爆料王

Week 1:听22 February 2023

An Introduction

From Expositions to Biennales: A century of showing Asian Art

Welcome to Exhibiting and Collecting Asian Art. For this inaugural seminar, we will explore briefly the historical developments in the exhibition of Asian Art in the international arena, beginning with World Exhibitions. We will identify the contexts in which the display, collection and viewing of Asian art were made where we will also explore the issues and politics that centre around this cultural phenomenon. We will also examine the significance of Asian participation in the contemporary art world, tracing the rise of Asia鈥檚 involvement in the Biennale.

Prescribed Reading:

. Tan, Chang, 鈥淭elling global stories, one at a time: the politics and poetics of exhibiting Asian art鈥�,听World Art, vol. 5, no. 2 (2015): 307鈥�330.

. McCormick, Seth, 鈥淓xhibition as Proposition: Responding critically to the third mind [with Response]鈥�,听Art Journal,听vol. 68, no. 3, (2009): 30-51.

Additional Readings:

. Green, Charles and Gardner, Anthony. 鈥淏iennials of the South on the Edges of the Global,鈥澨�Third Text听27, no. 4 (2013): 442-455.

. Clark, John. 鈥淎sian artists as long-distance cultural specialists in the formation of modernities鈥� in听Asia through Art and Anthropology: Cultural Translation across Borders,听Fuyubi Nakamura, Morgan Perkins and Olivier Krischer, eds. (London: Bloomsbury, 2003) 19-32.

. Viau-Courville, Mathieu.听鈥淢useums without (Scholar-)Curators: Exhibition-making in times of managerial curatorship鈥�,听Museum International,听vol. 68, no. 3/4 (2016): 11-32.

. Poshyananda, Apinan, et. al.听Contemporary art in Asia: traditions, tensions听(New York : Asia Society Galleries, 1996).

Week 2:听1 March 2023
Becoming Professional: The Institutions of the Modern Art World and its Histories

What are the institutions of the modern art world? Very often, the institutions of the modern art worlds of Asian countries came about as deliberate attempts to provide state and private intervention in education and in the structure of distribution, namely salons, commissions, artists鈥� groups and so forth. Among the issues considered in this survey include a broad examination of the transfer and transformation of the beaux arts tradition of the European academies variously into local contexts in parts of Asia, its acceptance and resistance among the artists and the wider public, the ideological adoption and adaptation of modernist styles and its wider political significance in light of the colonial, and anti-colonial conditions that some countries were encountering.

Topic for discussion:听What new ways of looking at and doing art did the institutions of modern art bring about? What dominant artistic values were changed as a result? Discuss how the transfer, adaptation and institutionalization of certain modernist styles affect the production and reception of art in the Asian nations under study. Why were they desired at times, and resisted at others? Identify the issues that are at stake in the promulgation and institutionalization of certain art forms in light of particular socio-political conditions.

Prescribed reading

. Spanjaard, Helena. 鈥淭he controversy between the Academies of Bandung and Yogyakarta鈥�, in Clark, John, ed.,听Modernity in Asian Art听(Sydney: Wild Peony Press, 1993), 85-104.听

. Scott, Phoebe. 鈥淚magining 鈥楢sian鈥� Aesthetics in colonial Hanoi: The Ecole des Beaux-Arts De L鈥橧ndochine (1925-1945),鈥� in eds., Nakamura, Fuyubi, et.al.,听Asia through art and anthropology: Cultural translation across borders听(London: Bloomsbury Academic, 2013), 47-61.

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Background reading

. [Chapter 5] Clark, John. 鈥淎rt Education and Modern Art,鈥澨�Asian Modernities: Chinese and Thai Art Compared, 1980 to 1999听(Sydney: Power Publications, 2010), 188-201.

. Fischer, Joseph.听Modern Indonesian art: Three generations of tradition and change, 1945-1990听(Jakarta: Panitia Pameran KIAS, 1990).

. [Chapter] Holt, Claire. 鈥淭he Great Debate鈥� in听Art and Indonesia: Continuities and Change听(Ithaca: Cornell University Press, 1967), 211-254.

. Supangkat, Jim.听Indonesian modern art and beyond听(Jakarta: Indonesia Fine Arts Foundation, 1997).听

. Taylor, Nora.听Painters in Hanoi: An ethnography of Vietnamese Art听(Honolulu: University of Hawai鈥檌 Press, 2009), 1-21.

