ARTHIS 151C: FINAL STUDY GUIDE (Complete!)
Wednesday, December 11, 8:00-10:00am: please show up on time! You will need an exam booklet.
The final will consist of three sections:
1. slide identification section: in which you must identify five images by artist, title, date, medium (10 minutes, 10%)
2. Two slide comparison essays, in which you identify and write a brief essay comparing two images in response to a prompt (20 minutes each, 50%)
3. One long essay question on a major theme of the class (drawn from readings and lecture): I will provide 3 essay topics a week before the exam, and one topic will appear on the exam (30 minutes, 40%)
4. Extra-credit question (worth three points if fully answered): What art work that we’ve seen in class has the most meaning for you? Write a short paragraph (5-6 sentences) on why. This is not a research question and your response may include personal reasons!
II. Long essay topics: Prepare the three essay topics below; one will appear on the exam. You should base your exam on your knowledge of the material from the lectures and readings. For each essay, you must have a thesis, define your terms, and discuss at least three examples of art in some detail. The essay should be of a reasonable length for 30 minutes
1. Discuss how and why Mao Zedong is represented in art works after 1949. Choose three examples of representations of Mao, and examine the choices made in and functions of these portraits and depictions of Mao. At least one of your example should date to post-1976.
2. Discuss ideas of authorship and the identity of the artist after 1949. Choose three and consider who the maker of the art work is and their part in defining the meaning of the art work. What is the relationship that they establish with the audience?
3. Discuss the emergence of new forms of experimental art post 1976. Choose three examples and explain how they break away from forms of art produced earlier in subject? Style? Format and medium? Influence? Audience?
The images for which you are responsible are listed below. You will find the actual images on the Powerpoints on Canvas; I also include a few phrases or terms that relate to each image.
Chairman Mao and the Cultural Revolution
1. Sun Zixi (b.1929), In Front of Tiananmen, 1964, oil on canvas
Great Leap Forward
2. Fu Baoshi (1904-65) and Guan Shanyue (1912-2000), This Land So Rich in Beauty,
1959, ink and color on paper
Great Hall of the People, Beijing, 18 x 29 feet, Mao, “Ode to Snow” poem
3. Zhang Zhengshi, Portrait of Mao, 1952, oil on canvas
“Standard portrait,” Tiananmen gate, magnifying, substituting, masking, detachment
4. Liu Chunhua, Chairman Mao Goes to Anyuan, 1967, oil on canvas
“model work,” “Mao Zedong’s Thought Illuminates the Anyuan Workers’ Movement” exhibition, Liu Shaoqi, collective art
5. Lin Yong (b.1942), The Spirit of Yan’an Shines Forever, 1971, ink and color on paper
Three Prominences, hong-guang-liang: red, bright, shining; Jiang Qing, Yan’an, cult of personality
6. Ye Yushan (b.1935) and others, Rent Collection Courtyard, clay, 1965
“model work,” Sichuan Academy of Fine Arts, Liu Wencai, collectivism, Landlord Manor Museum
7. Anonymous, Destroy the Old World, Forge the New World, 1969, poster
Four Olds, Red Guard, Cultural Revolution
8. Shen Jiawei (b.1948), Standing Guard for Our Great Motherland, 1974, oil on canvas
Sent down youths/rusticated youths, Wusuli River, Heilongjiang, worker-peasant-solider art
1970s
9. Chen Yifei (1946-2005) and Wei Jingshan (b.1943), The Taking of the Presidential
Palace, 1977, oil on canvas
1942 People’s Liberation Army victory; Museum of Military Affairs; realism, history painting; Shanghai Academy of Painting
10. Cheng Conglin (b.1954), X Day X Month 1968/A Snowy Day in 1968, 1979, oil on canvas
New Realism/Scar Art [1978 Scar, short story by Lu Xinhua], Sichuan Academy of Fine Arts, October 1979, Chengdu
11. Luo Zhongli (b.1948), Father, 1980, oil on canvas
Stream of Life painting/Rustic Realism, “My Father”, National Youth Exhibition, Sichuan Academy of Fine Arts
12. Zhang Wei, Hall of Supreme Harmony, 1976, oil on pasteboard, 19 x25 cm.
Wuming (No Name) Society, underground art
13. Wang Keping, Idol, 1979, wood
The Stars (Xingxing), 5th National Art Exhibition, National Art Museum of China [NAMOC], dissident art
14. Zhang Qun and Meng Luding, A New Era: Revelation from Adam and Eve, 1985, oil on canvas
Zhejiang Academy of Fine Arts, Adam and Eve, New Era, mise-en-abyme, Surrealism (Salvador Dali)
1980s: 85 Art New Wave, Experimental and Avant-garde Art
15. Huang Yong Ping, “The History of Chinese Art” and “A Concise History of
Modern Art” After Two Minutes In the Washing Machine, December 1, 1987, 1987, installation (paper pulp, glass, wood)
Xiamen Dada, Anti-Art, installation art, conceptual art, iconoclasm, censorship, authorship?
16. Zhang Peili, X?, 1987, oil on canvas
Zhejiang Academy of Fine Arts, Hangzhou, conceptual art, Exhibition proposal: Procedure for “Act First and Shoot Later: About ‘X?’”, Meishu magazine, anti-art
17. Geng Jianyi, The Second State, 1987, oil on canvas
Song Baoguo, Zhejiang Academy of Fine Arts, grisaille, emotions
18. Xu Bing (b. 1955), Book from the Sky, 1987-1991, installation
National Art Gallery of China, conceptual art, string-bound book, audience
19. Fang Lijun, Series 2, No. 2, 1991-92, oil on canvas
China/Avant-Garde exhibition, Cynical Realism, “hooligan [liumang] aesthetic”
20. Liu Wei (b.1963), The New Generation, 1991, oil on canvas
Revolutionary Family series, memory
21. Li Shan (b.1942), Rouge Series No. 8, 1990, oil on canvas
Political Pop, rouge
22. Zhu Fadong, This Person is for Sale, 1994, performance, 1994
Migrant labor and migration, dagong, underclasses, commercialism, Marx, Beijing
23. Zhang Huan, Twelve Square Meters, performance, 1994
Dashan Village [Beijing East Village], masochism, annihilation, Chris Burden, Vito Acconci, fish oil, latrine, anti-commercial
24. Zhang Huan, To Add One Meter to an Unknown Mountain, performance at
Miaofeng Mountain, Beijing, May 22, 1995
Landscape, collectivity, community, Foolish Old Man Who Moved a Mountain,
“There are always higher mountains beyond a high mountain and there are always more capable people beyond a capable person.”
25. Song Dong (b.1966), Breathing, performance, 1996
Tiananmen Square, Back Sea, tuqi= to exhale, express opinion; apartment art, water/ice
26. Yin Xiuzhen, Suitcase, 1995, performance and installation, wooden box, concrete, clothes, copper plate
Apartment Art, memory
27. Lin Tianmiao (b. 1961), Braiding, 1999, mixed media installation
Cotton thread, women’s work, identity, gender
28. Cai Guoqiang, Project to Extend the Great Wall of China by 10,000 Meters
(Projects For Extraterrestrials No. 10), installation/performance, 1993
Shanghai Drama Academy, gunpowder, alchemy (Daoism) and transformation, “big bang,” Quanzhou
29. Ai Weiwei, Sunflower Seeds, 2010, installation
Tate Modern Turbine Hall; Jingdezhen, 8 million porcelain seeds (10 tons)
1600 workers/ 5 years, craftsmanship