Arts of China Consortium(formerly Chinese and Japanese Art History WWW Virtual Library) TO ATTEND: Conferences, Symposia, Seminars, Lectures |
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Listings below are organized chronologically.
Institute of Fine Arts
New York University
[courtesy of IFA, 9/27/12]
14 September
Dorothy Ko (Barnard College), "Body, Text, and Stone: The Crafting and Connoisseurship of Inkstones in Eighteenth-Century China"
Moderated by Jonathan Hay (Institute of Fine Arts, NYU)
5 October
Judith Zeitlin (University of Chicago) and Yuhang Li (Grinnell College), "Performing Images: Opera in Chinese Visual Culture"
Moderated by Susan Naquin (Princeton University)
9 November
Linda Ying-chun Lin (Metropolitan Museum of Art), "Study and Conservation of the Asian Amber Collection at The Metropolitan Museum of Art"
Moderated by François Louis (Bard Graduate Center)
7 December
Wen-shing Chou (Hunter College) will discuss the problems of structuring a book on the visionary landscape of Wutaishan
Moderated by Denise Leidy (Metropolitan Museum of Art)
22 February
Nicholas Grindley (Nicholas Grindley Works of Art Ltd), "A possible chronology for the dating of Chinese yokeback armchair"
Moderated by Jonathan Hay
1 March
Alain Thote (Ecole pratique des hautes études, Paris), "Early Chinese Manuscripts in Archaeological Context"
Moderated by Lilian Tseng (Institute for the Study of the Ancient World, NYU)
5 April
Denise Leidy (Metropolitan Museum of Art), "Extreme
Practices: Shakyamuni and other Ascetics in Buddhist
Art"
Moderated by Hsueh-man Shen (Institute of Fine Arts,
NYU)
3 May
Joseph Scheier-Dohlberg (Metropolitan Museum of Art),
"Non-portrait Paintings by the Portrait Painter
Yu Zhiding (1646-1716)"
Moderated by Lulu Brotherton (SUNY, New Paltz)
J. Paul Getty Museum
Los Angeles, CA
5 March - 9 June 2013
[courtesy of B. Jungmann, 2/13/13, and from Getty, 2/18/13]
15 March
Symposium: "Crossing Borders, Drawing Boundaries: Contextualizing Rubens's Man
in Korean Costume"
[This] one-day symposium that analyzes the various misunderstandings that arose
when Europeans and Asians encountered one another in the early modern period.
In this interdisciplinary symposium, scholars expand on themes addressed in
the exhibition Looking East: Rubens's Encounter with Asia. Topics include: What
mercantile and missionary issues informed the depictions of Asians in 16th-
and 17th-century Europe? How did Europeans exoticize Asian costumes and culture?
What impact did the arrival of Europeans in Korea have on Korean art, culture,
and politics? By examining works of art from religious, mercantile, and political
perspectives, this symposium provides a nuanced understanding of appropriation
and cultural translation.
Session 1: The Jesuits and the Representation of Asia
- Mayu Fujikawa (Middlebury College), "The Quirinal's Exotic Figures and Rubens's Man in Korean Costume"
- Liam Brockey (Michigan State University), "Authority, Vanity, and Poverty: The Society of Jesus and the Use of Silk in Early Modern Asia"
Moderator: Peter Mancall (University of Southern California)Session 2: Exoticism and Misidentifcation in the Age of Rubens
- John Vollmer (independent scholar and curator, New York), "Is What You See What You Get?: East Asian Clothing in Seventeenth-Century Europe"
- Claudia Swan (Northwestern University), "Lost in Translation: Ornament and Identity in Early Modern Northern Europe"
Moderator: Marcia Reed (Getty Research Institute)Session 3: Reception of Europe in Joseon Dynasty Korea
- David Kang (University of Southern California), "The Arrival of the West and Its Impact on Korea: Nationalism and the Word Corea"
- Burglind Jungmann (University of California, Los Angeles), "Cultural Translations: The Confrontation of Joseon Painters with European Concepts of Illusionism"
Moderator: Stephanie Schrader (J. Paul Getty Museum)
1 May
Stephanie Schrader, "The Many Identities of Peter Paul Rubens's Man in Korean
Costume: New Perspectives on Old Interpretations"
66th Annual Conference
Buffalo, NY
10-14 April 2013
[from SAH, 4/8/13; panels/papers relating to China and Japan listed below]
The Politics of the Past in Modern Asian
Architecture
Chair: Melia Belli (University of Texas at Arlington)
- Sean Anderson (University of Sydney), "Nomadic Lenses: Asian Architecture in E. O. Hoppé's Photography"
- Jung-Jen Tsai, University of Edinburgh), "Taiwan's Post-war Politics and the Making of Chung-shan Building"
- Neil Jackson (University of Liverpool), "Wabi-sabi and Ukiyo: Tradition in Post-war Japanese Architecture"
Diasporic Architecture and the Politics of National Identity
- Cecilia Chu (University of California, Berkeley), "Constructing Enclaves: Residential Reservations in Colonial Hong Kong"
Asia Society
Hong Kong
11-12 April 2013
[from Asia Society, 4/9/13]
The Para Site International Conference 2013 is a three-day forum that brings together a group of original thinkers, artists and curators from around the world to discuss and navigate on the spectral contemporary condition of art. The conference will present different contextual genealogies, realities of production and interpretative vocabularies and allow for their reading from the perspective of Hong Kong and its changing position in the globalized contemporary art field.
The International Conference 2013 is premised on a need to rethink the basis of international solidarity, with a special attention to the field of contemporary art, to the means it still has and the needs it now has, after the end of its phase of rapid global institutional expansion. The conference will also review a number of case studies of artistic practices in given contexts, looking closer at artistic forms and vocabularies and their complicated relationship to the historical circumstances that generate them and which they try to address.
The conference is organized around two broad thematic fields.
On April 11 and 12, the focus will be on "New internationalisms after multiculturalism/Contemporary art after global expansion," culminating with a plenary discussion on April 12 afternoon. Speakers include:
Charles Merewether (art historian, writer, Director of Institute of Contemporary Arts, Singapore, and curator of the Biennale of Sydney 2004; Singapore)
Hammad Nasar (curator, writer and Head of Research and Programmes at Asia Art Archive; Hong Kong)
Ruth Noack (art historian, writer, Head of Department of Curating Contemporary Art at The Royal College of Art, and curator of documenta 12; London and Berlin)
Erika Tan (artist, curator, writer, and researcher; London)
Georg Schöllhammer (writer, researcher, independent curator, and editor-in-chief of springerin and documenta 12 magazines; Vienna)
David Teh (curator, writer, academic, director of Future Perfect; Singapore)
Yeung Yang (curator, writer and founder of soundpocket; Hong Kong).The second topic, "Determinisms in art vocabularies and interactions between art and politics in specific historical conditions," will be discussed on April 12 and 13. Participants include:
Nadim Abbas (artist and musician; Hong Kong)
Petra Bauer (artist and filmmaker; Stockholm)
FX Harsono (art critic, artist and founding member of Gerakan Seni Rupa Baru; Jakarta)
Max Jorge Hinderer (writer, researcher, cultural critic, curator of The Potosi Principle; Berlin)
Ana Janevski (art critic, writer and Associate Curator MoMA; New York)
Hsu Ming-han (art and film critic, curator, chief editor of Who's afraid of Ai Weiwei? and founder of Gaze – Contemporary Art Online Magazine; Taipei)
Rabih Mroue (actor, playwright, director and artist; Beirut and Berlin)
Shabbir Hussain Mustafa (writer, researcher and curator at National University of Singapore Museum; Singapore)
Marc Siegel (writer, researcher and co-founder of the art collective CHEAP; Berlin)
Enin Supriyanto (writer, editor and independent curator; Jakarta)
Anthony Yung (writer, curator, researcher at Asia Art Archive and co-founder of Observation Society, Guangzhou; Hong Kong).
[Register online for tickets.] Live streaming is available at www.para-site.org.hk.
Triangle East Asia Colloquium
Ackland Museum of Art
University of North Carolina at Chapel Hill
12-13 April 2013
[from TEAC, 3/19/13]
FRIDAY, 12 APRIL
Keynote Speech Jerome Silbergeld (Princeton University), "Mixing Media, Chinese Painting and Architecture: Problems in Methodology"
SATURDAY, 13 APRIL
Session I. Chinese Art about Art
- Li-ling Hsiao (UNC-Chapel Hill), "Visualizing Music: Min Qiji's 'Picture of Yingying Listening to Zither' for Xixiang Ji"
- Lillian Lan-ying Tseng (New York University), "Vases for Cut Flowers: Mediums and Visual Culture in Late Imperial China"
Discussion: Stanley Abe (Duke University)Session II. Japanese Art about Art
- Hans Thomsen (University of Zürich), "Listening to China: Paintings on Music in Early Modern Japan"
- Chelsea Foxwell (University of Chicago), "The Place of (Japanese) Art in an International Age: Picturing Pictures in the Silent Film The Dragon Painter (1919)"
Discussion: Gennifer Weisenfeld (Duke University)Session III. Korean Art about Art
- Sunglim Kim (Dartmouth College), "Chaekgeori: Multi-Dimensional Messages in Late Joseon Korea"
Discussion Jerome Silbergeld
Click for more information on Paper Abstracts.
Kim Karlsson (independent scholar)
Museum Rietberg
Zürich, Switzerland
14 April 2013
[from Rietberg, 2/27/13]
Die Auseinandersetzung mit dem Mao-Kult und der Propagandakunst der Kulturrevolution hat die Entwicklung der chinesischen Kunst nach 1979 stark geprägt. Einerseits war und ist diese zwischen Kritik und Nostalgie schwankende Auseinandersetzung biografisch oder politisch motiviert, andererseits geriet sie zum modischen Selbstzweck. Seit dem spektakulären Aufkommen des chinesischen Politpops anfangs der 1990er Jahre sind Arbeiten mit kulturrevolutionären Bezügen, die im Westen weitgehend als «Dissidentenkunst» missverstanden und verklärt wurden, im hiesigen Ausstellungs- und Kunstmarktbetrieb nicht mehr wegzudenken.
Kim Karlsson ist Sinologin und Kunsthistorikerin mit Schwerpunkt traditionelle und zeitgenössische chinesische Kunst. Sie studierte an der Universität Zürich und in Nanjing und promovierte 2003 im Fachbereich Kunstgeschichte Ostasiens. 2009 kuratierte sie die Ausstellung Luo Ping (1733–1799): Visionen eines Exzentrikers im Museum Rietberg Zürich und Metropolitan Museum of Art, New York.
