New Delhi, Lalit Kala Akademi, 1980.<br />
Goetz, H., ‘<strong>The</strong> great crisis from traditional to <strong>modern</strong> <strong>art</strong>’, Lalit Kala Contemporary, no.1.<br />
Inden, R., Imagining India, Oxford, Blackwell, 1990.<br />
Indian Aesthetics <strong>and</strong> Art Activity, Simla, Indian Institute <strong>of</strong> Advanced Study, 1968.<br />
Indische malerei der Gegenw<strong>art</strong>, [Bonn, Hannover, Hamburg, Bayreuth]Catalogue, 1982.<br />
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Jain, Jyotindra (ed.), India’s Popular Culture. Iconic spaces <strong>and</strong> fluid images. Mumbai, Marg Publications, 2007.<br />
Kapur Geeta, When was Modernism: Essays on <strong>contemporary</strong> cultural practice in India, New Delhi, Tulika, 2000.<br />
Kapur, Geeta “Representational Dilemmas <strong>of</strong> the Nineteenth-Century Painter: Raja Ravi Varma”, in When was<br />
Modernism: Essays on Contemporary Cultural Practice in India, Tuliki, New Delhi, 2000, 145-78<br />
Kapur, G., B<strong>art</strong>holomew, R., Padamsee, A., Contemporary Indian Art, London, Royal Academy <strong>of</strong> Art, 1982.<br />
Kapur, Geeta, Contemporary Indian Art, London, Royal Academy <strong>of</strong> Arts & Festival <strong>of</strong> India, 1982.<br />
Kapur, Geeta, “A Stake in Modernity: Brief History <strong>of</strong> Contemporary Indian Art” in Caroline Turner, ed.,<br />
Tradition <strong>and</strong> Change: Contemporary Art <strong>of</strong> Asia <strong>and</strong> the Pacific, Brisbane: <strong>University</strong> <strong>of</strong> Queensl<strong>and</strong> Press, 1993.<br />
Kapur, “Riddles <strong>of</strong> the Sphinx”, exhibition catalogue exhibition catalogue on Gulammohammed Sheikh,<br />
Pathvipath/ Journeys, CMC Gallery, New Delhi, 1991.<br />
Kapur, Geeta <strong>and</strong> Sambrani, Chaitanya, crossing generations: diverge – Forty Years <strong>of</strong> Gallery Chemould (Exhibition at<br />
the National Gallery <strong>of</strong> Modern Art, Mumbai), Mumbai: Gallery Chemould, 2003<br />
Kaul, M., Trends in Indian Painting, New Delhi, Dhoomimal Ramch<strong>and</strong>, 1961.<br />
Khanna, Balraj <strong>and</strong> Aziz Kurtha. Art <strong>of</strong> Modern India. London: Thames <strong>and</strong> Hudson, 1998.<br />
Lynn, V., Singh, M.G., Bawa, M., Shah, H., India Songs: Multiple streams in Contemporary Indian Art, <strong>Sydney</strong>, Art<br />
Gallery <strong>of</strong> New South Wales, 1993.<br />
Mair, Victor, H., ‘Picture-storytelling in recent <strong>and</strong> <strong>modern</strong> India’, chapter 4 <strong>of</strong> Painting <strong>and</strong> performance: Chinese<br />
picture recitation <strong>and</strong> its Indian genesis Honolulu, <strong>University</strong> <strong>of</strong> Hawai’i Press,1988.<br />
Milford-Lutzker, Mary-Ann, ‘Shakti: <strong>The</strong> Power <strong>of</strong> Women’s Art in India’, Orientations, Volume 33, Number 6,<br />
June 2002 [including: B. Prabha, Anjolie Ela Menon, Madhvi Parekh, Nalini Malani, Vasundhara Tewari,<br />
Arpita Singh <strong>and</strong> Arpana Caur]<br />
Mitter, P<strong>art</strong>ha, Indian Art, New Delhi: Oxford: <strong>University</strong> Press, 2001.<br />
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Panikkar, Shivaji K., Parul Dave Makherji, <strong>and</strong> Deeptha Achar. Towards a New Art History: Studies in Indian Art.<br />
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Parimoo, R., ‘Modern Movement in Indian Sculpture’, Special Qu<strong>art</strong>erly Issue <strong>of</strong> Kalavritt no.19, January-March<br />
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Patel, G., Sokolowski, T., Herwitz, D.A., Contemporary Indian Art, New York, New York <strong>University</strong> Press, 1985.<br />
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Phillips Collection. Indian Art Today: Four Artists from the Chester <strong>and</strong> Davida Herwitz Collection. Washington: Phillips<br />
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Prakash. Uma, ‘A New Face On <strong>The</strong> Block’, in Asian Art News, v. 18(4), July/August, 2008, pp. 108-111.<br />
Purohit, V, Arts <strong>of</strong> Transitional India, 2 vols, Bombay, Popular Prakashan, 1988.<br />
Rohatgi, Pauline; Godrej, Pheroza; Mehrotra, Rahul; eds. Bombay to Mumbai: changing perspectives, Mumbai, Marg<br />
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Rush, Dana, ‘<strong>The</strong> Idea <strong>of</strong> India – West African Vodun Art <strong>and</strong> Thought’, Art Asia Pacific, No.34, 2002.<br />
Sadwelkar, Baburao, “Bombay Art Society: Story <strong>of</strong> a Hundred Years” in Story <strong>of</strong> a Hundred Years: Bombay Art<br />
Society 1888-1988, Bombay: Bombay Art Society, 1989.<br />
Sinha, Gayatri. Middleagespread: Imaging India, 1947-2004. New Delhi: Anant, 2004.<br />
Sarkar, Kamal, Bharater Bhaskar o Chitra-shilpi, Calcutta, 1984 [unseen by me, apparently the only <strong>art</strong>ists’<br />
biographical dictionary].<br />
Singh, B.P., India's culture: the state, the <strong>art</strong>s, <strong>and</strong> beyond, Delhi; New York: Oxford <strong>University</strong> Press, 1999.<br />
Six Indian Painters, London, <strong>The</strong> Tate Gallery, 1982.<br />
Ajay J., Sinha, “Contemporary Indian Art: A Question <strong>of</strong> Method” Art Journal Fall 1999<br />
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Subramanyam, K.G., <strong>The</strong> Living Tradition: Perspectives on Modern Indian Art, Calcutta, Seagull Books, 1987.<br />
Subramanyam, K.G., Moving Focus, New Delhi, Lalit Kala Akademi, 1978.<br />
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Abdus Shakoor Shah: Jamal, Osman., ‘Imagining Ballads’, in Asian Art News, Vol. 14, No. 2, March/April 2004,<br />
p.71-73.<br />
Agarwal, Ravi: Menezes, Meera, ‘<strong>The</strong> Labour Behind the Images’, interview with Ravi Agarwal in Art India, Vol.<br />
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Altaf, Navjot: Kuroda, Raiji, ed., <strong>The</strong> First Fukuoka Asian Art Triennale, Fukuoka: Fukuoka Asian Art Museum,<br />
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Art – Towards the 21 st Century”, Fukuoka: Fukuoka Asian Art Museum, 1999<br />
Anita Dube: Akira Tatehata, ‘Anita Dube’ in Art Asia Pacific, Issue 37 (2003), p. 86<br />
Arakkal, Yusuf: Doctor, Geeta, ‘An Artist <strong>of</strong> his time’, Asian Art News, vol.6, no.4, July / August, 1996.<br />
Atul Dodiya: Nanjo, Fumio, ‘Atul Dodiya’ in Art Asia Pacific, Issue 37 (2003), p. 71<br />
Ayisha Abraham, Rummana Hussain, Anita Dube, Sheela Gowda <strong>and</strong> Pushpamala N: Andrews, Jorella, ‘Telling Tales:<br />
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Balasubramaniam, A: Talwar, Deepak, A. Balasubramaniam (In) Between, New Delhi, Talwar Gallery, 2009<br />
B<strong>art</strong>holomew, Pablo: Zhuang Wubin, ‘History’s Eyes’, in Asian Art News, v. 17(6), November/December, 2007, pp.<br />
96 – 101.<br />
Bhatt, Jyoti: Bordewekar, S<strong>and</strong>hya, ‘Negotiating the Traditional <strong>and</strong> the Modern’, Art India, vol ix, issue ii, qu<strong>art</strong>er<br />
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Bhattacharjee, Bikash: Dutta, Adip, ‘Beyond Appearances’, Art India, Volume X, Issue IV, Qu<strong>art</strong>er IV, 2005;<br />
Maitra, Romain, ‘<strong>The</strong> Desert <strong>of</strong> the Real’, tribute to Bhattacharjee, in Art India, Vol XIII, Iss. I, Qu<strong>art</strong>er I,<br />
(2008) p. 141-143<br />
Biswa, Sutapa: Tawadros, Gilane. ‘Sutapa Biswas: Remembrance <strong>of</strong> Things Past <strong>and</strong> Present.’ Third Text no.22<br />
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1969; B<strong>art</strong>holomew R., ed., Nal<strong>and</strong>al Bose: A Collection <strong>of</strong> Essays, Centenary Volume, New Delhi, Lalit Kala<br />
Akademi, 1983; Subramanyam, K.G., ‘<strong>The</strong> Drawings <strong>of</strong> Nal<strong>and</strong>al Bose’, Art Heritage, no.2, 1979. ;<br />
Quintanilla, Sonya Rhie, ‘Beyond the Bengal School: Nationalism <strong>and</strong> Cultural Regeneration in the Art <strong>of</strong><br />
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Art India, Vol X, Issue ii (Qu<strong>art</strong>er ii, 2005), Special Issue on ‘Heritage’.<br />
Art India, Vol XI, Issue i (Qu<strong>art</strong>er i, 2006), Special Issue on ‘Printmaking’.<br />
Art India, Vol. 7, Issue 1 (Qu<strong>art</strong>er 1, 2002), Special Issue on ‘Net Culture’<br />
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Gupta, Latika, ‘Role Play (India’s first live <strong>art</strong> festival, KHOJ LIVE 08: Performance <strong>art</strong> festival), in Art India, Vol<br />
XIII, Iss. I, (2008) p. 118-120kaleka<br />
Horn Please: Narratives on Contemporary Indian Art. Bern: Kunstmuseum & Ostfildern-Ruiz: Hatje-Cantz, 2007.<br />
Hoskote, Ranjit, ‘India: A Long Time Coming’, ArtAsiaPacific, no. 45, 2005.<br />
“India’s Harrassed Artists.” Economist, 19 October 1996, 40.<br />
Kapur, Geeta. “Gender Mobility: Throught the Lens <strong>of</strong> Five Women Artists in India” in Global Feminisms: New<br />
Directions in Contemporary Art. London: Merrell Publishers Limited, 2007.<br />
Lewis, David, ‘World in Flux’ Art India, volume X, issue ii, qu<strong>art</strong>er ii, 2005.<br />
Lokh<strong>and</strong>wala, Arshiya Mansoor, ‘Re-claiming the Body’, Art India, volume X, issue i, qu<strong>art</strong>er i, 2005 (special<br />
issue on video <strong>art</strong>);<br />
Madden, Kathleen, ed., Indian Highway, London: Serpentine Gallery & Koln: & Walter König, 2008.<br />
Malhotra, Priya, ‘A Multitude <strong>of</strong> Voices’, Asian Art News, vol. 15, no. 6, 2005.<br />
Mehta, A. India: 20 Conversations with Contemporary Artists. Vadodara: Alekhya Foundation & Ahmedabad: Mapin,<br />
2007.<br />
Melwani, Lavina, ‘All in the Family: the Ahuja Collection <strong>of</strong> Indian Contemporary Art’, ArtAsiaPacific, no. 43,<br />
2005.<br />
Modi, Renu. “Raising a Family <strong>of</strong> Sculptures,” Art India 5, no. 3, 2000.<br />
Möntmann, Nina, ‘Mumbai’, Artforum, vol. 45, iss. 4, 2006.<br />
Nielsen, Henrikke, ‘<strong>The</strong> Artist Lives <strong>and</strong> Works in. Baroda/ Bombay/ Calcutta/ Mysore/ Rotterdam/<br />
Triv<strong>and</strong>rum’ (review), ArtAsiaPacific, no. 47, 2006.<br />
Pal, Pratapaditya. 2000: Reflections on the Arts in India. Mumbai: Marg Publications, 2000.<br />
P<strong>and</strong>e, Alka, <strong>The</strong> Margi & the Desi: between tradition <strong>and</strong> <strong>modern</strong>ity, exhibition catalogue, New Delhi: Gallery Espace,<br />
2004<br />
Patel, Chitra Prasad, ‘On the Path to Prominence: Cultivating the L<strong>and</strong>scape for Contemporary Indian Art’, in<br />
Orientations, vol. 35, no. 5, June, 2007, pp. 83 – 86.<br />
Pijnappel, Johan, ‘Art in Exile?’, Art India, volume X, issue I, qu<strong>art</strong>er I, 2005 (special issue on video <strong>art</strong>).<br />
Sarai Reader 01: <strong>The</strong> Public Domain. Delhi/Amsterdam, 2001.Published by Sarai : <strong>The</strong> New Media Initiative, New<br />
Dehli <strong>and</strong> the Society for Old <strong>and</strong> New Media, Amsterdam<br />
Sambrani, Chaitanya et. al., Edge <strong>of</strong> Desire: recent <strong>art</strong> in India, London: Philip Wilson Publishers, 2004.<br />
Sambrani, Chaitanya, ‘Here, out, there ( <strong>and</strong> somewhere in between): <strong>contemporary</strong> <strong>art</strong> in India, Australian <strong>and</strong><br />
New Zeal<strong>and</strong> Journal <strong>of</strong> Art, vol.3, no.2, 2002<br />
Sambrani, Chaitanya, ‘Home <strong>and</strong> away: Contemporary Indian <strong>art</strong> in the international arena’, Art Monthly<br />
Australia, no.153, 2002.<br />
Sambrani, Chaitanya, ‘Printing across borders: the Aar-Paar Project’, in Art Monthly Australia, No. 171 (July,<br />
2004), pp. 12-15<br />
Sansone, Valentina, ‘Artist’s Dictionary. A Survey <strong>of</strong> Contemporary Indian Art’, in Flash Art, vol. XLI, no. 258,<br />
Jan-Feb, 2008, pp. 110 - 119.<br />
Sardesi, Abhay, ‘Object at the Centre’, Art India, volume X, issue iii, qu<strong>art</strong>er iii, 2005.<br />
Sen, Geeti. Bindu: Space <strong>and</strong> Time in Raza’s Vision. New Delhi: Media Transasia, 2001.<br />
Sengupta, Ratnottama., ‘A City <strong>of</strong> Remarkable Narratives’, in Asian Art News, Vol. 14, No. 1, January/February<br />
2004, p.68-73.<br />
248
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Shahane, Girish, ‘Altered Egos’, Art India, vol 9, issue 1, qu<strong>art</strong>er 1, 2004, special issue on ‘identity’.<br />
Sinha, Gayatri, <strong>The</strong> self <strong>and</strong> the World: an exhibition <strong>of</strong> Indian women <strong>art</strong>ists, New Delhi: Gallery Espace & National<br />
Gallery <strong>of</strong> Modern Art, 1997.<br />
Sood, Pooja, ‘In the fast lane. <strong>The</strong> new buzz around <strong>contemporary</strong> Indian Art’, in Flash Art, vol. XLI, no. 258,<br />
Jan-Feb, 2008, pp. 102 - 104.<br />
Sood, Pooja, ed., Khôj 2002 2003, New Delhi: Khoj International Artists’ Association, 2003.<br />
Sood, Pooja, et al, eds., Khôj 2004 2005, New Delhi: Khoj International Artists’ Association, 2005.<br />
Snell, Ted, ‘Edge <strong>of</strong> Desire: Recent Art from India’, Art <strong>and</strong> Australia, vol. 42, no. 3, 2005.<br />
Tharu, Susie, ‘Common Threads, Different Weaves’, Art India, volume X, issue ii, qu<strong>art</strong>er ii, 2005.<br />
Trends & Images. Kolkata: Centre <strong>of</strong> International Modern Art, 1993.<br />
Vali, Murtaza, ‘Indian Summer’ (review), ArtAsiaPacific, no. 48, 2006.<br />
Yun Chea Gab, Cho Il-sung, Gwak June K., Sambrani, Chaitanya, Hungry God: Indian Contemporary Art, Beijing &<br />
Seoul, Arario Gallery, 2006.<br />
Zitzewitz, Karin, ‘Mapping South Asian Art’, Art India, vol ix, issue ii, qu<strong>art</strong>er 11, 2004.<br />
Zitzewitz, Karin. “<strong>The</strong> Aesthetics <strong>of</strong> Secularism: Modernist Art <strong>and</strong> Visual Culture in India.” PhD Diss.:<br />
Columbia <strong>University</strong>, 2006.<br />
Indian Photography<br />
Allana, Rahaab,ed.Aperure <strong>and</strong> Identity: early Photograph in India. Marg vol.61, no.1, September 2009.<br />
Barath, Stephanie Roy, ‘John Edward Saché: Master <strong>of</strong> the Picturesque in TAASA Review. <strong>The</strong> Journal <strong>of</strong> the Asian<br />
Art Society <strong>of</strong> Australia, v.17, No. 3, September 2008, p. 7-9<br />
De Souza, David, ‘Faith in Colour’, Art India, vol IX, issue iii, qu<strong>art</strong>er iii, 2004.<br />
Dehejia, Vidaya (with contributions by Charles Allen) India through the lens: photography 1840-1911, Washington,<br />
D.C.: Smithsonian Institution Ahmedabad, Mapin, 2000.<br />
Dewan, Jane, ‘Sun pictures from the city <strong>of</strong> gold; early photography in Bombay’ in Rohtagi, Pauline; Godrej,<br />
Pheroza; Mehrotra, Rahul; eds. Bombay to Mumbai: changing perspectives, Mumbai, Marg Publications, 1997.<br />
Falconer, John, ‘India: Pioneering Photographers 1850-1900’, Orientations, Volume 32, Number 9, November<br />
2001<br />
Falconer, John, India: pioneering photographers, 1850-1900, London: <strong>The</strong> British Library <strong>and</strong> <strong>The</strong> Howard <strong>and</strong> Jane<br />
Ricketts Collection, 2001.<br />
Falconer, John, ed., Waterhosue Albums: Central Indian Provinces, Ahmedabad: Mapin International 2009.<br />
Gordon, Sophie, ’<strong>The</strong> Royal Tour In India’ TAASA Review. <strong>The</strong> Journal <strong>of</strong> the Asian Art Society <strong>of</strong> Australia, v.17,<br />
No. 3, September 2008, p. 10-12.<br />
Gupta, Sunil, ed., An Economy <strong>of</strong> signs: <strong>contemporary</strong> Indian photographs, Boston: Rivers Oram Press, 1990.<br />
Gutman, Judith Mara, Through Indian eyes, New York: Oxford <strong>University</strong> Press: International Center <strong>of</strong><br />
Photography, 1982.<br />
Henisch, Heinz K., <strong>The</strong> painted photograph, 1839-1914: origins, techniques, aspirations, <strong>University</strong> Park, Pa.:<br />
Pennsylvania State <strong>University</strong> Press, 1996<br />
Hight, Eleanor M., <strong>and</strong> Sampson, Gary D., eds., Colonialist Photography. Imag(in)ing race <strong>and</strong> place. London <strong>and</strong> New<br />
York, Routledge, 2002.<br />
Jaana, Reena, ‘Contemporary tales from India’, [photography], Asian Art News, vol.7, no.5, Sept/Oct 1997.<br />
Museum <strong>of</strong> <strong>Sydney</strong>, Encountering India: colonial photography 1850-1911, <strong>Sydney</strong>: Historic Houses Trust <strong>of</strong> N.S.W.,<br />
1997.<br />
Patel, Divia, ‘<strong>The</strong> Indian Amateur’s Photographic Album in TAASA Review. <strong>The</strong> Journal <strong>of</strong> the Asian Art Society <strong>of</strong><br />
Australia, v.17, No. 3, September 2008, p. 4-6.<br />
Pelizzari, Maria Antoinella, ed., Traces <strong>of</strong> India: Photography, Architecture, <strong>and</strong> the Politics <strong>of</strong> Representation, 1850-1900,<br />
Montréal, Canadian Centre for Architecture & New Haven, Yale <strong>University</strong> Press, 2003.<br />
Pinney, Christopher, Camera Indica, London, Reaktion Books, 1998.<br />
Pinney, Christopher, <strong>The</strong> coming <strong>of</strong> photography in India, London: <strong>The</strong> British Library, 2008.<br />
Pinney, Christopher. Photos <strong>of</strong> the Gods: <strong>The</strong> Printed Image <strong>and</strong> Political Struggle in India. London: Reaktion, 2004.<br />
Rahman, Ram. Sunil Janah: Photographing India, 1942-1978. New York: Gallery at 678, 1998.<br />
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©John Clark, 2010<br />
Ramach<strong>and</strong>ran, V. K. “Documenting Society <strong>and</strong> Politics: A Frontline Feature on the Photography <strong>of</strong> Sunil<br />
Janah.” Frontline, 25 September 1998.<br />
Reilly, James M., Care <strong>and</strong> Identification <strong>of</strong> 19 th century Photographic prints, Rochester, Kodak Books, 1986l, 2001<br />
Sharma, Satish, ‘Rotigraphy: Indian street photography’, Art AsiaPacific, no.13, 1997.<br />
Sharma, Satish; Gray, Michael, A Shifting Focus: Photography in India 1850-1900, London: <strong>The</strong> British Library, 1995.<br />
Srivatsan, R, Conditions <strong>of</strong> visibility: writings on photography in <strong>contemporary</strong> India; Mumbai, Popular Prakashan, 2000.<br />
Srivatsan, R. “C<strong>art</strong>ier-Bresson <strong>and</strong> the Birth <strong>of</strong> Modern India.” Journal <strong>of</strong> Arts <strong>and</strong> Ideas, nos. 25-26, 1993.<br />
Where Three Dreams Cross. London: Whitechapel Gallery; Fotomuseum Winterthur; Steidl, 2010.<br />
Worswick, Clark; Embree, Ainslee, <strong>The</strong> last empire: photography in British India, 1855-1911, London: Gordon Fraser<br />
Gallery, 1976.<br />
Zhuang Wubin <strong>and</strong> Wim Melis, ‘Between Art <strong>and</strong> Documentary’, Asian Art News, vol. 17, no. 1, Jan-Feb 2007.<br />
Zhuang Wubin, ‘Spotlight on Another Asia’ (review), Asian Art News, vol. 17, no. 1, Jan-Feb 2007.<br />
Indian Cinema, Film <strong>and</strong> New Media<br />
Chakravarity, Sumita S. National Identity in Indian Popular Cinema 1947 – 1987. Austin: <strong>University</strong> <strong>of</strong> Texas Press,<br />
1993.<br />
Dwyer, Rachel <strong>and</strong> Christopher Pinney, eds. Cinema India: <strong>The</strong> Visual Culture <strong>of</strong> Hindi Film. New Brunswick, N.J.:<br />
Rutgers <strong>University</strong> Press, 2002.<br />
N<strong>and</strong>y, Ashis. <strong>The</strong> Secret Politics <strong>of</strong> our Desires: Innocence, Culpability <strong>and</strong> Indian Popular Cinema. Delhi: Oxford<br />
<strong>University</strong> Press, 1998.<br />
Ramach<strong>and</strong>ran, V. K. ed. Seventy Years <strong>of</strong> Indian Cinema (1913 – 1983). Bombay: Cinema India-International, 1985.<br />
Indian Artists Abroad<br />
Carver, Antonia, ‘Century City: Art & Culture in the Modern Metropolis’, Art AsiaPacific, no.33, 2002.<br />
Dalmia, Yashodhara, India Time, Milano, Galleria Paolo Curti, 2008.<br />
M<strong>art</strong>in, Courtney J. ‘South Asian American Art Now – Queens Museum <strong>of</strong> Art’ (review), Flash Art, vol.<br />
XXXVIII, no. 242, May-Jun, 2005.<br />
Mohanti, P., ‘East-West Encounter’, Art Monthly [UK], no.132, December-January 1989-90<br />
Indian Cities: Architecture, Urbanism<br />
Blazwick, Iwona (ed.), Century City. Cat. Tate Modern, London, 2001.<br />
Chorrea, Charles. Housing <strong>and</strong> Urbanization. Bombay: Urban Design Research Institute, 1999.<br />
Chorrea, Charles. <strong>The</strong> New L<strong>and</strong>scape. Bombay: Book Society <strong>of</strong> India, 1985.<br />
Dwivedi, Sharada <strong>and</strong> Rahul Mehrotra. Bombay: <strong>The</strong> Cities Within. Bombay: IBH <strong>and</strong> Eminence Designs, 1995.<br />
Seabrook, Jeremy. “In the Slums <strong>of</strong> Bombay” in New Society, Vol. 73, no. 1183, London, 1985.<br />
Sen, Jai. <strong>The</strong> Unintended City – an Essay on th city <strong>of</strong> the poor. Calcutta: Unnayan, 1980.<br />
Singh, Raghubir. Bombay – Gateway <strong>of</strong> India. Bombay: <strong>The</strong> Perennil Press, 1994.<br />
Web resources:<br />
www.<strong>art</strong>india.com Website <strong>of</strong> the leading English Language Journal on Art in India. <strong>The</strong> Art India Journal <strong>of</strong>fers<br />
a good resource for people working in the field <strong>and</strong> this bibliography lists the themes <strong>of</strong> special issues<br />
from 2002-2003 under their most appropriate subdivisions.<br />
NEPAL<br />
General Works<br />
Jolliffe, H., ‘A Community at the Crossroads’, Asian Art News, vol.4, no. 5, September/October 1994.<br />
‘Nepalese Contemporary Art reaches out to the World’, Asian Art News, 2, no.4, Jul/Aug 1992.<br />
250
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Nepali, Uttam, ‘Modern Contemporary Art: A View from Nepal’, Kuroda, Raiji, ed., <strong>The</strong> First Fukuoka Asian Art<br />
Triennale, Fukuoka: Fukuoka Asian Art Museum, 1999<br />
O’Riordan, Maurice, ‘A political st<strong>and</strong>’, [Ragini Upadhayay-Grela], Asian Art News, vol.5, no.3, Jul/Aug 995.<br />
‘<strong>The</strong> Art <strong>of</strong> Nepal’, Special Issue, Orientations, Volume 32, Number 5, September 2001<br />
Individual Artists<br />
Dongol, Sarita: Sarita Dongol in Winds <strong>of</strong> Artists in Residence 2001-, Fukuoka: Fukuoka Asian Art Museum, 2001<br />
Sashi Shah: Asian Art News, 2, no.5, Sep/Oct 1992.<br />
Shobha Wagley: Kuroda, Raiji, <strong>The</strong> First Fukuoka Asian Art Triennale, Fukuoka: Fukuoka Asian Art Museum, 1999<br />
Uma Shankar Shah: Kuroda, Raiji, <strong>The</strong> First Fukuoka Asian Art Triennale, Fukuoka: Fukuoka Asian Art Museum,<br />
1999; Jin, Matsuura <strong>and</strong> Masae, Kamachi, <strong>The</strong> 1 st Fukuoka Asian Art Triennale 1999 [<strong>The</strong> 5 th Asian Art Show]:<br />
Document <strong>of</strong> Art Exchange Programme, Fukuoka: Fukuoka Asian Art Museum, 1999<br />
HIMALAYAN BORDERLANDS; KASHMIR, BHUTAN, SIKKHIM, MUSTANG<br />
General Works<br />
‘Artists on Spirituality’, ArtAsiaPacific, no. 51, 2007.<br />
Tulku, Mynak, R., ‘Arts <strong>of</strong> Bhutan’, Kuroda, Raiji, ed., <strong>The</strong> First Fukuoka Asian Art Triennale, Fukuoka: Fukuoka<br />
Asian Art Museum, 1999.<br />
Virtue, Gerry, ‘Tashi Kabum: A Mustang Treasure revealed’ in Annear, Judy, ‘Yasumasa Morimura <strong>and</strong> Yukio<br />
Mishima – Seasons <strong>of</strong> Passion in TAASA Review. <strong>The</strong> Journal <strong>of</strong> the Asian Art Society <strong>of</strong> Australia, v.17, No. 2,<br />
June 2008, p. 6-8.<br />
Individual Artists<br />
Karma, Leki Dorji: Kuroda, Raiji, <strong>The</strong> First Fukuoka Asian Art Triennale, Fukuoka: Fukuoka Asian Art Museum,<br />
1999<br />
Penjor, Tashi: Tashi Penjor in Winds <strong>of</strong> Artists in Residence 2001-, Fukuoka: Fukuoka Asian Art Museum, 2001<br />
PAKISTAN<br />
General Works<br />
Ali, Atteqa, ’Impassioned Voices: Art as Social Commentary in Pakistan’, ArtAsiaPacific, no. 46, 2005.<br />
Art India, Volume ix, issue iv, qu<strong>art</strong>er iv, 2004, special issue on ‘<strong>art</strong> in Pakistan’.<br />
Carroll, Alison, ‘Postcard from Pakistan’, Art AsiaPacific, no.21, 1999.<br />
Chen, Kuan-Hsing ed., Trajectories: Inter-Asia Cultural Studies, Routledge, 1998.<br />
Galligan, Gregory, ‘Painting Over the Lines: Contemporary <strong>art</strong> from Pakistan’, ART AsiaPacific, Issue 36 (2002)<br />
Hashmi, Salima, ‘Looking Back, Looking Forward: Pakistani Art in the 90’s’, Kuroda, Raiji, <strong>The</strong> First Fukuoka<br />
Asian Art Triennale, Fukuoka: Fukuoka Asian Art Museum, 1999<br />
Hashmi, Salima, ‘Women <strong>art</strong>ists in the Muslim World: a fresh perspective from Pakistan’, in Fukuoka Art<br />
Museum, 4th Asian Art Show Fukuoka: Realism as an Attitude, Fukuoka, Fukuoka Art Museum, 1994<br />
Hashmi, Salima, ‘Radicalising tradition: painting in Pakistan’, Artlink, Vol. 20, No. 2, July 2000<br />
Hashmi, Salima, essays in Dalmia, Yashodhara & Hashmi, Salima, Memory, Metaphor, Mutations: Contemporary Art <strong>of</strong><br />
India <strong>and</strong> Pakistan, New Delhi, Oxford <strong>University</strong> Press, 2007<br />
251
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Hashmi, Salima, et al. Hanging Fire: Contemporary Art from Pakistan. New York: Asia Society, 2009.<br />
MacKenzie, John M., Orientalism: History, <strong>The</strong>ory <strong>and</strong> the Arts, Manchester, New York: Manchester <strong>University</strong><br />
Press, 1995.<br />
Mirza, Quddus, ‘A p<strong>art</strong>icular language’, Art AsiaPacific, 24, 1999<br />
Mirza, Quddus, ‘Cross-Connecting Identities’, Art India, volume X, issue I, qu<strong>art</strong>er I, 2005 (special issue on<br />
video <strong>art</strong>).<br />
Mirza, Quddus, ‘Letter from Pakistan: Broadcast News’, Art India, Volume X, Issue IV, Qu<strong>art</strong>er IV, 2005.<br />
Mirza, Quddus, ‘Letter from Pakistan: De-Fused Identities’, Art India, vol 9, issue i, qu<strong>art</strong>er i, 2004.<br />
Mirza, Quddus, ‘Letter from Pakistan: Using Popular Imagery’, Art India, vol ix, issue ii, qu<strong>art</strong>er ii, 2004.<br />
Mirza, Quddus ‘Show me the Money (a moral position vis-a vis the <strong>art</strong> market), in Art India, Vol XIII, Iss. I,<br />
(2008), p. 57-59<br />
Nasar, Hammad. “Pakistan: An Art <strong>of</strong> Extremes” in Orientations January/February 2009 Vol. 40 No. 1.<br />
Pettifor, Steven, ‘Contemporary Art from Pakistan: Asia House’ (review), Asian Art News, vol. 16, no. 6, Nov-<br />
Dec 2006.<br />
