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A Teacher’s Brief Study of Contemporary Asian Art: An analysis of two texts to be used in the high school classroom

Katherine J. Lowther George Rogers Clark High School

Katherine.lowther@clark.kyschools.us

National Chinese Language Conference April 18, 2015

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Table of Contents

Introduction, Purpose, and Rationale………………………………………………………………………………………… 3

Contemporary Chinese Art: 7 Things You Should Know

Summary of Text…………………………………………………………………………………………………………………. 4

Chapter Summaries and Classroom Applications…………………………………………………………………. 19

Overall Recommendation……………………………………………………………………………………………………. 26

At Work: Twenty-five Contemporary Chinese Artists

Summary of Text…………………………………………………………………………………………………………………. 27

Introductory Snapshot…………………………………………………………………………………………………………. 28

Overall Recommendation……………………………………………………………………………………………………. 29

Chinese Contemporary Art: General Classroom Applications

Classroom Discussion Starters……………………………………………………………………………………………… 31

Activities……………………………………………………………………………………………………………………………… 31

Research Projects………………………………………………………………………………………………………………… 32

Writing Prompts………………………………………………………………………………………………………………….. 32

Projects and Activities…………………………………………………………………………………………………………. 33

Index of All Artists Featured……………………………………………………………………………………………………… 37

Resources………………………………………………………………………………………………………………………………….. 40

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Introduction, Purpose, and Rationale

Traditional textbooks in the high school classroom can be an excellent starting point for

general instruction of content assessed on state-mandated testing. However, when teachers’

or students’ interests go beyond the “core content”, it is necessary to research and utilize other

resources that will supplement existing textbooks. Often, students are fascinated by that which

is unknown or unfamiliar to them, and Asian cultures are one of the most popular subjects that

pique students’ interest, whether in an art history course, general humanities survey, or any

other history or art methods course. This paper will analyze the usefulness of two books for

introducing high school students to contemporary Chinese art. The first book provides a

general overview of key concepts, stylistic characteristics, and influential socio-political events.

The second book highlights major artists, how they work, representative works, and their

influences on contemporary Chinese art. Lesson ideas and classroom applications are also

provided to help teachers focus the students’ study and allow them to fully experience each

text on a more profound level, with the hopes that students will expand their understanding of

the world outside of their own microcosms, and inspire them to begin their own studies into

Asian cultures.

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Contemporary Chinese Art: 7 Things You Should Know

Summary of Text and Chapter-Specific Classroom Applications

At first glance, Contemporary Chinese Art: 7 Things You Should Know, by Melissa Chiu

seems to be a promising, if concise, guide to contemporary Chinese art. While standing in the

bookstore flipping through the text, the reader would be enticed by the glossy, full-color prints

of intriguing artwork, and wonder how each fits into the “7 Things”. The introductory chapter

offers a brief background by quickly summarizing the timeline of contemporary Chinese art thus

far. Again, the images included in this introduction act to tantalize the reader, and set the stage

for what should be a vibrant discussion of contemporary Chinese art. As one begins to delve

into the text, however, the brightness of the images fade against the frustration of unanswered

questions that arise from between each line of text and each artwork included as an example.

While the “7 Things” do provide a starting point of study for a novice art historian, it does little

more than name-drop and assert that contemporary Chinese art is beginning to become more

popular both in and out of China. Although this simplistic approach will be frustrating to any

reader that wants more than merely interesting pictures to look at, it can serve as a starting

point for high school art history students beginning their studies in contemporary Chinese art.

This section will also provide lesson ideas for each chapter of the text. Because the

author includes many artworks without discussing them, the active reader will have many

questions after viewing each work reproduced in the book. The discussion questions ask

students to focus on specific tasks or artworks and may be answered with a minimal amount of

research, but are meant to inspire vigorous classroom discussion and debate. The

“unanswered questions” are either more vague or very specific. Students will attempt to

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research the answers to the questions posed, but in some cases may only be able to generate

educated hypotheses about the artworks in question. To ensure a rich discussion, the teacher

should assign selected questions the day prior to the discussion, and ask students to come

prepared with quick jot-downs, notes, and examples they thought through at home.

Alternatively, students may be assigned specific questions to consider before leading a portion

of the class discussion (not as a solo presentation).

Some of the discussion questions will cover artworks or artists that also are covered

with a lesson idea. The teacher should take care to select the items that will be the most useful

to students, without duplicating tasks.

If a complete class set of this book is not available, the teacher may wish to assign one

chapter to a group, have students complete assignments on their assigned chapter, and present

their findings to the entire class.

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Chapter Summaries and Classroom Applications

Chapter 1. “Contemporary art in China began decades ago” (15).

In the most informative and valuable chapter of the book, Chiu discusses the beginnings

of contemporary Chinese art, pinpointing its origin to 1979 and the influence that the Open

Door policy had on art. One of the most frequent questions students have about non-Western

art forms is “How did it get to us?”—that is, when did the other cultures’ art forms begin to

make a presence in the United States, and who brought it from the home cultures? Students

are also often interested in ways their Western culture has influenced others. In this chapter,

Chiu briefly suggests that exposure to Dada, Surrealism, and Robert Rauschenberg were major

influences on contemporary Chinese art, but she merely mentions the sources without

presenting details to support her assertions. If the student was not already familiar with these

“influences”, he would not understand the connections, and therefore would fail to fully

understand the significance of the references.

The author proceeds to provide a brief timeline of the early years in the development of

contemporary Chinese art. She begins with The Stars, who were among the first to stage a non-

government sanctioned art show in a public area, open to anyone who might stop to view the

curiosity of the event. The artists involved in The Stars, when ordered to cease their exhibition,

set the precedent for future like-minded artists by protesting and not backing down quietly.

Chiu then jumps to the issue of censorship, using the China Avant-Garde exhibition of 1989 to

illustrate her points. Although the exhibition was only open for nine days—it too was shut

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down by the government—it provided valuable exposure for many artists who went on to

change the contemporary Chinese art scene throughout the next two decades.

Rather than silencing the artists involved in the China Avant-Garde exhibition, the

government shut-down gave them an impetus to make their message and work known. They

formed artist communities, organized exhibitions outside of China, or even emigrated in order

to be free to create what they wanted, as they wanted. In this chapter, the author discusses

some of the hardships the artists endured after 1989, and also introduces some of the artistic

styles that arose during this time, including Cynical Realism, Political Pop, and Gaudy Art. She

provides a brief definition of these styles, then refers to conceptual and installation art, as well

as video and photography as media, but merely lists several artists who fit into each category

with little explanation of how they do so. Many prints from various artists mentioned

throughout the chapter are included, but there is no discussion of any of the works. The

included works are sufficiently intriguing to entice the reader to continue with the hope that

questions that arose from viewing the images will be answered throughout the text.

Introduction Students will…

Read the Introduction at the beginning of a contemporary Chinese art unit. This chapter will serve as an introduction to the themes/issues/concepts related to contemporary Chinese art.

Research recent auction prices for contemporary Chinese art, and compare to recent auction prices for contemporary Western art. Students will discuss possible reasons for the differences in price and interest in each of the cultures’ artwork and prices.

As a class, examine each of the artworks featured in this chapter and hypothesize about the meaning behind each artwork. Students will discuss each with the class, and work through common ideas, as well as unique theories. In groups, students will then research one of the artworks and present their findings to the class,

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comparing the initial discussion’s hypotheses with the facts uncovered during their research.

Artworks: 1. Geng Jianyi. The Second Situation, 1999. 2. Sui Jianguo. Legacy Mantle, 1999. 3. Zeng Fanzhi. Untitled (reclining figure), 1998. 4. Zhang Huan. Family Tree, 2000. 5. Zhang Peili. Continuous Reproduction, 1993.

