Shortlist: China
推介館藏:中國

Jane DeBevoise, independent art historian
杜柏貞, 獨立藝術史學家
July 2010 (updated in March 2016)

Overview 中文版本

Material about contemporary Chinese art forms a substantial portion of Asia Art Archive’s collection. In order to assist our users in navigating this rich resource of physical and digital material, AAA created this introductory guide. This guide is aimed at students and generalists, and consists of a selected bibliography of recommended readings about art from Mainland China. For recommended readings about Hong Kong, please see our separate Hong Kong Shortlist. To provide our users with numerous points of entry, the bibliography has been divided into several sections: Chronological Development, Art Criticism and Interviews, Media, Selected Periodicals, and Primary Documents.

The section entitled ‘Chronological Development’ is further divided into time periods. 1949–1979 constitutes the initial period, from the founding of the People’s Republic of China to the years immediately following the end of the Cultural Revolution in 1976. The next period is the decade of the 1980s, which was characterised by the introduction of economic reform, the influx of western thought in the form of art books, literature, and philosophy, and a general atmosphere of intellectual curiosity and debate. Watershed moments in the development of experimental art in the 1980s included the ‘Stars’ exhibitions in 1979 and 1980, the ‘85 New Wave movement, and the 1989 ‘China/Avant-Garde’ exhibition at the National Art Museum of China in Beijing. The result of a focused, multi-year collection effort, AAA now holds the largest and most systematically organised archive of documentation and research materials around Chinese art in the 1980s. For in-depth information about this collection, which contains over 100 video-taped interviews and thousands of scanned images and documents, users are directed to AAA’s dedicated website www.china1980s.org. To individual archives of key art critics, curators, teachers, and artists, including Zheng Shengtian, Fei Dawei, Hans van Dijk, Lu Peng, Zhang Peili, Wu Shanzhuan and many others, see the Special Collections section of our website for a full listing.

The third time period begins at the end of the 1980s, when Chinese society was changing rapidly and economic issues were becoming increasingly important. The Tiananmen incident of 4 June 1989 accelerated these changes, signaling a new era focused on rapid economic development and capitalist consumerist values. The catalogue for the 1993 exhibition ‘China’s New Art, Post-1989’ provides an overview of some of the most noteworthy artistic developments in the early 1990s, including Political Pop, Cynical Realism, and investigations into private concerns and personal angst. Other watershed exhibitions in 1993 include ‘China Avant-garde’ in Berlin, the ‘Asia Pacific Triennial’ in Australia, and the ‘Venice Biennale’ in which a number of Chinese contemporary artists took part for the first time. After 1993, experimental art from China began to appear with increasing frequency in significant overseas exhibitions of which the 1998 exhibition ‘Inside Out: New Chinese Art’ provides a good example. However, in contrast to the increasing public visibility in North America and Europe of experimental art from China, exhibitions of experimental art inside China during the 1990s often took place in ‘do-it-yourself’ venues and make shift artist villages, such as Yuan Ming Yuan and the East Village, and in private residences— hence Gao Minglu’s term ‘Apartment Art’. In the 1990s, performance art became an increasingly frequent form of artistic practice. Catalogues for some of the most cutting edge exhibitions of that time include 'Post-Sense Sensibility' organised by Wu Meichun and Qiu Zhijie, and 'Art for Sale' organised by Xu Zhen and Yang Zhenzhong, among others, culminating in the infamous ‘Fuck Off’ exhibition that took place in 2000.

The 2000s are characterised by two major trends: the increasing legitimacy and visibility of contemporary art, both inside and outside China, and the rapid rise of the art market. Exemplifying the first trend was the appearance of large-scale government sponsored biennales in Shanghai and Guangzhou, as well as state-sponsored exhibitions outside China, including ‘Alors, la Chine?’ in 2003 at the Pompidou Centre, and the establishment of an official China Pavilion at the Venice Biennale (attempted but aborted in 2003 due to the SARs epidemic, and realised in 2005.) Another milestone was the first dedicated auction of Asian contemporary art at Sotheby’s New York in March 2006. After this auction, prices for contemporary Chinese art skyrocketed, further legitimising the artistic efforts of certain mid-career artists who were mostly painters. Another important development inside China was the establishment of highly visible large scale exhibition spaces focused on contemporary art, including the Beijing art zone 798 (home of many large galleries and the Ullens Center), the Today Art Museum (Beijing), the Minsheng Art Museum (Shanghai), and the Power Station of Art (Shanghai), as well as numerous ambitious private museums, such as Yuz and Long Museums (Shanghai).

