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Gao Minglu

Gao Minglu


Ph.D    Art History, Harvard University. 2000
M.A.    Art History, Harvard University. 1994
M.A.    Chinese Art History, Chinese Academy of Arts, Beijing. 1984   
B.A.    Art History, Tianjin Academy of Art, Tianjin.1981

9/2008 -        Research Professor, University of Pittsburgh
8/2005–9/2008  Associate Professor, University of Pittsburgh
2000–8/2005    Assistant Professor, State University of New York at Buffalo
1999 - 2000     Professor, Savannah College of Art

Other Positions

5/2004–present   Distinguished Visiting Professor, and the Honorary Chair of the Department of Art History and Director of Gao Minglu Contemporary Art Research Center at Sichuan Institute of Fine Arts, China  
7/1/03–8/15/03   Resident Scholar, College of Art, Hong Kong Art Center
5/2002–present   Editorial Board, Yishu Journal of Contemporary Chinese Art Vancouver, Canada
1991-1992         Visiting Scholar, Postdoctoral Researcher, invited by the Committee on Scholarly Communication with the People's Republic of China (CSCPRC) of American Scientific Academy, and The Ohio State University. 
1985-1991         Editor, Meishu (Art Monthly), Beijing.

Curatorial Experience

2009 Curator of Yi Pai, Today Art Museum, Beijing, May 31 – June 25, 2009.
2008 Curator of the Yi School: Thirty Years of Chinese “Abstraction,” sponsored by Fundació “La Caixa” and Beijing Municipal Culture Bureau, opened on March 14, 2007 in Palma La Caixa Forum, and will be traveling to Barcelona in June 2008 and Madrid in September 2008. The exhibition includes 90 pieces of works made by forty six artists since 1970s.    
     Curator of Apartment Art in China, 1970s – 1990s, the first series The Ecology of the Post-Cultural Revolution Frontier Art,  September 28 – October 27, 2008, in Shuimu Art Space Beijing.  
2007 Curator of the “Ink Narrative”, Yokohama art Project, Japan.
     Retrospective of The No Name Group traveled to Guangdong Museum of Art in January and to Zhengda Museum of Art in Shanghai in June, 2007;
     Organizer of the Conference “Modernity and Abstract Art — Series Research Project of Thirty Years of Chinese Abstraction,” Central Academy of Fine Arts, Beijing, July 2 – 3, 2007.

2006 Curator of “Retrospective of The No Name Group,” an exhibition which featured the works by the No Name groups during the Cultural Revolution in 1960s and 1970s, organized by Y.Q.K. Deshan Cultural Center, T.R.A Gallery, Guangdong Museum of Art, Shanghai Zhengda Art Center, September 2 – November 10, 2006 in Beijing. The exhibition traveled to Guangzhou in January and to Shanghai in June 2007.   Organizer of the conference “Chinese Abstract Art,” One Moon Art Gallery, December 3, 2006. 
     Organizer of the conference “Aesthetic Narrative and Abstract Art — Series Research Project of Thirty Years of Chinese Abstraction,” Today Art Museum, Beijing, December 25, 2006. 
2005  Curator of “The Wall: Reshaping Contemporary Chinese Art”, one of the largest exhibitions of contemporary Chinese art consisting of 51 Chinese artists from both inside China and overseas. The exhibition is co-organized by the Albright – Knox Art Gallery, the China Millennium Monument Museum in Beijing (CMMM) and the University at Buffalo Art Galleries. The exhibition will first open in CMMM in March 2005, then will travel to the Albright – Knox Art Gallery and the University at Buffalo in October 2005.    
2004 Co-organizer of the Symposium “First Beijing International Architectural Biennial Exhibition”, Beijing National Art Gallery, September 19 - 21, 2004 
      Curator of the “Ink Space”, the first section of the 2004 Shenzhen International Ink Biennial Exhibition, December 2004     
2003 Curator of “Chinese Maximalism” Exhibition, co-organized by University at Buffalo Gallery and The China Millennium Monument Museum, Beijing (Opened in March 2003 in Beijing, October at the UB Art Galleries) and March 2004 in Ethan Cohen Gallery, NYC.  
2002 Co-curator of the Exhibition titled “Harvest: Contemporary Art” (fengshou dangdai yishu zhan), The National Agricultural Museum (Opened in October 2002)
1999 Curator of the Chinese section of Conceptual Art: Point of Origin 1950s-1980s Exhibition, sponsored by Queens Museum. (Opened in April of 1999).
Curator of the exhibition Five Continent and One City, organized by The Museum of Mexico (opened in November 24, 1999) 
1998 Curator of the exhibition Inside out: New Chinese Art organized by the Asia Society and San Francisco MOMA (Opened in September 13, 1998, at the Asia Society/P.S.1, and traveled to SFMOMA, Mexico, Seattle, Australia and Hong Kong).
1993 Co-curator, Fragmented Memory: The Chinese Avant-Garde. Wexner Center for the Arts, the Ohio State University.
1989 Chief curator, China/Avant-Garde Exhibition, National Art Gallery, Beijing.

