TWENTIETH-CENTURY CHINESE ART BIBLIOGRAPHY
Weighted towards the late 20th century

Home Page | General Bibliography | Artists


General/Background

Asia Society. Chronologies for Mainland China, Taiwan, and Hong Kong, 1970-(http://www.asiasociety.org/arts/insideout/chronologies.html)

Calendar Posters of the Modern Chinese Woman 1910s-1930s. Hong Kong: Joint Publishing Co., 1994.

Cheng, Scarlet. "The Painted Photograph: An Exhibition of Contemporary Photography from China, Hong Kong, and Taiwan" (review). Asian Art News, vol. 4, no. 3 (May/Jun 1994), pp. 54-58.

Chu, Christina. "Twentieth Century Chinese Painting: Tradition and Innovation." 1995. http://www.maui.net/~cthyarts/articles/articles.html

Clark, John. Modern Asian Art. Sydney: Craftsman House and Honolulu: University of Hawai'i Press, 1998.

__________, ed. Modernity in Asian Art: The University of Sydney East Asian Series, no. 7. Broadway, New South Wales: Wild Peony, 1993.

__________. "Problems of Modernity in Chinese Painting." Oriental Art, new series, vol. 32, no. 3 (1986): 270-283.

Clarke, David. "Twentieth-Century Chinese Painting" (Review of Tradition and Innovation). ART AsiaPacific, no. 15 (1997), pp. 42-43.

Clunas, Craig. "Chinese Art and Chinese Artists in France, 1924-25." Arts Asiatiques 44 (1989), pp. 100-106.

Collection of the Exhibition of One Hundred Years of Portrait Painting in China (catalog, exhib. at China Art Gallery). Guangxi Fine Arts Pub. House, 1996.

Croizier, Ralph, ed. "Painting and the Arts." In China's Cultural Legacy and Communism. New York: Praeger, 1970.

__________, ed. "Policy Toward the Cultural Legacy." In China's Cultural Legacy and Communism. New York: Praeger, 1970.

Doar, Bruce and Susan Dewar. "From Tradition to Modernity." Asia-Pacific Sculpture News, vol. 1, no. 1 (Winter 1995), pp. 41-45.

Ellsworth, Robert Hatfield. Later Chinese Painting and Calligraphy, 1800-1950, 3 volumes. New York: Random House, 1986.

English-Chinese Dictionary of Fine Art. Shanghai: Shanghai Foreign Language Education Press, 1994.

Evolution and Revolution: Chinese Dress 1700s–1990s. Sydney?: Bookwise International, 1997.

Galikowski, Maria. Art and Politics in China 1949-1984. Hong Kong: Chinese University Press, 1998.

Guo Tong and Karen Smith; trans. by Smith and Pi Li. The Carved Image in China 1932-1992. Beijing: The CourtYard Gallery, 1998.

History of Chinese Oil Painting from Realism to Post-Modernism (catalog). Hong Kong: Schoeni Art Gallery, 1995.

Kang, Ha-Ku, ed. Modern Chinese Painting. Japan Publications, 1984.

Kao, Mayching, ed. "The Beginning of the Western-Style Painting Movement in Relationship to Reforms in Education in Early Twentieth-Century China." New Asia Academic Bulletin, vol. 4, pp. 373-400.

__________. "China's Response to the West in Art: 1898-1937." Doctoral dissertation, Stanford University, 1972.

__________, ed. Twentieth-Century Chinese Painting. Hong Kong: Oxford University Press, 1988.

Kraus, Richard Curt. Brushes with Power: Modern Politics and the Chinese Art of Calligraphy. Berkeley: University of California Press, 1991.

Kuo, Jason. Heirs to a Great Tradition. 1993.

Kuo, Jason S. T. "Taiwan Sculpture: Growing up and Moving on." Asia-Pacific Sculpture News, vol. 1, no. 1 (Winter 1995), pp. 34-40.

Lachman, Charles. "‘The Image Made by Chance' in China and the West: Ink Wang Meets Jackson Pollock's Mother." Art Bulletin, vol. 74, no. 3 (September 1992), pp. 499-510.

Laing, Ellen Johnston. An Index to Reproductions of Paintings by Twentieth-Century Chinese Artists. Eugene: University of Oregon Asian Studies Program, Publication no. 6, 1984.

Landsberger, Stefan. Chinese Propoganda Posters, from Revolution to Modernization. New York: M. E. Sharpe, 1995.

__________. "Stefan Landsberger's Chinese Propaganda Poster Pages." http://homepages.infoseek.com/~landsber.html

Li Chao __. A History of Oil Painting in Shanghai _____. Shanghai: Shanghai People's Fine Arts Publishing House, 1995.

Li, Chu-tsing. Trends in Modern Chinese Painting (The C.A. Drenowatz Collection). Ascona: Artibus Asiae Supplementum 36, 1979.

Liao Wen, curator. Personal Touch (catalog). Tianjin: TEDA Contemporary Art Museum, 1998.

__________, "Tumultuous History of China's Feminist Values and Art,""Chinese Type" Contemporary Art Online Magazine, vol. 1, issue 2 (Jan. 1998). http://www.chinese-art.com/volume1issue2/

Lust, John. Chinese Popular Prints. Leiden: E.J. Brill, 1996.

Paintings Collected by the Museum of Chinese Revolution. Cultural Relics Pub. House, 1991.

Pang Tao, ed. The Storm Society and Post-Storm Art Phenomenon. Taipei: Chin Show Publishing Co., 1997.

A Retrospective Exhibition of Oil Painting in Shanghai (catalog). Shanghai: Shanghai Museum of Art, 1995.

Sullivan, Michael. Art and Artists of Twentieth Century China. Berkeley and Los Angeles: University of California Press, 1996.

__________. The Meeting of Eastern and Western Art. Berkeley and Los Angeles: University of California Press, 1989.

Tao Yongbai and Li Jianguo. Zhongguo youhua 1700-1985 (Oil Painting in China 1700-1985). Nanjing: Jiangsu Meishu Chubanshe, 1988.

Totalitarnoe iskusstvo. Moscow: 1994.

Tseng, Yu-ho. Some Contemporary Elements in Classical Chinese Art. Honolulu: University of Hawaii Press, 1963.

Twentieth Century Chinese Painting: Tradition and Innovation. Hong Kong: Urban Council, 1995.

Vainker, Shelagh. Modern Chinese Paintings: The Reyes Collection in the Ashmolean Museum, Oxford. Oxford: Ashmolean Museum, 1996.

Wang Hanwen. The Best of Chinese Revolutionary Art Works. Tianjin: Tianjin People's Fine Arts Pub. House, 1994.

Wang Yanrong and Tao Hong. Luo Gongliu Oil Paintings (catalog for exhibition at Yanhuang Art Museum). Beijing: Dolphin Books, 1996.

Xianshi guanhuai yu yuyan biange: 20 shiji qianbanqi yige pubian guanzhu de meishu guoti ____________________________ (Concern for reality and transformation of art language: the specialized collection of fine arts from the early 20th century). Shenyang: Liaoning Fine Arts Publishing House, and the Guangdong Art Gallery, 1997.

Yu, Feian. Chinese Painting Colors: Studies of Their Preparation and Application in Traditional and Modern Times. Translated by Jerome Silbergeld and Amy McNair. Hong Kong: Hong Kong University Press/ Seattle: University of Washington Press, 1988.

Zhang Zuying. One Hundred Years of Portrait Painting in China (catalog, exhib. at Ch. Art Gallery). Tianjin: Tianjin People's Fine Arts Publishing House, 1997.

Zheng Sheng Tian. "The Historical Standings of the Hangchou School in 20th Century Chinese Art," in Christie's 20th Century Chinese Art Part I (auction Catalog). Taipei: Christie's, 25 October 1998.

__________, ed. Three Generations of Chinese Modernism: Qiu Ti, Pang Tao, Lin Yan. Vancouver: Art Beatus Gallery, 1998.

Zhongguo dangdai youhua (Chinese contemporary oil painting), vol. 1. Henan Fine Arts Publishing House, 1997.

Zhongguo dangdai youhua (Chinese contemporary oil painting), vol. 2. Henan Fine Arts Publishing House, 1997.

Zhongguo xiandai meishu quanji: youhua 4 ____________ (Complete collection of modern Chinese art: oil painting 4). Tianjin: Tianjin People's Art Publishing House, 1997.


Pre-Revolution/Older Generation Guohua

Andrews, Julia. "Judging a Book by Its Cover: Book Cover Design in Republican Shanghai." AAS Meeting, 1997, Session 29: Commercial Art and the Publishing Industry in Old Shanghai. http://www.aasianst.org/absts/1997abst/china/c29.htm

__________ and Kuiyi Shen. "Innovations in Chinese Painting (1850 - 1950)." Website for China: 5,000 Years, Guggenheim Museum SoHo, 1998. http://kaladarshan.arts.ohio-state.edu/exhib/gug/intr/innovintr.html

__________. "The Modernist Generations (1920-1950)." Website for China: 5,000 Years, Guggenheim Museum SoHo, 1998. http://kaladarshan.arts.ohio-state.edu/exhib/gug/intr/modintro.html

The Art of the Gao Brothers of the Lingnan School. Guangdong Painting Series 2. Hong Kong: Art Museum, The Chinese University of Hong Kong, 1995.

The Art of Xu Beihong. Hong Kong: Urban Council, 1988.

Chen Chi Kwan Paintings 1940-1980. Taipei: Art Book Co., 1981.

Clarke, David. "Exile from Tradition: Chinese and Western Traits in the Art of Lin Fengmian." Oriental Art, vol. 39, no. 4 (Winter 1993/94), pp. 22-29.

Croizier, Ralph. Art and Revolution in Modern China: The Lingnan (Cantonese) School of Painting, 1906-1951. Berkeley and Los Angeles: University of California Press, 1988.

Fu, Shen with Jan Stuart. Challenging the Past: The Paintings of Chang Dai-chien. Washington, D.C.: Arthur M. Sackler Gallery, 1991.

Fu, Shen. "Huang Binhong's Shanghai Period Landscape Paintings and His Late Floral Works." Orientations, vol. 18, no. 9 (September 1987), pp. 66-78.

Huang Yongyu and His Paintings. Beijing: Foreign Languages Press, 1988.

Janicot, Eric. "La Peinture Chinoise Moderne un Art à l'Écoute de l'Occident (1919-1948)." Gazette des Beaux-Arts, vol. 107, ser. 6 (May-June 1986), pp. 217-220.

Kuo, Jason C. Innovation within Tradition: The Painting of Huang Pin-hung. Hong Kong: Hanart Gallery; and Williamstown, Massachusetts: Williams College, 1989.

Lai, T. C. Ch'i Pai Shih. Seattle: University of Washington Press, 1973.

__________. Huang Bin Hong. Kowloon, Hong Kong: Swindon Book Company, 1980.

__________. Three Contemporary Chinese Painters: Chang Da-chien, Ting Yin-yung, Ch'eng Shih-fa. Kowloon, Hong Kong: Swindon Book Company, 1975.