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Week 3:听8 March 2023

Crossing the State and its Institutions: Artists, Manifestoes, and the Obscene听

The desire for greater autonomy to practice was a prevalent theme in the seventies through to the nineties, as artists from different parts of Asia experimented with new concepts of art making and advocated new definitions of art (for example, art as processes/art that is created collaboratively and so forth). In particular, during the seventies, in parts of Southeast Asia, artists became disillusioned with the sterile state of the local art world; the modern in art practices, to them, displayed exhaustion. As such, protests in the form of manifestoes and exhibitions were staged to undermine the status of art as commodity, to advocate for change in moribund structures, among others.听

Topic for discussion:听What new ideas were posited in the exhibition and manifesto, Towards a mystical reality? Why was it deemed controversial in its time? Discuss the political import and significance of issuing a manifesto by the artists. In what way has the manifesto, as a treatise, aspired towards a kind of Asian-ness? Refer closely to the manifesto (reprinted here) to support your argument.

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Prescribed reading

. [Manifesto; reprint] 鈥淭owards a mystical reality: a Documentation of Jointly-Initiated Experiences by redza piyadasa and sulaiman esa [1974],鈥� in eds., Nur Hanim Khairuddin, et.al.,听Reactions 鈥� New critical strategies: Narratives in Malaysian Art Vol. 2听(Kuala Lumpur: RogueArt, 2013), 31-54.

. Soon, Simon. 鈥淎n empty canvas on which many shadows have already fallen,鈥� in eds., Nur Hanim Khairuddin, et.al.,听Reactions 鈥� New critical strategies: Narratives in Malaysian Art Vol. 2听(Kuala Lumpur: RogueArt, 2013), 55-69.

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Background reading

. Antoinette, Michelle. 鈥淒ifferent visions: Contemporary Malaysian art and exhibition in the 1990s and beyond,鈥� in eds., Nur Hanim Khairuddin, et.al.,听Reactions 鈥� New critical strategies: Narratives in Malaysian Art Vol. 2听(Kuala Lumpur: RogueArt, 2013), 166-185.

. Flores, Patrick. 鈥淔irst person plural: Manifestoes of the 1970s in Southeast Asia,鈥� in eds. Belting, Hans, et. al.,听Global Studies: Mapping Contemporary art and Culture, (Ostfildern Hatje Cantz: 2011), 224-273.

. Langenbach, William Ray. 鈥淧erforming the Singapore State: 1988-1995鈥�. PhD diss.[unpublished], Centre for Cultural Research, University of Western Sydney, 2003.

. Miklouho-Maklai, Brita.听Exposing society鈥檚 wounds: Some aspects of Contemporary Indonesian Art since 1966听(Adelaide: Flinders University of South Australia, 1991).听

. Miklouho-Maklai, Brita. 鈥淣ew streams, new visions: Contemporary art since 1966,鈥� in ed. Hooker, Virginia,听Culture and Society in New Order Indonesia听(Oxford: Oxford University Press, 1993), 70-109.听

. Mashadi, Ahmad.听Telah terbit (Out now): Southeast Asian contemporary art practices during the 1960s to 1980s听(Singapore: Singapore Art Museum, 2007).听

. Supangkat, Jim. 鈥淐ontemporary Art: Development beyond the 1970鈥檚,鈥� in ed. Supangkat, Jim,听Indonesian Modern art and beyond听(Jakarta: The Indonesian Fine Arts Foundation, 1997), 65-89.听

. Storer, Russell. 鈥淢aking Space: Historical contexts of Contemporary art in Singapore鈥� in听Contemporary Art in Singapore, (Singapore: Institute of Contemporary Arts Singapore and LaSalle-SIA College of the Arts, 2007), 9-18.

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Week 4:听15 March 2023

New Patrons of Modern and Contemporary Asian art: Curators, Museums and the State听

In light of the conditions brought forth by internationalization and globalization, this week will consider issues related to the circulation, exhibition and collection of modern and contemporary Asian art both inside and outside of Asia. Museums and galleries in the West struggle to re-consider their acquisition policies and re-think existing collection models in a bid to close the gap in their knowledge of Asian of the past century and to catch up on its present and future developments. One of the problems they faced was the lack of expertise in the field of modern and contemporary Asian art. On the other hand, institutions within Asia have themselves begun building its own collection and developing art historical knowledges. This lecture examines the import of public and private interventions in parts of Asia, as well as the broader roles curators now play as mediators for the patronage of modern and contemporary art.

