Đổi Mới reforms triggered significant changes in the Vietnamese art world, including new institutional spaces, platforms for critical discourse, and growing artistic mobility. However, it is important to question the ways in which the use of Đổi Mới as a blanket indicator of artistic reform has further constructed a homogeneous representation of “Vietnamese contemporary art.” The authors consider the relationship of Đổi Mới to the “globalization” of Vietnamese art with attention to questions of art historiography (the coining of such terms as “post-Đổi Mới Vietnamese art”) and variations in regional developments (positing local art histories against the national narrative).
Đổi Mới and the Globalization of Vietnamese Art
Nora A. Taylor is Alsdorf Professor of South and Southeast Asian Art at the School of the Art Institute of Chicago. She is the author of Painters in Hanoi: An Ethnography of Vietnamese Art (Hawaii, 2004 and NUS Press, 2009) and co-editor of Modern and Contemporary Southeast Asian Art: An Anthology (Cornell SEAP Press, 2012) as well as numerous essays on modern and contemporary Vietnamese and Southeast Asian art.
Pamela N. Corey is Lecturer in South East Asian Art at SOAS University of London. Her current book project is provisionally titled The City in Time: Contemporary Art and Urban Form in Vietnam and Cambodia, and her writings have appeared in numerous academic journals, exhibition catalogues, and platforms for art criticism.
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Nora A. Taylor, Pamela N. Corey; Đổi Mới and the Globalization of Vietnamese Art. Journal of Vietnamese Studies 1 February 2019; 14 (1): 1–34. doi: https://doi.org/10.1525/vs.2019.14.1.1
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