Academic Honors, Awards, and Fellowships

12/31/10      As an author of The Methodology of Art History, a Three – Year Research Book Project of Humanity approved and granted by China Educational Ministry.  

3/2002-3/2004 The Director of an Interdisciplinary Research Grant, University at Buffalo

1993-1998 Richard and Susan Smith Foundation Fellowship, Mellon Fellowship, Norton Fellowship and Harvard Teaching Fellowship for the PhD program at Harvard University 

1991-1992 Visiting Scholar, Postdoctoral Researcher, Fellowship awarded by the Committee on Scholarly Communication with the People's Republic of China (CSCPRC) of American Academy of Science, and invited by The Ohio State University. 


Books and Catalogues (in English and European Languages)
2008 Yi School: Dislocation of Modernity – Thirty Years of Chinese “Abstraction” with three Volumes respectively in Spanish, Catalonian and Chinese, Fundació “La Caixa,” Spain, forthcoming in May, 2008
2007 Ink Narrative (Yokohama: Yokohama Art Project, 2007)
2005 The Wall: Reshaping Contemporary Chinese Art (New York and Beijing: The Albright Knox Art Gallery and China Millennium Museum of Art, 2005)  
2003 Chinese Maximalism (Chongqing Publishing House associated with the University at Buffalo Galleries and the China Millennium Monument Museum, 2003)
1998 Inside Out: New Chinese Art ed. (University of California Press)
1993 Fragmented Memory: The Chinese Avant-Garde in Exile, co-ed with Julia Andrews. (The Wexner Center for Arts, 1993).

Books in Chinese
1. Yi Pai: A Synthetic Theory against Representation, (Guilin: Guangxi Normal University, 2009)
2. Modernity and Abstraction (Beijing, Sanlian Publishing House, forthcoming in September 2009)
3. The ’85 Movement: The Enlightenment of Chinese Avant-Garde (Vol. 1) and The ’85 Movement: An Anthology of Historical Sources (Vol. 2), (Guilin: Guangxi Normal University Press, 2008)  
4. Aesthetic Narratives and Abstract Art (Chengdu: Sichuan Art Press, 2007)
5. No Name: A History of A Self – Exiled Avant-Garde,  (Guilin: Guangxi Normal University Press, 2006)
6. The Wall: the History and Boundaries of Chinese Contemporary Art (Beijing: China Remin University Press, 2006)
7. Alternative Modernity, alternative Methodology: The Transformation of Indigenous Culture in Contemporary Chinese Art (Shanghai: Shanghai Painting and Calligraphy Publishing House, 2006)
8. Portraits of 100 Most Influential Chinese Artists (Wuhan: Hubei Art Publishing House, 2005)
9. The Century’s Utopia (Taiwan: Artists Press, 2001).
10.Chinese Avant-Garde Art (Jiangsu: Jiangsu Art Press, 1997)
11.The History of Contemporary Chinese Art, (chief co-author). (Shanghai: Shanghai People's  Press, 1991).