Topic for discussion:听What new roles and responsibilities do curators both inside and outside of Asian countries now face with the positioning of Asian art in the wider international art world? What are some of the political implications/agendas behind the interest and motivations of collecting modern and contemporary Asian art? Discuss some of the issues highlighted by the authors in the readings, paying particular attention to their criticisms and the politics at play.听

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Prescribed reading

. Flores, Patrick D. 鈥淧lace of Curation,鈥� in Flores, Patrick D.,听Past Peripheral: Curation in Southeast Asia听(Singapore: NUS Museum, 2008), 4-33.

. Desai, Vishakha N. 鈥淏eyond the 鈥楢uthentic-Exotic鈥�: Collecting Contemporary Asian Art in the Twenty-First Century,鈥� in Bruce Altshuler, ed.,听Collecting the New: Museums and Contemporary Art听(Princeton and Oxford: Princeton University Press, 2007), 103-114.

Background reading

. Bennett, Tony. 鈥淓xhibition, Difference and the Logic of Culture,鈥� in Karp, Ivan et. al., eds.,听Museum Frictions: Public Cultures/Global Transformations听(Durham: Duke University Press, 2006), 46-69.

. Catching, Rebecca. 鈥淭he new face of censorship: State control of the visual arts in Shanghai, 2008-2011,鈥澨�Journal of Visual Art Practice听11, no.2-3 (2014): 231-249.听

. Chong, Doryun, et.al, eds.听From postwar to postmodern: Art in Japan 1945-1989: primary documents听(New York; Museum of Modern Art: Duke University Press, 2012).听

. Chua, Kevin. 鈥淓xhibiting Modern Asian Art in Southeast Art,鈥� in听Yishu: Journal of Contemporary Chinese Art听13, no. 2 (March/April 2014): 105-116.

. Gao, Minglu. 鈥淐hanging motivations of Chinese Contemporary Art Since the Mid 1990s,鈥澨�Journal of Visual Art Practice听11, no.2-3 (2014): 209-219.

. Low, Yvonne. 鈥淧ositioning Singapore鈥檚 Contemporary Art,鈥澨�Journal of Maritime Geopolitics and Culture听2, no. 1 and 2 (2011): 115-137.

. Lenzi, Iola, ed.听Negotiating Home, History and Nation: Two decades of contemporary art in Southeast Asia 1991-2011听(Singapore: Singapore Art Museum, 2011).

. Wang, Zineng. 鈥淢arket Watch,鈥澨�Third Text听25, no. 4 (Aug 2011): 456-466.

. Wang, Peggy. 鈥淎rt critics as middlemen: Navigating State and Market in Contemporary Chinese Art, 1980s-1990s,鈥澨�Art Journal听72, no. 1 (2014): 6-19.

. Wang, Peggy and Wu, Hung, eds.听Contemporary Chinese art: primary documents.听(New York; Museum of Modern Art: Duke University Press, 2010).

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Week 5:听22 March 2023

Women re-modelling contemporary art worlds: Exhibitions and Projects听

This week鈥檚 topic discusses the histories of women鈥檚 exhibitions in Asia within the broader context of feminist art history. Interest in the histories of women artists, particularly in Asia, is observed to be a relatively recent phenomenon. How did the topic 鈥淲omen artists鈥� gain salience over the years? What does the general absence of women artists in history imply about women鈥檚 participation in the modern and contemporary art discourses? Very often, book publications, exhibitions and projects on women artists were the result of concerted efforts by women exposed to feminist-inspired discourses. This lecture provides a brief overview of the work by cultural practitioners and art historians in the nineties which saw a rise in a range of cross-cultural, feminist-inspired projects conducted throughout Asia. With examples drawn from both East and Southeast Asia, it will examine some of the strategies undertaken to address the issue of gender disparity and in recovering the 鈥渇orgotten鈥� histories of Asian women artists.

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Topic for discussion:听What are some of the gender-based obstacles that women artists encountered in their art practices? In what ways have women-centred spaces and exhibitions presented new problems to female art practitioners? How do women鈥檚 work challenge political and personal gendered spaces? With reference to both readings, discuss how contemporary conditions facilitated the discourse of feminism and supported/hindered the production and reception of women鈥檚 art and practice.

