Video Art in China 1985 2020

This is the first book that offers a comprehensive account of video art after the Cultural Revolution in China with a special emphasis on the way it progressed together with phenomenal socio-economic transformations that began in the 1980s. This is the first book that offers a comprehensive account of video art after the Cultural Revolution in China with a special emphasis on the way it progressed together with phenomenal socio-economic transformations that began in the 1980s. It examines its development against social changes and pressures, looking at such aspects as the growth of artistic and cultural groups, exhibition spaces and art schools. Charting these changes, it prizes out the many zones of influence by the dominant United States while also marking out the many independent features of Chinese video art and the conditions that shaped them. Adam Geczy, PhD, is an artist and writer who teaches at the University of Sydney. His exhibitions have been throughout Europe, Asia and Australia where his work is held in several national collections. As a writer he has published over 20 books (contemporary art, fashion, cultural studies and aesthetics), and is the author of numerous critical articles and book chapters. Qian Yang is a doctoral candidate in the School of Art, Communication and Media, at the University of Sydney. She graduated from Tiangong University in 2017 with a bachelor’s degree and from the University of the Arts London in 2019 with a master’s degree in graphic media design. This is the first book that offers a comprehensive account of video art after the Cultural Revolution in China with a special emphasis on the way it progressed together with phenomenal socio-economic transformations that began in the 1980s. It examines its development against social changes and pressures, looking at such aspects as the growth of artistic and cultural groups, exhibition spaces and art schools. Charting these changes, it prizes out the many zones of influence by the dominant United States while also marking out the many independent features of Chinese video art and the conditions that shaped them.

Pages: 265, Hardcover, Palgrave Macmillan