Catalogues in Chinese
1. Approaching the Ink Myth: The Space of Ink Culture (Hebei Art Publishing House: 2005)
2. The Art and Methodology of Xu Bing (Taipei: The Elite Corporation, 2003). (in Chinese and English)
3. Harvest: Contemporary Art, a catalogue of the same name, co-curated with Wang Mingxian, Hong Kong: Architecture Press, 2004

Chapters in Books (in English)

2003 “Post-Utopian Avant-Garde Art in China”, in Ales Erjavec, ed. Postmodernism and the Postsocialist Condition: Politicized Art under Late Socialism (University of California Press, 2003) pp. 247-283.

Articles in English (Selected):

2007 “Modernity and Avant-Garde in Chinese Context” in Documenta 12, 2007 No. 1 Modernity?  

     “Who is Pounding the Wall: Response to Paul Glaston’s Writing on The Wall (and Entry Gate): A Critical Response to Recent Curatorial Meditations on the ‘Chineseness’ of Contemporary Chinese Visual Art,” in Yishu: Contemporary Chinese Art Summer/2007 pp.106-115

2006 “Is There Chinese Abstract Art?” in Visible/Invisible  (Beijing: One Moon Art Gallery, 2006)

2004 “The Great Wall in Contemporary Chinese Art,” Positions: East Asia Cultures Critique, special intersections: issue in contemporary art, Duke University Press. Vol. 12, No. 3, 2004, pp. 773-786  

2003 “Seeking a Model of Universalism: The United Nations Series and other Works”, in Wenda Gu: Art from Middle Kingdom to Biological millennium (Cambridge MA: MIT Press, 2003) pp. 20 – 29. 
     “Where are the Alternative Criterion for Chinese Modernity and Avant-garde?” in Nowa strefa: sztuka chinska / New Zone: Chinese art (Warsaw: Zachęta Narodowa Galeria Sztuki, Warszawa 2003 / Zacheta National Gallery of Art, Warsaw 2003) pp. 96 – 136.
2002 “Painting Made by and for the Mythical: Cai Guoqiang’s Gunpowder Paintings” Ein Gemeinschaftsprojekt des Museums der bildenden Kunste Leipzig und des Siemens Arts Program, pp. 92 – 97.
     “Private Experiences and Public Happening: Performance Art of Zhang Huan” in Zhang Huan, Santiago de Compostela: Museo das Peregrinacions, pp. 46 – 63.
1999 “Conceptual Art with Anti-conceptual Attitude” in Global Conceptualism: the Point of Origin 1950s-1980s (Seattle: University of Washington Press, 1999) pp.127-139.
1998 “Extensionality and Intentionality in a Transnational Cultural System” in Art Journal Winter 1998, pp.36-39.
     “Toward a Transnational Modernity – an Overview of the Exhibition,” in Inside-out: New Chinese Art (University of California Press, 1998) pp.15 - 40 .
     “From Elite to Small Man: Multi-Faces of a Transitional Avant-Garde in Mainland China,” in Inside-out: New Chinese Art (University of California Press, 1998) pp. 149 - 166.
1995 “The Avant-Garde's challenge to official art" (co-author with Julia Andrews) in Urban Space in Contemporary China: the potential for autonomy and community in post-Mao China (Cambridge: Cambridge University Press, 1995) pp. 221 – 278
1993 "Chronology of Chinese Avant-Garde Art, 1979-1993," in the Catalogue of the exhibition, Fragmented Memory: The Chinese Avant-Garde in Exile,  The Wexner Center for Arts, 1993, pp. 14 – 19 .
     “Meaninglessness and Confrontation in Xu Bing's Art," Fragmented Memory: The Chinese Avant-Garde in Exile, The Wexner Center for Arts, 1993, pp. 28 – 31  . 
      "The Context in the Text: meaning in Wu Shanzhuan's Work," Fragmented Memory: The Chinese Avant-Garde in Exile,  The Wexner Center for Arts, 1993, pp. . 32 – 34
1990 "Cronologie de l'art Contemporain Chinois (1979-1989)" (Chronology of Contemporary Chinese Art 1979-1989), in Art Chinois, a catalogue of the exhibition of "Chine Demain Pour Hier" in Paris in 1990. (Paris: Association Francaise d'Action Artistique, 1990) pp.82-101.

