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This interview was conducted in Gao Minglu’s Studio in Beijing on 17 March 2009.


Gao Minglu (b. 1949, Tianjin) is a scholar in contemporary Chinese art. Currently, he is a Research Professor in the Department of Art History and Architecture at the University of Pittsburgh, and is a Professor and Head of the Fine Arts Department at the Sichuan Fine Arts Institute.

Gao was ‘re-educated’ in Inner Mongolia for five years during the Cultural Revolution. In 1978, he was admitted to the Tianjin Academy of Fine Arts, and received his master’s degree from the Chinese National Academy of Arts. Gao received a postdoctoral fellowship from the Committee on Scholarly Communication with China through the American Academy of Arts and Sciences in 1991. He then studied Art History at Ohio State University and received his Ph.D. from Harvard University.

From 1984 to 1989, Gao served as editor of Art (Meishu) magazine and assisted in the editorial work of Fine Arts in China (Zhongguo meishubao). During this period, he engaged in a wide range of writing and curatorial projects relating to the development of experimental art in China, and especially, to promoting the ’85 New Wave Art movement. Among these events were the seminal ‘Large-Scale Slide Exhibition of New Wave Art’ at the Zhuhai Conference (Zhuhai, 1986) and the ‘China/Avant-Garde Exhibition’ (Beijing, 1989). Other significant exhibitions organized by Gao include ‘Fragmented Memory: The Chinese Avant-Garde in Exile’ (Ohio, 1993), ‘Inside Out: New Chinese Art’ (1998), ‘Chinese Maximalism’ (2003), ‘The Wall: Reshaping Contemporary Chinese Art’ (2005), ‘A Retrospective Exhibition of the No Name Group’ (2006–2007) and ‘Yi School: Thirty Years of Chinese Abstraction’ (2009), among others.

Gao has written extensively on the history of the avant-garde and contemporary Chinese art, including publications such as China/Avant-Garde (1989), A History of Contemporary Art in China, 1985–1986 (1991) and Chinese Maximalism (2003). His English publications include Inside Out: New Chinese Art (1998) and The Wall: Reshaping Contemporary Chinese Art (2005), to name a few.

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文革期間,高名潞氏曾於在內蒙古插隊五年。1978年,他於天津美術學院研習藝術史。後於中國藝術研究院研究生院獲碩士學位。 1984-—1989年間,高名潞為《美術》雜誌擔任編輯一職,同時亦參與《中國美術報》的編輯工作。此外,他積極為當時的前衛藝術作介紹及批評,並先後策劃了《85青年美術思潮新潮美術大型幻燈展暨學術研討會》(珠海會議,1986)和《中國現代藝術展》(1989),推動了中國的「85美術」運動。

1991年,高名潞獲美國科學院的「美中學術交流委員會」博士後項目獎學金,以訪問學者的身份,先後在俄亥俄大學和哈佛大學藝術史系研究學習,獲哈佛大學博士學位。其策劃的重要展覽包括《支離的記憶:四位中國前衛藝術家》(1993年),《Inside Out: New Chinese Art 》(1998年),《豐收:當代藝術展》(2002年),《中國極多主義》(2003年),《牆》(2005年),《無名》(2006-07年),《公寓藝術》(2008年)和《意派——世紀思維》(2009年)等展覽。

其中文專著包括《中國前衛藝術》(南京:江蘇美術出版社,1989年),《中國當代美術史1985-1986》((合著,上海:上海人民出版社,1991年)),《中國極多主義》(重慶:重慶出版社,2003年),及《意派:中國‘抽像’三十年意派論:一個顛覆再現的理論》(桂林:廣西師範大學出版社,2009年)等。英文專著包括 Inside Out: New Chinese Art (1998),及 The Wall: Reshaping Contemporary Chinese Art (2005)等。



In 2006, Asia Art Archive began a focused archiving project called 'Materials of the Future: Documenting Contemporary Chinese Art from 1980-1990'. This project aimed at developing a comprehensive collection of primary research materials including books, periodicals, newspapers, exhibition brochures, invitations, video recordings, correspondence, and other relevant documents.

As part of this project, AAA digitised more than 80,000 items of material from personal archives to include artists Mao Xuhui, Wu Shanzhuan, Zhang Xiaogang, and Zhang Peili; curators and critics Fei Dawei, Lu Peng, and Zheng Shengtian; as well as the archives of Tokyo Art Gallery. As part of the research process over 75 in-depth interviews with key artists, curators, and critics were conducted. From a portion of these interviews, AAA created a documentary film about experimental art in South China (Guangzhou) in the 1980s entitled From Jean-Paul Sartre to Teresa Teng: Contemporary Cantonese Art in the 1980s.

AAA’s 1980s archiving project culminated with the launch of a comprehensive website portal called www.china1980s.org in September 2010.

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Interview with Gao Minglu (Full Version), 訪問:高名潞(完整版)