Because of the proliferation of exhibitions in the 2000s, this chronological section has been divided into two sections: ‘Large Scale Exhibitions’, and ‘Major Biennials and Triennials’. The books and catalogues published in conjunction with these events testify to the diversity and volume of art production in China during this period. This diversity has challenged critics and curators to develop a critical discourse to identify, articulate, and frame key concerns. A selection of these efforts is listed in the section entitled ‘Art Criticism and Interviews’.

For users interested in a specific medium, the sections on ‘Ink’, ‘Calligraphy and Word’, ‘Performance Art’, and ‘Photography and Video’ provide a representative selection of introductory texts. Books about art based on, or inspired by, China’s ink painting tradition are of special note, offering a wealth of information about this field. Performance and video represent other areas of rich activity. Artists working in performance and video have often, if not always, resisted the pressures of commoditisation and produced some of the most challenging work in China today.

The publishing industry in China is as vibrant as the art scene it promotes. However, despite the large volume of art periodicals, the quality of these publications is distinctly uneven. Of the seven periodicals we have highlighted, four are chosen for their historical relevance: Meishu (Art), published from 1954; Meishu sichao, published between 1984–87, Zhongguo Meishubao (Fine Arts in China), published between 1985–89; and Jiangsu huakan, published since 1977. In English are Chinese-art.com, published online from 1998–2003; Yishu, published since 2002; and Leap, published since 2010.

The final section of this guide is dedicated to primary documents. Two important developments in this area include Wu Hung's Contemporary Chinese Art: Primary Documents published in 2010 by the Museum of Modern Art in New York, and Asia Art Archive's ongoing online documentary project 'Materials of the Future'. Convinced of the importance of primary documents for future researchers, AAA continues to build and enrich its physical and digital collection. For a listing of the archives in which much of this digital material can be found, see the Special Collections section of our website. Depending on rights clearance, these archives (which are very much a work in progress) are accessible online or onsite.

This guide is meant as a starting point, and while the type of material listed is broad, consisting of exhibition catalogues, reference books, periodicals, and audio-visual material, as well as thousands of scanned documents and images, this list represents only a small fraction of what is available at AAA. Other materials collected at AAA include monographs, leaflets, invitations, letters, clippings, slides, and other ephemera. For information about how to retrieve these and other items, please contact the library staff.



概述

在亞洲藝術文獻庫的館藏中,有關中國當代藝術的資料佔了一個相當重要的部份。本指南旨在讓使用者更輕易瀏覽這批豐富的實物及數碼資料,以中國大陸的當代藝術為主題,為學生及有興趣研究這個課題的人士,羅列了一份精心挑選的推介館藏。 至於有關香港的資料,請參考「推介館藏:香港」。為了提供多種切入點,本指南共分為五個欄目:「發展階段」、「藝術評論及訪談」、「媒介」、「特選期刊」及「原始文獻」。

「發展階段」又再細分為若干歷史時期。第一個階段始於1949年新中國成立,以1976年文化大革命結束至1979年為終點。第二個階段是二十世紀八十年代,當時中國 開始推行經濟改革,西方思想亦通過藝術書籍、文學和哲學等途徑湧入,社會上普遍彌漫着對知識的渴求和知性辯論的氣氛。八十年代實驗藝術的發展里程碑包 括1979及1980年的《星星美展》和「85美術新潮」,以及1989年在北京的中國美術館舉行的《中國現代藝術展》。憑着多年的努力,文獻庫現存迄今規模最龐大、最有系統的八十年代中國藝術文獻紀錄和研究材料,包含超過100段訪問錄像及數以千計的掃描圖片及文檔。只要登入文獻庫的專設網站www.china1980s.org,即可了解相關藏品的詳情。有關重要藝評人、策展人、藝術教師及藝術家的個人檔案,如鄭勝天費大為戴漢志呂澎張培力吳山專等,請瀏覽文獻庫網站的「特別館藏」(Special Collections)。