Articles in Chinese (Selected) 

Modern and Contemporary Art 

2008 “The Originality and Condition of Western Avant-Garde – Peter Bȕger’s Theory of Avant-Garde and other Narratives,” in Literature & Art Studies/WEN YI YAN JIU, June, 2008, pp. 89 – 101     2007 “Is There Chinese Abstract Art?” in Contemporary Art, Shanghai: Calligraphy and   Painting Publishing House, June/2007, No.37, pp. 18-20; 
体育彩票365怎么玩      “Street Avant – Garde and the Narrative of Chengdu Art History,” in contemporary Art  Shanghai: Calligraphy and Painting Publishing House, June/2007, No.37, pp. 100 – 101.
2006 “Total Modernity in Modern Chinese Art,” in Song Xiaoxia ed. Reflection: Chinese Modernities as Self – Conscious Cultural Ventures (Hong Kong: Oxford University Press, 2006) pp. 326 – 346; “Chinese Women Art” in Art Today, (an art journal sponsored by Today Art Museum, Beijing), Spring/2006, pp. 25 – 34.  
2005 “Material Utopia in Contemporary Chinese Architecture and Urban Design,” Time+Architecture, Shanghai, January/2005, pp. 5-10.  
2002 “Zhan Wan’s Conceptual Sculpture”, Diancang Art and Collection: Contemporary Art, Taiwan: Diancang Publishing House, May/2002, pp. 110 – 116. 
     “Chineseness vs. Chinese Characteristic, Methodology vs. Fashion” in Yishu Dangdai (Art Today), Shanghai, June/2002 pp. 5 – 7. 
     “Word and Image: A Issue that is Beyond Art History Study” in Wenjing ,Cultural Review (Shanghai: Shanghai Centuries Publishing, January, 2001, No.1, pp. 60 – 65.
2001 “Without Theoretical Advance, Chinese Contemporary Art will not be Able to Get Achievement: A Interview with Gao Minglu”, Diancang,Art and Collection: Contemporary Art, November 2001, pp. 54 – 59.          “Totem and Taboo: Wenda Gu’s Thought of Art,” in  Diancang: Contemporary Art September, 2001, No.108, pp.  70 – 77.
1995 “Meishu, quanli, gongfan: Zhengzhi popu xianxing" (Kitsch, power, and complicity: The Political Pop phenomenon), Xiongshi Meishu (Lion Art) 297 (November 1995) pp.36–57.
1994 “Yiyu Wenhua Zhanchang Shangde Chongtu yu Tiaozhan” (Confrontation and challenge between the different cultures), in Jiansu Huakan, 1994 no.8, pp.18-21.
1993 “Zouxiang Houxiandai Zhuyi” (Going Toward Postmodernism), in 21 Shiji, 1993.2, p 45 – 52. 
     “Lun Mao Zedong de Dazhong Yishu Moshi” (The Model of Mao Zedong's Popular Art), in 21 Shiji 1993. No.4, pp. 61 – 73. 
1991  "Zhongguo dangdai xinchao meishu [Chinese contemporary new wave art]," 21 shiji [21st Century], Hong Kong Chinese University, 1991, no.4, pp. 45 – 55.
1989  "Zhongguo dangdai meishu sichao" in Xungshi Meishu [Lion Art Monthly), 1989 nos.2,3,5,6,8,9,10,11, Taipei.
1988  "Xinchao meishu yu xinwenhua jiazhi [The Value of New Wave Art and New Culture]", Wenyi Yanjiu, 1988, no. 6, pp. 120 – 131.  
      "Zuowei Yiban Lishixue de Dangdai Meishushi" [The History of Contemporary Art as General Historical Study], Xin Meishu, (New Art), 1988, no.4, pp. 4 – 11. 
1987 " Meishu yu wenhua, wenhua yu meishu [ Art and culture]," Meishu Sichao, 1987, no. 2-3, pp. 35 – 37. 
       "Zhongguo xiandai meishu fazhan beijing zhi zhankai [Unfolding the background on the contemporary developments in Chinese art]," Meishu sichao, 1987, no. 1, pp. 40 – 48.
       "Diaosu de kongjian gongneng yu leixing [The spacial capabilities and types of modern sculpture]," Meishu, June1987, pp.
1986 "85 Meishu Yundong" [The '85 Art Movement], Meishujia Tongxun, [Artists communication], 1986, no.3, pp. 15 – 23. 
        "Guanyu lixing huihua [On rationalistic painting]," Meishu, August 1986, pp.
        "Yishu de bianjie [The edge of art]", Meishu, December 1986, pp. 41 – 45. 
        "Shutu Tonggui--Zhongguo Jinxiandai Meishu zhi Lu", [Reach the same goal by different routes--modern Chinese painting], Meishu, June1986, pp.48 – 51. 
       “’85 qingnian meishu sichao” [’85 Youth Art New Wave], Wenyi Yanjiu, August 1986, pp.
1985 "Jinnian youhua fazhan zhong de liupai [The Schools of Oil Painting Developing in Recent Years]," Meishu [Art Monthly], July 1985, pp. 62 - 66.
       "Sange cengci de bijiao--du Sichuan meiyuan biye sheng zuopin [A comparison of three levels--viewing the graduation works of the Sichuan Academy of Fine Arts]," Meishu, October1985,  pp. 10 - 13.
       "Dangdai meishu zhong de qunti yishi yu geti yishi [On group consciousness and individual consciousness in contemporary Chinese art]," published under pseudonym Ming Lu, Zhongguo meishu bao [Chinese Art News], 1985, no. 9, p. 1.
       "Xin yangwu yu xin guocui [New westernization and new nationalism]," pseudonym Ming Lu, Zhongguo meishu bao, 1985, no. 21, p. 1.
       "Yige chuangzhuo shidai de zhongjie--Jiantan di liujie quanguo meizhan [The end of a period--discussion of the Sixth National Art Exhibition], in Meishu sichao [Trends in Art], No. 2, 1986, pp. 1 - 7.

