MODERN AND CONTEMPORARY ASIAN ART - University of Sydney

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Art Institutions – China (entries after 2005)
Fouraux, Alain, ‗Guangdong Museum of Art‘, Yishu: Journal of Contemporary Chinese Art, vol. 5, no. 1,
2006.
Movius, Lisa, ‗Shanghai gets Contemporary‘ Art in America, vol. 93, iss. 10, Nov 2005.
Movius, Lisa, ‗Art Centre Opens in Shanghai‘, Art in America, vol. 93, iss. 6, Jun-Jul 2005.
Norton, Lisa, ‗Documenta 12 Magazines Feature on Education. A Response to the Yan‘an Forum on
Education in China‘ in Yishu. Journal of Contemporary Chinese Art, v. 6(1), March, 2007, pp. 57 - 61.
Wallace, Brian, et.al., eds., To the Watchtower: Red Gate Gallery and Contemporary Art in China, Hong Kong,
Timezone 8, 2007 (Forthcoming)
Zheng Shengtian, ‗Interview with Samuel Kung, Chairman and Director, Museum of Contemporary
Art, Shanghai‘, Yishu: Journal of Contemporary Chinese Art, vol. 5, no. 4, Dec 2006.
Chinese Graphic Art since the Late 19th Century to 1949
Barbizet-Lemmonnier, Laure. La colletion de gravures sur bois chinoises du Musee de Deux Guerres Mondiales,
1937 – 1948. Paris, Université de Paris, Bibliothque de documentation internationale
contemporaine, 1981.
Bo Songian, and Johnson, David. Domesticated Deities and Auspicious Emblems: The Iconography of Everyday
Life in Village China. Berkeley: University of California at Berkely Chinese Popular Culture
Project, 1992.
Buck, P.S., China in Black and White, New York, Asia Press/John Day, 1944
Cathcart, Adam, ‗Atrocities, Insults, and ―Jeep Girls‖: Depections of the U.S. Military in China 1945 –
1949‘, in International Journal of Comic Art, vol. 10, no. 1, Spring, 2003, pp. 140 – 154.
Clark, John, ‗Progress in Prints‘ Asian Art News, vol.7, no.1, Jan/Feb 1997
Dal Lago, Francesca, Between High and Low: Modernism, Continuity, and Moral Mission in Chinese Printmaking
Practices, 1930 – 1945, Unpublished PhD Thesis, Institute of Fine Arts, New York University,
2005.
Dixon, Christine, ‗Peter Townsend in China and Canberra: The Peter Townsend Collection of Chinese
Woodcuts in the National Gallery of Australia‘, Art Monthly Australia, no. 193, September 2006.
Dixon, C., Chinese Woodcuts of the Thirties and Forties, [checklist], Canberra, Australian National Gallery,
1987
Epstein, I., I visit Yenan, Bombay, People‘s Publishing House, April 1945, [reproductions of woodblocks
and New York Times reports of 1944].
Holm, D., Art and Ideology in Revolutionary China, Oxford, Clarendon Press, 1991 [also see ‗The woodcut
movement, 1930-1943‘, Chapter Four in his Oxford University Ph.D. thesis which was not
included in this published version].
Flath, James A., Printing Culture in Rural North China, PhD diss., University of British Columbia, 2000
Flath, James, The Cult of Happiness: Nianhua, Art, and History in Rural North China. Vancouver, University
of British Columbia, 2004.
Flath, James. ‗‗It‘s a Wonderful Life‘: Nianhua and Yuefenpai at the Dawn of the People‘s Republic‘, in
Modern Chinese Literature and Culture, v. 6(2), Fall 2004, pp. 123 – 159.
Goodrich, Anne Swann, Peking Paper Gods: A Look at Home Worship. Monumenta Serica Monograph
Series no. 23. Nettetal, Steyler Verlag, 1991.
Hung, Chang-Tai, ‗Repainting China: New Year Prints (Nianhua) and Peasant Resistance in the Early
Years of the People‘s Republic‘, in Comparative Studies in Society and History 42(4), October 2000,
pp. 770 – 812.
Hung, Chang-Tai, ‗Twon Images of Socialism: Woodcuts in Chinese Communist Politics‘, in Society for
Comparative Studies of Society and History 1997, pp. 34 – 60.
Kotzenberg,H., Der Revolutionäre Holzschnitt Chinas, Köln, Museum fürOstasiatische Kunst, 1987
Laing, Ellen Johnston, Art & Aesthetics in Chinese Popular Prints: Selections from teh Muban Foudnation
Collection, Ann Arbor, Center for Chinese Studies The University of Michigan, 2002