Laing, Ellen Johnston. "Commodification of Art Through Exhibition and Advertisement." AAS Meeting, 1997, Session 29: Commercial Art and the Publishing Industry in Old Shanghai. http://www.aasianst.org/absts/1997abst/china/c29.htm

Lam, Oi. An Album by Huang Pin-hung. Museum of Far Eastern Antiquities Monograph Series, vol. 2. Stockholm: Museum of Far Eastern Antiquities, 1972.

Lao yuefenpai guanggao hua _______ (Illustrations on old calender advertisements), 2 vols. Taipei: Yingwen Hansheng Publishing Company, 1994.

Lim, Lucy, ed. Wu Guanzhong: A Contemporary Chinese Artist. San Francisco: Chinese Culture Foundation, 1989.

Link, Perry. "Money and Fiction in Shanghai, 1900-1920." AAS Meeting, 1997, Session 29: Commercial Art and the Publishing Industry in Old Shanghai. http://www.aasianst.org/absts/1997abst/china/c29.htm

Liao, Jingwen. Xu Beihong–Life of a Master Painter. Translated by Zhang Peiji. Beijing: Foreign Languages Press, 1987.

Shen Kuiyi. "Comics, Illustrations, and the Cartoonist in Republican Shanghai." AAS Meeting, 1997, Session 29: Commercial Art and the Publishing Industry in Old Shanghai. http://www.aasianst.org/absts/1997abst/china/c29.htm

Silbergeld, Jerome. Mind Landscapes: The Paintings of C.C. Wang. Seattle: University of Washington Press, 1987.

Strassberg, Richard E. Master of Tradition: The Art of Chang Ta-ch'ien. Pasadena: Pacific Asia Museum, 1983.

Su, Ying-hui. Tun-huang. Taipei: I-wen Yin-shu-kuan, 1976.

Wang, Bomin. "Huang Binhong's Clear Shades at Lake Pavilion and Other Paintings of ‘Darkness, Density, Thickness, and Heaviness." The Register of the Spencer Museum of Art, vol. 6, no. 3 (1986), pp. 20-31.

Wu Guanzhong: A Twentieth-Century Chinese Painter. London: British Museum Press, 1992.


Woodcut Movement, Wartime Art

Bader, A.L. "China's New Weapon–Caricature." The American Scholar, vol. 10 (1941), pp. 228-240.

Chen, Jack. "China's Militant Cartoons." Asia, vol. 45, no. 12 (December 1945), pp. 308-312.

__________. "Modern Chinese Paintings." Studio, no. 128 (August, 1944), pp. 50-54.

MacRitchie, Lewis. "Report on Wartime Painting in China." Pacific Art Review, vol. 4 (1945-1946), pp. 47-55.

The People's Progress: Twentieth Century Chinese Woodcuts (catalog). Sydney: Art Gallery of NSW, 1996.

Smith, Karen. "Image from the Wood Heart." Asian Art News, vol. 8, no. 5 (9-10/98), pp. 56-59.

Sullivan, Michael. "Recollections of Art and Artists in Wartime Chengdu." The Register of the Spencer Museum of Art, vol. 6, no. 3 (1986), pp. 6-19.

Sun, Shirley Hsiao-ling. "Lu Hsün and the Chinese Woodcut Movement: 1929-1935." Doctoral dissertation, Stanford University, 1974.

__________. Modern Chinese Woodcuts. San Francisco: Chinese Culture Foundation, 1979.


PRC: GENERAL AND 1949-1966

Andrews, Julia. Painters and Politics in the People's Republic of China, 1949-1979. Berkeley and Los Angeles: University of California Press, 1994.

__________. "Traditional Painting in New China." Journal of Asian Studies, 49, no. 3 (August 1990), pp. 555-585.

__________ and Kuiyi Shen. "Art for New China (1950 - 1980)." Website for China: 5,000 Years, Guggenheim Museum SoHo, 1998. http://kaladarshan.arts.ohio-state.edu/exhib/gug/indxs/new/newchinptg.html

Chang, Arnold. Painting in the People's Republic of China: The Politics of Style. Boulder, Colorado: Westview Press, 1980.

Fraser, Stewart E. 100 Great Chinese Posters. New York: Images Graphiques, 1977.

Kitaiskie sovremennye kartinyv traditionnom stiye (Contemporary Chinese Paintings in the Traditional Style). Beijing: Renmin Meishu Chubanshe, 1970 or earlier.

Laing, Ellen Johnston. The Winking Owl: Art in the People's Republic of China. Berkeley and Los Angeles: University of California Press, 1988.

Mao, Zedong. Mao Tse-tung on Literature and Art. Beijing: Foreign Languages Press, 1960.

Modern Paintings in the Chinese Style. Supplement to China Reconstructs, September 1960.

Powell, Patricia and Shitao Huo. Mao's Graphic Voice: Pictorial Posters from the Cultural Revolution. Madison, Wisconsin: Elvehjem Museum of Art, 1996.

Scott, A.C. "Painting and the Graphic Arts," in Literature and the Arts in Twentieth-Century China. Gloucester, Massachusetts: Peter Smith, 1968. (Reprint of 1963 Doubleday edition.)

Silbergeld, Jerome, with Gong Jisui. Contradictions: Artistic Life, the Socialist State, and the Chinese Painter Li Huasheng. Seattle: University of Washington Press, 1993.

Wan, Qingli. "Traditionalism, Reform and Modernism in Twentieth Century Chinese Painting." Orientations, vol. 23, no. 7 (July, 1992), pp. 22-27.


Cultural Revolution

"Art That Serves Proletarian Politics." China Reconstructs, February 1968, pp. 18-25.

Croizier, Ralph. "Chinese Art in the Chiang Ch'ing Era." Journal of Asian Studies, 38, pp. 303-311.

Hung, Lu. "Some Outstanding Peasant Paintings." Chinese Literature, 1977, no. 3, pp. 98-102, 8 pages of plates.

Leung, Kubert, director. Art in the Cultural Revolution: Establishment of a New Age [videorecording]. Production of REC Foundation. Published New York: Cinema Guild, 1997.

Li, Fenglan. "How I Began to Paint the Countryside." China Reconstructs, January 1974, pp. 21-23.

"Luta's Worker-Artists." China Reconstructs, August 1973, pp. 29-31.

"New Year Pictures on New Themes." China Reconstructs, February 1976, pp. 23-26, back cover.

Peasant Paintings from Hu County, Shensi Province, China. London: Arts Council of Great Britain, 1976.

Peasant Paintings from Husien County. Beijing: People's Fine Arts Press, 1976.

"Peasant Painters of Huhsien." China Reconstructs, January 1974, pp. 17-20.

Laing, Ellen Johnston. "Chinese Peasant Painting, 1958-1976: Amateur and Professional." Art International, vol. 27, no. 1, pp. 1-12.

Skoggard, Ross. "Report from China: Chinese Art, from Tao to Mao." Art in America, no. 64 (November-December 1976), pp. 52-55.

"Soldiers' Art." China Reconstructs, August 1976, pp. 40-44.

Sullivan, Michael. "Art in Today's China: Social Ethics as an Esthetic." Art News, vol. 73, September 1974, pp. 55-57.


1980's

Andrews, Julia and Kuiyi Shen. "Transformations of Tradition, 1980 to the Present." Website for China: 5,000 Years, Guggenheim Museum SoHo, 1998. http://kaladarshan.arts.ohio-state.edu/exhib/gug/intr/Transintro.html

Artists from China–New Expressions. (Cat.) Bronxville, NY: Sarah Lawrence College, 1987.

Beijing-New York Art Exhibition (catalog). Boston: Nielsen Gallery, 1988.

Chang, Arnold. "Modern Expressions of the Literati Aesthetic in Chinese Painting." Orientations, August 1986, pp. 33-43.

Chang, Tsong-zung. "Visionaries and Icon Painters: One Aspect of Hong Kong Contemporary Art." Renditions 29/30 (1988), pp. 275-292.

Chinesische Kunst im Exil, Kunststation Kleinsassen.

Cohen, Joan Lebold. "Art in China Today: A New Freedom–Within Limits." Art News, vol. 79, Summer 1980, pp. 60-68.

__________. "Art in the Service of the People." Orientations, October 1974, pp. 41-50.

__________. "Drawing a Harder Line." Art News, vol. 80, Summer (1981), pp. 188-190.

__________. "Learning to Paint in China." Art News, vol. 79, Summer (1980), pp. 72-75.

__________. The New Chinese Painting, 1949-1986. New York: Harry N. Abrams, 1987.

__________. Painting the Chinese Dream: Chinese Art Thirty Years After the Revolution. Northampton, Massachusetts: Smith College Museum of Art, 1982.

__________. "Three Chinese Artists: Realism and Beyond." Art News, vol. 79, Summer (1980), pp. 69-71.

__________. "Two Steps Forward, One Step Back." Art News, vol. 87, May (1988), pp. 123-125.

Contemporary Chinese Painting. Urbana-Champaign: Krannert Art Museum, 1988.

Contemporary Oil Paintings from the People's Republic of China. New York: The Harkness House, 1987.

Contemporary Vision of Landscape. Hong Kong: Kong Kong Museum of Art, 1982.

Croizier, Ralph. "Art and Society in Modern China–A Review Article." The Journal of Asian Studies 49, no. 3 (August 1990), pp. 586-602.

__________. "‘Going to the World': Art and Culture on the Cosmopolitan Tide." In Anthony J. Kane, ed. China Briefing, 1989. Boulder, San Francisco, and London: Westview Press, 1989.

__________. Qu Yuan and the Artists: Ancient Symbols and Modern Politics in the Post-Mao Era." The Australian Journal of Chinese Affairs 24 (July 1990), pp. 25-50.

Dangerous Chessboard Leaves the Ground (cat.), Toronto: Art Gallery of York University, 1987.

Fei, Dawei. "China/Avant-Garde" (interview by Meng Mei), Art Press 141 (November 1989), pp. 8, 28-34.

Gambrell, Jamey. "A Visit to the Central Art Institute in Beijing." Art in America, March 1985, pp. 133-137.

Gao, Minglu. "Chronology of Chinese Avant-Garde Art, 1979-1993." In Fragmented Memory: The Chinese Avant-Garde in Exile. Columbus, Ohio: Wexner Center for the Arts, The Ohio State University, 1993. Pp. 14-19.

__________. "Inside Out: New Chinese Art." "Chinese Type" Contemporary Art Online Magazine, vol. 1, issue 5 (September 1998). http://www.chinese-art.com/volume1issue5/special

__________, ed. Inside Out: New Chinese Art (catalog). Berkeley: University of California Press, 1998.

__________. "What is the Chinese Avant-Garde?" In Fragmented Memory: The Chinese Avant-Garde in Exile. Columbus, Ohio: Wexner Center for the Arts, The Ohio State University, 1993. Pp. 4-5.

Jeunes Peintres de Chine Populaire. Caen: Imprimerie Lafond, 1983. (Cat.)