Sambrani, Chaitanya, ‘Printing across borders: the Aar-Paar Project’, in Art Monthly Australia, No. 171 (July,<br />
2004), pp. 12-15<br />
Sharma, Prageeta, ‘Playing with a Loaded Gun: Contemporary Art in Pakistan at Apex Art’ (Review) in Art Asia<br />
Pacific, No. 39 (Winter 2004), p. 83<br />
Vali, Murtaza, ‘Pakistan goes global!’ , in ArtAsiaPacific, No. 56, Nov/Dec, 2007, p. 76 - 77.<br />
Vali, Murtaza, ‘Paradise Found & Lost’, in ArtAsiaPacific, No. 57, Mar/Apr, 2008, pp. 88 - 89.<br />
Where Three Dreams Cross. London: Whitechapel Gallery; Fotomuseum Winterthur; Steidl, 2010.<br />
Whiles, Virginia, ‘In <strong>and</strong> Out <strong>of</strong> Pakistan’, Third Text, n52 Autumn 2000, 103-111<br />
Wright, Stephen, ‘Beyond Borders: Art <strong>of</strong> Pakistan’ (review), Parachute, 100, 2005.<br />
Individual Artists<br />
Araeen, Rasheed: Jamal, Osman, ’<strong>The</strong> Soul Of A Minimalist’, in World Sculpture News, v. 14(2), Spring, 2008, pp. 45<br />
– 49.<br />
Chugtai, Abdul Rahman : ‘Chugtai, Abdul Rahman’, Orientations, June 1973<br />
Dadi, Iftikhar: Kuroda, Raiji, <strong>The</strong> First Fukuoka Asian Art Triennale, Fukuoka: Fukuoka Asian Art Museum, 1999<br />
Kazi, Durriya: Kuroda, Raiji, <strong>The</strong> First Fukuoka Asian Art Triennale, Fukuoka: Fukuoka Asian Art Museum, 1999;<br />
Durriya Kazi <strong>and</strong> David Alesworth, Report at <strong>The</strong> First Fukuoka Asian Art Triennale [<strong>The</strong> 5 th Asian Art<br />
Show], Seminar: “Asian Art – Towards the 21 st Century”, Fukuoka: Fukuoka Asian Art Museum, 1999; Jin,<br />
Matsuura <strong>and</strong> Masae, Kamachi, <strong>The</strong> 1 st Fukuoka Asian Art Triennale 1999 [<strong>The</strong> 5 th Asian Art Show]: Document<br />
<strong>of</strong> Art Exchange Programme, Fukuoka: Fukuoka Asian Art Museum, 1999<br />
Khan, Naiza: Hashmi, Salima, ‘Bodying Forth’, Art India, vol IX, issue iii, qu<strong>art</strong>er iii 2004.<br />
Qureshi, Imran: Whiles, Virginia, ‘Imran Qureshi’, Art AsiaPacific, no.33, 2002.<br />
Raja, Sabeen: review, Flash Art, vol. XXXVIII, no. 242, May-Jun, 2005.<br />
Shahzia Sik<strong>and</strong>er: Desai, Vishakha N., ‘Shahzia Sik<strong>and</strong>er’ in Art Asia Pacific, Issue 37 (2003), p. 36<br />
Shakar, Ali: ‘Shakar Ali’, Orientations, April 1973.<br />
Sik<strong>and</strong>er, Shahzia: Jaana, Reena, ‘Cultural Weaving’, Asian Art News, vol. 7, no. 2, March/April 1997; Goodman,<br />
Joanna, ‘Small Pleasures’, World Art, #15, December 1997; Schwabsky, Barry, ‘Shazia Sik<strong>and</strong>er/”Out <strong>of</strong><br />
India”’, Artforum International, Vol.36, Issue 8, April 1998. ; Goodbody, Bridget L., ‘From Lover to Foe <strong>and</strong><br />
back Again’, ArtAsiaPacific, no. 43, 2005; review, Artforum, vol 46, iss. 5, Jan 2005; review, Art in America,<br />
vol. 94, iss. 1, Jan 2006.<br />
BANGLADESH<br />
General Works<br />
252
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
‘Supplement on Rickshaw Painting’ to Fukuoka Art Museum ed., 4th Asian Art Show Fukuoka: Realism as an<br />
Attitude, Fukuoka, Fukuoka Art Museum, 1994.<br />
Anuar, Zanita, ‘Impressions <strong>of</strong> the 8 th Asian Art Biennale in Bangladesh’, Artlink, Vol. 20, No. 2, July 2000<br />
Choudhury, Subir, ‘Art <strong>of</strong> Bangladesh: Contemporary trends among the <strong>art</strong>ists <strong>of</strong> the 90’s’, Kuroda, Raiji, ed.,<br />
<strong>The</strong> First Fukuoka Asian Art Triennale, Fukuoka: Fukuoka Asian Art Museum, 1999<br />
Jamal, Osman ‘To bear witness[four women <strong>art</strong>ists], Asian Art News, vol.10, no.5, 2000<br />
Where Three Dreams Cross. London: Whitechapel Gallery; Fotomuseum Winterthur; Steidl, 2010.<br />
Zhang Wubin, ‘Voices <strong>of</strong> Resistance’, Asian Art News, vol. 15, no. 1, 2005.<br />
Individual Artists<br />
Ahmed, Kamal: Kuroda, Raiji, <strong>The</strong> First Fukuoka Asian Art Triennale, Fukuoka: Fukuoka Asian Art Museum, 1999<br />
Amin, Rashid: review, Asian Art News, vol.12, no.2, 2002<br />
Chowdhury, Swapan: Jamal, Osman, ’A Man <strong>of</strong> His Time’, Asian Art News, vol. 16, no. 3, 2006.<br />
Ilsma, Aminul: Jamal, Osman, ‘<strong>The</strong> making <strong>of</strong> a Bangladeshi <strong>art</strong>ist’, Asian Art News, vol.9, no.6, 1999<br />
Karmaker, Ashoke: Kuroda, Raiji, <strong>The</strong> First Fukuoka Asian Art Triennale, Fukuoka: Fukuoka Asian Art Museum,<br />
1999; Jin, Matsuura <strong>and</strong> Masae, Kamachi, <strong>The</strong> 1 st Fukuoka Asian Art Triennale 1999 [<strong>The</strong> 5 th Asian Art Show]:<br />
Document <strong>of</strong> Art Exchange Programme, Fukuoka: Fukuoka Asian Art Museum, 1999<br />
Shahabuddin: Jamal, Osman, ‘<strong>The</strong> spirit <strong>of</strong> violence’, Asian Art News, vol.11, no.3, 2001<br />
SRI LANKA/CEYLON<br />
General Works<br />
B<strong>and</strong>aranaike, S., ‘<strong>The</strong> Kataluva Murals’, Orientations, vol.13, no.1, January, 1982.<br />
Gunaratna, D.M., ‘A Living Legacy: <strong>The</strong> Contemporary Art Scene <strong>of</strong> Sri Lanka’, Kuroda, Raiji, <strong>The</strong> First Fukuoka<br />
Asian Art Triennale, Fukuoka: Fukuoka Asian Art Museum, 1999<br />
Perera, Anoli, ‘ A new order’ Art AsiaPacific, 26, 2000<br />
Preece, Robert, ‘In time <strong>of</strong> War’, Asian Art News, vol.7, no.3, May/June 1997<br />
Individual Artists<br />
Bari Kumar: Jana, Reena. ‘Other Ways <strong>of</strong> Seeing.’ Asian Art News 8:6 November/December 1998<br />
Coomaraswamy, An<strong>and</strong>a: B<strong>and</strong>aranaike, S., ‘An<strong>and</strong>a Coomaraswamy <strong>and</strong> approaches to the study <strong>of</strong> traditional Sri<br />
Lankan <strong>art</strong> <strong>and</strong> Society’, in P.E.P. Deraniyagala Commemoration Volume, Colombo, Sri Lanka, 1980.<br />
Daraniyagala, Justin: Justin Daraniyagala, Catalogue with essay by Ellen Dissanayake, Colombo, Deutsche Bank,<br />
1992.<br />
de Alwis, Tissa: Kuroda, Raiji, <strong>The</strong> First Fukuoka Asian Art Triennale, Fukuoka: Fukuoka Asian Art Museum, 1999<br />
Keyt, George: see India<br />
Muhammed Cader, Anoli Peera, Rahju, Senaka Senanayake, Jagath Weerasinghe, Laki Senanayake: Preece, Robert, &<br />
Giddens, Sarah, ‘Artist’s Voices’, Asian Art News, vol.7, no.3, May/June 1997<br />
Peries, Ivan: B<strong>and</strong>aranayake, Senake, ‘Ivan Peries: (Paintings 1939-1969) - <strong>The</strong> predicament <strong>of</strong> the bourgeois <strong>art</strong>ist<br />
in the societies <strong>of</strong> the Third World’, Third Text n2, Winter 187/88, 76-92<br />
Senanayake, Senaka: Sardesi, Abhay, ’Interview’, Art India, vol 9, issue 1, qu<strong>art</strong>er 1, 2004.<br />
<strong>The</strong>nuwara, Ch<strong>and</strong>raguptha: Kuroda, Raiji, <strong>The</strong> First Fukuoka Asian Art Triennale, Fukuoka: Fukuoka Asian Art<br />
Museum, 1999; Jin, Matsuura <strong>and</strong> Masae, Kamachi, <strong>The</strong> 1 st Fukuoka Asian Art Triennale 1999 [<strong>The</strong> 5 th Asian<br />
Art Show]: Document <strong>of</strong> Art Exchange Programme, Fukuoka: Fukuoka Asian Art Museum, 1999<br />
253
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
MONGOLIA<br />
General Works<br />
See entries in 1994 Fukuoka Asian Triennale Catalogue<br />
Sosor, Ochir, ‘Fine Art in Mongolia Today’, Kuroda, Raiji, ed., <strong>The</strong> First Fukuoka Asian Art Triennale, Fukuoka:<br />
Fukuoka Asian Art Museum, 1999<br />
Uranchimeg, Tsultem, ‘Art <strong>of</strong> Mongolian Nomads’, Ushiroshoji, Masahiro, et.al., Modern Paintings <strong>of</strong> Mongolia: Its<br />
Origin up to Today, Japan: Sankei Shimbun, 2002<br />
Ushiroshoji, Masahiro, et.al., Modern Paintings <strong>of</strong> Mongolia: Its Origin up to Today, Japan: Sankei Shimbun, 2002<br />
Yamaki, Yuko, ‘<strong>The</strong> Development <strong>of</strong> Modern Mongolian Art’, Ushiroshoji, Masahiro, et.al., Modern Paintings <strong>of</strong><br />
Mongolia: Its Origin up to Today, Japan: Sankei Shimbun, 2002<br />
Individual Artists<br />
Munkhtsetseg Jalkhaajav: Findlay, Ian, ‘From the he<strong>art</strong> <strong>of</strong> Mongolia’, in AsianArtNews, Vol. 19 No. 3 May/June<br />
2009, pp. 73-77.<br />
Sarantsatsralt, Ser-Od: Kuroda, Raiji, ed., <strong>The</strong> First Fukuoka Asian Art Triennale, Fukuoka: Fukuoka Asian Art<br />
Museum, 1999<br />
Usehbayar, Zagdin: Kuroda, Raiji, ed., <strong>The</strong> First Fukuoka Asian Art Triennale, Fukuoka: Fukuoka Asian Art<br />
Museum, 1999; Jin, Matsuura <strong>and</strong> Masae, Kamachi, <strong>The</strong> 1 st Fukuoka Asian Art Triennale 1999 [<strong>The</strong> 5 th Asian<br />
Art Show]: Document <strong>of</strong> Art Exchange Programme, Fukuoka: Fukuoka Asian Art Museum, 1999<br />
CIS AND OTHER<br />
Asia Yesterday - Today - Tomorrow. <strong>The</strong> World <strong>of</strong> Polar Forces March 20 - 25 1998 [Kazakstan - Erbosyn Meldibekov,<br />
Zhazira Dzhanabaeva, Kanat Ibragimov/ Indonesia - Aramaiani, Semsar Siahaan, Hanura Hosea]<br />
Catching, Rebecca, ‘Lida Abdul. L<strong>and</strong>scapes <strong>of</strong> Remembrance’, in ArtAsiaPacific, No. 57, Mar/Apr, 2008, pp.<br />
110 - 115.<br />
Ibraeva, Valeria., ‘Kazakhstan Contemporary Art Moves Ahead’, in Asian Art News, Vol. 13, No. 4, July/August<br />
2003, p.46-53.<br />
Merewether, C., Kurdistan: In the Shadow <strong>of</strong> History, Co-Curator with Susan Meiselas, Bellevue Art<br />
Museum, Seattle; Festival Internacional de Fotografia, Ayuntamiento de Madrid; Nederl<strong>and</strong>s Foto<br />
Instituut, Rotterdam, 1999-2000.<br />
ASIAN ARTIST TRANSNATIONAL ACTIVITY<br />
‘Transnational activity’ includes <strong>art</strong>ists <strong>of</strong> Asian ancestry working in the given zones <strong>and</strong> also <strong>art</strong>ists who have<br />
moved from an Asian country <strong>of</strong> birth.<br />
Asian Artist Transnational Activity: Australia<br />
(<strong>The</strong>re is a flourishing <strong>art</strong> press in Australia which is too large to fully index here)<br />
Barnes, Carolyn; Wright, William; John Young, Fisherman’s Bend, Craftsman House, 2005.<br />
Barnes, Carolyn, ‘Integral Histories: John Young’s ‘Double Ground’ Paintings’, Art <strong>and</strong> Australia, vol. 43, no. 3,<br />
2006.<br />
Bolton, Ken, ‘Guan Wei: Unfamiliar l<strong>and</strong>’ (review), Eyeline, no. 62, Summer 2006-7.<br />
Chiu, Melissa, ‘Rough Trade: Curating Cultural Exchange in Australia’, in Ang et al eds. Alter/Asians: Asian-<br />
Australian identities in <strong>art</strong>, media <strong>and</strong> popular culture, Pluto Press, <strong>Sydney</strong>, 2000.<br />
254
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Clark, John, ‘An Australian Creative Space: where is Australian-Asian <strong>art</strong> now?’, in Waite Dianne, ed., Green,<br />
Charles & Stubbs, Mike, curators, 2006/ Contemporary Commonwealth/ , Melbourne, Australian Centre for<br />
the Moving Image & National Gallery <strong>of</strong> Victoria, 2006, 26-33.<br />
Clark, John, ‘Art <strong>and</strong> its ‘others’ - recent Australian-Asian visual exchanges’, in Dever, Maryanne, ed., Australia<br />
<strong>and</strong> Asia: cultural transactions, Surrey, Curzon Press, 1997.<br />
Clark, John, Australian Art <strong>and</strong> Asia -<strong>The</strong>n <strong>and</strong> Now’, Occasional Paper No.19, Research Institute for Asia <strong>and</strong> the<br />
Pacific, <strong>University</strong> <strong>of</strong> <strong>Sydney</strong>, 1992<br />
Crosby, Alex<strong>and</strong>ra, ‘Djuwadi: Folding the Relational into Art’ in TAASA Review. <strong>The</strong> Journal <strong>of</strong> the Asian Art<br />
Society <strong>of</strong> Australia, v.17, No. 2, June 2008, p. 18-20.<br />
Cvorco, Uros, ‘What will the Neighbours Think?’, Broadsheet, vol. 35, no. 2, 2006.<br />
Devenport, Rhana, ‘Beauty, Shadow-Play <strong>and</strong> Silhouettes’, Art <strong>and</strong> Australia, vol. 44, no. 3, 2006 [Sangeeta<br />
S<strong>and</strong>rasegar, Guan Wei, Nusra Latif Qureshi, Emil Goh, Renee So, Ah Xian, Liza Lim].<br />
Dirgantoro, Wulan, ‘Permission to Fire’, in Contemporary Visual Arts + Culture Broadsheet, vol. 36, no. 3,<br />
September, 2007, pp. 190 – 191.<br />
Dys<strong>art</strong>, Dinah; King Natalie; Hou Hanru; Guan Wei, <strong>Sydney</strong>, Craftsman House, 2006.<br />
Koop, Stu<strong>art</strong>, ‘Asia Exchange: Rapt! Satellite’, Art <strong>and</strong> Australia, vol. 44, no. 3, 2006.<br />
Pennings, Mark <strong>and</strong> Danni Zuvela, ‘Korea/Australia’ (review <strong>of</strong> exhibition at Institute <strong>of</strong> Modern Art,<br />
Brisbane), Art <strong>and</strong> Australia, vol. 42, no. 3, 2005.<br />
Roberts, Claire, ‘<strong>The</strong> Slow Art <strong>of</strong> Ah Xian’, Art <strong>and</strong> Australia, vol. 43, no. 3, 2006.<br />
Australia <strong>and</strong> Asia [selected]<br />
ARX [Artists’ Regional Exchange, website list supplied by Pam Zeplin]<br />
Australian Academy <strong>of</strong> the Humanities, Knowing Ourselves <strong>and</strong> others: <strong>The</strong> Humanities in Australia into the 21 st century, 3<br />
volumes, Canberra, Australian Government Publishing Service, 1998.<br />
Birrell, Bob, Rapson, Virginia, ‘Two Australias: Migrant settlement at the end <strong>of</strong> the 21 st century’, People <strong>and</strong><br />
Place, vol.10, no.1, 2002.<br />
Broinowski, Alison , <strong>The</strong> Yellow lady: Australian Impressions <strong>of</strong> Asia, Melbourne, Oxford <strong>University</strong> Press, 1992.<br />
Broinowski, Alison ,. ‘Asianization <strong>and</strong> its Discontents’, Meanjin, vol. 57, no.3, 1998.<br />
Butler, Roger, ed., <strong>The</strong> Europeans: Emigré <strong>art</strong>ists in Australia, 1930-1960, Canberra, National Gallery <strong>of</strong> Australia,<br />
1997.<br />
Chinese Heritage <strong>of</strong> Australian Federation Project: http://www.chaf.lib.latrobe.edu.au/kwong_sue_duk.htm<br />
Curnow, Wynstan , Imants Tillers <strong>and</strong> the ‘Book <strong>of</strong> Power’, <strong>Sydney</strong>, Craftsman House, 1998.<br />
Dixson, Miriam ,<strong>The</strong> Imaginary Australian: Anglo-Celts <strong>and</strong> Identity -1788 to the present, <strong>Sydney</strong>, UNSW Press, 1999.<br />
Facey, A. B., A Fortunate Life, Ringwood, Viking, 1985.<br />
Foss, Paul, ed., Isl<strong>and</strong> in the Stream: Myths <strong>of</strong> Place in Australian Culture, <strong>Sydney</strong>, Pluto Press, 1988.<br />
Gibson, Ross, South <strong>of</strong> the West: Postcolonialism <strong>and</strong> the Narrative construction <strong>of</strong> Australia, Indiana <strong>University</strong> Press,<br />
Bloomington <strong>and</strong> Indianapolis, 1992.<br />
Grenville, Kate, <strong>The</strong> Secret River, Melbourne, Text Publishing, 2005.<br />
Hage, Ghassan & Couch, Rowena, eds., <strong>The</strong> Future <strong>of</strong> Australian Multiculturalism , <strong>Sydney</strong>, <strong>The</strong> <strong>University</strong> <strong>of</strong><br />
<strong>Sydney</strong>, 1999.<br />
Hage, Ghassan, Against Paranoid Nationalism: searching for hope in a shrinking society, <strong>Sydney</strong>, Pluto Press, 2003.<br />
Hage, Ghassan, White Nation: Fantasies <strong>of</strong> White supremacy in a multi-cultural society, <strong>Sydney</strong>, Pluto Press, 1998.<br />
Keating, Paul, Engagement: Australia faces the Asia-Pacific’, <strong>Sydney</strong>, Pan Macmillan 2000.<br />
Khoo, Siew-Ean, ‘Inter-marriage in Australia: patterns by ancestry, gender, <strong>and</strong> generation’, People <strong>and</strong> Place,<br />
vol.12, no.2, 2004, 35-44.<br />
May, Harvey, Australian Multicultural Policy <strong>and</strong> Television Drama in Comparative Contexts PhD thesis at<br />
http://adt.library.qut.edu.au/adt-qut/public/adt-QUT20040715.130731/.<br />
Manne, Robert, <strong>The</strong> Barren Years: John Howard <strong>and</strong> Australian Political Culture, Melbourne, Text Publishing, 2001.<br />
Manne, Robert, <strong>The</strong> Way we Live Now: the controversies <strong>of</strong> the nineties, Melbourne, Text Publishing, 1998.<br />
Manton, Neil, Cultural Relations: the other side <strong>of</strong> the diplomatic coin, ACT, Homosapien Books, 2003.<br />
McCullough, Allan & Susan, Encyclopedia <strong>of</strong> Australian Art, St. Leonards, Allen & Unwin, 1994.<br />
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©John Clark, 2010<br />
Reynolds, Henry, Frontier: reports from the edge <strong>of</strong> White settlement, <strong>Sydney</strong> Allen & Unwin, 1987.<br />
Reynolds, Henry, <strong>The</strong> Other Side <strong>of</strong> the Frontier; Aboriginal resistance to the European Invasion <strong>of</strong> Australia, Ringwood,<br />
Penguin Books, 1981.<br />
Rolls, Eric, Sojourners: <strong>The</strong> epic story <strong>of</strong> China’s centuries-old relationship with Australia, St. Lucia, <strong>University</strong> <strong>of</strong><br />
Queensl<strong>and</strong> Press, 1992.<br />
Shanahan, Brendan “Circles <strong>and</strong> a Square: Australia, Chinese Art <strong>and</strong> Tiananmen,” <strong>The</strong> Wall Street Journal Asia (4-<br />
6 June, 2010): 8-10.<br />
Special Issue: ‘Australian Perceptions <strong>of</strong> Asia’, Australian Cultural History, no.9, 1990.<br />
Stu<strong>art</strong>, Francis, ‘Nineteen Forty-One: Reminiscences <strong>of</strong> a British/Australian Diplomat in Bangkok <strong>and</strong> Canberra<br />
in the Prelude to War’, Journal <strong>of</strong> the Oriental Society <strong>of</strong> Australia, vol.31, Supplement, 1999.<br />
Stu<strong>art</strong>, Francis, Towards Coming-<strong>of</strong>-Age: a Foreign Service Odyssey, Nathan, Griffith <strong>University</strong>, Centre for the Study<br />
<strong>of</strong> Australian-Asian Relations, 1989.<br />
Walker, David, Anxious Nation: Australia <strong>and</strong> the Rise <strong>of</strong> Asia, 1850-1939¸ St. Lucia, <strong>University</strong> <strong>of</strong> Queensl<strong>and</strong><br />
Press, 1999.<br />
Individual Artists<br />
Ah Xian: Ah Xian, ‘Self-exile <strong>of</strong> the soul’, TAASA Review, vol.8, no.1, March 1999;Roberts, Claire, ‘Fishes <strong>and</strong><br />
dragons’, Art AsiaPacific, 26, 2000; Feinstein, Roni, ‘A journey to China’, Art in America, February 2002;<br />
Jaivin, Linda, ‘Ah Xian, recent works in porcelain’, Art AsiaPacific, no.33, 2002; Chiu, Melissa, ‘Ah Xian’ in<br />
Art Asia Pacific, Issue 37 (2003), p. 31; Ah Xian: Sculpture (Bonn: Edition Braus, 2007); Ah Xian: Sculpture<br />
(Bonn: Edition Braus, 2007)<br />
Ahn Pil Yun: Cho Lisa Mira, ‘<strong>The</strong> Swallowed Moon’, Art Monthly Australia, no.96, December 1996.<br />
Benyon, Kate: Koop, Stu<strong>art</strong>, ‘Warrior Girl’, Art AsiaPacific 29, 2001; Helen McDonald, ‘Global City Dreaming’ in<br />
Art Asia Pacific, No. 39 (Winter 2004), pp.57-64<br />
Boag, Yvonne: Kidd, Courtney, ‘Yvonne Boag in South Korea’, Art Monthly Australia, no.88, April 1996<br />
Camel Byrne: Bravaic, Milica., ‘Signal from “<strong>The</strong>re”: Solo Exhibition by Carmel Byrne’ (Plastique Kinetic Worms,<br />
Singapore), in Vehicle: Contemporary Visual Arts, No.2, 2001, p.11.99<br />
Chou, Irene (Zhou Luyun): Binks, Hilary. ‘<strong>The</strong> Universe Within.’ Asian Art News 8:6,1998<br />
Cruz, Maria: Sullivan, Eve, ‘Maria Cruz, Songlines’, Art Asia Pacific, no.34, 2002.<br />
Dadang Christanto: review, Art AsiaPacific, 30, 2001; Eastburn, Melanie ‘ In the Public Domain. Dadang<br />
Christanto, Washing the Wound’ in TAASA Review. <strong>The</strong> Journal <strong>of</strong> the Asian Art Society <strong>of</strong> Australia, v.17, No.<br />
4, December 2008, p. 25<br />
Dang, Dacchi: review, Art AsiaPacific, 35, 2002.<br />
Fairweather, Ian: Abbott-Smith, N., Ian Fairweather: Pr<strong>of</strong>ile <strong>of</strong> a painter, Brisbane, <strong>University</strong> <strong>of</strong> Queensl<strong>and</strong> Press,<br />
1978; Bail, M., Ian Fairweather, <strong>Sydney</strong>, Bay Books, 1981; Bail, Murray et al, Fairweather, <strong>Sydney</strong>, Craftsman<br />
House, 1994.<br />
Friend, D.: Friend, D., Donald Friend in Bali, <strong>Sydney</strong>, Collins, 1972. Donald Friend’s Bali, Exhibition catalogue. 9<br />
Feb. – 25 March 1990, Art Gallery <strong>of</strong> NSW., Donald Friend, ‘<strong>The</strong> Cosmic Turtle’ Bali 1976<br />
Gill, Simryn: Lee Weng Choy, ‘Simryn Gill’ in Art Asia Pacific, Issue 37 (2003), p. 65<br />
Goh Emil: Sullivan, Eve, ‘Parallel Visions: Emil Goh’ in Art & Australia, Vol. 41, No. 3 (Autumn 2004), pp. 426-<br />
432; Dyson, Francis, ‘Interlace’ (Review) in Broadsheet, Vol. 33, No. 3 (September- November 2004), pp.<br />
22-23<br />
Gu Wenda: Eastburn, Melanie, ‘Wenda Gu, 2 Exhibitions in Australia’, Art Asia Pacific, No.34, 2002; Eastburn,<br />
Melanie, ‘A Drama Of Nations’, On Gu Wenda, Asian Art News, vol. 12, no. 5, September/October, 2002;<br />
‘Interview with Wenda Gu’ in Contemporary Visual Art + Culture Broadsheet, Vol 37, no. 4, p. 259<br />
Guan Wei: Green, Charles, ‘Guan Wei’ Review, Art & Text 67, Nov. 1999-Jan. 2000; Pai, Maggie, ‘Complex<br />
Cycles’ Asian Art News, vol. 8, no.2, March/April 1998; review, Asian Art News, vol.11, no.1, 2001;<br />
Roberts, Claire, ‘What goes around comes around: <strong>The</strong> Art <strong>of</strong> Guan Wei.’ Art AsiaPacific no. 21, 1999;<br />
Annear, Judy, ‘Juggler <strong>of</strong> Systems’, Asian Art News, vol.5, no.5, 1995. review, Art AsiaPacific 28, 2001.;<br />
Eastburn, Melanie, ‘Guan Wei’s Perilous Journeys’, ArtAsiaPacific, no. 50, 2006.; Other Histories: Guan Wei’s<br />
Fable for a Contemporary World (<strong>Sydney</strong>: Wild Peony, 2008)<br />
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©John Clark, 2010<br />
Guo Jian: review, Art AsiaPacific, 31, 2001; review, Asian Art News, vol.11, no.3, 2001<br />
Hanh Ngo: Cree, Laura Murray, ‘Cross-cultural translations’, Art AsiaPacific, 32, 2001<br />
Howard, Ian: Forsyth, Graham, ‘Hide <strong>and</strong> Seek’, Asian Art News, vol. 15, no. 2, 2005.<br />
Hu Ming: <strong>The</strong> Oil Painting <strong>of</strong> Hu Ming (Catalogue), <strong>Sydney</strong>: Peony Press, 2004<br />
Lee Hyun Mi: O’Toole, Phil. ‘Paper Tigers: <strong>The</strong> Artwork <strong>of</strong> Hyun Mi Lee.’ TAASA Review, 7:3 1998.<br />
Lee, Lindy; Johnson, Tim; Tyndall, Peter: review, Art AsiaPacific, 34, 2002<br />
Leong, Greg Kwok-keung: review, Art AsiaPacific, 27, 2000<br />
Lindy Lee: Hutchings, Peter, ‘Once More With Feeling: Art <strong>and</strong> Disappearance’, On Lindy Lee, Art & Text 36,<br />
May 1990; Baume, Nicholas, ‘Pr<strong>of</strong>ile, Lindy Lee: Black is not as black as all that’, Art & Text 47, January<br />
1994; Elias, A. ‘Through a glass darkly’, Art & Asia Pacific, vol.1, no.2, 1994; Michael, Linda, ‘A<br />
Relationship <strong>of</strong> Moments’, Asian Art News, Vol. 13, Number 2, March/April 2003; Ceczy, Adam, ‘<strong>The</strong><br />
Installations <strong>of</strong> Lindy Lee’, ART AsiaPacific, Issue 36 (2002)<br />
Lo, Andrew: review, Art AsiaPacific, 34, 2002<br />
Makigawa Akio: Hynes, Victoria. ‘Matter <strong>and</strong> Spirit: Akio Makigawa <strong>and</strong> Toshiaki Izumi.’ World Sculpture News 5:2<br />
Spring 1999; Bromfield, David, ‘Point <strong>of</strong> Heaven’ Asia-Pacific Sculpture News, vol.1, no.2, Spring 1995.<br />
Morrison, Hedda: Ennis, H., ‘Hedda Morrison’, Art Monthly Australia, 50, June 1992; Morrison, H., A Photographer<br />
in Old Peking, Singapore, Oxford <strong>University</strong> Press 1985; Morrison, H., Travels <strong>of</strong> a Photographer in China,<br />
1987.<br />
Parr, Mike: Juers, Evelyn, ‘Mike Parr’ at Roselyn Oxley9 Gallery, Art & Text 41, January 1992; Parr, Mike,<br />
‘Daybreak, Manila Performance’, Art Monthly Australia, no.81 July, 1995; Geczy, Adam, ‘Focusing the<br />
mind through the body: an interview with Mike Parr’, Artlink, Vol. 23, No.1; Scheer, Edward A., ‘<strong>The</strong> Veil<br />
<strong>of</strong> the Liminal. Mike Parr’s Brides’, Parkett, no.62, 2001<br />
Phaptawan Suwannakudt: Pettifor, Steven, ‘Between Tradition <strong>and</strong> Modernity’ in Asian Art News, Vol. 14, Number<br />
5 (September/October 2004), pp. 81-83<br />
Pike, Jimmy & Zhou Xiaoping: Kapetopoulos, Fotis, ‘New Lines <strong>of</strong> Communication’, On Zhou Xiaoping <strong>and</strong><br />
Jimmy Pike, Artlink, Vol. 16, No. 4 Summer 1996; Lowe, Pat, ‘Jimmy Pike in China’ Art Monthly Australia,<br />
no.100, June 1997; McCullough, Susan ‘Parallel Perspectives’, Asian Art News, vol.7, no.4, July/August<br />
1997.<br />
Preston, Margaret: North, I., ed., <strong>The</strong> Art <strong>of</strong> Margaret Preston, Adelaide, <strong>The</strong> Art Gallery Board <strong>of</strong> South Australia,<br />
1980.<br />
S<strong>and</strong>rasegar, Sangeeta: Carsley, Gary, ‘Karma Chameleons’, Art India, vol ix, issue ii, qu<strong>art</strong>er ii, 2004.<br />
Sansom, Gareth: Gareth Sansom, [catalogue for 7th Indian Triennale], Melbourne, Australian Exhibitions Touring<br />
Agency, 1991; Sansom, G. [interview] ‘Responding to India’, Art Monthly Australia, no.41, June, 1991.<br />
Sav<strong>and</strong>hary Vongpoothorn: Fink, Hannah, ‘Rythmic Air’, Art AsiaPacific, 24, 1999<br />
Shen Jiawei: Zai Jian Revolution, Catalogue, 4A Gallery, 2002; Eastburn, Melanie, ‘Shen Jiawei at Gallery 4A’, Asian<br />
Art News, vol. 12, no. 6, November/December, 2002; Hill, Peter, ‘Red Eye’, <strong>Sydney</strong> Morning Herald, 11<br />
October 2002; James, Bruce, ‘Artist with awesome promise must escape the mosh pit’, <strong>Sydney</strong> Morning<br />
Herald, 2 October 2002; McDonald, John, ‘<strong>The</strong> Third World by Shen Jiawei’ in East West Arts, Number 1<br />
(September-November 2004), p. 6<br />
Shen Shaomin: McDonald, John, ‘Shen Shaomin: Bones <strong>of</strong> Contention’ in East West Arts, Number 1 (September-<br />
November 2004), pp. 68-75; Van Proyen, M., ‘Shen Shaomin: Experimental Studio’, in Yishu Journal <strong>of</strong><br />
Contemporary Chinese Art, Vol. 7 No. 6, November 2008, pp. 97-103.; Shen Shaomin (Chengdu: Sichuan Fine Arts<br />
Publishing House, 2007); Between Heaven <strong>and</strong> E<strong>art</strong>h (4 vols; Beijing: Tang Contemporary Art, 2007)<br />
Song Ling: ‘Song ling in Conversation with Paul Gladston’, in Yishu: Journal <strong>of</strong> Contemporary Chinese Art, Vol.7,<br />
No.6, November 2008, p.50-60.<br />
Tan Laurens: Genocchio, Benjamin, ‘Glocalism’, Art AsiaPacific, 22, 1999<br />
Thomas, Rover: White, Sheona, ‘Roads Cross, Rover Thomas’, Art & Asia Pacific, vol.1, no.4, 1994.<br />
To, Hiram: McAlera, D., ‘Hiram To: Performing Attitudes’, World Art, 1, 1995.<br />
Wang Zhiyuan: Roberts, Claire, ‘<strong>The</strong> Art <strong>of</strong> Wang Zhiyuan: A state <strong>of</strong> flux’, Art AsiaPacific, no.33, 2002.<br />