Prescribed Reading:听

. Kee, Joan.听鈥淲hat is Feminist about Contemporary Asian Women鈥�s Art?鈥�, in听Global Feminisms: New Directions in Contemporary Art听(exh. cat.), Maura Reilly and Linda Nochlin, eds. (London and New York: Merrell Publishers and Brooklyn Museum, 2007) 107-121.

. Nair, Varsha. 鈥淲omanifesto: A biennial art exchange in Thailand鈥�,听Southeast of Now: Directions in Contemporary and Modern Art in Asia听3 (1): March 2019, 147-171.

. Wang, Peggy. "Tensile Strength: Threads of resistance in Lin Tianmiao's art"听Positions,听vol 28 (no. 1): 121-144.

Additional Readings:

.听Dirgantoro, Wulan. 鈥淚ntroduction鈥� in听Feminisms and Contemporary art in Indonesia: Defining Experiences听(Amsterdam: Amsterdam University Press, 2017) 15-36.

.听Huangfu, Binghui, ed.听Text and Subtext: Contemporary art and Asian Women听(Singapore: Earl Lu Gallery, 2000) [introduction].

. Reilly, Maura. 鈥淚ntroduction: Toward Transnational Feminisms鈥�, in听Global Feminisms: New Directions in Contemporary Art听(exh. cat.), Maura Reilly and Linda Nochlin, eds.听听(London and New York: Merrell Publishers and Brooklyn Museum, 2007) 15-46.听

. Bianpoen, Carla, Wardani, Farah and Dirgantoro, Wulan.听Indonesian women artists: The curtain opens听(Jakarta: Yayasan Senirupa Indonesia, 2007) [Introduction].

.听Low, Yvonne. 鈥淲omen re-modelling art worlds: Exhibitions and Projects on Southeast Asian Women Artists (1990-2015),鈥澨�The Journal of the Asian Arts Society of Australia听24, no. 4 (Dec 2015): 4-6.

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Week听6: 29 March 2023听

Re-imagining Asia: Guggenheim and Japan鈥檚听Gutai听

This seminar will examine Guggenheim鈥檚 retrospective show on the Gutai that aimed to re-evaluate its role and contribution to the narrative of modernism in Japan and internationally. As it seeks to re-evaluate the experimentations of Gutai painters and their outdoor exhibitions, we will also consider the growing scholarship that has strove to show how the Gutai predated in its originality the changes in western art developments with the creation of genres such as installations, performance and land art.

Topic for discussion:听Discuss the objectives for recovering the marginalised histories of Gutai, as discussed by Alexandra Munroe and Ming Tiampo in the text(s) and interview. Reflect broadly on the function of historical retrospective exhibitions; in this case, were the issues explored in the texts by Munroe and Ming Tiampo sufficiently in their show?

Prescribed Reading:听

. Munroe, Alexandra.听鈥�To Challenge the Mid-Summer Sun: The Gutai Group,鈥澨�Japanese art after 1945: scream against the sky听(New York: H.N. Abrams, 1994), 19-25

. Tiampo, Ming.听Gutai: decentering modernism听(Chicago: The University of Chicago Press, 2011) [select chapters].

Additional/Background readings:

. Mitter, Partha. 鈥淒ecentering Modernism: Art History and Avant-Garde Art from the Periphery.鈥澨�The Art Bulletin听90, No. 4 (December 2008): 531-548.

. Tatehata, Akira. "Mono-ha and Japan's crisis of the Modern", Third Text, vol. 13, no. 3 (2010): 223-236.听

. Szostak, John Donald. "The inaugural Kokuten exhibition of 1918: Content and Contexts", in Painting circles: Tsuchida Bakusen and Nihonga collectives in early 20th century Japan. (Leiden: Brill), 2013, 119-151.

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Week 7:听5 April 2023

[Site Visit] University Museums: Collecting and Curating听听

For this seminar we will be visiting the show听on the Asian collection听at the Chau Chak Wing Museum. Curator, Dr Shuxia Chen, will talk introduce key objects and curatorial aspects of the exhibition. You will also have the opportunity to engage deeply with the University鈥檚 collection. Following the curator鈥檚 talk is an object-based workshop where you will learn about ways of handling the object and exhibition issues.

Prescribed Reading:听

. [Excerpt] Wen Fong,听Images of the mind: Selections from the Edward L. Elliott family and John B. Elliott collections of Chinese calligraphy and painting at the Art Museum, Princeton University听(Princeton, N.J.: Art Museum, Princeton University in association with Princeton University Press, c1984).