Jose, Nicholas. "Notes from Underground: Beijing Art, 1985-1989," Orientations, vol. 23, no. 7 (July, 1992), pp. .

Lan, Jianan and Shi Jicai, comps. Cartoons for Contemporary China. Beijing: New World Press, 1989.

Lim, Lucy. Contemporary Chinese Painting: An Exhibition from the People's Republic of China. San Francisco: Chinese Culture Center, 1984.

__________. "Contemporary Chinese Painting: An Exhibition from the People's Republic of China." Art International, vol. 27, no. 3 (August 1984), pp. 2-16, 47, front cover.

__________, ed. Wu Guanzhong: A Contemporary Chinese Artist. San Francisco: Chinese Culture Center, 1989.

Lin, Xiaoping. "Contemporary Chinese Painting: The Leading Masters and the Younger Generation." Leonardo, vol. 20, no. 1 (1987), pp. 47-55.

Modern Chinese Prints from the Central Academy of Fine Arts, Peking. Preston: The Lancashire Polytechnic and The Harris Museum and Art Gallery, 1985?

Murray, Michael. Avant-Garde Chinese Art: Beijing/New York. New York, 1986.

Overseas Chinese Artists Exhibition. Taipei: Taipei Fines Arts Museum, 1984.

The Light of Wisdom: Paintings by Yuan Yunfu. Beijing: Foreign Languages Press, 1983.

Peintures Chinoises Traditionnelles 1975-1980. Paris: Musée Cernuschi, 1981.

Poemes & Art en Chine, Les "Non-Officiels", Doc(k)s 114.f, No. 41 (Winter 1981-82). (Paris, 1982.)

Pollard, David. "The Controversy over Modernism, 1979-1984." China Quarterly 85 (December 1985), pp. 641-656.

Selection of Sculptures by Ye Yushan. Sichuan Meishu Chubanshe, 1986.

The Sixth National Art Exhibition, 10/84 ___________ (catalog). Lingnan Meishu Chubanshe, c. 1984.

Staggs, Sam. "The Naked and the Damned." ARTNews, April 1989, pp. 24, 26.

The Stars: Ten Years. Hong Kong: hanart 2, 1989.

Strassberg, Richard E. and Waldemar A. Nielsen. Beyond the Open Door: Contemporary Paintings from the People's Republic of China. Pasadena, California: Pacific Art Museum, 1987.

__________, ed. "I Don't Want to Play Cards with Cézanne" and Other Works: Selections from the Chinese "New Wave" and "Avant-Garde" Art of the Eighties. Pasadena, California: Pacific Art Museum, 1991.

Sullivan, Michael. "New Directions in Chinese Art." Art International, vol. 25 (1982), pp. 40-58.

Van Dijk, Hans. "Painting in China after the Cultural Revolution: Style Developments and Theoretical Debates." China Information, vol. VI, No. 3 (Winter 1991-1992), pp. 25-43 and vol. VI, no. 4 (Spring 1992), pp. 1-18.

Wang Lin. New Realistic Paintings. 1988.

Wei, Liming. "Stripping Back Tradition: Nude Art Exhibition." Beijing Review, January 16-22, 1989, pp. 31-33.

"Wild Day at Beijing Art Show–Wierd Exhibits, Sculpture Shot." San Francisco Chronicle, February 6, 1989, sec. A-11.

Wilson, Pat and Michael Yahuda. "The Faithful Eye." pp. 30-35.

Xiao, Ping. "Four Jiangsu Painters and Their Works." The Register of the Spencer Museum of Art, vol. 6, no. 3 (1986), pp. 32-41.

Yu Shing-tak and Yang Shaoming, eds. Contemporary Chinese Photographs by Members of the China Modern Photo Salon 1985. Beijing: China Photographic Pub. House, 1985.s

Zhang Shaoxia and Li Xiaoshan. Zhongguo xiandai huihua shi. Nanjing: Jiangsu Meishu Chubanshe, 1986.


1990's

8 + 8 - 1 (catalog). Hong Kong: Schoeni Art Gallery, 1997.

‘89-'92 Contemporary Art of China. Jiangsu Fine Arts Publishing House, 1994.

The 1994 URARC Report. Beijing: NAAC, 1994.

1995 Kwangju Biennial: INFO-Art (catalog). Kwangju: City Museum, 1995.

Andrews, Julia. "Fragmented Memory: An Introduction." In Fragmented Memory: The Chinese Avant-Garde in Exile. Columbus, Ohio: Wexner Center for the Arts, The Ohio State University, 1993. Pp. 6-13.

Art Beãtus Website. http://www.artbeatus.com/english.html

Art Chinois, Chine Demain Pour Hier. (Catalog). Paris: Carte Secrete, 1990.

Artistic Digest, Issue 1 (4/94). (Hong Kong)

Asia Society. "New Chinese Art: ‘Inside Out'." http://www.asiasociety.org/arts/insideout/

Asian Avant-Garde (auction catalog). London: Christie's, King Street, 1998.

Avant-Garde Chinese Art, Beijing/New York. (Murray, Michael, intro.) (Catalog) New York: City Gallery, 1986. (City Gallery, July 24-August 30, 1986; Vassar College Art Gallery, Nov. 7-Dec. 8, 1986. (40 pp.; illus).)

Ba Huang (AKA Cai Rong). Temptations of Sunshine and Wilderness–Ba Huang. Sichuan Art Publishing House, 1994.

Barmé, Geremie. "Culture at Large: Consuming T-Shirts in Beijing." China Information, vol. VIII, nos. 1/2 (1993), pp. 1-44.)

__________. Shades of Mao: The Posthumous Cult of the Great Leader. London: M.E. Sharpe, 1996.

__________ and Linda Jaivin, eds. "An Exhibition of Anarchy: Postmodern Art in Peking," in New Ghosts, Old Dreams: Chinese Rebel Voices. New York: Times Books, 1992.

Barrie, Lita. "The Twain Shall Meet: Chinese Art and Western Influence." Visions, vol. 5, no. 2 (Summer 1991), pp. 34-35. (Review.)

Bell, J. Bowyer. "Double Kitsch: Painters from China" (review). Review: The Critical State of Visual Art in New York, March 15, 1998.

Bernell, Robert. "Interview: Ai Weiwei on CCAA, Identity and His Recent Conceptual Work,""Chinese Type" Contemporary Art Online Magazine, vol. 1, issue 6 (January 1999). http://www.chinese-art.com/volume1issue6/

Between Ego and Society: Exhibition of Contemporary Women Artists of China. Chicago: Artemisia Gallery, 1997. (Exhib. pamphlet.)

Between Earth and the Heavens: Aspects of Contemporary Japanese Art II. Nagoya: Nagoya City Art Museum, 1996.

la Biennale di Venezia. Identity and Alterity: Figures of the Body 1895/1995. Venice: Marsilio Editori, 1995.

Binks, Hilary. "A Curator's View" (interview with Hou Hanru). Asian Art News, vol. 8, no. 4 (Jul/Aug 1998), pp. 73-75.

__________. "No Longer One Image" (review of Between the Sky and the Earth). Asian Art News, vol. 8, no. 4 (Jul/Aug 1998), pp. 70-72.

Borysevicz, Mathieu. "Zhuang Hui's Photographic Portraits." ART Asia Pacific, issue 19 (1998), pp. 74-79.

__________. "Zhuang Hui's Photographic Portraits." Chinese Type" Contemporary Art Online Magazine, vol. 1, issue 4 (May 1998). http://www.chinese-art.com/volume1issue4/

Borysevicz, Mattieu and Cao Weijun. Second Wave (pamphlet, CIFA Gallery exhib.). Beijing: the authors, 1997.

Bright, Susan. "Chinese Painting; United Kingdom." ART Asia Pacific, no. 17 (1998), p. 99. (Review of "10 Contemporary Painters from China.")

Bryson, Norman. "The Post-Ideological Avant-Garde." In Gao Minglu, ed. Inside Out: New Chinese Art (catalog). Berkeley: University of California Press, 1998.

Butterfield, Fox. "Serving the Workers and Peasants: Wang Keping," in China: Alive in the Bitter Sea. New York: Bantam Books, 1982.

Cai Guo-Qiang: Calendar of Life. Nagoya: Gallery APA, 1994.

Cai Guo-Qiang: Chaos. Tokyo: Setagaya Art Museum, 1994.

Cai Guo-Qiang: Concerning Flame (catalog/brochure). Tokyo: Tokyo Gallery, 1994.

Cai Guo-Qiang: From the Pan-Pacific. Iwaki: Iwaki City Art Museum, 1994.

Cai Guo-Qiang: Flying Dragon in the Heavens. Humlebaek, Denmark: Louisiana Museum of Modern Art, 1997.

Cai, Paul and Chen Yingde. "Notes from London and Paris." Orientations, vol. 23, no. 7 (July, 1992), pp. 62-66.

Century.Woman _____ (cat.). Hong Kong: Shijie Huaren Yishu Chubanshe, 1998.

Chan, Lauk'ung. "Ten Years of the Chinese Avantgarde: Waiting for the Curtain to Fall." Flash Art, January/February 1992, pp. 110-114.

Chang, Johnson. L'Altra Faccia: Three Chinese Artists at Venice (catalog, exhib. at Venice Biennale). Zanzibar, 1995. (AKA: The Other Face: Three Chinese Artists at the Centenary Exhibition, ‘Identità e Alterità. Venice, 1995.)

Chang Tsong-zung. "Beyond the Middle Kingdom: An Insider's View" In Gao Minglu, ed. Inside Out: New Chinese Art (catalog). Berkeley: University of California Press, 1998.

__________, et. al. China's New Art, Post-1989. Hong Kong: Hanart T Z Gallery, 1993.

__________. Chinese Contemporary Art at Sao Paolo (catalog). Hong Kong: Hanart TZ Gallery, 1994.

__________. "Of Time and Power." Asian Art News, vol. 8, no. 5 (9-10/98), pp. 68-69.

__________. "The Other Face." Asian Art News, vol. 5, no. 4 (Jul/Aug 1995), pp. 41-43.

Change–Chinese Contemporary Art (catalog). Göteborg, Sweden: Konsthallen Götaborg, 1995.

Changing Cultures: Immigrant Artists from China. New York: Baruch College Gallery/ City University of New York, 1991.

Cheng, Scarlet. "At the Cutting Edge." Asian Art News, vol. 4, no. 4 (Jul/Aug 1994). pp. 56-59.

Cheng, Scarlet. "What Would Mao Think?" (review). Los Angeles Times Calendar, 10/11/98.

Chine Demain: Art Chinois, Chine Demain Pour Hier. (Catalog). Paris: Carte Secrete, 1990.

Chinese Art in Exile. Project Group "Metabolism", Kassel, 1992. (RLIN: no)

Chinese Contemporary Art at Sao Paolo (other title: 22nd International Biennial of Sao Paolo. Chinese Exhibitions). Hong Kong: Han ya xuan, 1994. (Cornell EA)

Chinese Painting in the Twentieth Century: Creativity in the Aftermath of Tradition. Zhejiang People's Fine Arts Press, 1997.