第三個階段以八十年代末為起點,當時中國的社會正經歷急劇的轉變,經濟議題亦變得日趨重要。1989年6月4日發生的天安門事件,則變相加速了這些轉變,更預示着一個經濟快速增長和資本主義消費文化至上的新時代即將來臨。以1993年的《後89中國新藝術展》為例,其圖錄概括地介紹了九十年代初最為矚目的藝術思潮,如政治波普、玩世現實主義等,以及對個人關注和不安情緒的探討。1993年的其他重要分水嶺展覽包括《中國先驅藝術》(柏林)、《亞太三年展》(澳洲)等,中國當代藝術家亦首次參展《威尼斯雙年展》。自該年開始,中國實驗藝術在海外大型展覽亮相的機會日漸頻繁,如1998年的《Inside Out: New Chinese Art》。可是,相比於中國實驗藝術在北美洲和歐洲備受關注,當時中國本土的實驗藝術展卻常於自助式場地、藝術村如圓明園藝術村和北京東村展出,或在私人宅邸內舉行,故高名潞稱之為「公寓藝術」。行為藝術創作亦在九十年代開始日漸普及。當時最具前鋒性的展覽包括《後感性,異形與妄想》(吳美純、邱志杰策展,2000年)及《超市》(徐震、楊振忠策展,2000年)等,當中以《不合作方式》(2000年)最為人矚目。

千禧年代有兩大藝術趨勢:中國當代藝術在國內外的合法性和曝光率大為提高,藝術市場亦快速蓬勃起來。前者的例證有: 由政府資助的大型雙年展相繼在上海和廣州出現,國外亦有國家資助的展覽如2003年蓬皮杜藝術中心舉辦的《Alors, la Chine?》,《威尼斯雙年展》中國館等(2003年因沙士疫情而暫停項目,於2005年正式舉辦)。另一個重要里程碑則是紐約蘇富比於2006年3月舉辦的首場亞洲當代藝術專拍。自該場拍賣會後,中國當代藝術作品的市場價格旋即飆升,進一步肯定一批中年藝術家 (以畫家居多) 的創作成果。中國國內其他重要發展包括大型知名當代展覽空間的成立,包括北京798藝術區(區內有尤倫斯當代藝術中心及其他大型畫廊)、今日美術館(北京)、民生現代美術館(上海)、上海當代藝術博物館等,以及不少大規模的私人博物館,如余德耀美術館(上海)、龍美術館(上海)等。

由於千禧年代的展覽發展迅速,此部份的資料分為「大型展覽」及「主要雙年展及三年展」,當中相關書籍及圖錄見證了這期間中國藝術創作是何等豐富多姿及數量驚人。這種百花齊放的局面,促使評論家和策展人開始着手為藝術批評創立一套論述形式,去辨識、陳述和表達一些備受關注的課題。就此而言,「藝術評論及訪談」一欄列舉了這方面的一些工作成果。

使用者如對某些特定媒介感興趣,可以參考「水墨」、「書法與文字」、「行為藝術」、「攝影與錄像」等欄目,瀏覽一些具代表性的精選入門簡介。尤須一提的是有關「水墨」的書籍,它們對於以中國水墨畫傳統為根據或靈感來源的藝術範疇,提供了大量寶貴的資料。此外,行為藝術和錄像藝術的發展亦精采紛呈,而從事這類創作的藝術家們,常常能抵擋商業化的洪流,並創作了一批當代中國最具挑戰性的作品。

中國的藝術出版業亦生機勃勃,與在其推動下茁壯成長的藝壇不遑多讓。然而,藝術期刊雖多如雨後春笋,但這些出版物的水準卻極為參差。我們重點推介的七份期刊中,有四份是以其歷史意義而入選的,它們包括1954年創刊的《美術》、1984至1987年期間出版的《美術思潮》、1985至1989年期間出版的《中國美術報》,以及1977年創刊的《江蘇畫刊》。英文期刊則包括1998至2003年期間在網上刊行的《chinese-art.com》、2002年創刊的《Yishu典藏國際版》和2010年創刊的《藝術界》。

本指南的最後一欄目旨在介紹原始文獻。這方面的重要發展成果包括由巫鴻編輯、2010年紐約現代藝術博物館出版的《Contemporary Chinese Art: Primary Documents》,以及亞洲藝術文獻庫進行中的網上紀錄項目「未來的材料記錄」。亞洲藝術文獻庫深信原始文獻對將來研究人員的重要性,因此致力繼續建立及擴增其藏品,包括實物及數碼館藏。大部分相關的數碼資料可於文獻庫網站的「特別館藏」(Special Collections)列表中搜尋,並可於網上或於文獻庫圖書館內瀏覽,有部分則在進行版權處理,稍後會陸續開放予公眾參閱。