. Clark, John. 鈥淏uilding a collection: Chinese prints at the 爆料王鈥�,听Floating Time, Chinese Prints, 1954-2002,听(Sydney: Power Publications, 2016) 25-36.

Additional Readings:

. Ainger, Susanne.听Guide to museums, galleries and collections at the 爆料王听(Sydney: 爆料王, University News Service, 1989).

. Frank, Pamela. 鈥淎 Twenty-First-Century Teaching Museum: The Expanded Yale University Art Gallery鈥�,听Yale University Art Gallery Bulletin, Teaching with Art,听(2013): 22-37.听

Mid-Semester Break: 10-14 April 2023

Week 8:听19 April 2023

Presentation Week听
A schedule will be drawn up ahead so that students will know the order of their presentations. Please refer to Canvas for further details and instructions.听

Week 9: 26 April 2023

[Workshop] The Digital turn: Innovations in Art Curating and Art History

This seminar will explore the use of digital methods to foster research breakthroughs in scholarship and museum exhibitions. Drawing closely to the Xiangtangshan Caves Project and the Dunhuang Project, we will examine how 3D modelling for instance has variously opened up research into deeper insights to the history of Buddhist art in China, as well as consider the significance of the site and the object. This is followed by a workshop on using digital tools and methodology in Feminist Art History. We will learn more about recent scholarly discussions and research on the subject of digitality and canon-making. Students will then be given the opportunity to explore the platform, GERT Links to an external site. Using a specific set of digitized archival materials, students may play with existing datasets on an integrated online application with the aim to identify patterns and/or gaps in research, and in the process learn to develop and design research questions about women鈥檚 networks, collection records, exhibition histories, and market trends, among others.听

More instructions will be provided in class.听

Prescribed readings:

. Rezaei, Yasamin. 鈥淒ata Stories for/from All: Why Data Feminism is for Everyone鈥� Digital Humanities Quarterly 16, no. 2 (2022): unpaged.

. Tsiang Katharine, "Bodhisattvas, jewels & demons: reconstructing meaning in the North Cave at Xiangtangshan",听Apollo听167, no. 554 (2008): 36-41.

Additional readings:

. Tsiang, R. Katherine, and Powers, J. Martin, 鈥淚ntroduction鈥� in听Looking at Asian Art, eds. Katherine Tsiang and Martin Powers (Chicago: University of Chicago, 2012) 9-17.

. McNair, Amy, 鈥淓arly Tang Imperial Patronage at Longmen鈥澨�Ars Orientalis, Vol. 24 (1994): 65-81.

. Shih, Hsio-Yen, 鈥淩eadings and re-readings of narrative in Dunhuang murals鈥澨�Artibus Asiae, Vol. 53, no.1/2 (1993): 59-88.

Week 10:听3 May 2023

Cultural politics and Asian artists in Australian Exhibitions听

For this seminar we will examine the recent history of exhibiting Asian art in Australia against the politicisation of Asian identities and the making of Asian-Australian identities. This is part of a larger exploration of related issues centring around exhibition making and its politics in the context of Australia. Here, we will begin with Gallery 4A, the first institution in Australia focusing on the exhibiting of contemporary Asian art.听

Prescribed Readings:听

. Antoinette, Michelle,听鈥楢 Space for 鈥�Asian-Australian鈥� art: Gallery 4A at the Asia-Australia Arts Centre鈥� in听Journal of Australian Studies32, no. 4, 531-524.

. Gralton, Beatrice et. al.听鈥淐urating Chinese Contemporary Art in an Australian context鈥�,听Australian and New Zealand Journal of Art,听vol. 16, no. 2 (2016): 247-271.听

Additional Readings:

.听Zhang, Tian. 鈥楤etween Asia and Australia: Curating Asian-Australian Identities at 4A Centre for Contemporary Asian Art鈥�,听4A Papers, issue 6, May 2019

. Jacqueline Lo,听鈥楧iaspora, Art and Empathy鈥�, in听The Bridge and the Fruit Tree: John Young - A survey,听ed. Carolyn Barnes and Jacqueline Lo (Canberra: Australian National University Drill Hall Gallery, 2016), 19-43.

