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and from a very special part of the body called ‘the heart’?

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The fact that direct and explicit protest is much more dangerous in mainland China and dictatorial Singapore than in and post-martial law Taiwan is enough to explain the absence of protest art, otherwise we might expect to see attention on the bodies of female factory workers in sweatshops, minority women, tortured Falun Gong members, etc.  There is obviously a lot more reclaiming of bodies to be done.  Let Joanna Frueh have the last witty word: ‘Possessing the body empowers us with new sight, speech, and hearing.  Moreover, self-possession helps us to shoulder responsibility, stomach criticism, stand on our own two feet, head into the fray.’

APPENDIX
Cao Weihong, 1971, possibly Hong Kong
Chang Hsing-Yu, 1971, Taiwan
Chen Lingyang, 1975, Zhejiang, Beijing
Chen Yadan, 1942, Beijing
Chen Yanyin, 1958, Shanghai, Hangzhou, Shanghai, Australia
Cui Xiuwen (Cui Youwen), 1970, Harbin, Beijing
Feng Jiali (Jyali), 1963, Beijing
Feng Qianyu, 1974, Guangdong, Beijing, Guangdong
Fu Jiying, 1962, Beijing
Fu Xi, 1970, Sichuan
Gao Xiaolan, c.1975?, Hong Kong
Guo Qingling, 1973, Hunan, Shanghai
Guo Yan, Shaanxi, Xi’an
He Chengyao, 1964, Sichuan, Chongqing, Beijing
Heng, Amanda, 1951, Singapore, Perth, Singapore
Hu Ming, 1955, Beijing, New Zealand, Australia
Ji Xiaofeng, c.1975?, Qingdao, Beijing
Jiang Congyi, 1963, Henan, Beijing
Jiang Jie, 1963, Beijing
Jin Weihong, 1967, Nanjing
Kan Xuan, 1972, Anhui, Zhejiang, Amsterdam
Lai, Mei-Hua, 1948, Taiwan
Li Hong, 1965, Beijing, England, Beijing, New York, Beijing
Liao Haiying, 1967, Sichuan
Lin Tianmiao, 1961, Shanxi, Beijing, New York, Beijing
Liu Hong, 1956, Sichuan
Liu Manwen, 1962, Heilongjiang
Liu Yan, 1965, Beijing
Liu Yousha, c.late 1950s, Hunan, Hangzhou, Canada, United States
Ma Yanhong, 1977, Shanxi, Beijing
Nie Mu, 1973, Xinjiang, Beijing
Niu An (Ann New), 1970s, Shanghai, Japan, Shanghai
Qin Jin, 1970s, Guangdong
Qin Yufen, 1954, Qingdao, Berlin
Shao Fei, 1954, Beijing
Shen Ling, 1965, Liaoning, Beijing
Shen Na, 1979, Sichuan
Wang Nanfei, 1975, Jilin, Texas, Beijing
Wang Yingchun, 1942, Shanxi, Xi’an, Beijing
Woo, Nancy Chu, 1941, Guangdong, Hong Kong, New York, Hong Kong
Xiang Jing, 1965, Beijing, Shanghai
Xiao Huixiang, 1933, Hunan, Beijing, Los Angeles
Xing Danwen, 1967, Xi’an, Beijing
Xing Fei, 1958, Beijing, New York
Xu Hualing, 1975, Harbin, Beijing
Xu Jie, c.1970?, Shanghai
Xu Sa (Sasa), Beijing
Xu Xiaoyu, 1959
Yan Ming-hui (Ming-Huy), 1956, Taiwan, New York, Taiwan
Yang Fan, 1972, Guangdong
Yang Xiaojun, 1971/77?, Tianjin
Yang Yi, 1964, Sichuan, Guizhou and Beijing
Yin Ling, 1978, Taiwan, Japan
Yu Hong, 1966, Beijing
Yuan Yaomin, 1961, Beijing
Zhang Jie, 1980, Sichuan
Zhang Jihong, China, South Korea
Zhang O (O. Zhang), c.1970?, Guangzhou, Beijing, London
Zhang Ping, 1971, Xinjiang, Beijing, Shanghai
Zhang Shumei, 1954, Shandong?
Zhang Tiemei, Jilin
Zhang Yaxi, 1968, Chongqing, Beijing, Zhejiang, Paris, Sichuan
Zhang Yongping, 1979, Heilongjiang, Beijing
Zhao Mengge, c.1978, Henan
Zhou Ling, 1941, Tianjin, Beijing, Yunnan, Beijing
Zhou Nan, c.late 1970s?, Chongqing
Zhu Bing, 1964, Hubei, Beijing

(please check the word docu for proper display of footnotes)


  Victoria Lu, ‘The Rise of Feminist Awareness and the Feminist Art Movement in Taiwan,’ N. Paradoxa, no.16, July 2002, on the internet.
