Between State and Market: Chinese Contemporary Art in the Post-Mao Era examines the shift in the system of support for contemporary art in China between 1979 and 1993, from state patronage to the introduction of the market, and the hybrid space that developed in between. Today, soaring prices for contemporary art have triggered a debate about the deleterious effect of the market on art. Yet Jane DeBevoise argues that, in the post-Mao period, the imaginary of the marketplace was liberating, offering artists an alternative framework of legitimacy and support. Based on primary research, DeBevoise explores the entangled role of the state and the market, and how experimental artists and their champions in China negotiated to find a creative space between the two systems to produce and promote their work.
Jane DeBevoise received her M.A. at the University of California, Berkeley (1982), and Ph.D. at the University of Hong Kong (2009). Chair of Asia Art Archive in Hong Kong and New York, DeBevoise is an expert in Chinese art and has written and lectured widely.
Acknowledgments Abbreviations Note to the ReaderIntroduction Part I The Evolving Role of the State in the Arts, 1978–89 1 The System of State Support for the Arts 2 The Debate over Luo Zhongli’s “Father”
Part II Introducing Market Reform in the Arts, 1978–89 3 The Changing Economics of Mainstream Art Practice 4 Emerging Entrepreneurialism in the Arts 5 Nascent Commercial Venues inside China
Part III Between State and Market, 1985–89 6 Discourse and Debate about the Market and the State 7 Alternative Media Platforms 8 Alternative Exhibition Platforms 9 The “China/Avant Garde Exhibition”
Part IV Big Business, 1990–93 10 Making a Market for Contemporary Chinese Art 11 Wang Guangyi and the “Great Criticism” Series 12 The Chinese Avant-Garde Moves Offshore
ConclusionBibliographiesList of InterviewsIndex
Anyone interested in history, art, politics and socio-economic changes in modern and contemporary China, including undergraduate or graduate students, teachers, scholars, critics, curators, dealers, and educated layman, through public or academic libraries, universities, and research platforms.