Discussion and Unanswered Questions:

Zhang Huan. Family Tree (7). What connotations arise with the phrase, “family tree”? Why do you think Zhang Huan chose this media? What could the words on his face mean? How does he view his family? Why does he completely cover his face? Why black ink?

Zhang Peili. Continuous Reproduction (13). What famous modern American artworks does this work remind you of? Select a specific example and compare to this work. What was the message of the American work, and how is it similar to or different from the Chinese work?

Geng Jianyi. The Second Situation (7). What was the first situation? What is this situation? Why is the subject screaming? Is the second situation worse than the first situation? Are there more situations?

Chapter One Students will…

Select an artistic movement introduced in this chapter, and create a PowerPoint to present to the class. Each presentation should include the movement’s general characteristics; artistic influences; social and cultural context; government/public reaction; longevity/popularity.

Movements: The Stars; ’85 New Wave; New Figurative/Southwest Art Group; Xiamen Dada; Hangzhou Youth Creativity Society/the Pond Group; New Analysts Group; Political Pop; Cynical Realism; Gaudy Art; performance art; installation art; conceptual art; use of technology

Select an artist featured in this chapter, and create a poster featuring their selected artist. Information should include the artist’s location of origin, if/where/why they relocated, current working status, popularity, and social and cultural issues by which they were inspired.

Artists: Cang Xin, Fang Lijun, Feng Mengbo, Geng Jianyi, Gu Dexin, Hai Bo, Huang Yong Ping, Li Shan, Lin Tianmiao, Lin Yilin, Liu Wei, Ma Liuming, Miao Xiaochun, Rong Rong, Shi Yong, Sui Jianguo, the Luo Brothers, Wang Du, Wang Gongxin, Wang Jianwei, Wang Keping, Wang Youshen, Wu Shanzhuan,

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Xiao Lu, Xing Danwen, Xu Bing, Xu Yihui, Yang Fudong, Yue Minjun, Zhang Huan, Zhang Peili, Zhang Xiaogang, Zhu Ming

Select an artwork featured in this chapter, and create a PowerPoint presentation to share with the class. The presentation should include: a high quality image of the artwork; the complete credit line, the artist’s intended message or purpose, an analysis of the media selected, an analysis of specific imagery or symbols and an analysis of the effectiveness of the overall work in achieving the artist’s goals.

Artworks: 1. Fang Lijun. Series II, No. 06, 1991-1992. 2. Hai Bo. Three Sisters, 2000. 3. Huang Yong Ping. “The History of Chinese Painting” and “The History

of Modern Western Art” Washed in a Washing Machine for Two Minutes, 1987.

4. Liu Wei. Untitled, 1998. 5. Wang Keping. Idol, 1979. 6. Xiao Lu. Two Gunshots Fired at the Installation “Dialogue” in the

China/Avant Garde exhibition, Beijing, February 1989, 1989 7. Xu Bing. Book from the Sky, 1987-1991. 8. Yue Minjun. Untitled (Laughing Head), 1994. 9. Zhang Xiaogang. Bloodline Series: Mother with Three Sons (The

Family Portrait), 1993.

Research Political Pop and Cynical Realism and agree or disagree with Chiu’s statement that these styles were a reflection of “China’s transition from a Communist society to a market-driven one” (25).

Research one example of Gaudy Art, and select a modern Western artists whose artwork is similar (e.g., Jeff Koons, Claes Oldenberg). Compare the purpose of each of the artworks, and account for any differences in each artist’s intent.

Discussion and Unanswered Questions:

1. Xiao Lu. Two Gunshots Fired at the Installation “Dialogue” in the China/Avant-Garde exhibition, Beijing, February 1989 (18). Who is the shooter shown in the picture? The artist? An offended viewer? Invited audience participation? If this was an act of protest to the exhibition, was it related to the bomb threats that were led to a forced shut down of the exhibition?

2. “Artworks by the Xiamen Dada group being burned after their first exhibition, Hangzhou, 1986” (21-23). On whose orders were the works burned? The artists? The government? What motives might either group have for doing so? What is the translation of the painted words? What is the purpose of the arrows? Who wrote these items, and why?

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3. Hai Bo. Three Sisters (29-30). What was the occasion of the first portrait? How many years are between the two portraits? What happened to the third sister? What has happened in the years between the two portraits? In both portraits, how does each sister’s appearance speak to her own life? How has each changed?

Chapter 2. “Chinese contemporary art is more diverse than you might think” (35).

After the first chapter’s general discussion of the inception of contemporary Chinese art,

the reader would expect the second chapter to go into more detail about the artists and discuss

the styles that are, as the chapter title states, “more diverse than you might think” (35). Chiu

lists a few names and styles—some of which were already referenced in Chapter One—and

mentions a few new media, including the Internet reality game, “Second Life”. The seven

artworks featured in this chapter are interesting to look at, but, with no explanation, they only

illustrate Chiu’s point at a surface level. While this is frustrating from the perspective of the

general reader, the works are unusual enough to inspire students to investigate the artists

whose works are included, and come to their own understanding of contemporary Chinese art.

The entire text of this chapter takes up no more than a single page when put together,

which is not adequate space to discuss the diversity of contemporary Chinese art. Chiu

concludes by giving the following summary:

“Insofar as one can generalize about current Chinese art, we can say that the artists look more to the future than to the past, to present-day realities and opportunities rather than to history and its lessons” (41).

This final, generic sentence could have led to a more meaningful explanation of the artists and

styles included in the chapter, but instead leaves more questions for the reader to answer

herself, which again, could be a useful educational tool.

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Chapter Two Students will…

Select an artistic movement introduced in this chapter, then select 7-10 artworks that are representative of their selected style to create a “scrapbook”. Students should include a cover for their scrapbook and an introductory page that includes the following: the movement’s general characteristics, artistic influences, social and cultural context, government/public reaction, and longevity/popularity. Each scrapbook page will feature a high quality print of the featured artwork, the credit line information (it does not have to be written in traditional credit line format), a very brief introduction to the artist, and several pertinent and interesting facts about the artwork that would help others understand the artwork and how it fits into the style.

Discussion and Unanswered Questions: In groups, students will be randomly assigned one of the artworks featured in the

chapter. Each group member should spend two full minutes silently studying the piece, jotting down all the questions that they have while viewing the work. The group will reconvene, and, with one or two students acting as secretary, will share their questions, discussing their own responses to and hypotheses about the work. The teacher will then provide students internet access, and each group should find out as much information as possible that relates not only to the given artwork, but also to the artist himself. Each group member should be responsible for at least one of the following items: artist’s biography (the artist’s years, location of origin, if/where/why he relocated and whether he has returned home); the artist’s current status (popularity, social and cultural issues by which they were inspired, recent auction prices, attributed style); the artist’s creative output (works from all parts of his career, any projects that were not actually creation-based); and full analysis of the specific artwork provided at the beginning of class.

Artworks: 1. Cao Fei. A Mirage (COSPlayers Series), 2004. 2. Hong Hao. Mr. Hong Please Come In, 1998. 3. Wang Guangyi. Great Castigation Series: Coca-Cola, 1993. 4. Wang Jinsong. City Wall (detail), 2002. 5. Yang Fudong. Seven Intellectuals in a Bamboo Forest, 2003. 6. Yang Shaobin. Untitled, 1995. 7. Zhou Chunya. Untitled (Green Dog), 1999.

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Chapter 3. “Museums and galleries have promoted Chinese contemporary art since the 1990s” (45).

The third chapter begins by focusing on international interest in contemporary Chinese

art. Chiu lists several past exhibitions throughout the world, including those held in Hong Kong,

Australia, Germany, the Netherlands, and several American locations. She briefly mentions two

galleries in Hong Kong that “played a pivotal role in the circulation and sale of works” (46), but

does not elaborate on how contemporary Chinese art came to be popular on the international

scene. Other than a brief reference to “hostility from the Chinese government and its official

art system,” Chiu does not pick up the theme of the first chapter in which she outlined the

ascent of contemporary Chinese art, instead choosing to speak in generalities.

