Contemporary Asian Art and Exhibitions Connectivities and World-making
Selected Reading on Contemporary Asian Art
See also references in individual essays in this volume.
Andrew, Brook, Berghuis, Thomas J., Havilah, Lisa & Seeto, Aaron. Edge of Elsewhere (Campbelltown Arts Centre, 2010).
Ang, Ien et al. (eds). Alter/Asians: Asian-Australian Identities in Art, Media and Popular Culture (Sydney: Pluto Press, 2000).
Antoinette, Michelle. Reworlding Art History: Encounters with Contemporary Southeast Asian Art after 1990 (Amsterdam & New York: Rodopi, 2014).
Art Asia Pacific (1993–).
ArtAsiaPacific Almanac (annually from 2005).
Asia Art Archive, www.aaa.org.hk.
Asia Art Archive. ‘The And: An Expanded Questionnaire on the Contemporary’, ‘Field Notes’ 1 (June 2012), http://www.aaa.org.hk/FieldNotes/Details/1167.
Asia Art Archive & Art Map Ltd. ‘All You Want To Know About International Art Biennials’, http://www.aaa.org.hk/onlineprojects/bitri/en/didyouknow.aspx#fn1.
Asia-Pacific Triennial of Contemporary Art. Catalogues of the First, Second,Third, Fourth, Fifth, Sixth and Seventh Asia-Pacific Triennial of Contemporary Art (Brisbane: Queensland Art Gallery, 1993–2012).
Asia-Pacific Triennial, http://www.apt3.net (Third APT).
Asia Research Institute & National University of Singapore. ‘Our Modernities: Positioning Asian Art Now’, international conference, Singapore, February 2004. Online conference papers: http://www.ari.nus.edu.sg/conf2004/asianart.htm.
Australian Government, Department of Prime Minister and Cabinet. Australia in the Asian Century, White Paper (Canberra, 2012), http://pandora.nla.gov.au/pan/133850/20130914-0122/asiancentury.dpmc.gov.au/white-paper.html.
Bauer, Uta Meta & Hanru, Hou (eds). Shifting Gravity: World Biennial Forum No 1 (Ostfildern: Hatje Cantz, 2013).
Belting, Hans. ‘Contemporary Art as Global Art: A Critical Estimate’, in The Global Art World: Audiences, Markets, and Museums, eds Hans Belting & Andrea Buddensieg (Ostfildern: Hatje Cantz, 2009), 38–73.
Berghuis, Thomas. Performance Art in China (Hong Kong: Timezone 8 Limited, 2006).
Binghui Huangfu (ed.). Text and Subtext: Contemporary Art and Asian Women Artists (Singapore: Earl Lu Gallery, 2000).
Blazwick, Iona (ed.). Century City: Art and Culture in the Modern Metropolis (London: Tate Gallery, 2001).
Bydler, Charlotte. The Global Art World, Inc.: On the Globalization of Contemporary Art (Uppsala: Acta Universitatis Upsaliensis, 2004).
Carroll, Alison. The Revolutionary Century: Art in Asia 1900–2000 (South Yarra: Macmillan Australia, 2010).
C-Arts: Asian Contemporary Art and Culture Magazine, http://www.c-artsmag.com/betac-artsmag.
Chang, Tsong-Zung & Li Xianting. China’s New Art, Post-1989 (Hong Kong: Hanart T Z Gallery, 1993).
Chiu, Melissa & Genocchio, Benjamin (eds). Contemporary Art in Asia: A Critical Reader (Cambridge, Mass. & London, England: MIT Press, 2011).
Clark, Christine (ed.). Beyond the Self: Contemporary Portraiture from Asia (Canberra: National Portrait Gallery, 2012).
Clark, John. Bibliography of Asian Modern and Contemporary Art to 2011: http://www.arts.usyd.edu.au/departs/arthistory/Courses%202002/pdf/Bibliography.pdf.
——. ‘Art and its “others” — recent Australian-Asian visual exchanges’, in Australia and Asia: cultural transactions, ed. Maryanne Dever (Surrey: Curzon Press, 1996).
——. Asian Modernities: Chinese and Thai Art Compared, 1980 to 1999 (Sydney: Power Publications, 2010).
—— (ed.). Chinese Art at the End of the Millennium (Hong Kong: New Art Media, 2000).
