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The property of contemporary Chinese art

Bibliographic Data

ID23195014
AuthorsJoan Kee (0000-0001-8625-8544, History of Art, University of Michigan, Detroit, MI, USA, corresponding author)
Year2018
Volume12
Issue2
Pages251-277
Publication date2018-07-03
Peer ReviewedYes
Open AccessNo
TypeARTICLE
VenueLaw and Humanities (JOURNAL)
Journal identifiersISSN: 1752-1483 • E-ISSN: 1752-1491
PublisherInforma UK Limited (PUBLISHER • GB)
DOI10.1080/17521483.2018.1524282
OpenAlexW2897261244
LanguageEN
Citations received2

Signaling China’s rise as a major soft power, the global emergence of contemporary Chinese art from the mid-1990s also reflected sea changes in how Chinese citizens internalized concepts of private property. Although Communist economic systems sought to end private property by collectivizing the means of production, the liberalization of property ownership in the 1990s and 2000s encouraged an altogether different approach to artistic production, one that required considering how social relations were shaped by new forms of legal discourse. Through property law, the state and its citizens shuttled between practical considerations and pressures to accommodate Western laws to which Chinese economic interests were inextricably tied. Indeed, the very rise of contemporary Chinese art as a major cultural and economic phenomenon crucially turned on competing perceptions of what it meant to be an author on international, national, and local registers.

China · Communism · Cultural property · Economic power · Law and economics · Phenomenon · Political economy · Political science · Politics · Power (physics) · Private property · Property (philosophy) · Property rights · Sociology · State (computer science) · Chinese history and philosophy · Law

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Unique citing works2
Citations per year0,33
Citation span2020 - 2023 (4)
Citation velocityhistorical
Highly citedNo
Citation typesNeutral: 1

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