作為入門導讀,本指南羅列的資料雖種類繁多 (如展覽圖錄、參考書籍、期刊、影音資料,以及數以千計的掃描文獻及圖片等),但它僅代表了文獻庫館藏的一少部份。除了上文所述,文獻庫的館藏還包括個人專集、傳單、邀請卡、信札、剪報、幻燈片及其他雜項收藏。如欲索閱上述及其他館藏,請向文獻庫圖書館職員查詢詳情。

(譯文)

Recommended Readings

Chronological Development 發展階段

General Introductory Books on 20th & 21st Century 二十及廿一世紀概論

Andrews, Julia F., Shen Kuiyi, et al., A Century in Crisis: Modernity and Tradition in the Art of Twentieth-Century China, The Solomon R. Guggenheim Foundation, New York, 1998
DeBevoise, Jane, Between State and Market: Chinese Contemporary Art in the Post-Mao Era, Brill, Leiden, 2014
Gladston, Paul, Contemporary Chinese Art: A Critical History, Reaktion Books, London, 2014
Lu Peng, A History of Art in 20th-Century China, Somogy editions d'art, Paris, 2013
Sullivan, Michael, Art and Artists of Twentieth Century China, University of California Press, Berkeley, 1996
Vine, Richard, New China New Art, Prestel Publishing, New York, 2011
Wu Hung, Contemporary Chinese Art: A History 1970s–2000s, Thames and Hudson, London, 2014

1949-1979

Andrews, Julia F., Painters and Politics in the People’s Republic of China, University of California Press, Berkeley, 1994
Chiu, Melissa, Zheng Shengtian, et al., Art and China’s Revolution, Asia Society, New York, Yale University Press, New Haven, 2008
King, Richard, ed. Art in Turmoil: The Chinese Cultural Revolution, 1966–76, Hong Kong University Press, Hong Kong, 2010
Wang Mingxian, Yan Shanchun, The Art History of the People’s Republic of China: 1966-1976, Zhongguo qingnian chubanshe, Beijing, 2000
王明賢、嚴善錞,《新中國美術圖史 1966-1976》,中國青年出版社,北京,2000。
Watson, Scott, Zheng Shengtian, Art of the Great Proletarian Cultural Revolution: 1966-1976, Morris and Helen Belkin Art Gallery, Vancouver, Power Plant Contemporary Art Gallery, Toronto, 2002

1980s

Fei Dawei, ed., ’85 New Wave: The Birth of Chinese Contemporary Art, Century Publishing Group, Shanghai, 2007
費大為編,《'85新潮:中國第一次當代藝術運動》,世紀出版集團,上海,2007。
Gao Minglu, ed. The ’85 Movement (vol 1, 2), Guangxi Normal University Press, Guilin, 2008
高名潞編,《'85美術運動 (卷一,二) 》,廣西師範大學出版社,桂林,2008。
Hanart 2 Ltd., The Stars: 10 Years, Texts by Chang Tsongzung, et al., Hanart 2 Ltd., Hong Kong, 1989
《星星十年》,張頌仁等撰文,漢雅軒2,香港,1989。
Koeppel–Yang, Martina, Semiotic Warfare: The Chinese Avant-Garde, 1979-1989. A Semiotic Analysis, Timezone 8, Hong Kong, 2003
Lebold Cohen, Joan, The New Chinese Painting: 1949-1986, Harry N. Abrams, New York, 1987
Lu Peng, Yi Dan, A History of China Modern Art 1979-1989, Hunan Fine Arts Publishing House, Changsha, 1992
呂澎、易丹,《中國現代藝術史1979-1989》,湖南美術出版社,長沙,1992。
Shen Kuiyi, Julia Andrews, eds. Light before Dawn: Unofficial Chinese Art 1974–1985, Asia Society Hong Kong Center, Hong Kong, 2013

