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BEGIN:VEVENT
DTSTART;TZID=Asia/Hong_Kong:20260512T101500
DTEND;TZID=Asia/Hong_Kong:20260512T113000
DTSTAMP:20260521T123355
CREATED:20260423T041303Z
LAST-MODIFIED:20260514T045011Z
UID:13362-1778580900-1778585400@arthistory.hku.hk
SUMMARY:“Hogan-Minded”:  Race and Place in  Georgia O’Keeffe’s Southwest
DESCRIPTION:“Hogan-Minded”: Race and Place in Georgia O’Keeffe’s Southwest\nDate: 12 May 2026 (Tuesday)\nTime: 10:15am-11:15am\nVenue: Room 10.28\, 10/f\, Run Run Shaw Tower\, Centennial Campus\, HKU \nAll are welcome \nThis talk argues that past interpretations of Georgia O’Keeffe’s New Mexican oeuvre have obscured the extent\, character\, and stakes of her engagement with Southwestern Indigenous and Hispanic cultures. It contests the popular notion that after an initial\, ostensibly more touristic period\, O’Keeffe’s New Mexican work evinced a unique sense of place that had little to do with contemporary racial attitudes. Instead\, it highlights the ongoing influence of tourist contexts (including visits to Indigenous ceremonials and involvement in regional commodity markets) on her work beyond the early 1930s\, and suggests that\, in its representation of buildings\, objects\, and places of spiritual significance to New Mexican Indigenous and Hispanic groups\, her Southwestern oeuvre frequently relied upon and perpetuated romantic stereotypes about those cultures circulating within interwar Anglo-New Mexico and the Manhattan avant-garde. This argument unfolds with the help of several case studies\, including discussion of her representations of Native American material objects\, and especially Hopi katsina tithu\, which she found spiritually and personally resonant yet failed to fully understand\, and consideration of her depictions of Indigenous holy sites\, which she often recast through the lenses of personal ownership\, vague spiritual meaning\, and modernist experimentation. Ultimately\, O’Keeffe’s paintings and writings make clear that she saw the region much as countless others had before: both deeply informed by the presence and history of its Native peoples and open\, empty\, and ripe for claiming. \nSpeaker: James Denison is a Postdoctoral Fellow and Visiting Assistant Professor of Art History at Kalamazoo College and the Kalamazoo Institute of Arts. A graduate of Bowdoin College\, he completed his doctorate at the University of Michigan in 2023.
URL:https://arthistory.hku.hk/index.php/event/hogan-minded-race-and-place-in-georgia-okeeffes-southwest/
LOCATION:Department Seminar Room\, 1028\, Run Run Shaw Tower\, Centennial Campus\, HKU\, Hong Kong
CATEGORIES:2025-2026,Academic Talk,Seminar
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2026/04/20260512-DENISON-poster-scaled.jpg
ORGANIZER;CN="Department of Art History":MAILTO:art.history@hku.hk
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Hong_Kong:20260504T160000
DTEND;TZID=Asia/Hong_Kong:20260504T171500
DTSTAMP:20260521T123355
CREATED:20260421T080727Z
LAST-MODIFIED:20260430T111324Z
UID:13355-1777910400-1777914900@arthistory.hku.hk
SUMMARY:John Sloan\, Fordism\, and Mass Automobility