——. Modern Asian Art (Sydney: Craftsman House G+B Arts International, 1998).
—— (ed.). Modernity in Asian Art, The University of Sydney East Asian Series Number 7 (Sydney: Wild Peony, 1993).
Clark, John, Peleggi, Maurizio & Sabapathy, T.K. (eds). Eye of the Beholder: Reception, Audience, and Practice of Modern Asian Art, The University of Sydney East Asian Series Number 15 (Sydney: Wild Peony, 2006).
Count 10 Before You Say Asia. Asian Art after Postmodernism. International Symposium 2008 Report (Tokyo: Japan Foundation, 2009).
Ctrl+P: Journal of Contemporary Art and Culture, http://www.ctrlp-artjournal.org (2006–).
Desai, Vishakha (ed.). Asian Art History in the Twenty-First Century (Williamstown, Mass.: Sterling and Francine Clark Institute, 2007).
Dysart, Dynah & Fink, Hannah (eds). Asian Women Artists (Sydney: Craftsman House, 1996).
Erickson, Britta. ‘The Rise of a Feminist Spirit in Contemporary Chinese Art’, Art AsiaPacific, Issue 31, 2001, 65–71.
——. Bibliography of Contemporary Chinese Art, http://www.stanford.edu/dept/art/china/.
Flores, Patrick. Past Peripheral: Curation in Southeast Asia (NUS Museum, National University of Singapore, 2008).
——. ‘Position Papers: Turns in Tropics: Artist–Curator’, in The 7th Gwangju Biennale: Annual Report: A Year in Exhibitions, ed. Okwui Enwezor (Gwangju Biennale Foundation, 2008), 262–85.
——. Painting History: Revisions in Philippine Colonial Art (Manila: University of the Philippines, Office of Research and Coordination, and National Commission for Culture and the Arts, 1998).
Flores, Patrick D., Cajipe-Endaya, Imelda, Cruz, Joselina & Koh, Jay, convenors. Locus: Interventions in Art Practice (Manila: National Commission for Culture and the Arts, Lopez Museum & Pananaw ng Sining Bayan, 2005).
Flores, Patrick D. & Kee, Joan (guest eds). ‘Special Issue: Contemporaneity and Art in Southeast Asia’, Third Text: Critical Perspectives on Contemporary Art & Culture 25, Issue 4.
focas: Forum On Contemporary Art & Society (Singapore, 2001–2007).
4A Centre for Contemporary Asian Art. ‘About 4a’, http://www.4a.com.au/about-4a/.
Fukuoka Asian Art Museum. Catalogues of the Asian Art exhibitions, Fukuoka Art Museum to 1999 and catalogues of the First, Second and Third Fukuoka Asian Art Triennale, Fukuoka, from 1999–ongoing (Fukuoka Asian Art Museum).
——. The Birth of Modern Art in Southeast Asia: Artists and Movements (1997).
Furuichi, Yasuko (ed.). Alternatives 2005: Contemporary Art Spaces in Asia (Kyoto & Tokyo: Tankosha Publishing Co., 2004).
——. Asian Contemporary Art Reconsidered (Tokyo: Japan Foundation Asia Center, 1998).
Gao Minglu et al. The Wall: Reshaping Contemporary Chinese Art (New York and Beijing: The Albright Knox Art Gallery and China Millennium Museum of Art, 2005).
Gao, Minglu et al. Inside Out: New Chinese Art, exhibition catalogue (Berkeley: University of California Press, 1998).
George, Kenneth M. Picturing Islam: Art and Ethics in a Muslim Lifeworld (Chichester, West Sussex, U.K.; Malden, Mass.: Wiley Blackwell, 2010).
Glass, Alexie, Joseph, Rahel & Jegadeva, Anurendra (eds). The Independence Project/The Project (Fitzroy, Vic.: Gertrude Contemporary Art Spaces; Kuala Lumpur: Galeri Petronas, 2007–2008).
Glass, Alexie, Mashadi, Ahmad, Chong, Heman, Cormack, Emily, Doughty, Jacqueline & Lim, Qinyi. And the Difference Is: The Independence Project. Fitzroy, Vic.: Gertrude Contemporary Art Spaces; Singapore: NUS Museum, 2008–2009).
Guillermo, Alice. Image to Meaning (Ateneo de Manila University Press, 2001).
