坏孩子天空介绍了新兴的中国艺人。不要把他们看成是行为不轨的，他们已经成为中国的创造力的源泉。处身于不断变化的中国艺术界的他们的想象力也是多样化 的，将主题以卡通风格在超大的画布上或者笔记本上的胡乱素描来展现。本书以大众访谈的方式展现了“70年代后期艺术新生”，“商品时代艺术”与西方对同话 题的理解是那么的相似。本书由刘治治主编，编辑方式带有戏弄的效果，呈现出小坏蛋的形象，保证每一本“坏孩子天空”都能成为别致的污迹模糊的原作。
［我知道，这本已经很旧… 但它就是70后的经典！我期待房方下一本关于此年代的艺术家：“找自己”］
尹秀珍 《第二张皮》»
尹秀珍的作品“软绵绵”的气质源自艺术家由此而成名的材料：二手服装的面料。不过艺术家的女性特质在她创造的“可进入”的空间里可谓达到了顶点；这一概念在纽约现代艺术博物馆最近展出的《集体潜意识》(2007）中得到了更深的递进。在这件作品里，观众被邀请进入一条拼凑面料构成的毛毛虫里，
样板间：一件自己的房子»
Last sunday, Chart Contemporary invited Chen Ke to display “A Room of One’s Own,” a temporary installation that is the fourth in an on-going series of Open Houses, art interventions in some of Beijing’s unique spaces. Chen Ke’s room was a tiny closet of a room in a damp underground maze of dwellings near Lido […]
李明 《X X》展评»
Eleven videos and sporadic accoutrements litter the floor of this exhibition by the emerging artist Li Ming. A television, cast in the bushes outside the gallery entrance, screens Back Garden, 2008, in which security guards, recurring characters in the artist’s vignettes, romp around the gardens of a residential compound in unintelligible acts of “play.”
《新中国美术60年》»
On the eve of the 60th anniversary of the People’s Republic, things are beginning to look red here in Beijing, deep red, like a profuse wound. On the Beijing streets, some of the visual celebratory feast residents drank in last year during the Olympics is being recreated in billboards, television galas, parades, mass performances and […]
高名潞书目：第二部 (2008-2010)»
高名潞的《’85美术运动》全面透视并呈现了中国当代艺术史上最令人激动、最富乌托邦色彩、最具青年造反气质，又最为广泛生发的 艺术运动。全书分两 卷：上卷“80年代的人文前卫”是高名潞与周彦、舒群、王小箭、王明贤、童滇等人所著《中国当代美术史：1985—1986》（上海人民，1991）的修 订版。
高名潞的书目: 第一部 1997－2008»
The following is a complete list of Gao Minglu’s publications in English and Chinese, with synopsis (when available) and table of contents in both English and Chinese, to reveal Chinese language information, click 中文 to your right.
1991 主编《中国当代美术史》editor of “The History of Contemporary Chinese Art” [Chinese only]
Not Available
1997《中国当代美术史（1985—1986）》“The History of Contemporary Chinese Art […]
巴巴啦揭露了中国当代艺术界»
The title alone of Barbara Pollack’s part exposé, part romp through the Chinese art world seems enough to identify the author’s New Yorker status. But she wears her outsider status like a badge, humbly poising herself to profile art world power players and make a broad outline of the yet infantile Chinese art infrastructure. As an […]
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