DESCRIPTION:John Sloan\, Fordism\, and Mass Automobility\nDate: 4 May 2026 (Wednesday)\nTime: 4pm-5:15pm\nVenue: Room 10.28\, 10/f\, Run Run Shaw Tower\, Centennial Campus\, HKU \nAll are welcome \nThis presentation will focus on the work of the Ashcan artist John Sloan (1871-1951)\, describing and analyzing Sloan’s relation to Fordism and the rise of mass automobility over the duration of his career.  To do so\, I will begin with Sloan’s familiarity with Fordist tropes\, his appeals to them in his writings\, and his remarkable pictorial satire “Ford Tank with Fleeing Figures.” This preliminary discussion will then frame an analysis of what has been called the first truly typical New York Sloan—“Dust Storm Fifth Avenue” of 1906\, which notably depicts a car—and continue through Sloan’s diarized accounts of riding in automobiles. The presentation will culminate with Sloan’s images from Gloucester\, Massachusetts and a discussion of his use of the Maratta scales of colors and pigments\, a commercially produced painting system that can be analogized to Fordist production.  The presentation will then conclude with Sloan’s satirical pictures of the effects of automobiles on indigenous life in the Southwest and with a discussion of Sloan’s relationship to indigenous art and culture. Overall\, the presentation demonstrates how Fordism and the power dynamics associated with automobiles was a recurring interest of Sloan’s\, shaping both his subject matter and his technique over the course of his life.  A key finding of the presentation is to identify a thematic continuity between Sloan’s early\, middle\, and late artistic production\, which are phases of his career that are often treated as disjointed. \nSpeaker: Oliver O’Donnell is a Senior Research Fellow at the University of California\, Berkeley. He has taught at the Courtauld Institute of Art and the University of Basel\, and has held research appointments at the Warburg Institute and the Kunsthistorisches Institut in Florenz – Max-Planck-Institut.  At Berkeley\, he is a core collaborator on the Depictured Worlds Project\, sponsored by the NOMIS Foundation.
URL:https://arthistory.hku.hk/index.php/event/john-sloan-fordism-and-mass-automobility/
LOCATION:Department Seminar Room\, 1028\, Run Run Shaw Tower\, Centennial Campus\, HKU\, Hong Kong
CATEGORIES:2025-2026,Academic Talk,Seminar
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2026/04/20260504-odonnell-talk-poster-updated-2-scaled.jpg
ORGANIZER;CN="Department of Art History":MAILTO:art.history@hku.hk
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Hong_Kong:20260429T183000
DTEND;TZID=Asia/Hong_Kong:20260429T200000
DTSTAMP:20260521T123355
CREATED:20260420T084634Z
LAST-MODIFIED:20260421T061538Z
UID:13348-1777487400-1777492800@arthistory.hku.hk
SUMMARY:Reinventing the Archive: Franki Raffles\, Asia and Women's Work
DESCRIPTION:Date: 29 April 2026 (Wednesday)\nTime: 6:30pm-8pm\nVenue: CCG Library\, Asia Art Archive \nPlease join us for a discussion of the Franki Raffles Photography Collection at the University of St Andrews\, in connection with the current exhibition at HKU. The talk will focus on Raffles’s 1984-85 trip to Eastern Europe and Asia. The year-long voyage catalysed Raffles’s interest in women and work which she would dedicate her career to. \nSpeakers:\nDr. Catherine Spencer (University of St Andrews)\nDr. Vivian K. Sheng (University of Hong Kong)
URL:https://arthistory.hku.hk/index.php/event/reinventing-the-archive-franki-raffles-asia-and-womens-work/
LOCATION:Asia Art Archive\, 11/F Hollywood Centre\, 233 Hollywood Road\, Sheung Wan\, Hong Kong\, Hong Kong
CATEGORIES:2025-2026,Conversation
ATTACH;FMTTYPE=image/png:https://arthistory.hku.hk/wp-content/uploads/2026/04/20260429-reinventing-the-archive-talk.png
ORGANIZER;CN="Department of Art History":MAILTO:art.history@hku.hk
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Hong_Kong:20260429T110000
DTEND;TZID=Asia/Hong_Kong:20260429T121500
DTSTAMP:20260521T123355
CREATED:20260420T071036Z
LAST-MODIFIED:20260421T080157Z
UID:13342-1777460400-1777464900@arthistory.hku.hk
SUMMARY:Can I Pass?
