This book challenges the museum enterprise in China as a state monopoly and considers it as a new cultural agency that has emerged in the early twenty-first century. Following a constructive and multi-perspectival approach, it discusses the roles of political and cultural-economic agents, museum intermediaries, and museum publics in the interlinked processes of regulation, cultural production and consumption, and the issues of identity and representation faced by the art museums in the Greater Pearl River Delta Region. It broadly traces the art museum from its origin as a tool of nationalism and adoption as a vehicle of modernization in both nationalist and early communist periods, until its role in the present, as it reflects the contested and alternative representations, diverse publics, and fissured identities of the post-economic reform period of China.
- Cover
- Table of Contents
- Acknowledgements
- Note on Romanization
- 1. Introduction
- 1.1 Rethinking museums in China
- 1.2 Museum as cultural circuits
- 1.3 The selection of art museums in the Greater Pearl River Delta region
- 1.4 Methods
- 1.5 Book structure
- 2. Revisiting the historical trajectories of modern art museums in China
- 2.1 The path towards the birth of modern public art museums in the Republic of China (1912-1949)
- 2.2 The development of art museums in the People’s Republic of China (1949-current)
- 2.3 The changing museum contexts in Hong Kong (1962-current)
- 2.4 Concluding remarks
- 3. He Xiangning Art Museum in Shenzhen
- 3.1 Between the state and the market: a contingent national museum framework
- 3.2 From nationalism to the production of knowledge: the art of He Xiangning
- 3.3 Cross-straits cultural diplomacy and public dialogue on contemporary art
- 3.4 Interpreting contemporary sculpture: possibilities and limitations
- 3.5 Educated youth, provincial visitors, and a diversified national public
- 3.6 Concluding remarks
- 4. Guangdong Times Museum in Guangzhou
- 4.1 Institutional boundaries: the private market, the state, and society
- 4.2 A developmental perspective of cultural globalization
- 4.3 Artistic regionalization: southern imaginary vs northern hegemony
- 4.4 Educated youth and the consumption of ‘alternative culture’
- 4.5 Concluding remarks
- 5. Hong Kong Museum of Art in Hong Kong
- 5.1 Museum bureaucracy and its institutional network
- 5.2 The historical painting collection: from the colonial legacy to aesthetic differences
- 5.3 International blockbusters and global cultural capital
- 5.4 National representation and the grandeur of dynastic art
- 5.5 Different notions of the local: from East-meets-West to a local-national-global nexus
- 5.6 Public and counter-public: museum consumption in a city-state
- 5.7 Concluding remarks
- 6. Conclusion
- 6.1 Museum modes of circuits
- 6.2 Implications of the findings
- 6.3 Contributions of the research
- Bibliography
- Index
- List of figures, tables, and illustrations
- Figures
- Figure 1.1 The number of museums in Mainland China (1949-1982, 1985-2017)
- Figure 1.2 The Museum Circuit
- Tables
- Table 3.1 Modes of museum identification of the visitors of He Xiangning ArtMuseum
- Table 4.1 Modes of museum identification of the visitors of Guangdong TimesMuseum
- Table 5.1 Modes of museum identification of the publics of Hong Kong Museumof Art
- Illustrations
- Illustration 3.1 The exterior of the He Xiangning Art Museum
- Illustration 3.2 The central exhibition lobby of the He Xiangning Art Museum
- Illustration 4.1 The rooftop gallery of the Guangdong Times Museum
- Illustration 4.2 The main entrance of the Guangdong Times Museum
- Illustration 4.3 The artist Gum Cheng and a passer-by drawing portraits of eachother in a public area near the Huangbian village, 2014
- Illustration 4.4 Visitor at the ‘Roman Ondák: Storyboard’ exhibition, 2015Photo by
- Illustration 5.1 The exterior of the Hong Kong Museum of Art, at the stage ofrenovation, December 2018
- Illustration 5.2 ‘Louis Vuitton: A Passion for Creation’ exhibition at HKMoA, 2009
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