Abstract

Observing a conjunction between massive rural-to-urban migration and the recent documentary turn in Chinese art, this essay suggests some of the ways documentary photography works as a medium of historical thinking in contemporary China. Through the work of the photographer Zhang Xinmin, it examines the cultural politics of blankness and marked surfaces as representational strategies for exploring the intersection of historical remains and mass migration.

Full Text
Published version (Free)

Talk to us

Join us for a 30 min session where you can share your feedback and ask us any queries you have

Schedule a call