DESCRIPTION:Can I Pass? Firelei Báez and Erica Lord’s Trickster Interrogations of Racialization\nDate: 29 April 2026 (Wednesday)\nTime: 11:00am-12:15pm\nVenue: Room 10.28\, 10/f\, Run Run Shaw Tower\, Centennial Campus\, HKU \nAll are welcome \nHow do artists of the African diaspora synthesize complex networks of cultural influence and relation in a globally interconnected world? My recent scholarship approaches this question through close analysis of artworks by contemporary Afro-Dominican artist Firelei Báez. Working across disciplinary boundaries\, I consider Báez’s work in relation to Indigenous American art and theory\, arguing that Black and Indigenous conceptual practices echo and complicate one another\, especially in their grapplings with the shared ground of settler colonialism and white supremacy across the Americas. Through close observation of Báez’s painting series Can I Pass? Introducing the Paper Bag to the Fan Test (2010–2013) and Lord’s photographic works\, the Tattooed Arms Project (2007) and the Tanning Project (2005–2007)\, I demonstrate how each artist challenges systems of legal and social racialization in the Americas through a shared practice of trickster methodology\, inhabiting the edges of racial categories in order to unsettle their foundational logics. \nSpeaker: Aja Edwin Mujinga is a scholar of modern and contemporary art of the African diaspora who specializes in Black–Indigenous and Afro-Asiatic networks of relation. Her doctoral research\, completed through the University of Texas at Austin\, analyzes the practice of “trickster methodology” across artworks by Afro-Dominican artist Firelei Báez. In 2022\, Mujinga was the Mellon Fellow in Contemporary Art at the Blanton Museum in Austin\, Texas. Mujinga completed master’s degrees in art history and studio art at the University of Montana following undergraduate studies at Sarah Lawrence College. She was an assistant professor at the University of Montana Western for three years and has taught college students at the Kansas City Art Institute\, the University of Kansas\, and Avila University. She sits on the African Art Advisory Group at the Nelson Atkins Museum in Kansas City and has presented her research at numerous venues\, including the College Art Association\, the University of Colorado Boulder\, and the Missoula Art Museum.
URL:https://arthistory.hku.hk/index.php/event/can-i-pass-firelei-baez-and-erica-lords-trickster-interrogations-of-racialization/
LOCATION:Department Seminar Room\, 1028\, Run Run Shaw Tower\, Centennial Campus\, HKU\, Hong Kong
CATEGORIES:2025-2026,Academic Talk,Seminar
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2026/04/20260429-MUJINGA-poster-scaled.jpg
ORGANIZER;CN="Department of Art History":MAILTO:art.history@hku.hk
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Hong_Kong:20260324T173000
DTEND;TZID=Asia/Hong_Kong:20260324T183000
DTSTAMP:20260521T123355
CREATED:20260310T050132Z
LAST-MODIFIED:20260312T072947Z
UID:13297-1774373400-1774377000@arthistory.hku.hk
SUMMARY:Introduction to teamLab
DESCRIPTION:HKU Student Event\nTakeshi Yamada: Introduction to teamLab\nDate: 24 March 2026 (Tuesday)\nTime: 5:30pm-6:30pm\nVenue: CPD-2.42\, The Jockey Club Tower\, Centennial Campus\, HKU \nRegistration: CLICK HERE\nSeats are limited; students who attended “Can Machines Imagine?” are given priority\, subject to availability. \nteamLab (f. 2001) is an international art collective. Their collaborative practice seeks to navigate the confluence of art\, science\, technology\, and the natural world. Through art\, the interdisciplinary group of specialists\, including artists\, programmers\, engineers\, CG animators\, mathematicians\, and architects\, aims to explore the relationship between the self and the world\, and new forms of perception. In this session\, a teamLab member will introduce teamLab’s projects and the concepts that drive their creation. The speaker will also delve into the teams behind the work and the technologies they utilize. The presentation will conclude with information on internship and employment opportunities at teamLab. \nSpeaker: Takeshi Yamada was born and raised in Tokyo in 1990. He studied at Durham University for one year and then graduated from Teikyo University in 2012 with a B.A. in English Literature and History. After working as a Marketing Manager in the travel industry in Zurich\, he returned to Japan to work at teamLab where he is now the Director of Community Engagement.