Without explaining how it came to pass, Chiu states, “These days, China has a thriving

gallery scene, with gallery districts in major cities” (49), then proceeds to list several galleries

throughout Beijing and Shanghai that feature contemporary artists. The chapter ends with

little light shed upon why contemporary Chinese art has become more popular within China.

The four images provided do not add much information to the chapter title. The first is the

cover of an exhibition catalogue from New York and San Francisco; the second is a painting

from Qi Zhilong—neither the painting nor the artist are referred to in the chapter; the third is

an exterior shot of the Tank Loft Contemporary Art Center—again, there is no discussion of this

item in the text; the fourth is a photograph of Cai Guo-Qiang’s “Light Cycle, Explosion Project

for Central Park”, which again is not mentioned at all in the chapter. While Chapter Two did

not sufficiently address its major point, this chapter, at a page and a half of text, seemed

unnecessarily drawn out and read more like a phone book listing of contemporary art galleries

in the greater Beijing area.

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(Activities and Questions for Chapters Three, Six, and Seven will be provided after the

summary for Chapter Seven.)

Chapter 4. “Government censorship has been an influence on Chinese artists, and sometimes

still is” (53).

Censorship is always an interesting topic to high school students—the idea that

someone could attempt to tell a person what not to say or write goes against their very essence

as teenagers. Chapter Four, one of the longest in the book, discusses the issue of censorship

rather well in the context of the rest of the book. Students could read the text—just under two

printed pages—as a stand-alone assignment and come away with a clear sense of censorship of

Chinese contemporary art. Chiu informs the reader that the protests at Tiananmen Square in

1989 “prompted a nationwide crackdown on Chinese media, educational, and cultural

institutions” (56), and goes on to discuss how artists were directly affected for years after the

seven weeks of protest. Artists were arrested for their work, exhibitions were forcibly closed

down, artists went underground, holding short exhibitions in non-traditional (that is, less

obvious) venues. They became more creative in disguising their messages in ways that were

“deliberately ambiguous or obfuscatory” (58), another tactic teenagers would enjoy discussing.

Chui updates readers on the current climate for contemporary artists, stating that the

government has, on the surface, become more lenient, but that artists must keep in mind the

“Three Nos: no politics, no violence, no nudity” (60) if they wish to stay out of trouble with the

police.

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Students unfamiliar with the events of and leading up to June 4th, 1989 will need to

conduct further research into the matter, as Chiu writes with the assumption that her reader

knows enough about the protests to understand why the government became more

authoritarian after the incidents at Tiananmen Square. Adult readers may already have a

working knowledge of the events, as they may remember reading about and seeing images on

the news as it occurred in 1989. Regardless of the reader’s level of familiarity with the events,

Chiu successfully expresses the frustration of the artists in the years following 1989. The

significance of the artworks and images included in this chapter, while not discussed directly in

the text, may be extrapolated from Chiu’s general discussion, and will provide the reader with a

basic “feel” for the time. A teacher should be careful when drawing students’ attention to this

chapter, however, as the first three pages are photographs of performance art done completely

in the nude, with full-frontal male nudity boldly displayed a dozen times across two of the

pages. As the text does not rely on these images, it is at the teacher’s and families’ discretion

to include these images. The irony of possibly having to censor this chapter for student

consumption would be an excellent point of discussion.

Chapter Four Students will…

Research censorship in both modern China and America. How have creative Americans in all art forms (visual art, dance, music, and drama) encountered censorship throughout the years? Does it still occur today? Provide specific examples. Compare the sorts of subject matter that have been censored in America to those in China. Discuss and account for similarities and differences between the censoring of creative works in the two countries.

Select one of the artists featured in this chapter, and research how and why he has been censored in China. What was his reaction? How was the situation resolved? Determine whether the censorship was justified, or if the authorities may have had other motives for censoring his work. Does the artist deliberately provoke

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authorities or have highly controversial messages or images? Discuss whether this artist would be celebrated in the United States or would not stand out.

Artists: Ai Weiwei, Chen Shaoping, Lin Yilin, Ma Liuming, Qiu Zhijie, The Big Tail Elephant Group, Wang Jianwei, Wang Jin, Wang Luyan, Wang Youshen, Xu Bing, Yan Lei, Zeng Xiaojun, Zhang Dali, Zhang Huan

Discussion and Unanswered Questions:

Lin Yilin. Safely Crossing Linhe Street (57). What is the significance of this particular street? How is the artist making it “safe” to cross it? Why is he using bricks? What statement is he making? Why is this included in the chapter about censorship?

Ai Weiwei. Dropping a Han Dynasty Urn (59). The Han Dynasty was at its peak from 206 BCE to 220 CE. Any artifact from that time would be invaluable. Why has the artist selected a vase from this particular time period? Why is he destroying it? Look at his face—what is the message seen there? Why is this included in the chapter about censorship?

Zhang Dali. Demolition: Forbidden City, Beijing (62-63). Examine the photograph carefully. Discuss what is more important to the city authorities, and why. Why is this included in the chapter about censorship?

Chapter 5. “The Chinese artists’ diaspora is returning to China” (65). Chapter 5 is a natural follow-up to the previous chapter about censorship. During the

1990s, after the events of Tiananmen Square, many artists left China amidst “‘leave the

country’ fever” (70) and found unofficial asylum in other countries. Some artists simply went

across the border to Hong Kong, while others traveled all the way to Europe or the United

States, searching for a hospitable place to carry out their work without fear of censorship or

arrest. In this chapter, Chiu discusses the gradual re-integration of expatriate artists into

China’s art scene. She focuses on one particular artist, Cai Guo-Qiang, who had been living in

New York since 1986, and who, in 2001, was invited back by the Chinese government to exhibit

his work at an international economic conference held in Shanghai. His subsequent success

seems to have opened the door for other expatriate artists to return and work in their home

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country, even if perhaps—as Chui implies—Cai’s acceptance might have been part of the

government’s plan to show the world it had become more humanitarian and understanding of

its people.

It is unclear whether the images included in this chapter have anything to do with the

artists’ re-integration process, or if they are just intriguing works by artists who may or may not

have been part of the great “Chinese artist diaspora”. There is little discussion of artists other

than Cai Guo-Qiang, and no mention of how the artists live or work, and Chui returns to her

technique of listing several artists without discussing them further, so it will be up to the

students and teacher to determine how each artist’s work was effected by emigration and, if

applicable, re-patriation.

Chapter Five Students will…

Select a specific artist featured in this chapter who emigrated from China for artistic purposes. Write an editorial letter in support of the artist, making sure to include the following: exactly when and why he left; to where he relocated; his artistic output and success during exile; whether he has returned to China, for how long, under whose authority, and under what circumstances. Warning: if the authorities discover you have written this letter, you may wish to go into exile yourself!

Chapter 6. “Contemporary art museums in China are on the rise” (75).

This chapter and chapters three and seven could easily have been combined to create a

more lengthy and detailed entry about the current status of contemporary Chinese art. As Chiu

stated in Chapter Two, there are few opportunities for contemporary artists to exhibit their

work in China. Two prominent museums are the National Art Museum in Beijing and the

Shanghai Art Museum, and it is in these museums, along with a few smaller museums and

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private galleries, that contemporary art in China has begun to find a socially acceptable,

government-approved place. Many modern museums are located in industrial buildings, and

have private patrons backing their existence, while others are owned and operated by the

artists themselves, allowing them more control over the presentation of their work. Again,

Chiu includes interesting images of art that do little to illustrate the theme of her current

chapter, but she does offer a list of artists and galleries that produce and showcase

contemporary Chinese art, although without further discussion of their impact on the current

art scene.

