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J. Clark (1998)
Modern Asian ArtThe Journal of Asian Studies, 59
Krishen Jit, K. Rowland (2003)
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The multidisciplinary critic Krishen Jit analyzes Zain's rejection of "an excessive dependence on content over form" in "Seni dan Imajan: The Appearance of a Coda
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long-running art journals like Bijutsu Tech¯ (Tokyo) and, more recently, Art o Asia Paciï¬c (New York, formerly Sydney), the Web site Chinese-art.com, Yishu (Vancouver/Taipei), and Focas (Singapore). These and similar publications have given the modern and contemporary art in Asia much-needed visibility, not only in terms of alerting its presence to the visual art centers of Euro-America but also in terms of encouraging viewers to pay rigorous critical attention to the contexts in which works are created and where artists live. Yet increased visibility has brought with it an increased awareness of the critical tensions underlying interpretations of contemporary art in Asia, and/or made by Asian artists. The most pressing, it seems, are those tensions concerning the prioritization of speciï¬c geographical locations, origins, and histories as critical points of analytic departure. To what extent should these speciï¬cities be emphasized? Attempting to cobble a response to these questions provokes further and more deep-rooted tensions. What does âthe contemporaryâ mean? Does it refer, in Jamesonian terms, to a continuation of the project of late capitalism? Is it a subhistory comprised of the past ten, twenty, or ï¬fty years, whose presence is made palpable only by milestones of political, social, or
positions asia critique – Duke University Press
Published: Dec 1, 2004
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