URL:https://arthistory.hku.hk/index.php/event/takeshi-yamada-introduction-to-teamlab/
LOCATION:CPD-2.42\, CPD-2.42\, Centennial Campus\, HKU
CATEGORIES:2025-2026,Public Lecture
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2026/03/20260324-teamLab-web-scaled.jpg
ORGANIZER;CN="Department of Art History":MAILTO:art.history@hku.hk
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Hong_Kong:20260323T181500
DTEND;TZID=Asia/Hong_Kong:20260323T194500
DTSTAMP:20260521T123355
CREATED:20260306T110736Z
LAST-MODIFIED:20260320T031938Z
UID:13286-1774289700-1774295100@arthistory.hku.hk
SUMMARY:Can Machines Imagine?
DESCRIPTION:Can Machines Imagine?\nAI\, Art\, and None of the Hype\nDate: 23 March 2026 (Monday)\nTime: 6:15pm-7:45pm\nVenue: Hui Pun Hing Lecture Hall\, LE1\, Library Extension Building\, Main Campus\, HKU\nBy MTR: directions from Exit A2 \nBy Taxi: for taxi driver \nRegistration: CLICK HERE\nFree seating\, with doors open at 6pm\nWe have a limited number of Art Basel and Art Central Art Fair tickets to give away to students — first come\, first served (at the registration desk)! \nThis panel discussion will be moderated by Prof. Yeewan Koon \nSpeakers: \n\nAlan LAU (Vice Chairman of M+ Board)\nAdrian NOTZ (Curator)\nBianca TSE (Artist)\nTakeshi YAMADA (teamLab)\n\nAlan LAU\nAlan Lau is Vice Chair of M+\, Hong Kong’s largest contemporary art museum. He has been a champion of Asian artists for two decades\, and co-chairs the Asia Pacific Acquisition Committee of Tate\, and the Asia Art Circle of Guggenheim. He has been a technologist for 20 years\, with leadership roles in McKinsey\, Tencent\, and Animoca Brands. He founded McKinsey’s digital practice and led as Asia Head\, co-founded Tencent’s insurance arm WeSure and served as CEO\, and currently leads investment and manages a portfolio of 500 companies as CBO of Animoca. He advises the Oxford University and HK University on AI\, Creativity & Ethics\, and promotes AI adoption and policies as a founding member of The AI Association of HK. In the broader culture sphere\, he serves on the board of Tapestry\, which owns Coach and Kate Spade\, and previously served on the digital board of Burberry. He also makes angel investments in F&B\, entertainment\, and technology. \nAdrian Christopher NOTZ\nAdrian Christopher Notz (*1977\, Zurich) is an independent curator and lecturer based in Zurich. He studied time-based media and Fine Arts at the University of the Arts Bremen and Theory of Art and Design at the Zurich University of the Arts. In 2024\, he co-curated the AAA Experiments in Kunsthalle Zurich and in 2023 the Art Encounters Biennial in Timișoara. He is currently lecturer at ETH Zurich\, where he led the AI+Art Program at the ETH AI Center from 2021 to 2024. From 2020 to 2022\, Notz served as curator at the Tichy Ocean Foundation in Zurich. Previously\, he was the artistic director of Cabaret Voltaire in Zurich (2012–2019)\, following roles as co-director (2006–2012) and curatorial assistant (2004–2006). From 2010 to 2015\, he also headed the Department of Fine Arts at the School of Design in St. Gallen. Throughout his career\, Notz has organized and curated numerous exhibitions\, events\, conferences\, and interventions\, collaborating with international artists\, scientists\, activists\, and thinkers both at Cabaret Voltaire and globally. \nBianca TSE\nBianca Tse\, born and raised in Hong Kong of the 80s\, combines her expertise in advertising with a profound passion for documentary work. Having experienced challenging family conditions during her upbringing in Temporary Housing Area\, she consistently feels a deep connection to the themes of chaotic urban life and poverty. Her particular passion and fascination lie in the history of Kowloon Walled City and her hometown\, Hong Kong. Drawing inspirations from local heritage and culture\, as well as her personal memories\, Bianca utilises AI tools to embark on a reimagined journey. Her works transport viewers into a captivating parallel universe of the City of Darkness while simultaneously experimenting with the possibilities of AI documentary. Bianca’s artistic style is rooted in storytelling\, where she weaves together Hong Kong’s collective memories with the boundless possibilities offered by AI as a creative medium. By blending elements of authentic history and imagination\, she creates an intriguing juxtaposition between the familiar and the extraordinary\, breathing life into its forgotten past and presenting it in a unique light. https://www.walledcitywildestdreams.com \nTakeshi YAMADA\nTakeshi Yamada was born and raised in Tokyo in 1990. He studied at Durham University for one year and then graduated from Teikyo University in 2012 with a B.A. in English Literature and History. After working as a Marketing Manager in the travel industry in Zurich\, he returned to Japan to work at teamLab where he is now the Director of Community Engagement.