Yang, William: Yang, W., ‘I ask myself, am I Chinese?’, Art & Asia Pacific, vol.1, no.2, 1994.<br />
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Young, John: Jackson, Mark, ‘John Young’ Review, Art & Text 41, January 1992; Chiu, Melissa; Clark, John;<br />
Hutchings, Peter; Lindsay, Frances, john young; the double ground paintings, <strong>Sydney</strong>, Australian Art<br />
Promotions, 1995; Coulter-Smith, Graham; Davidson, Christina; Forsyth, Graham, John Young: Silhouettes<br />
<strong>and</strong> Polychromes, 1979-1992, Melbourne, Schw<strong>art</strong>z City, 1993; review, Art AsiaPacific, 22, 1999; Young,<br />
John: Silhouettes <strong>and</strong> Polychromes, 1979-1992, Melbourne, Schw<strong>art</strong>z City, 1993<br />
Critical <strong>and</strong> Historical Studies<br />
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Ang, Ien; Stratton, John, ‘<strong>The</strong> Asian Turn’, Art & Text, no.50, January, 1995.<br />
Australian Perceptions <strong>of</strong> Asia, issue <strong>of</strong> Australian Cultural History, no.9, 1990, edited by Walker, D.<br />
Baume, Nicholas, ‘Guest in Venice: Australia’s Biennale Pavilion’, Art & Text 31, Dec.-Feb. 1989<br />
Broinowski, Alison, <strong>The</strong> Yellow Lady; Australian impressions <strong>of</strong> Asia, Melbourne, Oxford <strong>University</strong> Press, 1992.<br />
Carroll, A, ‘Parallels: Nationalism in Filipino, Indonesian, <strong>and</strong> Australian Art’, Art & AsiaPacific, no.1,<br />
supplement to Art & Australia, March 1993.<br />
Carroll, A, ‘To a friendly nation, far away’, Art Monthly Australia, no.88, April 1996.<br />
Chang, Virginia Yen-ju. Impressions <strong>of</strong> Asian Art in Australians’ Eyes: <strong>The</strong> Development <strong>of</strong> Asian Art Exhibitions in Art<br />
Gallery <strong>of</strong> New South Wales. Research paper, Master <strong>of</strong> Arts, Museum Studies, <strong>University</strong> <strong>of</strong> <strong>Sydney</strong>, 1999.<br />
Chiu, Melissa, ‘<strong>The</strong> blank in the page’, Eyeline, no.31, Spring 1996.<br />
Clark, J., ‘Fragments <strong>of</strong> origin; Asian women <strong>art</strong>ists’ group at the Blaxl<strong>and</strong> Gallery’, Asian Art News, July/August<br />
1994.<br />
Clark, J., Australian Art <strong>and</strong> Asia -<strong>The</strong>n <strong>and</strong> Now’ Occasional Paper No.19, Research Institute for Asia <strong>and</strong> the<br />
Pacific, <strong>University</strong> <strong>of</strong> <strong>Sydney</strong>, July 1992.<br />
Clark, John, ‘Art <strong>and</strong> its ‘others’ - recent Australian-Asian visual exchanges’, Dever, Maryanne, ed., Australia <strong>and</strong><br />
Asia: cultural transactions, Surrey, Curzon Press, 1996<br />
Collins, D, ‘Asian Art in Australia’, Art & Australia, vol.30, no.3, Autumn 1993.<br />
Collins, D., Asian Art <strong>and</strong> Australia: 1830s-1930s, M.A. <strong>The</strong>sis, Canberra, Australian National <strong>University</strong>, 1992.<br />
Eagle, M., ‘<strong>The</strong> Mikado Syndrome: was there an Orient in Asia for the Australian "Impressionist" Painters?’,<br />
Australian Journal <strong>of</strong> Art, Vol. VI, 1987.<br />
Galbally, A., ‘Australian Artists Abroad: 1880-1914’, in Galbally & Plant, 1978, above.<br />
Gallbally, A. & Plant, M., co-editors, Studies in Australian Art, Melbourne, Dep<strong>art</strong>ment <strong>of</strong> Fine Arts, <strong>University</strong> <strong>of</strong><br />
Melbourne, 1978.<br />
Gallbally, A., ‘Aestheticism in Australia’, in Bradley, A. <strong>and</strong> Smith, T., eds., Australian Art <strong>and</strong> Architecture: Essays<br />
presented to Bernard Smith, Melbourne, Oxford <strong>University</strong> Press, 1980.<br />
Geczy, Adam, ‘Buddha: Radiant Awakening’, Art AsiaPacific, no.35, 2002.<br />
Genocchio, Benjamin, ‘Between Mirrors: an interview with Lindy Lee’, Eyeline, 31, Spring 1996.<br />
Gerstle, D., Milner, A., eds. Europe <strong>and</strong> the Orient, Canberra, <strong>The</strong> Humanities Research Centre <strong>of</strong> Australian<br />
National <strong>University</strong>, 1994.<br />
Gerstle, D., Milner, A., Recovering the Orient: Artists Scholars, Appropriations, Chur, Harwood Academic Publishers,<br />
1994.<br />
Green, Charles, ‘Un<strong>of</strong>ficial World: Postcolonial <strong>and</strong> the Metropolis’, On the Position <strong>of</strong> Australian Art, Art &<br />
Text 43, September 1992<br />
Hage, Ghassan, White Nation: Fantasies <strong>of</strong> White supremacy in a multi-cultural society, <strong>Sydney</strong>, Pluto Press, 1998.<br />
Hage, Ghassan, Against Paranoid Nationalism: searching for hope in a shrinking society, <strong>Sydney</strong>, Pluto Press, 2003.<br />
Hamilton, A, ‘Fear <strong>and</strong> Desire: Aborigines, Asians <strong>and</strong> the National Imaginary’, in Australian Perceptions <strong>of</strong> Asia<br />
above.<br />
Hamilton, A, ‘Trading Image; Art at the ‘Asia’ Junction’, Art & Australia, vol.30, no.3, Autumn 1993.<br />
Hamilton, A., ‘Dreaming the Lotus: Aesthetic dialogue with ‘Asia’?, in Carroll, 1990.<br />
Hjorth, Larissa, ‘Neo-Tokyo: Japanese Art Now’, Art AsiaPacific, no.35, 2002.<br />
H<strong>of</strong>fie, P., ‘<strong>The</strong> reluctant tourist; a mythical narrative on nationalism’, Art Monthly Australia, 59, May 1993.<br />
Horne, J. & Walker, D ed., ‘Travellers, Journeys, Tourists’, issue <strong>of</strong> Australian Cultural History, no.10, 1991.<br />
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Howard, I., ‘Dialogues <strong>of</strong> differences’ [Australia/Vietnam], Asian Art News, vol.5, no.2, Mar/April 1995.<br />
Lane, T., ‘A burlesque <strong>of</strong> a burlesque: Aestheticism <strong>and</strong> the aesthetic interior <strong>of</strong> Victoria’, Historic Environment,<br />
vol.3, no.3, 1984.<br />
Ling, Amy. Yellow Light: <strong>The</strong> Flowering <strong>of</strong> Asian American Arts. Philadelphia: Temple <strong>University</strong> Press, 1999.<br />
Ling, Amy. Chinese American Reflections. Madison: <strong>University</strong> <strong>of</strong> Wisconsin Press,<br />
McClean, Ian, ‘White aborigines: colonial imperatives <strong>of</strong> Australian Colonialism’, Third Text, no.22, Spring 1993.<br />
McQueen, H., <strong>The</strong> Black Swan <strong>of</strong> Trespass, <strong>Sydney</strong>, Alternative Publishing Cooperative Ltd., 1979.<br />
Ross, Helen, ‘Arx 4 Torque-the last session <strong>of</strong> the first day’, Art Monthly Australia, no.79, May, 1995.<br />
Scarff, Julian, ‘Australian New Media <strong>art</strong>ists in Beijing’, Art AsiaPacific, 27, 2000<br />
Storer, Russel, ‘Artists-run Initiatives <strong>and</strong> Alternative Spaces in <strong>Sydney</strong> <strong>and</strong> Singapore’ (Master <strong>of</strong> Arts<br />
Dissertation, <strong>University</strong> <strong>of</strong> <strong>Sydney</strong>, 2004)<br />
Walker, D., <strong>and</strong> Ingleson, J., ‘<strong>The</strong> Impact <strong>of</strong> Asia’, in Meaney, N., ed., Under New Heavens: Cultural Transmission<br />
<strong>and</strong> the Making <strong>of</strong> Australia, Melbourne, Heinemann Educational Australia, 1989.<br />
Walker, D., Anxious Nation: Australia <strong>and</strong> the Rise <strong>of</strong> Asia, 1850-1939¸ St. Lucia, <strong>University</strong> <strong>of</strong> Queensl<strong>and</strong> Press,<br />
1999.<br />
Weisenfield, Gennifer. “Reinscribing Tradition in a Transnational Art World” in Asia Art History in the Twenty-<br />
First Century, Vishakha N. Desai (ed.), New Have <strong>and</strong> London: Yale <strong>University</strong> Press, 2007.<br />
White, R., ‘Sun, s<strong>and</strong>, <strong>and</strong> syphilis: Australian soldiers <strong>and</strong> the Orient, Egypt 1914’, in Australian Perceptions <strong>of</strong><br />
Asia, 1990.<br />
White, R., Inventing Australia: Images <strong>and</strong> Identity 1688-1980, <strong>Sydney</strong>, 1981.<br />
Exhibitions <strong>and</strong> Reviews [selected]<br />
Adelaide Biennial 1994, Broket, David, ‘East West Passage’, [featuring works <strong>of</strong> North <strong>and</strong> South East Asian<br />
<strong>art</strong>ists at the 1994 Adelaide Biennial <strong>of</strong> Australian Art], Art & Text 48, May 1994<br />
Argonauts <strong>of</strong> the Timor Sea (2004), Barlow, Geraldine, ‘Argonauts <strong>of</strong> the Timor Sea’ (Review) in Broadsheet, Vol. 33,<br />
No. 3 (September- November 2004), pp. 54-57<br />
Art from Australia, curated Carroll, A, [catalogue <strong>of</strong> touring exhibition to Bangkok, Jak<strong>art</strong>a, Manila, Kuala<br />
Lumpur, Singapore], Melbourne, Australian Exhibitions Touring Agency, 1990 [<strong>art</strong>ists exhibited: Micky<br />
Allan, John Davis, Richard Dunn, Anne Ferran, Fiona Hall, Imants Tillers, Caroline Williams, John<br />
Young].<br />
Asia Pacific Artists Initiative: Kin, Natalie, ‘USEby’, ArtAsiaPacific, 30, 2001<br />
Asia Traffic 2004, Sambrani, Chaitanya, ‘Home <strong>and</strong> Away: Highways <strong>and</strong> Bylanes in Asian Art’ in Broadsheet, Vol.<br />
33, No. 3 (September- November 2004), pp.24-31<br />
AWAS!: review, Art AsiaPacific 29, 2001<br />
Corsini, Marco., ‘Memory <strong>and</strong> Subjectivity, Small World: Group Exhibition by Shaun Wilson <strong>and</strong> Adam<br />
Cuthbert’ (CAST- Contemporary Artist Service Tasmania, Hob<strong>art</strong>), in Vehicle: Contemporary Visual Arts,<br />
No.9, 2003, p.26-29.<br />
Dys<strong>art</strong>, Dinah <strong>and</strong> Michael, ‘Asian Galleries – Art Gallery <strong>of</strong> New South Wales’ in Art & Australia, Vol. 41, No.<br />
4 (Winter 2004), pp. 541-543<br />
East <strong>and</strong> West: <strong>The</strong> Meeting <strong>of</strong> Asian <strong>and</strong> European Art, curated Carroll, A, [Exhibition <strong>and</strong> catalogue], Adelaide, Art<br />
Gallery <strong>of</strong> South Australia, 1985.<br />
Edge to Edge: Australian Contemporary Art to Japan, Tokyo, Japanese Museums <strong>and</strong> the Australian Bicentennial<br />
Authority, 1998 [ <strong>art</strong>ists exhibited: Julie Brown-Rrap, Richard Dunn, Bill Henson, Lindy Lee, John Nixon,<br />
Mike Parr, Jacky Redgate, Imants Tillers, Peter Tyndall, Ken Unsworth, Jenny Watson].<br />
Friis-Hansen, D., ‘Locating the Australian Imaginary’ [Review <strong>of</strong> ‘Inner-L<strong>and</strong>’ exhibition in Tokyo], Art & Asia<br />
Pacific, vol.1, no.3, 1994.<br />
Guess who’s coming to dinner: review, Art AsiaPacific 28, 2001<br />
I Thought I Knew But I Was Wrong (Travelling Video Art Exhibition), Glass, Alexie <strong>and</strong> Tutton, Sarah, ‘I Thought<br />
I Knew But I Was Wrong’ (Review) in Broadsheet, Vol. 33, No. 3 (September- November 2004), pp.18-19;<br />
Palmer, Daniel, ‘Medium Without Memory: Australian Video Art’ in Broadsheet, Vol. 33, No. 3 (September-<br />
November 2004), pp. 20-21<br />
259
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Localities <strong>of</strong> Desire: Contemporary Art in an International World, curated by Ewington, Julie & Murphy, Bernice,<br />
<strong>Sydney</strong>, Museum <strong>of</strong> Contemporary Art, 1995.<br />
MAAP 2004, MAAP in Singapore 2004 –Gravity (Catalogue), Brisbane: MAAP, 2004; Machan, Kim, ‘Gravity –<br />
Leap Into the Void’ (Review) in Broadsheet, Vol. 33, No. 3 (September- November 2004), pp. 14-16<br />
Nine Lives: Vietnam/Australia: Carruthers, Ashley, ‘In search <strong>of</strong> dissidence’, Art AsiaPacific 28, 2001<br />
Out <strong>of</strong> Asia, curated Carroll, A., [Exhibition <strong>and</strong> Catalogue] Melbourne, Heide Gallery, 1990. [<strong>art</strong>ists exhibited:<br />
Micky Allan, Tony Clark, Matthys Gerber, Pat H<strong>of</strong>fie, Tim Johnson, Ge<strong>of</strong>f Lowe, Fiona MacDonald,<br />
Susan Norrie, Robert Owen, Gareth Sansom]<br />
Parossien, Leon, ‘<strong>The</strong> Biennale <strong>of</strong> <strong>Sydney</strong> – A P<strong>art</strong>isan View <strong>of</strong> Three Decades’ <strong>of</strong> Three Decades’ in Art &<br />
Australia, Vol. 41, No. 1 (Autumn 2004), pp. 60-69<br />
Raffel, Suhanya., ‘“Two Sites, One Vision” in Queensl<strong>and</strong>’, in <strong>The</strong> Journal <strong>of</strong> the Asian Arts Society <strong>of</strong> Australia, Vol.<br />
13, No. 1, March 2004, p.22.<br />
Sager, Janine Fenton., ‘Connecting Audience with Art, Review <strong>of</strong> Australian Exhibition: “Anita <strong>and</strong> Beyond”’<br />
(Penrith Regional Gallery & <strong>The</strong> Lewers Bequest, Western <strong>Sydney</strong>), in Vehicle: Contemporary Visual Arts,<br />
No.9, 2003, p.30-35.<br />
Seeto, Aaron, ‘Flacit Momentums <strong>and</strong> Tactical Interventions’ (On Asian-Australian Artists) in East West Arts,<br />
Number 1 (September-November 2004), pp.108-109<br />
Southern Skies: Chinese Artists in Australia, O’Dea Madeline, ed., Beijing, Australian Embassy, 2008.<br />
Systems End: Contemporary Art in Australia, <strong>Sydney</strong>, Wright, William; Spark, Jo, eds. Sherman Galleries, 1996 [to<br />
Osaka, Hakone, Seoul, Gaoxiong; reports: <strong>The</strong> Weekend Australian, 20-21 April, 1996; Shimizu Toshio,<br />
‘Systems End’, ART AsiaPacific, no.14, 1997.]<br />
Thai-Australian Cultural Space [Joan Grounds, Noelene Lucas, Montien Boonma, Vichoke Mukdamanee, Kamol<br />
Phaosavasdi], <strong>Sydney</strong>, Art Gallery New South Wales, 1994; Menzies, Jackie, ‘A Thai-Australian Art<br />
Exhibition’, Artlink, Vol. 13, No.3&4, November-March 1993/94<br />
<strong>The</strong> Asian Interface, Australian Artists <strong>and</strong> the Far East, curated, Menzies, J., Exhibition <strong>and</strong> check-list, <strong>Sydney</strong>, Art<br />
Gallery <strong>of</strong> New South Wales, 1983.<br />
Tôkyô Connection, Australian Artists’ Studio in Tôkyô, Melbourne, Australian Exhibitions Touring Agency, 1990<br />
[<strong>art</strong>ists in residence in Tôkyô 1987-1990: Liz Coates, 1987; Diane Mantzaris, 1987; Noelene Lucas, 1987;<br />
Janet Laurence, 1988; Ge<strong>of</strong> Kleem, 1988; Mark Hindraker, 1988; Ge<strong>of</strong>frey Weary, 1988; Jennifer<br />
McCamley, 1989; Clinton Gar<strong>of</strong>ano, 1989; Andrew Petrusevics, 1989; Paul Thirkell, 1989; Bette Mifsud,<br />
1990].<br />
Transcultural Painting [Tony Clark, Lindy Lee, Linda Marrinon, John Young] Melbourne, Asialink 1994. [to<br />
Guangzhou, Hong Kong, Taiwan]; Wang, Chia Chi Jason, ‘A Veil in Between’ [on Transcultural painting<br />
Exhibition in Taiwan], Art & Asia Pacific, vol.1, no.4, 1994<br />
Witnessing to Silence: Art <strong>and</strong> Human Rights, edited by Caroline Turner <strong>and</strong> Nancy Sever, Canberra, ANU<br />
Humanities Research Centre, 2003<br />
Yin-Yang: China in Australia, Edwards, Zeny et al, <strong>Sydney</strong>, National Trust S.H. Ervin Gallery, 2008<br />
Modernity in Asian Art, Australia, South Asia, Southeast Asia: Texts by John Clark<br />
General Works<br />
Modernities compared: Chinese <strong>and</strong> Thai Art in the 1980s <strong>and</strong> 1990s, <strong>Sydney</strong>, Power Publications, 2007.<br />
Modernities <strong>of</strong> Chinese Art, Singapore, Institute <strong>of</strong> Contemporary Art, 2007<br />
Modern Asian Art, <strong>Sydney</strong>, Fine Arts Press, <strong>Sydney</strong> & <strong>University</strong> <strong>of</strong> Hawai’i Press, Honolulu, 1998<br />
Editor, Modernity in Asian Art, Wild Peony Press, <strong>Sydney</strong> [US’ distribution <strong>University</strong> <strong>of</strong> Hawaii Press] 1993,<br />
including paper ‘Open <strong>and</strong> Closed Discourses <strong>of</strong> Modernity in Asian Art’1992<br />
‘Kindai Ajia no bijutsu gensetsu ni okeru “taka” ’ (tr. Morino Yutaka, Fujiwara Sadao) in Shimamoto Kan,<br />
Kasuya Makoto, hen, Bijutsushi to Tasha, Kyôto, Kôyô Shuppan, 2000; English original to be published as<br />
‘Art History <strong>and</strong> Alterity: ‘Othering’ as Process in Modern Asian Art Discourses’ in Flores, Patrick D. ed.,<br />
260
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Commemorative Anthology on the retirement <strong>of</strong> Pr<strong>of</strong>essor Alice G. Guillermo, Manila, <strong>University</strong> <strong>of</strong> the Philippines,<br />
[in editing, scheduled 2003].<br />
‘Asian Modernisms’ [reprinted from Humanities Research, no.2, 1999] in Marg, Spring, vol. 53, no.2, 2002.<br />
‘Inter-Asian Criteria <strong>of</strong> Institutional Modernity in Art’, in Künstlerische Austausch/Artistic Exchange, Akademie<br />
Verlag, Berlin, 1993.<br />
‘What in the context <strong>of</strong> <strong>contemporary</strong> <strong>art</strong>, is your vision <strong>of</strong> a future <strong>art</strong>?’, on the refereed web journal<br />
www.anthology-<strong>of</strong>-<strong>art</strong>.net, in February, to be published later in an anthology from Jochen Gerz,<br />
Braunschweig College <strong>of</strong> Art, 2003.<br />
‘On Two Books by Edward W. Said’, Bicitra Seni, Jilid 2, [from Pusat Seni, Universiti Sains Malaysia,], 1996.<br />
‘Art Goes Non-Aligned’ [Four Exhibitions in Jak<strong>art</strong>a including the Art <strong>of</strong> the Non-Aligned Movement, April 1995],<br />
Art & Asia Pacific, vol.2, no.4, 1995.<br />
‘Ajia ! Ajia!’, Art Monthly Australia, no.39, April, 1991<br />
‘Asian Artists at the 2001 Venice Biennale’, IIAS Newsletter, November, no.26, 2001<br />
"Contemporary Arts: Asia", review <strong>of</strong> Asia Society New York Roundtable, Journal <strong>of</strong> the Asian Arts Society <strong>of</strong><br />
Australia, vol.2, no.1, January, 1993.<br />
‘Once Again the East’, [<strong>The</strong> new Asian Gallery, Art Gallery <strong>of</strong> New South Wales], Art Monthly Australia, no.30,<br />
May, 1990.<br />
Australia<br />
Australian Art <strong>and</strong> Asia -<strong>The</strong>n <strong>and</strong> Now’, Occasional Paper No.19, Research Institute for Asia <strong>and</strong> the Pacific,<br />
<strong>University</strong> <strong>of</strong> <strong>Sydney</strong>, 1992<br />
‘Playing with the Stars: Guan Wei’s styles’, essay for Guan Wei Exhibition Catalogue, Dr. Earl Lu Gallery, La<br />
Salle SIA, Singapore 2000.<br />
‘Crossings’, essay for the catalogue curated by William Wright, <strong>The</strong> Rose Crossing: Contemporary Art in Australia,<br />
<strong>Sydney</strong>, Sherman Galleries, 1999.<br />
‘Art <strong>and</strong> its ‘others’ - recent Australian-Asian visual exchanges’, in Dever, Maryanne, ed., Australia <strong>and</strong> Asia:<br />
cultural transactions, Surrey, Curzon Press, 1997.<br />
‘Systems End’, catalog essay in Tseng Fang-ling, Huang Pei-yi, editors, Systems End, Contemporary Art in<br />
Australia, Gaoxiong, Gaoxiong Shili Meishuguan, 1996.<br />
‘<strong>The</strong> position <strong>of</strong> the transcultural: an end to hyphenation?’, [essay on the work <strong>of</strong> John Young] in Lumby, Kathy<br />
& Robinson, Julia eds, Antipodean Currents, Ten Contemporary Artists from Australia, Washington, John<br />
F. Kennedy Centre for the Performing Arts, 1994.<br />
‘Swimming in the Transcultural Sea: John Young’, Asian Art News, vol.4, no.3, May/June, 1994.<br />
‘Sons’: an essay for a catalogue <strong>of</strong> works by Yvonne Boag, Mirabel Fitzgerald, <strong>and</strong> Patsy Payne exhibited at<br />
Silpakorn <strong>University</strong> Bangkok, 1998<br />
‘William Robinson’, Asian Art News, vol.4 no.6, December, 1994.<br />
Review: ‘Fragments <strong>of</strong> origin: Asian Women Artists’ Group at Blaxl<strong>and</strong> Gallery; Fresh Art: 20 Young Artists at<br />
the S.H. Ervin Gallery: Moet & Ch<strong>and</strong>on Touring Exhibition at the Art Gallery <strong>of</strong> New South Wales’,<br />
[Three Reviews <strong>of</strong> <strong>Sydney</strong> Exhibitions], Asian Art News, vol. 4, no.4, July/August 1994.<br />
South Asia<br />
Modern Indian Art: Some Literature <strong>and</strong> Problematics, Occasional Paper, no.21, Research Institute for Asia <strong>and</strong> the<br />
Pacific, 1994.<br />
‘Two Modern Indian Painters: Arpita Singh <strong>and</strong> Swaminathan’, Art & Asia Pacific, supplement to Art <strong>and</strong><br />
Australia, 1993<br />
Review <strong>of</strong> Bankim Ch<strong>and</strong>ra Chatterjee, tr. Marian Madden <strong>and</strong> S.N. Mukherjee, <strong>The</strong> Poison Tree: Three Novellas,<br />
New Delhi, Penguin Books India, 1996, <strong>The</strong> Journal <strong>of</strong> the Oriental Society <strong>of</strong> Australia, vol.31, 1999.<br />
Review <strong>of</strong> Jyotindra Jain, Kalighat Painting: Images from a Changing World, Ahmedabad, Mapin Publishing, 1999;<br />
Yashodhara Dalmia, <strong>The</strong> making <strong>of</strong> Modern Indian Art: <strong>The</strong> Progressives, New Delhi, Oxford <strong>University</strong> Press,<br />
2001; Gulamohammed Sheikh, editor, Contemporary Art in Baroda, New Delhi, Tulika, 1997; forthcoming in<br />
Art AsiaPacific, 2003<br />
261
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Review <strong>of</strong> Geeta Kapur, When was Modernism: Essays on Contemporary Cultural Practice in India, New Delhi, Tulika,<br />
2000, Australian <strong>and</strong> New Zeal<strong>and</strong> Journal <strong>of</strong> Art, no.2, 2002<br />
Southeast Asia<br />
Clark, John, Modernities compared: Chinese <strong>and</strong> Thai Art in the 1980s <strong>and</strong> 1990s, <strong>Sydney</strong>, Power Publications, 2007.<br />
‘<strong>The</strong> Transfer: Art in Colonial Southeast Asia’, in Mashadi, Ahmad, ed., Visions <strong>and</strong> Enchantment: Southeast Asian<br />
paintings, Singapore, Singapore Art Museum, 2000.<br />
‘Mooi Indie <strong>and</strong> Persagi from the perspective <strong>of</strong> a Modern Asian Art’ in Sidh<strong>art</strong>a, Amir & Purnomo, Ninsih, eds,<br />
Dari Mooi Indie Hingga Persagi, Tangerang, Museum Universitas Pelita Harapan, 1997<br />
‘Into the Forest: Interview with Yeoh Jin-leng’, Art & Asia Pacific, vol. 1, no.2, 1994.<br />
Review: ‘Panya Vijinthanasarn at Tadu Contemporary Art’ Asian Art News, vol.8, no.2, 1998.<br />
‘Asian Modernism: Diverse Developments in Indonesia, the Philippines, <strong>and</strong> Thail<strong>and</strong>’, Asian Art News, vol.6,<br />
no.1, January/February, 1996.<br />
Review: Apinan Poshyan<strong>and</strong>a, Western-Style Painting <strong>and</strong> Sculpture in the Royal Thai Court, 2 vols, Amarin Printing<br />
Group, Bangkok,1993; in Art & Asia Pacific, vol.2.no.1, July 1994.<br />
Review <strong>of</strong> Apinan Poshyan<strong>and</strong>a, Modern Art in Thail<strong>and</strong>, Singapore, Oxford <strong>University</strong> Press, 1992, Art Monthly<br />
Australia, April, 1993.<br />
Review <strong>of</strong> Anne Richter, Arts <strong>and</strong> Crafts <strong>of</strong> Indonesia, London, Thames & Hudson, Australian Book Review,<br />
December, 1993.<br />
Asian Art <strong>and</strong> Euramerican Practice<br />
One way or Another: Asian American Now. [Exhibition Catalogue. Chiu, M., et al]. New York: Asia Society <strong>and</strong><br />
Museum, 2006.<br />
Merewether, Charles. “Zones <strong>of</strong> Marked Instability: Displacement, Women <strong>and</strong> the Public Sphere” in Rethinking<br />
Borders, edited by John. Welchman, Minneapolis: <strong>University</strong> <strong>of</strong> Minnesota Press/London:Macmillan<br />
Academic, 1996.<br />
Munroe, Alex<strong>and</strong>ra et al, <strong>The</strong> Third Mind: American Artists Contemplate Asia, 1860-1989, New York: Guggenheim<br />
Museum, 2009<br />
Yoshimot, M., Into Performance: Japanese Women Artists in New York, New Brunswick, N.J. <strong>and</strong> London: Rutgers<br />
<strong>University</strong> Press, 2005.<br />
Asian Artists Transnational Activity – North America<br />
General Works<br />
‘Above & Beyond’ review, Art AsiaPacific, 22, 1999<br />
‘Art Directory’, Art AsiaPacific, no.34, 2002.<br />
Asian Traditions/Modern Expressions: Asian-American Artists <strong>and</strong> Abstraction, 1945-1970, Rutgers, Jane Voorhees<br />
Zimmerli Art Museum, 1997. [Review: Roe Jae-ryung, Art AsiaPacific, no.17, 1998.]<br />
Becker, Carol, ‘<strong>The</strong> Romance <strong>of</strong> Nomadism: A Series <strong>of</strong> Reflections.’ Art Journal Summer 1999.<br />
Berghuis, Thomas J. <strong>and</strong> Pell, Karl, 'Domain Asia @ Art Dot Com: Asian <strong>art</strong> in technological times',<br />
IIAS Newsletter, No.25, July 2001<br />
Berghuis, Thomas J., ''Translated Acts': Body, Self <strong>and</strong> Performance', IIAS Newsletter, No.24, February 2001<br />
Borum, Jenifer P, ‘New York: "Asia/America”, Artforum International, Vol.33, Issue 1, September 1994<br />
Brett, Guy, ‘E<strong>art</strong>h <strong>and</strong> Museum -- Local or Global?’ Third Text no.6 Spring 1989.<br />
Chang, Alex<strong>and</strong>ra, ‘Locating Asian American Art: Redefinitions’ in Art Asia Pacific, No. 41 (Summer 2004), pp.<br />
40-41<br />
Chang, Alex<strong>and</strong>ra, ‘Taeko Baba: Reinventing the Self’ in Art Asia Pacific, No. 39 (Winter 2004), pp. 30-32<br />
Chang, Alex<strong>and</strong>ra, ‘Urban Improv: On the Road with the Brainstormers’ in Art Asia Pacific, No. 40 (Spring<br />
2004), pp. 36-39<br />
262
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Chattopadhyay, Colette, ‘From Zen to Pop Culture’,<br />
Chattopadhyay, Colette, ‘Shifting Perceptions’, Art AsiaPacific 29, 2001;<br />
Chattophadhyay, C., ‘An Emerging Dialogue’ Asian Art News, vol.7, no.5, September / October 1997.<br />
Chattophadhyay, C., ‘Korean-American Artists in California’, Asian Art News, vol. 6, no.3, May / June<br />
1996.<br />
Chattophadhyay, C., ‘Out <strong>of</strong> Hong Kong’, Asian Art News, vol.6, no.5, September / October, 1996.<br />
Chattophadhyay, C., ‘<strong>The</strong> pacific <strong>and</strong> beyond’], Asian Art News, vol.6, no.2, Mar/Apr 1996;<br />
Chattophadhyay, Collette, ‘Public Offerings’, Art AsiaPacific, 33, 2002;<br />
Chattophadyay, ‘Flight patterns: l<strong>and</strong>scapes <strong>of</strong> the pacific Rim’, Art AsiaPacific, 31, 2001;<br />
Chong, Doryun, ‘Korean American Views’, Art AsiaPacific 29, 2001;<br />
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Fu-Chia-Wen Lien ‘<strong>The</strong> Body as Metaphor for Feminist Expression’, Asian Art News, 8:4, August 1998.<br />
Gaur, Umesh, ‘American Collectors <strong>of</strong> Contemporary Indian Art in the Northeast’, Orientations, Volume 33,<br />
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Goodman, Jonathan, ‘<strong>The</strong> first steps’, Art AsiaPacific, 25,<br />
Goodman, Jonathan, ‘Form inside the body, Art AsiaPacific, 32, 2001;<br />
Goodman, Jonathan., ‘Conditions <strong>of</strong> Anonymity: the Performance Art <strong>of</strong> Kim Sooja’, in Art AsiaPacific, Issue 38,<br />
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Asian Art News 9:1 1999; ‘Fashioning Trends’, Asian Art News 9:4 1999.; ‘<strong>The</strong> intuitive Eye’, Asian Art<br />