1990s

Doran, Valerie C., ed. China’s New Art, Post-1989, Asia Art Archive, Hong Kong, 2001
Gao Minglu, ed. Inside Out: New Chinese Art, University of California Press, Berkeley, 1998
Lu Peng, 90s Art China 1990-1999, Hunan Fine Arts Publishing House, Changsha, 2000
呂澎,《中國當代藝術史1990-1999》,湖南美術出版社,長沙,2000。
Noth, Jochen, et al., eds. China Avant-garde, Haus der Kulturen der Welt, Berlin, 1993
Smith, Karen, Nine Lives: The Birth of Avant-Garde Art in New China, Timezone 8, Beijing, 2008
Wu Hung, ed. The First Guangzhou Triennial – Reinterpretation: A Decade of Experimental Chinese Art (1990–2000), Guangdong Museum of Art, Guangzhou, Art Media Resources, Chicago, 2002
Wu Hung, ed. Transcience: Chinese Experimental Art at the End of the Twentieth Century, The David and Alfred Smart Museum of Art, The University of Chicago, Chicago, 1999

2000s

Large Scale Exhibitions 大型展覽

Acret, Susan, Claire Hsu, eds. Paris-Pekin, Chinese Century, Paris, 2002
Fibicher, Bernhard, Matthias Frehner, eds. Mahjong: Contemporary Chinese Art from the Sigg Collection, Hatje Cantz Verlag, Ostfildern-Ruit, 2005
Gao Minglu, The Wall: Reshaping Contemporary Chinese Art, Millennium Art Museum, Beijing, Buffalo Fine Arts Academy, Buffalo, 2005
高名潞,《牆:中國當代藝術的歷史與邊界》,中華世紀壇藝術館,北京,布法羅美術學院,布法羅,2005。
Lemonnier, Anne, ed. Alors, la Chine? Centre Pompidou, Paris, 2003
Qiu Zhijie, et al., eds. Archaeology of the Future: The Second Triennial of Chinese Art, Hubei Fine Arts Publishing House, Wuhan, 2005
邱志杰等編,《未來考古學:第二屆中國藝術三年展》,湖北美術出版社,武漢,2005。
Sans, Jérôme, ed. Our Future: The Guy & Myriam Ullens Foundation Collection, Zhongguo qingnian chubanshe, Beijing, 2008
杰羅姆 • 桑斯編,《我們的未來:尤倫斯基金會收藏展》,中國青年出版社,北京,2008。
Tate Liverpool, The Real Thing: Contemporary Art from China, Texts by Simon Groom, et al., Tate Liverpool, Liverpool, 2007
Tucker, Laurer, ed. ON | OFF: China''s Young Artists in Concept and Practice, Ullens Centre for Contemporary Art, Beijing, 2013
羅冉編,《ON │ OFF: 中國年輕藝術家的觀念與實踐》,尤倫斯當代藝術中心,北京,2013。
Xu Bing, ed. The First "CAFAM . Future" Exhibition: Sub-Phenomena: Report on the State of Chinese Young Art Nomination, Guangxi Normal University Press, Guilin, 2012
徐冰編,《首屆CAFAM未來展:亞現象·中國青年藝術生態報告提名集》, 廣西師範大學出版社,桂林,2012。

Major Biennials and Triennials 主要雙年展

Catalogues of Shanghai Biennale, 1996–2014
上海雙年展圖錄, 1996-2014。
Catalogues of Guangzhou Triennial, 2002–2012
廣州三年展圖錄, 2002-2012。
Catalogues of Chengdu Biennale, 2001–2011
成都雙年展圖錄, 2001-2011。

Art Criticism and Interviews 藝術評論與訪談

Clark, John, ed. Chinese Art at the End of the Millennium: Chinese-art.com 1998-1999, New Art Media Limited, Hong Kong, 2000
Hou Hanru, On the Mid-Ground, Timezone 8 Ltd., Hong Kong, 2002
Jia Fangzhou, ed. Era of Criticism: Selected Works of Chinese Art Critics in the End of 20th Century I, II, III, Guangxi Fine Arts Publishing House, Nanning, 2003
賈方舟編,《批評的時代:20世紀末中國美術批評文萃 卷一、二、三》,廣西美術出版社,南寧,2003。
Leng Lin, Shiwo (It’s me), Zhongguo wenlian chubanshe, Beijing, 2000
冷林,《是我》,中國文聯出版社,北京,2000。
Li Xianting, Fanpan de zhongliang: zhongyao de bushi yishu (The Power of Rebellion: The Significance Does Not Lie in Art), Artist Publishing, Taipei, 2012
栗憲庭,《反叛的重量: 重要的不是藝術》,藝術家出版社,台北,2012。
Qiu Zhijie, The Scene is Most Important, Zhongguo renmin daxue chubanshe, Beijing, 2003
邱志杰,《重要的是現場》,中國人民大學出版社,北京,2003。
Tinari, Philip, Angie Baecker, eds., Hans Ulrich Obrist: The China Interviews, Office for Discourse Engineering, Hong Kong, Beijing, 2009
Wu Hung, ed. Chinese Art at the Crossroads: Between Past and Future, Between East and West, New Art Media, Hong Kong, 2001
Wu Hung, Making History: Wu Hung on Contemporary Art, Timezone 8, Hong Kong, 2008