URL:https://arthistory.hku.hk/index.php/event/can-machines-imagine/
LOCATION:Hui Pun Hing Lecture Hall (LE1)\, LE1\, LG1/F\, Library Extension Building\, Main Campus\, HKU
CATEGORIES:2025-2026,Academic Talk,Conversation
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2026/03/20260323-CMI-poster-web-scaled.jpg
ORGANIZER;CN="Department of Art History":MAILTO:art.history@hku.hk
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Hong_Kong:20260320T180000
DTEND;TZID=Asia/Hong_Kong:20260320T190000
DTSTAMP:20260521T123355
CREATED:20260224T021334Z
LAST-MODIFIED:20260309T020651Z
UID:13277-1774029600-1774033200@arthistory.hku.hk
SUMMARY:The Legacy of Eternal Egypt in the Greco-Roman Imagination
DESCRIPTION:This event is organized by HKU Fine Arts and Art History Alumni Association (HKUFAAA)\nDate: 20 March 2026 (Friday)\nTime: 6pm-7pm\nFormat: online\, registration required\, zoom link will be sent one day before the talk \nThis online talk will delve into the fascinating cultural exchanges between ancient Egypt and the Greco-Roman world\, highlighting how Greco-Roman artefacts feature the imagined Egypt\, how Egyptian art\, architecture\, and mythology had an enduring impact in the art production of later centuries. This talk pairs beautifully with the current exhibition “Ancient Egypt Unveiled: Treasures from Egyptian Museums” at the Hong Kong Palace Museum. \nSpeaker: Prof. Susanna McFadden (Assistant Professor\, Department of Art History\, HKU) \nRead more and register via HKUFAAA
URL:https://arthistory.hku.hk/index.php/event/the-legacy-of-eternal-egypt-in-the-greco-roman-imagination/
LOCATION:Online
CATEGORIES:2025-2026,Academic Talk,Public Lecture
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2026/02/20260320egypt-talk-visual-scaled.jpg
ORGANIZER;CN="HKU Fine Arts and Art History Alumni Association":MAILTO:alumni@hkufaaa.hk
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Hong_Kong:20260308T143000
DTEND;TZID=Asia/Hong_Kong:20260308T153000
DTSTAMP:20260521T123355
CREATED:20260224T014508Z
LAST-MODIFIED:20260224T014835Z
UID:13271-1772980200-1772983800@arthistory.hku.hk
SUMMARY:Faith and Shadows: The Life of Caravaggio
DESCRIPTION:This event is organized by Hong Kong Arts Festival\nDate: 8 March 2026 (Sunday)\nTime: 2:30pm-3:30pm \nThe celebrated Italian ballet phenomenon\, Roberto Bolle\, honours an earlier Italian cultural icon\, the painter Caravaggio\, in the acclaimed contemporary ballet production Caravaggio.\nDr Elisabeth Berry Drago\, lecturer in the Department of Art History at The University of Hong Kong\, in this pre-performance talk reveals the mysteries behind Caravaggio’s most famous artworks\, his techniques\, hidden inspirations and the controversies that followed in his footsteps.\nA matinee performance of the contemporary ballet Caravaggio will start at 4pm\, soon after the conclusion of this talk\, at the Grand Theatre in the Hong Kong Cultural Centre. \nRead more and register here
