Titlebook: ;

Clinton

書目名稱影響因子(影響力)




書目名稱影響因子(影響力)學(xué)科排名




書目名稱網(wǎng)絡(luò)公開(kāi)度




書目名稱網(wǎng)絡(luò)公開(kāi)度學(xué)科排名




書目名稱被引頻次




書目名稱被引頻次學(xué)科排名




書目名稱年度引用




書目名稱年度引用學(xué)科排名




書目名稱讀者反饋




書目名稱讀者反饋學(xué)科排名

Fortuitous

,Anti-Culture: Art of Cultural Revolution (1966–1976),y period, it was produced art on street (mainly by Red Guards), then it was made in ideological temples, expediting the "God-Building Campaign." However, there were artists who created alterative art during this turbulent age which diverted from the mainstream toward de-ideological or underground ar

障礙物

,An Art Hurricane: The Avant-Garde Movement (1985–1989),cies in the movement, namely, Rationalist Painting, Current of Life and Anti-art, which were natural allies of Hermeneutics School, one of the main opinion groups which made up the Cultural Fever, because they shared the goal of subverting hegemonic discourse and building a new and enlightened cultu

esthetician

修正案

全部逛商店

Michaela Fenske,Leonore Scholze-Irrlitzrge-scale sculpture created ideological theaters in ppublic space, while propoganda posters helped visualize absurdity. All the arts served proletarian politics and its ideological basis in order to build a visual utopia.

opinionated

CF Sweat and the Matilda Effectre in China. The historical exhibition ., held in the National Art Museum of China in 1989, summerized the movement and generated a great cultural shock to both Chinese and international audiences through its unplanned actions, including gunshots. This chapter also discusses artworks outside of Action Arts, a critical part of the show.

惡心

,Visual Utopia: Art in the Seventeen Years (1949–1966),rge-scale sculpture created ideological theaters in ppublic space, while propoganda posters helped visualize absurdity. All the arts served proletarian politics and its ideological basis in order to build a visual utopia.

表皮

,An Art Hurricane: The Avant-Garde Movement (1985–1989),re in China. The historical exhibition ., held in the National Art Museum of China in 1989, summerized the movement and generated a great cultural shock to both Chinese and international audiences through its unplanned actions, including gunshots. This chapter also discusses artworks outside of Action Arts, a critical part of the show.

痛恨