References
- Andrews, Julia F. 1994. Painters and Politics in the People’s Republic of China, 1949–1979. Berkeley: University of California Press.
- Andrews, Julia F. 2010. “The Art of the Cultural Revolution.” In Art in Turmoil: The Chinese Cultural Revolution, 1966-76, edited by Richard King, 27–57. Vancouver: UBC Press.
- Andrews, Julia F., and Kuiyi Shen. 2012. The Art of Modern China. Berkeley: University of California Press.
- Atanasova, Ivanka Nedeva. 2004. “Lyudmila Zhivkova and the Paradox of Ideology and Identity in Communist Bulgaria.” East European Politics and Societies 18 (2): 278–315. https://doi.org/10.1177/0888325404263413.
- Barthes, Roland. 1977. Image-Music-Text. Translated by Stephen Heath. London: Fontana Press.
- Billeter, Erika. 1987. “To the 13th Biennial.” In Célébration du Mur:13e biennale internationale de la tapisserie, edited by Diana de Rham, and Angèla Ruchti, 14–15. Lausanne: Centre international de la tapisserie ancienne et moderne and Musée cantonal des Beaux-Arts.
- Bryan-Wilson, Julia. 2017. Fray: Art and Textile Politics. Chicago: The University of Chicago Press.
- Bush, Susan. 1971. The Chinese Literati on Painting: Su Shih (1039–1101) to Tung Ch’i-ch’ang (1555–1636). Cambridge, MA: Harvard University Press.
- China Artists Association. 2019. “The Selecting Criteria for the Thirteenth National Art Exhibition.” January 30. Accessed June 25, 2023. https://www.caanet.org.cn/newsdetail.mx?id=6903.
- Cotton, Giselle Eberhard, and Magali Junet. 2017. From Tapestry to Fiber Art: The Lausanne Biennials 1962–1995. Milan: Skira.
- Fong, Wen C., and Alfreda Murck. 1991. “The Three Perfections: Poetry, Calligraphy, and Painting.” In Words and Images: Chinese Poetry, Calligraphy, and Painting, edited by Alfreda Murck, and Wen C. Fong, xv–xxii. New York: The Metropolitan Museum of Art; Princeton: Princeton University Press.
- Gao, Minglu. 1993. “What is the Chinese Avant-Garde?” In Fragmented Memory: The Chinese Avant-Garde in Exile, edited by Julia F. Andrews, and Gao Minglu, 4–5. Columbus, OH: Wexner Center for the Arts.
- Gao, Minglu. 2011. Total Modernity and the Avant-Garde in Twentieth-Century Chinese Art. Cambridge, MA: The MIT Press.
- Gao, Minglu, Yan Zhou, Xiaojian Wang, Qun Shu, Mingxian Wang, and Dian Tong. 1991. Zhongguo dangdai meishushi: 1985–1986 (The History of Contemporary Chinese Art: 1985–1986). Shanghai: Shanghai renmin chubanshe.
- Gu, Edward X. 1999. “Cultural Intellectuals and the Politics of the Cultural Public Space in Communist China (1979–1989): A Case Study of Three Intellectual Groups.” The Journal of Asian Studies 58 (2): 389–431. https://doi.org/10.2307/2659402.
- Gu, Wenda. 1987. “Wen Da Gou.” In Célébration du Mur:13e biennale internationale de la tapisserie, edited by Diana de Rham, and Angèla Ruchti, 48–49. Lausanne: Centre international de la tapisserie ancienne et moderne and Musée cantonal des Beaux-Arts.
- Gu, Wenda. 2010. “Wo de shuimo licheng – Tansuo, shiyan yu jianli zhongguo dangdai guannian shuimo yishu.” In Ink Alchemy: The Experimental Ink of Gu Wenda, edited by Huang Zhuan, 62–99. Guangzhou: Lingnan Fine Arts Publishing House.
- Hawks, Shelley Drake. 2017. The Art of Resistance: Painting by Candlelight in Mao’s China. Seattle: University of Washington Press.
- Kennedy, Brian. 2008. “Wenda Gu: Transformations and Translations.” In Wenda Gu at Dartmouth: The Art of Installation, edited by Nils Nadeau, 1–9. Hanover, NH: Dartmouth College.
- Markarov, Assadour Markov. 2015. “Zai duoyuan wenhua de jiaohuidian shang – Wan Man pingzhuan.” PhD diss., China Academy of Art.
- Reed, Christopher A., and Nicolai Volland. 2015. “Epilogue: Beyond the Age of Cultural Entrepreneurship, 1949-Present.” In The Business of Culture: Cultural Entrepreneurs in China and Southeast Asia, 1900–65, edited by Christopher Rea, and Nicolai Volland, 259–282. Vancouver: UBC Press.
- Shi, Hui. 2008. “Shi Hui fangtan.” Interview by Weng Zijian. Asia Art Archive, November 26, 2008. https://cdn.aaa.org.hk/_source/sh-ft-final.pdf.
- Sohu. 2017. “Guanyu huihua, Zao Wou-ki xiansheng de shiertiao jianyi.” October 21. Accessed June 25, 2023. http://www.sohu.com/a/199345792_500673.
- Song, Huai-Kuei, Boriana Varbanov, and Phoénix Varbanov. 2001. Maryn Varnanov. Hangzhou: China Academy of Art.
- Tate. 2013. “Xiao Lu.” November 12. Accessed June 25, 2023. https://www.tate.org.uk/research/research-centres/tate-research-centre-asia/women-artists-contemporary-china/xiao-lu.
- The Metropolitan Museum of Art. n.d. “Mythos of Lost Dynasties Series–I Evaluate Characters Written by Three Men and Three Women, 1985.” Accessed September 8, 2019. https://www.metmuseum.org/art/collection/search/77536.
- Wu, Hung. 1999. Transience: Chinese Experimental Art at the End of the Twentieth Century. Chicago: The David and Alfred Smart Museum of Art; The University of Chicago.
- Wu, Hung. 2000. Exhibiting Experimental Art in China. Chicago: The David and Alfred Smart Museum of Art.
- Wu, Hung. 2019. “Gu Wenda: Ephemeral Moments.” In The Allure of Matter: Material Art from China, edited by Wu Hung, and Orianna Cacchione, 108–115. Chicago: Smart Museum of Art.
- Wu, Hung. 2019. “Material Art from China: An Introduction.” In The Allure of Matter: Material Art from China, edited by Wu Hung, and Orianna Cacchione, 15–41. Chicago: Smart Museum of Art.
- Yin, Yanfei. 2019. “Chinese Traditionalist Painting and the Poetry of Du Fu (712–770): Politicization, Institutionalization, and Self-Expression between 1912 and 1966.” PhD diss., Ohio State University.
- Zhang, Xudong. 1994. “On Some Motifs in the Chinese ‘Cultural Fever’ of the Late 1980s: Social Change, Ideology, and Theory.” Social Text 39: 129–156. https://doi.org/10.2307/466367.
- Zhou, Yan. 2005. “The Centrality of Culture in Art: The Contemporary Challenge to Chinese Artists, Particularly Wenda Gu.” PhD diss., Ohio State University.