Chiu, Melissa. "Thread, Concrete and Ice: Women's Installation Art in China." ART Asia-Pacific, issue 20 (Autumn 1998), pp. 50-57.

Clark, John, "Official Reactions to Modern Art in China since the Beijing Massacre," Pacific Affairs, vol. 65, no. 3 (Fall, 1992), pp. 334-352.

Clarke, David. "Foreign Bodies: Chinese Art at the 1995 Venice Biennale" (review). ART Asia Pacific, vol. 3, no. 1 (1996), pp. 32-34.

Cohen, Joan Lebold. "Chinese Art Today: No U-Turn." ARTnews, vol. 91, no. 2 (February 1992), pp. 104-107.

__________. "Post-Tiananmen Art: The 1991 Graduating Classes–Beijing/Wuhan." Fine Art Magazine, vol. 2, no. 2 (Dec. 1991), pp. 17-19.

__________. "Shang Yang: Mona Lisa Plastered with Food Labels." ARTnews, vol. 95 (4/96), p. 119.

__________. "Sichuan Surprise: Cosmopolitan Chengdu" (review). Asian Art News, March/April 1994, pp. 50-56.

"Collection of YQ Zhang, Chengdu, China." "Chinese Type" Contemporary Art Online Magazine, vol. 1, issue 3 (March 1998). (Illus. only.) http://www.chinese-art.com/volume1issue3/

Contemporary Art Series, No 2: Constructions–Approaching Textualization. Changsha: Hunan Fine Arts Publishing House, 1992.

Contemporary Art Series, No 3: Transformism–Genesis and Displacement. Changsha: Hunan Fine Arts Publishing House, 1992.

Contemporary Art Series, No 5: Pop Trend–New Question in China. Changsha: Hunan Fine Arts Publishing House, 1993.

Contemporary Art Series, No 6: Retrospect and Afterthought–The First Guangzhou Biennial Art Fair in the 90s. Changsha: Hunan Fine Arts Publishing House, 1993.

Contemporary Art Series, No 12: Critical–A Series of Great Cross and Other Works; Dialog, Criticize and Study on Gao Zhen, Gao Qiang's Work. Changsha: Hunan Fine Arts Publishing House, 1996.

Contemporary Art Series, No 15: Language Conception and Location of Female Art. Changsha: Hunan Fine Arts Publishing House, 1998.

Contemporary Chinese Women Painters. Beijing: Foreign Languages Press, 1995.

Cotter, Holland. "Double Kitsch: Painters from China" (review). The New York Times, March 13, 1998.

Cream: Contemporary Art in Culture. London: Phaidon, 1998.

Creativity in Asian Art Now. Hiroshima: Hiroshima City Museum of Contemporary Art, 1994.

Creativity in Asian Art Now, Part 3: Asian Installation Work. Catalog supplement. Hiroshima: Hiroshima City Museum of Contemporary Art, 1994.

Croizier, Ralph. "‘Going to the World': The Life and Death of Billy Harlem (Lin Lin)." Journal of the Oriental Society of Australia, vol. 29 (1997), pp. 22-49.

Dal Lago, Francesca. "Cities on the Move" (review). ART Asia-Pacific, issue 20 (Autumn 1998), pp. 36-38.

__________. "Inside Out: Chinese Avant-Garde Art [A Conversation with Gao Minglu]." ART Asia-Pacific, issue 20 (Autumn 1998), pp. 42-49.

__________. "New Literati Painting" (review). ART AsiaPacific, issue 19 (1998), pp. 32-34.

Dao, Zi. "True Lies: New Reportage Photography in China." ARTAsia Pacific, no. 13 (1996), pp. 61-65.

Daydreaming. Taipei: Cherng Piin Gallery, 1998.

Des del pais del centre: Avantguardes artistiques xineses: del 19 de juny al 30 de setembre de 1995, Centre d'Art Santa Monica. Barcelona: Generalitat de Catalunya, Departament de Cultura, 1995?.

Dewar, Susan. "The Human Realm and the Way of Nature: Photography in China." ARTAsia Pacific, no. 13 (1996), pp. 54-60.

__________. "Imagining Reality: Contemporary Chinese Photography." Art and Asia Pacific, vol. 3, no. 2 (1996), pp. 55-59.

Ding Fang. Ding Fang wenji ____ (Collected essays of Ding Fang). Beijing: Beijing Yanshan Publishing House, 1998.

Doran, Valerie. "The Commerce of Art." Art and Asia Pacific, vol. 1, no. 3 (1994), pp. 24-27.

Dreissen, Chris and Heidi van Mierlo, eds. Another Long March: Chinese Conceptual and Installation Art in the Nineties. Breda: Fundament Foundation, 1997.

Dysart, Dinah and Hannah Fink, eds. Asian Women Artists. Roseville East, NSW: Craftesman House, 1996.

East Meets East in the West. San Francisco: Limn Gallery, 1998.

Egan, Charles. "The Future of the New Chinese Art." Limn Magazine, issue 2 (August 1998), pp. 4-11.

Encountering the Others (catalog). Kassel: K-18, 1992.

Erickson, Britta. "Evolving Meanings in Xu Bing's Art: A Case Study of Transference." "Chinese Type" Contemporary Art Online Magazine, vol. 1, issue 4 (May 1998). http://www.chinese-art.com/volume1issue4/

__________. "Made in China: Is There a Market for New Chinese Art?" "Beyond The Confines Of The Market," "China's Virtual Galleries." Limn Magazine, issue 2 (August 1998), pp. 24-30.

__________. "Process and Meaning in the Art of Xu Bing." In Three Installations by Xu Bing. Madison, Wisconsin: Elvehjem Museum of Art, 1991. Pp. 2-32.

__________. [Square Word Calligraphy]. Manuscript, 1998.

Faces and Bodies of the Middle Kingdom (catalog). Prague: Galerie Rudolfinum, 1997.

"The Faces of China's Future" (interview). Limn Magazine, issue 2 (August 1998), pp. 12-23.

Fan Dian, Chinese Fine Arts in the 1990's, 1993

Fan Di'an. Ten Noted Contemporary Chinese Oil Painters and Their Artistry. Fuzhou: Fujian Fine Arts Press, 1994.

Fan Di'an, Leng Lin, and Hans van Dijk. Ideals and Idols of Beijing (catalog). Hong Kong: Schoeni Art Gallery, 1994,

Farrer, Anne, Michael Sullivan, and Mayching Kao. Wu Guanzhong: A Twentieth-Century Chinese Painter. London, 1992.

Fei Dawei. "An Aspect of Contemporary Chinese Art: In Between Limits" (comments on the exhibition). 1997/8? http://www.shanghart.com/sh-texts02.htm

Fifteen Years of the Stars (catalog). Tokyo: Tokyo Gallery, 1993.

Fifth Anniversary Exhibition: Selected Paintings by Twenty-Three Contemporary Artists (catalog). Hong Kong: Schoeni Art Gallery, 1997.

The First Academic Exhibition of Chinese Contemporary Art 96-97 (catalog). Hong Kong: China Oil Painting Gallery Ltd., 1996.

Force, Yvonne and Carmen Zita, curators. 4696/1998: Contemporary Art from China (catalog). Vancouver: Art Beatus, 1998.

Fumio Nanjo. Immutability and Fashion: Chinese Contemporary Art in the Midst of Changing Surroundings (catalog). Tokyo: Kirin Brewing Co., Ltd., 1997.

Gao Minglu. "From Elite to Small Man: The Many Faces of a Transitional Avant-Garde in Mainland China" In Gao Minglu, ed. Inside Out: New Chinese Art (catalog). Berkeley: University of California Press, 1998.

__________, ed. Inside Out: New Chinese Art (catalog). Berkeley: University of California Press, 1998.

__________. "Toward a Transnational Modernity: An Overview of Inside Out: New Chinese Art." In Gao Minglu, ed. Inside Out: New Chinese Art (catalog). Berkeley: University of California Press, 1998.

__________. "What Is the Chinese Avant-Garde?" in Fragmented Memory: The Chinese Avant-Garde in Exile (Columbus, Ohio: Wexner Center for the Arts, The Ohio State University, 1993), pp. 4-5.

Gebrochene Bilder–Junge Kunst aus China (Broken Pictures–Young Chinese Art). Hamburg: Drachenbrücke, Horlemann Verlag, Unkel/Rhein and Bad Honnef, 1991.

Gercke, Hans. West-Östliche Kontakte (catalog). Heidelberg: Heidelberger Kunstverein, 1995.

Gustafson, Paula. "4696/1998: Contemporary Art from China at Art Beatus Gallery" (review). Asian Art News, vol. 8, no. 5 (9-10/98), pp. 79-80.

__________. "Jiangnan: South of the Yangtze in Vancouver" (review). ART Asia-Pacific, issue 20 (Autumn 1998), pp. 39-41.

Han Lei. Alienation (catalog). Beijing, 1995.

Hay, Jonathan. "Ambivalent Icons: Works by Five Chinese Artists Based in the United States." Orientations, vol. 23, no. 7 (July 1992), pp. 37-43.

He Bing. Oil Paintings by Twelve Chinese (catalog). Tianjin: Tianjin People's Fine Arts Publishing House, 1995.

Heart of Darkness. Otterlo: Kröller-Müller Museum, 1994.

Heartney, Eleanor. "Report from Taiwan: The Costs of Desire" (review). Art in America, vol. 86, no. 12 (December 1998), pp. 38-43.

Here Not There. Vancouver: Vancouver Art Gallery, 1995.

Hore, Tessa. "Independence and Individuality: Six Contemporary Artists Working in Shanghai." Asian Art Newspaper (Belgium), January 1998, pp. 16-17.

Hou, Hanru. "Ambivalent Witnesses: Art's Evolution in China." Flash Art 61 (November-December 1996), pp. 61-64.

__________. "Beyond the Cynical: China Avant-Garde in the 1990's." ART Asia Pacific, vol. 3, no. 1 (1996), pp. 42-51.

__________, curator. Between the Sky and the Earth: Five Contemporary Chinese Artists around the World. Hong Kong: Annie Wong Foundation and University Museum and Art Gallery, University of Hong Kong, 1998.

__________. "Brückenschläge." Neue Bildende Kunst, vol. 5, no. 1 (2-3/95), pp. 58-61. (Same as "Departure Lounge Art"?)

__________. "Departure Lounge Art: Chinese Artists Abroad." Art and Asia Pacific, vol. 1, no. 2 (April, 1994), pp. 36-41.

__________. "Entropy; Chinese Artists, Western Art Institutions: A New Internationalism." In: Global Visions: Towards a New Internationalism in the Visual Arts. London: Kala Press, 1994. Pp. 79-88.

__________. "Globalised, Chaotic, Empty, Dystopian." Atlantica Int'l (before 3/24/98), pp. 142-149.

__________. "Globalised, Chaotic, Empty, Dystopian . . . ." http://www.shanghart.com/sh-texts01.htm (1997 or 1/98.)

__________, curator. Out of the Center (catalog). Pori, Finland: Porin Tadeimuseo, 1994.

__________. "Le Plaisir du Texte: Zen and the Art of Contemporary China." Flash Art, vol. 26, no. 173 (Nov-Dec 1993), pp. 64-65.