Media 媒介

Ink 水墨

Kuo, Jason C., Chinese Ink Painting Now, Distributed Art Publishers, Inc., New York, 2010
Pi Daojian, Wang Huangsheng, eds. 1st Space for Contemporary Ink Work – China: 20 Years of Ink Experiment, Heilungjiang meishu chubanshe, Harbin, 2001
皮道堅、王璜生編,《第一屆當代水墨空間-中國水墨實驗二十年》,黑龍江美術出版社,哈爾濱,2001。
Polizzotti, Mark, ed. Ink Art: Past as Present in Contemporary China, Metropolitan Museum of Art, New York, 2013
Yu Ren, et al., ed. The Artistic Trend of Modern Chinese Ink and Wash in the Late 20th Century: Modern Ink and Wash Painting Series (vol I, 2, 3), Tianjin yangliuqing huashe, Tianjin, 1993–1997
郁人等編,《當代水墨藝術叢書(卷一,二,三): 二十世紀末中國現代水墨藝術走勢》,天津楊柳青畫社,天津,1993-1997。
Zhang Yu, ed. Chinese Open and Experimental Ink and Wash Series, Vol. I: Special Volume of Chinese Experimental Ink and Wash Exhibition, The Milky Way Publishing Co., Hong Kong, 2002
張羽編,《開放的中國實驗水墨 叢書1》,香港銀河出版社,香港,2002。
Catalogues of International Ink Painting Biennial of Shenzhen, 1998–2010
深圳國際水墨畫雙年展圖錄, 1998-2010。
Retrospection of Experimental Ink and Wash: 1985-2000, Texts by Pi Daojian, et al., Hunan meishu chubanshe, Changsha, 2005
《實驗水墨回顧1985-2000》,皮道堅等撰文,湖南美術出版社,長沙,2005。

Calligraphy and Word 書法與文字

Barrass, Gordon S., The Art of Calligraphy in Modern China, University of California Press, Berkeley, 2002
Chang Tsongzung, Robert Lord, Power of the Word, Independent Curators International, New York, 2001
University at Buffalo Art Gallery, Word and Meaning: Six Contemporary Chinese Artists, Texts by Shen Kuiyi, et al., University at Buffalo Art Gallery, Buffalo, New York, 2000
Xu Jiang, Wang Dongling, eds. The Act of Writing and of Non-Writing: The Open Space for Chinese Calligraphy – International Exhibition of Modern Calligraphy 2005 Hangzhou China, China Academy of Art Press, Hangzhou, 2005
許江、王冬齡編,《書 • 非書-非開放的書法時空:2005中國杭州國際現代書法藝術展作品集》,中國美術學院出版社,杭州,2005。

Performance Art 行為藝術

Berghuis, Thomas J., Performance Art in China, Timezone 8, Hong Kong, 2006
Chan Hou Seng, ed. Inward Gazes: Documents About Chinese Performance Art, Macau Museum of Art, Macau, 2006
陳浩星編,《以身觀身:中國行為藝術文獻集》,澳門藝術博物館,澳門,2006。
Lu Hong, Sun Zhenhua, China Performance Art, Hebei meishu chubanshe, Shijiazhuang, 2006
魯虹、孫振華,《異化的肉身:中國行為藝術》,河北美術出版社,石家庄,2006。
Wen Pulin, ed. Action in China: Performance Art from 1980s to 1990s. Beijing Windhorse Mass Medium Co. Ltd, Beijing
溫普林編,《中國行動:八十年代到九十年代的行為藝術》,北京風馬旗文化傳播有限公司,北京。
Wen Pulin, Action in China: Performance Art from 1980s to 1990s. Beijing Windhorse Mass Medium Co. Ltd, Beijing
溫普林,《中國行動:八十年代到九十年代的行為藝術》,北京風馬旗文化傳播有限公司,北京。