Annual Award Luncheon 2013
Appraisers Association of America
New York, NY
17 April 2013
[from AAA, 2/26/13]
Join us as we honor internationally-renowned Chinese artist and human rights activisit, Ai Weiwei, with the 2013 Appraisers Association of America Award for Excellence in the Arts. As the recipient of the ninth annual Appraisers Association of America Award for Excellence in the Arts, Ai Weiwei is recognized for his dynamic body of work and his fearless advocacy for human rights and free speech.
Keynote presentation by Ann Temkin (Museum of Modern Art)
Special remarks by Jerome A. Cohen (New York University)
New video interview with Ai Weiwei to be presented at the luncheon on the occasion of the Award.
Hiroshi Senju (artist)
Asia
Society
Hong Kong
17 April 2013
[from Asia Society, 4/9/13]
Hiroshi Senju, one of Japan's most celebrated contemporary painters, will talk about his art practice, his pursuit of beauty in his monumental landscape images and the place and purpose of art in our increasingly chaotic and artificial age. Senju was born in Japan in 1958 and lives and works in New York. He seamlessly combines a minimalist visual language rooted in abstract expressionism with ancient painting techniques unique to Japan. Widely recognized as one of the few contemporary masters of the thousand-year-old Nihonga style of painting, he uses mineral pigments made from ground stone, shells, corals, binding them with animal-hide glue. His arresting images of cascading waterfalls and jagged cliffs hover between figuration and abstraction, evoking the forces of nature.
Senju was the first Asian artist to receive an Honorable Mention Award at the Venice Biennale (1995) and has participated in exhibitions around the world, including The Beauty Project at the London Museum of Contemporary Art in 1996; The New Way of Tea, curated by Alexandra Munroe, at the Japan Society and Asia Society in New York in 2002; and Paintings on Fusuma at the Tokyo National Museum in 2003. Also in 2003, Senju completed 77 murals at the Annex of Daitokuji-Jyukoin, a prominent Zen Buddhist temple in Japan. In 2004, he was the art director for the new Haneda Airport Terminal in Tokyo, where he completed one of his largest installations. The Benesse Art Site of Naoshima Island, designed by Tadao Ando, also houses two of his large-scale installations.
His most recent public installation is a waterfall in the OUB Centre in Singapore. His works are in permanent collections of the Museum of Contemporary Art in Los Angeles; the Museum of Modern Art, Toyama, Japan; Yamatane Museum of Art in Tokyo; the Tokyo National University of Fine Arts and Music; and the Kushiro Art Museum, Hokkaido, Japan. The Hiroshi Senju Museum, designed by Ryue Nishizawa, opened in October 2011 in Karuizawa, Japan.
Laura W. Allen (Asian Art Museum of San Francisco)
San Diego Museum of Art
18 April 2013
[from SDMA, 1/31/13]
In the Moment: Japanese Art from the Larry Ellison Collection, on view at the Asian Art Museum of San Francisco from June 28 through September 22 and featuring approximately 80 exceptional artworks spanning 1,300 years, will be discussed by Laura W. Allen, Ph.D., Curator of Japanese Art for the Asian Art Museum at the Chong-Moon Lee Center for Asian Art & Culture.
University of San Francisco
San Francisco, CA
18-19 April 2013
[from USF, 4/15/13; panels/papers relating to visual/material culture listed below]
Panel 2: Art and the Art of Collecting at the Imperial Court
Discussant: Karen Fraser (Santa Clara University)
- Nicole Chiang (Museum of East Asian Art, Bath), "Creating the Collection of the Qianlong Imperial Household as an Institutional Activity"
- Elizabeth Lillehoj (DePaul University), "Empress Meishô (1623-96) and Art at the Japanese Palace"
Panel 5: Eunuchs and Imperial Theatre
- Liana Chen (George Washington University), "Opera on the Road: The Imperial Theatre Troup and the Court Administration of the Qianlong Emperor's Trips to Chengde, 1741-1798"
Emory University
Atlanta, GA
19-20 April 2013
[from Emory, 4/8/13; panels/papers relating to visual/material culture listed below]
Sexuality and the Body
- Leslie Winston (University of Maryland, Baltimore County), "Seeing Double: the Feminism of Ambiguity in the Art of Takabatake Kashô"
Motherhood and the Family
- Hikari Hori (Columbia University), "Feminist Imagination in Shojo Manga: Motherhood, Reproduction, and Family in Hagio Moto's Marginal (1985-87)"
Education and Employment
- Nancy Stalker (University of Texas at Austin), "Flower Empowerment: Rethinking Japan's Traditional Arts as Women's Labor"
Reconsidering Asian Material Texts
University of Pennsylvania
Philadelphia, PA
19-20 April 2013
[from H-ASIA, 3/14/13]
This symposium invites a reconsideration of the place and meaning of the "material text" in East and South Asia. Some of the questions that will be addressed in the presentations and study sessions include: How do we evaluate sutras, manuscripts, printed books, magazines, and even fakes as "material texts"? How did these materials bear meaning in their contexts, and what can they reveal to us today, in form, content and reception? What can we learn about reading and representation through these material texts? How has the history of the material text in Asia been written and what place does the text have, in the pre-modern, modern and contemporary world? What methods are useful for our engagement (and what may be less so)? By asking these questions and others, the symposium aims to bring forward new approaches to the history of the material text in Asia.
Panel I: Materials and Materiality
Chair: Ramya Sreenivasan (University of Pennsylvania)
- Justin McDaniel (University of Pennsylvania), "Manuscripts and Material Culture in Southeast Asia: Examples from the Penn Collection and Beyond"
- Adam Smith (University of Pennsylvania:),"Text production and Reproduction in Early China"
- Max Moerman (Barnard College), "Materializing Mount Sumeru: Manuscripts, Maps, and Machines"
Keynote Lecture: Cynthia Brokaw (Brown University): "'The Scent of Books'?: Print Technology and the Material Book in Late Imperial China"
Panel II: Inscriptions and the Object
Chair: Linda Chance (University of Pennsylvania)
- Jinping Wang (University of Pennsylvania), "Steles as a Medium for Social Power in Medieval China"
- Tomoko Sakomura (Swarthmore College), "The Place of Poetry in the Inscription Culture of Late-Sixteenth-Century Japan"
- Felice Fischer (Philadelphia Museum of Art), "Ike Taiga: Word and Image"
Panel III: Trade and Texts
Chair: Julie Davis (University of Pennsylvania)
- Brian Vivier (University of Pennsylvania), "Carrying Books across Borders in Northeast Asia, 960-1276"
- Ann Sherif (Oberlin College), "Print Matters and Journals in Japan"
- Projit Mukharji (University of Pennsylvania), "Finding Fakes: Manuscript Markets, Forgeries and Truth Technologies in South Asia"
A Symposium on the Inscription of Buddhist Scriptures on Stone
Princeton University
Princeton, NJ
20 April 2013
[courtesy ofTang Center, 4/4/13]
Chinese Buddhists began to prepare for the apocalypse in the sixth century by carving the Buddhist canon into stone. In the most massive projects, texts on stone slabs were set into the walls of caves and buried underground or in vaults. Other believers tried to preserve the Buddhist law (Dharma) by arranging sutras and statues of Buddhas on natural cliff-faces to form multimedia ritual environments.
Since 2005 a multidisciplinary team sponsored by the Heidelberg Academy has been researching Buddhist stone inscriptions in China. This public symposium presents this project to a general audience and reflects on the practice of inscribing sutras on stone from a variety of disciplinary perspectives and in contexts outside of China.
Research Agenda
- Stephen F. Teiser (Princeton University), IntroductionOverview of the Project
- Lothar Ledderose (Heidelberg University), "Buddhist Stone Sutras in China: Methods and Goals of the Project"
- Lothar Ledderose, "Moving Mountains: Indian Peaks at Mount Gang (Shandong)"Other Perspectives
- John Strong (Bates College), "Indian Buddhism"
- Robert E. Harrist, Jr. (Columbia University), "Chinese Art"
- D. Max Moerman (Barnard College), "Japanese Buddhism"
The symposium is free and open to the public, but pre-registration is required (by sending an e-mail to csrelig@princeton.edu) by 8 April 2013.
Organized by the Princeton University Buddhist Studies Workshop and cosponsored by the Department of Religion, the Tang Center for East Asian Art, the Program in East Asian Studies, the Center for the Study of Religion, and the Silk Road Project.
Stacey Pierson (School of Oriental and African Studies)
Museum of East Asian
Art
Bath, UK
25 April 2013
[courtesy of N. Chiang, 3/18/13]
Ming porcelain is among the world's finest cultural treasures. From ordinary household items to refined vessels for imperial use, porcelain became a dynamic force in domestic consumption in China and a valuable commodity in the export trade. In the modern era, it has reached unprecedented heights in art auctions and other avenues of global commerce.
This book examines the impact of consumption on porcelain of the Ming period and its transformation into a foreign cultural icon. The book begins with an examination of ways in which porcelain was appreciated in Ming China, followed by a discussion of encounters with Ming porcelain in several global regions including Europe and the Americas. The book also looks at the invention of the phrase and concept of 'the Ming vase' in English-speaking cultures, and concludes with a history of the transformation of Ming porcelain into works of art.
Please book and pay (£4 for public; £2.50 for Museum Friends and students) by Tuesday, 23rd April by calling +44 (0)1225 464640.
The X Annual Social Theory Forum Program
University of Massachusetts at Boston
24-25 April 2013
[from STF, 4/23/13; panels/papers relating to China listed below]
Research Panel 2: Media, and Marginalized Communities
- c Yang Jie (Shaanxi Normal University), "The Female and Female Beauty of the Cover Girls on Chinese Woman in the Last 30 Years"
Research Panel 4: Historic Constructions: Gender Imagery and Masculinities
- Guo Haiwen (Shaanxi Normal University), "The Female and Female Beauty in Photographs of Modern Times"
Research Panel 5: Aesthetic Politics and Social Movements
- Wang Rong (Shaanxi Normal University), "From 'New Opera' to 'New China's Movie': A Study on the White haired Girl around 1949"
Keynote Speaker
Xueping Zhong (Tufts University), "A Few Critical Remarks on Visual Representations of Women in Contemporary China: From a Left and Gendered Vision"
Moderator: Weli Ye (UMass Boston)
Liu Dahong (Shanghai Normal University) and Katie Hill (Sotheby's Institute of Art)
Courtauld Institute
London, UK
25 April 2013
[from Courtauld, 3/26/13]
In conversation with Dr Katie Hill, the renowned Chinese artist Liu Dahong discusses a recent series of paintings on the thematics of childhood and rebellion, fantasy and nostalgia, inspired by his memories of growing up during the tumultuous years of the Cultural Revolution (1966-1976). Using an eclectic iconography of visual and textual references from an "age of troublemaking," Liu's intensely personal, ludic and carnivalesque scenes of mischief subvert the dominant narrative of absolute political power that has come to define a period of sweeping historical change. The seminar coincides with Liu Dahong's exhibition Childhood at Rossi & Rossi (25 April - 30 May 2013).
