The Conspiracy of Art (PERSPECTIVE ON A "CONTEMPORARY ART INTERNATIONAL"): Flaws on the spine or cover

Author: He Qing
Publisher:
Publish Date: 2005-09-01
Features: This book presents a "non-mainstream" independent perspective, showcasing a brief history of "international contemporary art" from another viewpoint. It aims to reveal that "international contemporary art" is neither "international" nor "contemporary" but rather a "American-style art" forcibly established by post-war Americans around the world. Post-war America used its powerful cultural propaganda and art market influence to validate everyday objects and actions as art. Under the guise of "anti-art" and "anti-painting," Americans declared European classical art "outdated" while proclaiming the "Pop," "Performance," "Installation," and "Conceptual" movements, which originated in the United States in the 1960s, as "contemporary art." In doing so, they forcibly shifted the center of the world art from Paris to New York. Americans emphasized "timeliness" to mask "American-ness," equating "American art" with "contemporary art." At the same time, they highlighted "worldliness" to conceal "American-ness," equating "American art" with "international art" to undermine the legitimacy of other national and ethnic cultural arts. As a result, America replaced Europe, America dominated the world, and "American-style international contemporary art" became a "global contemporary art," spreading "American-style art" worldwide. This is the "conspiracy of art."