Chapter 7. “The world is collecting Chinese contemporary art” (82). Coming full circle to the introduction to this book, Chiu finishes by briefly discussing two

major non-Chinese collectors who were instrumental in bringing Chinese art to the

international art world. Uli Sigg, Baron Guy Ullens, and several American patrons kept

contemporary Chinese art alive by supporting artists during the tumultuous years after the

Tiananmen Square protests. More collectors, now including many from within China, and a

long list of international museums, are becoming interested in contemporary Chinese art,

driving up prices and bringing awareness to this new category of art.

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Conclusion. Chiu concludes her book of “7 Things” by saying, “Contemporary Chinese art is here to

stay” (93), a statement that cannot be true, as contemporary art is the art of the present,

which by definition cannot remain static, and therefore, cannot “stay”. She summarizes the

previous chapters then offers a brief timeline of events from the 1980s to the present. She

adds a new piece of information that would have been valuable to have included in chapter

five:

“As the country started to take a more prominent role in the global economic community, a thaw occurred in official attitudes toward experimental art. This made it easier for artists to exhibit their work and, coupled with a newly envigorated domestic art market, encouraged many expatriate artists to return to China to live and work” (93).

Combined with her previous discussion about artists having to continue to keep an eye out for

censorship and police intervention, this statement leads the reader to ponder the true motives

behind the government’s gradual acceptance of contemporary art.

Finally, Chiu claims that “Chinese contemporary art is entering a period of maturity

where there is a growing scholarly consensus on its art history—that is, the identification of key

artists, styles, and movements” (93-95). This also would have been an interesting addition to

the book, as there was little discussion about specific “key artists, styles, and movements”.

Chiu seems hopeful that, after working through two decades of censorship, struggle, and

difficulties, contemporary Chinese artists will be less concerned with survival and will endeavor

toward higher pursuits. After the conclusion, Chiu does include brief biographies for many of

the artists mentioned throughout the book.

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Chapter-Specific Classroom Applications

This section will provide lesson ideas for each chapter of the text. Because the author

includes many artworks without discussing them, the active reader will have many questions

after viewing each work reproduced in the book. The discussion questions ask students to

focus on specific tasks or artworks and may be answered with a minimal amount of research,

but are meant to inspire vigorous classroom discussion and debate. The “unanswered

questions” are either more vague or very specific. Students will attempt to research the

answers to the questions posed, but in some cases may only be able to generate educated

hypotheses about the artworks in question. To ensure a rich discussion, the teacher should

assign selected questions the day prior to the discussion, and ask students to come prepared

with quick jot-downs, notes, and examples they thought through at home. Alternatively,

students may be assigned specific questions to consider before leading a portion of the class

discussion (not as a solo presentation).

Some of the discussion questions will cover artworks or artists that also are covered

with a lesson idea. The teacher should take care to select the items that will be the most useful

to students, without duplicating tasks.

If a complete class set of this book is not available, the teacher may wish to assign one

chapter to a group, have students complete assignments on their assigned chapter, and present

their findings to the entire class.

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Introduction Students will…

Read the Introduction at the beginning of a contemporary Chinese art unit. This chapter will serve as an introduction to the themes/issues/concepts related to contemporary Chinese art.

Research recent auction prices for contemporary Chinese art, and compare to recent auction prices for contemporary Western art. Students will discuss possible reasons for the differences in price and interest in each of the cultures’ artwork and prices.

As a class, examine each of the artworks featured in this chapter and hypothesize about the meaning behind each artwork. Students will discuss each with the class, and work through common ideas, as well as unique theories. In groups, students will then research one of the artworks and present their findings to the class, comparing the initial discussion’s hypotheses with the facts uncovered during their research.

Artworks: 6. Geng Jianyi. The Second Situation, 1999. 7. Sui Jianguo. Legacy Mantle, 1999. 8. Zeng Fanzhi. Untitled (reclining figure), 1998. 9. Zhang Huan. Family Tree, 2000. 10. Zhang Peili. Continuous Reproduction, 1993.

Discussion and Unanswered Questions:

Zhang Huan. Family Tree (7). What connotations arise with the phrase, “family tree”? Why do you think Zhang Huan chose this media? What could the words on his face mean? How does he view his family? Why does he completely cover his face? Why black ink?

Zhang Peili. Continuous Reproduction (13). What famous modern American artworks does this work remind you of? Select a specific example and compare to this work. What was the message of the American work, and how is it similar to or different from the Chinese work?

Geng Jianyi. The Second Situation (7). What was the first situation? What is this situation? Why is the subject screaming? Is the second situation worse than the first situation? Are there more situations?

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Chapter One Students will…

Select an artistic movement introduced in this chapter, and create a PowerPoint to present to the class. Each presentation should include the movement’s general characteristics; artistic influences; social and cultural context; government/public reaction; longevity/popularity.

Movements: The Stars; ’85 New Wave; New Figurative/Southwest Art Group; Xiamen Dada; Hangzhou Youth Creativity Society/the Pond Group; New Analysts Group; Political Pop; Cynical Realism; Gaudy Art; performance art; installation art; conceptual art; use of technology

Select an artist featured in this chapter, and create a poster featuring their selected artist. Information should include the artist’s location of origin, if/where/why they relocated, current working status, popularity, and social and cultural issues by which they were inspired.

Artists: Cang Xin, Fang Lijun, Feng Mengbo, Geng Jianyi, Gu Dexin, Hai Bo, Huang Yong Ping, Li Shan, Lin Tianmiao, Lin Yilin, Liu Wei, Ma Liuming, Miao Xiaochun, Rong Rong, Shi Yong, Sui Jianguo, the Luo Brothers, Wang Du, Wang Gongxin, Wang Jianwei, Wang Keping, Wang Youshen, Wu Shanzhuan, Xiao Lu, Xing Danwen, Xu Bing, Xu Yihui, Yang Fudong, Yue Minjun, Zhang Huan, Zhang Peili, Zhang Xiaogang, Zhu Ming

Select an artwork featured in this chapter, and create a PowerPoint presentation to share with the class. The presentation should include: a high quality image of the artwork; the complete credit line, the artist’s intended message or purpose, an analysis of the media selected, an analysis of specific imagery or symbols and an analysis of the effectiveness of the overall work in achieving the artist’s goals.

Artworks: 10. Fang Lijun. Series II, No. 06, 1991-1992. 11. Hai Bo. Three Sisters, 2000. 12. Huang Yong Ping. “The History of Chinese Painting” and “The History

of Modern Western Art” Washed in a Washing Machine for Two Minutes, 1987.

13. Liu Wei. Untitled, 1998. 14. Wang Keping. Idol, 1979. 15. Xiao Lu. Two Gunshots Fired at the Installation “Dialogue” in the

China/Avant Garde exhibition, Beijing, February 1989, 1989 16. Xu Bing. Book from the Sky, 1987-1991. 17. Yue Minjun. Untitled (Laughing Head), 1994. 18. Zhang Xiaogang. Bloodline Series: Mother with Three Sons (The

Family Portrait), 1993.

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Research Political Pop and Cynical Realism and agree or disagree with Chiu’s statement that these styles were a reflection of “China’s transition from a Communist society to a market-driven one” (25).

Research one example of Gaudy Art, and select a modern Western artists whose artwork is similar (e.g., Jeff Koons, Claes Oldenberg). Compare the purpose of each of the artworks, and account for any differences in each artist’s intent.

Discussion and Unanswered Questions:

4. Xiao Lu. Two Gunshots Fired at the Installation “Dialogue” in the China/Avant-Garde exhibition, Beijing, February 1989 (18). Who is the shooter shown in the picture? The artist? An offended viewer? Invited audience participation? If this was an act of protest to the exhibition, was it related to the bomb threats that were led to a forced shut down of the exhibition?

