MODERN AND CONTEMPORARY ASIAN ART - University of Sydney

MAILAND CHINA, 1911 to PRESENT
23
Albums
Between the thunder and the rain: Chinese paintings from the Opium War to the Cultural Revolution, 1840-1979, San
Francisco, Asian Art Museum, 2000
Bobot, M.-T., Collection des Peintures et Calligraphies Chinoises Contemporaines, Paris, Musée Cernuschi, 1985
Brown, Claudia; Chou Ju-hsi; Transcending turmoil: painting at the close of China‘s empire, 1796-1911, Phoenix,
Phoenix Art Museum, 1992.
Eliséef, V., Exposition de la Peinture Moderne Chinoise, Paris, Musée Cernuschi, 1946
Eliséef, V., Quatre Artistes Chinoises Contemporaines, [Pan Yu-lin, Lam Oi, Ou Seu-tan, Shing Wai], Paris,
Musée Cernuschi, 1977
Eliséef, V., Peintures Chinoises Traditionelles, 1975-80, Paris, Musée Cernuschi, 1981
Ellsworth, R.H. et al, Later Chinese Painting and Calligraphy, 1800-1950, 3 volumes, New York, Random
House, 1987
Hajek, L., Hofmeister, A., Chinesische Malerei der Gegenwart,Prague, Artia, 1959
Hua Junwu,ed., Contemporary Chinese Painting, Beijing, New World Press, 1981
Moss.H., ed.,The Experience of Art, Hong Kong, Umbrella, 1983
Strassberg, R.E., Nielsen, W.A., Beyond the Open Door, Pasadena, Pacific Asia Museum, 1987.
Strassberg, R.E., Beyond the Open Door II, Pasadena, Pacific Asia Museum, 1991.
Sun Jie, ed., A Selection of Contemporary Chinese Painting, Beijing, Zhao Hua Publishing House, 1981
Tam, L.S., ed., Twentieth Century Chinese Painting, Hong Kong, Hong Kong Museum of Art, 1984
Tao Yongbai, ed., Oil Painting in China 1700-1985, Jiangsu Meishu Chubanshe, 1988
Whitfield, R., Chinese Traditional Painting, 1886-1966, London, Royal Academy of Arts, 1982
Individual Artists
For lists of albums see the bibliography in Kao, Mayching,ed, Twentieth Century Chinese Painting, Hong
Kong, Oxford University Press, 1988 for a list of artists‘ albums, and for other lists of
reproductions see Laing, E.J., An Index to Reproductions by Twentieth Century Artists, Portland,
Oregon, 1984. The publishing industry in both the People‘s Republic and Taiwan has also
produced many single-artist multi-volume series in the 1990s.
A number of artist‘s names become homonyms in English although written with different characters in
Chinese. To obviate lengthy explanation in these cases I have simply identified the artist the
medium or type of work e.g. Liu Wei, painter and Liu Wei, video installation, are two different
artists working in those media whose personal names are actually written with different characters
even though their surnames are identical. Sometimes the same artists also appears in later
sections by country under ‗Asian Artists Transnational Activity‘.
Ai Wei Wei: Chen Weiqing, ed., Fragments: Beijing, 2006, Hong Kong, Timezone 8, 2007; review,
Artforum, vol. 45, Iss. 1, 2006; Adjaye, David, ‗Ai Wei Wei: House and Studio, Beijing‘, Artforum,
vol. 44, Iss. 3, 2005; ‗Ai Wei Wei Urs Meile Gallery‘ (review) Flash Art, vol. XXXIX, no. 249,
July-September, 2006; Colonello, Nataline, ‗Ai Weiwei: Beyond the Checkmate‘ in Art Asia Pacific,
No. 40 (Spring 2004), pp. 52-58; Merewether, Charles, ed., Ai Weiwei Works: Beijing, 1993-2003,
Hong Kong, Timezone 8, 2004. ; Merewether, Charles, ‗Ai Weiwei. The Freedom of Irreverence‘,
in ArtAsiaPacific, No. 53, May/June, 2007, pp. 108 – 111. ; King, Natalie, ‗The is no future: An
interview with Ai Weiwei‘, in art & Australia, vol. 45, no. 4, Winter 2008, June/July/August, pp.
546 – 549; Coggins, David, ‗Ai Weiwei‘s Human Conceptualism‘, in Art in America, September
2007, pp. 126 – 131; Eccles, Jeremy, ‗Ai Weiwei: Under Construction‘, in Art Monthly Australia,
Issue No.: 211, July 2008, pp. 21 – 24. Berghuis, T. ‗Ai Weiwei: China‘s Social Consciousness‘, C-
Arts Asian Contemporary Art and Culture, Vol 04, July-August 2008. ; ‗Interview with Ai Wei Wei‘