About this site
The aim of The Mediated Image is to serve as an online visual database providing insight into China’s internet culture and the defining role that image making is coming to assume within this sphere. Examining how artists are increasingly using digital media to disseminate their work to new audiences, the mediated images that appear on this website demonstrate the complexity of artistic structures within contemporary China, showing the fluidity of the opposition between the ‘official’ and the ‘unofficial’ and questioning the notion of a self-censoring, often unitary state media. Revealing instead the existence of a creative, humorous, but also socially and politically critical “China online,” which frequently locates itself outside of the intellectual discourse surrounding state censorship and contemporary art, this website explores aspects of visual culture at the forefront of modern and contemporary encounters between China and the wider world.
All material on this site is licensed under Creative Commons, allowing for free use for all non-commercial purposes, on the condition of source attribution.
About me — Ros Holmes
I am a Junior Research Fellow in art history at Christ Church, University of Oxford and a research associate at the University of Oxford China Centre. My current research focuses on visual culture and contemporary art in China, with a particular emphasis on its interaction with the internet. I hold undergraduate and masters degrees in Chinese studies and art history (SOAS, 2006 and University of Oxford, 2010) and a doctorate in history of art from the University of Oxford. My doctoral research was made possible by a generous grant from the Arts and Humanities Research Council (AHRC).
I am currently completing my first book, provisionally entitled The Art of Incivility: Rudeness and Representation in Post-Socialist China. The book offers a visually rich investigation of the ways in which artists have deployed incivility as a means to lay competitive claim to disciplinary narratives about China’s cultural history. From the rude, to the shocking, to the subtly profane, it establishes how contested visualizations of civility challenge long term assumptions about China’s cultural landscape from the reform period to the present.
Prior to commencing my graduate studies I worked in Beijing as the programme manager of a contemporary art space and as the assistant curator for education at the Ullens Centre for Contemporary Art (UCCA).