__________. Uncertain Pleasure: Chinese Artists in the 1990's. Vancouver and Hong Kong: Art Beãtus, 1997.

__________ and Gao Minglu. "Strategies of Survival in the Third Space: A Conversation on the Situation of Overseas Chinese Artists in the 1990s." In Gao Minglu, ed. Inside Out: New Chinese Art (catalog). Berkeley: University of California Press, 1998.

__________ and Hans Ulrich Obrist, eds. Cities on the Move (catalog). Ostfildern-Ruit, Germany: Verlag Gerd Hatje, 1997.

Huang Du. "Cai Guoqiang and Huang Yongping." "Chinese Type" Contemporary Art Online Magazine, vol. 1, issue 5 (September 1998). http://www.chinese-art.com/volume1issue5/other

Huang Du and Hong Hao, eds. Space and Vision: The Impression of Transmuting Daily Lives in Beijing 1998 (catalog). Beijing: Contemporary Art Center, Ltd., 1998.

Huang Junqing, ed. Dream of China: ‘97 Chinese Contemporary Art. Beijing: China Today Press, 1997.

In the Absence of Ideology (catalog). Hamburg: Kampnagel Hamburg, 1995.

In Between Limits (catalog). Korea: Sonje Museum of Contemporary Art, 1997.

In and Out, Contemporary Art from China and Australia. Singapore: LaSalle-SIA College of Art, 1997.

Jaivin, Linda. "Sexual Realpolitik" (review). Art and Asia Pacific, vol. 2, no. 4 (1995), pp. 32-33.

Jose, Nicholas. "My Search for a Shaman: The Impact of 1989 on Chinese Art." Art and Asia Pacific, vol. 1, no. 2 (April, 1994), pp. 78-83.

__________. "Next Wave Art: The First Major Exhibition of Post-Tiananmen Vanguard Chinese Art Seen Outside the Mainland." New Asia Review, Summer 1994, pp. 18-24.

__________. "Notes from Underground, Beijing Art, 1985-89." Orientations, vol. 23, no. 7 (July, 1992), pp. 53-58.

Journey to the East (catalog). HK: Art Center of Hong Kong University of Science and Technology, 1997.

Kember, Pamela. "Transcending Stereotypes" (review of the Jiangnan Project). Asian Art News, vol. 8, no. 4 (Jul/Aug 1998), pp. 61-63.

Klein, Norman M. "Underneath the Wave: New Art by Chinese Artists." Fine Art Magazine, vol. 2, no. 2 (Dec. 1991), pp. 27-30.

Lago, Francesca Dal. "Against the Tide: The United States." ART Asia Pacific, no. 17 (1998), p. 100. (Review of "Against the Tide.")

Laing, Ellen Johnston. "Is There Post-Modern Art in the People's Republic of China?" In Modernity in Asian Art: The University of Sydney East Asian Series, no. 7, edited by John Clark. (Broadway, New South Wales: Wild Peony, 1993.) Pp. 207-221, pls. 150-157.

Lamain, Kitty. "Art at the Handover." ART Asia Pacific, no. 17 (1998), pp. 86-87. (Review.)

Lee, Leo Ou-fan. "Across Trans-Chinese Landscapes: Reflections on Contemporary Chinese Cultures." In Gao Minglu, ed. Inside Out: New Chinese Art (catalog). Berkeley: University of California Press, 1998.

__________. "Art and Activism." Transcript of 4/28/89 panel discussion. (http://www.nmis.org/Gate/film/Bolinas7lee.html)

Lee Wong Choy. "Quotation Marks: China-Watching in Singapore." ART Asia Pacific, no. 17 (1998), pp. 34-35. (Review.)

Leng Lin. "The China Dream,""Chinese Type" Contemporary Art Online Magazine, vol. 1, issue 1 (late 1997). http://www.chinese-art.com/volume1issue1/

__________, curator. It's Me: A Profile of Chinese Contemporary Art in the 90s (catalog). Beijing: Contemporary Art Center Co., 1998.

__________. "Nine Chinese Artists." "Chinese Type" Contemporary Art Online Magazine, vol. 1, issue 5 (September 1998). http://www.chinese-art.com/volume1issue5/feature

__________. "Photographic Works of Hong Lei and Wu Xiaojun." "Chinese Type" Contemporary Art Online Magazine, vol. 1, issue 5 (September 1998). http://www.chinese-art.com/volume1issue5/artist

Leng Ling and Zhao Li. Present Situation of China Oil Paintings. 1993.

Lenz, Iris. Balanceakte. Stuttgart: Institut für Auslandsbeziehungen, 1995.

Lenzi, Iola. "In and Out of China." ART Asia Pacific, no. 17 (1998), pp. 32-33. (Review.)

Li, Chu-tsing. "Ancient Tradition Meets Modernism in Contemporary Chinese Art." Fine Art Magazine, vol. 2, no. 2 (Dec. 1991), pp. 11-15.

Li Lu Ming. Chinese Contemporary Art Documents, 1990 —1991. 1992.

Li, Xianting. "A Gifted Artist: Liu Wei." "Chinese Type" Contemporary Art Online Magazine, vol. 1, issue 2 (January 1998). http://www.chinese-art.com/volume1issue2/

Li, Xianting. "The Imprisoned Heart: Ideology in an Age of Consumption." Art and Asia Pacific, vol. 1, no. 2 (April, 1994), pp. 25-30.

Li Xianting. "Seven Chinese Artists and Contemporary Chinese Art after Political Pop." In Force, Yvonne and Carmen Zita, curators. 4696/1998: Contemporary Art from China (catalog). Vancouver: Art Beatus, 1998.

Li Xianting and Lu Jie. Faces behind the Bamboo Curtain (catalog). Hong Kong: Schoeni Art Gallery, 1994.

Liao Wen. The Biographies of 100 Chinese Young and Middle-aged Artists. 1992.

"The Library of Babel"–Characters/Books/Media (catalog). Tokyo: NTT InterCommunication Center, 1998.

Lien, Fu-Chia-Wen. "The Body as Metaphor for Feminist Expression" (review of Site of Asia/Site of Body). Asian Art News, vol. 8, no. 4 (Jul/Aug 1998), pp. 64-69.

Liu Kang. "Popular Culture and the Culture of the Masses in Contemporary China." boundary 2, vol. 24, no. 3 (Fall, 1997), pp. 99-122.

London, Barbara. Stir-Fry: A Video Curator's Dispatches from China. New York: Mus. of Modern Art, 1997. (Web-site: http://www.adaweb.com/context/stir-fry/)

"A Look at Beijing Contemporary Art Collections." "Chinese Type" Contemporary Art Online Magazine, vol. 1, issue 2 (January 1998). (Illus. only.) http://www.chinese-art.com/volume1issue2/

Looking for the Tree of Life: Journey to the Asian Contemporary Art (catalog). Saitama: The Museum of Modern Art, 1992.

Lü, Peng __ and Yi Dan __. A History of China Modern Art 1979-1989 _______ 1979-1989. Changsha: Hunan Fine Arts Press, 1992.

Lu, Sheldon Hsiao-peng. "Global POSTmodernIZATION: The Intellectual, the Artist, and China's Condition." boundary 2, vol. 24, no. 3 (Fall 1997), pp. 65-97.

Lufty, Carol. "Emigré Artists: Rocky Landings." ARTnews, v. 92 (11/93), pp. 49-50.

MacRitchie, Lynn. "Precarious Paths on the Mainland." Art in America, vol. 82 (3/94), pp. 51-53, 55, 57.

Mao Goes Pop, China Post-89 (catalog). Sydney: Museum of Contemporary Art, 1993.

Millichap, John. "Beyond Barriers." Asian Art News, vol. 8, no. 6 (November/December 1998), pp. 47-49.

Nanjo, Fumio. "Asian View" (review of "Asian View–Asia in Transition"). ART Asia Pacific, vol. 3, no. 3 (1996), pp. 100-101.

New Anecdotes of Social Talk (catalog). Beijing: Beijing: International Art Palace, 1995.

New Art from China, Post-1989 (catalog). London: Marlborough Fine Art, 1993.

New Asian Art Show (catalog). Tokyo: Committee of International Contemporary, 1995.

New Generation of Asian Art (catalog). Yonago: Yonago City Museum of Art, 1997.

"News Brief: New Art Awards." Asian Art News, vol. 8, no. 6 (November/December 1998), pp. 14, 16.

Next Phase (catalog). London: London Docks, 1990.

Nippon International Performance Art Festival ‘96 (catalog). Tokyo: International Exchange Center, 1996.

Noth, Jochen, et al., eds. China Avant-Garde: Counter-Currents in Art and Culture. Hong Kong: Oxford University Press, 1993.

Origins of Myth and Fire: New Art from Japan, China and Korea (catalog). Saitama: The Museum of Modern Art, 1996.

Out of the Center (catalog). Pori, Finland: Porin Tadeimuseo, 1994.

Pai, Maggie. "Challenges to Change" (review of Taipei Biennial). Asian Art News, vol. 8, no. 4 (Jul/Aug 1998), pp. 36-47.

The Painting Den (cat.), Beijing, 1992.

Paintings, Performances and Video (catalog). Tokyo: Setagaya Museum, 1997.

Pan Gongkai. "A New Consciousness: Chinese Art in the Aftermath of the Cultural Revolution." Harvard Asia Pacific Review, vol. 1, no. 2 (Summer 1997), pp. 41-43.

Passagio a Oriente (catalog). Venice: 45th Biennale, 1993.

"The Peripatetic Artist: Fourteen Statements." Art in America, July 1989, pp. 130-136.

Peters, Paul and Hans van Dijk, curators. Mondrian in China: A Documentary Exhibition with Chinese Originals (catalog). Beijing: The Netherlands Ministry of Foreign Affairs, 1998.

Pi Li. "Chinese People, Chinese Arts, Chinese Society." Representing the People (exhibition at the Chinese Arts Center, Manchester, 1999). http://www.the-people.org/e_pili.htm

__________. "Threading Our Way through the Images." "Chinese Type" Contemporary Art Online Magazine, vol. 1, issue 3 (March 1998). http://www.chinese-art.com/volume1issue3/

Poemes & Art en Chine, Les "Non-Officiels", Doc(k)s 114.f N.41, Paris 1982.

Pollack, Barbara. "PoMaoism." Art & Auction, March 1998, pp. 110-115.

Prakash, Siddartha. "Cheng Tsai Tung and Yu Peng at Hanart T Z Gallery" (review). Asian Art News, November-December 1993, pp. 122-123.

Preece, Robert. "Chinese Art, Manchester Style." Asian Art News, vol. 8, no. 6 (November/December 1998), pp. 39-41.

"A Premier Collection in London." Chinese Type" Contemporary Art Online Magazine, vol. 1, issue 4 (May 1998). http://www.chinese-art.com/volume1issue4/

Promenade in Asia (catalog). Tokyo: Shiseido Gallery, 1994.

