Ph.D. 1989, Yale; B.A. 1978, School of Oriental and African Studies, University of London.
Research interests:
History of Chinese art; contemporary Chinese art; art historical theory and
method.
Education:
Yale University, Department of the History of Art, 1981-1989
Ph. D, 1989. Dissertation: "Shitao's Late Work (1697-1707): A Thematic Map."
Edinburgh University, Department of Chinese, 1980-1981.
M.Phil./Ph.D. program.
Central Academy of Fine Arts, Beijing, Department of Art History, 1979-1980.
Specialization: Chinese art of the Ming and Qing dynasties.
Beijing Languages' Institute, 1978-1979.
Specialization: Modern Chinese.
School of Oriental and African Studies, University of London, 1974-1978.
B.A.(Hons.) 2.2, Archaeology of China.
Professional Career:
New York University, Institute of Fine Arts
2006- Ailsa Mellon Bruce Professor of Fine Arts
2003-2006 Professor
1996-2003 Associate Professor
New York University, Institute of Fine Arts
1990-1996 Assistant Professor
New York University, Department of Fine Arts
1989-1990 Assistant Professor
1987-1989 Lecturer
École Pratique des Hautes Études, Paris
2008 (Spring) Directeur d'études invité
1994-1995 Directeur d'études associé
Professional Activities and Honors:
2007 Member, Advisory Council, Research and Academic Program, Sterling and Francine Clark Art Institute
2002-08 Member, National Committee on the History of Art
2002-03 Guggenheim Fellowship
2002-03 Consultant (Chinese painting acquisitions), Museum of Far Eastern Antiquities,
Stockholm
2002 Getty Foundation Publication Grant
2002 Metropolitan Center for Far Eastern Art Studies Publication Grant
2002 Juror, Civitella Ranieri Visual Arts Jury, Umbertide, Italy.
2001-02 Consultant (Chinese painting acquisitions), Samuel P. Harn Museum, University of
Florida.
2000 Contributing Editor, RES: Anthropology and Aesthetics
1999 Consultant, Rockefeller Foundation, Legacy of Absence exhibition project.
1997-99 Gallery Committee, Asia Society
1997 Luce Foundation Publication Grant
College Art Association Millard Meiss Fund Publication Grant
Chiang Ching-kuo Foundation Publication Grant
Chiang Ching-kuo Foundation Post-Doctoral Fellowship
1991-92 Presidential Fellowship for Junior Faculty, New York University
Research Challenge Fund Award, New York University
1990-99 Editorial advisor, RES: Anthropology and Aesthetics
1989 John Addison Porter Prize, Yale University (outstanding dissertation in the
Humanities)
1989 Frances Blanshard Fellowship Fund Prize, Yale University (outstanding
dissertation in the History of Art)
1986-87 Whiting Fellowship in the Humanities, Yale University
1985-86 Andrew W. Mellon Fellowship, The Metropolitan Museum of Art
1983-85 East Asia Prize Fellowship, Yale University
1982-83 Prize Teaching Fellowship, Yale University
1978-80 British Council Scholarship to the People's Republic of China
Publications
Historical:
Sensuous
Surfaces: The Decorative Object in Early Modern China. London: Reaktion, 2009.
“Luo Ping: The Encounter with the Interior Beyond.” In Eccentric
Visions: the worlds of Luo Ping, edited by
Kim Karlsson. Zurich: Museum Rietberg, 2009.
“Travellers in Snow-Covered Mountains: A Reassessment.” Orientations 39 no. 7 (October 2008).
“Wen
Zhengming’s Aesthetic of Disjunction.” In The History of Painting in East
Asia: Essays on Scholarly Method, edited by
Naomi Richard, 331-362. Taipei: Rock Publishing International, 2008.
Shitao: Qingchu Zhongguo de huihua yu xiandaixing. Taipei: Rock Publishing International, 2008.
Chinese translation of Shitao: Painting and Modernity in Early Qing China, with
a new preface.
“Chinese
Photography and Advertising in Late Nineteenth Century Shanghai.” In Visual
Culture in Shanghai, 1850s to 1930s, edited
by Jason Chi-sheng Kuo, 95-119. Washington, DC: New Academia Press, 2007.
“The Kangxi Emperor’s Brush-Traces: Calligraphy, Writing,
and the Art of Imperial Authority.” In Body and Face in Chinese Visual
Culture, edited by Wu Hung and Katherine
Tsiang Mino. Cambridge, Mass.: Harvard University Press, 2004.
“He Cheng, Liu Guandao, and North-Chinese Wall-Painting
Traditions at the Yuan Court.” National Palace Museum Research Quarterly 20 no. 1 (Fall 2002).
Shitao: Painting and Modernity in Early Qing China. New York: Cambridge University Press (Res Monograph
Series), 2001 (out of print). Chinese edition published by Rock Publishing
International (Taipei), 2008.
“Painting and
the Built Environment in Late Nineteenth-century Shanghai.” In Chinese Art:
Modern Expressions, edited by Maxwell Hearn
and Judith Smith, 60-101. New York: The Metropolitan Museum of Art, 2001.
“Culture, Ethnicity and Empire in the Work of Two Eighteenth
Century ‘Eccentric Artists.’” RES: Anthropology and Aesthetics 35 (Spring 1999): 201-223.
“Ming Palace and Tomb in Early Qing Jiangning: Dynastic
Memory and the Openness of History.” Late Imperial China 20 no. 1 (June 1999): 1-48.
“Painters and Publishing in Late Nineteenth Century
Shanghai.” Phoebus 8 (1998): 134-188.