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Schwabsky, Barry, ‘Tao <strong>and</strong> physics: <strong>The</strong> <strong>art</strong> <strong>of</strong> Cai Guo Qiang’, Artforum International, Vol.35, Issue 10,<br />
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No. 38 (Fall 2003), pp. 28-30; Lin, Xiaoping, ‘Globalism or Nationalism? – Cai Guoqiang, Zhang Huan,<br />
<strong>and</strong> Xu Bing in New York’ in Third Text, Vol. 18, Issue 4 (July 2004), pp. 279-296<br />
Zhang Jian-jun: Wong, Aida-Yuen, 'Vestiges <strong>of</strong> Time/ Elemental Spring: Zhang Jian-Jun <strong>and</strong> Barbara Edelstein in<br />
Guangdong', Yishu: Journal <strong>of</strong> Chinese Contemporary Art, March 2003, Spring Issue<br />
Zhang Peili: Cohen, Joan Lebold,’A Studio Visit with Zhang Peili.’. Asia-Pacific Sculpture News 1:4 Autumn 1995;<br />
review, Art AsiaPacific, 25, 2000; Isreal, Nico, ‘New York: Zhang Peili’, Exhibition Review, Artforum<br />
International, Vol.38, Issue 3, November1999; Gladston, P. ‘RecurringIntimations <strong>of</strong> Disorder: A<br />
Conversation with Zhang Peili’, in Yishu Journal <strong>of</strong> Contemporary Chinese Art, Vol 8, Number 2, March/April<br />
2009, pp. 50-58.<br />
Asian Artists Transnational Activity – Britain<br />
267
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©John Clark, 2010<br />
General Works<br />
Abbott, Guy Mannes, ‘Drawing space’, Art AsiaPacific, 30, 2001.<br />
Braddock, Kevin, ‘A sense <strong>of</strong> self’, Art AsiaPacific, 26, 2000.<br />
Guha, Tania, ‘Transition <strong>of</strong> Riches’, Third Text, n25, Winter 1993-94, 81-86.<br />
Lew, Christopher Y., ‘Amy Cham Inside Out’, ArtAsiaPacific, no. 46, 2005.<br />
Periz, Ingrid, ‘One Way or Another: Asian American Art Now’ (review), Eyeline, no. 62, Summer 2006-7.<br />
Individual Artists<br />
Alvi, Tariq: Preece, Robert, ‘<strong>The</strong> aesthetic obsessions <strong>of</strong> Tariq Alvi’, Art AsiaPacific, 32, 2001.<br />
Arnish Kapoor: Jana, Reena, ‘Arnish Kapoor: Between Poetry <strong>and</strong> Prose’ in Art Asia Pacific, No. 40 (Spring 2004),<br />
pp. 24-25; Bryson, Norman, ‘Kapoor’s Vertigo’ in Parkett, No. 69 (2003), pp.104-115; Forster, Kurt W., ‘A<br />
Word in the Giant’s Ear’ in Parkett, No. 69 (2003), pp. 116-125; Warner, Marina, ‘<strong>The</strong> Perforate Self or<br />
Nought is Naught’ in Parkett, No. 69 (2003), pp. 126-141.<br />
Bhimji: Dewan, Deepali, ‘Zarina Bhimji’ in Art Asia Pacific, Issue 37 (2003), p. 38; Jumabhoy, Zehra, ‘Vanishing<br />
Acts’, interview with Zarina Bhimji in Art India, Vol XIII, Iss. III & IV, 2008, p. 84-85<br />
Biswas, Sutapa; Lubaina Himid; Boyce, Sonia: Tawadros, Gilane, ‘Beyond the Boundary: <strong>The</strong> Work <strong>of</strong> Three Black<br />
Women Artists in Britain’, Third Text, n8/9, Autumn/Winter 1989, 121-150.<br />
El Sahali, Ibrahim: Beier, Ulli, ‘<strong>The</strong> Right to Claim the World: Conversation with Ibrahim El Salahi’, Third Text<br />
n23, Summer 1993, 23-30: Sudanese <strong>art</strong>ist working in Quatar, Engl<strong>and</strong> <strong>and</strong> Germany.<br />
Fu, Julie, Yin Xuizhan: Preece, Robert. ‘Chinese Art, Manchester Style.’ Asian Art News 8:6,1998.<br />
Hatoum, Mona: Guha, Tania, ‘Andrea Fisher/Mona Hatoum.’ Third Text no.28/9 Autumn/Winter 1994.<br />
Li Yuan-chia: Brett, Guy, ‘Li Yuan-chia 1929-1994’, Third Text, 28/9, Autumn/Winter 1994, 3-4: obituary;<br />
Overy, Paul, ‘After a long silence: the works <strong>of</strong> Li Yuan-chia’, Third Text, 55, 2001, 51-62; Hill, Katie, ‘Li<br />
Yuan jia’, Art AsiaPacific, 32, 2001.<br />
Liao, Jeff Chien-Hsing: review, Art in America, 94.9, October 2006.<br />
Lubaina Himid; Boyce, Sonia; Hatoum, Mona: Tawadros, Gilane, ‘Black Women in Britain: A Personal <strong>and</strong><br />
Intellectual Journey’, Third Text, n15, Summer 1991, 71-76.<br />
Medalla, David: Brett, Guy, ‘David Medalla: From Biokineticism to Synpotic Realism’, Third Text, n8/9,<br />
Autumn/Winter 1989, 79-106; Brett, Guy, ‘David Medalla: From Biokineticism to Synoptic Realism.’<br />
Third Text no.8/9, Autumn/Winter, 1989; Terra, Jun, ‘David Medalla in London’, Third Text, n30, Spring<br />
1995.<br />
Ocampo, Manuel: review, Art AsiaPacific, 22, 1999.<br />
Qu Leilei: Bright, Susan, ‘A Journey into Memory’ Asian Art News, vol. 8, no.1, January/February 1998.<br />
Runa Islam: Farver, Jane, ‘Runa Islam’ in Art Asia Pacific, Issue 37 (2003), p. 44.<br />
Shen Yuan: Carver, Antonia, ‘Shen Yuan: Just like a fish in water’, Art AsiaPacific, no.35, 2002; Tawadros, Gilane<br />
et al, Shen Yuan, London & Bristol, Institute <strong>of</strong> International Visual Arts <strong>and</strong> Arnolfini Centre &<br />
Chisenhale Gallery, 2001.<br />
Singh, Amrit & Rabindra: review, Asian Art News, vol.11, no.4, 2001; Nakamura, Nobuo <strong>and</strong> Miyake, Akiko, ed.,<br />
CCA Artist’s Book Series, Shen Yuan: <strong>The</strong> Tongue, Kitakyushu: Center For Contemporary Art, 1999.<br />
Tsao, Richard: review, Art in America, vol. 93, iss. 9, Oct 2005.<br />
Vong Phaophanit: Hylton, Richard. ‘Phaiphanit <strong>and</strong> Piper.’ Third Text no31 Summer 1995; Dyer, Richard, ‘Vong<br />
Phaophanit: Ash <strong>and</strong> Silk Wall’, Third Text, n26, Spring 1994, 91-93; Obussier, Claire, ‘Vong Phaophanit’,<br />
Art AsiaPacific 29, 2001; Desai, Vishakha N., ‘Vong Phaophanit’ in Art Asia Pacific, Issue 37 (2003), p. 35.<br />
Wong, Sue-en: review, Art in America, 94.9, October 2006.<br />
Yanagi Yukinori: Dyer, Richard, ‘Yukinori Yanagi: Union Jack Ant Farm’, Third Text, n27, Summer 1994, 91-93;<br />
Winther-Tamaki, Bert, Yukinori Yanagi; Image, Nation & Transnation. Co-Editor, primary author, with essays<br />
by graduate students <strong>of</strong> the Visual Studies Ph.D program. CD Rom. <strong>University</strong> <strong>of</strong> California, Irvine. 1998.<br />
268
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Asian Artists Transnational Activity – France<br />
General Works<br />
Clark, John, ‘Chinese Artists in Paris’, Far Eastern Economic Review, 16.12.1986. [Chinese translation: Meishu<br />
Shichao, Nanjing, no.4, 1987, 31-33].<br />
Clark J., ‘Chinese Artists in France’, in Fisher, Jean & Mosquera, Gerardo, eds., Over Here, Cambridge, MIT<br />
Press, 2004<br />
Fei Dawei, ed., Art Chinois: Chine Demain pour Hier, [Cai Guoqiang, Yang Jiechang, Yan Peiming, Gu Wenda,<br />
Huang Yongping, Chen Zhen], Aix en Provence, Les Domaines de l’<strong>art</strong> & Editions C<strong>art</strong>e Segrete, 1990<br />
Hou Hanru, Parisien(ne)s, London, Camden Arts Centre & INiVA, 1997<br />
Jouanno, Evelyne; Hou Hanru, Paris pour escale, [escale= ‘port <strong>of</strong> call’]; Paris, ARC- Musée d’Art Moderne de la<br />
Ville de Paris, 2000 (Foreword by Suzanne Pagé, Preface by Laurence Bossé, other texts by Gilane<br />
Tawadros, Michel Wieviorka, 27 <strong>art</strong>ists, 6 Chinese: Chen Zhen, Huang Yongping, Shen Yuan, Wang Du,<br />
Yang Jiechang).<br />
Köppel-Yang, M<strong>art</strong>ina, Odyssey (s) 2004, (Catalogue), Shanghai: Shanghai Gallery <strong>of</strong> Art, 2004<br />
Teil, D. ‘Indian Painters in Paris", Lalit Kala Contemporary, no.4.<br />
Individual Artists<br />
Chang Yu/Sang Yu: Wong, Rita, Sanyu [Chang Yu] Catalogue Raisonnée, Taipei, Lin & Keng Gallery 2001 ; Wong,<br />
Rita, Sanyu: l’écriture du corps, Paris Musée Guimet, 2004 [essays by Andrews, Hay, Koutozis, Krebs<br />
&Wong]; Pai, Maggie, ‘Escaping from the exile <strong>of</strong> memory’, Asian Art News, vol.11, no.1, 2001; Wang,<br />
Eugene Y., ‘Sanyu Catalogue Raisonne: Oil Paintings’, Review on Chang Yu, Orientations, Volume 33, Number<br />
2, February 2002.<br />
Chen Jianzhong: Liang,K.C., Chan Kin-chung, Guangzhou, Lingnan Publishing House, 1981; Jouffroy, A., Chan Kinchung,<br />
Paris, Galerie Art Yomiuri, 1981; Asian Art News, 2, no.1, Jan/Feb 1992.<br />
Chen Zhen: Corrin, Lisa, G., et al, Chen Zhen, London, Serpentine Gallery, 2001; Chiu, Melissa,<br />
‘Chen Zhen in Art Asia Pacific, Issue 37 (2003), p. 33; He<strong>art</strong>ney, Eleanor, ‘Parallel Lives’ (Montien<br />
Boonma at Asia Society <strong>and</strong> Chen Zhen at P.S. 1) in Art Asia Pacific, No. 38 (Fall 2003), pp. 50-52<br />
Cui Guotai: Karetzky, P. E., ‘Cui Guotai: Rust Never Sleeps, in Yishu Journal <strong>of</strong> Contemporary Chinese Art, Vol 8,<br />
Number 4, July/August 2009, pp.32-40.<br />
Du Zhenjun: Du Zhenjun: Être humain trop lourd (Catalogue), Paris : stream-tease.tv (<strong>art</strong> involvement), 2003<br />
Huang Yongping: Hou Hanru, Huang Yongping, [La Biennale de Venise 48 e Exposition Internationale d’Art,<br />
Pavillon Français], Paris, Association Française d’Action Artistique-Ministère des Affaires Etrangères,<br />
1999 ; La Collection: Fondation C<strong>art</strong>ier pour l’<strong>art</strong> contemporain, Paris, Fondation C<strong>art</strong>ier pour l’<strong>art</strong> contemporain,<br />
1998; Hou Hanru, ‘Huang Yong Ping’ in Art Asia Pacific, Issue 37 (2003), p. 55<br />
Ju Ming: Nuridsany, Michel. ‘Shadow Boxing at the Place Vendome: Ju Ming.’ World Sculpture News 4:1 Winter<br />
1998.<br />
Kawamata Tadashi: Rosen, Miriam, ‘Tadashi Kawamata’, Artforum International, Vol.36, Issue 8, April 1998; review<br />
Art AsiaPacific 29, 2001; Gould, Claudia, ‘Balkon- Kwamata’s Miracle’ Parkett, No. 35, 1993; Pontegnie,<br />
Anne, ‘Tadashi Kawamata’, Artforum International, Vol.39, Issue 6, February 2001; Alicia Volk, “Kawamata<br />
Tadashi,” in Sara Pendergast <strong>and</strong> Tom Pendergast, eds., Contemporary Artists, 5 th ed. (Detroit: St. James Press, 2002),<br />
1: 853-855.<br />
Shen Yuan: Tawadros, Gilane et al, Shen Yuan, London & Bristol, Institute <strong>of</strong> International Visual Arts <strong>and</strong><br />
Arnolfini Centre & Chisenhale Gallery, 2001; Tawadros, Gilane., ‘<strong>The</strong> Leftovers <strong>of</strong> Translation: <strong>The</strong><br />
Works <strong>of</strong> Shen Yuan’, in Yishu: Journal <strong>of</strong> Contemporary Chinese Art, Vol. 2 No. 4, December 2003, p.78-87.<br />
Szeto Lap: Binks, Hilary, ‘Of light <strong>and</strong> silence’, Asian Art News, vol.10, no.4, 2000<br />
Wang Du: Wang Du Magazine: je veux être un média, no.1, été, 2001, Paris, Design Mental<br />
Yan Peiming: Besson, Christian, Yan Peiming, Paris, Éditions Hazan, 1999; Marcadé, Bernard, Yan Pei-Ming, les<br />
assuats de la peinture’, Artpress, Juillet/ Août, 1989 ; Botz-Bornstein, T., ‘<strong>The</strong> Transcendental Bl<strong>and</strong>ness <strong>of</strong><br />
269
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©John Clark, 2010<br />
Yan Pei-Ming’sw International l<strong>and</strong>scapes, in Yishu Journal <strong>of</strong> Contemporary Chinese Art, Vol 8, Number 4,<br />
July/August 2009, p. 18-31.<br />
Yang Jiechang: ‘Domino, Christophe, ‘Enlightened writings’, Asian Art News, vo.11, no.4, 2001; review, Asian Art<br />
News, vol.9, no.1, 1999; Geczy, Adam, ‘Yang Jiechang’ (Review Gallery 4A, <strong>Sydney</strong>) in Art Asia Pacific, No.<br />
38 (Fall 2003), pp. 77-78<br />
Zhao Wuji / Zao Wou-ki: Cheng, F., Zao Wou-ki, Paris, Gr<strong>and</strong>-Palais, 1981; Zhao Wuji, Hong Kong Arts Centre,<br />
1982; Leymarie, J., Zao Wou-ki, Paris, Editions Cercle d’Art, 1986;<br />
Zhu Dechun / Chu Te-chun: Juin, H.L., Chu Teh-Chun, Paris, Musée de Poche, Gamma, 1979; Chu Teh-chun, Hong<br />
Kong, Institute for the Promotion <strong>of</strong> Chinese Culture, 1986; Binks, Hilary, ‘Passion for Life’, Asian Art<br />
News, vol.7, no.6, 1997.<br />
Asian Artists Transnational Activity – Elsewhere in Europe<br />
General Works<br />
Acret, Susan, ‘49 th Venice Biennale: Northern Hemisphere Blues’, Art AsiaPacific, no.33, 2002.<br />
Kapoor, Kamala ‘Art across oceans: <strong>The</strong> ‘Containers 96’ exhibition in Copenhagen’, Art AsiaPacific, no.14, 1997.<br />
Komissar, Mariann, ‘Crosscurrents: Indian, Norwegian & British Artists in Oslo’, Art AsiaPacific, no.21, 1999.<br />
Malik, Dr. Sarita, ‘DNA Asia: Mapping the Future <strong>of</strong> South Asian Arts in the UK’ in Art Asia Pacific, No. 38<br />
(Fall 2003), p. 20<br />
Vos, Ken, ‘Sharing Collections <strong>and</strong> Presenting Cultural Heritage in Asian-European Exchange: AEMUS<br />
conference ‘Marketplace <strong>of</strong> Museum’s’, IIAS Newsletter, No. 28, July 2002<br />
Wear, Eric Otto, ‘ Uncertainties at the Sao Paolo Bienal’, Asian Art News, vol. 7, no. 2, 1997.<br />
Individual Artists<br />
Arif, Saleem: Hubbard, Sue. ‘<strong>The</strong> Art <strong>of</strong> Saleem Arif.’ Third Text no.27 Summer 1994.<br />
Berlin, East-West: Garrett, Louise, ‘East-West in Berlin’, Art AsiaPacific, 30, 2001<br />
Chu, Julia Nee: Asian Art News, 2, no.4, Jul/Aug 1992.<br />
Dai Pedro: Tseng Yung-lu, ‘Pedro Dai’, Free China Review,Aug-Sep,1986<br />
Gupta, Snil: Carver, Antonia, ‘Getting them between the eyes: an interview with Sunil Gupta’, Art AsiaPacific,<br />
no.16, 1997.<br />
Hanayo: review, Art AsiaPacific, 30, 2001<br />
Kabir, Shahid: Karim, Ziaul, ‘Process <strong>and</strong> memory’, Asian Art News, vol. 8, no.2, 1998.<br />
Lopez, Sebastian: Preece, Robert, ‘On gatekeeping’, Art AsiaPacific, 30, 2001<br />
Ming Fay: Magnan, Kathleen, F., ‘<strong>The</strong> Alchemist <strong>of</strong> Spirits’, Asian Art News, July/August 1994.<br />
Ngan Wayne: Asian Art News, 2, no.2, Mar/Apr 1992.<br />
Qadri, Soham: Kwint, Marius, ‘Modernism Beyond Modernity’, in Asian Art News, v. 18(2), March/April, 2008,<br />
pp. 80 – 85.<br />
Sah, Cynthia: Millichap, John. ‘‘A Feeling for Stone: Cynthia Sah.’ Asia-Pacific Sculpture News 2:1<br />
Shiota, Chiharu: Koplos, Janet, 'Chiharu Shiota at Kenji Taki', Art in America, Vol. 91, Issue 4, April 2003<br />
Wilfredo Lam: Tancock, John, ‘Wilfredo Lam’ in Art Asia Pacific, No. 40 (Spring 2004), pp. 60-64<br />
Xiao Qin / Hsiao Ch’in: Asian Art News, 2, no.1 Jan/Feb 1992.<br />
PRE-HISTORIES OF EURAMERICAN MODERN ART<br />
Crow, T. E., Painters <strong>and</strong> Public Life in 18th century Paris, New Haven, Yale <strong>University</strong> Press, 1985<br />
Duro, Paul, ed., Perspectives on Academic Art, Occasional Papers III, <strong>The</strong> Art Association <strong>of</strong> Australia, 1991.<br />
270
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©John Clark, 2010<br />
Duro, Paul, <strong>The</strong> academy <strong>and</strong> the limits <strong>of</strong> painting in seventeenth-century France, New York, Cambridge <strong>University</strong> Press,<br />
1997.<br />
EURAMERICAN THEORIES OF MODERNITY (selected)<br />
<strong>The</strong>ories, Logics & Ideologies<br />
Baudrillard, Jean, ‘Modernity’ (1985), Canadian Journal <strong>of</strong> Political <strong>and</strong> Social <strong>The</strong>ory, Vol. XI, no.3, 1987.<br />
Baudrillard, Jean, Simulacra <strong>and</strong> Simulation, [tr. Glaser, S. F.], Ann Arbor, <strong>University</strong> <strong>of</strong> Michigan Press, 1994.<br />
Bauman, Zygmunt, Post<strong>modern</strong> Ethics, Oxford, Blackwell, 1993.<br />
Bernstein, Richard J., ed., Habermas <strong>and</strong> Modernity, Cambridge, MIT Press, 1985.<br />
Deuleuze, G., Guattari, F. A Thous<strong>and</strong> Plateaus [tr Massumi, Brian], Minneapolis, <strong>University</strong> <strong>of</strong> Minnesota Press,<br />
1987.<br />
Habermas, Jürgen <strong>The</strong> <strong>The</strong>ory <strong>of</strong> Communicative Action, vol: 1, Reason <strong>and</strong> the Rationalization <strong>of</strong> Society, vol.2 Lifeworld <strong>and</strong><br />
System: A Critique <strong>of</strong> Functionalist Reason, [tr. Thomas McC<strong>art</strong>hy], London, Heinemann, 1984.<br />
Habermas, Jürgen, <strong>The</strong> Philosophical Discourse <strong>of</strong> Modernity, Cambridge, MIT Press, 1987.<br />
Hookway, Christopher, ‘Pragmatism: commonsense <strong>and</strong> the limits <strong>of</strong> science’, in Stone M.W.F. <strong>and</strong> Wolff,<br />
Jonathan, eds., <strong>The</strong> Proper Ambition <strong>of</strong> Science, London, Routledge, 2000.<br />
Marlais, Michael “Maurice Denis’ Conservative Modernism”, in Conservative Echoes in Fin de Siècle Parisian Art<br />
Criticism, Pennsylvania State <strong>University</strong> Press, <strong>University</strong> Park, Penn., 1992, 185-217<br />
Pollock, Griselda, Avant-Garde Gambits 1883-1893: Gender <strong>and</strong> the Colour <strong>of</strong> Art History, Walter Neurath Memorial<br />
Lecture 1992, Thames <strong>and</strong> Hudson, London, 1992<br />
Taxonomy <strong>and</strong> Evolutionary Speciation<br />
Crombie, A.C., Styles <strong>of</strong> Scientific Thinking in the European Tradition: <strong>The</strong> history <strong>of</strong> argument <strong>and</strong> explanation especially in<br />
the mathematical <strong>and</strong> biomedical sciences <strong>and</strong> <strong>art</strong>s, 3 volumes, London, Duckworth, 1994.<br />
Darwin, Charles, <strong>The</strong> Illustrated Origin <strong>of</strong> Species, [abridged <strong>and</strong> introduced by Richard Leakey from sixth edition <strong>of</strong><br />
1872], London, Faber & Faber, 1979 [updates Darwin’s theories or his evidence].<br />
Fletcher, Rol<strong>and</strong>, ‘Organized Dissonance: multiple code structures in the replication <strong>of</strong> human culture’, in<br />
Maschner, Herbert D.G., Darwinian Archaeologies, New York, Plenum Press, 1998.<br />
Gee, Henry, Deep Time: Cladistics, <strong>The</strong> Revolution in Evolution, London, Fourth Estate, 2001<br />
Gould, Stephen Jay, Wonderful Life: <strong>The</strong> Burgess Shale <strong>and</strong> the Nature <strong>of</strong> History, London, Penguin Books, 1989.<br />
Hull, David, Science as a Process, Chicago, <strong>University</strong> <strong>of</strong> Chicago Press, 1988<br />
Mayden et al, Species: the units <strong>of</strong> evolution, 1997<br />
Mayr, Ernst, Principles <strong>of</strong> Systematic Zoology¸ New York, McGraw-Hill, 1969<br />
Mayr, Ernst, ‘Darwin’s influence on <strong>modern</strong> thought’, Scientific American, vol 283, no.1, July 2000.<br />
Monod, Jacques, Chance <strong>and</strong> Necessity, [tr. Wainhouse, A.], New York, Alfred A. Knopf, 1971 & London<br />
Collins/Fontana, 1974.<br />
Sterelny, Kim & Griffiths Paul E., Sex <strong>and</strong> Death: an introduction to the Philosophy <strong>of</strong> Biology, Chicago, <strong>University</strong> <strong>of</strong><br />
Chicago Press, 1999.<br />
Literary <strong>and</strong> Linguistic <strong>The</strong>ories<br />
Bakhtin, M. M., <strong>The</strong> Dialogic Imagination, [tr. by Emerson, C. & Holquist, M.], Austin, <strong>University</strong> <strong>of</strong> Texas Press,<br />
1981.<br />
Benveniste, Emile Problems in General Linguistics, [1966] (tr Meek Mary E.), Coral Gables, <strong>University</strong> <strong>of</strong> Miami<br />
Press, 1971<br />
Fletcher, Angus, Allegory: <strong>The</strong> <strong>The</strong>ory <strong>of</strong> a Symbolic Mode, Ithaca, Cornell <strong>University</strong> Press, 1964, 1970.<br />
Todorov, Tzvetan, <strong>The</strong>ories <strong>of</strong> the Symbol [1977] (tr. Porter, C.), Ithaca, Cornell <strong>University</strong> Press, 1984.<br />
Watt, Ian, Myths <strong>of</strong> Modern Individualism: Faust, Don Quixote, Don Juan, Robinson Crusoe, Cambridge, Cambridge<br />
<strong>University</strong> Press, 1996; Canto Edition, 1997.<br />
Cultural Hybridity <strong>and</strong> Cultural Comparison<br />
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Amselle, Jean-Loup, Mestizo Logics: Anthropology <strong>of</strong> Identity in Africa <strong>and</strong> Elsewhere, (tr. Royal, Claudia), Stanford,<br />
Stanford <strong>University</strong> Press, 1998.<br />
Appiah, K. Anthony, ‘Identity, authenticity, survival’ in Gutmann, Amy, ed., Multiculturalism, Princeton,<br />
Princeton <strong>University</strong> Press, 1992, 1994.<br />
Bennet, Tony, ‘<strong>The</strong> exhibitionary complex’, New Formations, no. 4.<br />
Berghuis, Thomas J., ‘Parallel Conversions: Reflections on the Asian presence at <strong>The</strong> 32 nd CIHA Conference in<br />
Melbourne’, in C Arts. Asian Contemporary Art <strong>and</strong> Culture, vol. 02, March/April, 2008, pp. 50 – 52.<br />
Bhabha, Homi K., <strong>The</strong> Location <strong>of</strong> Culture¸ London, Routledge, 1994.<br />
Brah, Avtar, Coombes, Annie E., Hybridity <strong>and</strong> its discontents: Politics, Science, Culture, London, Routledge, 2000<br />
Canclini,Néstor García, ‘Too much determinism or too much hybridization?’, Travésia: Journal <strong>of</strong> Latin American<br />
Cultural Studies, 1, 2, 1992.<br />
Chan, D., ‘<strong>The</strong> Dim Sum vs. the Meat Pie: On the Rhetoric <strong>of</strong> Becoming an In-Between Asian-Australian<br />
Artist’, in Alter/Asians: Asian-Australian Identities in Art, Media <strong>and</strong> Popular Culture, Ang, I., Chalmers, S.,<br />
Law, L., <strong>and</strong> Thomas, M., eds., <strong>Sydney</strong>, Pluto Press, 2000, pp: 141 – 151.<br />
Chiu, M. ‘Asian-Australian Artists: Cultural Shifts in Australia’, in Art in Australia, v. 37(2), 1999, pp. 252 – 261.<br />
Coombes, Annie E., ‘<strong>The</strong> recalcitrant object: culture contact <strong>and</strong> the question <strong>of</strong> hybridity’, in Barker, F.,<br />
Hulme,P., Iversen M., Colonial Discourse/Postcolonial <strong>The</strong>ory, Manchester, Manchester <strong>University</strong> Press, 1994.<br />
Coombes, Annie E., ‘Inventing the “Post-Colonial”: hybridity <strong>and</strong> constituency in <strong>contemporary</strong> curating’, New<br />
Formations, 18, Winter 1992.<br />
Derrida, Jacques, Monolingualism OR <strong>The</strong> Prosthesis <strong>of</strong> Origin [1996] (tr.Mensah, Patrick), Stanford, Stanford<br />
<strong>University</strong> Press, 1998.<br />
Canclini, Néstor García, Hybrid Cultures: Strategies for Entering <strong>and</strong> Leaving Modernity, (tr. Chiappari Christopher L.<br />
& López, Silvia L.) Minneapolis, <strong>University</strong> <strong>of</strong> Minnesota Press, 1995<br />
Gilroy, P., ‘Cruciality <strong>and</strong> the Frog’s Perspective’, Art+Text, 32,Autumn 1989.<br />
Gilroy, P., “It ain’t where you’re from, it’s where you’re at” the dialectics <strong>of</strong> diasporic identification’, Third Text,<br />
13, Winter 1991.<br />
Gilroy, Paul, <strong>The</strong> Black Atlantic: Modernity <strong>and</strong> Double Consciousness, Cambridge MA, Harvard <strong>University</strong> Press,<br />
1994.<br />
Glissant, Edouard, Poetics <strong>of</strong> relation (1990), Ann Arbor, <strong>University</strong> <strong>of</strong> Michigan Press, 1997.<br />
Gaudibert, Pierre, ‘Métissages <strong>art</strong>istiques’ in Métissage: Nouvelle Revue d’ethnopsychiatrie, no.17, ‘La Pensée Sauvage’,<br />
1991.<br />
Hall, Stu<strong>art</strong>, ‘Cultural Identity <strong>and</strong> Diaspora’, in Rutherford, Jonathan, ed., Identity, Community, Culture, London,<br />
1990.<br />
Hardt, Michael; Negri, Antonio, Empire, Cambridge, Mass., Harvard <strong>University</strong> Press, 2000.<br />
Joppke, Christian; Lukes, Steven, eds., Multicultural Questions, Oxford, Oxford <strong>University</strong> Press, 1999.<br />
Lee Weng Choy, ‘now <strong>and</strong> them. Another asia, Rabindranath Tagoe & Okakura Tenshin, by Rustom Bharucha,<br />
Oxford <strong>University</strong> Press, 2006’, in Contemporary Visual Arts + Culture Broadsheet, vol. 37, no. 2, June, 2008,<br />
pp. 110 – 113.<br />
Lee, G. B., Troubadours, Trumpeters, Troubled Makers: Lyricism, Nationalism <strong>and</strong> Hybridity in China <strong>and</strong> its Others,<br />
Durham, Duke <strong>University</strong> Press, 1996.<br />
Mahamood, Muliyadi, ‘Japanese Style in Malaysian Comics <strong>and</strong> C<strong>art</strong>oons’, in International Journal <strong>of</strong> Comic Art,<br />
Vol. 5, No. 2, Fall 2003, pp. 194-204.<br />
Maharaj, Sarat, ‘ “Perfidious Fidelity”, the untranslatability <strong>of</strong> the other’¸ Fisher, Jean ed., Global Visions: Towards<br />
a new internationalism in the visual <strong>art</strong>s, London 1994.<br />
Mankekar, Purnima, ‘Brides Who Travel: Gender, Transnationalism, <strong>and</strong> Nationalism in Hindi Film’ in positions:<br />
east asia cultures critique, volume 7, number 3 (winter 1999), pp. 731-761<br />
Papastergeriadis, Nikos, ‘Restless Hybrids’, Third Text, XXXII, Autumn 1995.<br />
Park, Kyeyoung, ‘”I am Floating in the Air”: Creation <strong>of</strong> a Korean Transnational Space among Korean-Latino<br />
American Remigrants’ in positions: east asia cultures critique, volume 7, number 3 (winter 1999), pp. 667-695<br />
Pinney, Christopher; Thomas, Nicholas, eds., Beyond Aesthetics: Art <strong>and</strong> the technologies <strong>of</strong> Enchantment, Oxford, Berg,<br />
2001.<br />
272
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Purdom, Judy, ‘Mapping Difference’, Third Text, XXXII, Autumn 1995.<br />
Taylor, Charles, ‘<strong>The</strong> Politics <strong>of</strong> Recognition’, in Gutmann, Amy, ed., Multiculturalism, Princeton, Princeton<br />
<strong>University</strong> Press, 1992, 1994.<br />
Thomson, Jonathon, ‘Contemporary Buddhist Sculpture’, in World Sculpture News, v. 13(3), Summer, 2007, pp. 36<br />
– 39.<br />
Verwoert, Jan, ‘World in Motion: Jan Verwoert on New Modernism’ in Frieze, Issue 84 (June/July?August 2004),<br />
pp. 90-95<br />
Wai-ming Ng, ‘Japanese Elements in Hong Kong Comics: History, Art, <strong>and</strong> Industry’, in International Journal <strong>of</strong><br />
Comic Art, Vol. 5, No. 2, Fall 2003, pp. 184-193.<br />
Werbner, P., Modood, T., eds, Debating Cultural Hybridity, London Zed Books, 1997.<br />
Wood-hung Lee <strong>and</strong> Shaw, Yomei, ‘A Textual Comparison <strong>of</strong> Japanese <strong>and</strong> Chinese Editions <strong>of</strong> Manga:<br />
Translation as Cultural Hybridization’, in International Journal <strong>of</strong> Comic Art, vol. 8, no. 2, Fall, 2006, pp. 34 –<br />
55.<br />
Yao Soucho, ed., House <strong>of</strong> Glass: Culture, Modernity, <strong>and</strong> the State in Southeast Asia, Singapore, Institute <strong>of</strong> Southeast<br />
Asian Studies, 2001.<br />
Cultural Globalization<br />
Appadurai, Arjun, Modernity at Large: Cultural Dimensions <strong>of</strong> Globalization; Minneapolis, <strong>University</strong> <strong>of</strong> Minnesota<br />
Press, 1996.<br />
Appadurai, A. Globalization, Durham, Duke <strong>University</strong> Press,<br />
Balfe, Judith Huggins, ‘Art works as symbols in international politics;’ <strong>The</strong> International Journal <strong>of</strong> Politics, Culture,<br />
<strong>and</strong> Society, 1, 2 Winter 1987.<br />
Bydler, Charlotte, <strong>The</strong> Global Art World Inc.; on the globalization <strong>of</strong> <strong>contemporary</strong> <strong>art</strong>, Uppsala, Acta Universitatis<br />
Upsaliensis, 2004<br />