5. “Artworks by the Xiamen Dada group being burned after their first exhibition, Hangzhou, 1986” (21-23). On whose orders were the works burned? The artists? The government? What motives might either group have for doing so? What is the translation of the painted words? What is the purpose of the arrows? Who wrote these items, and why?

6. Hai Bo. Three Sisters (29-30). What was the occasion of the first portrait? How many years are between the two portraits? What happened to the third sister? What has happened in the years between the two portraits? In both portraits, how does each sister’s appearance speak to her own life? How has each changed?

Chapter Two Students will…

Select an artistic movement introduced in this chapter, then select 7-10 artworks that are representative of their selected style to create a “scrapbook”. Students should include a cover for their scrapbook and an introductory page that includes the following: the movement’s general characteristics, artistic influences, social and cultural context, government/public reaction, and longevity/popularity. Each scrapbook page will feature a high quality print of the featured artwork, the credit line information (it does not have to be written in traditional credit line format), a very brief introduction to the artist, and several pertinent and interesting facts about the artwork that would help others understand the artwork and how it fits into the style.

Discussion and Unanswered Questions: In groups, students will be randomly assigned one of the artworks featured in the

chapter. Each group member should spend two full minutes silently studying the piece, jotting down all the questions that they have while viewing the work. The

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group will reconvene, and, with one or two students acting as secretary, will share their questions, discussing their own responses to and hypotheses about the work. The teacher will then provide students internet access, and each group should find out as much information as possible that relates not only to the given artwork, but also to the artist himself. Each group member should be responsible for at least one of the following items: artist’s biography (the artist’s years, location of origin, if/where/why he relocated and whether he has returned home); the artist’s current status (popularity, social and cultural issues by which they were inspired, recent auction prices, attributed style); the artist’s creative output (works from all parts of his career, any projects that were not actually creation-based); and full analysis of the specific artwork provided at the beginning of class.

Artworks: 1. Cao Fei. A Mirage (COSPlayers Series), 2004. 2. Hong Hao. Mr. Hong Please Come In, 1998. 3. Wang Guangyi. Great Castigation Series: Coca-Cola, 1993. 4. Wang Jinsong. City Wall (detail), 2002. 5. Yang Fudong. Seven Intellectuals in a Bamboo Forest, 2003. 6. Yang Shaobin. Untitled, 1995. 7. Zhou Chunya. Untitled (Green Dog), 1999.

Chapter Four Students will…

Research censorship in both modern China and America. How have creative Americans in all art forms (visual art, dance, music, and drama) encountered censorship throughout the years? Does it still occur today? Provide specific examples. Compare the sorts of subject matter that have been censored in America to those in China. Discuss and account for similarities and differences between the censoring of creative works in the two countries.

Select one of the artists featured in this chapter, and research how and why he has been censored in China. What was his reaction? How was the situation resolved? Determine whether the censorship was justified, or if the authorities may have had other motives for censoring his work. Does the artist deliberately provoke authorities or have highly controversial messages or images? Discuss whether this artist would be celebrated in the United States or would not stand out.

Artists: Ai Weiwei, Chen Shaoping, Lin Yilin, Ma Liuming, Qiu Zhijie, The Big Tail Elephant Group, Wang Jianwei, Wang Jin, Wang Luyan, Wang Youshen, Xu Bing, Yan Lei, Zeng Xiaojun, Zhang Dali, Zhang Huan

Discussion and Unanswered Questions:

Lin Yilin. Safely Crossing Linhe Street (57). What is the significance of this particular street? How is the artist making it “safe” to cross it? Why is he using bricks? What statement is he making? Why is this included in the chapter about censorship?

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Ai Weiwei. Dropping a Han Dynasty Urn (59). The Han Dynasty was at its peak from

206 BCE to 220 CE. Any artifact from that time would be invaluable. Why has the artist selected a vase from this particular time period? Why is he destroying it? Look at his face—what is the message seen there? Why is this included in the chapter about censorship?

Zhang Dali. Demolition: Forbidden City, Beijing (62-63). Examine the photograph carefully. Discuss what is more important to the city authorities, and why. Why is this included in the chapter about censorship?

Chapter Five Students will…

Select a specific artist featured in this chapter who emigrated from China for artistic purposes. Write an editorial letter in support of the artist, making sure to include the following: exactly when and why he left; to where he relocated; his artistic output and success during exile; whether he has returned to China, for how long, under whose authority, and under what circumstances. Warning: if the authorities discover you have written this letter, you may wish to go into exile yourself!

Chapter Three, Six, and Seven Students will…

Select one of the artists featured in this book. The artist has emailed you to ask for assistance in finding a museum suitable for a retrospective exhibition of the artist’s entire artistic life. Select a museum or gallery featured in this chapter, and investigate its website or other online publications. In an email report with hyperlinks included when appropriate, respond to the following inquiries, with the artist’s style and media foremost in mind. Who owns the museum? What influence do the owners have on the art that is acquired and displayed? When was the museum established? What is the size of the museum space, and how many artworks are in its collection? What does the interior and exterior space look like? Where is the museum located, and in what type of neighborhood? What major contemporary artists or styles have been and are exhibited? What major exhibitions are currently displayed? What outreach opportunities does the museum offer? Determine the appropriateness of this particular museum for your specific artist’s exhibition, and justify whether or not the artist should use this museum. Email your report to your teacher, who will “forward” it on to the artist for whom you completed the research.

Research how the Western world became aware of and interested in contemporary Chinese art. Who first began collecting these works and bringing public attention to them? How has interest grown? Are there any specific countries or cities that seem

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particularly interested in the art? What role do the initial investors in contemporary Chinese art play in the current activities of the artists?

Discussion and Unanswered Questions:

Consider that China seems to be becoming more lenient with and interested in contemporary artists. How much of this new acceptance is actual interest in freedom of expression, and how much is appearance to show the world that they have eased up? How much is pride—other countries have many more works by contemporary Chinese artists than they do, so is it time to start bringing the works “home”? Does it matter what the reasons are?

What do you think is the Western fascination with contemporary art? Why do private collectors spend millions of dollars on specific artworks by artists who are relatively unknown, compared to big names such as Picasso, Warhol, and Dali? What is the attraction? If you won the lottery and decided to purchase a work of art from any artist in the world, would you select a contemporary Chinese artist? Why or why not?

What do you think is the future of Chinese art? If there are no major social or political uprisings in China, what do you predict artists will go on to express? How might the media change? What subjects might appear? What might happen to the world’s interest in contemporary Chinese art?

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Overall Recommendation

Contemporary Chinese Art: 7 Things You Should Know, by Melissa Chiu is a useful

starting point for those unfamiliar with contemporary Chinese art. While the “7 Things” are

sometimes redundant and always under-explained, they do provide a framework for

understanding, and allow students to begin creating schema related to the content. Because

the author includes many images throughout the text but does not offer any explanation of the

artworks, the curious scholar may be inspired by the lack of information and be spurred on to

her own research. Unfortunately, a general reader, looking for an overview of the genre, will

be unable to discuss any works of contemporary Chinese art, and perhaps will not proceed to

the next level of involvement, seeking out explanations of interesting works in the text.

Chiu repeats facts and assertions frequently as support for other chapters, which allows

the reader to understand her key points, but does not make for scintillating reading. Although

the text is supposed to be a brief introduction to contemporary Chinese art, Chiu often

sacrifices clarity and details for conciseness, a technique that does not contribute to a

meaningful experience with the art featured. As an educational tool in a high-school-level art

history course, the lack of additional information almost forces the teacher to create activities

to fill in the gaps left by Chiu in this book.