Born in Qingdao, Shandong, China in 1962, Liu Dahong studied under Zao Wouki before graduating from the China Academy of Art in 1985. Since then he has exhibited widely on the international stage, with a number of solo shows from 1992, as well as group exhibitions. Dahong now currently lives, works, and teaches in Shanghai.
Dr Katie Hill is consultant lecturer in contemporary Chinese art at Sotheby's Institute of Art. Her new consultancy OCCA (Office of Contemporary Chinese Art) represents and promotes Chinese artists, delivering exhibitions and arts programmes on Chinese art and culture. She has lectured extensively and worked closely with a number of contemporary artists from China as a writer and curator, conducting the "In Conversation" with the artist Ai Weiwei on the occasion of his Sunflower Seeds installation at Tate Modern in 2010. She co-edited a special issue of the Journal of Visual Art Practice on "Contemporary Chinese Art and Criticality" with Paul Gladston (Volume 11, Numbers 2 & 3, 2012). She is co-author of The Chinese Art Book (forthcoming Phaidon, 2013) with Keith Pratt and Jeff Moser.
En Li (Washington University, St. Louis)
in the 4th Annual Berkeley-Stanford Graduate Student Conference in Modern Chinese Humanities
Stanford University
Palo Alto, CA
26-27 April 2013
[from CEAS, 4/17/13]
Jonathan Patkowski (City University of New York Graduate Center)
in "Design and Mobility"
Twenty-Second Annual Parsons/Cooper-Hewitt Graduate Student Symposium on the Decorative Arts and Design
Parsons The New School for Design
New York, NY
26-27 April 2013
[from Insights, 4/27/13]
Chen Wangheng (Wuhan University)
Stanford University
Palo Alto, CA
29 April 2013
[from CEAS, 4/27/13]
Dr. Wangheng Chen is a professor of philosophy at Wuhan University. Currently he is the executive director of the Chinese Aesthetics Society and the vice president of the Asian Society of Arts. He also serves as the editor for the international journal Aesthetic Pathway. His research areas include aesthetic and ancient cultures of China. His works on environmental aesthetics have received the outstanding achievement awards of the 5th and 6th China Academic humanities and social science researches. He is regarded as a pioneer and leading figure in Chinese environmental aesthetics and aesthetic ontology. [Lecture in Chinese]
School of Oriental and African Studies
University of London
1 May 2013
[courtesy of S. Pierson, 3/25/13]
This study day follows last year's successful event which focused on the latest research in Chinese ceramics. This year, the field is broadened to feature a greater range of topics and geographical locations. Prominent specialists in the field will present their current research in ceramics from East Asia, South East Asia, the Pacific and the Middle East. The study day thus presents a unique opportunity to consider ceramics from a cross-regional perspective and to discuss new developments in the wider field of world ceramics.
Scheduled Speakers: Nicole Rousmaniere, Nigel Wood, Melanie Gibson, Heena Youn, Arjmand Ahmad, John Johnston, Stacey Pierson (convenor)
Admission is free but places are limited and must be reserved in advance. To reserve a place, e-mail sp17@soas.ac.uk, citing "study day 2013." Further details and a timetable will be sent to registered participants.
Erik Bordeleau (McGill University)
in the symposium "Speculative
Art Histories"
Erasmus University and Witte de With Center for Contemporary Art
Rotterdam, The Netherlands
2-4 May 2013
[from H-ARTHIST, 2/23/13]
TheTimesCenter
New York, NY
3 May 2013
[from NYT, 3/24/13]
Don't miss this compelling conversation between internationally acclaimed author Salman Rushdie (on stage at The TimesCenter) and renown artist/activist Ai Weiwei (via Skype from his studio in Beijing) on issues of moral courage, democracy and freedom of expression. Hear them discuss their experiences and thoughts and the responses of writers throughout the world to questions posed at the Invisible Symposium project of the PEN World Voices Festival. Moderated by New York Times reporter and author Patricia Cohen. (Read responses to the Symposium's questions in the New York Times Sunday Review the same week.)
In collaboration with the PEN World Voices Festival of International Literature.
Tune in to nytimes.com/opinion May 3 at 7 PM ET to watch this event live on the Web.
M+
Hong Kong
[from Venice Biennale HK, 5/3/13]
In conjunction with our participation in the Venice Biennale, M+ will host a series of talks in Hong Kong intended to enhance the public's understanding of this important event. Aimed at artists and curators, art students and other interested members of the public, the series will kick off with a talk on the history, importance and defining characteristics of the Venice Biennale. The second talk will extend the discussion to the broader biennial phenomenon, and the concept of curating within this context. And finally, there will be sharing sessions with current and previous Hong Kong participants in the Venice Biennale, as a way to summarise the experience and gather thoughts for future participation.
3 May 2013
Federica Martini (Ecole Cantonale d'Art du Valais), "What Do We Talk about When We Talk about Pavilions:
A History of the Venice Biennale"
Federica Martini is a curator and art historian with a research focus on the history of contemporary art biennials. At a time when almost two hundred biennials are active in the world, the exception of the Venice exhibition lies in the national pavilion system and in the trans-disciplinary reflection emerged in the 1930s and 1980s. Following the expansion of the Venice Biennale from the original Palazzo delle Esposizioni into the national pavilions in the Giardini, Martini will retrace the exhibition path from fin-de-siècle internationalism to the globalization of the contemporary art system. The talk will interrogate representations of national discourses and moments of institutional critique in contemporary large-scale exhibitions, with a focus on the shifts and changes of paradigm at the Venice Biennale.
14 June 2013
Paul O'Neill (Bard College), "The Curatorial Constellation:
The Impact of Biennials, Durational Approaches to Curatorial Practice and Co-Habitational Time"
Paul O'Neill is a curator, writer and educator based in Bristol, UK, and New York; he has written extensively on curating, biennial culture and exhibition-making, etc. In his talk, O'Neill will examine the emergence of a discursive field relating to biennial curating and the implied impacts. A "durational" processes to public art curating and commissioning have emerged as an alternative to nomadic, itinerant and short-term approaches in recent years; by looking at such phenomenon, O'Neill will explore how "the curatorial" can be conceived of as a constellation, resisting the stasis of the curator-artist-spectator triumvirate and supporting more semi-autonomous and self-determined aesthetic and discursive forms of practice.
22 June 2013
"Looking Back: Hong Kong in Venice"
Moderator: Tina Pang (University Museum and Art Gallery, University of Hong Kong)
Guest Speakers:
(curators) Kith Tsang, Sabrina Fung, Norman Ford & Tobias Berger
(artists) Ho Siu Kee, Ellen Pau, Kurt Chan, MAP Office, Hiram To & Kwok Mang-ho (Frog King)
Hong Kong has been participating in the Venice Biennale since 1999 (the 49th Biennale). Previous participants are invited to share their experience of representing Hong Kong in the Venice Biennale. Covering topics such as the curatorial strategies deployed, the challenges of the biennale format for artists and curators, issues of cultural identity and the politics of representation against a national pavilion structure, this event aims to offer a first-hand overview of Hong Kong's past exhibition in Venice and inform future participation. These issues will be explored during two panel discussions, where curators and artists will share their different perspectives.
12 July 2013
Lars Nittve (M+), Yung Ma (M+), Lee Kit (artist), "Bringing You (you). to Venice"
In the last of the series, M+ Venice Biennale curatorial team will be joined by the artist, Lee Kit, to share their experience of this year's Hong Kong participation, and also to give an overview of this year's Biennale. The talk will cover the process of preparation, the reception and the introduction of the show in Venice. At the same time, they will be sharing their insight on the shifting notion of cultural representation and individual participation with regard to the pavilion format. We hope this series of talks will set the framework that facilitates a deeper understanding of some of the relevant issues surrounding the Venice Biennale and large scale international exhibitions, particularly for those who might participate or visit the Biennale, and other such events around the globe.
Kenneth Wayne (formerly of Noguchi Museum)
Minneapolis Institute of Arts
Minneapolis, MI
4 May 2013
[from MIA, 2/25/13]
Isamu Noguchi's career extends from Charles Lindbergh's solo flight from New York to Paris in 1927 to the moon landing in 1969, and beyond. This talk will examine Noguchi's exploration of space and dimensionality in his sculpture, design, and architectural projects.
Wayne is the former deputy director for curatorial affairs at the Noguchi Museum. He is an expert in modern sculpture who holds degrees from Stanford University, the Courtauld Institute of Art, and the University of California.
Courtauld Institute of Art
London, UK
4-5 May 2013
[from Courtauld, 4/17/13]
London is a world centre for collecting, curating and conserving Buddhist art. To bring together these essential but often disparate strands, the Research Forum is hosting this conference organised by The Robert H. N. Ho Family Foundation Centre for Buddhist Art and its Conservation at The Courtauld and the Victoria and Albert Museum. Drawing on the richness of London institutions, the programme includes speakers from the Victoria and Albert Museum, the British Museum, the British Library and The Courtauld Institute. Presentations cover a wide diversity of object types: the Diamond Sutra, the earliest surviving printed book; early painted copies of the wall paintings of Ajanta; a bronze Buddha of the Yongle period; the myriad wall paintings of Dunhuang and Bhutan; a mixed-media shrine from Burma; a Korean slate funerary chest; and a Burmese manuscript. Similarly, a range of important regions is represented: Bhutan, Burma China, India, and Korea.
