Is art history withering? The presumption of the end of the discipline might just be like someone holding a dark mirror to an optimistic future. It seems unlikely to happen under the threat of visual culture on its trajectory toward interdisciplinary or transdisciplinary study, as long as it resists being tied to a single grand...
During the 1990s, Chinese ‘avant-garde’ art was included in numerous international art exhibitions that promised the ‘hybridity’ of cross-national collaboration...
In the past two decades, generations of academic artists have established their own respective approach to modern art. Instead of considering modern art as the site for an ‘avant-garde’ revolt against academics, these artists have illustrated the positive contribution that art academies in China have made on the development of modern art.
Xu Bing’s "Tianshu" is both avant-garde and academic. It has underscored various depths of sincerity, the zeitgeist of China in the late 1980s. It echoes Chinese intellectuals’ concerns with the transformation of cultural systems towards modernism and critically queries the validity of tradition and culture during the procedure.
Chinese Academicism does not share the long and strict doctrine of the French academy before 19th century. It was intermittently broken up by wars and revolutions. Western-style painting became a required part of China's national education curriculum in 1902.
Pop art, which presented subjects in realist style taken from everyday life, was easier to accept in Chinese society and easier for Chinese artists to adapt in their own modern art experiments.
The European art modes such as Realism, Romanticism, Modernism have always been concerned in Chinese modern art history with the issue of searching for national modernity. However, the dominant trend during the twentieth Century in China was Realism.