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At Work: Twenty-five Contemporary Chinese Artists

Summary of Text

In the mid-1980s, independent art curator Jon Burris began to discover contemporary

Chinese art through Robert A. Hefner III, one of his clients who had been exposed to

contemporary Chinese art while traveling in China. Burris began researching styles, purchasing

art for Hefner, and meeting the artists who would become significant contributors to the

contemporary Chinese art scene from the 1980s to the present. In 2006, after attending a pre-

auction dinner party hosted by Uli Sigg, one of the most influential figures in spreading the

popularity of contemporary Chinese art throughout the world, Burris, inspired by the vigorous

discussion of his colleagues, resolved to revisit the artists he had met at the inception of this

now-popular genre of art. The resulting visits are chronicled in At Work: Twenty-five

Contemporary Chinese Artists, and serve as an excellent, in-depth introduction to a genre that

continues to gain followers across the world.

Rather than merely transcribing interviews he had with the artists and illustrating the

text with exemplary works, Burris vibrantly describes the experience of meeting with each artist

in his or her working studio. Burris’s purpose for the book was to “gain some perspective” (6)

on the path the artists took that enabled them to endure past initial interest in (or, more

frequently, resistance to) their art; to compare the workspaces of the artists now that they are

more accepted, well-known, and better paid; and to learn their opinions on the future of not

only their own successes but also that of contemporary Chinese art as a whole.

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If educators have also used Melissa Chiu’s text, Contemporary Chinese Art: 7 Things You

Should Know, they will find At Work a logical next step in their students’ understanding of the

key players in contemporary Chinese art. Burris asserts, “It is not a history book on the

development of contemporary Chinese art…It is not a critical survey…As a curator, I act as an

observer and advisor…” (6). This purview makes At Work read more as a personal diary of

Burris’s encounters with these artists than a pedantic textbook. Using an oversized book

format, Burris provides artfully composed photographs of each artist in her or her element,

stellar and carefully selected samples of work, and also large photographs of the artists’ unique

work spaces, allowing readers to see behind the scenes of each artist “at work”.

Introductory Snapshot

Introduction In his self-penned introduction to At Work, Jon Burris discusses the quick rise of

contemporary Chinese art within the past twenty-five years. He reflects upon his initial

encounters with artists that, at the time, often struggled to support themselves and their

messages, and explains his rationale behind this book. He explains why he selected this

particular group of twenty-five artists, stating that they were chosen “given the diversity of

their work and what [Burris] believe[s] to be their unique contributions to Chinese art over a

period when so much experimentation has taken place and so much change has occurred” (7).

The remainder of the introduction is dedicated to offering his credentials, giving thanks to

those who assisted or inspired him along the journey toward this book, and honoring Wang

Huaiqing, a breakthrough artist who died during the final stages of publication.

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Overall Recommendation

At Work: Twenty-five Contemporary Chinese Artists is a highly-readable, engaging book

that serves well as a supplemental text for high school students to further their understanding

of contemporary Chinese art. Because it is written as the first-person account of an

independent art curator revisiting those influential artists who, in the author’s opinion, have

made the most diverse contributions to contemporary Chinese art, the reader is treated to

personal observations, anecdotes, and opinions that often do not make it into more historical

or critical books about art history. To begin the discussion of each artist Burris features a quote

from his subject, then offers a narrative of his encounters—past and present—with the artist.

Students often do not actively consider how an artwork was made, as they are wrapped

up in trying to make sense of what they see in front of them. When Burris draws back the veil

to show the workspace of the artists, rather than having a disappointing Wizard of Oz reaction,

students will find themselves asking more questions about the artists, as Burris forces them to

consider the individuals behind the creations, while simultaneously viewing some of the artists’

best works. While the reader will find the included artworks fascinating, she may become

confused at times when Burris does not include titles for some of the enigmatic works

presented. Because much of the subject matter or symbols are not in the general reader’s

“vocabulary” of images or symbols, it would be helpful to have all titles included, if not on the

page, then in an appendix, in order to provide students a starting point to research and

investigate works of interest.

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After such a vibrant discussion of these influential artists, Burris merely ends the book

with the last artist. There is no summary or epilogue, no final thoughts, no warm and fuzzy

ending to close out the wonderful experience of sharing in these artists’ lives. The feeling of

turning the final page and facing a bleak, tan cover is like attending an inspiring, uplifting play

about the heights of human possibility, then not being given the opportunity to applaud at the

end of the performance, as the curtain remains closed over the stage after the very last word.

If this is meant to be more than a mere encyclopedia of contemporary Chinese artists, Burris

should have taken a few moments to round out his homage to those who have inspired him

and countless others.

Despite these minor shortcomings, At Work: Twenty-five Contemporary Chinese Artists

is quite deserving of being included in a high school course about Asian art. If an educator had

to choose between this text and Melissa Chiu’s, Contemporary Chinese Art: 7 Things You Should

Know, the money would be better spent on a set of Burris’s text, as the “7 Things” could easily

be summarized and the historical, political, social, and cultural information it perfunctorily

covers may be gleaned from other, more thorough sources. Most classroom activities

discussed for Chiu’s text could be modified to work with At Work, or could stand-alone to help

students discover the context on their own. In contrast, the unique experiences Burris had with

each artist cannot be recreated or summarized without losing their charm and overall sense of

familiarity.

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Chinese Contemporary Art: General Classroom Applications

The lesson ideas below were inspired by the two texts discussed above, both of which are appropriate for use in the high school classroom. Completed in entirety, they will help students gain a strong foundation in contemporary Chinese art, but single items may be selected as needed to provide students with a general experience in this increasingly popular genre of art.

Classroom Discussion Starters

Freedom of expression. As Americans we are proud of our constitutional right to the

freedom of speech. In China, this luxury has not historically been afforded to its citizens. Modern artists, both in America and China, use their art as a vehicle for self- expression. What difficulties do you think Chinese artists must face due to governmental or societal barriers against freedom of expression? Are there any times when freedom of expression should not be permitted, or when self-expression should be regulated?

Pop vs. Pop. Andy Warhol and Roy Lichtenstein are among the best known American

Pop artists. How is Chinese Political Pop similar to and/or different from Pop Art in America? Discuss the message, representation, and subject matter of both.

Changes in attitude. How has contemporary Chinese art changed throughout the past two decades? What changes in subject, style, message, and media have occurred? Why? What do you think is the next stage for Chinese art? Explain your ideas.

Activities

Go Fish Review Game. The teacher or the class as a whole will prepare a set of “playing

cards” that feature contemporary Chinese artists. The following information should be included on one side of each card: artist name and pronunciation; dates of birth; hometown; current location; a clear reproduction of an exemplary artwork; the artist’s identified or ascribed artistic style; interesting biographical facts. The opposite side should be blank or with a simple design on the back. In order to accommodate both the artist’s biography and a sample artwork, the cards should be one-fourth of a regular sheet of printer paper/cardstock. The students will review their knowledge of the artists covered throughout the unit by playing a modified “Go Fish” game. Instead of asking for the artist by name, students will ask their opponents for an artist by selecting facts from the card.

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Research

Modern Chinese History: Cultural Revolution through Tiananmen Square (Option A-

Annotated Timeline). In order to better understand the context of contemporary Chinese art, students will create an annotated timeline of significant events from the events leading up to the Cultural Revolution (1966) through the fallout from the Tiananmen Square protests of 1989. Students must include the following information for each major event: event; date; instigating events; important people; significant works of art, music, literature, or drama that illustrate the event; and political or societal changes that occurred as a result of the event.

The Struggle of the Artist: Parallel Lives. Students will select a modern American artist from between the Vietnam War and present day. They will also select a contemporary Chinese artist to research. Students should find artists that are about the same age, so that they will be able to create a parallel biography that discusses the artistic lives of each in the context of influential personal events as well as global and country-specific events. Students must conclude by comparing and contrasting the experiences, struggles, successes, and paths toward fame (or at least public recognition) of both artists.

There’s No Place Like Home… Many artists emigrated from China in the 1980s and 1990s as a result of governmental restrictions on their creativity and expression. Research times in American history when groups of citizens have relocated, whether completely out of the country, or to different locations within the United States. Identify these groups, why they moved or left, where they moved to, and when or if they returned to their original location. Compare these reasons to those of the Chinese artists.