- Frances Wood and Mark Barnard (British Library), "Conservation after Conservation: Restoring the Diamond Sutra"
- Divia Patel (Victoria and Albert Museum), "Copying Ajanta: Conservation and Rediscovery of Some 19th-century Paintings"
- Sascha Priewe and Quanyu Wang (British Museum): A Yongle Buddha in the British Museum: Technical and Art-historical Studies"
- Sharon Cather and Giovanni Verri (Courtauld Institute of Art), "Conserving the Thousands of Buddhas of Dunhuang: Philosophy, Approaches and Innovative Solutions"
- John Clarke (Victoria and Albert Museum), "A Royal Shrine from Mandalay: Art-historical and Conservation Perspectives"
- Lisa Shekede and Stephen Rickerby (Courtauld Institute of Art), "The Buddhist Wall Paintings of Bhutan: a Survey of their Significance, Technology and Condition, and the Conservation of the Paintings of Tamzhing Monastery"
- Beth McKillop (Victoria and Albert Museum), "A Buddhist Funerary Chest from Korea and Its Conservation"
- Alexandra Green (British Museum), "Mapping Space and Place in a Burmese Cosmology Manuscript at the British Museum"
Ticket/entry details: £20 (£12 students and concessions: over 60). Complimentary places available for V&A, British Museum, British Library staff and Courtauld staff/students with advance booking required. BOOK ONLINE: http://courtauld-institute.digitalmuseum.co.uk Or send a cheque made payable to "Courtauld Institute of Art" to:
Research Forum Events Co-ordinator
Research Forum
The Courtauld Institute of Art
Somerset House
Strand
London WC2R 0RN
UK,
stating "Buddhist Art and its Conservation." For further information, e-mail ResearchForumEvents@courtauld.ac.uk or call +44 (0)7834 521471.
Museum of Modern Art
New York, NY
8 May - 1 June 2013
[from MOMA, 4/16/13; consult this for the full film exhibition calendar]
Amid China's epochal transformations over the last two decades, new documentary aesthetics emerged, as the overwhelming cultural and societal challenges caused by China's transition to a free-market economy compelled professional and amateur filmmakers alike to capture new realities on screen. Working largely outside the state media apparatus, pioneer filmmakers like Wu Wenguang, Zhang Yuan, and Duan Jinchuan provided bracing alternative visions of both society and filmmaking, with an ethos based on direct observation of reality and uncensored personal expression. This newfound fascination with unbridled realism also informed the work of filmmakers as disparate as Zhang Yimou and Jia Zhangke and artists like Ai Weiwei and Ou Ning. The proliferation of the "reality aesthetic" has led to more complex notions of what reality means and how it is represented.
This series aims to reflect the evolution of documentary practice in China over the past 25 years, revealing the growth and ever-increasing influence of nonfiction film and media. The selections, encompassing a wide expanse of Chinese film and media, including state-approved productions, underground amateur videos, and Web-based Conceptual art, provide a vivid look into a society in perpetual transformation. Some screenings will be presented by the filmmakers and scholars.
Organized by Sally Berger, Assistant Curator, Department of Film, The Museum of Modern Art, and Kevin B. Lee, independent curator and Vice President, Programming and Education, dGenerate Films.
8 May 2013
Jiu zu fan bao de cun (The Satiated Village)
(followed by a discussion with Wu Wenguang)
2011. China. Directed by Zou Xueping. Wu Wenguang's Folk Memory Documentary Project, which encourages amateur filmmakers to investigate the hidden histories of their home villages, gave rise to Zou Xueping's first feature, The Starving Village, for which Zou interviewed residents of his hometown about their experiences during a famine that killed tens of millions. In this follow-up, Zou tries to screen the film in her village, only to meet resistance from family and neighbors fearful of official reprisal. Undeterred, Zou uses her camera to mediate her hometown's ability to confront its tragic past, with near-miraculous results. Courtesy of China Independent Documentary Film Archive. In Mandarin; English subtitles. 88 min.
9 May 2013
Zhongguo cunmin yinxiang jihua (China Villagers Documentary Project)
(followed by a discussion with Wu Wenguang)
2005. China. Various directors. Wu Wenguang and filmmaker Jian Yi trained 10 villagers from across China to make films documenting electoral processes in their home villages. Pursuing the ideal that anyone can become a documentary filmmaker, this project sparked a new model of Chinese participatory documentary, with community members depicting their own lives. The resulting works—surprisingly humorous, and filled with their own local flavor—vividly reveal the realities of village life and democracy in action. Courtesy of China Independent Documentary Film Archive. In Mandarin, various Chinese dialects; English subtitles. 95 min.
9 May 2013
Cao ta ma de dianying (Fuck Cinema)
(followed by a discussion with Wu Wenguang)
2005. China. Directed by Wu Wenguang. This unflinching x-ray of show business, worthy of Billy Wilder, is an odyssey through the dark side of Chinese underground cinema. The film follows a young man from the countryside trying to break into the movies as an actor and screenwriter, a series of young women auditioning for the coveted role of a movie prostitute, and a pirate DVD seller hounded by the police. With this fresh crop of lost dreamers seeking success in the culture industry, Wu offers a pointedly cynical update to his Bumming in Beijing while exposing the exploitive undercurrent of Chinese independent filmmaking—including his own. Courtesy of Wu Wenguang/China Independent Documentary Film Archive. In Mandarin; English subtitles. 150 min.
16 May 2013
Lao gou/Khyi rgan (Old Dog)
followed by a discussion with Pema Tseden and La Frances Hui (Asia Society)
2011. China. Directed by Pema Tseden. With Yanbum Gyal, Droluma Kyab, Lochey. A young Tibetan decides to sell his family's nomad mastiff, an exotic dog that fetches a fortune from wealthy Chinese. His aging father opposes him, leading to a series of tragicomic events that threaten to tear the family apart. Pema Tseden is the leading filmmaker of a newly emerging Tibetan cinema, and the first director in China to film his movies entirely in the Tibetan language. His third feature, Old Dog employs an observational documentary approach that soberly depicts the erosion of Tibetan culture under the pressures of contemporary society. Courtesy of dGenerate/Icarus. 88 min.
17 May 2013
i.Mirror by China Tracy (aka: Cao Fei) Second Life Documentary Film
followed by a discussion with Ying Zhu (CUNY-College
of Staten Island)
2007. China. Directed by Cao Fei. Artist and documentarian
Cao Fei recorded her "experiences" within the online
social platform Second Life. The result is a wistful,
surreal vision of an alternative reality sprung from
the pop culture fantasies and hyper-consumerism of contemporary
urban China, while also trying to transcend its real-life
limitations. It can be seen as an answer to the challenge
posed by River Elegy: how to envision a new
Chinese destiny founded on principles of individuality,
creativity, discovery, and freedom. The film also reflects
the contemporary condition of the virtual supplanting
our experience of the real. In Mandarin; English subtitles.
28 min.
17 May 2013
Chris Berry (Kings College London), "Confronting Reality: The New Chinese Documentary Movement"
Rarely has a nation's cinema been as profoundly influenced by documentaries as that of China during the 1990s and 2000s. The hunger for a "real" and truthful depiction of reality extends beyond documentary to influence many of the outstanding Chinese films of the last two decades. Leading Chinese film scholar Chris Berry (Kings College, London; co-editor of The New Chinese Documentary Movement: For the Public Record) discusses the movement's impact and the aesthetic and moral questions it has raised for Chinese cinema.
18 May 2013
Lao gou/Khyi rgan (Old Dog)
followed by a discussion with Chris Berry, La Frances
Hui, and Pema Tseden)
19 May 2013
followed by a discussion with Sukhdev Sandhu (New York University)
Tie Xi Qu: West of the Tracks (Part 3 of 3)
2003. China. Directed by Wang Bing. The most monumental achievement in the Chinese new documentary movement to date, Wang Bing's three-part, nine-hour portrait of an industrial wasteland made the top 100 in the 2012 Sight & Sound Greatest Films of All Time poll. Once the heart of state-run heavy industry, Tiexi district, in the northeastern city of Shenyang, is now a scene of decay, as economic reforms, bankruptcies, relocation, and demolition have left many factories empty and entire communities jobless. Filmed over two years, the film is a testament to Chinese documentarians' commitment to a deceptively simple film technique, one that patiently peels away everyday surfaces to reveal rich layers of history and culture. Courtesy of Documentary Educational Resources. In Mandarin; English subtitles. 186 min
25 May 2013
Shang fang (Petition (long version))
followed by a discussion with Sukhdev Sandhu (New York University)
2009. China. Directed by Zhao Liang. Filmed over the course of 12 years, Zhao Liang's landmark documentary explores the world of petitioners who travel to Beijing to seek justice back in their hometowns. Zhao uses secret cameras to capture a bureaucracy that leaves people waiting for years for their cases to be heard. The film takes a startling self-reflexive turn when Zhao becomes entangled in a heartbreaking tragedy that unfolds between a petitioner and her daughter. This is a stirring achievement in both journalistic dedication and documentary ethics. This 5-hour long version of Petition captures in greater detail and complexity the stories of the many petitioners who seek justice. Courtesy of Zhao Liang. 30 minute intermission. In Mandarin; English subtitles. 310 min.
26 May 2013
Cha fang (The Questioning)
followed by a discussion with Alison Klayman (director,
Ai Weiwei: Never Sorry)
2013. China. Directed by Zhu Rikun. As a producer, festival programmer, and distributor, Zhu Rikun has long served as a bastion of China's independent documentary movement. On July 25, 2012, he visited three human rights workers in Jiangxi province and was questioned by local police. Zhu turns their encounter into a real-time demonstration of civil disobedience, deconstructing the logic of interrogation. In Mandarin; English subtitles. 22 min.
William R. Sargent (independent curator and scholar)
Ringling Museum of Art
Florida State University
Tallahassee, FL
9 May 2013
[from Ringling, 2/1/13]
Treasured for its delicate forms, translucency and durability, porcelain was first produced in China around the 8th century. The "secret" of porcelain eluded the West for centuries where the technology would not be fully duplicated for another thousand years. The history of the trade in this unique material, the exportation of ceramics from 15th century to 18th century, their use in interior design, and the influence of export ware on European ceramic technology and history is discussed in this talk.
Chinese
Arts Centre
Manchester, UK
9 May 2013
[courtesy of R. Marsden, 4/23/13]
In partnership with 3030Press (China) and Comma Press (Manchester). This is in conjunction with the launch of the project space exhibition Tumbler. indie print in China [9 May - 29 June 2013] opening on the same day from 5.30-7.30pm.
This one-day symposium brings together professionals, academics, curators and artists from the fields of publishing in China and the UK to discuss the changing character of print and art book publishing; the developing role of self-publishing and artists' book initiatives, and the impact of online and digital media on the traditional art book publishing industry. In addition, the symposium will examine practical challenges facing foreign publishers attempting to enter the Mainland Chinese market.
