id	author	title	date	pages	extension	mime	words	sentences	flesch	summary	cache	txt
work_xatjepsvyvarzlxb5nzfe7ardm	I. Gaskell	Spilt Ink: Aesthetic Globalization and Contemporary Chinese Art	2012	15	.pdf	application/pdf	8408	503	57	http://osc.hul.harvard.edu/dash/open-access-feedback?handle=&title=Spilt%20Ink:%20Aesthetic%20Globalization%20and%20Contemporary%20Chinese%20Art&community=1/1&collection=1/2&owningCollection1/2&harvardAuthors=77af62e701ded4b55478b4a324edea20&departmentHistory that Chinese art of all kinds should exemplify imitation, emulation, and copying. phenomenon was the China/Avant-­‐Garde exhibition at the National Art Gallery, Beijing in 1989, Chinese Artists Encounter the West at the Cantor Arts Center at Stanford University, could claim: Sotheby's, Hong Kong offered works from the early years of the Chinese avant-­‐garde—the 1980s Beyond the aesthetic and commercial spheres, Chinese avant-­‐garde art has entered tradition, introduced into China by Chinese artists who studied and worked in Europe—mostly in Chinese Painting, but regular exhibitions at the National Art Museum. http://www.getty.edu/art/exhibitions/new_china/ (accessed July 27, 2011) with link to illustration and 23 See, for example, the hand-­‐made copies of, and derivations from, traditional Chinese ink paintings Describing Chinese art in terms of emulation, imitation, and copying is open to While Chinese avant-­‐garde art participants in the artworld and the larger commercial world expect of Chinese art of whatever 	./cache/work_xatjepsvyvarzlxb5nzfe7ardm.pdf	./txt/work_xatjepsvyvarzlxb5nzfe7ardm.txt