261,539 research outputs found
Resume: ZHAN Wang
No full textThis document is a resume of the artist, Zhan Wang, in both Chinese and English. It concludes the awards, public commissions of the artists, as well as exhibition experience and education background. (Zhuocheng Jiang \u2726)https://digital.kenyon.edu/zhoudocs/1424/thumbnail.jp
A Review of Zhan Wang\u27s New Works
No full textJiang Jiantao wrote this essay about Zhan Wang in Chinese, published in Art Research, issue 1, 1995, and an English translation as included in the document. The author discusses Zhan Wang\u27s Kong Ling· Kong (literally mean ethereal: void ) exhibition, held from May 19th to May 23rd, 1994, at the Central Academy of Fine Arts Museum. The author begins to illustrate the structure of the show. The artists created eighteen pieces of floating clothes, which appear being worn but the bodies are absent. The author emphasized the exhibition\u27s significance in terms of modern human life. Then it was discussed how the artist is inspired by different artists, from a variety of time periods and cultures, and how the artist injects his own artistic language and aspiration into his works. (Zhuocheng Jiang \u2726)https://digital.kenyon.edu/zhoudocs/1426/thumbnail.jp
The Changing Shape and Subject of Man-- A Review of Zhan Wang\u27s Sculpture
No full textThis review in Chinese by Yi Ying, to be published on Art Currents and translated in English, focuses on the transition of Zhan Wang\u27s sculpture. It discusses the exploration of Zhan Wang\u27s art language and form, which is influenced by his classical sculpture education background and avant-garde movement. (Zhuocheng Jiang \u2726)https://digital.kenyon.edu/zhoudocs/1438/thumbnail.jp
Wang Shuo and the commercialisation of contemporary Chinese culture
No full textThis thesis examines the commercialisation of Chinese culture that has taken place over the past twenty years in mainland China. It explores the contribution of Wang Shuo, a cultural figure who straddles different fields of culture, moving from literature to the ultimate mass culture medium of television, this study plots Wang Shuo' s development from educational failure, to business failure, to fiction writer, film & TV editor, film director and cultural critic and analyst. His stories, films, TV series and articles have caused shock-waves throughout national cultural circles as he has transformed the terms of the debate from academic discourse to a validation of the role of the market in the culture field. Although Wang Shuo has not been labelled as a dissident, his approach to the culture market has had a more subversive effect on official ideology that those overt dissidents who have had to live in exile or have been imprisoned. He has utilised the language of official ideology to satirise the authorities, turning the ideology and its supporters into figures of fun. Yet his own goals have been strictly personal and economic ones. The authorities recognize the value of Wang Shuo's work in the cultural market but at the same time distrust his works and place him under strict censorship. Examining the way Wang Shuo and people surround him have succeeded in different fields of cultural achievement is a mirror to understanding the process of the transformation of contemporary Chinese culture from a socialist state-controlled culture to a market-oriented mass culture industry
Application for Wen-Lin Wang to attend Springfield College
No full textThis two-page document is the application for Wen-Lin Wang to attend Springfield College, then known as the International YMCA College. The document contains basic biographical information including what sports they played and what experience he had with the YMCA
Shih Ching Wang and Wen-Lin Wang, Class of 1921
No full textThis photograph shows Shih Ching Wang and Wen-Lin Wang, class of 1921 of the International YMCA College, now Springfield College. Shih Ching Wang (back) and Wen-Lin Wang (front) are in a dormitory room, sitting in a bed and in a chair respectively, with Shih Ching holding a flute and Wen-Lin holding a sanxian. It seems that they are rehearsing a piece of music.A caption in the back states: "Mar 16 1920"
Wang Meng and contemporary Chinese literature: the vicissitudes of a committed writer
No full textThis thesis examines the way Wang Meng has developed as a writer from the 1950s to the 1990s in the context of New China's political and literary background. It looks at the compromises he was forced to make between his political beliefs in the Communist Party and his chosen role as a professional writer. After his disastrous early foray into what was deemed to be unacceptable political criticism with The Young Newcomer in the Organisation Department in the 1950s, when the opportunity came to start publishing again in the late 1970s he was boldly innovative in style, helping to transform New Period literature, but conservative in content, sticking to politically acceptable topics. It was only with Hard Porridge in 1989 that he ventured again, and very successfully, into political comment. There is no outstanding leading writer in contemporary China, but Wang Meng is a leading contender for the title
A Significant Turn- on Sculpture 1994 Show 重要的转折- 关于雕塑家1994系列个人作品展
No full textThis review by Yin Shuangxi covered the show Sculpture 1994 , which is a group show with five sculptors. Zhan Wang was one of them. The authors discussed Zhan Wang\u27s piece, Kong Ling· Kong (literally means ethereal: void ) and analyzed the aesthetics and philosophical thinking embodied within. Then, the author went from discussion of specific pieces to general conditions of Chinese sculpture conditions and the problems that sculptors were facing. (Zhuocheng Jiang \u2726)https://digital.kenyon.edu/zhoudocs/1431/thumbnail.jp
The Unity of Destruction and Construction
No full textLiu Xiaochun\u27s critique, published on Art Currents, issue 1, 1995, of the group show Sculpture 1994 featured five sculptors. Zhan Wang was one of them. The authors discussed Zhan Wang\u27s work Temptation, made of clothes, linen and glue, and examined the aesthetics and philosophical thought contained within. The author considers this show as the result of the destruction and reconstruction of classical sculpture, which is then combined with Avant-Garde sculpture. In Zhan Wang’s case, the contorted garments embodies his classical sculpture education but the language he used, the message to convey, is reconstructed into Avant-Garde sculpture. (Zhuocheng Jiang \u2726)https://digital.kenyon.edu/zhoudocs/1437/thumbnail.jp
Five Reports related to the Artist Zhan Wang from Taiwan 四篇来自台湾关于艺术家展望的报道
No full textThere are four reports from Taiwan which directly or indirectly mentioned the sculptor, Zhan Wang. They comes from different sources, including, 雄獅美術 (Xiong Shi Mei Shu), 民生報 （Min Sheng Bao) and 臺灣時報 (Taiwan Times). Most of the report focus on two exhibition, namely 海峽兩岸雕塑藝術交流展 (Cross Strait Sculpture Exchange Exhibition), 雕塑1994 (Sculpture 1994), in which the artist is a key participant. (Zhuocheng Jiang \u2726)https://digital.kenyon.edu/zhoudocs/1422/thumbnail.jp
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