Promenade in Asia II (catalog). Tokyo: Shiseido Gallery, 1997.

Qin Yufen Malereien, 1984-1986 (catalog). Heidelberg: Heidelberger Kunstverein, 1986.

"Quotation Marks": Chinese Contemporary Paintings. Singapore: Singapore Art Museum, 1997. (Almost the same as China! Zeitgenössische Malerei.)

Raddock, David M. "Beyond Mao and Tiananmen: China's Emerging Avant-Garde." The New Art Examiner, March 1995, pp. 25-27, 54.

__________. "Regarding China's New Avant-Garde Artists." The New Art Examiner, February 1995, pp. 30-33.

Rebellion and Conspiracy _____. Hong Kong: World Chinese Arts, 1998.

Reckoning with the Past. Edinburgh: The Fruitmarket Gallery, 1996.

Red and Grey: Eight Avant-Garde Chinese Artists. Singapore: Soobin Art Gallery, 1997.

Reincarnation: Initiation (catalog). Beijing: China Exhibition Exchange Centre, 1996.

Resistances (cat.). Tokyo: Watari Museum of Contemporary Art, 1992.

Ripple across the Water (cat.). Tokyo: Watari Museum of Contemporary Art, 1995.

Rizvi, Sajid. "101 Diasporas: Artists of Chinese Descent in Britain." www.eapgroup.ndirect.co.uk/diasporas.htm

__________. "A Bridge of Vermilion--Chinese Art in Tradition, Transition and Diaspora." Eastern Art Report, vol. IV, no. 4. (Synopsis: www.eapgroup.ndirect.co.uk/China3.htm) (Huang Yongping, Liu Guosong, Qin Yufen, Zhu Jinshi, Yang Jiechang, Chen Qikuan, Guang Yao Wu--now lives in Germany)

__________. "Distances, Dissonance and Diversity--The Art of Chinese Artists in Britain." Eastern Art Report, vol. IV, no. 4. (Synopsis: www.eapgroup.ndirect.co.uk/China4.htm)

__________. "East in West--Ideas, Issues and Imagery in the Works of Chinese Artists in Europe." Eastern Art Report, vol. IV, no. 3. (Synopsis: www.eapgroup.ndirect.co.uk/China2.htm)

Roberts, Claire. New Art from China (catalog). Sydney: Art Gallery of New South Wales, 1992.

Roe, Jae-ryung. "Revisiting Abstraction: Asian Traditions: Modern Expressions." ART Asia Pacific, no. 17 (1998), pp. 24-25. (Review.)

Ronte, Dieter, Walter Smerling, and Evelyn Weiss. China! Zeitgenössische Malerei. Bonn: Dumont, 1996.

Rowe, Peter G. "Tradition and Housing: New Homes in a Booming China." Harvard Asia Pacific Review, vol. 1, no. 2 (Summer 1997), pp. 53-55.

Sang Ye; trans. & intro. by Barmé. "Fringe-Dwellers: Down and Out in the Yuan Ming Yuan Artists' Village." ART AsiaPacific, no. 15 (1997), pp. 74-77.

Scarff, Julian. "Eight Baoding Artists at the National Art Gallery of China" (review). Asian Art News, vol. 8, no. 6 (November/December 1998), pp. 68-69.

Schell, Orville, "Chairman Mao as Pop Art," in Mandate of Heaven: A New Generation of Entrepeneurs, Dissidents, Bohemians, and Technocrats Lays Claim to China's Future (New York: Simon & Schuster, 1994), pp. 279-292.

Schmid, Andreas. "Über die Aktuelle Kunstszene in Peking." Neue Bildende Kunst, vol. 5, no. 1 (Feb-Mar, 1995), pp. 52-55.

__________ and Alexander Tolnay. Zeitgenössische Fotokunst aus der VR China (catalog, exhib. at Neuer Berliner Kunstverein). Berlin: Edition Braus, 1997.

Schwabsky, Barry. "Tao and Physics." Art Forum, Summer 1997, pp. 118-121, 155.

The Second Oil Painting Department Biennial (catalog). Guangdong: Guangzhou Art Academy, 1994.

Seoul International Art Festival (catalog). Seoul: National Museum of Contemporary Art, 1994.

Shanghai Biennale, 1996 (catalog). Shanghai: Shanghai Art Museum, 1996.

Shanghai Biennale, 1998 (catalog). Shanghai: Shanghai Art Museum, 1998.

Shanghai Biennale 1996–Education Research Conference. Shanghai: Shanghai Art Museum, 1996.

Shanghai Fax–Let's Talk About Money: An International Exhibition of Art by Fax. Huashan Fine Arts College, Shanghai, 1996.

Shin Yong-doug and Yin Jinan. A Point of Contact: Korean, Chinese Japanese Contemporary Art (catalog). Korea: Taegu Art and Culture Hall, 1997.

Shui Tianzhong. The Annual Exhibition of Works of Artists Nominated by Art Critics, 1994 (catalog, exhib. at Ch. Art Gallery). Sichuan Fine Arts Press, 1994.

Shui Tianzhong, ed. Chao Ge. Hong Kong: Hong Kong Modern Press/ Guangxi Fine Arts Press, 1993.

__________. Ding Fang. Guangxi Fine Arts Publishing House, 1994.

__________. Ma Lu (catalog). Guangxi Fine Arts Press, 1996.

__________. Shang Yang. Guangxi Fine Arts Publishing House, 1994.

__________. Shen Ling. Guangxi Fine Arts Publishing House, 1998.

__________. Shi Chong. Guangxi Fine Arts Publishing House, 1996.

__________. Yu Hong. Guangxi Fine Arts Publishing House, 1998.

Silent Energy. Oxford: Museum of Modern Art, 1993.

Smith, Karen. "Another Long March." ART Asia Pacific, no. 17 (1998), pp. 26-28. (Review.)

__________. "Breaking the Silence: New Art from China." Art Monthly, no. 186 (May 1995), pp. 24-25.

__________. "Century: Woman at the China Art Gallery/ Modern Art Museum/ International Art Palace." Asian Art News, vol. 8, no. 3 (May/Jun 1998), pp. 82-83.

__________. "Chinese Conceptual Art at the Kazerne." AAN, vol. 7, no. 5 (9-10/97), pp. 98-99. (Review.)

__________. "Contemporary Chinese Art." AAP, no. 16 (1997), pp. 89-90. (Review of Watari-um exhibition.)

__________. "Contemporary Rocks." World Sculpture News, vol. 3, no. 1 (Winter, 1997), pp. 30-32.

__________. "First Word." Representing the People (exhibition at the Chinese Arts Center, Manchester, 1999). http://www.the-people.org/e_first.htm

__________. "Fundamentals: Between Curator & Public." Representing the People (exhibition at the Chinese Arts Center, Manchester, 1999). http://www.the-people.org/e_fund.htm

__________. Representing the People (catalog). Manchester: Chinese Arts Center, 1999.

Square Studio. The Discussion of Chinese Art in the Period of Transformation. Beijing: Central Academy of Fine Arts and Konrad-Adenauer-Stiftung, 1997.

Stein, Judith E. Stein. "Report on Australia: the Asia Pacific Triennial and the Sydney Biennale." Art in America, June 1997, pp. 57-63.

Sturman, Peter C. "Measuring the Weight of the Written Word: Reflections on the Character-Paintings of Chu Ko and the Role of Writing in Contemporary Chinese Art." Orientations, vol. 23, no. 7 (July, 1992), pp. 44-52.

Szeemann, Harald. "Interview: Ai Weiwei on CCAA, Identity and His Recent Conceptual Work,""Chinese Type" Contemporary Art Online Magazine, vol. 1, issue 6 (January 1999). http://www.chinese-art.com/volume1issue6/

Tao Yongbai. Huayun–Thoughts of a Woman Critic (from Chinese Contemporary Art Research Series). Jiangsu Art Press, 1995.

Tasch, Stephanie. "Half of the Sky" (review). 1998 http://www.shanghart.com/hf.htm

Thiek, Catherine. Four Points of Reference (4 Points de Recontre. Chine, 1996) (catalog). Paris: Galerie de France, 1996.

Tsang, Henry. "Uncertain Pleasure." ART Asia Pacific, no. 17 (1998), pp. 29-31. (Review.)

Thomas, Bronwyn. "Art and the Critic in Contemporary China" (based on interview with Wang Youshen). Orientations, vol. 23, no. 7 (July, 1992), pp. 59-61.

Thomas, Greg. Global Roots: Artists from China Working in New York (catalog). New York: Purdue University, 1998.

Union of Contemporary Artists in China ________ (catalog). Shanghai: [committee for the exhibition], 1998.

van Dijk, Hans and Inge Lindermann. China, China–Aktuelles aus 15 Ateliers (catalog). Munich: Herausgeber Hahn Produktion, 1996.

van der Plas, Els. "Heart of Darkness" (review). Art and Asia Pacific, vol. 2, no. 3 (1995), pp. 118-119.

A Walking Bystander: Photographs by Zheng Nong. Pub. by the artist, 1997.

Wang Mingxian. "Notes on Architecture and Postmodernism in China." boundary 2, vol. 24, no. 3 (Fall 1997), pp. 163-175.

Waves of Asia (catalog/brochure). Tokyo: Tokyo Gallery, 1991.

Wear, Eric Otto. "Uncertainties at the Sao Paulo Bienal." Asian Art News, vol. 7, no. 2 (Mar/Apr 1997), pp. 92-93.

Werner, Chris, Qiu Ping, and Marianne Pitzen, eds. Die Hälfte des Himmels: Chinesische Künstlerinnen. Bonn: Frauen Museum, 1998.

The Witness of the Contemporary Art in China (catalog/brochure). Tokyo: Tokyo Gallery, 1995.

"Works from the Premier Collection of Hanart TZ Gallery's Tsong-zung Chang." "Chinese Type" Contemporary Art Online Magazine, vol. 1, issue 5 (September 1998). http://www.chinese-art.com/volume1issue5/feature

Wu Guanzhong. Wu Guanzhong–Essays on Art. Beijing: People's Fine Arts Pub. House, 1995.

Wu Hung. "Ruins, Fragmentation, and the Chinese Modern/Postmodern" In Gao Minglu, ed. Inside Out: New Chinese Art (catalog). Berkeley: University of California Press, 1998.

Xu, Hong. "Dialogue: The Awakening of Chinese Women's Consciousness." Art and Asia Pacific, vol. 2, no. 2 (April, 1995), pp. 44-51.

__________. "Dialogue: The Awakening of Chinese Women's Consciousness." In Dinah Dysart and Hannah Fink, eds., Asian Women Artists (Roseville East, New South Wales: Craftsman House, 1996), pp. 16-23. (Same as above.)

__________. "The Spotted Leopard: Seeking Truth from Historyand Reality: Trends in the Development of Chinese Art." Art and Asia Pacific, vol. 1, no. 2 (April, 1994), pp. 31-35.

Yang, Alice. Why Asia? Contemporary Asian and Asian American Art. New York: New York University Press, 1998.