  >  See Gill Saunders, The Nude: A New Perspective, London: Herbert Press, 1989, where there are chapters called ‘Active versus Passive,’ ‘The Fetishized Female,’ and ‘Nature versus Culture.’
  Lisa Tickner, ‘The Body Politic: Female Sexuality and Women Artists since 1970,’ Art History, 1: 2, June 1978, p.239.
  See John Clark, Modern Asian Art, Sydney: Craftsman House, 1998, p.286 and note 9 on p.298; Jennifer Cody Epstein, Iron Orchid, New York: Norton; London: Viking, 2006; and the film ‘A Soul Haunted by Painting,’ in which Gong Li plays Pan Yuliang.
  William Willetts, Chinese Art, 2 vols, Harmondsworth: Penguin, 1958, vol. 1, pp.384–86; William Watson, Style in the Arts of China, Harmondsworth: Penguin, 1974, p.82, plate 71.
  Michael Sullivan, The Arts of China, 4th edition, Berkeley: University of California Press, 1999, p.8.
  See section on Xing Fei in Patricia Eichenbaum Karetzky, Who Am I: Chinese Contemporary Art by Chinese and Chinese-American Women Artists, exhibition catalogue, New York: Chinese-American Arts Council, 2004; www.karetzky.com/whoami-text.htm
  Zhang O, in Karetzky, Who Am I, 2004.
  Dru C. Gladney, ‘Constructing a Contemporary Uighur National Identity: Transnationalism, Islamicization, and State Representation,’ Cahiers d’études sur la Méditerranée orientale et la monde turco-iranien, no. 13, January–June 1992.
  See Clark, 1998, p.286.
  Hsingyuan Tsao, ‘Fun, Pleasure-Seeking, but Thoughtful: On Urban Popular Culture in China,’ Yishu: Journal of Contemporary Chinese Art, 3: 2, June 2004, pp.89–102: see pp.100–01.
  Xu Hong, ‘Dialogue: The Awakening of Women’s Consciousness,’ translated by Claire Roberts, in Dinah Dysart & Hannah Fink, eds, Asian Women Artists, Sydney: Craftsman House, 1996, pp.16–23: see p.23.
  Shen Na, artist’s statement on Art Scene Warehouse website.
  Xenia Tetmajer, ‘She at Art Seasons China,’ Asia Art News, 14: 3, May/June 2004, p.77.
  Fa Fa Gallery website.
  All quotes from >  Anchee Min, Red Azalea, London: Victor Gollancz, 1993; New York: Pantheon Books, 1994.
  Susan Kendzulak, ‘Bombs Away! Cai Guoqiang’s Bunker Museum of Contemporary Art,’ Yishu: Journal of Contemporary Chinese Art, 3: 4, December 2004, pp.44–51: this quote from p.48.
  Zhang O, in Karetzky, Who Am I, 2004.
  Zhang O, in Karetzky, Who Am I, 2004; see also Patricia Eichenbaum Karetzky, ‘Zhang O: In Transit,’ Yishu: Journal of Contemporary Chinese Art, 3: 2, September 2004, pp.28–31.
  â€˜It is too easy and self-restricting to identify the gaze as unilaterally male’: Jennifer M. Green, ‘Subject, Object, Camera: Photographing Women in The Unbearable Lightness of Being,’ in Ronald Dotterer & Susan Bowers, eds, Sexuality, the Female Gaze, and the Arts, Selinsgrove, Pa.: Susquehanna University Press, 1992, pp.53–63: this quote from p.59; see also Ann Kaplan, ‘Is the Gaze Male?,’ in Women and Film, New York: Methuen, 1983.
  Avis Lewallen, ‘Lace: Pornography for Women?’ in Lorraine Gamman & Margaret Marshment, eds, The Female Gaze: Women as Viewers of Popular Culture, London: The Women’s Press, 1988, pp.86–101: this quote from p.86.
  Lorraine Gamman, ‘Watching the Detectives: The Enigma of the Female Gaze,’ in Gamman & Marshment, 1988, pp.8–26: this quotes from p.18.
  Saunders, 1989, p.118.
  Cassandra L. Langer, ‘Transgressing Le Droit du Seigneur: The Lesbian Feminist Defining Herself in Art History,’ in Joanna Frueh, Cassandra L. Langer & Arlene Raven, eds, New Feminist Criticism: Art, Identity, Action, New York: HarperCollins, 1994, pp.306–26.
  Mary Kelly, ‘Desiring Images/Imaging Desire,’ in her Imaging Desire, Cambridge, Mass.: MIT Press, 1996, pp.122–29.
