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A Grand Materialism in the New Art from China

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In A Grand Materialism in the New Art from China, Mary Bittner Wiseman shows that material matters in the work of Chinese artists, where the goal is to call attention to its subjects through the directness and immediacy of its material, like dust from 9/11, 1001 Chinese citizens, paintings made with gunpowder, written words, or the specificity of its sites, like the Three Gorges Dam. Artists are working below the level of language where matter and gesture, texture and touch, instinct and intuition live. Not reduced to the words applied to them, art's subjects appear in their concrete particularity, embedded in the stories of their materials or their sites. Wiseman argues that it is global in being able to be understood by all, as are the materials in the new art and the stories that accompany them: here are items from Song Dong's mother's home in the Cultural Revolution, here is dust from 6/11.Finally, it satisfies Arthur Danto's characterization of art asany representation that shows something new about its subject or puts it in a new light, by way of a rhetorical figure that the viewer interprets. Danto has given criteria for a given work's making the case for itself hat it is art. The material art from China is the paradigm for an art that is global and contemporary.
Illustrations Exhibitions Acknowledgments Introduction Part One - Crisis Chapter One - Subversive Strategies in Contemporary Chinese Art Chapter Two - The Role of Expression in Chinese Art Part Two - Working through Art Chapter Three - A Grand Materialism Chapter Four - Gendered Bodies in Contemporary Chinese Art Part Three - Thinking through Art Chapter Five - Art and China after 1989: Theater of the World Chapter Six - According to What? and Bound Unbound Chapter Seven - Mao's Legacy and Danto's Definition Bibliography
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