Joshua Gong
Dr Joshua Gong is a leading expert on contemporary Chinese art and chinoiserie. He is currently the Research Director at Unicorn Publishing Group, UK. He was a lecturer at Shanghai Normal University from 2020 to 2022. He taught at the University of Sussex from 2010 to 2018. He was a recipient of the Young Scholar Grant from Tate Modern, 2015.
He has been working and publishing articles with and for various leading publishers and institutions, including the Ministry of Culture (Beijing), Comité International d'Histoire de l'Art (Paris), China Academy of Art (Hangzhou), The Central Academy of Fine Arts (Beijing), Oxford University Press (HK), Museum of Contemporary Art, Yinchuan, the Palace Museum (Beijing), the Art Newspaper (UK), The Commercial Press (Shanghai), and the Chinese National Art Publishing House. His book, Iconography and Schemata: A Communicating History in Painting between China and the West, 1514-1885, is a landmark in the field. Recently, he published three monographs, Chinese Art Today: From 20th-Century Tradition to Contemporary Practice (London: Unicorn), Hsiao Chin and Punto: Mapping Post-War Avant-Garde (London: Unicorn) and Challenging Leonardo da Vinci, An Alternative Art History (Beijing: CITIC Press Group).
Supervisors: Prof. David Alan Mellor
Address: Hove, UK
He has been working and publishing articles with and for various leading publishers and institutions, including the Ministry of Culture (Beijing), Comité International d'Histoire de l'Art (Paris), China Academy of Art (Hangzhou), The Central Academy of Fine Arts (Beijing), Oxford University Press (HK), Museum of Contemporary Art, Yinchuan, the Palace Museum (Beijing), the Art Newspaper (UK), The Commercial Press (Shanghai), and the Chinese National Art Publishing House. His book, Iconography and Schemata: A Communicating History in Painting between China and the West, 1514-1885, is a landmark in the field. Recently, he published three monographs, Chinese Art Today: From 20th-Century Tradition to Contemporary Practice (London: Unicorn), Hsiao Chin and Punto: Mapping Post-War Avant-Garde (London: Unicorn) and Challenging Leonardo da Vinci, An Alternative Art History (Beijing: CITIC Press Group).
Supervisors: Prof. David Alan Mellor
Address: Hove, UK
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Books by Joshua Gong
In Chinese Art Today the renowned Chinese art critic and historian Dr. Joshua Gong provides this interpretation by exploring the context of contemporary Chinese art and its effects on society, the individual and more general art forms. The intriguing issue of juxtaposing global and national art identities is explored throughout the book, using as examples the eight most representative artists: Lin Fengmian, Wu Dayu, Sanyu, Zao Wou-Ki, Wu Guanzhong, Su Tianci, Zhang Enli and Chen Yujun.
Book Reviews by Joshua Gong
Papers by Joshua Gong
Artist Liu Guofu has noticed that modern painting's intention appears to be bizarre (Baudelaire) and surprising (Apollinaire), which is active, separating the self against the oth‐ er. The source of inspiration has exhausted, when later generations found hubris inself-blind‐ ness. The conflicts between idealism and empiricism in the art can be reconciled. To submit the self to nature, is to reaffirm the humble status, through which sublimation can take up from Blandness. Blandness is neither languor nor dialectic.
The article interprets the famous painting by Jan van Eyck, and questions the history of sexuality in the West. From Ovid to Pierre Abelard, from Gothe to Sartre, the concept of Love in literature and art has both changed and persisted.
The painting from 1434 AD has remained in public as a symbol that commemorates a problematic relationship; meanwhile, it has witnessed many changing views throughout history.
Is Love materialistic? Yes. Is Love spiritual? Yes. Is Love a trade? Perhaps. May Love be eternal? Affirmative. Even if the interpretations of love can be misunderstandings, but for the eternally floating emotions, why not maintain such misconceptions?
The essay analysed the boundary between museology and gallery curating. Furthermore, it illustrated how capitalists operate values in the so-called collective/public space, suggesting the public to keep a critical stand to all kinds of social phenomena.
Even though he gained momentum in his field, his totalising and ever-revised publication scheme came under incessant criticism from friends and rivals alike. This article is an attempt at surveying Lv Peng’s oeuvre, while testifying the value of his art history writings, and by making his various approaches more legible and systematic. His most popular publications as well as a few projects that are still in progress will be analysed for a more comprehensive understanding of his operational art history.
The two artists for various reasons did not return after the Chinese civil war. They were close friends with Sir Stanley Spenser, and nearly remained unknown to the contemporary Chinese art circle. Yet, their arts were influential before the second world war in modern Chinese society.
This article aimed at reinterpreting the lost art and artists, in hoping a sharper picture about modern (1912-1945) Chinese art would be more concrete via biographic approach.
In Chinese Art Today the renowned Chinese art critic and historian Dr. Joshua Gong provides this interpretation by exploring the context of contemporary Chinese art and its effects on society, the individual and more general art forms. The intriguing issue of juxtaposing global and national art identities is explored throughout the book, using as examples the eight most representative artists: Lin Fengmian, Wu Dayu, Sanyu, Zao Wou-Ki, Wu Guanzhong, Su Tianci, Zhang Enli and Chen Yujun.
Artist Liu Guofu has noticed that modern painting's intention appears to be bizarre (Baudelaire) and surprising (Apollinaire), which is active, separating the self against the oth‐ er. The source of inspiration has exhausted, when later generations found hubris inself-blind‐ ness. The conflicts between idealism and empiricism in the art can be reconciled. To submit the self to nature, is to reaffirm the humble status, through which sublimation can take up from Blandness. Blandness is neither languor nor dialectic.
The article interprets the famous painting by Jan van Eyck, and questions the history of sexuality in the West. From Ovid to Pierre Abelard, from Gothe to Sartre, the concept of Love in literature and art has both changed and persisted.
The painting from 1434 AD has remained in public as a symbol that commemorates a problematic relationship; meanwhile, it has witnessed many changing views throughout history.
Is Love materialistic? Yes. Is Love spiritual? Yes. Is Love a trade? Perhaps. May Love be eternal? Affirmative. Even if the interpretations of love can be misunderstandings, but for the eternally floating emotions, why not maintain such misconceptions?
The essay analysed the boundary between museology and gallery curating. Furthermore, it illustrated how capitalists operate values in the so-called collective/public space, suggesting the public to keep a critical stand to all kinds of social phenomena.
Even though he gained momentum in his field, his totalising and ever-revised publication scheme came under incessant criticism from friends and rivals alike. This article is an attempt at surveying Lv Peng’s oeuvre, while testifying the value of his art history writings, and by making his various approaches more legible and systematic. His most popular publications as well as a few projects that are still in progress will be analysed for a more comprehensive understanding of his operational art history.
The two artists for various reasons did not return after the Chinese civil war. They were close friends with Sir Stanley Spenser, and nearly remained unknown to the contemporary Chinese art circle. Yet, their arts were influential before the second world war in modern Chinese society.
This article aimed at reinterpreting the lost art and artists, in hoping a sharper picture about modern (1912-1945) Chinese art would be more concrete via biographic approach.