Dirlik, Arif, <strong>The</strong> Postcolonial aura: Third World criticism in the age <strong>of</strong> global capitalism, Boulder, Westview, 1997.<br />
Dirlik, Arif. “Global in the Local” in Global/Local: Cultural production <strong>and</strong> the Transnational Imaginary. Durham <strong>and</strong><br />
London: Duke <strong>University</strong> Press, 1996, 21-45.<br />
Fisher, Jean, ed., Global Visions: Towards a New Internationalism in the Visual Arts, London, Kala Press in association<br />
with in IVA, 1994.<br />
Gik<strong>and</strong>i, Simon, ‘Globalization <strong>and</strong> the Claims <strong>of</strong> Postcoloniality’, <strong>The</strong> South Atlantic Qu<strong>art</strong>erly, 100.3, Summer<br />
2001<br />
Grewal, Inderpal, ‘Travelling Barbie: Indian Transnationality <strong>and</strong> New Consumer Subjects’ in positions: east asia<br />
cultures critique, volume 7, number 3 (winter 1999), pp. 799-826<br />
Griffin, Tim, ‘Global Tendencies – Globalism <strong>and</strong> the Large Scale Exhibition’ in Artforum (November 2003), pp.<br />
154-162<br />
Hirst, P.; Thompson, G., Globalization in Question, Cambridge, Polity, 1996.<br />
Holton, Robert J., Globalization <strong>and</strong> the Nation-state, Basingstoke, Macmillan, 1998.<br />
Hopkins, A.G., ed., Globalization in World History, London, Pimlico, 2002.<br />
Huang, D, ‘A few questions on the relationship between the development <strong>of</strong> Chinese <strong>contemporary</strong> <strong>art</strong> <strong>and</strong> the<br />
development <strong>of</strong> <strong>contemporary</strong> international <strong>art</strong>’, in <strong>The</strong> First Academic Exhibition <strong>of</strong> Chinese Contemporary Art,<br />
Hong Kong, China Oil Painting Gallery, Ltd., 1996, pp. 39 – 43.<br />
Jameson, Fredric; Miyoshi Masao, eds. <strong>The</strong> Cultures <strong>of</strong> Globalization, Durham N.C., Duke <strong>University</strong> Press, 1998.<br />
Jantjes, G., ed., A Fruitful Incoherence: Dialogues with Artists on Internationalism, London, Institute <strong>of</strong> International<br />
Visual Arts, 1998.<br />
King, Anthony. “<strong>The</strong> Times <strong>and</strong> Spaces <strong>of</strong> Modernity” in Global Modernities, ed. Featherstone et al. London: Sage,<br />
1995, 108-123.<br />
King, Anthony D., 1991, ed., Culture, Globalization <strong>and</strong> the World-System, Basingstoke, Macmillan, 1991.<br />
Kristeva, Julia, Nations without Nationalism, New York, Columbia <strong>University</strong> Press, 1993.<br />
Lee, Pamela M., ‘Boundary Issues: <strong>The</strong> Art World Under the Sign <strong>of</strong> Globalism’ in Artforum (November 2003),<br />
pp. 164-167<br />
Liu, Lydia H., ‘Beijing Sojourners in New York: Postsocialism <strong>and</strong> the Question <strong>of</strong> Ideology in Global Media<br />
Culture’ in positions: east asia cultures critique, volume 7, number 3 (winter 1999), pp. 763-797<br />
273
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Merewether, C., ‘Translation <strong>and</strong> Transnationalism: Reading the Local Otherwise.’ In ARS 01:<br />
Unfolding Perspectives, pp. 57-66. Helsinki: Museum <strong>of</strong> Contemporary Art, Kiasma, 2002.<br />
Meyer, James, ‘<strong>The</strong> Global Exhibition’ in Artforum (November 2003), pp. 154-162<br />
Nagahara, Yutaka, 1952-, ‘Monsieur le Capital <strong>and</strong> Madame la Terre Do <strong>The</strong>ir Ghost-Dance: Globalization <strong>and</strong><br />
the Nation-State’, <strong>The</strong> South Atlantic Qu<strong>art</strong>erly, 99.4, Fall 2000<br />
Ong Aihwa, Flexible Citzizenship: the cultural logics <strong>of</strong> transnationality, Durham, Duke <strong>University</strong> Press, 1999.<br />
Papastergiadis, Nikos & Araeen, Rasheed, ‘a monument against monuments’ in Best, Susan & Green, Charles,<br />
eds. in the every day, critical <strong>and</strong> theoretical speculations on the 11th biennale <strong>of</strong> sydney, <strong>Sydney</strong>, Artspace, 1998.<br />
Rifas, Leonard, ‘Globalizing Comic Books from Below: How Manga Came to America’, in International Journal <strong>of</strong><br />
Comic Art, Vol. 6, No. 2, Fall 2004, pp. 138-171.<br />
Robertson, R., Globalization: Social <strong>The</strong>ory <strong>and</strong> global culture, London, Sage, 1992.<br />
Sakai, Naoki, 1946- ‘"You Asians:" On the Historical Role <strong>of</strong> the West <strong>and</strong> Asia Binary’, South Atlantic Qu<strong>art</strong>ely,<br />
99.4, Fall 2000<br />
Schein, Louisa, ‘Diaspora Politics, Homel<strong>and</strong> Erotics, <strong>and</strong> the Materializing <strong>of</strong> Memory’ in positions: east asia<br />
cultures critique, volume 7, number 3 (winter 1999), pp. 698-729<br />
Tai, Mikala, ‘Defining <strong>and</strong> Curating the Global’, in Contemporary Visual Arts + Culture Broadsheet, vol. 36, no. 3,<br />
September, 2007, pp. 171 – 173.<br />
Tomlinson, John, <strong>The</strong> Globalization <strong>of</strong> Culture, Cambridge, Polity Press, 1999.<br />
<strong>The</strong>ories <strong>of</strong> Art [selected]<br />
Adorno, T., Aesthetic <strong>The</strong>ory, [1970] London, Routledge <strong>and</strong> Kegan Paul, 1984,<br />
Adorno, T., Horkheimer, M., <strong>The</strong> Dialectic <strong>of</strong> Enlightenment [1944, 1969], London, Verso, 1979<br />
Adorno,T., Minima Moralia [1951], London, Verso, 1978<br />
Anderson, P., ‘Modernity <strong>and</strong> revolution’, New Left Review, no.152, July/August 1985<br />
Baumann, Z., Legislators <strong>and</strong> Interpreters, Ithaca, Cornell <strong>University</strong> Press, 1987<br />
Ben-Amos, Dan, ‘<strong>The</strong> seven str<strong>and</strong>s <strong>of</strong> tradition’, Journal <strong>of</strong> Folklore Research, no.21, 1984.<br />
Bourdieu, Pierre, <strong>The</strong> Rules <strong>of</strong> Art: Genesis <strong>and</strong> Structure <strong>of</strong> the Literary Field, [1992, tr. Emanuel, S.], Cambridge,<br />
Polity Press, 1996.<br />
Bürger, P., <strong>The</strong>ory <strong>of</strong> the Avant-garde, [1974], Minneapolis,<strong>University</strong> <strong>of</strong> Minnesota Press, 1984<br />
Crary J., Suspensions <strong>of</strong> perception: attention, spectacle <strong>and</strong> <strong>modern</strong> culture, Cambridge Mass., MIT Press, 2001.<br />
Couteau, Jean, ‘Toward a Consensual Definition <strong>of</strong> Contemporary Art?’, in C Arts. Asian Contemporary Art <strong>and</strong><br />
Culture, vol. 02, March/April, 2008, pp. 38 – 49.<br />
Eagleton, T., ‘Capitalism, Modernism, <strong>and</strong> Post<strong>modern</strong>ism’, New Left Review, no.152, July/August 1985<br />
Eliot, T.S, Tradition <strong>and</strong> the Individual Talent, 1919, various editions.<br />
Foster, H., ed., Post<strong>modern</strong> Culture [originally <strong>The</strong> Anti-Aesthetic], Port Townsend, <strong>The</strong> Bay Press, 1983, <strong>and</strong><br />
London, Pluto Press,1987;<br />
Foster, H., Recodings, Seattle, Bay Press,1985<br />
Gell, Alfred, Art <strong>and</strong> Agency: an Anthropological <strong>The</strong>ory, Oxford, Clarendon Press, 1998.Berman, Marshall, All that is<br />
Solid Melts into Air: <strong>The</strong> Experience <strong>of</strong> Modernity, Simon <strong>and</strong> Shuster, New York, 1982<br />
Graburn, Nelson, Ethnic <strong>and</strong> Tourist Arts, Berkeley, <strong>University</strong> <strong>of</strong> California Press, 1976.<br />
Greenberg, C., Modernist Painting, 1965, reprinted in Frascina, ed., Modern Art <strong>and</strong> Modernism, Harper <strong>and</strong> Row,<br />
New York, 1982.<br />
Guilbaut, Serge, How New York Stole the Idea <strong>of</strong> Modern Art, Chicago: <strong>University</strong> <strong>of</strong> Chicago Press, 1983.<br />
Harvey, D., <strong>The</strong> Condition <strong>of</strong> Post<strong>modern</strong>ity, Oxford, Basil Blackwell, 1989.<br />
Haskell, F., Past <strong>and</strong> Present in Art <strong>and</strong> Taste, New Haven, Yale <strong>University</strong> Press, 1987 [review by Duro, P., Art<br />
History, vol.11, no.4, December 1988].<br />
Hess, W., Dokumente zum Verständnis der <strong>modern</strong>en Malerei, Hamburg, Rowolts Taschenbuch Verlag, 1956;<br />
H<strong>of</strong>mann, W., Grundlagen der Modernen Kunst, Stuttg<strong>art</strong>, Alfred Kröner Verlag, 1978;<br />
Huyssen, A., ‘Mapping the Post<strong>modern</strong>’, New German Critique, 33, Fall 1984, 5-52;<br />
Huyssen, A., ‘<strong>The</strong> Search for Tradition: Avant-Garde <strong>and</strong> Post<strong>modern</strong>ism in the 1970s’, New German Critique, 22,<br />
Winter 1981, 23-40;<br />
Iversen, M., ‘<strong>The</strong> Positions <strong>of</strong> Post<strong>modern</strong>ism’, Oxford Art Journal, 12:1, 1989, pages 31-34;<br />
274
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Jameson, F., ‘Marxism <strong>and</strong> Post<strong>modern</strong>ism’, New Left Review, 176, November / December 1989, 31-45;<br />
Jameson, F., ‘Post<strong>modern</strong>ism: the cultural logic <strong>of</strong> late capitalism’ New Left Review, 146, July/August 1984, 53-92;<br />
Jameson, F., ‘<strong>The</strong> Politics <strong>of</strong> <strong>The</strong>ory: Ideological Positions in the Post <strong>modern</strong>ism debate’, New German Critique,<br />
33, Fall 1984;<br />
Jameson, F., Post<strong>modern</strong>ism, Durham, Duke <strong>University</strong> Press, 1992.<br />
Jencks, C., What is Post-Modernism?, New York, Academy Editions, 1986.<br />
Lyotard, J-F,, <strong>The</strong> Post<strong>modern</strong> Condition, Minneapolis, <strong>University</strong> <strong>of</strong> Minnesota Press, 1984;<br />
Matisse, H., Écrits et propos sur l’<strong>art</strong>, Paris, Hermann, 1972;<br />
Mercer, Kobena, ‘Black Hair/Style Politics’, New Formations, no.3, Winter 1987.<br />
Nietzsche, ‘Notes’ (1873). In W. Kaufmann, editor <strong>and</strong> translator, <strong>The</strong> Portable Nietzsche, Viking Press, 1954<br />
Nochlin, L., Realism, Harmondsworth, Penguin, 1971.<br />
Pollock, G., ‘Artists’ mythologies <strong>and</strong> media genius, madness <strong>and</strong> <strong>art</strong> history’, Screen, 21, no.3, 1980<br />
Pollock, G., <strong>and</strong> Orton, F., Vincent Van Gogh, Artist <strong>of</strong> his time, Oxford, Phaidon, 1978.<br />
Ray, W., <strong>The</strong> Logic <strong>of</strong> Culture: authority <strong>and</strong> identity in the <strong>modern</strong> era, Oxford, Blackwell Publishers, 2001.<br />
Rubin, William, ed.. & curator, “Primitivism” in Twentieth Century Art, New York, <strong>The</strong> Museum <strong>of</strong> Modern Art,<br />
1984.<br />
Schmidt, B., Post<strong>modern</strong>e - Strategie des Vergessens, Darmstadt und Neuwied, Hermann Luchterh<strong>and</strong> Verlag, 1986.<br />
Sontag, Susan, ‘On Style’ &’Notes on “Camp”’, in Against Interpretation, New York, Farrar, Straus, Giroux, 1961,<br />
1966.<br />
Spooner, Brian, ‘Weavers <strong>and</strong> dealers: <strong>The</strong> Authenticity <strong>of</strong> an Oriental Carpet’, in Appadurai, Arjun, ed., <strong>The</strong><br />
Social Life <strong>of</strong> Things, Cambridge, Cambridge <strong>University</strong> Press, 1986.<br />
Walker, J.A., Art in the age <strong>of</strong> mass media, London, Pluto Press, 1983<br />
Wollheim, R., On Art <strong>and</strong> the Mind, Cambridge, Harvard <strong>University</strong> Press,, 1974<br />
Zaya, Octavio; Michelson, Anders, Interzones: A work in progress, Tabapress, 1996.<br />
Art Movements<br />
Ackerman, J., ‘<strong>The</strong> Demise <strong>of</strong> the Avant-Garde’, Comparative Studies in Society <strong>and</strong> History 11, no. 4, October, 1969<br />
Bürger, Peter, <strong>The</strong>ory <strong>of</strong> the Avant-Garde,[1974,1980] (tr. Shaw, M.; foreword by Schulte-Sasse, Jochen),<br />
Minneapolis, <strong>University</strong> <strong>of</strong> Minnesota Press, 1984.<br />
Calinescu, M., Five Faces <strong>of</strong> Modernity, Durham : Duke <strong>University</strong> Press, 1987.<br />
Calinescu, M., “ ‘Avant-Garde’: Some Terminological Considerations”, Yearbook <strong>of</strong> Comparative <strong>and</strong> General<br />
Literature, 23/4, 1974, at pg. 69.<br />
Danto, Artur C., After the end <strong>of</strong> <strong>art</strong>: <strong>contemporary</strong> <strong>art</strong> <strong>and</strong> the pale <strong>of</strong> history, Princeton, Princeton <strong>University</strong> Press,<br />
1997.<br />
Lehman, David, “Politics, Protest <strong>and</strong> the Avant-Garde”, Dissent, Fall 1998.<br />
Hess, T.B. & Ashberry, J., Avant-Garde Art, London, Collier-Macmillan, 1967, 1968.<br />
Jones, Caroline, Machine in the Studio, Chicago, <strong>University</strong> <strong>of</strong> Chicago Press, 2000.<br />
Krauss, Rosalind .E., <strong>The</strong> 0riginality <strong>of</strong> the Avant-Garde <strong>and</strong> Other Modernist Myths, Cambridge, <strong>The</strong> MIT Press, 1986,<br />
1993.<br />
Poggioli, Renato, <strong>The</strong> <strong>The</strong>ory <strong>of</strong> the Avant-Garde, [1962, tr. Fitzgerald, G.], Cambridge, <strong>The</strong> Belknap Press, 1968.<br />
Szabolsci, M., “Avant-Garde, Neo-Avant-Garde, Modernism: Questions <strong>and</strong> Suggestions”, New Literary History:<br />
Modernism <strong>and</strong> Post<strong>modern</strong>ism, III/1, Autumn, 1971.<br />
Wood, P., ed., <strong>The</strong> Challenge <strong>of</strong> the Avant-Garde, New Haven, CT : Yale <strong>University</strong> Press ; London : Open<br />
<strong>University</strong>, 1999.<br />
Corporeal <strong>The</strong>ories (selected)<br />
Ames, Roger T. <strong>and</strong> Kasulis Thomas P., with Dissanayake, Wimal, Self as body in Asian theory <strong>and</strong> practice, Albany :<br />
State <strong>University</strong> <strong>of</strong> New York Press, c1993.<br />
Ballantyne, T. <strong>and</strong> Antoinette Burton, eds. Bodies in Contact: Rethinking Colonial Encounter in World History. Durham:<br />
Duke <strong>University</strong> Press, 2005.<br />
Butler, Judith, Bodies that matter: on the limits <strong>of</strong> discursive sex, New York, Routledge, 1993.<br />
275
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Elkins, James, Pictures <strong>of</strong> the body : pain <strong>and</strong> metamorphosis, Stanford, Calif. : Stanford <strong>University</strong> Press, 1999<br />
Haraway, Donna, Simians, Cyborgs <strong>and</strong> Women: the reinvention <strong>of</strong> Nature, New York, Routledge, 1991<br />
Kemp, M<strong>art</strong>in <strong>and</strong> Wallace, Marina, Spectacular Bodies: <strong>The</strong> Art <strong>and</strong> Science <strong>of</strong> the Human Body from Leonardo to Now,<br />
Berkeley: <strong>University</strong> <strong>of</strong> California Press, 2000<br />
Kristeva, Julia [tr. Roudiez, Leon S.], Powers <strong>of</strong> Horror: An essay on abjection, New York, Columbia <strong>University</strong> Press,<br />
1982.<br />
Merleau-Ponty, Maurice, Phenommenology <strong>of</strong> Perception, London: Routledge & Kegan Paul, 1962<br />
Mirzoeff, Nicholas. Bodyscape, Art, Modernity <strong>and</strong> the Ideal Figure. London: Routeledge, 1995.<br />
Leder, Drew, <strong>The</strong> Absent Body, Chicago: <strong>University</strong> <strong>of</strong> Chicago Press, 1990<br />
Zito, Angela <strong>and</strong> Barlow, Tani E., Body, subject & power in China, Chicago : <strong>University</strong> <strong>of</strong> Chicago Press, 1994.<br />
ASIA, AFRICA AND ISLAM IN PRE-MODERN EURAMERICAN ART<br />
Bugner, L. ed., <strong>The</strong> Image <strong>of</strong> the Black in Western Art, in progress 1989, Menil Foundation distributed by Harvard<br />
<strong>University</strong> Press.<br />
1. Vercoutter, J., From the Pharoahs to the Fall <strong>of</strong> the Roman Empire<br />
2. From the Early Christian Era to the “Age <strong>of</strong> Discovery”<br />
2.1. Devisse, J., Courtes, J.M., From the demonic threat to the incarnation <strong>of</strong> Sainthood<br />
2.2. Devisse, J., Mollat, M., Africans in the Christian ordinance <strong>of</strong> the world, 14th to 16th centuries<br />
3. Africa <strong>and</strong> Europe 16th to 18th centuries [in progress]<br />
4 From the American Revolution to World War I, Dalton, Karen C.C., associate editor<br />
4.1. Honour, H., Slaves <strong>and</strong> Liberators<br />
4.2 Honour, H., Black Models <strong>and</strong> White Myths<br />
Coombs, A.E.S., ‘“For God <strong>and</strong> For Engl<strong>and</strong>”:contributions to an image <strong>of</strong> Africa in the first decade <strong>of</strong> the<br />
twentieth century’, Art History, Vol.8, No.4 ,December 1985<br />
Coombs, A.E.S., Edwards, S., ‘Site Unseen: Photography in the Colonial Encounter. Images <strong>of</strong> Subconscious<br />
Eroticism’, Art History, vol.12, no.4, December 1989<br />
Coombs, A.E.S., Lloyd,J., ‘“Lost <strong>and</strong> Found” at the Museum <strong>of</strong> Mankind’, Art History, vol.9, no.4, December<br />
1986<br />
Daniel, N., Islam <strong>and</strong> the West, the Making <strong>of</strong> an Image, 1962<br />
Daniel, N., <strong>The</strong> Arabs <strong>and</strong> Mediaeval Europe, London <strong>and</strong> Beirut, Longman, 1975<br />
Daniel, N., <strong>The</strong> Cultural Barrier, Edinburgh UP, 1975<br />
Farago, Claire, Reframing the Renaissance: visual culture in Europe <strong>and</strong> Latin America, 1450-1650, New Haven, Yale<br />
<strong>University</strong> Press, 1995 [see essays by Farrago, Klein, Mitchell].<br />
Gerstle, D., Milner, A., eds., Europe <strong>and</strong> the Orient, Canberra, <strong>The</strong> Humanities Research Centre <strong>of</strong> Australian<br />
National <strong>University</strong>, 1994.<br />
Gruzinski, Serge, Painting the conquest : the Mexican Indians <strong>and</strong> the European Renaissance (translated by Deke<br />
Dusinberre), Paris: Unesco : Flammarion, 1992<br />
Islam <strong>and</strong> the Medieval West, [catalog], Binghampton, State <strong>University</strong> <strong>of</strong> New York, 1975.<br />
Lach, D.F., Asia in the Making <strong>of</strong> Europe, 3 vols., Chicago, <strong>University</strong> <strong>of</strong> Chicago Press, 1965, 1994.<br />
Lévine, David, dir., Americas Lost, Paris, Bordas SA, 1992<br />
Mackerras, C., Western Images <strong>of</strong> China, Hong Kong, Oxford <strong>University</strong> Press, 1989<br />
<strong>The</strong> Meeting <strong>of</strong> Two Worlds. Cultural Exchange between East <strong>and</strong> West during the Period <strong>of</strong> the Crusades, Ann Arbor,<br />
<strong>University</strong> <strong>of</strong> Michigan Museum, 1981<br />
Wichmann, Siegfried, (Entwicklung <strong>and</strong> Leitung), Weltkulturen und <strong>modern</strong>e Kunst München, Verlag Bruckmann,<br />
1972<br />
NON-EURAMERICAN THEORIES AND POSITIONS ON MODERNITY<br />
276
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
General<br />
Ahmad, A., ‘Orientalism <strong>and</strong> After: Ambivalence <strong>and</strong> Cosmopolitanism in the work <strong>of</strong> Edward Said’, Economic<br />
<strong>and</strong> Political Weekly, 25.7.1992.<br />
Ahmad, A., In <strong>The</strong>ory, London, Verso, 1992.<br />
Ahmad, A., ‘ “Third World Literature” <strong>and</strong> the Nationalist Ideology’, Journal <strong>of</strong> Arts & Ideas, nos. 17/18, June<br />
1989.<br />
Ahmad, Aijaz, On Communalism <strong>and</strong> Globalization: Offensives <strong>of</strong> the Far Right, New Delhi: Three Essays Press, 2002.<br />
Archer-Straw, Petrine, New World Imagery” Contemporary Jamaican Art, London, South Bank Centre, 1995.<br />
Biggs, Bryan et al, Trophies <strong>of</strong> Empire, Liverpool, Bluecoats Gallery, 1994.<br />
Fanon, F., <strong>The</strong> Wretched <strong>of</strong> the E<strong>art</strong>h, Harmondsworth, Penguin, 1965<br />
Kapoor, Geeta, ‘Globalisation <strong>and</strong> Culture.’ Third Text no.39 Summer 1997<br />
Kapoor, Geeta. ‘Contemporary Cultural Practice: Some Polemical Categories.’ Third Text no.11 Summer 1990<br />
Okakura Kakuzô [Tenshin], <strong>The</strong> Ideals <strong>of</strong> the East, London, John Murray, 1903,<br />
Okakura Kakuzo [Tenshin], ‘Notes on Contemporary Japanese Art’, International Studio, 16, April 1902, 126-30.<br />
Okakura, Kakuzô [Tenshin], Collected English Writings, 3 volumes, Tokyo, Heibonsha, 1984<br />
O’Hanlon, R., ‘Recovering the subject Subaltern Studies <strong>and</strong> Histories <strong>of</strong> Resistance in Colonial South Asia’,<br />
Modern Asian Studies, 22, 1, 1988.<br />
R<strong>of</strong>el, Lisa, ‘Modernity <strong>and</strong> its Discontents’, positions east asia cultures critique, Vol. 9, Number 3, Winter 2001<br />
Africa<br />
Abiodun, Rowl<strong>and</strong> et al, Yoruba: Art <strong>and</strong> Aesthetics, Zurich, Center for African Art & Rietberg Museum, 1991.<br />
Appiah, Kwame Anthony, review, Critical Inquiry, no.17, Winter 1991.<br />
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Local <strong>and</strong> Global: Social Transformation in Southeast Asia: Essays in Honour <strong>of</strong> Pr<strong>of</strong>essor Syed Hussein Alatas, ed.<br />
Riaz Hassan. <strong>The</strong> Netherl<strong>and</strong>s: Brill, 2005, 31-44.<br />
Thomas, Nicholas, ‘Cold Fusion’, American Anthropologist, vol. 98, no.1, 1996.<br />
Thomas, Nicholas, Colonialism’s Culture: Anthropology, Travel <strong>and</strong> Government, Polity Press, Cambridge, 1994<br />
West, C., ‘Black culture <strong>and</strong> Post<strong>modern</strong>ism’, in Kruger, B., Marianai, P. eds, Remaking History, Seattle, Bay<br />
Press, Dia Art Foundation, 1989.<br />
Willemen, Paul, Looks <strong>and</strong> Frictions, London, BFI Publishing & Bloomington, India <strong>University</strong> Press, 1994<br />
Wollen, Peter, ‘<strong>The</strong> Cosmopolitan Ideal in the Arts’, in Robertson, George; Tickner, Lisa et al ed., Traveller’s<br />
Tales: Narratives <strong>of</strong> Home <strong>and</strong> Displacement, New York, Routledge, 1994.<br />
Young, Robert, White Mythologies: Writing History <strong>and</strong> the West, New York, Routledge, 1990<br />
BIENNALES AND CONTEMPORARY ASIAN ART<br />
By John Clark, with inclusions from Thomas Berghuis, Emma Duffy, Helen Grace, Francis Maravillas, <strong>and</strong><br />
M<strong>art</strong>in Polkinghorne.<br />
N.B. This bibliography is not comprehensive <strong>and</strong> mostly contains just the works the author has consulted, with<br />
the addition <strong>of</strong> some he otherwise considers relevant.<br />
Museum & Exhibition Practice<br />
Allwood, John <strong>The</strong> Great Exhibitions, London, Studio Vista, 1977.<br />
Aoki Shigeru & Kitazawa Noriaki, ‘Bankoku Hakurankai no Jidai’, in Nihon Yôga Shôshi, Tokyo, Bijutsu<br />
Shuansha, 1994 [rev.ed.].<br />
Barker, Emma, ed., Contemporary Cultures <strong>of</strong> Display. London, Yale <strong>University</strong> Press, 1999.<br />
Cruickshank, Alan. “Making Worlds in a Precarious Biennale” in Broadsheet, Vol. 38.3, September-November<br />
2009.<br />
Clark, John. “Histories <strong>of</strong> the Asian “New”: Biennales <strong>and</strong> Contemporary Asian Art” in Asia Art History in the<br />
Twenty-First Century, Vishakha N. Desai (ed.), New Have <strong>and</strong> London: Yale <strong>University</strong> Press, 2007.<br />
de Cauter, Lieven ‘<strong>The</strong> Panoramic Ecstasy: On World Exhibitions <strong>and</strong> the Disintegration <strong>of</strong> Experience’,<br />
<strong>The</strong>ory, Culture <strong>and</strong> Society, Vol. 10, 1993, 1-23.<br />
Bennett, Tony, Pasts Beyond Memory : Evolution, Museums, Colonialism, London, Routledge, 2004.<br />
Cerver, Francisco Asensio, <strong>The</strong> architecture <strong>of</strong> museums ; New York : Hearst Books International, 1997<br />
Findling, John E. ed Historical Dictionary <strong>of</strong> World’s Fairs <strong>and</strong> Expositions 1851 – 1988, Greenwood Press, New<br />
York, 1990<br />
Frick Fine Arts Library bibliography, International Exhibitions [Library Guide Series no.42], available online from<br />
www.library.pitt.edu/subject-guides/<strong>art</strong>history/<br />
Greenberg, Renee, Ferguson Bruce <strong>and</strong> Nairne, S<strong>and</strong>y , ‘Introduction’ in R. Greenberg, B.W. Ferguson, S.<br />
Nairne eds. Thinking about Exhibitions, Routledge, London <strong>and</strong> New York, 1996.<br />
Greenhalgh, Paul ‘Education, Entertainment <strong>and</strong> Politics: Lessons from the Great International Exhibitions’ in<br />
Vergo, Peter ed <strong>The</strong> New Museology. Reaktion Books, London, 1991, 74-98<br />
Greenhalgh, Paul, Ephemeral Vistas: <strong>The</strong> Expositions Universelles, Great Exhibitions <strong>and</strong> World’s Fairs, 1851-1939,<br />
Manchester, Manchester <strong>University</strong> Press, 1988.<br />
282
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Grynstejn, Madeleine, ‘<strong>The</strong> Pittsburgh biennial – <strong>The</strong> Carnegie International: a history in brief’, in Heinrich, B.,<br />
ed., Das Lied von der Erde / <strong>The</strong> Song <strong>of</strong> the E<strong>art</strong>h, catalogue, Kassel, Museum Fridericianum, 2000.<br />
Hotta-Lister, Ayako, ‘Japan’s P<strong>art</strong>icipation in Exhibitions’, Appendices A <strong>and</strong> B to her <strong>The</strong> Japan British Exhibition<br />
<strong>of</strong> 1910, Richmond, Curzon Press, 1999.<br />
Karp, Ivan, ‘Culture <strong>and</strong> Representation’ in Karp, Ivan & Lavine, S., eds Exhibiting Cultures: <strong>The</strong> Poetics <strong>and</strong> Politics<br />
<strong>of</strong> Museum Display, Smithsonian Institution Press, Washington DC, 1991.<br />
Kreps, Christine K (2003) Liberating culture : cross-cultural perspectives on museums, curation, <strong>and</strong> heritage preservation<br />
(London ; New York : Routledge).<br />
Mitchell, Timothy, ‘<strong>The</strong> World as Exhibition’, Comparative Studies in Society <strong>and</strong> History, vol 31, no.2, 1989.<br />
Mitchell, Timothy, ‘Orientalism <strong>and</strong> the Exhibitionary Order’ in N. Mirzoeff ed. <strong>The</strong> Visual Culture Reader 2 nd<br />
edition, Routledge, London <strong>and</strong> New York, 2002.<br />
Pastor Roces, Marion ‘Crystal Palace Exhibitions’ in Mosquera Gerard & Fisher, Jean (eds) Over Here:<br />
International Perspectives on Art <strong>and</strong> Culture , Boston, MIT Press, 2005.<br />
Preziosi, Donald, Brain <strong>of</strong> the e<strong>art</strong>h's body : <strong>art</strong>, museums, <strong>and</strong> the phantasms <strong>of</strong> <strong>modern</strong>ity, Minneapolis, <strong>University</strong> <strong>of</strong><br />
Minnesota Press, 2003.<br />
Preziosi, Donald & Farago, Claire (eds), Grasping the world : the idea <strong>of</strong> the museum, Burlington, Ashgate Publishers,<br />
