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2015, vol. 7, iss. 2, pp. 191-200
Contemporary Chinese art: Mao's legacy and Danto's definition
City University of New York, New York
Keywords: contemporary Chinese art; West; Arthur Danto; end of art
Abstract
In this paper I am going to do three things: First, identify several themes in contemporary Chinese art that show its essentially social nature and its robust materialism. Second, suggest a way that contemporary art in China is post-modern in the way that Western art is and claim, moreover, that as different as the themes and recent history of this art are from contemporary Western art, the works satisfy a definition of art constructed by Arthur Danto. Finally, in a coda, I present the work of a woman artist that is unlike most recent Chinese and Western art. It positions itself at the far reaches of what art in China is and what Danto's definition allows at the same time that it suggests both the interiority of the practice of art and one way of being a woman.
References
Chunchen, W. (2010) Art Intervenes in Society: A New Artistic Relationship. New York
Danto, A. (1985) Narration and Knowledge. New York
Danto, A. (1986) The Philosophical Disenfranchisement of Art. New York
Danto, A. (1990) Encounters and Reflections: Art in the Historical Present. New York
Danto, A. (1992) Beyond the Brillo Box: the Visual Arts in Post-historical Perspective. New York
Danto, A. (2013) What Is Art?. New York
Danto, A. (1981) Transfiguration of the Commonplace. New York
Yao, P. (2008) In Production Mode: Contemporary Art in China. Blue Kingfisher
 

About

article language: English
document type: Original Scientific Paper
DOI: 10.5937/SAJ1502191B
accepted: 25/07/2015
published in SCIndeks: 10/07/2021