This is the most up-to-date collection of essays in English on the trajectory of Taiwan and its modernist art movement currently available. Situated in a unique geopolitical and historical juncture, Taiwan provides a sole paradigm in Asia that critically engages the cultural and theoretical discourses on the issues of modernism in a global context. Chronologically and thematically structured, this volume is divided into four sections, from the Japanese Colonial (1895-1945) and Postwar (1945-1987) eras, to the present. In addition to situating Taiwan between the local and global with scholarly contributions, the volume concludes with engaging and personal essays by two of Taiwan's most accomplished modernist artists. All of the contributing scholars are leading figures in the field of Taiwan, China and Asian modern contemporary art history, including Julia Andrews and John Clark. In addition, the artists Liu Guosong (b. 1932) and Mali Wu (b. 1957), are the most representative and critical of their respective times. The balance between scholarly discourse and artists' presentation truly makes this publication one of a kind.

The most updated volume on Taiwan and modernism in English publication featured by leading scholars and artists of the field Serves as an illuminating paradigm in reflecting on the rising field of modern contemporary Chinese and Asian art Engages the most current discourses on global modernism

Autorentext
Hui-shu Lee is Professor of Art History at UCLA. She received her doctorate degree from Yale University. Her field of specialization is Chinese visual culture in the pre-modern and modern era, with a particular focus on gender issues. She also works extensively on representations of place, cultural mapping, female agency, and garden culture. In addition, she writes and curates occasionally on modern contemporary art including the Taiwanese artist Chu Ko/Chu Ge and the American photographer Lois Conner.

Inhalt

Between Academicism and Modernism: Modern Art in Early Twentieth-Century Taiwan.- The Translation or Refusal of Surrealist Art in China and Taiwan during the 1930s.- Cold War Ideology and the Reemergence of Modernist Poetry and Art in Postwar Taiwan.- A Cultural Epicenter in the Geopolitical Periphery: The Rise of Taiwan Modern in the Early 1960s.