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Home > Exhibitions > Past > China: Insights. New Photography from the People's Republic

China: Insights. New Photography from the People's Republic

October 9, 2010 - January 2, 2011

Yu Hai Bo, Untitled, 2007, photograph (Epson color print), 13 3/8 x 20 in.

This exhibition brings together the work of seven photographers from mainland China, each of whom have undertaken the creation of a long-term documentation of one or more aspects of Chinese culture that he or she feels reflects something new about China now—whether that is something emerging or something vanishing. Their themes include rural Catholicism, matrilineal culture in an agrarian setting, the population shift from country to city, prostitution, gender and identity, typologies of urban citizenry, and the emergence of a thriving pop/club scene as an index of internationalization.

Produced by the Foundation for the Exhibition of Photography, Minneapolis Minnesota, with production assistance from the Flying Dragon Cultural Enterprises, Ltd, Hong Kong. Curated by A. D. Coleman and Gu Zheng.

China: Insights is sponsored by Rockwell Collins, Bradley & Riley PC, and the Momentum Fund of The Greater Cedar Rapids Community Foundation.

For more information about this exhibition, please visit the Foundation for the Exhibition of Photography website.

The China: Insights. New Photography from the People’s Republic lecture series is supported in part by a grant from Humanities Iowa and the National Endowment for the Humanities. Please visit our Calendar of Events for all related programming.

Commentary

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Tavanappa on 05/13/12	That old formalist John Szarkowski menitoned diamond-cutting in 1975 when comparing crafts but, if I understand him correctly, not in a way favorable to painting or photography. Szarkowski just didn't know:"Photography is a picture-making system; it has therefore been natural to compare it to older picture-making systems, especially to painting, which has a very old and honorable history. In this comparison, it has not been difficult to point out the ways in which painting is different and, by presumption, better. Most of these arguments revolve around two central points: First, the painter can synthesize one picture out of a thousand discrete bits of perception, imagination, and traditional skills and schemes, while the photographer’s act is not synthetic but analytic, and depends fundamentally on perception. Second, painting is a very difficult craft, while photography is quite easy.""It seems to me that both of these claims are correct, and that photography would by now have traveled farther along its fated path if it had long since pleaded no contest on both counts. Concerning the first claim: The special genius of photography depends on the seamless coherence of its description; the camera shows us a particular cone of space during a specific parcel of time. This makes it a perfect tool for visual exploration and discovery, but a rather clumsy one for realizing the inventions of pure imagination. As to the second claim, it would seem beyond question that the craft of painting is more complex and more demanding than the craft of photography, although probably neither is as difficult as the nonpractitioner might think. (I have no basis for guessing how the craft of painting might, in turn, compare for difficulty with that of diamond cutting, for example.)""A Different Kind Of Art"By John SzarkowskiThe Sunday New York Times Magazine13 April 1975 - page 16
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