Yang Xiaoyan. "A Glimpse into Recent Contemporary Art in Guangzhou." Chinese Type" Contemporary Art Online Magazine, vol. 1, issue 4 (May 1998). http://www.chinese-art.com/volume1issue4/

Yao, Catherine. "Shanghai's Lonely Avant-Garde." Asian Wall Street Journal, 2/2-3/96, p. 7.

Yee, Lydia. Against the Tide (exhibition brochure). New York: Bronx Museum of the Arts, 1997.

Yi Ying. "Bad Painting." Chinese Type" Contemporary Art Online Magazine, vol. 1, issue 3 (Mar. 1998). http://www.chinese-art.com/volume1issue3/

__________. "First Annual Chinese Contemporary Art Award: A New Perspective,""Chinese Type" Contemporary Art Online Magazine, vol. 1, issue 6 (January 1999). http://www.chinese-art.com/volume1issue6/

__________. "Liu Xiaodong: A Retrospective,""Chinese Type" Contemporary Art Online Magazine, vol. 1, issue 1 (late 1997). http://www.chinese-art.com/volume1issue1/

Yin, Ji'nan ___. Du zi kou men ____ (Knocking at the Door Alone). Beijing: ____________>, 1993.

__________. "What Next, Ultra Postmodernism?" "Chinese Type" Contemporary Art Online Magazine, vol. 1, issue 4 (May 1998). http://www.chinese-art.com/volume1issue4/

Zeng Xiaojun ___, Ai Weiwei ___, and Xu Bing __>, eds. Hei pi shu ___ (The Black Cover Book). Beijing, 1994.

Zeng Xiaojun ___<, and Ai Weiwei ___, eds. Bai pi shu ___ (The White Cover Book). Beijing, 1995.

__________, eds. Hui pi shu ___ (The White Cover Book). Beijing, 1997.

Zha Fangzhou. Zou xiang xiandai–xin shiqi meishu lunji. China Workers' Press, 1993.

Zha, Jianying. China Pop: How Soap Operas, Tabloids, and Bestsellers Are Transforming a Culture. New York: The New Press, 1995.

Zhan Jianjun et al. Towards a New World: National Youth Oil Painting Exhibition (catalog, exhib. at Ch. Art Gallery). Guangxi Fine Arts Pub. House, 1997.

Zhang Jianjun, Liu Xilin, and Yin Shuangxi. Symphony of Landscapes (catalog). Hong Kong: Schoeni Art Gallery, 1995.

Zhang Qing. Here and Now: ‘97 Contemporary Invitational Art Exhibition. 1997.

Zhang Zhaohui, curator. Corruptionists __ (catalog). Beijing, 1998.

__________. "Raise the Red Lantern." ART Asia-Pacific, issue 20 (Autumn 1998), pp. 28-29.

Zhongguo xiandai meishu (jin) zhan (catalog) [AKA: China Avant-garde OR Documentary Exhibition on Chinese Contemporary Art]. Tokyo Gallery, 1989.


Taiwan: Post-WWII Artists

Cameron, Nigel. "The Revolutionary Generation." Orientations, October 1974, pp. 61-64.

Clark, John. "Aspects of Taipei Modernism in the 1980s." Orientations, vol. 23, no. 7 (July, 1992), pp. 28-36.

Fong Chung-ray. Taipei: National Taiwan Arts Center, 1967.

Graphic Art by the Contemporary Chinese Artist, Chen Ting-shih. Taipei: National Taiwan Arts Center, 1967. (Hoover: 6179 7900)

Liu Kuo-sung. Taipei: National Historical Museum, 1966.

Paintings by the Contemporary Chinese Artist, Hu Chi-chung. Taipei: National Taiwan Arts Center, 1967.

Li, Chu-tsing. "The Fifth Moon Group of Taiwan." The Register of the Spencer Museum of Art, vol. 6, no. 3 (1986), pp. 42-54.

Wechsler, Jeffrey. "Toward a New Tradition." Asian Art News, vol. 8, no. 3 (May/Jun 1998), pp. 40-47.


Taiwan: New Generation

Ancient Ideas, New Techniques: Chinese Contemporary Art. Org. by: Visual Arts Resources of the University of Oregon Museum of Art and the Taipei Art Guild, c. 1988.

Chang, Tsong-zung, curator. Man and Earth: Contemporary Paintings from Taiwan. Denver: Asian Art Coordinating Council, 1994.

Clark, John. "Aspects of Taipei Modernism in the 1980s." Orientations, vol. 23, no. 7 (July, 1992), pp. 28-36.

Heartney, Eleanor. "Report from Taiwan: Mixed Messages from Taipei." Art in America, February 1994, pp. 42-47.

Jaivin, Linda. "Sexual Realpolitik" (review). Art and Asia Pacific, vol. 2, no. 4 (1995), pp. 32-33.

Kent, Rachel. "It's about Time." ARTAsia Pacific, no. 13 (1997), pp. 38-39.

Kunstgepäck eines Diplomaten, cat., BündnerMuseum, Chur, Switzerland.

Kuo, Jason C. "After the Empire: Chinese Painters of the Post-War Generation in Taiwan." In John Clark, ed. Modernity in Asian Art: The University of Sydney East Asian Series, no. 7. Broadway, New South Wales: Wild Peony, 1993.

Liu, Manni. "A Perspective on Contemporary Chinese Ink Painting in Taiwan." Cosmorama, no. 483 (9/96), pp. 8-11.

Lord, Roberta. "Six Interpretations" (review). ART Asia-Pacific, issue 20 (Autumn 1998), pp. 92-93.

Lu, Victoria Y. "Striving for a Cultural Identity in the Maze of Power Struggles: A Brief Introduction to the Development of the Contemporary Art of Taiwan." In Gao Minglu, ed. Inside Out: New Chinese Art (catalog). Berkeley: University of California Press, 1998.

Lutchmansingh, Larry D. "Man and Earth" (review). Art and Asia Pacific, vol. 2, no. 1 (1995), pp. 32-33.

McIntyre, Sophie. "Into the Stone Hills." Asia-Pacific Sculpture News, vol. 2, no. 2 (Spring 1996), pp. 26-31.

__________. "River: New Asian Art in Taipei" (review). ART AsiaPacific, issue 19 (1998), pp. 68-73.

__________. "Taiwan Storytellers: Huang Chih-Yang and Hou Chun-ming." ART Asia-Pacific, issue 20 (Autumn 1998), pp. 62-67.

Pai, Maggie. "Challenges to Change" (review of Taipei Biennial). Asian Art News, vol. 8, no. 4 (Jul/Aug 1998), pp. 36-47.

__________. "Making Visible the Invisible." Asian Art News, vol. 8, no. 2 (Mar-Apr 1998), pp. 60-66.

__________. "Reflections and Reconsiderations at the Taipei Fine Arts Museum." Asian Art News, vol. 8, no. 3 (May/Jun 1998), pp. 92-93.

__________. "Twelve Women Artists at Lung Men Art Gallery." Asian Art News, vol. 8, no. 3 (May/Jun 1998), pp. 90-91.

Pau, Ellen. "Development of Hong Kong Video Art." Paper Presented in the Inaugural Opening Conference of International Art Critics Association 14th December 1996, Hong Kong Art Centre McClauly Studio. (http://www.enmpc.org.hk/videotage/ellendoc.htm)

Rowley, Sue. "Experiencing Taipei." ART AsiaPacific, no. 15 (1997), pp. 36-38.

Shih, J. J. "From Anguish to Irony: The Chinese Identity Complex in Taiwanese Art." Art and Asia Pacific, vol. 2, no. 3 (1995), pp. 88-95.

__________. "Made in Taiwan: Images of Hong Kong." ART AsiaPacific, no. 15 (1997), pp. 44-59.

Taylor, Roger and Helga Lasschuyt. "Fire Works." World Art, no. 5 (Feb., 1995), pp. 30-32.

Wang, Chia Chi Jason. "Made in Taiwan: Taiwan Art in Context." Art and Asia Pacific, vol. 1, no. 2 (April, 1994), pp. 73-77.

__________. "A Veil in Between" (review). Art and Asia Pacific, vol. 1, no. 4 (1994), pp. 42-43.

Yang, Alice. Why Asia? Contemporary Asian and Asian American Art. New York: New York University Press, 1998.

Yang, Alice and Jonathan Hay. Tracing Taiwan (cat.). New York: The Drawing Center, 1997.

Yang, Wen-I. "A Banana Is Not a Banana: The New Women Artists of Taiwan." In Dinah Dysart and Hannah Fink, eds., Asian Women Artists (Roseville East, New South Wales: Craftsman House, 1996), pp. 42-51.


Hong Kong

"The Artist's Voice" (interview). Asian Art News, May-Jun 1993, Hong Kong Supplement, pp. 20-22.

Between the Law and the Black Box: The Hong Kong Media Circle Installation 1997. Hong Kong: The Hong Kong University of Science and Technology Center for the Arts, 1997.

Chattopadhyay, Collette. "Out of Hong Kong." Asian Art News, vol. 6, no. 5 (Sept-Oct, 1996), pp. 76-78.

Cheng, Scarlet. "Barometer of Change." World Art, no. 12 (Jan., 1997), pp. 72-75.

Clarke, David. Art and Place: Essays on Art from a Hong Kong Perspective. Hong Kong: Hong Kong University Press, 1996.

__________. "Art in trouble with the Law in Hong Kong." Art and Asia Pacific, vol. 3, no. 2 (1996), pp. 32-33.

__________. "Between East and West: Negotiations with Tradition and Modernity in Hong Kong Art. Third Text, no. 28/29 (Autumn/Winter, 1994), pp. 71-86.

__________. "Found in Transit: Hong Kong Art in a Time of Change" In Gao Minglu, ed. Inside Out: New Chinese Art (catalog). Berkeley: University of California Press, 1998.

__________. "Hong Kong Art and the Transfer of Sovereignty." Journal of the Oriental Society of Australia, vol. 29 (1997), pp. 1-21.

__________. "The Insufficiency of Tradition: Paintings by Fang Zhaoling and Chu Hing-wah." Art and Asia Pacific, vol. 2, no. 3 (1995), pp. 32-33.

__________. "Psychic Decolonisation" (review of "Journey of an Artist: The Art of Luis Chan"). ART Asia Pacific, vol. 3, no. 4 (1996), pp. 39-41.

__________. "Zao Wou-ki" (review of "Zao Wou-ki," HK MOA). ARTAsia Pacific, no. 14 (1997), pp. 92-93.

Clark, John. "Art and Place: Hong Kong" (book review of David Clarke's Art and Place). ART Asia Pacific, no. 18 (1998), pp. 94-95.

Contemporary Hong Kong Art Biennial Exhibition 1985. Hong Kong: Urban Council, 1985.

Curnow, Wystan. "Transfusion/Fusion." AAP, no. 16 (1997), pp. 38-39. (Review.)

European Media Art Festival 1997. Osnabrück: European Media Art Festival, 1997.