URL:https://arthistory.hku.hk/index.php/event/faith-and-shadows-the-life-of-caravaggio/
LOCATION:Lemna of the alchemist
CATEGORIES:2025-2026,Public Lecture,Workshop
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2026/02/20260308-drago-caravaggio.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Hong_Kong:20260304T183000
DTEND;TZID=Asia/Hong_Kong:20260304T194500
DTSTAMP:20260521T123355
CREATED:20260127T082721Z
LAST-MODIFIED:20260216T084603Z
UID:13214-1772649000-1772653500@arthistory.hku.hk
SUMMARY:Curating Queer Histories
DESCRIPTION:M+ x HKU Art History Lecture Series\nCurating Queer Histories\nDate: 4 March 2026 (Wednesday)\nTime: 6:30pm-7:45pm\nVenue: Grand Hall\, Centennial Campus\, HKU (directions) \nRegistration: CLICK HERE\nFree seating\, with doors open at 6:15pm \nAbstract: Julia Bryan-Wilson will provide a curatorial overview of the 2024-25 show Queer Histories at the Museum of Art of São Paulo\, placing the show within the context of larger debates about queer/trans representation\, space\, religion\, abstraction\, and archives. In doing so\, she raises questions about how to stage political arguments in space. She also argues that art history itself has been a crucial resource for queer/trans artists as they look to alternative modes of cultural inscription. \nSpeaker: Julia Bryan-Wilson teaches contemporary art and gender studies at Columbia University. She is the award-winning author of several books\, including Fray: Art and Textile Politics (2017\, winner of the ASAP Book Prize\, the Frank Jewett Mather Award\, and the Robert Motherwell Book Award) and Louise Nevelson’s Sculpture: Drag\, Color\, Join\, Face (2023).  Her first book Art Workers: Radical Practice in the Vietnam War Era was translated into Korean and Japanese\, and her co-authored book Art in the Making has been translated into Korean. As Curator-at-Large at the Museu de Arte de São Paulo\, she co-curated several exhibitions\, including Queer Histories (with Adriano Pedrosa and André Mesquita\, 2024-25). In November 2025 she opened two shows—GUTSY: On Feminist Infrastructures (at MSN Warsaw) and Lotty Rosenfeld: Disobedient Spaces (at the Wallach Art Gallery\, organized with Natalia Brizuela). Her writing has appeared in many venues\, including Art Bulletin\, Artforum\, Art Journal\, Oxford Art Journal\, and Journal of Modern Craft\, and she has authored texts on artists such as Pacita Abad\, Lee Bul\, Theresa Hak Kyung Cha\, Yoko Ono\, and Yinka Shonibare.  In 2024 she served as President of the International Jury of the 60th Venice Biennale.