2004<br />
Šola, Tomislav, Essays on museums <strong>and</strong> their theory : towards the cybernetic museum, Helsinki : Finnish Museums<br />
Association, 1997<br />
Sherman Daniel & Rog<strong>of</strong>f, Irit (eds) Museum culture : histories, discourses, spectacles, Minneapolis, <strong>University</strong> <strong>of</strong><br />
Minnesota Press, 1994<br />
Asian Art, Modern <strong>and</strong> Contemporary [duplicates some sections above]<br />
Akbar, Shireen, curator, Rickshaw Painting: Traffic Art in Bangladesh, Fukuoka, Fukuoka Asian Art Museum,<br />
Fukuoka, 1994<br />
Clark, John, ‘Modernities in Art: how are they “other”?’ in World Art Studies: exploring Concepts <strong>and</strong> Approaches, eds.<br />
Wilfried van Damme <strong>and</strong> Kitty Zijlmans, Amsterdam: Amsterdam <strong>University</strong> Press, 2006.<br />
Clark, John ‘A spectacle <strong>of</strong> questions’, Asian Art News, vol.16, no.1, January/February, 2006, 68-72.<br />
Clark, John, ‘Between the worlds: Chinese <strong>art</strong> at Biennales since 1993’ in Yishu, A journal <strong>of</strong> Chinese Contemporary<br />
Art, 2005 [Extended version reprinted as Chapter Three here]<br />
Clark, John, Entry on ‘Modern <strong>and</strong> Contemporary Asian Art’ in Grove Art Online / <strong>The</strong> Dictionary <strong>of</strong> Art, New<br />
York, Oxford <strong>University</strong> Press, September 2005<br />
Clark, John. “Histories <strong>of</strong> the Asian “New”: Biennales <strong>and</strong> Contemporary Asian Art” in Asia Art History in the<br />
Twenty-First Century, Vishakha N. Desai (ed.), New Have <strong>and</strong> London: Yale <strong>University</strong> Press, 2007.<br />
Clark, John, on ‘Japanese Contemporary Art <strong>and</strong> Globalization’ presented at conference ‘Globalization,<br />
Localization, <strong>and</strong> Japanese Culture in the Asia Pacific Region’ organized by the International Center for<br />
Japanese Studies, Kyoto, <strong>and</strong> the Dep<strong>art</strong>ment <strong>of</strong> Japanese Studies <strong>of</strong> the National <strong>University</strong> <strong>of</strong> Singapore<br />
from October 28 th to 30 th , 2004. [reprinted as Chapter Two here]<br />
Clark John, essay for www.anthology-<strong>of</strong>-<strong>art</strong>.net ‘What in the context <strong>of</strong> <strong>contemporary</strong> <strong>art</strong>, is your vision <strong>of</strong> a<br />
future <strong>art</strong>?’, February, 2002.<br />
Clark, John, ‘Asian Modernisms’, Humanities Research, 2, 1999 & Marg, March 2002.<br />
Clark, John editor <strong>and</strong> contributor, Chinese <strong>art</strong> at the end <strong>of</strong> the millennium, Hong Kong, New Art Media, 2000<br />
Clark, John, ‘Modern Asian Art: its construction <strong>and</strong> reception’, in Asian Contemporary Art Reconsidered, Tokyo,<br />
Japan Foundation Asia Center, 1998.<br />
Clark, John, Modern Asian Art, <strong>Sydney</strong>, Craftsman House & Honolulu, <strong>University</strong> <strong>of</strong> Hawai’i Press, 1998.<br />
Clark, J., ‘<strong>The</strong> Conditions for Post-Modernity in Japanese <strong>art</strong> <strong>of</strong> the 1980s’, in Sugimoto, Y., ed., <strong>The</strong><br />
Post<strong>modern</strong>ity Debate <strong>and</strong> the Japanese Experience, London, Kegan Paul International, 1994<br />
Clark, John, Editor <strong>and</strong> Contributor, Modernity in Asian Art, <strong>Sydney</strong>, Wild Peony Press, 1993.<br />
Clarke, David, ‘Contemporary Asian Art <strong>and</strong> its Western Reception’, Third Text, vol. 16, no. 3, 2002, 237-242.<br />
Flores, Patrick, ‘Place <strong>and</strong> Presence: Conditions <strong>of</strong> Possibilities in Contemporary Asia Art’, unpublished Power<br />
Lecture, Museum <strong>of</strong> Contemporary Art, <strong>Sydney</strong>, unpaginated, 2002.<br />
283
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©John Clark, 2010<br />
Friede, Claus, Seyf<strong>art</strong>h, Ludwig, eds, Kunst aus Megastädten Asiens – Art from Asia Pacific Megacities, Hamburg,<br />
Kunsthaus Hamburg ,2000.<br />
Kishi, Sayaka, ‘Bijutsukan “Ajia” to deau toki – Fukuoka Ajia Bijutsukan no setsuritsu to tenkai’, in Hirano<br />
Kenichirô, kanshû, Sengô nihon no kokusai bunka kôryû, Tokyo, Chikusô Shobô, 2005<br />
Lee Weng-Choy, ‘Just What Is It that Makes the Term Global-Local So Widely Cited, Yet So Annoying?’ in<br />
Flight Patterns, exhibition catalogue, <strong>The</strong> Museum <strong>of</strong> Contemporary Art, Los Angeles, 2000<br />
Mertens, Brian, ‘Womanifesto 2001’, Art AsiaPacific, no.36, 2002.<br />
McEvilley, Thomas: ‘Towards a World-class City’, Art in America, Sept 1995 Vol 83 No 9 p45<br />
Napack, Jonathan: ‘Alternative visions’: (Art in America Nov 2002 Vol 90 Issue 11) p94-9<br />
Nuridsany. Michel, China Art Now, [tr. Pickford, Susan] Paris, Flammarion, 2004<br />
Poshyan<strong>and</strong>a, Apinan, cur. & ed., Contemporary Art in Asia: Traditions/Tension, New York, Asia Society, 1995.<br />
Sekai Bijutsu Zenshû, Tokyo, Heibonsha, 1928-30<br />
Tipton, Elise; Clark, John, eds, Being Modern in Japan: Culture <strong>and</strong> Society from the 1910s to the 1930s, <strong>Sydney</strong>,<br />
Australian Humanities Research Foundation <strong>and</strong> Honolulu, <strong>University</strong> <strong>of</strong> Hawaii Press, 2000.<br />
Turner, Caroline. Ed., Art <strong>and</strong> Social Change: Contemporary Art in Asia <strong>and</strong> the Pacific,, Canberra, P<strong>and</strong>anus<br />
Books,2005<br />
Vine, Richard: ‘Asian Futures’ Art in America July 1998 Vol 86 No 7 p34-43<br />
Vine, Richard: ‘<strong>The</strong> Wild, Wild East’, Art in America Sept 2003 Vol 91 Issue 9 p40-9<br />
Wee, C.J. W-L: (2003) ‘Creating High Culture in the Globalized ‘Cultural Desert’ <strong>of</strong> Singapore’ in <strong>The</strong> Drama<br />
Review, Vol 47, No 4, Winter 2003)<br />
Weisenfeld, G., Mavo: Japanese <strong>art</strong>ists <strong>and</strong> the avant-garde 1905-1931, Berkeley, <strong>University</strong> <strong>of</strong> California Press, 2002<br />
Australia, Art <strong>and</strong> Asia [duplicates some sections above]<br />
Australian Academy <strong>of</strong> the Humanities, Knowing Ourselves <strong>and</strong> others: <strong>The</strong> Humanities in Australia into the 21 st century, 3<br />
volumes, Canberra, Australian Government Publishing Service, 1998<br />
Barnes, Carolyn; Wright, William; John Young, Fisherman’s Bend, Craftsman House, 2005.<br />
Birrell, Bob, Rapson, Virginia, ‘Two Australias: Migrant settlement at the end <strong>of</strong> the 21 st century’, People <strong>and</strong><br />
Place, vol.10, no.1, 2002<br />
Broinowski, Alison , <strong>The</strong> Yellow lady: Austraian Impressions <strong>of</strong> Asia, Melbourne, Oxrford Unviersity Press, 1992;<br />
Broinowski, Alison ,. ‘Asianization <strong>and</strong> its Discontents’, Meanjin, vol. 57, no.3, 1998<br />
Butler, Roger, ed., <strong>The</strong> Europeans: Emigré <strong>art</strong>ists in Australia, 1930-1960, Canberra, National Gallery <strong>of</strong> Australia,<br />
1997.<br />
Chinese Heritage <strong>of</strong> Australian Federation Project: http://www.chaf.lib.latrobe.edu.au/kwong_sue_duk.htm<br />
Chiu, Melissa, ‘Rough Trade: Curating Cultural Exchange in Australia’, in Ang et al eds. Alter/Asians: Asian-<br />
Australian identities in <strong>art</strong>, media <strong>and</strong> popular culture, Pluto Press, <strong>Sydney</strong>, 2000.<br />
Clark, John, ‘An Australian Creative Space: where is Australian-Asian <strong>art</strong> now?’, in Waite Dianne, ed., Green,<br />
Charles & Stubbs, Mike, curators, 2006/ Contemporary Commonwealth/ , Melbourne, Australian Centre for<br />
the Moving Image & National Gallery <strong>of</strong> Victoria, 2006, 26-33.<br />
Clark, John, ‘Art <strong>and</strong> its ‘others’ - recent Australian-Asian visual exchanges’, in Dever, Maryanne, ed., Australia<br />
<strong>and</strong> Asia: cultural transactions, Surrey, Curzon Press, 1997.<br />
Clark, John, Australian Art <strong>and</strong> Asia -<strong>The</strong>n <strong>and</strong> Now’, Occasional Paper No.19, Research Institute for Asia <strong>and</strong> the<br />
Pacific, <strong>University</strong> <strong>of</strong> <strong>Sydney</strong>, 1992<br />
Cruickshank, Alan, ‘elvis has left the building. But has Adelaide left the tent?’, in Contemporary Visual Arts +<br />
Culture Broadsheet, vol. 37, no. 2, June, 2008, pp. 106 – 109.<br />
Curnow, Wynstan , Imants Tillers <strong>and</strong> the ‘Book <strong>of</strong> Power’, <strong>Sydney</strong>, Craftsman House, 1998<br />
Dixson, Miriam ,<strong>The</strong> Imaginary Australian: Anglo-Celts <strong>and</strong> Identity -1788 to the present, <strong>Sydney</strong>, UNSW Press, 1999<br />
Dys<strong>art</strong>, Dinah; King Natalie; Hou Hanru; Guan Wei, <strong>Sydney</strong>, Craftsman House, 2006.<br />
Facey, A. B., A Fortunate Life, Ringwood, Viking, 1985<br />
Foss, Paul, ed., Isl<strong>and</strong> in the Stream: Myths <strong>of</strong> Place in Australian Culture, <strong>Sydney</strong>, Pluto Press, 1988<br />
Gibson, Ross, South <strong>of</strong> the West: Postcolonialism <strong>and</strong> the Narrative construction <strong>of</strong> Australia, Indiana <strong>University</strong> Press,<br />
Bloomington <strong>and</strong> Indianapolis, 1992.<br />
284
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Grenville, Kate, <strong>The</strong> Secret River, Melbourne, Text Publishing, 2005<br />
Hage, Ghassan & Couch, Rowena, eds., <strong>The</strong> Future <strong>of</strong> Australian Multiculturalism , <strong>Sydney</strong>, <strong>The</strong> <strong>University</strong> <strong>of</strong><br />
<strong>Sydney</strong>, 1999.<br />
Hage, Ghassan, Against Paranoid Nationalism: searching for hope in a shrinking society, <strong>Sydney</strong>, Pluto Press, 2003;<br />
Hage, Ghassan, White Nation: Fantasies <strong>of</strong> White supremacy in a multi-cultural society, <strong>Sydney</strong>, Pluto Press, 1998<br />
Keating, Paul , Engagement: Australia faces the Asia-Pacific’, <strong>Sydney</strong>, Pan Macmillan 2000,<br />
Khoo, Siew-Ean, ‘Inter-marriage in Australia: patterns by ancestry, gender, <strong>and</strong> generation’, People <strong>and</strong> Place,<br />
vol.12, no.2, 2004, 35-44<br />
May, Harvey, Australian Multicultural Policy <strong>and</strong> Television Drama in Comparative Contexts PhD thesis at<br />
http://adt.library.qut.edu.au/adt-qut/public/adt-QUT20040715.130731/<br />
Manne, Robert, <strong>The</strong> Barren Years: John Howard <strong>and</strong> Australian Political Culture, Melbourne, Text Publishing, 2001.<br />
Manne, Robert, <strong>The</strong> Way we Live Now: the controversies <strong>of</strong> the nineties, Melbourne, Text Publishing, 1998<br />
Manton, Neil, Cultural Relations: the other side <strong>of</strong> the diplomatic coin, Phillip ACT, Homosapien Books, 2003<br />
McCullough, Allan & Susan, Encyclopedia <strong>of</strong> Australian Art, St. Leonards, Allen & Unwin, 1994<br />
Reynolds, Henry, Frontier: reports from the edge <strong>of</strong> White settlement, <strong>Sydney</strong> Allen & Unwin, 1987.<br />
Reynolds, Henry, <strong>The</strong> Other Side <strong>of</strong> the Frontier; Aboriginal resistance to the European Invasion <strong>of</strong> Australia, Ringwood,<br />
Penguin Books, 1981;<br />
Rolls, Eric, Sojourners: <strong>The</strong> epic story <strong>of</strong> China’s centuries-old relationship with Australia, St. Lucia, <strong>University</strong> <strong>of</strong><br />
Queensl<strong>and</strong> Press, 1992<br />
Smith, Bernard with Terry Smith, Australian Painting, 1788-1990, Melbourne, Oxford <strong>University</strong> Press, 1991,<br />
p.312.<br />
Smith, Bernard, Place, Taste <strong>and</strong> Tradition: a study <strong>of</strong> Australian Art since 1788, Melbourne, Oxford <strong>University</strong> Press,<br />
1979 [originally published by Ure Smith in 1945]<br />
Special Issue: ‘Australian Perceptions <strong>of</strong> Asia’, Australian Cultural History, no.9, 1990<br />
Stu<strong>art</strong>, Francis, ‘Nineteen Forty-One: Reminiscences <strong>of</strong> a Britsh/Australian Diplomat in Bangkok <strong>and</strong> Canberra<br />
in the Prelude to War’, Journal <strong>of</strong> the Oriental Society <strong>of</strong> Australia, vol.31, Supplment, 1999.<br />
Stu<strong>art</strong>, Francis, Towards Coming-<strong>of</strong>-Age: a Foreign Service Odyssey, Nathan, Griffith <strong>University</strong>, Centre for the Study<br />
<strong>of</strong> Australian-Asian Relations, 1989.<br />
Walker, David, Anxious Nation: Australia <strong>and</strong> the Rise <strong>of</strong> Asia, 1850-1939¸ St. Lucia, <strong>University</strong> <strong>of</strong> Queensl<strong>and</strong><br />
Press, 1999<br />
Modern & Contemporary Exhibition Systems<br />
‘A New Cure for Asian Art Curators’, Asian Art News 9:4 1999<br />
‘Asia <strong>and</strong> Modernity’, Special Issue <strong>of</strong> Humanities Research, 2, 1999 with <strong>art</strong>icles by Clark, Lilley, Low, Labrador,<br />
Sang.<br />
‘Asian Art: Prospects for the Future.’ International Symposium 1999 with <strong>art</strong>icles by Elliott, Davenport, Mashadi,<br />
Nakamura, Poshyan<strong>and</strong>a, Rajah, Tatehata, Tokyo, Japan Foundation, 1999.<br />
‘Avant-garde: a parallax view’, [with <strong>art</strong>icles by Bris Groys, Kuroda Raiji, Hasegawa Yûko, <strong>and</strong> Sumitomo<br />
Fumihiko], A journal <strong>of</strong> <strong>contemporary</strong> <strong>art</strong> <strong>and</strong> culture / Kanazawa 21 seiki Bijutsukan Kensetsujimukyoku, Kenkyû<br />
Kiyô, Issue 02/2003.<br />
Baudrillard, Jean, ‘<strong>The</strong> Beaubourg Effect: Implosion <strong>and</strong> Deterrence’ in October 20 1982 3-13<br />
Crimp, Douglas. On the Museum’s Ruins. MIT Press, Cambridge <strong>and</strong> London, 1993.<br />
Davis, A.R., ed., Search for identity: Modern Literature <strong>and</strong> the Creative Arts in Asia, <strong>Sydney</strong>, Angus <strong>and</strong> Robertson,<br />
1974.<br />
Enwezor, Okwui, ‘Between worlds: post<strong>modern</strong>ism <strong>and</strong> African <strong>art</strong>ists in the Western metropolis’, in Oguibe&<br />
Enwezor, 1999.<br />
Evans, Graeme: ‘Hard-br<strong>and</strong>ing the cultural city--from Prado to Prada’. (International Journal <strong>of</strong> Urban <strong>and</strong> Regional<br />
Research June 2003 v27 i2 p229-255<br />
Ferguson, Bruce et al 1997 ‘Maing International Exhibitions’ in A. Harding ed Curating: <strong>The</strong> Contemporary Art<br />
Museum <strong>and</strong> Beyond, Art <strong>and</strong> Design, no.52.<br />
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Maharaj, Modernity <strong>and</strong> Difference, Institute <strong>of</strong> International Visual Arts, London.<br />
Hansen, David & M<strong>art</strong>in, Jean-Hubert, 1992, ‘A view from the Centre’, Art Monthly Australia, no.48 April &<br />
no.51 July 1992.<br />
Hassan <strong>and</strong> Oguibe, eds., Hassan, Salah M.; Oguibe, Olu, Authentic Ex-Centric, Ithaca, Forum for African Arts,<br />
2001.<br />
Holubizky, Ihor , ‘Here <strong>and</strong> Now’, International Contemporary Art, November 1999 - January 2000, 11-14<br />
‘Global Tendencies: Globalism <strong>and</strong> the large-scale exhibition’, Art Forum, vol. XLII, no.3, November 2003<br />
Hong Kong Art Archive, http://web.hku.hk:8400/~hkaa/hkaa/<br />
Hou Hanru; Obrist, Hans-Ulrich, Cities on the Move, Ostfildren-Ruit, Verlag Gerg Hatje, 1997.<br />
Manton, Neil, ‘<strong>The</strong> Arts <strong>of</strong> Diplomacy’, Artlink, Vol. 20, No. 2, July 2000Art Asia Pacific, vol.3, no.4, 1996.<br />
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November 1993<br />
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Survival – now!, Paris, AICA Press, 1995<br />
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Oguibe, Olu; Enwezor, Okwui, Reading the Contemporary, African Art from <strong>The</strong>ory to Marketplace, London, inIVA,<br />
1999.<br />
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2006 Biennale <strong>of</strong> <strong>Sydney</strong>: Zones <strong>of</strong> Contact, <strong>Sydney</strong>, Biennale <strong>of</strong> <strong>Sydney</strong>, 2006<br />
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Text no.41 Winter 1997-98<br />
Poshyan<strong>and</strong>a, Apinan, ‘A new cure for Asian <strong>art</strong> curators’, Asian Art News, vol.9, no.4, 1999<br />
Seminar on Fine Arts <strong>of</strong> Southeast Asia, Bangkok; Association <strong>of</strong> Southeast Asian Institutions <strong>of</strong> Higher Learning,<br />
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Sirefman, Susanna: Formed <strong>and</strong> Forming: Contemporary Museum Architecture. Daedalus Summer 1999 v128 i3)<br />
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Cultural Economics, 30, 2006.<br />
Smith, Dina: ‘<strong>The</strong> Narrative Limits <strong>of</strong> the Global Guggenheim. Mosaic (Winnipeg) Dec 2002 Vol 35 Issue 4 p85-<br />
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APT II 1996<br />
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APT III 1999<br />
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1989 2 nd Biennial<br />
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M<strong>art</strong>inez, Rosa, ‘On life beauty, translations <strong>and</strong> other difficulties’, from<br />
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Atagök, Tomar; Plate, Susan, ‘<strong>The</strong> Istanbul Biennial: the digestible other’, Third Text, 55, 2001, page 103;<br />
Schwabsky, Barry, ‘Istanbul Biennial’, Artforum International, Vol.40, Issue 1, September 2001;<br />
Hori, Motoaki, ‘Between East <strong>and</strong> West: <strong>The</strong> 7 th International Istanbul Biennial’, ART AsiaPacific, Issue 35<br />
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Shawa, Wendy, ‘Art among the myths <strong>of</strong> globalism: the Istanbul Biennial’, Third text, 58, vol.16 1, 2002;<br />
[Istanbul Biennale] review, Art in America, March 2002;<br />
Hori, Motoaki, ‘Between East <strong>and</strong> West: <strong>The</strong> 7 th International Istanbul Biennial’, Art AsiaPacific, no.35, 2002.<br />
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Cameron, Dan, ‘Concept’, from http://www.iksv.org/bienal/english/arsiv.asp?ms=3<br />
Nahas, Dominique, ‘Preview: <strong>The</strong> 8 th International Istanbul Biennial’ in Art Asia Pacific, No. 38 (Fall 2003),<br />
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Esche, Charles & Kortun, Vasif, ‘Concept’ from http://www.iksv.org/bienal/bienal9/english/?Page=Concept<br />
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Fairly, Gina, ‘On <strong>The</strong> Edge <strong>of</strong> Optimism’, in Asian Art News, v. 17(6), November/December, 2007, pp. 86 – 91.<br />
Storr, Robert, <strong>and</strong> Hou Hanru, ‘Not only possible but also necessary: Art in the Present Tense’, in ArtAsiaPacific,<br />
No. 53, May/June, 2007, pp. 84 – 89.<br />
Tsui, Hilary, ‘10 th Istanbul Biennial: Staging a Communitarian Utopia’, in Yishu. Journal <strong>of</strong> Contemporary Chinese Art,<br />
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Thomson, Jonathan, ‘Notes from Istanbul, in AsianArtNews , Vol. 18, no. 6 Nov/Dec 2008, p. 86-89<br />
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Kassel: Documenta<br />
General Texts:<br />
Blok, René; Glaser, M<strong>art</strong>in, et al, Das Lied von der Erde / <strong>The</strong> Song <strong>of</strong> the E<strong>art</strong>h, Kassel, Museum Fridericianum,<br />
2000<br />
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Galloway, David: ‘Documenta 9 <strong>The</strong> Bottom Line’ Art in America Sept 1993 v81 n9 p55<br />
1997 Documenta X <strong>art</strong>istic director Catharine David<br />
2002 Documenta XI <strong>art</strong>istic director <strong>art</strong>istic director Okwui Enwezor]<br />
Downey, Anthony: (2003) . ‘<strong>The</strong> Spectacular Difference <strong>of</strong> Documenta XI’ Third Text, Volume 17, Number 1<br />
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Enwezor, Okwui, et al, Documenta IX: Platform Five, Exhibition catalogue, Hatje Cantz Verlag, 2002<br />
Enwezor, Okwui et al, Créolité <strong>and</strong> creolization: Documenta 11_Platform 3, Kassel, documenta und Museum<br />
Fridericianum-Veranstaltungs Gmbh, 2003<br />
Lopez, Sebastian, 'St<strong>art</strong>ing Points: 'Documenta'', IIAS Newsletter, No.25, July 2001<br />
Nochlin, L, Holert T., Higgs, M. Meyer, J., ‘Platform Muse: Documenta 11’ Artforum International Sept 2002 v41,<br />
1, p160 (10).<br />
He<strong>art</strong>ney, Eleanor: ‘A 600-hour Documenta’ Art in America Sept 2002 v90 i9 p86(10)<br />
Lee Weng Choy, ‘Biennale time <strong>and</strong> the specters <strong>of</strong> exhibition’, FOCAS, vol. 4, 2002<br />
2006<br />
Birnie Danzker, Jo-Anne, ‘documenta 12’, in Yishu. Journal <strong>of</strong> Contemporary Chinese Art, v. 6(3), September, 2007,<br />
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Clark, John, ‘Uncertain Identity’, in Asian Art News, v. 17(5), September/October, 2007, pp. 86 – 91<br />
Kremer, Boris, ‘<strong>The</strong> Show <strong>The</strong>y Love to Hate’, in Contemporary Visual Arts + Culture Broadsheet, vol. 36, no. 3,<br />
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1997 Johannesburg, 2 nd Biennale<br />
Hong Kong, etc., (curated by Hou Hanru, organized by Johannesburg Biennale)<br />
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Prat, Thierry & Raspail, Thierry (Artistic Directors), P<strong>art</strong>age D’Exotismes, Volume, 5 th Biennale d’Art<br />
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2006<br />
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Gill, Simryn, Guide to the Murals at Tanjong Pagar Railway Station, Singapore, Singapore, Simryn Gill & Singapore<br />
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Kirker, Anne, ‘Decentralisation Works: Singapore Biennale 2006’, Eyeline, no. 62, Summer 2006-7.<br />
Lee, Pamela M., ‘2006 Singapore Biennale/6th Gwangju Biennale’ Artforum, vol. 45, Iss. 3, 2006<br />
Lee Weng Choy, ‘Calibrated Expectations: A Roundtable on the Inaugural Singapore Biennale 2006’, Broadsheet,<br />
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Lee, Weng-Choy, ‘Eastern Front’ (Singapore, Shanghai <strong>and</strong> Gwangju Biennales), Artforum, vol. 45, Iss. 1, 2006<br />
Lee Weng Choy, ‘<strong>The</strong> public remainder: Singapore goes to Venice, the Biennale comes to Singapore’, Broadsheet,<br />
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Contemporary Chinese Art, vol. 5, no. 4, Dec 2006.<br />
Hill, Jo M<strong>art</strong>in, ‘A Tale <strong>of</strong> Two Biennales: Singapore <strong>and</strong> Shanghai’, Yishu: Journal <strong>of</strong> Contemporary Chinese Art, vol.<br />
5, no. 4, Dec 2006<br />
Slater, Ben, editor, belief: Exhibition Short Guide, Singapore, National Arts Council, 2006<br />
Slater Ben, ed. Singapore Biennale 2006: Belief, [catalogue/guide], Singapore, 4 Sept-12 Nov 2006, National Arts<br />
Council, 2006 [<strong>art</strong>istic director: Fumio Nanjo]<br />
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Birnie Danzker, J., ‘Post-West: Guangzhou Triennial, Taipei Biennial, <strong>and</strong> Singapore Biennale’ in Yishu<br />
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Cruz, Joselina. ‘Projecting Southeast Asia’, C Arts. Asian Contemporary Art <strong>and</strong> Culture, vol. 05, Sept/Oct, 2008,<br />
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Fairly, Gina, ‘Curating the 2008 Singapore Biennale’ in Asian Art News, v 18(2), Mar/Apr 2008, p. 106 7<br />
Fenner, Felicity, ‘Singapore Biennale: Sept 11-Nov 16’.(BIENNIAL DIGEST) in Art in America 96.11 (Dec<br />
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Lee Weng Choy, ‘Process <strong>of</strong> Selection: 2008 Singapore Biennale Interviewed’, in Contemporary Visual Art +<br />
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Lenzi, Lola. ‘ Wonder: Is it Art <strong>of</strong> Commerce?’, C Arts. Asian Contemporary Art <strong>and</strong> Culture, vol. 05, Sept/Oct,<br />
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1996<br />
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Hou Hanru, ‘A naked city, Art AsiaPacific, 31, 2001;<br />
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Genocchio, Benjamin, ‘Letter from Shanghai’, Art Monthly Australia, Number 157, March 2003<br />
Xu Jiang & Li Xiangyang (Chief Editors), 2002 Shanghai Biennale: Urban Creation.. Shanghai, Shanghai Art<br />
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March-April 2003Shanghai: Shanghai Art Museum, 2002<br />
2003 5 th Biennial<br />
Urban Creation curated by Alanna Heiss, Fan Di’an, Xu Jiang, Li Xu, Klaus Biesebach, Hasegawa Yûko,<br />
organized by Shanghai Art Museum <strong>and</strong> Shanghai Gt Courtyard Cultural Investments Ltd.<br />
Vine, Richard: ‘Shanghai Accelerates’: Art in America Feb 2005 Vol 93 Issue 2 p104-113)<br />
Clark, John, ‘Three Recent Biennales in Asia: Gwangju, Busan <strong>and</strong> Shanghai’, Art <strong>and</strong> Australia, vol. 42, no. 3,<br />
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Lu, Carol, ‘A Flawed Biennale’ (Shanghai Biennale 2004), Flash Art, vol. XXXVIII, no. 240, Jan-Feb, 2005<br />
2004<br />
Fang Zengxian & Xu Jiang (Chief Editors), 2004 Shanghai Biennale. Techniques <strong>of</strong> the Visible. Shanghai, Shanghai<br />
Fine Art Publishers, 2004. (Chief Curator: Xu Jiang. Curators: Sebastian Lopez, Zheng Shengtian, Zhang<br />
Qing.<br />
2006<br />
Clark, John, ‘A Narrowing <strong>of</strong> Horizons: <strong>The</strong> Shanghai <strong>and</strong> Gwangju Biennales 2006’, Art Monthly Australia, no.<br />
196, December 2006-February 2007.<br />
Fang Zengxian & Xu Jiang (Chief Editors), 2006 6 th Shanghai Biennale: HyperDesign.. Shanghai, Shanghai Fine Art<br />
Publishers, 2006. (Artistic Director: Zhang Qing. Curators: Zhang Qing, Huang Du, Lin Shumin, Wonil<br />
Rhee, Jonathan Watkins, Gianfranco Maraniello).<br />
Hill, Jo M<strong>art</strong>in, ‘A Tale <strong>of</strong> Two Biennales: Singapore <strong>and</strong> Shanghai’, Yishu: Journal <strong>of</strong> Contemporary Chinese Art, vol.<br />
5, no. 4, Dec 2006<br />
Koop, Stu<strong>art</strong>, ‘A Busy Week in a Frantic Century: Shanghai Biennale’, Eyeline, no. 62, Summer 2006-7.<br />
Lee, Weng-Choy, ‘Eastern Front’ (Singapore, Shanghai <strong>and</strong> Gwangju Biennales), Artforum, vol. 45, Iss. 1, 2006<br />
Slater, Ben (Editor), Belief: Exhibition Short Guide, Singapore Biennale 2006. Singapore, National Arts council<br />
Singapore, 2006. (Artistic Director: Fumio Hanjo)<br />
