Exhibiting Middle Classness: The Social Status of Artists in Hanoi

  • Nora A. TaylorEmail author
Part of the ARI - Springer Asia Series book series (ARI, volume 2)


Since the 1990s and the rise in international tourism, Vietnam has seen a capitalist art market flourish and a steady increase in artists’ incomes. Formerly dependent on the State, Vietnamese artists have found themselves patrons to a growing international clientele. This has not necessarily translated into a local community of art collectors, however. Rather, as this chapter will demonstrate, artists themselves have become art and cultural consumers and taking part in a middle-class lifestyle that includes owning property and collecting antiques. Taking a few middle-class artists as case studies, this article examines how the art market has shaped the lifestyle of certain artists who have chosen to distinguish themselves from their peers in emulating foreign consumers.


Cultural Elite Urban Middle Class Exhibition Space Woman Artist French Artist 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.


  1. Andre-Pallois, N. (1997). L’Indochine: un lieu d’échange culturel? Paris: EFEO.Google Scholar
  2. Bourdieu, P. (1979). La Distinction: critique sociale du jugement. Paris: Minuit.Google Scholar
  3. Century, P. (1987, Autumn-Winter). Leo Brower: Portrait of the artist in socialist Cuba. Latin American Music Review, 8(2), 151–171.Google Scholar
  4. Clark, J. (1992). Official reactions to modern art in China since the Beijing Massacre. Pacific Affairs, 65(3), 334–352.CrossRefGoogle Scholar
  5. Clark, T. J. (1984). The painting of modern life. Princeton: Princeton University Press.Google Scholar
  6. Drummond, L. B. W. (2004). The ‘Modern’ Vietnamese woman: Socialization and fashion magazines. In L. B. W. Drummond & H. Rydstrom (Eds.), Gender practices in contemporary Vietnam (pp. 158–178). Singapore: Singapore University Press.Google Scholar
  7. Dương Thu Hương. (1988). Những Thiên Đường Mù. Hà Nội: Nhà Xuất Bản Phú Nữ.Google Scholar
  8. Eligio, A. (1998). A tree from many shores: Cuban art in movement. Art Journal, 57(4), 63–73.CrossRefGoogle Scholar
  9. Gamache, G. (2008). A neo-traditional artistic project in Chiang Rai, Northern Thailand. Unpublished paper presented at 2008 Canadian Asian Studies Association in Waterloo, Ontario.Google Scholar
  10. Kennedy, L. B., & Williams, M. R. (2001). The past without the pain: The Manufacture of nostalgia in Vietnam’s tourism industry. In Hue-Tam Ho Tai (Ed.), The country of memory: Remaking the past in late socialist Vietnam (pp. 135–166). Berkeley, CA: University of California Press.Google Scholar
  11. Leshkowich, A. M. (2006, February/August). Woman, Buddhist, entrepreneur: Gender, moral values, and class anxiety in late socialist Vietnam. Journal of Vietnamese Studies, 1(1–2), 277–313.CrossRefGoogle Scholar
  12. Malarney, S. (2002). Culture, ritual and revolution in Vietnam. London: Routledge Curzon Press.Google Scholar
  13. Marcus, G. (1994). The power of contemporary work in an American art tradition to illuminate its own power relations. In G. Marcus & F. Myers (Eds.), The traffic in culture (pp. 201–223). Berkeley, CA: University of California Press.Google Scholar
  14. Marr, D. (1981). Vietnamese tradition on trial. Berkeley, CA: University of California Press.Google Scholar
  15. Overland, M. A. (2009). Copied paintings plague Vietnam’s museum of fine arts. Time, May 04.Google Scholar
  16. Taylor, N. A. (1996). Invisible painters: From the revolution to Doi Moi. In D. Dysart & H. Fink (Eds.), Asian women artists (pp. 114–120). Sydney: Art and Asia Pacific.Google Scholar
  17. Taylor, N. A. (2004). Painters in Hanoi: An ethnography of Vietnamese art. Honolulu: University of Hawaii Press.Google Scholar
  18. Taylor, N. A. (2007). Art, women, Vietnam. Exhibition catalogue for Changing identity: Recent works by women artists from Vietnam. Washington, DC: International Arts and Artists Organization.Google Scholar
  19. Thompson, D. (2008). The $12 million stuffed shark: The curious economics of contemporary art. London: Palgrave MacMillan.Google Scholar

Copyright information

© Springer Science+Business Media B.V. 2012

Authors and Affiliations

  1. 1.Department of Art History, Theory and CriticismSchool of the Art Institute of ChicagoChicagoUSA

Personalised recommendations