  Tetmajer, 2004, p.77.
  Maryse Holder, ‘Another Cuntree: At Last, A Mainstream Female Art Movement,’ in Off Our Backs, 1973, reprinted in Arlene Raven, Cassandra L. Langer & Joanna Frueh, eds, Feminist Art Criticism: An Anthology, Ann Arbor: UMI Research Press, 1988, pp.1–20: this quote from p.1.
  Tetmajer, 2004, p.77.
  Laurie Essig, on the internet.
  Jin Weihong, quoted in Anna Zhong Tong Yue, ‘Jin Wei Hong,’ 2004, Shanghart Gallery website.
  Yve-Alain Bois & Rosalind E. Krauss, Formless A User’s Guide, New York: Zone Books, 1997; Rosalind Krauss, ‘Claude Cahun and Dora Maar: By Way of Introduction,’ in Bachelors, Cambridge, Mass.: MIT Press, 1999.
  Krauss, 1999, p.50.
  Sasha Su-Ling Welland, ‘On Curating Cruel/Loving Bodies,’ Yishu: Journal of Contemporary Chinese Art, 4: 1, March 2005, pp.17–36: this quote from p.18.
  Wang Yun, ‘Brave Spirit – Chinese Female Artist Chen Lingyang,’ in Karetzky, Who Am I, 2004; Huangfu Binghui, ed., Moving On: Contemporary Chinese Art at NUS [National University of Singapore] Museums, exhibition catalogue, Singapore: NUS Museums, 2004, pp.56–75; Bernhard Fibicher & Matthias Frehner, eds, Mahjong: Contemporary Chinese Art from the Sigg Collection, exhibition catalogue, Germany: Hatje Cantz, 2005, pp.310–11.
  Karin Bergquist, www.culturebase.net
  See Karetzky, Who Am I, 2004.
  Li Hong, quoted in Karetzky, Who Am I, 2004.
  Daozi, ‘Feng Jiali: Her Handiworks and Conception of Medium,’ translated by Zha Changping, in Karetzky, Who Am I, 2004.  See also Sue Dewar, ‘In the Eye of the Beholder: The Art of Wang Jin and Feng Jiali,’ Art AsiaPacific, no. 15, 1997, pp.66–73.
  Alonzo Emery, ‘Angst and Erotica,’ South China Morning Post, 23 May 2004, on the internet; see also Jonathan Thomson, ‘The Tragedy of the Figure,’ Asian Art News, 15: 6, November/December 2005, pp.74–77.
  Jiang Mei, ‘Private Space and Public Space – Dissecting Chinese Feminist Art of the Late 1990s,’ in Text & Subtext: International Contemporary Art and Asian Woman, Earl Lu Gallery, Singapore, 2000, pp.68–73: this quote from p.69.
  Han Hanru, ‘Somewhere Between Utopia and Chaos: Contemporary Art in China,’ in Chris Driessen & Heidi van Mierlo, eds, Another Long March: Chinese Conceptual and Installation Art in the Nineties, exhibition catalogue, Breda: Fundament Foundation, 1997. pp.54–91: see p.83.
  See Whitney Chadwick, Women, Art, and Society, 3rd edition, London: Thames & Hudson, 2002, pp.462–63.
  Elsa Chen, ‘Reading Feminist Dimensions of Contemporary Art in Taiwan,’ in Text & Subtext, 2000, pp.75–87: this quote from p.80.
  Yan Ming-hui, in ‘Art Works by Yan Ming-hui 1988–90,’ Taipei Glorious Era Art Publishing, 1990, cited in Elsa Chen, 2000, p.81.
  Chen Lingyang, in Huangfu Binghui, 2004, pp.61–62.
  Karetzky, Who Am I, 2004.
  Zhang Li, in Huangfu Binghui, 2004, p.57.
  Chen Lingyang, quoted by Zhang Li, in Huangfu Binghui, 2004, p.58.
  Zhang Li, in Huangfu Binghui, 2004, p.57.
  Chen Lingyang, in Huangfu Binghui, 2004, p.62.
  Xu Hong, 1996, p.21.
  Gu Zheng, ‘Projecting the Reality of China through the Lens: On the Artistic Practice of Xing Danwen,’ Yishu: Journal of Contemporary Chinese Art, 5: 1, March 2006, pp.91–96: this quote from p.93.
  See www.danwen.com
  Karin Bergquist, www.culturebase.net
  Jiang Jie, in Huangfu Binghui, 2004, p.111.
  Jiang Jie, in Huangfu Binghui, 2004, p.113.
  Nicole Mones, Lost in Translation, New York: Delacorte Press, 1998; see p.77.