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Week 11:听10 May 2023

Private and Public Collections: Framing 鈥楥hina鈥� and 鈥楥hineseness鈥櫶�

This seminar explores the history and significance of collecting and exhibiting Chinese art. Students will be given the opportunity to examine a number of case-studies spanning the pre-modern through to contemporary art. We will consider broadly how History is driven by narrative where the art historians鈥� explicit task is sometimes to narrate past events; here, it might also be worthwhile for us to think about how narratives of Chinese art have been shaped by exhibitions, particularly exhibitions that appear to tell a teleological story. We will also consider the challenges of making and exhibiting contemporary art in relation to issues of contemporaneity, looking at the themes of dislocation and disillusionment when considering the obstacles encountered by contemporary artists struggling to enter the international art circuit (especially those residing in provincial towns and villages).听

Prescribed Readings:听

. Hancox, Simone.听鈥�Art, activism and the geopolitical imagination: Ai Weiwei鈥�s听鈥�Sunflower Seeds鈥�,鈥澨�Journal of Media Practice听12, no. 3 (2012): 279-290.听

. Liu, Cary. "In the mischievous role of naturalist: Classifying the chineseness in Contemporary Art", in听Outside In: Chinese x American x Contemporary Art听(Princeton: Princeton University Art Museum, P.Y. and Kinmay W. Tang Center for East Asian Art; and New Haven: Yale University Press, 2009), pp. 141-58.听

. Rui Oliveria Lopes, 鈥淢eeting another China: exhibiting Chinese [folk] art and popular culture in the Orient Museum鈥�,听World Art听4, no. 2 (2014): 237-261.

Additional Readings:

. Gao, Minglu.听鈥�Changing motivations of Chinese Contemporary art since the mid 1990s,鈥澨�Journal of Visual Art Practice听11, no. 2-3 (2012): 209-219.

. Maravillas, Francis.听鈥�Constellations of the contemporary: Art/Asia/Australia,鈥澨�Journal of Australian Studies听32, no. 4 (2008): 433-444.听

. Sambrani, Chaitanya.听鈥�Here, Out There (and Somewhere in Between): Contemporary Art in India,鈥澨�Australian and New Zealand Journal of Art听3, no. 2 (2015): 55-76.听

. Supangkat, Jim.听鈥�Multiculturalism/Multimodernism,鈥� in Apinan Poshyananda, et. al.,听Traditions/Tensions: Contemporary Art in Asia听(New York: Asia Society Galleries, 1996), 70-81.

. Bell, David. 鈥淲hite Rabbit, contemporary Chinese arts and soft power in Sydney鈥檚 Chippendale鈥� in听China in Australasia: Cultural diplomacy and Chinese arts since the Cold War, eds. James Beattie et al. (London: Routledge, 2019) 133-150.

. Suhanya Raffel, "The China Project" in听The China Project, catalogue, (Brisbane: Queensland Art Gallery, 2009) 14-23.

. Cao Yin, "Introduction" in听Tang: Treasures from the Silk Road Capital听(Sydney: Art Gallery of New South Wales, 2016) 15-23,听

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Week 12:听17 May 2023

Exhibiting Contemporary Asian Art regionally and internationally: Biennales and Triennials

This week鈥檚 topic follows through with some of the issues raised in the preceding weeks, but with focus paid to the role Biennales and Triennials have played in shaping the production and reception of contemporary Asian art. For example, the participation of such events have jumpstarted careers for artists and curators alike; it had also, in some instances, provided the much needed platform to pursue practices that were otherwise disallowed in their home countries. Beginning with a brief discussion of the Biennale format and the national pavilions for which modern and contemporary art is organized and viewed, the lecture will contrast this with more regional developments, such as the roles Australia and Japan have variously played in spearheading and driving certain initiatives in the Asia-Pacific/Asia region (namely, the Fukuoka Asian Art Triennale and the Asia-Pacific-Triennial). What are some of the implications and consequences brought forth from the inclusion of Asian contemporary art in the now ubiquitous Biennales/Triennials?听

Prescribed Readings:听

. Clark, John. 鈥淗istories of the Asian 鈥楴ew鈥�: Biennales and Contemporary Asian Art鈥� in Vishakha N. Desai, ed.,听Asian Art History in the Twenty-First Century听(Williamstown, New Haven and London: Clark Institute and Yale University Press, 2007).听

. Schoppert, Peter. 鈥淎sia in the 50th Venice Biennale of Art 2003鈥�,听Inter-Asia Cultural Studies听6, no. 1 (Aug 2006): 136-140.