- Rachel Marsden (Chinese Arts Centre), Introduction
- John Millichap (3030Press; organiser, Tumbler. indie print in China), Introduction
- Ra Page (Comma Press), "Publishing the Liminal"
- Paul Gladston (University of Nottingham), "Academic Research and Publishing in China: From Hard Copies to Digital Networks and Back Again"
- Frances Wood (British Library), "From Mao to Modernity"
- Anne Witchard (University of Westminster), "Under the Radar: English Language Publishing in China"
- Documentary screening Ba Bao Fan
- Ting-Ting Cheng (artist), "Tour Guides and National Identity"
Free to attend; register at http://fromprinttopublishing.eventbrite.com.
Wang Yuyang (artist) and Marko Daniel (Tate Modern)
in conjunction with Objects of Fantasy (8 May - 12 June 2013)
Kings College London
UK
9 May 2013
[from CVF, 4/26/13]
The majority of Wang Yuyang's artworks are derived from his mesh of experience of what he sees and does on a daily basis. Through his unique creative approach, Wang makes mute, humble objects speak, revealing human stories and emotions. Wang challenges audiences to question the very structure of reality, offering glimpses of the world from radically different perspectives. With his art, Wang creates a playful arena for various perceptual discoveries, in an effort to inspire audiences to reconsider their relationship with the outside world and its constituent parts in a state of constant, rapid progress.
Wang Yuyang (b. 1979, Harbin), educated at Central Academy of Fine Art (CAFA) in Beijing, is recognised as one of the emerging conceptual artist in China. His work is an exploration through obsolete technologies and a challenge of our perception in daily life. Ranging from sculpture, painting, photography and video, his work is a spiritual art focusing on post-sense and sensibility of this generation and bringing humor into the questioning of our body cognition. Wang's work has been shown in major exhibitions and festivals internationally including Ullens Center for Contemporary Art, Sainsbury Centre for Visual Arts and Palazzo Strozzi.
Getty Research Institute
Los Angeles, CA
10-11 May 2013
[from Getty, 5/11/13; papers/panels relating to China and Japan listed below]
Lacquer Without Borders
Led by Arlen Heginbotham (J. Paul Getty Museum)
This tour through the Museum galleries focuses on examples of Chinese and Japanese lacquer that have been incorporated into French decorative arts and addresses the worldwide exchange of aesthetics, raw materials, and finished goods associated with the lacquer trade.
VOILA—How Science Can Help Establish a Community of Asian Lacquer Researchers
Led by Michael Schilling (Getty Conservation Institute)
Ever wondered why scientists study cultural heritage? This tour of the Organic Materials Laboratory at the Getty Conservation Institute illustrates the role of science in uncovering the mysteries of Asian lacquer, the topic of a recent workshop for conservators and scientists hosted by the Institute.
Looking East: Rubens's Encounter with Asia
Led by Stephanie Schrader (J. Paul Getty Museum)
This exhibition tells an intriguing story about early trade between Europe and Asia, the trafficking of Asian slaves, a shipwreck, the role of Jesuit missionaries in the East, and an unusual hat. Featuring a masterpiece from the Getty collection, Man in Korean Costume, the exhibition includes important scholarship that illuminates unexplored facets of Peter Paul Rubens's much-celebrated career.
Imperial Impressions: Chinese Engravings and French Models
Led by Marcia Reed (Getty Research Institute)
Rare prints from the Getty Research Institute's collections demonstrate the evolution of China's cultural exchange with Europe during the Qing Dynasty.
Session 3
Moderator: Stephen Little (Los Angeles County Museum of Art)
- Dana Leibsohn (Smith College), "Coins for Candles: Asian Commodities and the Visual Culture of Spanish America"
Session 5
Moderator: Polly Roberts (University of California, Los Angeles)
- Sandy Prita Meier (University of Illinois, Urbana-Champaign), "Porcelain Objects and Mercantile Aesthetics: Trading Culture in Coastal East Africa"
- Nancy Um (SUNY-Binghamton), "Chairs, Writing Tables,
and Chests: On the Postures of Commercial Documentation
in the Early Modern Indian Ocean"
in conjunction with The
World of Taiyo Matsumoto (10 May - 7 June 2013)
Japan Foundation
Toronto, Canada
11 May 2013
[from JFTOR, 4/27/13]
James C. Y. Watt (Chinese University of Hong Kong)
School of Oriental and African Studies
University of London
13 May 2013
[courtesy of S. Pierson, 4/5/13]
James C. Y. Watt (Qu Zhiren) is Curator Emeritus of the department of Asian Art at the Metropolitan Museum of Art, and J S Lee Professor of Chinese Culture at the Chinese University of Hong Kong.
He began his career at the Metropolitan Museum in 1985, as Senior Consultant for Chinese Antiqui-ties and Decorative Arts. He became Brooke Russell Astor Senior Curator in the Department of Asian Art in 1988 and assumed the chairmanship of the department in 2000. Earlier in his career, Mr. Watt served 1981-1985 as Curator of the Department of Asiatic Art at the Museum of Fine Arts, Boston. At the Chinese University of Hong Kong, he was also Chairman of the Board of Studies in Fine Arts (1977-80) and Curator of the Art Gallery, Institute of Chinese Studies.
Over the past four decades, Mr. Watt has been curator of a number of major exhibitions, and author of scholarly catalogues. These have included, in recent years, the Metropolitan Museum exhibitions Splendors of Imperial China: Treasures from the Palace Museum, Taipei (with Wen Fong), 1996; When Silk was Gold: Central Asian and Chinese Textiles in the Metropolitan and Cleveland Museums of Art (with Anne Wardwell), 1998; China: Dawn of a Golden Age, 200-750 A.D., 2004-2005; The World of Khubilai Khan: Chinese Art in the Yuan Dynasty, 2010-2011.
Sponsored by the Sir Percival David
Foundation Trust.
To attend this free lecture, register by e-mail: sp17@soas.ac.uk.
David Fedman (Stanford University)
Stanford University
Palo Alto, CA
16 May 2013
[from CEAS, 4/28/13]
World War II yielded many photographs of bombed-out cities. In this talk I telescope between two sets and scales of images that represent the principal frames through which the American and Japanese publics have memorialized the incendiary bombings that laid waste to Tokyo: aerial photographs taken by the US Army Air Force during its wartime planning, prosecution, and assessment of the raids; and the ground-level images captured by Ishikawa Koyo, a photographer working on behalf of the Tokyo Metropolitan Police. By means of a detailed examination of the production, circulation, and consumption of these photographs -- what some scholars have called an "archaeological approach" to images of ruination -- this talk explores not only the visual rhetoric and reality of the destruction of Japan's cities, but also how that destruction is situated in history, memory, and visual culture.
Patricia Ebrey (University of Washington)
Stanford University
Palo Alto, CA
16 May 2013
[from CEAS, 4/28/13]
Huizong came to the Song throne in the first month of 1100, a few months after his seventeenth birthday, and reigned almost twenty-six years, till the Jurchen invasion in late1125. Since his reign ended so badly, traditional historians have viewed Huizong's many pursuits as his vices, not his virtues. His love of art was seen as self-indulgence, his faith in Daoism as self-delusion, his trust in Cai Jing as irresponsible. So long as one sets aside this moral framework, however, there are ample sources to look at Huizong and his reign afresh, to consider how he understood monarchy and its challenges, what he got from Daoism, how he made use of the resources of the throne, why he chose to ally with the Jurchen, and other related issues.
Asia Society
Hong Kong
16 May 2013
[from Asia Society, 5/12/13]
Evening forum with guest curators, collector, and participating artists about Light Before Dawn: Unofficial Chinese Art 1974-1985 [15 May - 1 September 2013]
Light Before Dawn: Unofficial Chinese Art 1974-1985 presents a revealing look at the creative spectrum of China's most influential contemporary artists from three different artist groups of the period. Wuming (No Name), Xingxing (Stars), and Caocao (Grass Society) were formed by free-thinking artists in Beijing and Shanghai during the 1970s. They developed their art privately, even secretly, during and immediately after the ideologically restrictive Cultural Revolution, resisting the requirement that art should serve politics. Their art explored the beauty of nature, rethought history, probed sexual desire, and sought formal innovation, challenging the political status quo in a range of previously taboo modernist styles. Crossing the boundaries of subject matter and style, they questioned, re-evaluated and redefined the art of China. In 1979 and 1980 they mounted controversial exhibitions that conclusively rejected previous restrictions on art and personal freedom and forever changed the Chinese art world.
Tonight's panelists, who include one artist from each group, will trace the beginning of modernism in the post-Mao era, shedding light on the little-known art and activities of this era, which set the stage for the emergence of a contemporary art movement in China and on the global scene.
Julia F. Andrews is Professor in the Department of History of Art at The Ohio State University. Her 1994 publication, Painters and Politics in the People's Republic of China, 1949-1979 won the Joseph Levenson Prize of the Association for Asian Studies for the best book of the year on modern China. She co-curated one of the first American exhibitions of post-'89 Chinese art, Fragmented Memory: The Chinese Avant-Garde in Exile, at OSU's Wexner Center for the Arts in 1993, and the Guggenheim Museum's ground-breaking 1998 exhibition, A Century in Crisis: Modernity and Tradition in the Art of Twentieth Century China, shown in New York and Bilbao. Her recent projects include Blooming in the Shadows: Unofficial Chinese Art, 1974-1985 (China Institute, 2011, New York), and Art of Modern China (with Kuiyi Shen, University of California Press, 2012).
Joan Lebold Cohen is an art historian, photographer, curator and collector. She began studying Chinese art in 1960, living many years in China, Japan and Hong Kong. She has written, exhibited and published photographs of Asia since 1973, and co-authored China Today and her Ancient Treasures with her husband Jerome A. Cohen, an expert in Chinese law. Ms. Cohen organized the first of a number of exhibitions of contemporary Chinese art in the U.S., Painting the Chinese Dream, in 1982-3. Her 1987 book, The New Chinese Painting: 1949-1986 was the first in English about contemporary Chinese art after the cultural revolution (1966-1976). Ms. Cohen lectured on Asian art and film at Tufts University/School of the Boston Museum of Fine Arts from 1968-1990, as well as serving in the Education Department of the museum. She is an associate of the Fairbank Center for Chinese Studies at Harvard and a member of the Modern China Seminar at Columbia University.
