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Additional resources for Chinese Modernity and the Individual Psyche
Noe, Christoph with Xenia Piech and Cordelia Steiner. Young Chinese Artists: The Next Generation. Prestel: Munich, 2008. People’s Daily Online. “80’s Artists Emerge with Isolation,” People’s Daily Online August 18, 2009. html, accessed August 20, 2010. Rofel, Lisa. Desiring China: Experiments in Neoliberalism, Sexuality, and Public Culture. Durham, NC: Duke University Press, 2007. Shi, Chuan. “Daiqun mingming yu daiqun yuma [The Labels and Linguistic Codes Associated with Generations],” Journal of Shanghai University (Social Science) 10, no.
2 (2003): 32–25. Sima, Yangzi and Peter C. Pugsley. ’ ” In Postsocialist China: Youth, Individualism and Identity Creation in the Blogosphere. International Communication Gazette 72, no. 3 (2010): 287–306. Post-70s Artists’ Search for Self 41 Simmel, Georg. ” In The Blackwell City Reader, r edited by Gary Bridge and Sophie Watson. Oxford and Malden, MA: Wiley-Blackwell, 2002. Vine, Richard. “Half the Sky: Chinese Women Artists in Philadelphia,” Art in America, 2011. com/news-opinion /news/2011–10–31/half-the-sky/, accessed February 10, 2011.
Post-70s Artists’ Search for Self 29 Plate 2. 5 Cao Fei, RMB City, 2008. Courtesy of the Artist and Lombard-Freid Projects, New York. is emblematic of the Post-70s generation’s immersion in China’s increasingly capitalist and consumerist culture. Their liberal incorporation of the myriad artifacts and technologies available to them belies their ambivalence toward these modern innovations, which they both embrace and resist as a feature of their daily lives. The very act of making art serves as a vehicle for the Post-70s artists to explore the foundations of their identity by directly confronting the social forces that shape their daily existences.