——. Protest/Revolutionary Art in the Philippines 1970–1990 (Quezon City: University of the Philippines Press, 2001).
Harris, Clare. In The Image of Tibet: Tibetan painting after 1959 (London: Reaktion Books, 1999).
Hashmi, Salima. Hanging Fire: Contemporary Art from Pakistan (New York: Asia Society, 2009).
——. Unveiling the Visible: Lives and Works of Women Artists of Pakistan (Lahore: Sang-i-Meel Publications, 2002).
Hassan, Salah & Dadi, Iftikhar (eds). Unpacking Europe (Rotterdam: NAI Publishers, Museum Boijmans Van Beuningen, 2001).
Hjorth, Larissa, King, Natalie & Kataoka, Mami (eds). Art in the Asia-Pacific: Intimate Publics (New York & London: Routledge, 2014).
Ho, Hing-kay Oscar. ‘Government, Business and People: Museum Development in Asia’, in The Global Art World: Audiences, Markets and Museums, eds Hans Belting & Andrea Buddensieg (Ostfildern: Hatje Cantz, 2009), 266–77.
Hoffie, Pat. ‘A New Tide Turning: Australia in the Region, 1993–2003’, in Art and Social Change: Contemporary Art in Asia and the Pacific, ed. Caroline Turner (Canberra: Pandanus Books, 2005), 516–41.
Hou, Hanru. On the Mid-Ground; Selected Texts Edited by Yu Hsiao-Hwei (Hong Kong: Timezone 8, 2002).
Hou, Hanru & Obrist, Hans–Ulrich (eds). Cities on the Move, exhibition catalogue (Ostfildern–Ruit: Gerd Hatje, 1997).
Huangfu, Binghui (ed.). Text and Subtext: Contemporary Art and Asian Woman (Singapore: Earl Lu Gallery, 2000).
Japan Foundation Asia Center (ed.). The Japan Foundation 30th Anniversary International Symposium 2002: ‘Asia in Transition: Representation and Identity’ Report (Tokyo 2003).
——. Under Construction (Tokyo: The Japan Foundation Asia Center & Tokyo Opera City Cultural Foundation, 2002).
Jurriëns, Edwin & de Kloet, Jeroen (eds). Cosmopatriots: On Distant Belongings and Close Encounters (Amsterdam & New York: Rodopi, 2007).
Kapur, Geeta. When Was Modernism: Essays on Contemporary Cultural Practice in India (New Delhi: Tulika, 2000).
Kee, Joan. ‘What is Feminist about Contemporary Asian Women’s Art?’, in Global Feminisms: New Directions in Contemporary Art, eds Maura Reilly & Linda Nochlin (London: Merrell Publishers Ltd., 2007), 107–22.
Kim, Young-Na. Modern and Contemporary Art in Korea: Tradition, Modernity and Identity (Elizabeth, New Jersey: Hollym Corporation, 2005).
——. Korean Art of the Twentieth Century (Seoul: Yekyung Publisher, 1994).
Kwok, Kian Chow. Channels & Confluences: A History of Singapore Art (Singapore Art Museum, 1995).
Lee, Yong Woo. ‘Globalism and the Vanity of its System’, in Japan Foundation Asia Center, Asia in Transition (Tokyo: 2002), 292–308.
Lenzi, Iola (ed.). Negotiating Home, History and Nation: Two Decades of Contemporary Art in Southeast Asia 1991–2011 (Singapore Art Museum, 2011).
Li Xianting & Jose, Nicholas. Mao goes Pop: China post-1989, exhibition catalogue (Sydney: Museum of Contemporary Art, 1993).
Lo, Jacqueline. ‘Diaspora, Art and Empathy’, in John Young: The Bridge and the Fruit Tree, exhibition catalogue (Canberra: Drill Hall Gallery, The Australian National University, 2013), 19–43.
Lo, Jacqueline, Chan, Dean & Khoo, Tseen. ‘Introduction — Asian Australia and Asian America: Making Transnational Connections’, Amerasia Journal 36, no. 2 (2010): xii–xxvii.
Lynn, Victoria et al. India Songs: Multiple Streams in Contemporary Indian Art, exhibition catalogue (Sydney: Art Gallery of New South Wales, 1993).
