Wang Min

Professor Wang Min
Doctor of Arts, PhD Supervisor
And also the graduate supervisor in Sichuan Fine Arts Institute
Research Interest:

Theory and Practice of Art Criticism. His research subject includes the art criticism theory and art criticism practice in two aspects: one is that in the criticism history and under certain cultural background of the times, contemporary art criticism applies certain criticism theory standard and method to discuss, analyze, explain and appraise artists, art works, art philosophy, and art movement; the other is the relationship between public culture policy, arts law, museum mechanism and art exhibition planning, and also roles, functions and the curatorial model of the curator. As far as study catalogue is concerned, the research includes the basic categories and systems of art criticism, such as the nature, function, standard, method, writing, and development of art criticism and planning idea and operation method of art exhibitions.

If in 1960, France witnessed the emergence of structuralism criticism, semiotics, feminist criticism, new Marxist criticism, then since 1980, the contemporary art criticism theory has presented the vivid frontier and practicality. In integration of French and European criticism theory, new historicism, post-colonial theory, visual culture studies and other original theories are proposed to fit the art changes with the times and the meaning interpretation. Taking these as the premise of criticism practice, comments of art critics and curators, and curatorial activities have become an extremely active organic part in contemporary art, which exerts lasting influence on the international art. Although the new criticism practice has not yet been systematically observed with academic classification, undoubtedly it can provide useful experiences to the learning, discussion, comparison and exchange of contemporary Chinese art criticism and art creation which is under development. Therefore, Professor Wang Min sets up the research on “theory and practice of art criticism” in the Academy for doctoral candidates with the aim to cultivate a new generation of art criticism for China. Among the fourth generation of Chinese criticism, some postgraduates engaged in art criticism practice have graduated in this research; they stand out with impressive achievements and are generally affirmed by the art criticism circle.

Academic Standpoint:

Professor Wang Min (Daozi) is the contemporary well-known art critic in China. Taking art criticism theory and criticism practice as core, he carries out research and teaching in fine arts. With the long-term role as art critics, he conducts theoretical description, interpretation and appraisal of art ontology to influence society and guide the general public. On one hand, through translation, interpretation and comments of western frontier art theory, he introduces new art criticism and creation methods, which lays a very solid foundation for criticism theory and promotes the updating of art criticism methodology; on the other hand, based on the practical characteristics of art criticism, he combines the new theory and methods closely with the modern art history and theory teaching, and planning activities of criticism writing and art exhibition. In the context and meaning of contemporary art development, he actively implements the principle of “guiding creation with theory for the prosperity of artistic creation”, and thus he plays the ideal role and function of an art critic. His criticism practice has exerted a positive impact in the contemporary art circle. 

Academic Achievements:
The Postmodern Condition: A Report on Knowledge, written by (French) Jean-François Lyotard, translated by Daozi, Hunan Fine Arts Publishing House, 1996;
Selected Publications:
Study on Contemporary Chinese Oil Painting: Metamorphosis of Concept, Guangxi Fine Arts Publishing House, 2000;
The Genealogy of Postmodernism (Volume One and Two), Chongqing Publishing House, first edition 2001, revised edition 2005
Academic Teaching:
History of Modern and Contemporary Chinese Art, Artistic Criticism Theory