Tinari, Philip, ‘6th Shanghai Biennale’, Artforum, vol. 45, Iss. 3, 2006<br />
Vine, Richard, ‘Report from Shanghai I. Relfections in a Chinese Mirror’, in Art in America, May 2007, pp. 74 –<br />
79.<br />
Zhang Qing, ‘<strong>The</strong> Undesignable’ (Shanghai biennale 06), Yishu: Journal <strong>of</strong> Contemporary Chinese Art, vol. 5, no. 4,<br />
Dec 2006.<br />
2008<br />
Birnie Danzker, J., ‘Post-West: Guangzhou Triennial, Taipei Biennial, <strong>and</strong> Singapore Biennale’ inYishu Journal <strong>of</strong><br />
Contemporary Chinese Art, Vol 8, No. 1, January/February/April 2009,pp. 6-15.<br />
Catching, Rebecca, ‘Translocal motion sickness. Shangha biennale gone <strong>of</strong>f the rials?’, in Contemporary Visual Art<br />
+ Culture Broadsheet, Vol 37, no. 4, p. 246-249<br />
McIntyre, Sophie. ‘Farewell?: A Review <strong>of</strong> the Shanghai Biennial, Guangzhou Triennial <strong>and</strong> the Taipei Biennial’,<br />
Art Monthly, Australia (Issue 205, Nov. 2008, p24-30).<br />
Movius, Lisa, ‘Shanghai Biennale: Sept 8-Nov 16’.(BIENNIAL DIGEST) in Art in America 96.11 (Dec 2008):<br />
107(4).<br />
<strong>The</strong> 7 th Shanghai Biennale 2008, in Yishu Journal <strong>of</strong> Contemporary Chinese Art, Vol. 7 No. 5, September 2008, pp. 49-<br />
61.<br />
Tsiu, H., ‘Premature Farewll <strong>and</strong> Recycled Urbanism: Guangzhou <strong>and</strong> Shanghai Biennale in 2008’, inYishu<br />
Journal <strong>of</strong> Contemporary Chinese Art, Vol 8, No. 1, January/February/April 2009, pp. 54-60.<br />
Sharjah:<br />
2003<br />
Peter Lewis (Editor), Sharjah International Biennial 6 Guide. United Arab Emirates, Sharjah International Biennial,<br />
2003. (Director: Hoor Al-Qasimi).<br />
Turner, Grady, ‘Fast Forward in the Persian Gulf (Report From the U.A.E.’ in Art in America (November 2003),<br />
pp. 86-91.<br />
2009<br />
307
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Lee, Pamela M., ‘Sharjah Biennal 9’ in Artforum, Vol. 47, Iss. 9, Summer 2009, p. 326.<br />
Thomson, J., ‘New Strategies for Exciting Art’, in AsianArtNews, Vol. 19 No. 3 May/June 2009, pp. 84-88.<br />
<strong>Sydney</strong>: Biennale <strong>of</strong> <strong>Sydney</strong>:<br />
1998<br />
Fink, Hannah, ‘Speechless’ Art AsiaPacific, 23, 1999<br />
2002<br />
Chen Hsiang-chun, Elsa, ‘Identity Politics? Allegorical Existence? On the Way to the Fantastic’ (On Works by<br />
Chinese <strong>art</strong>ists in the Biennale <strong>of</strong> <strong>Sydney</strong> 2002), Yishu: Journal <strong>of</strong> Contemporary Chinese Art, vol. 1, no.<br />
2, July/August, 2002.;<br />
Duncan, Michael, 'Self-created worlds', <strong>Sydney</strong> Biennale Review, Art in America, Vol. 90, Issue 10, October 2002<br />
2004<br />
Felicia Fenner, ‘On Reason <strong>and</strong> Emotion’ (Interview with Isabel Carlos), in in Art & Australia, Vol. 41, No. 4<br />
(Winter 2004), pp. 557-559;<br />
‘No Big Picture [2004 Biennale <strong>of</strong> <strong>Sydney</strong>]’ (Commentaries by Alex Gawronski, Jacqueline Millner <strong>and</strong> Adam<br />
Geczy) in Broadsheet, Vol. 33, No. 3 (September- November 2004), pp. 48-53<br />
2006<br />
Macdonald, Ewan & Parker, Luke editors, 2006 Biennale <strong>of</strong> <strong>Sydney</strong>: Zones <strong>of</strong> Contact, <strong>Sydney</strong>, Biennale <strong>of</strong> <strong>Sydney</strong>,<br />
2006<br />
Merewether, Charles, ‘Zones <strong>of</strong> Contact’, Art & Australia, vol.43, no.4, Winter 2006.<br />
Merewether, Charles, ‘Interview’, Broadsheet, Contemporary Visual Arts + Culture, June-August, 2006<br />
Merewether Charles, ‘Taking Place: acts <strong>of</strong> survival for a time to come’, Macdonald, Ewan & Parker, Luke<br />
editors, 2006 Biennale <strong>of</strong> <strong>Sydney</strong>: Zones <strong>of</strong> Contact, <strong>Sydney</strong>, Biennale <strong>of</strong> <strong>Sydney</strong>, 2006<br />
Mordue, Mark, ‘Cultural Chamelon’ [interview with Charles Merewether], <strong>The</strong> Weekend Australian, May 20-21,<br />
2006, R6.<br />
2008<br />
‘Revolutions. Forms that turn: Carolyn Christov-Bakargiev in conversation with Russell Storer’, in <strong>art</strong> &<br />
Australia, vol. 45, no. 4, Winter 2008, June/July/August, pp. 602 – 608.<br />
Begg, Zanny, ‘confusion, a trip to the dentist <strong>and</strong> the biennale <strong>of</strong> <strong>Sydney</strong>: in conversation with Carolyn christovbakargiev<br />
<strong>and</strong> michael rakowitz’, in Contemporary Visual Arts + Culture Broadsheet, vol. 37, no. 2, June, 2008,<br />
pp. 90 – 97.<br />
Bianpoen, Carla, ‘Revolutions – Forms that Turn. An Electronic Interview with Carolyn Christove-Bakargiev on<br />
the 2008 Biennale <strong>of</strong> <strong>Sydney</strong>’, in C Arts. Asian Contemporary Art <strong>and</strong> Culture, vol. 02, March/April, 2008, pp.<br />
78 – 80.<br />
‘Carolyn Christov-Bakargiew on Turning Upside Down’, in Flash Art, Vol. XLI, No. 260,May-June 2008, p. 87.<br />
Clark John, <strong>The</strong> 1968 “Euronale” <strong>of</strong> <strong>Sydney</strong> <strong>and</strong> other matters’, in Contemporary Visual Art + Culture Broadsheet,<br />
Vol 37, no. 3, p. 176-7.<br />
Gardner, Anthony, ‘Biennale <strong>of</strong> <strong>Sydney</strong> 2008’, in Artforum, Vol 47, Iss. 2, p. 405<br />
King, Natalie, ‘Carolyn Christov-Bakargiev on the Biennale <strong>of</strong> <strong>Sydney</strong>’, in Flash Art, vol. XLI, no. 260,<br />
May/June, 2008, p. 87.<br />
McNeill, David, ‘Cultural Dialogue – And Exchange’, in Contemporary Visual Arts + Culture Broadsheet, vol. 37, no.<br />
1, March, 2008, pp. 28 – 30.<br />
Volk, Gregory, ‘<strong>The</strong> wheel is turning: a high-spirited, nuanced selection stirred up venues old <strong>and</strong> new at the<br />
latest <strong>Sydney</strong> Biennale’.(REPORT FROM SYDNEY) in Art in America 96.10 (Nov 2008): 63(7).<br />
2010<br />
Clark, John. “<strong>The</strong> Intreactable Wall <strong>and</strong> Asia” in Broadsheet, Vol. 39.2 (June 2010).<br />
Taipei: Taipei Biennial<br />
1996<br />
Lee Yulin (Chief Editor), 1996 Taipei Biennial: <strong>The</strong> Quest for Identity (Essays), Taipei, Taipei Fine Arts Museum,<br />
1996. (Executive Curator: Alice B.H. Lin).<br />
308
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Lin, Alice B.H., 1996 Taipei Biennial: <strong>The</strong> Quest for Identity 11 Exhibition Catalogue, Taipei, Taipei Fine Arts<br />
Museum, 1996. (Curator in Chief: Yulin Lee).<br />
1998<br />
Chang, Fangwei & Miki, Akikio (Editors), Site <strong>of</strong> Desire 1998 Taipei Biennial Exhibition Catalogue, Taipei, Taipei fine<br />
<strong>art</strong>s museum, 1998. (Associate Curators:Chang Fangwei & Miki Akikio).<br />
2000<br />
<strong>The</strong> Sky is the Limit 2000 Taipei Biennial exhibition Catalogue, Taipei, Taipei Fine Art Museum, 2000. (Curators:<br />
Jérôme Sans & Manray Hsu).<br />
Devenport, Rhana, ‘<strong>The</strong> sky is the limit’, Art AsiaPacific, 30, 2001<br />
2002<br />
Taipei Biennial Great <strong>The</strong>atre <strong>of</strong> the World Exhibition Guide, Taipei, Taipei Fine Art Museum 2002. (Curators:<br />
B<strong>art</strong>omeu Mari & Chia Chi Jason Wang).<br />
Yu, Sharleen (Editor), 2002 Taipei Biennial Great <strong>The</strong>atre <strong>of</strong> the World Exhibition Catalogue, Taipei, Taipei Fine Art<br />
Museum 2002. (Curators: B<strong>art</strong>omeu Mari & Chia Chi Jason Wang).<br />
Wang, Jason Chia Chi, 'From Shadow Magic to the Spectacle', Yishu: Journal <strong>of</strong> Chinese Contemporary Art, March<br />
2003, Spring Issue.<br />
Quintero, Craig, Art as <strong>The</strong>atre: Staging the Taiwanese Biennial', Yishu: Journal <strong>of</strong> Chinese Contemporary Art, March<br />
2003, Spring Issue.<br />
Kim, Yu Yeon, '2002 Taipei Biennial: Great <strong>The</strong>atre <strong>of</strong> the World', Yishu: Journal <strong>of</strong> Chinese Contemporary Art,<br />
March 2003, Spring Issue.<br />
2004<br />
Huang, Andrew, ‘Art into Life’ (Taipei Biennale 2004), Asian Art News, vol. 15, no. 1, 2005.<br />
V<strong>and</strong>erlinden, B. (Editor), Do You Believe in Reality Taipei 2004 Exhibition Catalogue, Taipei, Taipei Fine Art<br />
Museum, 2004. (Curators: Barbara V<strong>and</strong>erlinden & Amy Huei-hua Cheng).<br />
2006<br />
Clark, John, ‘Global Intentions’, Asian Art News, vol. 17, no. 1, Jan-Feb 2007 (Taipei biennial)<br />
Kendzulak, Susan, ‘Do You Believe in Reality’ (Taipei Biennial 2004), Flash Art, vol. XXXVIII, no. 240, Jan-<br />
Feb, 2005.<br />
Kendzulak, Susan, ‘Taipei Biennial 2006’, in Yishu. Journal <strong>of</strong> Contemporary Chinese Art, v. 6(1), March, 2007, pp. 19<br />
– 25.<br />
Vine, Richard, ‘Report from Taipei II. <strong>The</strong> Blurennial’, in Art in America, June/July 2007, pp. 108 – 111.<br />
Yu, Sharleen & Chou, Freya (Editors), Dirty Yoga 2006 Taipei Biennial Exhibition Catalogue, , Taipei, Taipei Fine Art<br />
Museum, 2006. (Curators: Dan Cameron & Jun-jeh Wang).<br />
2008<br />
Birnie Danzker, J., ‘Post-West: Guangzhou Triennial, Taipei Biennial, <strong>and</strong> Singapore Biennale’ in Yishu Journal <strong>of</strong><br />
Contemporary Chinese Art, Vol 8, No. 1, January/February/April 2009,pp. 6-15.<br />
McIntyre, Sophie. ‘Farewell?: A Review <strong>of</strong> the Shanghai Biennial, Guangzhou Triennial <strong>and</strong> the Taipei Biennial’,<br />
Art Monthly, Australia (Issue 205, Nov. 2008, p24-30).<br />
Pollack, Barbara, ‘Taipei Biennial: Sept 13-Jan 4’.(BIENNIAL DIGEST) in Art in America 96.11 (Dec 2008):<br />
104(3).<br />
Venice: La Biennale di Venezia<br />
Overall:<br />
Alloway, Lawrence, Venice Biennale, 1895-1968: from Salon to Goldfish Bowl, London, Faber & Faber, 1969.<br />
Di M<strong>art</strong>ino , Enzo: (2005) <strong>The</strong> History <strong>of</strong> the Venice Biennale 1895- 2005 (Venezia, Italy Papiro Arte).<br />
Moravia, Alberto in dialogue, Capellini, Lorenzo, photographs, 1974-78 Cronache della nuova Biennale, Milano,<br />
Electa, 1978.<br />
Rizzi, Paolo & Di M<strong>art</strong>ino, Enzo Storia della Biennale 1895-1982. Electa, Milano, 1982.<br />
309
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Main Catalogues <strong>and</strong> general texts by year:<br />
1990 44 th Biennale<br />
1993 45 th Biennale<br />
New Chinese Painting, advised by Francesca dal Largo for overall curator Achille Bonita Oliva, also with catalogue<br />
text on Chinese avant-garde by Li Xianting in Aperto, Difference/Indifference: curated by Kong Chang’an /<br />
Lau-k’ung Chan<br />
Blackall, Judith, ‘<strong>The</strong> Transit <strong>of</strong> Venice’, Art & Text 46, September 1993;<br />
Verzotti, Giorgio, ‘”Aperto 93”: <strong>The</strong> better biennale’, Artforum International, Vol.32, Issue 2, October 1993;<br />
McEvilley, Thomas, ‘1993 Venice Biennale: Venice the Menace’, Artforum International, Vol.32, Issue 2, October<br />
1993<br />
1995 46 th Biennale<br />
Lasschuyt, Helga, ‘<strong>The</strong> Venice Biennale Game’, Asian Art News, vol.5, no.5, Sep/Oct 1995.<br />
Nanjô Fumio, Dana Frijs-Hansen et al (Editors), La Biennale di Venezia 1995:TransCulture, [Bilingual], <strong>The</strong> Japan<br />
Foundation & Fukutake Science <strong>and</strong> Culture Foundation, Tokyo, 1995. (Curators: Nanjô Fumio, Dana<br />
Frijs-Hansen)<br />
1997 47 th Biennale<br />
Bryson, Norman <strong>and</strong> Gilbert Rolfe, ‘XLVII Venice Biennale’, Art & Text 59, Nov. 1997-Jan. 1998;<br />
Kent, Rachel, ‘<strong>The</strong> Venice Biennale: Japan, Korea <strong>and</strong> Taiwan’, Art AsiaPacific,no.18, 1998<br />
Cai Guoqiang [overall curator Germano Celant]; As People’s Republic <strong>of</strong> China: Chao Ge, Chen Yifei, Hong<br />
Ling, Hu Jiancheng, Liu Gang, Liu Xiaodong, Shen Ling, Sun Weimin, Wan Jiyuan, Weng Yuping, Yu<br />
Hong, Yuan Yunsheng, Xie Dongmin [commissioners Sun Weimin & Giovanni Iovane, organiser unclear<br />
from Biennale catalogue]<br />
1999 48 th Biennale<br />
Dal Largo, Francesca, ‘Open And everywhere’, Art AsiaPacific, 25, 2000<br />
Huang Yong Ping & Jean-Pierre Bertr<strong>and</strong>, French Pavilion Catalogue,48 th Biennale di Venezia, Association<br />
Francaise d’Action Artistique, 1999. (Commissioners: Hou Hanru & Denys Zacharopoulos<br />
Schwabsky, Barry, ‘48 th Venice Biennale’, Art & Text 67, Nov. 1999-Jan. 2000<br />
Szeeman, Harald, d’APERtutto / APERTO over ALL, 1999<br />
Stringa, N., Terrecotte Cinesi dalla 48 th Biennale di Venezia ( Cai Guoqiang), Cornuda, Garfiche Edizioni 2003.<br />
Withers, Rachel, ‘Allied Forces’, Venice Biennial Review (CHECK), Artforum International, Vol.37, Issue 9, May<br />
1999.<br />
2001 49 th Biennale<br />
Szeeman, Harald, Plateau <strong>of</strong> Humanity, 49 th Biennale di Venezia, 2001.<br />
Clark, John, ‘Review <strong>of</strong> Asian Art at the Venice Biennale’, IIAS Newsletter International Institute for Asian Studies,<br />
Holl<strong>and</strong>, November 2001.<br />
Clark, John, ‘Asian Artists at the 2001 Venice Biennale’, IIAS Newsletter November, no.26, 2001<br />
Siegel, Katy, ‘Human, all too human, Venice Biennial Review, Artforum International, Vol.40, Issue 1, September<br />
2001<br />
Birnbaum, Daniel, ‘More is less’, Venice Biennial Review, Artforum International, Vol.40, Issue 1, September 2001;<br />
Pijnappel, Johan, ‘Asia at Venice’, Asian Art News, vol.12, no.1, 2002; Chua, Kevin, ‘ In Venetian Waters:<br />
Singapore at the 49 th Venice Bienale’, Focas (Forum on Contemporary Art & Society), no.3, January 2002;<br />
Choy, Lee Weng, ‘Biennale Time <strong>and</strong> the Specters <strong>of</strong> Exhibition’, Focas (Forum on Contemporary Art & Society),<br />
no.3, January 2002<br />
2003 50 th Biennale<br />
Cl<strong>and</strong>estine: Liu Zheng, Curator: Francesco Bonami<br />
Clark, John., ‘Venice in Full Flow’, in Asian Art News, Vol.13, No.5, Sep/Oct, 2003, p.46-50.;<br />
Dreams <strong>and</strong> Conflicts: the Dictatorship <strong>of</strong> the Viewer: La Biennale di Venezia: 50 th International Art Exhibition, La Biennale<br />
di Venezia 50 th :2003, Venezia, Marsilio, 2003. (Director: Francesco Bonami).<br />
Fan, Di’an., ‘Synthi-scapes’, in Yishu: Journal <strong>of</strong> Contemporary Chinese Art, Vol. 2 No. 2, June 2003, p.10-16.<br />
Genocchio, Benjamin, ‘<strong>The</strong> Big One Venice – Conflicting Agendas: No Buzz at Venice 2004’ in Art Asia Pacific,<br />
No. 38 (Fall 2003), pp.42-47;<br />
310
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©John Clark, 2010<br />
Hou, Hanru., ‘Z.O.U.- Zone <strong>of</strong> Urgency’, in Yishu: Journal <strong>of</strong> Contemporary Chinese Art, Vol. 2 No. 2, June 2003,<br />
p.21.<br />
Lenzi, Iola., ‘<strong>The</strong> Pioneering Sprit’, in Asian Art News, Vol.13, No.5, Sep/Oct, 2003, p.51-53;<br />
Lin, Shumin, ‘Limbo Zone’, in Yishu: Journal <strong>of</strong> Contemporary Chinese Art, Vol. 2 No. 2, June 2003, p.4-9.<br />
Lum, Ken, ‘Interview with Hou Hanru’, in Yishu: Journal <strong>of</strong> Contemporary Chinese Art, Vol. 2 No. 2, June 2003,<br />
p.52-57<br />
Ou, Ning., ‘<strong>The</strong> U-thèque Organization: An End or a Beginning?’, in Yishu: Journal <strong>of</strong> Contemporary Chinese Art,<br />
Vol. 2 No. 2, June 2003, p.33-51.<br />
Utopia Station Obrist Hans-Ulrich & Nesbit Molly & Rirkrit Tiravanija, at 50th Biennale di Venezia, 2003.<br />
Vetrocq, Marcia E., ‘Venice Biennale’: “Every Idea But One” in Art in America (September 2003), pp. 76-87<br />
Vetrocq, Marica E., ‘New curator for the Venice Biennale’, Art in America, Vol. 90, Issue 5, May 2002;<br />
Vetrocq, Marica E., 'Venice Biennale takes shape', Art in America, Vol. 91, Issue 2, February 2003;<br />
Zones <strong>of</strong> Urgency: curated by Hou Hanru, see also Li Luming, ed., Guangdong Kuaiche / Canton Express, Changsha,<br />
Hunan Meishu Chubanshe, 2003. ]<br />
A Panel Discussion: Looking Forward from Venice: <strong>The</strong> Prospects <strong>of</strong> Contemporary Chinese Art’, in Yishu:<br />
Journal <strong>of</strong> Contemporary Chinese Art, Vol. 2 No. 3, September 2003, p.50-61.<br />
2005 51 st Biennale<br />
Always a Little Further: La Biennale di Venezia, 51st International Art Exhibition: La Biennale di Venezia 50 th :2003,<br />
Venezia, Marsilio, 2003. (Director: Rosa M<strong>art</strong>inez).<br />
P<strong>art</strong>icipating Countries/Collateral Events: La Biennale di Venezia, 51st International Art Exhibition: La Biennale di<br />
Venezia 50 th :2003, Venezia, Marsilio, 2003.<br />
<strong>The</strong> Exoperience <strong>of</strong> Art: La Biennale di Venezia, 51st International Art Exhibition: La Biennale di Venezia 50 th :2003,<br />
Venezia, Marsilio, 2003. (Director: Maria de Corral).<br />
Raza, Sara, ‘West <strong>and</strong> Center: An Asian presence at 51 st Venice Biennale’, ArtAsiaPacific, no. 45, 2005<br />
Nagy, Peter, ‘<strong>The</strong> Home <strong>and</strong> the World’ Art India, volume X, issue iii, qu<strong>art</strong>er iii, 2005. (un<strong>of</strong>ficial Indian<br />
pavilion – Venice)<br />
2007 52 nd Biennale<br />
‘Contemporary Art in Greater China: Under Pressure A Discussion at the 52 nd Venice Biennale’, in Yishu. Journal<br />
<strong>of</strong> Contemporary Chinese Art, v. 6(3), September, 2007, pp. 8 – 24.<br />
Eds. ‘Venice Biennale 52 nd International Art Exhibition: Around the World’, in ArtAsiaPacific, No. 53,<br />
May/June, 2007, pp. 90 – 97.<br />
Gregos, Katerina, ‘52 nd Venice Biennial’, in Flash Art, vol. xl, no. 255, July – September, 2007, pp. 63 – 65.<br />
Maerkle, Andrew, ‘<strong>The</strong> Cook, <strong>The</strong> Curator, <strong>The</strong> Bike <strong>and</strong> <strong>The</strong> Festivals; Venice, Kassal, Munster’, in<br />
ArtAsiaPacific, No. 53, May/June, 2007, pp. 98 – 101.<br />
Storr, Robert, <strong>and</strong> Hou Hanru, ‘Not only possible but also necessary: Art in the Present Tense’, in<br />
ArtAsiaPacific, No. 53, May/June, 2007, pp. 84 – 89.<br />
Teo, Wendy, ‘52 nd Venice Biennale’, in Yishu. Journal <strong>of</strong> Contemporary Chinese Art, v. 6(3), September, 2007, pp. 25<br />
– 32.<br />
Yokohama: Yokohama Triennale:<br />
2001<br />
aica Japan Newsletter no.2, in November 2001 ‘Yokohama Toriennaare 2001 kôki – sono tenmatsu no kojinteki<br />
memor<strong>and</strong>amu’.<br />
Kent, Rachel, ‘2001 Yokohama Triennale’, Art Asia Pacific, No.34, 2002.<br />
Makabe Kaori, Mikami Yutaka, Yokohama Triennale <strong>of</strong>fice, eds., [curators: Nakamura Nobuo, Nanjô Fumio,<br />
Tatehata Akira, Kohmoto Shinji], Yokohama 2001, Yokohama, <strong>The</strong> Organizing Committee <strong>of</strong> the<br />
Yokohama Triennale, 2001.<br />
Phillips, Christopjher, ‘’Crosse currents in Yokohama’, Art in America, January 2002<br />
Robinson, Joel David, ‘Toward a new synthesis’, Asian Art News, vol.12, no.1, 2002;<br />
Robinson, Joel David, ‘ Toward A New Synthesis’ Yokohama 2001 Review, Asian Art News, vol. 12, no. 1,<br />
January/February 2002<br />
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Takshima Naoyuk ‘Yokohama triennale’, Art AsiaPacific, 32, 2001<br />
Yokohama, 2001, statements from the Triennale’s curators are at http://www.jpf.go.jp/yt2001/2/info.html<br />
2005<br />
Cash, Stephanie, ‘Yokohama Triennale Trouble’, Art in America, vol. 93, iss. 2, Feb 2005.<br />
Isozaki Arata, statement on the Yokohama Triennale, www.jpf.go.jop/yt2005/e/inquiry.htm accessed on 13 th<br />
October 2004<br />
Kondo, Ken’ichi , ‘Yokohama 2005: International Triennale <strong>of</strong> Contemporary Art’ (review), ArtAsiaPacific, no.<br />
48, 2006<br />
Koplos, Janet, ‘On the Waterfront: the second Yokohama Triennale, set in warehouses in an active port zone,<br />
had a subtext <strong>of</strong> international movement’, Art in America, 94.4 (April 2006)<br />
Nagoya, Satoru, ‘Yokohama <strong>and</strong> Fukuoka Triennials Report’, Flash Art, vol. XXXIX, no. 246, Jan-Feb, 2006<br />
Shinoda Takatoshi, Koyama Naomi, Tabata Mikiko, Yokohama Triennale, <strong>The</strong> Second Yokohama Triennale,<br />
Yokohama, Yokohama, <strong>The</strong> Organizing Committee for Yokohama Triennale, 2005.<br />
Tama Bijutsudaigaku Geijutsugakuka Tatehatazemi Shimpojiumu kikaku, Isozaki Akira, Okabe Aomi, Kitagawa<br />
Furamu, Nanjô Fumio, Hasegawa Yûko, Yokohama Kaigi 2004: Naze Kokusaiten ka?, Yokohama,<br />
BankART1929, 2005.<br />
2008<br />
Koplos, Janet, ‘Yokohama Triennale: Sept 13-Nov 30’.(BIENNIAL DIGEST) in Art in America 96.11 (Dec<br />
2008): 99(3).<br />
Tinari, Philip, ‘2008 Gwangju Biennale, Singapore Biennale 2008, 3rd Yokohama Triennale’ in in Artforum, Vol.<br />
47, Iss. 5, January 2009, p. 199.<br />
National Exhibitions at Biennales<br />
China:<br />
São Paolo:<br />
Chang Tzong-zung, Chinese Contemporary Art at São Paulo: 1 – <strong>The</strong> remaking <strong>of</strong> Mass Culture; 11 – Wakefulness <strong>and</strong> the<br />
Weightless Present, at 22 nd Biennial <strong>of</strong> São Paolo, Hong Kong, Han<strong>art</strong> TZ Gallery, 1994<br />
Chang Tzong-zung, Catalogue <strong>of</strong> Five Chinese <strong>art</strong>ists in 22 nd Biennial <strong>of</strong> São Paolo, 1994<br />
Chang Tzong-zung, Ho Siu-kee, Hong Kong Arts Development Council, at 23 rd São Paolo Biennial, 1996<br />
Chang Tsong-zung, Special Exhibition: Qiu Shi-hua, Fundação de São Paolo, at 23 rd São Paolo Biennial, Hong<br />
Kong, Han<strong>art</strong> TZ Gallery, 1996. (Curator: Chang Tsong-zung)<br />
Fan Di’an & Pi Li (Editors), <strong>The</strong> 25th São Paulo Biennial: Here <strong>and</strong> now: Chinese <strong>art</strong> in the process <strong>of</strong> urbanization,<br />
[curated by Fan Di’an, assistant Pi Li], Beijing, China International Exhibition Agency, 2002<br />
Huang Du, <strong>The</strong> 26 th São Paolo Biennial: Chinese Pavilion: L<strong>and</strong>scape <strong>of</strong> Deterritoralization [<strong>art</strong>ist: Qu Yan]¸ Beijing,<br />
China International Exhibition Agency, 2004<br />
Pong, Melanie , Josette Balsa, Stephen T.N Cheung, Una Shannon & Louisa Teo (Editors), <strong>The</strong> Other Face: Three<br />
Chinese Artists ar the Centenary Exhibition. Milan, Zanzibar 1995. (Curator : Chang Tsong-zung).<br />
Venice:<br />
Dal Largo, Francesca, ‘New Chinese Painting’ in Catalogue 45 th Biennale di Venezia, 1993<br />
Dal Largo, Francesca, ‘Chinese <strong>art</strong> at the Venice Biennale’ in Clark, John ed., Chinese <strong>art</strong> at the end <strong>of</strong> the millennium,<br />
Hong Kong, New Art Media, 2000, 158-166.<br />
Chang Tsong-zung, <strong>The</strong> other face, in Catalogue 46 th Biennale di Venezia, 1995<br />
Goodbody, Bridget, ‘No Introductions Necessary’, ArtAsiaPacific, no. 45, 2005 (China pavilion at Venice<br />
Biennale 05)<br />
Hou Hanru, ‘Everyday Miracles: Four Women Artists. <strong>The</strong> Chinese Pavilion at the 52 nd Venice Biennale’, in<br />
Yishu: Journal <strong>of</strong> Contemporary Chinese Art, v. 6(2), June, 2007, pp. 8 – 13.<br />
Huang Du (Editor), Synthi-Scapes, 50 th Venice Biennale 2003, Chinese Pavilion, Exhibition Guide, Beijing, China<br />
International Exhibition Agency, 2003. (Curators : Fan Di’an & Wang Yong).<br />
Huang Du & Van Dong (Editors), Synthi-Scapes, 50 th Venice Biennale 2003, Chinese Pavilion, Beijing, China<br />
International Exhibition Agency, 2003.<br />
312
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Szeeman, Harald, d’APERtutto / APERTO over ALL, 1999, including Venice’s Collection Courtyard: organized by<br />
Cai Guoqiang, [later published as Stinga, Nico, Terrecotte Cinesi dalla 48 A Biennale di Venezia, Nove, Antiga<br />
Edizioni, 2003]<br />
Szeeman, Harald, ‘Harald Szeeman talks to Chinese <strong>art</strong>ists about Venice, CCAA <strong>and</strong> curatorial strategies’ in Wu<br />
Hung, ed., Chinese Art at the Crossroads: between past <strong>and</strong> future, between East <strong>and</strong> West, Hong Kong, New Art<br />
Media, 2001<br />
Hou Hanru, Canton Express, project for “Z.O.U – Zone <strong>of</strong> Urgency”, 50th Biennale di Venezia, Changsha,<br />
Hunan Arts Publishing House, 2003.<br />
Hou Hanru, One Man, Nine Animals: Huang Yong Ping’s project for the French pavilion in Venice Biennale, Paris,<br />
Association Française d’Action Artistique, 1999<br />
Fan Di’an, Wang Yong, assistant Huang Du, China National Pavilion, 50th Biennale di Venezia, Beijing, China<br />
International Exhibitions Agency & Guangzhou, China Guangdong Museum <strong>of</strong> Art, 2003<br />
Lu Jie, ‘About the Chinese Presentation at the 2005 Yokohama Triennale’, Yishu: Journal <strong>of</strong> Contemporary Chinese<br />
Art, vol. 4, no. 4, Dec. 2005.<br />
Yishu: Journal <strong>of</strong> Contemporary Chinese Art, vol. 4, no. 3, Sep. 2005, issue focusing on <strong>art</strong>ists from PRC, Hong<br />
Kong, Taiwan <strong>and</strong> Singapore at the Venice Biennale/ Chinese presence at other biennale/triennial event.<br />
Regular • Fragile – Liu Jianhua. Project for the 50 th Biennale Di Venezia – China Pavilion, Shanghai, ShangHART, 2003.<br />
China-HongKong:<br />
Binks, Hilary, ‘A larger identity’, Asian Art News, vol.11, no.5, 2001.<br />
Chang Tsong-zung, Hong Kong pavilion, at 49 th Biennale di Venezia, Hong Kong, Hong Kong Arts Development<br />
Council, 2001<br />
Chang Tsong-zung, Venice Hong Kong, Magic at Street Level, Hong Kong pavilion, at 49 th Biennale di Venezia,<br />
Hong Kong, Hong Kong Arts Development Council, 2001.<br />
Ford, Norman, ‘‘STAR FAIRY’ as Collateral Damage: Hong Kong at the 52 nd Venice Biennale’, in Orientations,<br />
vol. 35, no. 5, June, 2007.<br />
Ford, Norman, ‘One the Road to Venice, or, A Parrot Speaks for Me. <strong>The</strong> Hong Kong Pavilion at the 52 nd<br />
Venice Biennale’, in Yishu: Journal <strong>of</strong> Contemporary Chinese Art, v. 6(2), June, 2007, pp. 18 – 21.<br />
Ford, Norman, ‘You are not in China anymore or, h<strong>and</strong>ing over <strong>and</strong> over <strong>and</strong> over’, in Contemporary Visual Arts<br />
+ Culture Broadsheet, vol. 36, no. 4, December, 2007, pp. 232 – 234.<br />
Para Site Collective,[curated by Para Site], Navigating the Dot, <strong>art</strong>ists from Hong Kong, China Hong Kong, Arts<br />
Development Board, 2003<br />
Thompson, Jonathan, ‘Challenges <strong>and</strong> Questions’ (Hong Kong Art Biennial) Asian Art News, vol. 16, no. 2,<br />
2006.<br />
Investigation <strong>of</strong> a journey to the west by micro+polo: <strong>art</strong>ists from hohg kong china, at 51st Biennale di Venezia Hong Kong,<br />
Hong Kong Arts Development Council, 2005.<br />
Navigating the Dot, Artists from Hong Kong, China, at 50 th Biennale di Venezia, Hong Kong, Hong Kong Arts<br />
Development Council, 2003. (Commissioner: Darwin Chen; Curator: Para/Site Collective).<br />
China-Tawain<br />
Hongjohn Lin, ‘Acting Out from Atopia. <strong>The</strong> Taiwan Pavilion at the 52 nd Venice Biennale’, in Yishu: Journal <strong>of</strong><br />