Maravillas, Francis. ‘Cartographies of the Future: The Asia-Pacific-Triennials and the Curatorial Imaginary’, in Eye of the Beholder: Reception, Audiences and Practice of Modern Asian Art, eds John Clark, Maurizo Peleggi, T.K. Sabapathy, The University of Sydney East Asian Series Number 15 (Sydney: Wild Peony, 2006), 244–70.
——. ‘Constellations of the Contemporary: Art / Asia / Australia’, Journal of Australian Studies 32, no. 4 (2008): 433–44.
MAAP-Media Art Asia Pacific, http://www.maap.org.au/about-maap/.
Merewether, Charles. ‘The Spectre of Being Human’, in Art and Social Change: Contemporary Art in Asia and the Pacific, ed. Caroline Turner (Canberra: Pandanus Books), 101–43.
Meskimmon, Marsha. Contemporary Art and the Cosmopolitan Imagination (London & New York: Routledge, 2011).
Munroe, Alexandra (ed.). Scream Against the Sky: Japanese Art after 1945 (New York: Harry N. Abrams, Inc., 1994).
Museum of Contemporary Art, Tokyo. Art in Southeast Asia: Glimpses into the Future (Tokyo: Museum of Contemporary Art & Hiroshima: Hiroshima City Museum of Contemporary Art, Japan, 1997).
Nadarajan, Gunalan, Storer, Russell & Tan, Eugene. Contemporary Art in Singapore (Institute of Contemporary Arts Singapore, 2007).
Nakamura, Fuyubi, Perkins, Morgan & Krischer, Olivier (eds). Asia through Art and Anthropology: Cultural Translation Across Borders (London; New York: Bloomsbury Academic, 2013).
Nanjo, Fumio, Friis-Hansen, Dana, Sontag, Susan & Fuse, Hideto. Of the Human Condition: Hope and Despair at the End of the Century (Tokyo: Spiral/Wacoal Art Centre, 1994).
Nur Hanim Bt Mohamed Khairuddin & Yong, Beverly, with Sabapathy, T.K. (eds). Narratives in Malaysian Art (Kuala Lumpur: RogueArt, 2012–).
Osaka, Eriko & Kline, Katy (eds). Against Nature: Japanese Art in the Eighties (New York: Grey Street Gallery and Study Center, New York University, 1989).
PANANAW: Philippine Journal of Visual Arts (Manila: The National Commission for Culture and the Arts, 1997–).
Piyadasa, Redza. ‘Modernist and Post-Modernist Developments in the Post-Independence period’, in Modernity in Asian Art, ed. John Clark (Sydney: Wild Peony, 1993).
Poshyananda, Apinan. Contemporary Art in Asia: Traditions/Tensions (New York: Asia Society Galleries, 1996).
——. Modern Art in Thailand: Nineteenth and Twentieth Centuries (Oxford University Press, 1992).
Roberts, Claire (ed.). Go Figure! Contemporary Chinese Portraiture (Canberra: National Portrait Gallery & Sherman Contemporary Art Foundation, 2012).
——. New Art from China: Post-Mao Product, exhibition catalogue (Sydney: Art Gallery of NSW, 1992).
Rodboon, Somporn. ‘Notes on the Revival of Traditional Art in Thai Contemporary Art’, paper delivered at Symposium on Southeast Asian Art History and Regional Aesthetics, SPAFA/SEAMEO, March 1995, Singapore.
Sabapathy, T.K. Intersecting Histories: Contemporary Turns in Southeast Asian Art (Nanyang Technological University, 2012).
——. ‘Developing Regionalist Perspectives in South-East Asian Art Historiography’, in The Second Asia-Pacific Triennial of Contemporary Art (Brisbane: Queensland Art Gallery, 1996), 13–17.
—— (ed.). Modernity and Beyond: Themes in Southeast Asian Art (Singapore Art Museum, 1996).
Sabapathy, T.K., Flores, Patrick D. & Rajah, Niranjan (eds). 36 Ideas from Asia: Contemporary South-East Asian Art (Singapore Art Museum, 2002).
Saidon, Hasnul J. & Yong, Beverly. Between Generations: 50 Years across Modern Art in Malaysia (Kuala Lumpur & Penang: University of Malaysia, Valentine Willie Fine Art & Universiti Sains Malaysia, 2007).
Sambrani, Chaitanya (ed.). Edge of Desire: Recent Art in India (London: Philip Wilson Publishers, 2005).
