A Working Bibliography - The University of Sydney

30
Huangfu Binghui, cur. & ed., In and Out, Contemporary Chinese Art from China and Australia, Singapore, La Salle SIA,
College of the Arts, 1997.
Jaivin, L., ‘From the barrel of a gun’, Art & Asia Pacific, no.2, June 1992.
Jin, Yuqing, ‘Contemporary Chinese Art’, Kuroda, Raiji, The First Fukuoka Asian Art Triennale, Fukuoka: Fukuoka
Asian Art Museum, 1999
Jose, N., ‘Brokering a space: new Chinese art’, Art Monthly Australia,53, Sept 1992.
Jose, N., ‘My search for a shaman’, Art & Asia Pacific, vol.1, no.2, 1994.
Jose, N., ‘Next Wave Art’, Art & Asia Pacific, no.2, 1993.
Jose, N., ed., Mao Goes Pop, China post 1989, Sydney, Museum of Contemporary Art, 1993.
Jouanno, Evelyne. ‘Out of the Centre or Without the Centre.’ Third Text no.28/29 Autumn/Winter 1994
Köppel-Yang, Martina, Semiotic Warfare: The Chinese Avant Garde 1979-1989, a semiotic analysis, Hong Kong,
Timezone 8, 2003.
Köppel-Yang, Martina; Schneckmann, Peter; Schneider Eckard R., Gebrochene Bilder, Junge Kunst aus China,
Selbsdarstellungen, Bad Honnef, Horlemann, 1991
Kuspit, Donald, ‘China! Das Kunstmuseum Bonn Zeigt's’, Artforum International, Vol.35, Issue 1, September1996
Leng Lin. ‘“It’s Me!”--The Main Theme of China’s Contemporary Art in the 1990s’’Asian Art: Prospects for the
Future.’ International Symposium 1999
Li Xianting, ‘After Pop: Kitsch Discourse and Satritical parody’, Visual Arts + Culture, vol.1, no.1, 1998.
Li Xianting, ‘The Imprisoned Heart’, Art & Asia Pacific, vol.1, no.2, 1994.
Lin Yilin ‘Big Tail Elephant in the 1990s’, Yishu: Journal of Contemporary Chinese Art, vol.2, no., June 2003.
Litzinger, Ralph A., ‘Screening the Political: Pedagogy and Dissent in The Gate of Heavenly Peace’ in positions: east asia
cultures critique, volume 7, number 3 (winter 1999), pp. 827-850
Louie, Regan, Toward a Truer Life: Photographs of China, 1980-1991, New York, Aperture Foundation, 1991
Lu, Sheldon Hsiao-peng, ‘Global POSTmoderniZATION: The Intellectual, the Artist,and China’s Condition’, in
Dirlik, Arif; Zhang Xudong, ‘Postmodernism and China’,S pecial Issue of Boundary 2, vol.24, no.3, Fall
1997.
Lutfy, Carol, ‘Flame and fortune’, ARTnews December 1997: 147
Maki Yôichi, Avan- Chaina, Chûgoku no Gendai aato, Tôkyô, Kodama-sha, 1998.
Mao Yiling, ‘Pushing boundaries’, Art AsiaPacific, 24, 1999
Martin, Tim. ‘Silent Energy: New art from China: Guha, Tania, “Transition of Riches”.’ Third Text, no.25 Winter
1993-94
Phillips, Christopher, ‘In Mao’s Footsteps’, Art in America, Vol. 90, Issue 9, September 2002
Pi Li, ‘My life, my decision: the political nature of Chinese contemporary art’, Contemporary Chinese Art Bulletin,
vol.2, no.5, 1999.
Pöhlmann, W., China Avantgarde, Berlin, Haus der Kulturen der Welt & Heidelberg, Edition Braus, 1993.
Qian, Zhijian, ‘Performing Bodies: Zhang Huan, Ma Liuming, and Performance Art in China’ in Art Journal,
Summer 1999, pp. 61-81
Quotation Marks, Singapore, Singapore Art Museum, 1997 [review: Lee Weng Choy in Art AsiaPacific, no.17, 1998].
Reynaud, Berenice, ‘To live and die in Beijing’, Artforum International, Vol.36, Issue 8, April 1998
Roberts, C., ‘Towards self-reliance? A selected view of contemporary Chinese art’, in Lee M. &
Syrokomla-Stephanowska, A.D., eds, Modernization of the Chinese Past, Sydney, Wild Peony, 1992.
Roberts, C., New Art From China: Post-Mao Product, Sydney, Art Gallery of New South Wales, 1992.
Rowe, Ron, ‘Interfacing with China’, Artlink, Vol. 16, No.2&3, Winter 1996
Sang Ye, ‘Fringe Dwellers: Down and out in the Yuan Ming Yuan artists’ village’, ART AsiaPacific, no.15, 1997
Schwabsky, Barry, ‘Tao and Physics,’ Artforum, Summer 1997: 121
Scott, Tony, ‘Re-merging after Tian’anmen’, Art Monthly Australia, no.73, September 1994.
Serfaty, Paul, ‘The artist as a reflection of society’ [Ducrop collection], Asian Art News, vol.10, no.4, 2000
Sichel, Berta M., ‘Antilinear’, Flash Art, March/April 1997: 72
Silbergeld, Jerome, ‘Art and Censorship in Socialist China: a do-it-yourself system’, in Childs, Elizabeth C.,
Suspended License: Censorship and Visual Arts, Seattle, University of Washington Press, 1997.
Smith, Karen, ‘Notes on China’s Video Installation Art.’ Asia-Pacific Sculpture News 2:4 Autumn 1996
Smith, Karen, “The Cultural Considerations of Contemporary Artists From China” in China: Contemporary Art,
Sao Paolo, Museo de Arte Brasiliera, 2002
Smith, Karen, Nine Lives in New China, Zurich, Scalo Publishers, 2005
Smith, Karen, Representing the People, Manchester, Chinese Arts Center, 1999
Solomon, Andrew, ‘The howl that could free China’, The New York Times Magazine, 19.12.1993, p.48