Photography and Video 攝影與錄像

Acret, Susan, ed. A Strange Heaven: Contemporary Chinese Photography, Asia Art Archive, Hong Kong, 2003
蘇珊 • 阿克雷特編,《幻影天堂:中華當代攝影集》,亞洲藝術文獻庫,香港,2003。
Gu Zheng, Contemporary Chinese Photography, CYPI Press, London, 2011
Huangfu Binghui, ed. Compound Eyes: Contemporary Video Art from China, Earl Lu Gallery, La salle-Sia College of the Arts, Singapore, 2001
皇甫秉惠編,《複眼:中國錄像藝術》,盧明德藝術館,拉薩爾-新航藝術學院,新加坡,2001。
Roberts, Claire, Photography and China, Reaktion Books, London, 2013
Wu Hung, Christopher Phillips, et al., Between Past and Future: New Photography and Video from China, David and Alfred Smart Museum of Art, University of Chicago, Chicago, International Center of Photography, New York, Steidl Publishers, Goettingen, 2004
Zhu Qi, ed. Chinese Avant-Garde Photography Since 1990, Hunan meishu chubanshe, Changsha, 2004
朱其編,《1990以來的中國先鋒攝影》,湖南美術出版社,長沙,2004。

Selected Periodicals 特選期刊

Chinese-art.com, 1998-2003
Jiangsu Huakan, Jiangsu meishu chubanshe, Nanjing, 1977–present
《江蘇畫刊》, 江蘇美術出版社, 南京, 1977-現在。
LEAP, Yishujie zazhishe, Hefei, 2010–present
Meishu, Renmin meishu chubanshe, Beijing, 1954-2006
《美術》,人民美術出版社,北京,1954-2006。
Meishu Sichao, Hubei meishu zhongxin, Wuhan, 1984–1987
《美術思潮》,湖北美術中心,武漢,1984-1987。
Yishu: Journal of Contemporary Chinese Art, Art & Collection Group, Taipei, 2002-present
Zhongguo Meishubao (Fine Arts in China), Zhongguo yishu yanjiuyuan meishu yanjiusuo, Beijing, 1985-1989
《中國美術報》,中國藝術研究院美術研究所,北京,1985-1989。

Primary Documents 原始文獻

Asia Art Archive, Materials of the Future: Documenting Contemporary Chinese Art from 1980-1990, http://www.china1980s.org/en/Default.aspx, accessed 16 March 2016 亞洲藝術文獻庫,未來的材料記錄:1980-1990 中國當代藝術,http://www.china1980s.org/tc/Default.aspx,2016年3月16日。
Asia Art Archive, digital collection of primary materials: A History of Exhibitions: Shanghai 1979–2006, China Avantgarde Exhibition Archive, Fei Dawei Archive, Francesca Dal Lago Archive, Kong Chang’an Archive, Lu Peng Archive, Mao Xuhui Archive, Hans van Dijk Archive, Wang Youshen Archive, Zhang Peili Archive, Zhang Xiaogang Archive, Zheng Shengtian Archive, physical collection of primary materials: chinese-art.com Archive, Wu Shanzhuan Personal Archive, accessed 16 March 2016 亞洲藝術文獻庫,數碼原始文獻館藏:上海展覽史:1979﹣2006,中國前衛藝術展檔案,茀蘭檔案,費大為檔案,孔長安檔案,呂澎檔案,毛旭輝檔案,戴漢志檔案,王友身檔案,張培力檔案,張曉剛檔案,鄭勝天檔案,實體原始文獻館藏:chinese-art.com檔案,吳山專個人檔案,檢索日期: 2016年3月16日。
DeBevoise, Jane, et al., From Jean-Paul Sartre to Teresa Teng: Cantonese Contemporary Art in the 1980s, Asia Art Archive, Hong Kong, 2010
杜柏貞等,《薩特與鄧麗君:1980年代的廣東當代藝術》,亞洲藝術文獻庫,香港,2010。
Wu Hung, ed. Contemporary Chinese Art: Primary Documents, The Museum of Modern Art, New York, 2010