Pre-modern Chinese Art
1986  "Buduan ziwo wanshan zhi lu--zhongguo gudai huihua licheng," [The Method of  Self-Cultivation in Ancient Chinese Painting] Meishu lunji [Art Theory], no. 4 (Beijing: People's Art Press, 1986), pp. 37 - 51.

1985  "Cang Jie zaozi yu shuhua tongyuan” [Cang Jie's Creation of Chinese Characters and a Common Origin of Calligraphy and Painting]," Xin Meishu [New Art], 1985, no. 3, pp. 40 - 45.

      "Zhao Mengfu de fugu yu Song Yuan hua feng de bianyi [Zhao Mengfu's Archaism and the Transition in Song and Yuan Painting Aesthetic]," A master’s thesis published three times, Summary in Meishu shilun [Art History and Theory], 1985, no. 4, pp. :Complete version in Shanghai Huayuan Jinian Wenji [Commemorative collected works of Shanghai Academy of Painting] 1985, and in Xin Meishu (New Art), 1988, no.4, pp. 60 - 68.

      “Zhongguohua de lishi yu weilai, shangpian [The history and future of Chinese painting, part 1],” in Zou xiang weilai [Toward the Future], 1985 no. 1, pp. 149 – 159. 
Presentations (Selected)

2009  “Rise of the Rest: New Perspective in the Study of Chinese Contemporary Art,” India Art Summit, New Delhi, August 20, 2009 

2008  “Myth of the Cultural Revolution in Contemporary Chinese Art,” in the Panel Discussion Reimagination of the Cultural Revolution, Guggenheim Museum, March 19, 2008.

       As a key note speaker, “Birth and Death of the Avant-Garde,” the conference followed the exhibition “Avant-garde China: Twenty Years of Chinese Contemporary Art” at the National Museum of Art in Tokyo, on August 23, 2008.

2007  “Post – Experimental Architecture,” in the conference Reflection of Modernity and the Model of Chinese Residential Architecture,” sponsored by Time + Architecture, Shanghai Tongji University, June 16, 2007.

      “Aesthetic Return: The Narrative of Modernity in Contemporary Chinese Art,” a series lecture for the Open – Dialogue Project, Hong Kong Museum of Art, October 2 – 6, 2007.

      “Rethinking the International and Local Context of the ’85 Movement,” Ullens Center for Contemporary Art, Beijing, November 3, 2007. 

