Guggenheim Museum’s Globalization Experiment: Art and China After 1989: Theater of the World
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| Publicado no: | ProQuest Dissertations and Theses (2025) |
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| Acesso em linha: | Citation/Abstract Full Text - PDF |
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| Resumo: | “Art and China After 1989: Theater of The World” was an exhibition that was created and held at the Solomon R. Guggenheim Museum in New York from October 6th, 2017, to January 7th, 2018. The curator of this exhibition claimed that it was the largest and most comprehensive exhibition of Chinese contemporary art in North America to date. This thesis reconsiders the goals and impact of this exhibition in the context of globalization. As a historian of unofficial Chinese art, I analyze a crucial flaw of this exhibition from my perspective. Mainstream American art museums, represented by the Guggenheim, have been covertly used by the Chinese government as propaganda carriers. This thesis will also compare “Art and China After 1989: Theater of The World” with two other exhibitions held in the United States for Japanese and South Korean contemporary art and explore the similarities and differences in the paths of artistic globalization among the three culturally interconnected East Asian countries of China, Japan, and South Korea. The Chinese government has for decades taken a negative view of contemporary art because it is often associated with social criticism. However, when China started to embrace the ambition of “global cultural export” and eagerly to fabricate a “flawless” international image, the government began to employ contemporary art as evidence to persuade the West that China is as free as many developing countries. To ensure that what they had regarded as “rebellious” contemporary art was manipulatable; the Chinese government successfully lured many prominent artists to join the official system. I analyze the effectiveness of these efforts in the organization and reception of “Art and China After 1989: Theater of The World.” The exhibition showed how important it was to integrate Chinese contemporary art into the global context and to give the West a comprehensive portrayal of China after the failed democratic revolution in 1989. However, the curators underestimated the complexity of China’s art environment, and the exhibition remains an image filtered through the Chinese government. This thesis will conclude with general observations drawn from the comparative analysis of the three exhibitions regarding the shift that has occurred in the decade since in museological interest in art globalization to East Asian contemporary art. I will also give a voice to China’s unofficial artists and use my expertise and background to discuss the successes and defects of curators such as Alexandra Munroe, Philip Tinari, and Hou Hanru in planning this exhibition. |
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| ISBN: | 9798288806292 |
| Fonte: | ProQuest Dissertations & Theses Global |