SentAp! (Perak: Teratak Nuromar, 2005–).
Sheikh, Gulammohammed (ed.). Contemporary Art in Baroda (Delhi: Tulika, 1997).
Singapore Art Museum. Visions and Enchantment: Southeast Asian Paintings, exhibition catalogue (Singapore Art Museum in association with Christie’s Singapore, 2000).
Stanhope, Zara & Antoinette, Michelle. ‘The World and World-Making in Art: Connectivities and Differences’, World Art 2, no. 2 (2012): 167–71.
Sullivan, Michael. Art and Artists of Twentieth Century China (Berkeley: University of California Press, 1996).
——. The Meeting of Eastern and Western Art (Berkeley: University of California Press, 1989).
Supangkat, Jim. Indonesian Modern Art and Beyond (Jakarta: Yayasan Seni Rupa Indonesia/ The Indonesian Fine Arts Foundation, in cooperation with Museum Universitas Pelita Harapan & Edwins Gallery, 1996).
Supangkat, Jim, et al., Outlet: Yogyakarta within the Contemporary Indonesian Art Scene (Yogyakarta: Cemeti Art Foundation, 2001).
Tatehata, Akira, Mizusawa, Tsutomu & Shioda, Junichi (eds). Asian Modernism — Diverse Development in Indonesia, the Philippines, and Thailand (Tokyo: The Japan Foundation Asia Centre, 1995).
Taylor, Nora Annesley. Painters in Hanoi: An Ethnography of Vietnamese Art (Honolulu: University of Hawaii Press, 2009).
Taylor, Nora A. & Ly, Boreth (eds). Modern and Contemporary Southeast Asian Art: An Anthology (New York: Cornell University, 2012).
Turner, Caroline. ‘Cultural Transformations in the Asia-Pacific: The Asia-Pacific Triennial and the Fukuoka Triennale Compared’, in Eye of the Beholder: Reception, Audiences and Practice of Modern Asian Art, eds John Clark, Maurizo Peleggi, T.K. Sabapathy, The University of Sydney East Asian Series Number 15 (Sydney: Wild Peony, 2006), 221–43.
—— (ed.). Art and Social Change: Contemporary Art in Asia and the Pacific (Canberra: Pandanus Books, 2005).
—— (ed.). Tradition and Change: Contemporary Art of Asia and the Pacific (St Lucia: University of Queensland Press, 1993).
Turner, Caroline & Devenport, Rhana (eds). Present Encounters: Papers from the Conference of the Second Asia-Pacific Triennial of Contemporary Art, 1996 (Brisbane: Queensland Art Gallery, 1996).
Turner, Caroline & Low, Morris (eds). Beyond the Future: Papers from the Conference of the Third Asia-Pacific Triennial of Contemporary Art, 1999 (Brisbane: Queensland Art Gallery, 1999).
Turner, Caroline, Antoinette, Michelle & Stanhope, Zara (eds). ‘The World and World-Making in Art’, special issue, Humanities Research 19, no. 2 (2013) http://press.anu.edu.au/titles/humanities-research-journal-series/volume-xix-no-2-2013.
Universes-in-Universe, http://universes-in-universe.org/eng/ (1997–).
Ushiroshoji, Masahiro. New Generation of Asian Art (Fukuoka Art Museum, 1997).
Webb, Jen. ‘The Asia-Pacific Triennial: Synthesis in the Making’ (with Tony Schirato), Continuum 14/3 (Special issue: ‘Synthesis’) (November 2000): 349–58.
Weerasinghe, Jagath. ‘Made in IAS: An Exhibition of Paintings, Sculpture and Installation Works by 16 Artists from the Institute of Aesthetic Studies of the University of Kelaniya’ (introduction to catalogue), Gallery 706, Colombo, 11–20 July 2000.
‘West Heavens’ project website, http://westheavens.net/en.
Wright, Astri. Soul, Spirit, and Mountain: Preoccupations of Contemporary Indonesian Painters (Kuala Lumpur & New York: Oxford University Press, 1994).
Wu Hung (ed.). Chinese Art at the Crossroads: Between Past and Future, Between East and West (Hong Kong: INIVA and New Art Media, Hong Kong, 2001).
——. Transience: Chinese Experimental Art at the End of the Twentieth Century (University of Chicago Press, 1999).