Ma Kelu was a core member of the Wuming (No Name) group. Born in Shanghai in 1954, he moved to Beijing at the age of six. In 1970 he was sent down to the countryside and then returned to the capital in 1972 as a factory worker. During the cultural revolution, he briefly studied painting at the Beijing Workers Cultural Palace where he met other young artists. Because schools were closed, they were basically self-taught. After participating in the three Wuming exhibitions in 1974, 1979, and 1981, Ma turned his attention to other forms of art, including lithography. He participated in a series of experimental exhibitions during the early and mid-1980s and in 1984 he resigned his job to become a professional artist. Ma was one of the participants in the Graffiti Exhibition, which was shut down by police before it opened. Ma moved to the U.S. in 1988 where he studied at Skowhegan School of Painting and Sculpture and then at SUNY before settling in New York City. He has exhibited his work in galleries and museums in North America and Europe. In 2006 he returned to Beijing, where he has a studio. He presented solo shows in Beijing in 2006 and 2011 and continues to exhibit actively in China and abroad.
Qiu Deshu was the major organizer and the youngest member of the Caocao (Grass Society) group. Born in 1948, Qiu grew up in Shanghai, where he studied art at the Luwan District Children’s Palace. He became an enthusiastic Red Guard painter during the Cultural Revolution. After high school, he was assigned to the Shanghai No. 18 Plastic Factory, where he was tasked with shoveling coal into the boiler and painting propaganda as a "worker-artist." Assigned to the Luwan District Cultural Center after the Cultural Revolution, he arranged many apolitical exhibitions. In 1979, he founded the Grass Society and organized its ambitious 1980 exhibition, Painting of the 80s, which was attacked for "abstract tendencies" and forced to close prematurely. For him, abstraction was a position to be taken in opposition to both Maoist socialist realism and the official art of the 1980s. Because of the political difficulties that resulted from the Caocao exhibition, Qiu was relieved of curatorial duties and was marginalized in the Chinese art world. Between 1979 and 1983, Qiu began experimenting with the relationship between abstract painting and calligraphy, inventing a method he called "Fissuring." In 1985-86 he spent a year as a visiting scholar at Tufts University in Boston and began exhibiting abroad. Upon his return to China in 1986, he resigned his state employment and became a professional artist. He has exhibited widely overseas since 1985 and has had two major solo exhibitions in China, at the Shanghai Art Museum, in 1994 and 2008. Since the latter, his work has been included in many major exhibitions at domestically and internationally.
Qu Leilei, a core member of the Stars, became involved with the underground literary journal Today as an illustrator. Born in 1951 in Heilongjiang province, Qu and his family moved to Beijing when he was four. His elementary school art teacher, Tan Wancun, had studied with the famous ink painter Qi Baishi, so Qu studied both free brush (xieyi) and outline style (gongbi) bird and flower painting with him, and also copied lianhuanhua. During the cultural revolution, he was sent down to Manchuria, and later joined the Navy. He later worked as a lighting engineer at CCTV. During this time he switched from traditional painting to Western art, particularly Russian and French modernism. Beginning in 1978, his ink drawings frequently appeared in Today, often under the pseudonym Lu Shi. Qu Leilei assisted his Today colleagues Huang Rui and Ma Desheng when they organized the Stars exhibition by introducing them to Wang Keping and other artists. Under political pressure, he left China for Britain in 1985 and has enjoyed a successful career abroad, now working primarily as an ink painter. He has presented solo shows in Geneva, London, Singapore, Beijing, Shanghai, and elsewhere, and exhibited in the 1999 Venice Bienniale. He also lectures frequently on Chinese art in the U.K.
Kuiyi Shen is Professor of Art History, Theory, and Criticism and Director of the Chinese Studies Program at UC San Diego. His research focuses on Chinese and Japanese art with an emphasis on modern and contemporary Chinese art and Sino-Japanese art exchanges in the late 19th and early 20th centuries. Prior to his 1989 relocation to the U.S., he was director of the art book division at the Shanghai People's Fine Arts Publishing House. His publications include Between the Thunder and the Rain (San Francisco, 2000); The Elegant Gathering (San Francisco, 2006); Chinese Posters (Munich, 2009); Blooming in the Shadows (New York, 2011); and Arts of Modern China (Berkeley, 2012). Prof. Shen has also worked as a curator including A Century in Crisis, the modern portion of China, 5000 Years (Guggenheim Museum SoHo and Guggenheim Museum Bilbao, 1998), Chinese Painting on the Eve of the Communist Revolution (Cantor Center for Visual Arts, Stanford University, 2006), Reboot-The Third Chengdu Biennale (Chengdu Modern Art Museum, 2007), Why Not Ink (Today’s Art Museum, Beijing, 2012).
University of Michigan Museum of Art
Ann Arbor, MI
18 May 2013
[courtesy of V. Li, 4/10/13]
In conjunction with the opening of the exhibition Isamu Noguchi and Qi Baishi: Beijing 1930 [18 May - 1 September 2013], UMMA presents a one-day symposium on the significance and legacy of the creative relationship between the Japanese-American sculptor Isamu Noguchi and the Chinese ink painter Qi Baishi. As Noguchi's Peking Drawings from this period dramatically demonstrate, this collaboration was far more complex and unpredictable than can be understood by the over-determined binary framework of Japonisme in Euro-America and the Westernization of culture in East Asia. The drawings are one striking manifestation of the broad range of encounters between different positions within and beyond modern Asian visual cultures that proliferated throughout the late nineteenth and twentieth centuries. This symposium will bring together an impressive group of scholars of Asian art history to explore a diverse range of the kinds of inventions catalyzed by modern encounters such as that between Isamu Noguchi and Qi Baishi in Beijing in 1930.
Joseph Rosa (UMMA) and Jenny Dixon (Noguchi Museum), Welcome remarks
Session 1
- David Clarke (University of Hong Kong), "Artistic Encounters between China and the West from the Eighteenth to the Twentieth Century"
- Jo-Anne Birnie Danzker (Frye Art Museum), "Grabbism: 1930"
Response by Celeste Brusati (University of Michigan)Session 2
- Christina Spiker (University of California, Irvine), "Untangling a 'Hairy' Encounter: Making Sense of Ainu Representation at the World's Fair"
- Jason Steuber (Harn Museum of Art, University of Florida), "Artists Abroad East and West: Some Early Twentieth Century Encounters"
Response by Kevin Carr (University of Michigan)Session 3
- Bert Winther-Tamaki (University of California, Irvine), "Isamu Noguchi: A Sculptor's Brush with Ink"
- Yasuko Tsuchikane (Parsons The New School for Design), "Invention of 'Traditional"'and 'International' in Post-World War Two Japanese Ceramics: the Picasso Boom and Koyama Fujio"
Response by Alex Potts (University of Michigan)Discussion moderated by Bert Winther-Tamaki
For questions, please send messages to David Choberka.
International Workshop
The Hebrew University of Jerusalem
Jerusalem, Israel
27-30 May 2013
[from IAJS, 4/16/13]
THURSDAY, 23 MAY
Special Seminar
Yukio Lippit (Harvard University), "The Metabolism of Japanese Architecture"
Chair: Arie Kutz (architect; Japan-Israel Friendship Association)
SUNDAY, 26 MAY
Special Seminar
Yukio Lippit (Harvard University), "'Oily Painting': The Japanese Inflection to This Question through the History of the Reception of Oil Painting in Japan"
Chair: Ziva Amishai-Maisels (Hebrew University)
MONDAY, 27 MAY
Miriam Mal'achi (Israel Museum), Special Viewing at the Israel Museum (for workshop participants)
Greetings
Chair: Ben Ami Shillony (Hebrew University)
Reuven Amitai (Hebrew University)Keynote speech
Joshua Mostow (University of British Columbia), "The Establishment of the Saga-bon Iconography to The Ise Tales and Its Significance"
TUESDAY, 28 MAY
Michal Daliot-Bul (University of Haifa; Israeli Association for Japanese Studies (IAJS)), Opening Remarks and Introduction
Panel I. Ehon – Illustrated Books
Chair: Etty Gissis (Hebrew University)
- Suzuki Jun (National Institute for Japanese Literature), "The Meaning of the Ehon" (in Japanese)
- Evgeny Steiner (National Research University, School of Asian Studies, Moscow), "Hokusai Manga and the Consummation of the Sino-Japanese Tradition of Pictorial Books"
- Alfred Haft (British Museum), "China in the Tokugawa World, Revisited: A Print by Suzuki Harunobu"Panel II. Ritual display
Chair: Ben Ami Shillony
- Yukio Lippit, "The Unstable Object of Ritual"
- Yuki Morishima (University of Pittsburgh), "Sennyuji Temple: Omission of Portraits of Japanese Empresses"
- Galit Aviman (Ben Gurion University; Hebrew University), "Zen Paintings in Eighteenth Century Japan–Continuity or Change?Panel III. Decoding the Production of Folding Screens
- Matthew McKelway (Columbia University), "Reading Edo Rimpa"
- Kazuko Kameda-Madar (Hawaii Pacific University), "Implied Stories in The Orchid Pavilion Gathering Folding Screen: Kano Sansetsu (1590-1651) and His Cultural Networks"
- Shalmit Bejarano (Hebrew University), "The Ideology of Auspiciousness"Panel IV. Rethinking Famous Places and Spatial Arrangements
Chair: Yagi Moris (School of Oriental and African Studies)
- Ryoko Matsuba (Nanzen University), "Explication of a Classical Scene in Edo Art: Visual Adaptations of 'Toward the East' in Tales of Ise"
- Ewa Machotka (Leiden University), "From Space to Place: Politics of meisho in Hokusai's Representation of Landscape"
- Monika Dix (Saginaw Valley State University), "Narrated Spaces, Spatial Texts: The Matrix of the Taima-dera Jikkai-zubyobu"
- Irit Averbuch (Tel Aviv University), "The Universe is a Kagura Stage: Change and Continuity in Kagura Stage Construction"
WEDNESDAY, 29 MAY
Panel V. Evaluating Iconographical Changes
Chair: Yael Bentor (Hebrew University)
- Sherry Fowler (University of Kansas), "Butsuzozui and the Edo-Period Codification of Kannon"
- Naoko Gunji, (Augustana College), "Heike Monogatari's Iconography during Edo"
- Ury Eppstein (Hebrew University), "Music in Ukiyo-e"Panel VI. Continuity and Change in late Edo-period Woodblock-prints
Chair: Kinneret Noy (Hebrew University)
- Susanne Formaneck (University of Vienna), "The Ukiyoe-zation of Games: On the Popularization of Elite Pastimes through Their Transformation into Woodblock Prints"
- Sepp Linhart (University of Vienna), "From Heroes and Beauties to Funny Pictures: A Conspicuous Change in Commoners' Nishikie Taste"
- Alexandra Linster (University of Vienna), "Continuity and Change in Animal Depictions on Ukiyo-e: With Examples of Kuniyoshi's Cat Pictures"Panel VII. Constructing Identities
Chair: Gideon Shelach (Hebrew University)
- Rosina Buckland (National Museum of Scotland), "Censorship and Innovation: The Precarious Balance of Bakumatsu Prints"
- Ayelet Zohar (Tel Aviv University), "Dromedaries on the Tokaido: Camel Images in the Late Edo Period (1803-1861)"
- Rotem Kowner (Haifa University), "European Visual Images of Japanese during the Edo Period: On Radical Transformation, Inaccuracies, and the Japanese Influence"Concluding Panel
Chair: Etty Gissis
THURSDAY, 30 MAY
Ilana Singer (Tikotin Museum of Japanese Art), Special Viewing at the Tikotin Museum, Haifa (for workshop participants)
Keramiekmuseum Princessehof
Leeuwarden, The Netherlands
24 March - 27 October 2013
[from Princessehof, 4/15/13]
6 June
Colin Sheaf (Bonhams), "'The Magic of the Ming"
1 September
Eva Strober (Keramiekmuseum Princessehof), curatorial lecture
British Museum
London, UK
14-15 June 2013
[from BM, 5/5/13]
Leading scholars discuss significant issues in the field of Chinese art and archaeology in honour of Professor Dame Jessica Rawson.