      “Dislocation of Modernity and the Trend of Contemporary Art,” Sichuan Fine Art Institute, Chongqing, China, November 21, 2007, in Central Academy of Fine Arts, November 30, 2007, and in China Renmin University, December 19, 2007.  

2006  “The Issues of Chinese Modernity,” presented in the conference titled “On the Edge: The Dialogue between East and West,” Wellesley University,  March 20, 2006.

      “Total Modernity in Chinese Modern Art” in the symposium “Modern Art and Modernity” organized by the City University of Hong Kong and the Central Academy of Fine Arts, April 29 – May 1, Hong Kong.

       Series of lectures: “Modernity and Contemporary Art,” “Contemporary Criticism” and “The Issues of Contemporareity,” Yunnan University, Kunming, June 23-24, 2006.

2005  “Particular Time, Specific Space and My Choice: The Principle of Chinese Modern  Art,” in the symposium “Multiple Modernity” organized by Venice Biennale,  November 3, Italy.     

       “The Illusion of Modernity” presented in the conference titled “Modernity and Contemporeity” at University of Pittsburgh, November 5, 2004.

       “Contemporeity of Contemporary Chinese Art,” in the conference titled “Past in Reverse: Contemporary Eastern Asian Art,” San Diego Museum of Art, November 6, 2004. 

       “Ritual Body: Chinese Performance Art in the Global Age”. presented in the conference titled “The Chinese Body Politic: Corporeality and Power in Modern China”. Fairbank Center, Harvard University, on April 10th, 2004.   

2003 Rediscovering the Ancient Myth: The Great Wall in 20th Century Chinese Art”, Hong Kong University, July 20, 2003.

2002  “Modernity and Avant-garde in the Post – Modernist era”, Sichuan Academy of Fine Arts, Chongqing, May 14, 2002.
      “Chinese Contemporary Art in the Global Context”, School of Fine Arts, Sichuan
University, Chengdu, May 20, 2002.  
      “Methodology vs. Fashion, Chineseness in Contemporary Art World”, Nanjing,
Academy of Fine Arts, Nanjing.  
      “Chinese Contemporary Art in the Global Context”, China Academy
of Arts, Hangzhou, June 6, 2002. 
      “Chinese Modernity and Avant-garde in the 1990s”, Lu Xun Academy of Fine Arts,Shenyang, June 14, 2002.  
      “Media and Mass Production in Contemporary Chinese Art”, Tianjing
Academy of Fine Arts, Tianjin, June 21, 2002. 
      “Methodology vs. Fashion, Chineseness in Contemporary Art World”, School of
Fine Arts, Chongqing University, Chongqing, October 10, 2002.

2000 “Rediscovering the Ancient Myth: The Great Wall in 20th Century Chinese Art”, New England Seminar at The Fairbank Center, Harvard University, Nov 18, 2000.  

1999 “Rediscovering Tradition: Chan Buddhism in Contemporary Chinese Art,” University of Washington, Seattle, Feb 8, 1999.

1998 “Intentionality and Extentionality: Globalization and Modern Chinese art” and “Modernity and Avant-garde,” Asia Society, NY, Sep 18 and Sep 19, 1998.

1996 “From anti-utopia to de-ideology and de-materialization: contemporary conceptual art in China,” Institute of Fine Arts, New York University, Oct, 26, 1996.

1994 “Anti-Monumentility in Modern Chinese Art” Victoria University, Vancouver.

1993 “Nationalism in Chinese Art," Collage of Art Association (CAA) conference in New York, December.

1992  "Chinese Avante-Garde", Department des Etudes Asiatiques et Department de l'histoire de l'art Universite, Montreal University, March 23; Department of Asian Studies McGill University, March 25; Department of Art Concordia University, Montreal, Canada, March 26.

       "Chinese Avant-Garde and its Social Background", Woodrow Wilson Center in Washington, D.C., May 1.

      “Chinese Contemporary Art", University of Washington, Seattle, May 7.

       "Chinese Contemporary Art as Part of Intellectual Culture in China," Asia Society, New York, November.

1991   "Art Journals in China", for History of Art Department Brown Bag Lecture Series, "Art Historical Practice in China," Ohio State University, fall quarter, 1991.


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