“I Ming e i Qing.”In Storia universale dell'arte: La Cina, edited by Michèle Pirazzoli t'Serstevens 468-577. Torino: UTET, 1996.
“The Suspension of Dynastic Time.” In Boundaries in China, edited by John Hay, 171-197.London: Reaktion Books, 1994.
“Khubilai's Groom.” RES: Anthropology and Aesthetics 17/18 (Autumn 1989): 117-140.
Historical: editorial work
Intercultural China. Special issue of RES: Anthropology
and Aesthetics 35 (Spring 1999). Twelve
articles on diverse art historical topics by John Hay, Alain Thote, Lothar von
Falkenhausen, Eugene Wang, Angela Howard, Christine Guth, Priscilla Soucek,
Peter Sturman, Dorothy Berinstein, Lucia Tripodes, Jonathan Hay, Leslie Jones.
Historical: miscellaneous writing
Review of Boundaries of the Self by Richard Vinograd.Journal of Asian Studies 54 no. 2 (1995).
Review of Transcending Turmoil by Claudia Brown and Ju-hsi Chou.” Journal of Asian Studies 53 no. 1 (1994).
Review of Huang Kung-wang by Caroline Gyss-Vermande. Arts Asiatiques 41 (1986): 132-133.
Catalogue entries on Hua Yan, Jin Nong and Luo Ping in Peach
Blossom Spring: Gardens and Flowers in Chinese Paintings, edited by Richard Barnhart, 139-140.New York: The Metropolitan Museum of
Art, 1983.
Catalogue entry on Luo Ping in The Communion of Scholars:
Chinese Art at Yale, edited by Mary Gardner
Neill, 126-127.New Haven: Yale
University Art Gallery, 1982.
Review of An Illustrated Chinese Encyclopedia by John Goodall.Orientations 12 no. 12 (1981).
Review of Great Painters of China by Max Loehr.Orientations 12 no. 1
(1981).
Theory and method:
“The Value of Forgery.” Res: Anthropology and Aesthetics 53/54 (Spring and Autumn, 2008): 5-19.
“Double Modernity, Para-Modernity.” In Antinomies of Art
and Culture: Modernity, Postmodernity, Contemporaneity, edited by Terry Smith, Okwui Ewenzor, and Nancy
Condee. Durham: Duke University Press, 2008.
“Interventions:
The Mediating Work of Art” and “Interventions: The Author Replies.” Art
Bulletin 89 no. 3 (Fall 2007): 435-459;
496-501.
“The Functions
of Chinese Painting: Toward a Unified Field Theory.” In Anthropologies of
Art, edited by Mariet Westermann, 111-123.
Clark Institute of Art, 2005.
“The Diachronics of Early Qing Visual and Material Culture.”
In The Qing Formation in World-historical Time, edited by Lynn Struve, 303-334. Cambridge, Mass.: Harvard University
Press, 2004.
Review of Ten
Thousand Things: Module and Mass Production in Chinese Art by Lothar Ledderose. Art Bulletin 86 no. 2 (June 2004): 381-383.
“Toward a
Disjunctive Diachronics of Chinese Art History.” Res: Anthropology and
Aesthetics 40 (Autumn 2001): 101-111.
“Toward a Theory of the Intercultural.” RES: Anthropology
and Aesthetics 35 (Spring 1999): 5-9.
Review of The Wu Liang Shrine by Wu Hung and Art and Political Expression in Early China by Martin Powers. Art Bulletin 45 no. 1 (March 1993): 169-174.
Contemporary art: criticism and interviews:
“Les animaux de Sanyu.” In Sanyu. Paris: Musée Guimet, 2004.
“Zao Wou-ki, Lately.” In Zao Wou-ki. New York, Marlborough Galleries, 2003.
“Pleasure as Medium: Five Essays on the Painting of Emily
Cheng.” In Emily Cheng: Almost Mapped and Charted, 3-9. New York, 2002.
“Mu Xin and Twentieth-century Chinese Painting.” In The
Art of Mu Xin: Landscape Paintings and Prison Notes, edited by Alexandra Monroe, 28-39. New Haven: Yale University Art
Gallery, 2001.
“Adventures in Chinaspace and Transnationalism.” In China
without Borders. London: Michael Goedhuis, 2001.
Simon Leung and Janet Kaplan “Pseudo-languages: Talking with
Wenda Gu, Xu Bing, and Jonathan Hay.” Art Journal 58 no. 3 (Fall 1999).
“Marden’s Choice.”In Brice Marden: Chinese Work,
7-11. New York: Matthew Marks Gallery, 1999.
“Interview with Brice Marden.”In Brice Marden: Chinese Work, 19-31. New York: Matthew Marks Gallery, 1999.
Hay, Jonathan and Alice Yang.Tracing Taiwan: Contemporary Works on Paper.New
York: The Drawing Center, 1997.Includes the essay “Time Difference.”
“Zhang Hongtu/Hongtu Zhang: An Interview.” In Boundaries
in China, edited by John Hay, 280-298.
London: Reaktion Books, 1994.
"Ambivalent Icons: Five Chinese Painters in the United
States." Orientations 23 no. 7
(July 1992): 37-43.
Contemporary art: editorial work:
Hay, Jonathan and Mimi Young, eds.Why Asia? Contemporary Asian and Asian American Art. New York: New York University Press 1998.
Posthumous collection of writings by Alice Yang.
Unpublished Papers:
Available to download, circulate, and cite without permission (but with acknowledgment.)
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“The Passage of the Other," April 14th, 2012. Harvard University. [download] |