  Notes to Yang Yi’s 2005 exhibition, Art Beatus Gallery Hong Kong website.
  Clark, 1998, pp.285–86; Andrea Ash, ‘Text and Subtext: Women, Sexuality, Image and Identity in Asian Art,’ in Text & Subtext, 2000, pp.96–105: see p.98.
  He Chengyao, ‘Lift the Cover from Your Head,’ Yishu: Journal of Contemporary Chinese Art, 2, 2003, pp.20–24.
  He Chengyao, 2003; Welland, 2005.
  Welland, 2005, p.33.
  Gallery statement on the internet.
  Karetzky, Who Am I, 2004.
  Xiao Huixiang, on the internet.
  Julie Kristeva, Powers of Horror: An Essay on Abjection, New York: Columbia University Press, 1982, p.4.
  Saunders, 1989, p.120.
  Gamman, 1988, p. 25; see also Jo Anna Isaak, Feminism & Contemporary Art: The Revolutionary Power of Women’s Laughter, London & New York: Routledge, 1996.
  Jiang Mei, 2000, p.68.
  Dewar, 1997, p.72.
  Yuan Yaomin, quoted in Karetzky, Who Am I, 2004.  I have read that female warrior figures have been unearthed in emperor Qin’s tomb.  See also www.yymin.com
  Lynda Nead, The Female Nude: Art, Obscenity and Sexuality, London & New York: Routledge, 1992, p.4.
  Gail Hershatter, Dangerous Pleasures: Prostitution and Modernity in Twentieth-Century Shanghai, Berkeley & London: University of California Press, 1997, p.39.
  John Vollmer, ‘Sex Among the Lotus,’ Asian Art Newspaper, January 2005.
  Nead, 1992, p.63.
  Holder, (1973) 1988, pp.19–20.
  Saunders, 1989, p.119.
  Pam Meecham & Julie Sheldon, Modern Art: A Critical Introduction, 2nd edn, London & New York: Routledge, 2005 (1st pub. 2000), p.177.
  Feminist Anthology Collective, No Turning Back, London, 1989, p.240, cited in Saunders, 1989, p.118.
  Adrienne Rich, Of Women Born: Motherhood as Experience and Institution, London, 1977, p.39.
  Avril McDonald, ‘From the Editors,’ New York Queer, 26 April 1992, cited in Langer, 1994, p.315.
  Langer, 1994, p.315.
  Martha Gever, ‘The Names We Give Ourselves,’ in Russell Ferguson, Martha Gever, Trinh T. Minh-ha & Cornel West, eds, Out There: Marginalization and Contemporary Cultures, Cambridge, Mass.: MIT Press, 1990, cited in Harmony Hammond, ‘A Space of Infinite and Pleasurable Possibilities,’ in Frueh, Langer & Raven, 1994, pp.97–131: this quote from p.121.
  Lucy R. Lippard, ‘Both Sides Now (a Reprise),’ in Heresies: A Feminist Publication on Art and Politics, no. 24, 1989, cited in Hammond, 1994, p.108.
  Hammond, 1994, pp.121–22.
  See Huangfu Binghui, 2004, pp.108–27.
  Jackie Stacey, ‘Desperately Seeking Difference,’ in Gamman & Marshment, 1988, pp.112–29: see p.115.
  Saunders, 1989, p.119.
  Graphics by Emotional Rescue Ltd, published by The Ink Group.
  Mary Acton, Learning to Look at Modern Art, London & New York: Routledge, 2004, p.245.
  Andrea Liss, ‘The Body in Question: Rethinking Motherhood, Alterity and Desire,’ in Frueh, Langer & Raven, 1994, pp.80–96: this quote from p.87.
  Maurice Merleau-Ponty, The Phenomenology of Perception, 1989.
  Jiang Mei, 2000, p.73.
  Astri Wright, ‘Kartika Affandi-K？berl: Undermining the Order of the Javanese Universe,’ in Dysart & Fink, 1996, pp.92–101.
  James B. Lee, ‘Yi Bul: The Aesthetics of Cultural Complicity and Subversion,’ in Dysart & Fink, 1996, pp.34–41: this quote from p.37.
  Arahmaiani, ‘His Story on My Body,’ in Text & Subtext, 2000, pp.16–19.
  Cai Yuan and JJ Xi, in Sally Lai, ‘Interview with Cai Yuan and JJ Xi,’ Yishu: Journal of Contemporary Chinese Art, 3: 4, December 2004, pp.72–78: these quotes from p.73.
  Lai, 2004, p.74.
  Joanna Frueh, ‘Towards a Feminist Theory of Art Criticism,’ in Raven, Langer & Frueh, 1988, pp.153–166: this quote from p.163.
(please check the word docu for proper display of footnotes)

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