The Monkey King, 4-EVER

The Monkey King, 4-EVER Features 271 the alternative? Other authors (Terry Smith, for example) have explored this question explicitly. The complexity around our current obsession with the present moment, and with immediate gratification allowed through images (selfies), including regimes for determining value and meaning, would bring a lot more complexity to this art historical conundrum. To be fair, that is not the primary preoccupation of this volume but it would help to unite the various elements of the book since the relationship between artists in Hong Kong who make ink paintings and those who stage performances or write on public walls (graffiti) are very difficult to situate without the co-dependency that the term contemporary involves. This co- dependency is, in a way, the best argument that readers should make their way through this impressive volume. Even if one has never been to Hong Kong, it is a location that matters because all of us live in the same moment and see ourselves reflected in distant capitals in myriad ways. We are all challenged by the dynamics of decentralized market economics and governments that seem entirely unresponsive to the needs of their people. The artists and collectives, the venues and organisms that Vigneron chronicles, http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png China Review International University of Hawai'I Press

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Publisher
University of Hawai'I Press
Copyright
Copyright © University of Hawai'i Press.
ISSN
1527-9367

Abstract

Features 271 the alternative? Other authors (Terry Smith, for example) have explored this question explicitly. The complexity around our current obsession with the present moment, and with immediate gratification allowed through images (selfies), including regimes for determining value and meaning, would bring a lot more complexity to this art historical conundrum. To be fair, that is not the primary preoccupation of this volume but it would help to unite the various elements of the book since the relationship between artists in Hong Kong who make ink paintings and those who stage performances or write on public walls (graffiti) are very difficult to situate without the co-dependency that the term contemporary involves. This co- dependency is, in a way, the best argument that readers should make their way through this impressive volume. Even if one has never been to Hong Kong, it is a location that matters because all of us live in the same moment and see ourselves reflected in distant capitals in myriad ways. We are all challenged by the dynamics of decentralized market economics and governments that seem entirely unresponsive to the needs of their people. The artists and collectives, the venues and organisms that Vigneron chronicles,

Journal

China Review InternationalUniversity of Hawai'I Press

Published: Dec 12, 2019

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