Additional Readings:

. Clarke, David. 鈥淐ontemporary Asian art and its Western reception,鈥澨�Third Text听16, no. 3 (2002): 237-242.

. Chiu, Melissa. 鈥淭he transcultural dilemma: Asian Australian artists in the Asia debate,鈥澨�Journal of Australian Studies听24, no. 65 (2009): 27-34.听

. Green, Charles and Gardner, Anthony. 鈥淏iennials of the South on the Edges of the Global,鈥澨�Third Text听27, no. 4 (2013): 442-455.听

. Turner, Caroline. 鈥淚ntroduction: Internationalism and Regionalism: Paradoxes of Identity鈥�, in Turner, Caroline, ed.听Tradition and Change: Contemporary Art of Asia and the Pacific听(Brisbane: University of Queensland Press, 1993), xii-xviii.

. Turner, Caroline. 鈥淎rt Speaking for Humanity: The Asia-Pacific Triennial of Contemporary Art,鈥澨�Art Journal听59, no. 1 (2014): 16-19.听

. Maravillas, Francis. 鈥淐artographies of the Future: The Asia-Pacific Triennials and the Curatorial Imaginary,鈥� in Clark, John, Peleggi, Maurizio, and Sabapathy, T.K., eds.,听Eye of the Beholder: Reception, Audience and Practice of Modern Asian Art, (Wild Peony, Sydney: 2006), 244-270.

. Poshyananda, Apinan, et. al.听Contemporary art in Asia: traditions, tensions听(New York : Asia Society Galleries, 1996).

. Oren, Michel. 鈥淐ontemporary art in Asia: Traditions/tensions,鈥澨�Third Text听11, no. 41 (Jun 2008): 103-106.听

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Week 13:听24 May 2023

A Coda: Global Art, Local Histories?听听

For this final seminar, we will revisit some of the broad themes discussed throughout the course:

鈥� Assumptions held about modern and contemporary Asian art (its objects, ideas, ideology, theoretical frameworks and institutions) and its histories

鈥� Responses of the artists (individuals and collectives) toward national, regional and international changes and challenges from the post-war era to the present

鈥� Institutionalization of modern and contemporary Asian, its problems, politics and agendas听

鈥� Global interactions/exchanges, and the impact and effect internationalism/ globalization has on the production and reception of Asian art

鈥� Function of art in and across various domains (political, socio-cultural and individual)听

In concluding the course, the lecture will consider the history of Asian art history and its attendant issues. The preceding few topics have questioned the now dominant role that curators too played in shaping contemporary art developments and its discourses. The task of providing contextual readings of contemporary Asian art by and large fall on art historians, yet art history has proven to be much less adept than curatorial work in addressing Asian artistic output of recent times. Why is this so? Can we speak of art history as having become globalized as a discipline?听

Prescribed readings:

. Teh, David. 鈥淭ravelling without Moving: Historicising Thai Contemporary Art,鈥澨�Third Text听26, no. 5 (2012): 567-583.

. Smith, Terry. 鈥淭he State of Art History: Contemporary Art,鈥澨�The Art Bulletin听92, no. 4 (2014): 366-383.听听

Background reading

. Clark, John. 鈥淏eyond the National, inside the Global鈥� in Anderson, Jaynie, ed.,听Crossing Cultures: Conflict, Migration and Convergence听[The Proceedings of the 32nd International Congress in the History of Art] (Carlton, Victoria: Melbourne University Press, 2009), 58-59.听

. Clark, John, et. al. 鈥淭he possibility of a world art history鈥� [discussion]听in Australian & New Zealand Journal of Art, Special Issue 21st-century Art History 9, nos. 1/2 (2008-9): 43-47.

. Kee, Joan. 鈥淔ield and stream: The terrain of contemporary Asian art,鈥� in听The Asia-Pacific Triennial of Contemporary Art听(Brisbane: Queensland Art Gallery, 2012), 66-71.

. Poshyananda, Apinan. 鈥淧ositioning Contemporary Asian Art鈥澨�Art Journal听59, no. 1 (May 2014): 10-13.

. Taylor, Nora. 鈥淎rt without History? Southeast Asian Artists and Their Communities in the Face of Geography,鈥澨�Art Journal听70, no. 2 (2011): 6-23.