Led by panel chairs Lothar Ledderose, Wu Hung, Jenny So, Mei Jianjun, Craig Clunas, Shelagh Vainker, Jane Portal and Chris Gosden.
Including issues such as cross-cultural interactions, ancient bronzes, tombs and afterlife, and religion.
Organised by her students, this international conference celebrates the major scholarly contributions made by Professor Dame Jessica Rawson at the British Museum and the University of Oxford in her long career.
Supported by
Dr Carter and Mrs Su-Hwa Tseng
The Reed Foundation
School of Archaeology, University of Oxford
Dr Helena Meyer-Knapp
Book
online or call +44 (0)20 7323 8181.
Registration is at 9.30, programme will be available soon.
Macao, China
24-27 June 2013
[from ICAS, 4/14/13; panels/papers relating to Chinese and Japanese material/visual culture listed below]
Panel 3: Individual Papers Panel: History, Identity, and Culture in Macao
- Terry Rex Wilson (University of Macau), "The Temples of Nezha in Macao"
Panel 9: The Politics of Arts: Propaganda, Ideological Production, and Culture in Modern Asia
- Sam Zhiguang Yin (Zayed University), "'Ideological Battlefield': Propaganda and the Creation of the Political Utility of Literature in China 1923-29"
- Tianqi Yu (independent scholar), "Producing the 'Public Self': Ai Weiwei and First Person Action Documentary Practice in China"
Panel 12: Individual Papers Panel: Contemporary Asian art I
- Sophia Suk-mun Law (Lingnan University), "A Reflection of Hong Kong Art - Realism in the 1950s and 1960s"
- Paul Pak-hing (University of Tennessee), "The Discursive Space in Mistranslation: Cai Guo-Qiang and the 2010 Shanghai World Expo"
- Hung Sheng (Lingnan University), "Irene Chou: A Case Study of Hong Kong Art"
Panel 26: Roundtable: The Effects of UNESCO Politics on Local Notions of Heritage (1)
Sponsored by International Institute of Asian Studies, the Netherlands
Convenor: Sadiah Boonstra (International Institute for Asian Studies)
Philippe Peycam (International Institute of Asian Studies)
Michael Herzfeld (Harvard University)
Noel Salazar (University of Leuven)
Aarti Kawlra (Nehru Memorial Museum & Library, Teenmurti House; Indian Institute of Technology Madras)
Panel 36: Museums Re-affirming and Re-creating Identities: Recent Case Studies from across Asia
- Jacqueline Armijo (Qatar University), "Cai Guo-qiang in Qatar: Re-imagining the Silk Road and Re-creating Historical Links between China and the
Gulf"
- Esther Klein (University of Illinois at Chicago), "Adopting Sanxingdui: A Museum's New Genealogy of Chinese Culture"
Panel 53: Roundtable: The Effects of UNESCO Politics on Local Notions of Heritage (2)
Sponsored by International Institute of Asian Studies, the Netherlands
Convenor: Sadiah Boonstra (International Institute for Asian Studies)
Philippe Peycam (International Institute of Asian Studies)
Michael Herzfeld (Harvard University)
Noel Salazar (University of Leuven)
Aarti Kawlra (Nehru Memorial Museum & Library, Teenmurti House; Indian Institute of Technology Madras)
Panel 63: Sacred Things inside Secular Museums: New Perspectives from Asia
- Tai-Li Hu (Academia Sinica), "Ancestral Pillars in the Museum and 'Returning Souls'"
Panel 70: Certified Copy? Stories of Originality, Design, and Bandits in Urban China Today
Sponsored by China Research Centre, University of Technology, Sydney
Convenor: Maurizio Marinelli (University of Technology, Sydney)
Chair: Peter McNeil (University of Technology, Sydney)
- Carolyn Cartier (University of Technology, Sydney), "Authenticity and the Neoliberal City: The Return of the Real"
- Maurizio Marinelli, "Domesticating Foreignness in China: The Transnational Politics of the Copy and the Real"
- Jeroen de Kloet (University of Amsterdam) and Yiu Fai Chow (Hong Kong Baptist University), "From Fake to Shanzhai: A Tour through Da Fen Art Village"
Panel 93: Individual Papers Panel: Asian Iconography I
- Gonzalo San Emeterio (Osaka University), "Representing Childhood: The Case of 18th and 19th Century Musha e-hon"
- Amaury A. Garcia (El Colegio de México), "The Dual Regime: Political Connotations of Edo Period Makura-e"
- Nahoko Fukushima (Tokyo University of Agriculture), "The Botanic Culture in Edo and Its Reception of Chinese Aesthetics"
- Ellen E. M. A. Van Goethem (Kyushu University), "Site Divination and the Creation of Cultural Memory"
Panel 107: Roundtable: Asian artists as agents of societal change at home and abroad in the 21st century (1)
Sponsored by International Institute of Asian Studies;
Asian Cultural Council, New York
Convenor: Stanford Makishi (Asian Cultural Council)
Philippe Peycam (International Institute of Asian Studies)
Sadiah Boonstra (International Institute for Asian Studies)
Zoe Butt (University of New South Wales)
Tran Luong (independent artist)
Panel 114: The Great War" and East Asia: The Cultural and Technological Networks in the 1910s
- Tze-ki Hon (State University of New York at Geneseo), "Printing Technology and the Transfer of Knowledge: The Cultural Nexus of Power in Early Twentieth-Century East Asia"
Panel 117: Arts, Creativity, and the Politics of Urban Space in East Asia
Convenor: Hideaki Sasajima (Osaka City University)
Discussant: Motohiro Koizumi, Tottori University
- Hideaki Sasajima, "Why Did Artist Colonies Exist In
a Japanese City in the 1930s And 1940s? The Avant-Garde
in Ikebukuro Montparnasse"
- Lü Pan (University of Hong Kong SPACE Community College), "Who is Occupying Wall and Street? - Graffiti and Urban Spatial Politics in Contemporary China"
- Ran Ma (Osaka City University), "Ballsy Experiments with Daily Life at Beijing Hutong: HomeShop and Its Politics of Public/Space"
- Eunhwee Jeon (Osaka City University), "How Gentrified Music Protests against the Creative City"
Panel 118: Taking Care of Business: Chinese Export Art and the Commodification of Culture
Convenor: Paul A. Van Dyke (Sun Yat-sen University)
Discussant: Yee Wan Koon (University of Hong Kong)
- William Shang (Tama University), "Chinese Export Paintings and Perceptions: Eastern Understanding and Western Tastes"
- Yinghe Jiang (Sun Yat-sen University), "Cantonese Export Portraits of Hong Merchants"
- Susan E. Schopp (University of Macau), "The French as Trend-Setters in Canton Architecture, as Depicted in Paintings of the Factories"
- Maria Kar-wing Mok (Hong Kong Museum of Art) and Paul A. Van Dyke, "Dating the Canton Factories 1765-1822"
Panel 125: Individual Papers Panel: Pop Culture
- Katherine Marie Mezur (iindependent scholar; Freie Universitaet), "Cute (Kawaii) Exploded: Girl Worlds in Japan and Beyond"
- Dagmar Borchard (independent researcher), "Wedding Photography in Urban China and Modernity
Panel 132: Images of "Japan" in Contemporary East Asia
- Edward Vickers (Kyushu University), "A Totem of Chineseness: Representations of Japan in the Museums of Mainland China, Taiwan, and Hong
Kong"
Panel 134: Roundtable: Asian artists as agents of societal change at home and abroad in the 21st century (2)
Sponsored by International Institute of Asian Studies; Asian Cultural Council, New York
Convenor: Stanford Makishi (Asian Cultural Council)
Philippe Peycam (International Institute of Asian Studies)
Sadiah Boonstra (International Institute for Asian Studies)
Zoe Butt (University of New South Wales)
Tran Luong (independent artist)
Panel 138: Individual Papers Panel: Representing Macao
- Weizi Huang (Macau University of Science and Technology), "Exploring Visitor Practices at Macao Museum of Art: A Case Study"
- Lan Wang (Macau University of Science and Technology), "The Conflict and Merging between Eastern and Western Cultures from the Perspective of the Christian Art in
Macau"
Panel 139: The Development and Reorganization of East Asian Commercial Networks in the XVI Century - An
Analysis of Kinship and Regional Bond
Convenor: Mihoko Oka (University of Tokyo)
Discussant: Francois Gipouloux (Ecole des Hautes Etudes en Sciences Sociales)
- Toshio Kage (Niihama National College of Technology), "Nakaya Soetsu: A Trading Merchant in the Warring States Period in Bungo, Japan"
- Makoto Okamoto (University of Tokyo), "The Hibiya Family and the Japan-China Trade in the Mid-sixteenth Century"
- Gakusho Nakajima (Kyushu University), "The Folangji Bring Folangji: Smuggling Trade and Transmission of Western Style Firearms in Maritime East
Asia in the 1540s"
- Takeshi Yamazaki (Kyoto University), "The Revival of Malacca?: Malacca and Folangji in Chinese Perspective"
- Lucio De Sousa (University of Evora; Foundation for Science and Technology, Portugal), "Fom Slave Traders to Silk traders - The Jewish Experience in China in the Early Modern Period"
Panel 163: Workshop: Chinese Descendants in East Asia under Japanese Colonialism 1910s - 1930s: Discourse
Formation and its Post-war Imprints
- Kuo-an Ma (Chinese University of Hong Kong) [to be confirmed], "Moving Images, Traveling Cities: Visualizing Transnational Flows in China, Japan and Taiwan, 1920s-1940s"
Panel 171: Publishing, Forging, and Constructing Their Culture: Uses of Local Chinese Traditions of the Past in
East Asian History
- Desmond Cheung (University of Victoria), "The Sites of Hangzhou and the Making of the Ming Order"
- Luke Hambleton (Beijing Normal University), "Cultivating Prima-Flora: The Tradition of Botanical Treaties Writing in Fujian and Its Impact"
