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NameCourse
Instructor
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Contemporary Art from China
Theatre of the World, 1993, by Huang Yong Ping
This artistic design has two components, the bridge-like structure, and the tortoise-like structure. Huang’s artistry refers back to Jeremy Bentham’s 1700s prison concept. It depicts the way modern societies are surveilled by their governments. Huang also draws inspiration from the mythical creature, Daoist deity Xuanwu, which is an animal that has a tortoise-like body and a snake-like head; according to cosmological perspectives, this union helped create the universe.
This design reflects on the Chinese geopolitical aspects of today, whereby the Chinese people have been subjected to communist ideals by piling heads, brains, and people together through the chaos with the aim of conforming with the wave of globalization, modernization, and industrialization.
Five hours, 1993/2006, by Chen Shaxiong
This piece did not refer to any other historic piece, but rather it was a response to the changing times in China and the rest of the world. The visit of Deng Xiaoping, the communist party leader, to southern China to promote the concept of economic liberalization marked a new chapter in the history of the country and its people. It was the start of a new nation characterized by neoliberalism and free-market capitalism ideals. Calls for democracy were dealt with another new blow of authoritarianism. China’s clamor to conform to the ideals of globalization and urbanization was taking root at a fast rate.

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People’s daily lives had changed in a bid to be in touch with the rapid environmental shift. They only required “five hours” of rest in between long working hours.
Gu Dexin, 2009
Gu Dexin draws his concept from a traditional masterpiece ‘Diary of a Madman’ -Lu Xun, 1918 (“Arte y China Después De 1989:”). In this piece, the protagonist realizes that he has many foes. Lu Xun critiques the culture of collectivism in China.
Gu Dexin’s 35 panels that are engraved with eleven sentences is quite impactful to the Chinese society. This is because he talks about how China has “killed” its people by enforcing communist ideals that do not recognize individual brilliance. Authoritarianism and communism have stamped on virtually all rights of Chinese people.
Work Cited
“Arte y China Después De 1989:” Arte y China Después De 1989 | Works | Guggenheim Bilbao Museum, arteychina.guggenheim-bilbao.eus/en/works.

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