000			01918nam a2200193Ia 4500
005			20250425110119.0
008			240822s9999 xx 000 0 und d
020			_a9781350254015 _qpbk
041			_aeng
082			_a709.51 _bGLA
100			_aGladston, Paul
245		0	_aContemporary Chinese Art, Aesthetic Modernity and Zhang Peili: towards A Critical Contemporaneity _c/ Paul Gladston
260			_bBloomsbury Academic, _c2021 _aLondon,
300			_a239 p. _b: ill. _c; 24 cm.
504			_aBib and Ref
520			_aIn recent decades the previously assumed dominance within the international art world of western(ized) conceptions of aesthetic modernity has been challenged by a critically becalming diversification of cultural outlooks widely referred to as 'contemporaneity'. Contributing to that diversification are assertions within mainland China of essential differences between Chinese and western art. In response to the critical impasse posed by contemporaneity, Paul Gladston charts a historical relay of mutually formative interactions between the artworlds of China and the West as part of a new transcultural theory of artistic criticality. Informed by deconstructivism as well as syncretic Confucianism, Gladston extends this theory to a reading of the work of the artist Zhang Peili and his involvement with the Hangzhou-based art group, the Pond Association (Chi she). Revealed is a critical aesthetic productively resistant to any single interpretative viewpoint, including those of Chinese exceptionalism and the supposed immanence of deconstructivist uncertainty. Addressing art in and from the People's Republic of China as a significant aspect of post-West contemporaneity, Gladston provides a new critical understanding of what it means to be 'contemporary' and the profound changes taking place in the art world today.
650			_aArt, Chinese Foreign influences
942			_cREF
999			_c528196 _d528196