Panel 172: Voices from the Past II: Discourse, Imagination, Local Voices
- Yi Jie Xie (Zhejiang University), "The Construction of Chinese Architectural Heritage Preservation"
Panel 179: From Manufacturing to the New Luxury: Chinese Fashion at the Crossroads
Convenors: Simona Segre Reinach (University of Bologna) and Wessie Ling (University of the Arts London)
Chair: Wessie Ling
- Wessie Ling and Simona Segre Reinach, "Multiple China: Cosmopolitanism and Identities in Chinese Fashion"
- Juanjuan Wu (University of Minnesota), Yue Hu (Shanghai University of Engineering Science), Lei Xu (Shanghai
Second Polytechnic University), and Marilyn R. Delong (University of Minnesota), "Chinese Fashion Designers' New Approach to Retail"
- Maurizio Marinelli and Peter McNeil (University of Stockholm), "'New Concessions': Towards a Sensorial Economy of Luxury in Contemporary Chinese Housing"
- Xin Gu (Queensland University of Technology), "Creativity, Craft, and Manufacture - A Case Study of Independent Fashion in Shanghai"
Panel 180: Individual Papers Panel: Chinese Feminities II
- Man Man Huang (University of Macau), "Chinese Export Silk for the American Market in the 19th Century"
Panel 197: Individual Papers Panel: Contemporary Asian art II
- Minna Valjakka (University of Helsinki), "(Semi-)legal Manifestations of Urban Art in Chinese Cities"
- Svetlana Kharchenkova (University of Amsterdam), "Art or Business: Commercialization of Contemporary Art Galleries in China"
- Meiqin Wang (California State University at Northridge), "Invisible Body, Little Men, and the Predicaments of Existence in an Urbanizing China"
Panel 198: Power and Identity in Chinese Architecture and Space
Convenor: Shaoqian Zhang (Oklahoma State University)
Discussant: Shaoqian Zhang
- Yitao Xu (Peking University), "A Brief Discussion on Power in the Spatial Patterns of Traditional Chinese Architecture"
- Lala Zuo (Swarthmore College), "An Interim between Political Authorities: The Regionalization of Yuan Timber Architecture"
- Tian Gao (Tsinghua University), "Beijing Central Axis: The Symbol of the City"
- Delin Lai (University of Louisville), "The Peking National Library: A Modern Construction of Knowledge, Cultural Identity, and Civil Space"
- Alexandra Harper (Tsinghua University), "The China Hype in European Architecture"
Panel 209: Architectural Heritage in Asia
Sponsored by International Institute of Asian Studies; Delft School of Design
- Gregory Bracken (Delft School of Design), "New Wine in Old Bottles: Shanghai's Architectural Heritage: Gentrification versus Adaptive Reuse"
Panel 226: Re-evaluating the Uses of Visual Forms and Aesthetic Style within East Asian Buddhist Practice
Convenor: Kathleen Ryor (Carleton College)
Chair: Kathleen Ryor
Discussant: Paul Copp (University of Chicago)
- Tracy Miller (Vanderbilt University), "Perfecting the Sacred: Radial Symmetry in the Religious Architecture of Early Medieval China"
- Kathleen Ryor, "Style as Substance: Literati Buddhist Ink Painting and Devotional Practices in Late Ming Dynasty China"
- Yan Yang (Yale University), "The Toji Landscape Screen: What's Remembered and Forgotten about Its Religious Function in the Modern
Era"
- Karil J. Kucera (St Olaf College), "Good Karma or Bad Kitsch? Visualizing the Afterlife at Kosanji"
Panel 227: Exhibiting the Regional Identities of Southern China during the 20th and 21st Centuries
Convenor: Yu-ping Luk (Lingnan University)
Discussant: Shaoyang Lin (City University of Hong Kong)
- Pui Pedith Chan (City University of Hong Kong), "Visual Representation of Regional Culture: The 1940 Exhibition of Guangdong Cultural Heritage"
- Yu-ping Luk, "Guangdong Regional Identity and an Exhibition of Paintings in New York in 1947"
- Vivian Wing Yan Ting (Hong Kong Baptist University), "Talkover/Handover: Visualising Cultural Identities in Post-colonial Hong Kong"
Panel 253: Sex and Gender in Asian Art
- Ikumi Kaminishi (Tufts University), "Lady Zenmyo's Piety in the Illustrated Legend of Kegon Sect"
Panel 258: Individual Papers Panel: Yunnan, Minorities, and Education
- Peng-hui Wang (National Taiwan University), "Revolution beyond Evolution: Dong Guan-zhi and his Pictorial Illustrations of Yunnanese Natives in Early
Republican Period"
Panel 261: Individual Papers Panel: Between Occidentalism and Orientalism
- Thijs Weststeijn (University of Amsterdam; Royal Netherlands Institute in Rome), "The Netherlands in Late Imperial China: Images and Ideas"
Panel 271: Embodying Masculinities and Physical Appearance in Everyday Spaces of Work, Home,
Consumption, and Leisure across Asia IV
- Kevin Lam (Northwestern University), "Masculinized in Oil: The Identity of the Female Artist in Self-Portraits in Republican China, 1911-1949"
Panel 274: I Was Here: Mediating Experiences with Ink and Photography in Modern and Contemporary
Japanese Visual Culture
Convenor: Olivier Krischer (independent scholar; ArtAsiaPacific Magazine, Hong Kong)
Chair: Olivier Krischer
- Rhiannon Paget (University of Sydney), "Ink and the Politics of Memory: Komuro Suiun's Travel Paintings of China and Korea"
- Olivier Krischer, "Being 'Asian' in China: Images of Modern Japanese Scholars Traveling in China at the Turn of the Twentieth
Century"
- Fuyubi Nakamura (Tama Art University), "Traces of Time through the Brush and Lens: A Japanese Travel Diary from the 1930s"
- Toby Slade (University of Tokyo), "You Are What You Eat: Food Photography, Image Consumption and Strategies of Self-Hood in Japan"
Panel 275: Europeans in East Asia from the Mid-Nineteenth to the Mid-Twentieth Century: Elements for a
Social History of Globalisation
- Heejung Suh (Seoul Digital University), "How to Memorize Transnational Activities? Bruno Taut as an Architect in Berlin and Tokyo during the 1930s"
Panel 298: The Map and Music of Matteo Ricci
Sponsored by Institute for Advanced Study, University of Minnesota
Convenor: Ann Waltner (University of Minnesota)
Chair: Ann Waltner
- Linda Pearse (Mt. Allison University)
- Ann Waltner
- Fang Qin (Capital Normal University)
Panel 303: Ritual Transformations and the Nationalization of Religion: The Shifting Role of Shinto Ceremonies
in Meiji Japan
Convenor: Michael Wachutka (University of Tübingen)
Discussant: Takashi Fujitani (University of Toronto)
- Rosemarie Bernard (Waseda University), "Modernization of Ise's Shikinen Sengû (1869-1929)"
- Yijiang Zhong (National University of Singapore), "Ritual Transformation at the Izumo Shrine"
- Teruomi Yamaguchi (Kyushu University), "Rituals and Faith within the Imperial Family: The Establishment of Shinto Court Ceremonies and the
'Renaissance' of Buddhism"
- Michael Wachutka, "New Rituals for a 'National' Education: The Replacement of the Confucian Sekiten with the Shintoist Gakushinsai"
Panel 310: Individual Papers Panel: Asian Iconography II
- Lai Pik Chan (Chinese University of Hong Kong), "Melting East and West: An Exceptional Jade Carving"
- Andreas Janousch (Universidad Autónoma de Madrid), "Textuality and Space: Steles, Inscriptions, and the Sense of Space in a 16th-Century Temple, Southern Shanxi"
Panel 336: Individual Papers Panel: Asian Sounds
- Ury Eppstein, (ebrew University of Jerusalem), "Music Instruments in Ukiyo-e"
Panel 337: Ruins, Heritage, and Monumentality in China
Convenor: Xavier Ortells-Nicolau (Universitat Autònoma de Barcelona)
Discussant: Cathryn Clayton (University of Hawaii at Manoa)
- Shuli Wang (University College London), "From Ruin to Heritage - Memories of Yin Ruin Archaeological Site"
- Angela Becher (School of Oriental and African Studies), "From Debris to Spectacle - Postsocialist Monumental Architecture in Chinese Visual Culture"
- Xavier Ortells-Nicolau, "Against the Ruin: Demolition Sites in Contemporary Chinese Artworks"
Panel 339: Visualising East Asia: Diasporas and (Post)digital Dialogues
- Patricia Eichenbaum Karetzky (Bard College), "Contemporary Art of Chinese Diaspora"
- Elizabeth Parke (University of Toronto), "Cao Fei as Artist and Diasporic Cyborg"
- Ming Turner (National Chiao-Tung University), "Between Human and Beast: Hybridisation and Transformation in Daniel Lee's Art"
Ellis Tinios (University of Leeds)
Freer and Sackler Galleries
Smithsonian Institution
Washington, DC
28 November - 1 December 2013
[from H-NET, 2/23/13]
In this new course, taught by Ellis Tinios (University of Leeds), students will consider the Edo-period artist Katsushika Hokusai as a publishing phenomenon, examining in detail his achievements as a book illustrator and print designer. Further topics to be covered include Hokusai's relationship with his publishers, the process of book production, the marketing of his books, and the reception and influence of the artist and his books in the West. The course is aimed at a broad constituency, including students of the book, conservators, curators, collectors, librarians,artists, designers, and art historians—to anyone interested in books as objects, as commodities, and as works of art.
For more information and to apply for this course, visit our website: www.rarebookschool.org.
Reiko Yoshimura
Library
Freer and Sackler Galleries
Smithsonian Instituion
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