Yishu典藏國際版 [第101期]:Stephanie Bailey, Julie Chun, Yan Zhou, and Andrew Stooke on pioneering contemporary women artists

點閱:19

並列題名:Yishu: Journal of Contemporary Chinese Art

作者:Yishu Office編輯

出版年:2021.05-10

出版社:典藏雜誌社

出版地:臺北市

最新發刊 : 2021-05-01

雜誌類型 : 半年刊



雜誌簡介: 雜誌的名稱 YISHU 直接取自中文藝術之音譯,是第一份當代華人藝術英文季刊。探討全球化環境中華人藝術的現狀與前景﹔介紹國際學術界對華人藝術的最新論述和研究﹔提供中外學者﹑藝術家之間相互交流對話的的平臺﹔為當代華人藝開拓術深廣發展的國際空間舞台。

本期內容簡介

INSIDE

Stephanie Bailey, Julie Chun, Yan Zhou, and Andrew Stooke on pioneering contemporary women artists

FROM THE ARCHIVE:
Tao Yongbai on a century of women artists in China

PAUSE: The early days of the pandemic in poems and photographs

SOCIAL DISCOURSE:
Gu Ling—Miffed About Miffy

雜誌簡介
 
《典藏國際版》為全球第一本專注於中國當代藝術和文化的英文雜誌,自2002年5月創刊以來,經過十年的努力,終成為藝術和學術領域最令人注目的期刊之一。如今它出現在諸多國家的大學、美術館和圖書館中,為中外學者提供了跨文化對話溝通的一個重要平台。
 
About Yishu
 
Yishu: Journal of Contemporary Chinese Art is the first English language journal to focus on Chinese contemporary art and culture. Each bi-monthly issue features scholarly essays on topical issues, interviews with artists and curators, conference proceedings, and critical commentary on exhibitions and books. Yishu offers a platform for a wide range of voices who are living and telling the story of contemporary Chinese art from a diversity of perspectives, and who provide dialogue and debate around current visual and literary forms produced within what constitutes an expanded understanding of contemporary Chinese art.
 
Since its inauguration in May 2002, Yishu has raised its profile internationally to become one of the most respected journals devoted to contemporary Chinese art. Appealing to professionals in the art and academic fields, as well as art enthusiasts in general, Yishu is now the journal of record for the high quality coverage of issues and events pertinent to Chinese art today. Its high standard of critical writing by thinkers from around the world allows us to voice ideas that communicate across cultures.

  • Editors’ Note(p.1)
  • Contributors(p.5)
  • The Latest F Word: Undercurrents of Feminism in the Practices of Four Chinese Women Artists(p.21)
  • After Communism and Capitalism: On Jen Liu’s Political Economy of Matter(p.37)
  • On Representations of Sex and Race in Ye Funa’s Odalisque Funa and After Dinner Party(p.47)
  • Censorship and Stereotypes of Senior Women in Chinese Visual Culture(p.57)
  • A Queer Way of Life: Ren Hang’s Photography(p.67)
  • Angels Wear White: Sexuality, Marriage, Family, Sisterhood, and a New Feminist Consciousness in Chinese Films(p.81)
  • Returns to the Homeplace: Personal Topographies of Memory in Contemporary Art from China(p.105)
  • More than Forms: Decoding Circles in the Works of Zhang Jianjun and Yu Youhan(p.113)
  • Resistance Is Not Always Futile: Reflecting on Taiwanese Art Collective Nation Oxygen(p.129)
  • Social Discourse Miffed About Miffy: Feng Feng Stirs Up an Age-old Debate on Artistic Shanzhai(p.137)
  • Chinese Name Index(p.142)