To the extent that Chinese contemporary art has become a global phenomenon, it is largely through the groundbreaking exhibitions curated by Minglu Gao: “China/Avant-Garde” (Beijing, 1989),
“Inside Out: New Chinese Art” (Asia Society, New York, 1998), and “The Wall: Reshaping Contemporary Chinese Art” (Albright-Knox Art Gallery, 2005) among them. As the first Chinese writer to
articulate a distinctively Chinese avant-gardism and modernity—;one not defined by Western chronology or formalism—Gao Minglu is largely responsible for the visibility of Chinese art in the
global art scene today.
Contemporary Chinese artists tend to navigate between extremes, either embracing or rejecting a rich classical tradition. Indeed, for Chinese artists, the term “modernity” refers not to a new
epoch or aesthetic but to a new nation—modernity inextricably connects politics to art. It is this notion of “total modernity” that forms the foundation of the Chinese avant-garde aesthetic,
and of this book.
Gao examines the many ways Chinese artists engaged with this intrinsic total modernity, including the ‘85 Movement, Political Pop, Cynical Realism, Apartment Art, Maximalism, and “The Museum
Age,” encompassing the emergence of local art museums and organizations as well as such major events as the Shanghai Biennial. He describes the inner logic of the Chinese context while locating
the art within the framework of a worldwide avant-garde. He vividly describes the Chinese avant-garde’s embrace of a modernity as one that unifies politics, aesthetics, and social life,
blurring the boundaries between abstraction, conception, and representation. Lavishly illustrated with color images throughout, this book will be a touchstone for all considerations of Chinese
contemporary art.
