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经历了数年有关所谓世界主义和全球视觉文化后的胡扯闲谈后,中国当代艺术作为一个独特的研究和学术对象,又绝地反击,重新回到了视野之中。这个春天(或者更确切地说,这个学期)迎来了两本有关中国当代艺术史的新著作,两者可能都最适用于学院里。历史学家和策展人巫鸿的新书《中国当代艺术》带来了一个从文化大革命结束至今的直观历史回顾,囊括了近五年来的新正统历史,例如对上世纪70年代中期无名画会的回顾、对离散群体更为广泛的认识,以及千年后的所谓
After years of crazily talked about so-called cosmopolitanism and global visual culture, as a unique research and academic object, Chinese contemporary art has never stopped fighting back and returned to the field of vision. This spring (or more precisely, this semester) ushered in two new books on the history of contemporary Chinese art, both of which may be best suited to college. Historian and curator Wu Hung’s book “Chinese Contemporary Art” brought an intuitive historical review from the end of the Cultural Revolution to the present, encompassing the new orthodox history of the past five years, such as the unnamed painting of the last 70 years of the last century A broader understanding of the dispersed groups and the so-called after millennium