Gerstenberg, Nina. "Schneller als die Zensur: Ein Land, zwei Systeme: Nach dem "Handover" sucht Hongkongs Kulturszene nach der eigenen Identität." Berliner Morgenpost, August 1, 1997. http://www.berliner-morgenpost.de/bin/bm/e?u=/bm/bm_archiv/970801/feuilleton/story02.html

Ho, Oscar. "Chinese Whispers." ARTAsia Pacific, no. 13 (1997), pp. 34-36.

__________. "The Long Road Back Home: Hong Kong in 1997 and Beyond." ART AsiaPacific, no. 15 (1997), pp. 48-53.

__________. "A Poverty of Space." Art and Asia Pacific, vol. 2, no. 1 (1995), pp. 36-37. (Incl. Antonio Mak, etc.)

Ho, Oscar Hing-kay. "In Search of an Identity." Art and Asia Pacific, vol. 1, no. 1 (1993), pp. 12-14.

Hobbs, Robert. Hong Kong Now! (cat.) Richmond, Virginia: Anderson Gallery, 1997.

Hou, Hanru. "Hong Kong: The View from Abroad." ART AsiaPacific, no. 15 (1997), pp. 44-47.

Millichap, John. "Breaking Down Gallery Walls." Asia-Pacific Sculpture News, vol. 2, no. 2 (Spring 1996), pp. 32-33.

Overseas Chinese Artists Exhibition. Taipei: Taipei Fine Arts Museum, 1984.

Para/Site Art Space Website. http://www.para-site.org.hk/

Pau, Ellen. "Development of Hong Kong Video Art," presented in the Inaugural Opening Conference of International Art Critics Association, 14th December 1996, Hong Kong Art Centre McClauly Studio. http://www.enmpc.org.hk/videotage/ellendoc.htm

Yang, Wen-I. "Four Female Artists" (review of shows by Irene Chou, Chiu Tze-yan, and Yan Ming-hui; and Margaret Shui Tan). Art and Asia Pacific, vol. 2, no. 2 (April, 1995), pp. 117-118.


Chinese American Artists

Asian Traditions/Modern Expressions: Asian American Artists and Abstraction 1945-1970. (Study guide/gallery guide?) New Brunswick, New Jersey: Jane Voorhees Zimmerli Art Museum, 1997.

Bayliss, Sarah. "Picturing Asia America: Communities, Culture, Difference" (review). World Art, no. 4 (Jan.,1995), p. 95.

Kelly, Jeff. "Fugitive Landings: Installations in San Francisco." Visions, Winter 1991, pp. 24-28.

Machida, Margo, curator. Asia/America: Identities in Contemporary Asian American Art. New York: Asia Society Galleries and the New Press, 1984.

Overseas Chinese Artists Exhibition. Taipei: Taipei Fine Arts Museum, 1984.

Park, Young M. Asian American Artists; Cross-Cultural Voices (catalog). Stony Brook, New York: Staller Center for the Arts, 1998.

Poshyananda, Apinan. "Yellow Face, White Gaze" (review). Art and Asia Pacific, vol. 2, no. 1 (1995), pp. 30-31.

Jana, Reena. "Assimilation or Alienation?" Asian Art News, vol. 4, no. 6 (Nov/Dec 1994), pp. 68-71.

__________. "Uncovering Relationships." Asian Art News, vol. 8, no. 3 (May/Jun 1998), pp. 76-78.

Wechsler, Jeffrey, ed. Asian Traditions/Modern Expressions: Asian American Artists and Abstraction 1945-1970. New York: Harry N. Abrams and New Brunswick, New Jersey: Jane Voorhees Zimmerli Art Museum, 1997.

Yang, Alice. "Asian American Exhibitions Reconsidered." In Yang, Why Asia?, pp. 94-98.

__________. "Disorienting Territories" (review of "(dis)ORIENTED: Shifting Identities of Asian Women in America"). ART Asia Pacific, vol. 3, no. 1 (1996), pp. 40-41.

__________. "Godzilla: The Anarchistic Lizard." In Yang, Why Asia?, pp. 89-93.


Context for Contemporary Asian/Pacific Art

Acret, Susan. "Reconsidering Asia" (conference report). ART AsiaPacific, issue 19 (1998), p. 37.

Araeen, Rasheed. "New Internationalism, or the Multiculturalism of Global Bantustans." In: Global Visions: Towards a New Internationalism in the Visual Arts. London: Kala Press, 1994. Pp. 3-11.

Binks, Hilary. "A Curator's View" (interview with Hou Hanru). Asian Art News, vol. 8, no. 4 (Jul/Aug 1998), pp. 73-75.

Carter, Paul. "Contrapuntal Perspectives" (review of Edward W. Said, Culture and Imperialism). Art and Asia Pacific, vol. 1, no. 3 (1994), pp. 108-109.

Clark, John. Modern Asian Art. Roseville East, New South Wales: Craftsman House, 1998.

Clarke, David. "Twentieth-Century Chinese Painting" (Review of Tradition and Innovation). ART AsiaPacific, no. 15 (1997), pp. 42-43.

Dalmia, Yashodhara. "That Brief Thing Called Modern." Art and Asia Pacific, vol. 2, no. 1 (1995), pp. 88-91.

Dewar, Susan. "Dream On" (review of "Now, Dream of East," Beijing). Art and Asia Pacific, vol. 2, no. 2 (April, 1995), pp. 119-120.

Desai, Vishakha N. "The Asia Society—Traditions and Tensions" (review of "Contemporary Art in Asia: Traditions/Tensions"). ART Asia Pacific, vol. 3, no. 4 (1996), pp.98-99.

Dysart, Dinah. "From Anguish to Irony: The Chinese Identity Complex in Taiwanese Art." Art and Asia Pacific, vol. 2, no. 3 (1995), pp. 88-95.

Ewington, Julie. "Five Elements: An Abbreviated Account of Installation Art in South-East Asia." Art and Asia Pacific, vol. 2, no. 1 (1995), pp. 108-115.

__________. "Pigs Might Fly." ART AsiaPacific, no. 15 (1997), pp. 21-24. (Re.: "Trads./Tensions" and 2nd Asia-Pacific Triennial.)

__________, Nguyen Quan, and Emmanuel Torres. "A Moment in a Journey: The First Queensland Art Gallery Asia-Pacific Triennial of Contemporary Art" (review). Art and Asia Pacific, vol. 1, no. 2 (April, 1994), pp. 10-17.

The First Asia-Pacific Triennial of Contemporary Art. Brisbane: Queensland Art Gallery, 1993.

Goodman, Jonathan. "In the Spirit of the Times" (review). Asia-Pacific Sculpture News, vol. 2, no. 4 (Autumn 1996), pp. 39-41.

__________. "Site of Asia" (review). ART Asia-Pacific, issue 20 (Autumn 1998), pp. 25-27.

Greenstein, M. A. "Second Asia-Pacific Triennial of Contemporary Art and Distant Relations, Cercanias Distantes/Clann I gCein" (reviews). World Art, no. 12 (Jan., 1997), pp. 76-78.

Heartney, Eleanor. "Report from Johannesburg: Mapping the Postcolonial" (review). Art in America, vol. 86, no. 6 (June 1998), pp. 51-53, 55.

Hou, Hanru. "An Interview with Rasheed Araeen." Art and Asia Pacific, vol. 2, no. 1 (1995), pp. 102-107.

__________. "Hong Kong: The View from Abroad." ART AsiaPacific, no. 15 (1997), pp. 44-47.

Kapoor, Kamala. "Art Across Oceans" (review of "Containers ‘96: Art Across Oceans," Copenhagen). ARTAsia Pacific, no. 14 (1997), pp. 34-37.

Kuroda, Raiji. "Practice of Exhibitions in Global Society for Asians, by Asians." In: Global Visions: Towards a New Internationalism in the Visual Arts. London: Kala Press, 1994. Pp. 140-151.

Lee, James B. "Beyond the Borders: The Inaugural Kwangju Biennale" (review). Art and Asia Pacific, vol. 3, no. 2 (1996), pp. 22-24.

Lee, Joanna. "We Are Family." ART AsiaPacific, no. 15 (1997), pp. 32-33. (Re.: 2nd Asia-Pacific Trienneal of Contemporary Art.)

Levin, Kim. "Gesture, Performance, Behaviour, Attitude: Asian Influences on Contemporary Western Art." ART Asia Pacific, vol. 3, no. 4 (1996), pp. 48-55.

Looby, Keith. "Does the Avant-Garde Begin or End in Asia?" Art and Asia Pacific, vol. 1, no. 4 (1994), pp. 74-81.

Losche, Diane. "Nervous Culture." ART AsiaPacific, no. 15 (1997), pp. 34-35. (Re.: 2nd Asia-Pacific Trienneal of Contemporary Art.)

Lynn, Victoria. "Some Thoughts on Modern Painting in India and Australia." Art and Asia Pacific, vol. 2, no.1 (1995), pp. 92-101.

McIntyre, Sophie. "River: New Asian Art in Taipei" (review). ART AsiaPacific, issue 19 (1998), pp. 68-73.

Munro, Alexandra. "Fast Forward." ART AsiaPacific, no. 15 (1997), pp. 28-29. (Re.: "Trads./Tensions".)

Quan, Nguyen. "A Strange and Intimate Space" (review of the 1st Asia-Pacific Triennial of Contemporary Art"). Art and Asia Pacific, vol. 1, no. 2 (1994), p. 15.

Raabe, Eva Ch. "Modernism or Folk Art? The Reception of Pacific Art in Europe." Art and Asia Pacific, vol. 2, no. 4 (1995), pp. 96-103.

Rhee, Jong-soong. "PortaPaik: Nam June Paik interviewed." ART Asia Pacific, vol. 3, no. 3 (1996), pp. 52-57.

Said, Edward W. Culture and Imperialism. London: Chatto & Windus, 1993.

The Second Asia-Pacific Triennial of Contemporary Art. Brisbane: Queensland Art Gallery, 1996.

Shimizu, Toshio. "Asian Modernism" (review). Art and Asia Pacific, vol. 3, no. 2 (1996), pp. 30-31.

Supangkat, Jim. "Two Decades of Contemporary Art in Indonesia." Art and Asia Symposium: "Asian Contemporary Art Reconsidered" [October 1997]. Tokyo: Japan Foundation Forum, 1997.

Torres, Emmanuel. "Internationality: Towards a New Internationalsim." Art and Asia Pacific, vol. 1, no. 1 (1993), pp. 42-49.

Ushiroshoji, Masahiro. "Present Encounters." ART AsiaPacific, no. 15 (1997), pp. 30-31. (Re.: 2nd Asia-Pacific Trienneal of Contemporary Art.)

Vine, Richard. "Reporting from Korea: Asian Futures" (review). Art in America, vol. 86, no. 7 (July 1998), pp. 34-41, 43.

Yang, Alice. "Brave New Faces." ART AsiaPacific, no. 15 (1997), pp. 25-27. (Re.: "Trads./Tensions".)

__________. Why Asia? Contemporary Asian and Asian American Art. New York: New York University Press, 1998.