Writing Prompts

Snapshot Short Story. The teacher will prepare handouts or cards that feature one

painting from the texts and randomly distribute one card to each student. Without reading about or researching the work they received, students will use the image to create a short story that incorporates the image as an illustration for part of their narrative. The painting itself may not appear as a painting in the story. Avoiding the beginning and end of the story, students must at some point provide a thorough, sensory description of the painting in the form of a snapshot, much like a living photograph of the narrative’s action. In order to focus the narrative, the story must take place in a single day.

After reading At Work [and Melissa Chiu’s text, Contemporary Chinese Art: 7 Things You Should Know, if possible] discuss how would you answer Burris’s question to the artists:

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“What do you believe the future holds for Chinese art?” (11). Provide specific examples from your studies and include current research about auction and market trends to support your views.

As humans, we like putting labels to things—people, time periods, even types of sugar. In art history, labels are most frequently given by those who did not generate the work, and usually from a distance of many years past the style’s peak. Burris discusses the use of labels to describe several contemporary Chinese artists, much to the confusion of some of the artists who the labels are meant to describe (10). Select four of the descriptive labels given to contemporary Chinese artists throughout the past twenty-five years, and discuss whether you agree or disagree with the labels given. Be specific in your support, explaining why the labels were originally given, using specific examples of artworks that commonly fall under the labels, and providing alternatives anytime you disagree with a label.

Burris states that many contemporary Chinese artists “have welcomed a downturn in the seemingly unstoppable Chinese art market as a result of the international economic crisis of the past year, saying they are glad to finally have an opportunity to catch their breath and assess where they are without the pressure of supplying the market at the level of demand of the last five years” (12). He also states that in the early years of the contemporary Chinese art movement, “It was still about the freedom and exhilaration of exploring whatever [artists] felt like creating, not about how much they were going to sell their art for.” What do you think? Can artists be truly creative when facing a deadline or specific demands? Is it possible to clearly and honestly express one’s opinion or message under such circumstances? Provide specific examples to support your views, both from contemporary Chinese art and another art historical period that faced similar restrictions or conditions.

Agree or disagree with the following statement by Burris: “I believe it is nearly

impossible for anyone who has not been through their exact experiences to understand what it has been like for the Chinese artists who endured the “cultural revolution” or for those who grew up in the strenuous period of reform that followed” (13). In order to support your position, make comparisons between this and another major event in world history that generated focused artistic output (e.g., the Holocaust, World War II, Harlem Renaissance).

Projects and Activities

Go Fish Review Game. The teacher or the class as a whole will prepare a set of “playing

cards” that feature contemporary Chinese artists. The following information should be included on one side of each card: artist name and pronunciation; dates of birth; hometown; current location; a clear reproduction of an exemplary artwork; the artist’s identified or ascribed artistic style; interesting biographical facts. The opposite side

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should be blank or with a simple design on the back. In order to accommodate both the artist’s biography and a sample artwork, the cards should be one-fourth of a regular sheet of printer paper/cardstock. The students will review their knowledge of the artists covered throughout the unit by playing a modified “Go Fish” game. Instead of asking for the artist by name, students will ask their opponents for an artist by selecting facts from the card.

Modern Chinese History: Cultural Revolution through Tiananmen Square (Option B—Living Timeline). In groups, students will re-enact significant events from the events leading up to the Cultural Revolution (1966) through the fallout from the Tiananmen Square protests of 1989. Students will write a script that involves all group members, and, throughout the dialogue, must include the following information for each major event: event; date; instigating events; important people; significant works of art, music, literature, or drama that illustrate the event; and political or societal changes that occurred as a result of the event. The teacher may pre-select events and groups to ensure the events are of sufficient importance and represent the span of time required.

Modern Chinese History: Cultural Revolution through Tiananmen Square (Option C—Illustrated Timeline). As a class, students will select significant events from the events leading up to the Cultural Revolution (1966) through the fallout from the Tiananmen Square protests of 1989. Students will work together to select posters, photographs, and other works of art that will visually tell the story of these years, but must also include the following information for each major event: event, date, instigating events, important people, and political or societal changes that occurred as a result of the event. The teacher may pre-select events to ensure they are of sufficient importance and represent the span of time required. If the teacher has school access to a poster maker, she may wish to have students create the timeline on a large scale and display in the school’s media center.

Meet and Greet Mixer. The teacher will generate a list of modern Chinese historical and political figures, artists, musicians, playwrights, and authors who have been influential in shaping modern China. Each student will be given one of these people and will research and internalize facts about his/her life, beliefs, output, and significance to the Chinese culture overall. The teacher will reserve a space for the students to have a “meet and greet” mixer party, and will assign students to bring in food and beverage items. The students will dress as their character, ask and answer questions as their character, and remain in character during the entire event. The teacher should come up with party games that would spark conversation between all “guests of honor”, as well as allow the students to have fun “being” their character. One student may be assigned to create a video of the event, featuring quick interviews with each character. Students should feel free to discuss and disagree with each other regarding political issues, as long as they are in alignment with their character’s beliefs and no one is sent into exile. If desired, the mixer could be held outside of school hours, and the students’ families would be invited to share in the fun.

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POPaganda? Before completing the art project, students will discuss the following, as a

class: Define “propaganda”. Compare Political Pop to typical Cultural Revolution propaganda posters. Discuss how Political Pop is related visually to propaganda posters. Could Political Pop art be considered propaganda? How does the artist portray his message? After the discussion has run its course, students will each consider a message, cause, or belief about which they feel very strongly. They will then each select a popular, consumer-based subject to incorporate into a propaganda- or Political Pop-style poster to express their messages. Students may choose to hand draw their posters or use a computer publishing or other graphics editing program to complete their poster. Students will fold a 3x5 sized index card in half, so that the short ends meet and the card creates a tent shape. On the outside/top flap, students will write the credit line for their work (artist, title, date, media). On the inside of the card, students will write a brief explanation of their message, media, size, and rationale. If possible, the teacher should display the works on the walls of the school media center, with the blank back side of the index card attached to the wall. The teacher should create a handout with a two-column chart. The chart should have enough rows to represent each student, and the columns should be headed, “Your Interpretation” and “The Artist’s Intent”. Students will view each poster, complete the “Your Interpretation” column prior to opening each artist’s index card, then will open the card and notate “The Artist’s Intent” in the corresponding column. After viewing the posters, students will then reconvene and have a round-table discussion about the effectiveness of each poster, addressing specifically why certain posters worked or were unclear, and the power of persuasion through visual representation. Other art and history classes may view the display and participate in the analysis portion of the assignment, also.

“Chairman Mao Would Not Be Amused”. The teacher will assign students appropriate selections from Howard Goldblatt’s collection, Chairman Mao Would Not Be Amused: Fiction from Today’s China. Stories should be selected that are appropriate for high-school readers, and could be paired with the contemporary Chinese art featured throughout the unit. After reading their assigned story, students will find an art work from an artist studied during the unit, and discuss parallels between the story and the art work. Students should consider the purpose, message, context, and background behind each of the works, and write a detailed essay connecting the two. After completing preliminary research about Chairman Mao and his philosophies, the student will discuss why “Chairman Mao would not be amused” by either work.

Dream Studio Challenge. Congratulations! You have been selected to compete for a

startup arts grant from the state arts council! Your art has been selling well, and demand for your work is on the rise, so it is time for you to increase your workspace and take on some apprentices and assistants. Research available spaces for rent or purchase within 35 miles of your original location. Select the studio space that most appeals to you, and create a PowerPoint show to present to the board of directors at the state arts

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council. Include square-feet, images of the interior and exterior of the space, number of rooms, amenities included, modifications needed to accommodate your work style, possibilities for growth and shows, funds needed, justification for the number of apprentices and/or assistants you will be hiring, types of projects you will be undertaking, a name for your studio, and any other information you feel would convince the arts council to select your proposal.

