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- All Subjects: Ink painting, Chinese
- Creators: Fahlman, Betsy
Description
The turmoil that China endured during the twentieth century triggered a series of social and political revolutions. As China struggled to resolve domestic questions of dynasticism or democracy and nationalism or communism, Western industrialization and imperialism dragged China rapidly into the globalizing world. Likewise, Chinese painting had to confront the West, as Chinese artists dealt with the twentieth-century version of the recurring question of modernizing Chinese painting for its times: how does one reconcile an ancient painting tradition with all the possibilities Western interactions introduced? This dissertation focuses on one artist's lifelong struggle, often overlooked, to answer this question. By examining C. C. Wang (1907-2003) and his life in art, this case study reveals broader truths about how twentieth century Chinese diaspora painters, such as Wang, modernized the tradition of Chinese ink painting.
Wang's reputation as a connoisseur of ancient Chinese painting has overshadowed his own artwork, creating a dearth of research on his artistic development. Using public and private sources, this dissertation applied stylistic analysis to track this development. The analysis reveals an artist's lifelong endeavor to establish a style that would lift the Chinese painting tradition into a modern era, an endeavor inspired by modern Western art ideas and a desire to play a role in the larger movement of elevating Chinese painting. The argument is made that these efforts establish Wang as an influential twentieth century Chinese ink painter.
To clarify Wang's role within the broader movement of Chinese diaspora painters, this dissertation employs a comparison study of Wang with such established twentieth century ink painting artists as Zhang Daqian, Liu Guosong, and Yu Chengyao. It is
asserted that the 1949 diaspora forced this cohort of artists to adjust their style and to transcend traditional Chinese painting by integrating newly-salient ideas from Western art, particularly the abstract movement. Meanwhile, the essential Chinese identity in their art collectively became more significant. The solidarity of purpose and identity is a distinctive part of the answer this group of twentieth century Chinese diaspora painters proposed to their generation's inherited challenge of enriching the tradition.
Wang's reputation as a connoisseur of ancient Chinese painting has overshadowed his own artwork, creating a dearth of research on his artistic development. Using public and private sources, this dissertation applied stylistic analysis to track this development. The analysis reveals an artist's lifelong endeavor to establish a style that would lift the Chinese painting tradition into a modern era, an endeavor inspired by modern Western art ideas and a desire to play a role in the larger movement of elevating Chinese painting. The argument is made that these efforts establish Wang as an influential twentieth century Chinese ink painter.
To clarify Wang's role within the broader movement of Chinese diaspora painters, this dissertation employs a comparison study of Wang with such established twentieth century ink painting artists as Zhang Daqian, Liu Guosong, and Yu Chengyao. It is
asserted that the 1949 diaspora forced this cohort of artists to adjust their style and to transcend traditional Chinese painting by integrating newly-salient ideas from Western art, particularly the abstract movement. Meanwhile, the essential Chinese identity in their art collectively became more significant. The solidarity of purpose and identity is a distinctive part of the answer this group of twentieth century Chinese diaspora painters proposed to their generation's inherited challenge of enriching the tradition.
ContributorsHua, Ming (Author) / Brown, Claudia (Thesis advisor) / Baker, Janet (Committee member) / Fahlman, Betsy (Committee member) / Arizona State University (Publisher)
Created2014
Description
This research explores and deepens our understanding of an element of arts infrastructure in the United States: the arts incubator, an organizational form or programmatic initiative that exists at the intersection of artistic production, entrepreneurship, and public policy. The study is a qualitative cross-case analysis of four arts incubators of different types: Arlington Arts Incubator, Intersection for the Arts, Center for Cultural Innovation, and Mighty Tieton, situated within the context of the literature of arts incubators, business incubator evaluation, and a theoretical framework for understanding entrepreneurship in the US arts and culture sector.
The research opens the black box of incubator operations to find that arts incubators create value for client artists and arts organizations both through direct service provision and indirect echo effects but that the provision of value to communities or systems is attenuated and largely undocumented. Arts incubators, like many small arts organizations, tend to look retrospectively at outputs rather than at the processes that convert inputs to tangible impacts, or means into ends. This is an issue not relegated only to the arts and culture sector; business incubators share some of these tendencies. Despite these issues, arts incubators remain a potentially impactful tool of cultural policy if their processes and activities align with their strategic goals and those processes and activities are assessed formatively and summatively.
The research opens the black box of incubator operations to find that arts incubators create value for client artists and arts organizations both through direct service provision and indirect echo effects but that the provision of value to communities or systems is attenuated and largely undocumented. Arts incubators, like many small arts organizations, tend to look retrospectively at outputs rather than at the processes that convert inputs to tangible impacts, or means into ends. This is an issue not relegated only to the arts and culture sector; business incubators share some of these tendencies. Despite these issues, arts incubators remain a potentially impactful tool of cultural policy if their processes and activities align with their strategic goals and those processes and activities are assessed formatively and summatively.
ContributorsEssig, Linda (Author) / Schugurensky, Daniel, 1958- (Thesis advisor) / Fahlman, Betsy (Committee member) / Shockley, Gordon (Committee member) / Arizona State University (Publisher)
Created2015