Contemporary Chinese Art, v. 6(2), June, 2007, pp. 14 – 17.<br />
Lin, Shumin, ‘Limbo Zone’, in Yishu: Journal <strong>of</strong> Contemporary Chinese Art, Vol. 2 No. 2, June 2003, p.4-9.<br />
Indonesia:<br />
review, (CP Biennale 2006, Indonesia), Asian Art News, vol. 15, no. 6, 2005.<br />
Review (Yogyak<strong>art</strong>a Biennale), Asian Art News, vol. 16, no. 1, 2006.<br />
Pruss, Jaana & Ochs, Alex<strong>and</strong>er (Editors), Arahmaiani I 11June 2002 (catalogue for 50 th Biennale di Venezia with<br />
essay About Arahmaiani by Kraus, Werner) , Berlin, Pruss & Ochs Gallery, 2003.<br />
Iran:<br />
Aghdashiou, A., H. Khosrojerdi, Dreams & Conflicts, Venice Biennale 2002, pamphlet.<br />
Ahmad Nadalian: Dreams <strong>and</strong> Conflicts, 50 th Biennale di Venezia, 2003, brochure.<br />
Behrooz Daresh, brochure for 50 th Biennale di Venezia, 2003.<br />
Neshat, Shirin, <strong>and</strong> Nodjoumi Nicky, eds. Ardeshir Mohassess; Art <strong>and</strong> Satire in Iran. New York: Asia Society <strong>and</strong> Museum,<br />
2008.<br />
313
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Japan:<br />
Bangladesh:<br />
Kuroda, Raiji (Commissioner), Document: Japanese Artists in the 7 th Asian Art Biennial Bangladesh 1995,Exhibition<br />
Catalogue, the Japan Foundation, 1995<br />
Makoto Nakamura & Masayuki Kuriyama (Editors) Japan, Asian Art Biennale Bangladesh 1999, Exhibition<br />
Catalogue, <strong>The</strong> Japan Foundation, 1999<br />
Makoto Nakamura (Commissioner) Report on Japan’s p<strong>art</strong>icipation in the 9 th Asian Art Biennale Bangladesh 1999, <strong>The</strong><br />
Japan Foundation, 1999<br />
Yuri Mitsuda (Commissioner & Editor), Embracing Life, Japan at the 10 th Asian Art Biennale Bangladesh, Exhibition<br />
Catalogue, <strong>The</strong> Japan Foundation, 2002<br />
Yuri Mitsuda (Commissioner & Editor), Embracing Life, Japan at the 10 th Asian Art Biennale Bangladesh, Report, <strong>The</strong><br />
Japan Foundation, 2002<br />
Mori Tsukasa, Tsubaki Noboru, Kitayama Yoshio & Domoto Yuum:, Report on Japan’s P<strong>art</strong>icipation, 11 th Asian Art<br />
Biennale, Bangladesh 2003, <strong>The</strong> Japan Foundation, 2003<br />
Tsubaki Noboru, Kitayama Yoshio & Domoto Yuum: Japan at the 11 th Asian Art Biennale, Bangladesh, 2003, Exhibition<br />
Brochure<strong>The</strong> Japan Foundation, 2003<br />
São Paolo:<br />
Tadayasu Sakai, Japan at the 10th Sao Paulo Bienal: Akira Kamiyama, Katsura Funakoshi, Kanji Wakae, <strong>The</strong><br />
Japan Foundation, 1989<br />
Kunio Motoe, Masato Kobayashi : <strong>The</strong> Art <strong>of</strong> Luminosity, Tokyo, <strong>The</strong> Japan Foundation, 1996<br />
Kazuo Yamawaki, Kimio Tsuchiya : After the Deluge, 25th Sao Paulo Bienal, Tokyo, <strong>The</strong> Japan Foundation, 2002.<br />
Shuji Takatori, Toshihiro Kuno, 24th Sao Paulo Bienal, Tokyo, <strong>The</strong> Japan Foundation, 1998.<br />
Venice:<br />
City <strong>of</strong> Girls – Japanese pavilion, Venice Biennalwe : 7th International Architecture Exhibition, 2000<br />
Giappone, La Biennale di Venezia 1996: VI Mostra Internazionale di Architettura, Exhibition Brochure, <strong>The</strong> Japan<br />
Foundation, 1996<br />
Giappone – XLVIII Biennale di Venezia 1999, Dove Va L’Arte? Whither the Arts, Exhibition Catalogue, <strong>The</strong> Japan<br />
Foundation, 1999<br />
Eriko Osaka (Editor), Giappone – XLVIIII Biennale di Venezia 2001: fast <strong>and</strong> Slow, <strong>The</strong> Japan Foundation, 2001<br />
Hasegawa, Yuko & <strong>The</strong> Japan Foundation (Editors), Heterotopias, Japanese Pavilion, the 50 th Venice Biennale<br />
2003, <strong>The</strong> Japan Foundation, 2003. (Organiser: <strong>The</strong> Japan Foundation; Commissioner: Yuko Hasegawa.<br />
Shimizu, Toshio, ‘Japan <strong>and</strong> Korea at the 48 th Venice Biennale’, Art AsiaPacific, 25, 2000<br />
<strong>The</strong> Japan Foundation, ed., Venezia Biennale - Nihonsanka 40nen / <strong>The</strong> Venice Biennale, 40 years <strong>of</strong> Japanese<br />
p<strong>art</strong>icipation, [Bilingual], Tokyo, <strong>The</strong> Japan Foundation & Mainichi Newspapers, 1995<br />
Korea:<br />
Kim Yoon-Soo & Li Guang-Jun (Organisers), Korean Painting at the Beijing International Art Biennale, China 2003,<br />
<strong>The</strong> Korean Culture & Arts Foundation, 2003<br />
La Biennale di Venezia, <strong>The</strong> 49 th International Art Exhibition, Korean Pavilion: Do-Ho Suh, Seoul, <strong>The</strong> Korean Culture<br />
<strong>and</strong> Arts Foundation, 2001. (Commissioner Kyung-Mee Park)<br />
La Biennale di Venezia, <strong>The</strong> 49 th International Art Exhibition, Korean Pavilion: Michael Joo, Seoul, <strong>The</strong> Korean Culture<br />
<strong>and</strong> Arts Foundation, 2001. (Commissioner Kyung-Mee Park)<br />
Kee, Joan (Editor), L<strong>and</strong>scape <strong>of</strong> Differences, <strong>The</strong> Korean Pavilion, the 50 th Venice Biennale 2003, Seoul, Korean<br />
Culture & Arts Foundation, 2003. (Commissioner: Kim Hong-hee).<br />
Kim Sunjung, Kim Heejin, & Kim Jang Un (Editors), Secret beyond the door, <strong>The</strong> Korean Pavilion, the 51 st Venice<br />
Biennale, Seoul, Korean Culture & Arts Foundation, 2005. (Commissioner: Kim Sunjung).<br />
Rhee Jong Soong, ‘Clay Idols: <strong>The</strong> new Korean pavilion at the Venice Biennale’, Art & Asia-Pacific, vol.3, no.1,<br />
1996;<br />
Rhee Jong Soong, ‘Clay Idols: <strong>The</strong> new Korean pavilion at the Venice Biennale’, Art & Asia-Pacific, vol.3, no.1,<br />
1996<br />
314
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Shimizu, Toshio, ‘Japan <strong>and</strong> Korea at the 48 th Venice Biennale’, Art AsiaPacific, 25, 2000 ‘Supplement: Korea’,<br />
Asian Art News, vol. 5, no.1, Jan-Feb 1995.<br />
Malaysia<br />
Zhang Wubin, ‘<strong>The</strong> Ascent <strong>of</strong> the Image’ (review <strong>of</strong> First Kuala Lumpur International Photography Biennale),<br />
Asian Art News, vol. 15, no. 6, 2005.<br />
Zhang Wubin, ‘Setting New Goals’, (interview regarding First Kuala Lumpur International Photography<br />
Biennale), Asian Art News, vol. 15, no. 6, 2005<br />
Philippines:<br />
Flores, Patrick D., M201: In God We Trust, 5oth Biennale di Venezia, 2003, Exhibition Catalogue.<br />
Going for a Ride. M201: In God We Trust, 5oth Biennale di Venezia, 2003, Exhibition Pamphlet<br />
Singapore:<br />
Chua, Kevin, ‘Singapore in the 49 th Venice Biennale’, FOCAS, no.3, January 2002, p.274.<br />
Clark, John, ‘Venice Biennale’, Asian Art News, vol.13 no.5, September 2003<br />
Khor Koh Wah, commissioner, Mike (Lim Tzay Chuen), Singapore: National Arts Council & Singapore Art<br />
Museum, 2005<br />
Langenbach, Ray, ‘Garl<strong>and</strong>s <strong>of</strong> Love: Socialist Realist aesthetics in Singapore’, in Clark, John; Pelegggi, Maurizio;<br />
Sabapathy, T.K. eds, Eye <strong>of</strong> the beholder, <strong>Sydney</strong>, Wild Peony Press, 2006.<br />
Langenbach, Ray, Hidden Things, (on the occasion <strong>of</strong> the exhibition ‘A work by Lim Tzay Chuen’), Singapore:<br />
LaSalle-SIA, 2005.<br />
Lee Weng Choy & Langenbach, Ray, ‘Athens, Singapore’ [a dialogue] in Friede, Claus, Seyf<strong>art</strong>h, Ludwig, eds,<br />
Kunst aus Megastädten Asiens – Art from Asia Pacific Megacities, Hamburg, Kunsthaus Hamburg ,2000.<br />
Singapore, Singapore: Singapore Art Museum, National Heritage Board, 2001<br />
Singapore, Tan Swie Hian, Francis Ng, Heman Chong, Singapore: National Arts Council, National Heritage Board,<br />
2003,<br />
Yap, June, ‘Performing. <strong>The</strong> Singapore Pavillion’, in C Arts. Asian Contemporary Art <strong>and</strong> Culture, vol. 00,<br />
November/December, 2007, pp. 10 – 13.<br />
China-Taiwan:<br />
Arttaiwan, 46th Biennale di Venezia, Taipei, Taipei Fine Arts Museum, 1995. (Commissioners: Tsai Chin-fen &<br />
Paolo De Gr<strong>and</strong>is.<br />
Yang Wen-i & Enrico Pedrini, VOC: H<strong>and</strong>le with care [Huang Yongping & Yang Maolin], 1997 Taiwan pavilion:<br />
curated by Shih Ju-jen, 1999.<br />
Yang We-I & Chen, Odile (editors), VOC: H<strong>and</strong>le With Care, Huang Yong-ping & Yang Mao-lin, 48 th Biennale di<br />
Venezia, Taiwan, Lin & Keng Gallery, 1999.<br />
Kao Chien-hui, Taiwan pavilion at 49 th Biennale di Venezia, Taipei, Taipei Fine Arts Museum, 2001<br />
Lei Yi-ting (Editor), Limbo Zone: organized by Taipei Fine Arts Museum, 50 th Biennale di Venezia, Taipei, Taipei Fine<br />
Arts Museum, 2003. (Guest Curator: Lin Shu-min).<br />
Limbo Zone: organized by Taipei Fine Arts Museum, 50 th Biennale di Venezia, Exhibition Guide, Taipei, Taipei Fine<br />
Arts Museum, 2003. (Guest Curator: Lin Shu-min).<br />
Thail<strong>and</strong>:<br />
Poshyan<strong>and</strong>a, Apinan (Commissioner), Dreams <strong>and</strong> Conflicts: <strong>The</strong> Dictatorship <strong>of</strong> the Viewer,, Thai Pavilion, 5oth<br />
Biennale di Venezia,, Office <strong>of</strong> Contemporary Art & Culture, Ministry <strong>of</strong> Culture, Thail<strong>and</strong>, 2003. (Coordinators:<br />
Somsak Chowtadapong & Sam<strong>art</strong> Chansoon).<br />
Poshyan<strong>and</strong>a, Apinan (Commissioner), Those Dying Wishing to Stay, Those Living Preparing to Leave, Montien Boonma<br />
& Araya Rasdjarmrearnsook, Thai Pavilion, 51 st Biennale di Venezia, Office <strong>of</strong> Contemporary Art & Culture,<br />
Ministry <strong>of</strong> Culture, Thail<strong>and</strong>, 2005. (Curators: Panya Vijinthanasarn, Luckana & Sutee<br />
Kunavichayanont).<br />
United Kingdom:<br />
Bowness, Sophie; Phillpot, Clive, eds., Britain at the Venice Biennale, London, <strong>The</strong> British Council, 1995<br />
Britain <strong>and</strong> the São Paulo Bienal 1951-1991 / A Grã-Bretanha e a Bienal de São Paulo 1951-1991, with essays by<br />
Margaret Garlake <strong>and</strong> Guy Brett, <strong>The</strong> British Council Brazil, 1991.<br />
315
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Furlong, William et al, Venice Biennale 1999, Wimbledon, Wimbledon School <strong>of</strong> Art Research Centre in<br />
association with Audio Arts Magazine, 1999<br />
Furlong, William et al, Venice Biennale 2001: Research Symposium March 2000, Wimbledon, Wimbledon School <strong>of</strong><br />
Art Research Centre in association with Audio Arts Magazine, 2000<br />
Furlong William, et al, International; Venice Agendas 2003, a series <strong>of</strong> three breakfast meetings, Wimbledon, Wimbledon<br />
School <strong>of</strong> Art Research Centre in association with Audio Arts Magazine, 1999<br />
Biennales from an Asian perspective<br />
Burke, Gregory, ‘Distance Up Close: <strong>The</strong> Asian Biennials’, ArtAsiaPacific, no. 50, 2006.<br />
Maerkle, Andrew, ‘Curating by Committee: Behind Asia’s Biennials’, ArtAsiaPacific, no. 50, 2006.<br />
Sinha, Gayatri, ‘Locating Biennales, Revising Frameworks’, Art India, volume X, issue ii, qu<strong>art</strong>er ii, 2005.<br />
Other Catalogues consulted by Year <strong>of</strong> Publication [duplicates some sections above]<br />
1968<br />
When attitudes became form Bern, Szeeman, Harald, curator, Bern, Kunsthalle, 1968.<br />
1985<br />
Art in the 20 th Century, Painting <strong>and</strong> Sculpture 1905-1985, Joachimides, Christos M.; Rosenthal Norman; Schmied,<br />
Wiel<strong>and</strong>, German , London, Royal Academy <strong>of</strong> Arts & Munich, Prestel Verlag, 1985.<br />
Reconstructions: Avant-Garde Art in Japan 1945-1965, Kaido, K., <strong>and</strong> Elliott, D., Oxford, Museum <strong>of</strong> Modern Art,<br />
1985<br />
1987<br />
Beyond the open door, <strong>contemporary</strong> paintings from the People’s Republic <strong>of</strong> China, mostly chosen Nielsen, Waldemar A.,<br />
essay by Strassberg, Richard L., organized by Pacific Asia Museum, Pasadena, 1987.<br />
Peintres et Sculpteurs Chinois à Paris, Pierquin-Tian, Odile, typescript catalogue <strong>of</strong> exhibition, Paris, Centre de<br />
Recherches et de Documentation sur la Chine contemporaine, EHSS, 18 May to 3rd June 1987<br />
1989<br />
Magiciens de la terre, M<strong>art</strong>in, Jean-Hubert, overall curator, Paris, Centre Georges Pompidou, 1989<br />
Europalia 89: Japan in Belgium, Nakahara Yûsuke et al, Gent, Museum van Hedenndaagse Kunst, 1989. [Belgium,<br />
28.10.1989- 7.1.1990]<br />
Against Nature: Japanese Art in the 1980s, Halbreich, Kathy; Kômoto Shinji, Nanjô Fumio; Sokolowski, Thomas;<br />
New York, New York <strong>University</strong> Grey Art Gallery, 1989. [Toured USA, 15.6.1989-12..2.1991]<br />
1990<br />
Art Chinois 1990 Demain pour Hier curated by Fei Dawei, organized by Association Française d’Action Artistique<br />
& Les Domaines de l’Art, Pourrières & Editions C<strong>art</strong>e Segrete<br />
Tezuka Osamu ten = Osamu Tezuka , Osamu Tezuka, et al, Tokyo, Tokyo Kokuritsu Kindai Bijutsukan, 1990<br />
Japan Art Today, Namba Hideo, Okada Takahiko, Tokyo, Sezon Museum <strong>of</strong> Art, 1990. [sent to Sc<strong>and</strong>inavia,<br />
24.1.1990-25.8.1991]<br />
Japansicher Kunst der Achtziger Jahre, Kondô Yukio; Nanjô Fumio; Weiermaier, Peter; Frankfurt, for the<br />
Frankfurter Kunstverein, Edition Stemmle, 1990. , [Frankfurter Kunstverein then 15.2.1991-7.4.1991,<br />
Museum der <strong>modern</strong>er Kunst, Wien]<br />
A Primal Spirit, Hara Toshio; Fox, Howard T., Tokyo, Hara Museum <strong>of</strong> Contemporary Art & Los Angeles, Los<br />
Angeles County Museum <strong>of</strong> Art, 1990. [USA, toured 10.3.1990-22.9.1991]<br />
1991<br />
Exceptional Passage curated by Fei Dawei, Fukuoka Art Museum<br />
“I don’t want to play cards with Cézanne” <strong>and</strong> other works¸ selections from the Chinese “New Wave” <strong>and</strong> “Avant-Garde” <strong>art</strong> <strong>of</strong><br />
the eighties, curated by Strassberg, Richard L., essays by Zheng Shengtian,Tang Qingnian, Lee Ou-fan,<br />
organized by Pacific Asia Museum.<br />
Gebrochene Bilder, Junge Kunst aus China: Selbstdarstellungen, Köppel-Yang, M<strong>art</strong>ina; Schneckman Peter; Schneider,<br />
Ernst R.; Heidelberg, Gesellschaft für Kulturaustausch mit Asien, 1991<br />
Annear, Judy, Tatehata Akira; Zones <strong>of</strong> Love, <strong>Sydney</strong>, Museum <strong>of</strong> Contemporary Art, 1991. [Australia, 5.1991-<br />
9.1992<br />
316
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
1992<br />
New Art From China curated by Claire Roberts, Art Gallery <strong>of</strong> New South Wales, 1992.<br />
Artists Regional Exchange, Perth, April 1992: Four Views’: Binns, Vivienne, ‘Culture as Transformation’ ; Howard,<br />
Ian, ‘Towards a Legitimate Interest’; Kirker, Anne, ‘A Dialogue with Thail<strong>and</strong>’; <strong>and</strong> Jones, Adrian,<br />
‘Managing ARX’, Artlink, Vol. 12, No.3, Spring 1992<br />
1993<br />
China Avant-Garde, Pöhlmann, Wolfger et al, Berlin, Haus der Kulturen der Welt& Editions Braus [Berlkin 20<br />
January -16 May, Oxford 4 September-24 October], 1993<br />
Fragmented Memory: <strong>The</strong> Chinese Avant Garde in Exile curated by Andrews, Julia, F.; Gao Minglu, organized by<br />
Wexner Center for the Arts<br />
Silent Energy: curated by David Elliott <strong>and</strong> Lydie Mepham, organized by Museum <strong>of</strong> Modern Art, Oxford.<br />
China’s New Art, Post 1989, with a retrospective from 1979-1989curated by Chang Tsong-zung & Li Xianting,<br />
organized by Han<strong>art</strong> TZ Gallery, Hong Kong.<br />
1994<br />
Out <strong>of</strong> the Centre: Chinese Contemporary Art curated by Ho Hanru, Pori Art Museum, Pori [Finl<strong>and</strong>]<br />
Scream against the sky: Japanese Art after 1945, Munro, A., et al., New York, Harry N. Abrams, 1994<br />
1995<br />
Contemporary Art <strong>of</strong> the Non-Aligned Countries 1995, Jak<strong>art</strong>a, Indonesia: Programme Book, 1995<br />
Contemporary Art <strong>of</strong> the Non-Aligned Countries 1995, Jak<strong>art</strong>a, Indonesia: Catalogue, 1995<br />
Contemporary Art <strong>of</strong> the Non-Aligned Countries 1995, Jak<strong>art</strong>a, Indonesia: Contemporary Balinese Art: Continuity in Change,<br />
1995<br />
Contemporary Art <strong>of</strong> the Non-Aligned Countries 1995, Jak<strong>art</strong>a, Indonesia: Inity in Diversity in International Art, Seminar<br />
Proceedings, 1995<br />
Quotation Marks”: Chinese Contemporary Paintings, Ronte, Dieter; Smerling, Walter et al, , Singapore, Singapore Art<br />
Museum, 1995; also published as Dieter Ronte, Walter Smerling, Evelyn Weiss ; mit Beiträgen von Chang<br />
Tsong-zung, et al. China : zeitgenössische Malerei, Köln : DuMont, 1996.<br />
New Asian Art Show, Huang Zhuan, et al Tokyo, Japan Foundation Forum & Osaka, Kirin Plaza, 1995.<br />
Art Taiwan, Yang Wen-i, Jose Nicholas eds., Taipei, Taipei Fine Arts Museum & <strong>Sydney</strong>, Museum <strong>of</strong><br />
Contemporary Art, <strong>Sydney</strong>, 1995.<br />
Sengo bunka no kiseki / Japanese culture <strong>of</strong> the Postwar Years, 1945-1995, Meguro-ku Bijutsukan henshû, Tokyo Asahi<br />
Shinbum, 1995<br />
1996<br />
Reckoning with the past, curated by Chang Tsong-zung, essays by John Clark, Yan Shanchun, organized by <strong>The</strong><br />
Fruitmarket Gallery, Edinburgh<br />
Inklusion/Exklusion: Kunst im Zeitalter von Postkolonialismus und Globaler Migration, Weibel, Peter, curated , Graz,<br />
Neue Galerie 1996<br />
1997<br />
Parisien(ne)s, included Chen Zhen, Huang Yongping, Shen Yuan (curated by Hou Hanru, organized by Camden<br />
Arts Centre)<br />
Another Long March: Chinese Conceptual <strong>and</strong> Installation Art in the Nineties, curated by Marianne Brouwer & Chris<br />
Driessen, texts by Fei Dawei, Hou Hanru, Tang Di, organized by Fundament Foundation Breda].<br />
Secession: Cities on the Move curated by Hou Hanru <strong>and</strong> Hans-Ulrich Obrist, organized by Wiener Secession & capc<br />
Musée d’<strong>art</strong> contemporain de Bordeaux<br />
<strong>The</strong> Birth <strong>of</strong> Modern Art in Southeast Asia: Artists <strong>and</strong> Movements, Ushiroshôji Masahiro, supervising curator:<br />
Fukuoka Art Museum, 1997<br />
1998<br />
Cream: Contemporary Art <strong>and</strong> Culture, London <strong>and</strong> New York, Phaidon, 1998<br />
Die Hälfte des Himmels curated by Werner, Chris; Qiu Ping; Pitzen, Marianne, organized by Frauenmuseum Bonn<br />
Gro schwanzelefant / Big Tail Elephant, curated by Fibicher, Bernard, Bern, Kunsthalle 1998.<br />
Chinese Contemporary, 96-98 curated by Colman, Julia; Bois, Ludovic, organized by Chinese Contemporary<br />
Limited.<br />
317
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
Modern Boy, Modern Girl: Modernity in Japanese Art, 1910-1935, Menzies, Jackie, ed., (co-curated by Ajioka, Clark,<br />
Menzies, Mizusawa); <strong>Sydney</strong>, Art Gallery <strong>of</strong> New South Wales, 1998.<br />
Per Video, Keusen, Elle; Schmidt, Inge; Weihs, Helge; Köln, Museum Ludwig, 1998<br />
Inside Out, New Chinese Art, curated <strong>and</strong> written by Gao Minglu, New York, Asia Society & Berkeley, <strong>University</strong><br />
<strong>of</strong> California Press, 1998<br />
1999<br />
Art at the Turn <strong>of</strong> the Millennium, Burkhard Riemschneider <strong>and</strong> Uta Grosenick, ed., Köln, Taschen, 1999<br />
ARX 5, Lee Weng Choy, ‘Misunderst<strong>and</strong>ing <strong>art</strong>’, Art AsiaPacific, 23, 1999;<br />
ARX 5, Lenzi, Iola, ‘Process <strong>and</strong> Politics’, Art AsiaPacific, 23, 1999<br />
China 1999 organized by Limn Gallery, San Francisco<br />
Cologne-Beijing, Beijing-Cologne Exchange Exhibition curated by Tang Xin & Urle U., organized by Gothaer<br />
Kunstforum, Köln]<br />
Logan Collection, organized by Limn Gallery, San Francisco<br />
Melbourne Biennale [China curated by Huang Du]<br />
Modern Chinese Art curated by Hans van Dijk, essay by John Clark, organized by Modern Chinese Art<br />
Foundation<br />
Representing the People Curated by Smith, Karen & Pi Li, organized by <strong>The</strong> Courtyard Gallery &Newcastle, Tyne<br />
<strong>and</strong> Weir Museums<br />
Transience: Chinese Art at the End <strong>of</strong> the 20th Century [curated by Wu Hung, Sm<strong>art</strong> Museum <strong>University</strong> <strong>of</strong> Chicago<br />
Truths from the Open Door: Chinese Conceptual Photography, curated by Wu Meichun, Zheng Shengtian, Art Gallery <strong>of</strong><br />
Chulalongkorn <strong>University</strong><br />
Toi Toi Toi, Kassel 1999, Garrett, Louise ‘Toi Toi Toi’, Art AsiaPacific, 23, 1999<br />
Transience: Chinese Art at the End <strong>of</strong> the 20th Century, Wu Hung curated, Chicago, Sm<strong>art</strong> Museum <strong>University</strong> <strong>of</strong><br />
Chicago, 1999.<br />
Vielfaches echo (manifold echoes),Stuttg<strong>art</strong>, 1998, Hynes, Victoria, ‘Manifold Echoes’, Art AsiaPacific, 22, 1999<br />
2000<br />
Fresh Cream: Contemporary Art <strong>and</strong> Culture, London <strong>and</strong> New York, Phaidon, 2000Paris pour escale, curated by Hou<br />
Hanru & Evelyne Jouanno, organized by Musée d’Art Moderne de la Ville de Paris]<br />
Exhibiting Experimental Art in China, curated by Wu Hung, organized by Sm<strong>art</strong> Museum, <strong>University</strong> <strong>of</strong> Chicago<br />
Fresh Cream Williams, Gilda, ed., London, Phaidon, 2000<br />
Shanghe Meishuguan / Upriver Gallery, Tianjin, Tianjin Shehui Kexueyuan Chubanshe, 2000<br />
Papunya Tula: Genesis <strong>and</strong> Genius¸ Perkins, Hetti; Fink, Hannah, <strong>Sydney</strong>, Art Gallery <strong>of</strong> New South Wales in<br />
association with Papunya Tula Artists, 2000.<br />
2001<br />
Living in Time 29 zeitgenössische Künstler aus China curated by Hou Hanru, Fan Di’an, Gabriele Knapstein, organized<br />
by National galerie im Hamburger Bahnh<strong>of</strong> Museum für Gegenw<strong>art</strong>, in cooperation with the Ministry <strong>of</strong><br />
Culture <strong>of</strong> PRC <strong>and</strong> China International Exhibition Agency<br />
Makabe Kaori, Mikami Yutaka, Yokohama Triennale Office, eds, Yokohama Triennale 2001, Yokohama, 2001<br />
Huang Zhuan, Pi Li, Tuxiang jiushi liliang / Image is Power, [at He Xiangning Art Museum] Changsha, Hunan<br />
Meishu Chuban she, 2001<br />
Jay, Sian E., ‘Emerging visions’, Asian Art News, vol.11, no2, 2001 (Nokia Art Awards)<br />
2002<br />
Chen Tong, Look, Exhibition Catalogue, Guangzhou, <strong>The</strong> gallery <strong>of</strong> Guangzhou Fine Art Academe, 2002<br />
Hu Fang (Curator), L<strong>and</strong>scape <strong>of</strong> Sur-consuming, Exhibition Catalogue, Guangzhou, Vitamin Creative Space, 2002<br />
Jewyo Rhii, Warming <strong>and</strong> Humidifying, Korea 2002<br />
Paris-Pékin Curated by Chang Tsong-zung, organized by Gallery Enrico Navarra, published by Chinese Century<br />
Report <strong>of</strong> the International Symposium 2002, ‘Asia in Transition: Representation <strong>and</strong> Identity’, Japan, <strong>The</strong> Japan<br />
Foundation Asia Center, 2002;<br />
Stay in Shanghai 2002, Exhibition Catalogue, Shanghai, EastLink Gallery, 2002<br />
<strong>The</strong> Shine <strong>of</strong> the City Contemporary Art Exhibition 2002, Exhibition Catalogue<br />
Yasuko, Furuichi, “Asia in Transition: Representation <strong>and</strong> Identity”, Japan Foundation Asia Center, 2002<br />
318
Bibliography <strong>of</strong> Modern <strong>and</strong> Contemporary Asian Art<br />
©John Clark, 2010<br />
2003<br />
Art/34/Basel/18-23/6/03, Media Documents, Basel, 2003<br />
Basel 2003, Clark, John, ‘Art 34 Basel’, in Art AsiaPacific, Issue 38, Fall 2003, p.48-49.Cream 3: Contemporary Art<br />
<strong>and</strong> Culture, London <strong>and</strong> New York, Phaidon, 2003<br />
How latitudes become forms curated by Philippe Vergne, Chinese Advisor, Hou Hanru, organized by Walker Art<br />
Center<br />
Alors, la Chine? curated by Chantal Béret, Alain Sayag, Pi Li et al, organized by Centre Pompidou Paris.<br />
A Strange Heaven: Contemporary Chinese Photography curated by Petr Nicoma & Chang Tsong-zung, organized by<br />
Hong Kong, Asian Art Archive & Paris, Galleries Enrico Navarra<br />
Chinese Maximalist/ Tongue judo shay, Gao Minglu, Beijing, Millennium Art Museum & Buffalo, State <strong>University</strong> <strong>of</strong><br />
New York at Buffalo Art Gallery; catalogue Chongqing, Chongqing Chubanshe, 2003<br />
Shangh<strong>art</strong> 2003, Catalogue <strong>of</strong> <strong>art</strong>ists represented by ShangART, Shanghai, 2003<br />
Zhang Baoquan & Gu Zhenqing (Editors), Second h<strong>and</strong> Reality: Pre-Reality – an exhibition <strong>of</strong> <strong>contemporary</strong> <strong>art</strong> at the<br />
Today Art Gallery, Hong Kong, China Today Gallery Publishing House Ltd, 1993 (Curator: Gu Zhenqing)<br />
Zhang Baoquan & Gu Zhenqing (Editors), Second h<strong>and</strong> Reality: Post-Reality – an exhibition <strong>of</strong> <strong>contemporary</strong> <strong>art</strong> at the<br />
Today Art Gallery, Hong Kong, China Today Gallery Publishing House Ltd, 1993 (Curator: Gu Zhenqing)<br />
2004<br />
Contemporary Taiwanese Art in the Era <strong>of</strong> Contention ,curated by Pan An-yi, [with catalogue essays by Yan Chuanying,<br />
Hsiao Chong-ray], Taipei, Tapiei Fine Arts Museum & Ithaca, Herbert F. Johnson Museum <strong>of</strong> Art,<br />
2004<br />
Between Past <strong>and</strong> Future: new photography <strong>and</strong> video from China, Wu Hung & Phillips, Christopher, Göttingen, Steidl<br />
Publishers, 2004.<br />
<strong>The</strong> Monk <strong>and</strong> the Demon: Contemporary Chinese Art, Fei Dawei et al, [Exhibition in Lyon & Guangdong] Milan, 5<br />
Continents Editions, 2004<br />
China Dream: Another Flow in Chinese Modern Art, Rawanchaikul Toshiko & Horikawa Lisa, eds. , Fukuoka,<br />
Fukuoka Asian Art Museum, 2004<br />
Ham Jin, Catalogue in conjunction with the exhibition Aewan, Seoul, pkm Gallery, 2004 (Essay by Iris Moon).<br />
2005<br />
Cubism in Asia, unbounded dialogues, Tatehata Akira et al, Tokyo, <strong>The</strong> Japan Foundation, 2005<br />
Jung Yeondoo, Dreams come true, almost, Seoul, Kukje Gallery, 2005.<br />
Little boy: the <strong>art</strong>s <strong>of</strong> Japan's exploding subculture, Murakami Takashi, ed., New York: Japan Society & New Haven:<br />
Yale <strong>University</strong> Press, 2005<br />
Mahjong: Contemporary Chinese Art from the Sigg Collection, Fibicher, Bernard; Frehner, Matthias, ed., Ostfildern-Ruit,<br />
Hatje Cantz, 2005<br />
2006<br />
Gong Mingguang, ed., Entry Gate: Chinese Aesthetics <strong>of</strong> heterogeneity, 2006 MoCA Envisage, [Bilingual Catalogue]<br />
Shanghai, Shanghai Shuhua Chubanshe, 2006,<br />
Second Shanghai Duolun Exhibition <strong>of</strong> Yong Artists, [Bilingual catalogue], Shanghai, Duolun Museum, 2006,<br />
[curators: Biljiana Ciric, Huang Yuelin, Tang Dixin].<br />
319