Maslow’s Hierarchy of Needs. Burris quotes Zhang Huan as saying, “We have witnessed a rebirth in the past twenty years, but we are now in need of another one, a spiritual one” (11). Using the pyramidal representation of Maslow’s Hierarchy of Needs, interpret contemporary Chinese art from the 1980s to the present. Create a large-scale poster with printouts of artworks that best fit into each layer of Maslow’s hierarchy. Justify your placement of each work with an explanation of significant social/political/cultural events that influenced the work selected, as well as the artist’s intent. Make clear connections between Maslow’s definition of each level and the works selected. This may be completed as a full-class project.

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Featured Chinese Contemporary Artists Index

Unless otherwise noted, all names are listed in the tradition of Family name, Given name. (Artists in Bold print are featured in both 7 Things and At Work.) Ai Weiwei: 7 Things, Artist Biographies; Chapters 4,5,7 Cai Guo-Qiang: 7 Things, Artist Biographies; Chapters 3,5 Cang Xin: 7 Things, Artist Biographies; Chapter 1; Conclusion Cao Fei: 7 Things, Artist Biographies; Chapter 2 Chen Danqing: 7 Things, Artist Biographies; Chapters 2,5 Chen Shaoping: 7 Things, Chapter Four Chen Shaoxiong: 7 Things, Chapter Four Chen Zhen: 7 Things, Artist Biographies; Chapters 3,5 Cui Xiuwen: 7 Things, Artist Biographies; Chapter 2 Fang Lijun: 7 Things, Artist Biographies; Chapters 1,6 Feng Mengbo: 7 Things, Artist Biographies; Chapters 1,3 Geng Jianyi: 7 Things, Artist Biographies; Chapter 1; Introduction Gu Dexin: 7 Things, Artist Biographies; Chapter 1 Hai Bo: 7 Things, Artist Biographies; Chapter 1 He Duoling: 7 Things, Artist Biographies; Chapter 6 He Sen: At Work Hong Hao: 7 Things, Artist Biographies; Chapters 2,7 Hong Lei: 7 Things, Artist Biographies; Chapter 6 Huang Gang: At Work Huang Rui: 7 Things, Artist Biographies Huang Yan: 7 Things, Artist Biographies; Chapter 6 Huang Yong Ping: 7 Things, Artist Biographies; Chapters 1,3,5 Ji Dachun: At Work Li Shan: 7 Things, Artist Biographies; Chapter 1 Li Shuang: 7 Things, Artist Biographies; Chapter 5 Liang Juhui: 7 Things, Chapter Four Lin Tianmiao: 7 Things, Artist Biographies; Chapters 1,5,6 Lin Tianmiao: At Work Lin Yilin: 7 Things, Artist Biographies; Chapters 1,4 Liu Jianhua: At Work Liu Wei: 7 Things, Artist Biographies; Chapters 1,2 Liu Xiaodong: 7 Things, Artist Biographies; Chapter 2 Liu Xiaodong: At Work Liu Ye: At Work Luo Brothers: 7 Things, Chapter One Ma Desheng: 7 Things, Artist Biographies Ma Liuming: 7 Things, Artist Biographies; Chapters 1,4 Miao Xiaochun: 7 Things, Chapter One

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Qang Du: 7 Things, Artist Biographies Qi Zhilong: 7 Things, Artist Biographies; Chapter 3 Qi Zhilong: At Work Qiu Anxiong: 7 Things, Chapter Two Qiu Zhijie: 7 Things, Artist Biographies; Chapter 4 Rong Rong and Inri: 7 Things, Chapter Six Rong Rong and Inri: At Work Rong Rong: 7 Things, Artist Biographies; Chapter 1 Shao Fei: 7 Things, Chapter Five Shi Guorui: At Work Shi Yong: 7 Things, Chapter One Song Dong: 7 Things, Artist Biographies; Chapter 6 Song Tao: 7 Things, Chapter Two Su Xinping: At Work Sui Jianguo: 7 Things, Artist Biographies; Chapter 1; Introduction Sui Jianguo: At Work Wang Du: 7 Things, Chapters 1,5 Wang Gongxin: 7 Things, Artist Biographies; Chapters 1,5,6 Wang Guangyi: 7 Things, Artist Biographies; Chapters 2,6 Wang Guangyi: At Work Wang Huaiqing: At Work Wang Jianwei: 7 Things, Artist Biographies; Chapters 1,4 Wang Jianwei: At Work Wang Jin: 7 Things, Artist Biographies; Chapter 4 Wang Jinsong: 7 Things, Artist Biographies; Chapter 2 Wang Keping: 7 Things, Artist Biographies; Chapters 1,5 Wang Luyan: 7 Things, Chapter Four Wang Qingsong: 7 Things, Artist Biographies; Chapter 2; Conclusion Wang Tiantian: At Work Wang Youshen: 7 Things, Chapters 1,4 Wang Youshen: At Work Wang Zhiyuan: 7 Things, Chapter Five Wenda Gu* (family name second): 7 Things, Artist Biographies; Chapters 5,7 Wu Shanzhuan: 7 Things, Artist Biographies; Chapters 1,6 Xiao Lu: 7 Things, Artist Biographies; Chapter 1 Xing Danwen: 7 Things, Artist Biographies; Chapter 1,5 Xu Bing: 7 Things, Artist Biographies; Chapters 1,4,5, Conclusion Xu Bing: 7 Things, Conclusion Xu Tan: 7 Things, Chapter Four Xu Yihui: 7 Things, Chapter One Xu Zhen: 7 Things, Chapter Two Yan Lei: 7 Things, Artist Biographies; Chapters 2,4; Conclusion Yan Li: 7 Things, Chapter Five Yan Pei-Ming: 7 Things, Artist Biographies; Chapter 5

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Yan Ping: At Work Yang Fudong: 7 Things, Artist Biographies; Chapters 1,2 Yang Jiechang: 7 Things, Artist Biographies; Chapter 5 Yang Shaobin: 7 Things, Artist Biographies; Chapter 2 Yang Shaobin: At Work Yin Xiuzhen: 7 Things, Artist Biographies Yue Minjun: 7 Things, Artist Biographies Yin Xiuzhen: 7 Things, Chapter Six Yu Hong: 7 Things, Chapter Two Yu Hong: At Work Yu Youhan: 7 Things, Chapter Two Yue Minjun: 7 Things, Chapters 1,6; Conclusion Yue Minjun: At Work Zeng Fanzhi: 7 Things, Artist Biographies; Chapter 2; Introduction Zeng Xiaojun: 7 Things, Chapter Four Zhan Wang: 7 Things, Artist Biographies; Chapter 6 Zhang Dali: 7 Things, Artist Biographies; Chapter 4 Zhang Hongtu: 7 Things, Chapter Five Zhang Huan: 7 Things, Artist Biographies; Chapters 1,4,5; Introduction Zhang Huan: At Work Zhang Peili: 7 Things, Artist Biographies; Chapters 1,6; Conclusion; Introduction Zhang Xiaogang: 7 Things, Artist Biographies; Chapters 1,2,6 Zhang Xiaogang: At Work Zhong Acheng: 7 Things, Chapter Five Zhong Biao: At Work Zhou Chunya: 7 Things, Artist Biographies; Chapters 2,6 Zhou Tiehai: At Work Zhu Ming: 7 Things, Artist Biographies; Chapter 1

Resources

Burris, Jon. At Work: Twenty-five Contemporary Chinese Artists. South San Francisco, CA: Long

River, 2011. Print. Chiu, Melissa. Chinese Contemporary Art: 7 Things You Should Know. New York, NY: AW Asia,

2008. Print.