(En)gendering

While contemporary Chinese art has arrived as a critical subject in art history and found market success, current art criticism has yet to fully engage with art made by Chinese women, especially from the perspective of gender politics. In “(En)gendering: Chinese Women's Art in the Making,” contributors—including artists, art historians, critics, and curators—consider how the work of contemporary women artists has generated new approaches to and perspectives on the Chinese art canon. The issue begins by laying a historical framework for the potentials and problems regarding the interpretation of Chinese women's art, tracing its evolution throughout a century of Chinese history. Next, the issue considers the spatial notion of boundary crossing, addressing how travel across national and theoretical boundaries affects the perception of artworks, and explores the misgivings of Chinese women artists about participating in a global exhibition system in which their artwork stands for “China” and “Women.” The issue concludes by looking at the idea of (en)gendering as a revision of women’s art prompting artists and the viewers of women’s artworks to challenge the conventional gaze that has dominated our ways of seeing. The issue considers the work of Chinese artists such as Lin Tianmiao, Lei Yan, Yin Xiuzhen, Cui Xiuwen, Yu Hong, and Liu Manwen.

Contributors. Julia F. Andrews, Lara C. W. Blanchard, Meiling Cheng, Shuqin Cui, Elise David, Linda Chui-han Lai, Tao Yongbai, Peggy Wang, Sasha Su-Ling Welland