URL:https://arthistory.hku.hk/index.php/event/curating-queer-histories/
LOCATION:Grand Hall\, Grand Hall\, Lee Shau Kee Lecture Centre\, Centennial Campus
CATEGORIES:2025-2026,Public Lecture
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2026/01/20260304-CQH-poster-final-0205-scaled.jpg
ORGANIZER;CN="Department of Art History":MAILTO:art.history@hku.hk
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Hong_Kong:20260224T181500
DTEND;TZID=Asia/Hong_Kong:20260224T193000
DTSTAMP:20260521T123355
CREATED:20260112T063403Z
LAST-MODIFIED:20260224T083243Z
UID:13138-1771956900-1771961400@arthistory.hku.hk
SUMMARY:What Was the Floating World in Japanese Art
DESCRIPTION:What Was the Floating World in Japanese Art\nDate: 24 February 2026 (Tuesday)\nTime: 6:15pm-7:30pm\nVenue: MWT3\, G/F\, Meng Wah Complex\, Main Campus\, The University of Hong Kong (directions)\nRegistration: CLICK HERE (required) \nThe Tokugawa shogunate (1603-1868) was established to bring peace after almost a century of civil war. Discipline and order were paramount objectives. Yet the shogunate was fully aware that places of escape and alterity were needed\, that is\, locations of urban delight. These came to be known as the Floating World (ukiyoe). They were sites of a wealth of popular cultural and artistic forms. \nGuest speaker: Prof. Timon Screech  (Chair\, International Research Centre for Japanese Studies\, Kyoto) \nTimon Screech taught the history of Japanese art at SOAS\, University of London\, for 30 years\, before moving to a chair at the International Research Center for Japanese Studies (Nichibunken) in Kyoto\, in 2021. He has also been guest professor at numerous institutions in the EU\, Japan and USA.\nScreech is the author of some dozen books and many articles on the visual culture of the Japan’s early-modern Edo period. His PhD was published as The Lens Within the Heart and remains in print in a second\, paperback edition. Perhaps best-known is his Sex and the Floating World: Erotic Images in Japan\, 1700-1820\, which is also available in Chinese\, Japanese and Polish translations. His field-defining study\, Obtaining Images: Art\, Production and Display in Edo Japan was published in 2012.\nIn 2020 he published two further books\, The Shogun’s Silver Telescope: God\, Art and Money in the English Quest for Japan and Tokyo Before Tokyo: Power and Magic in the Shogun’s City of Edo (also available in Chinese). He has just completed a major monograph which will appear in 2026\, Shogun Avatar: The Worship of Tokugawa in Early-Modern Japan\, and concurrently a book on early European contacts with the Kingdom of Lūchū (J: Ryūkyū)\, modern Okinawa. He is now at work on the history of the Rokuhara district in Kyoto.\nScreech is a Freeman of the City of London\, a Fellow of the British Academy and of the Royal Society of Art. In 2022 he was awarded both the Yamagata Bantō Prize\, and the Fukuoka Culture Prize\, and in 2024 received the Japanese Foreign Minister’s Commendation. \nThis is a public event co-organized by Academy of Visual Arts\, School of Creative Arts\, Hong Kong Baptist University through Hong Kong Baptist University\, Research Committee\, International Activities Programme 2025/26\, in collaboration with The International Research Center for Japanese Studies (Nichibunken).\nRegister for other lectures of the same series:
URL:https://arthistory.hku.hk/index.php/event/what-was-the-floating-world-in-japanese-art/
LOCATION:MWT3\, G/F\, Meng Wah Complex\, Main Campus
CATEGORIES:2025-2026,Academic Talk,Public Lecture
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2026/01/260122_HKU-Lecture_A3poster-web-scaled.jpg
ORGANIZER;CN="Department of Art History":MAILTO:art.history@hku.hk
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Hong_Kong:20260210T180000
DTEND;TZID=Asia/Hong_Kong:20260210T190000
DTSTAMP:20260521T123355
CREATED:20260121T033134Z
LAST-MODIFIED:20260122T101953Z
UID:13173-1770746400-1770750000@arthistory.hku.hk
SUMMARY:Girl Statue of One’s Own
DESCRIPTION:Art History Public Seminar \nGirl Statue of One’s Own: On Customizing a Public Memorial for “Comfort Women”\nDate: 10 February 2026 (Tuesday)\nTime: 6pm-7pm\nVenue: Arts Tech Lab\, 4/f\, Run Run Shaw Tower\, Centennial Campus\, HKU\nFormat: in-person only\, first come first served\, walk-ins welcome \nSpeaker: SaeHim Park (Assistant Professor of Cultural Studies\, Department of Cultural and Religious Studies\, CUHK) \nThe Statue of Peace (2011)\, commonly known as the Girl Statue\, is a public memorial dedicated to “comfort women\,” an infamous euphemism referring to gender-based violence under the Japanese Empire from c.1931 to 1945. Drawing from an ongoing book manuscript\, Girl Statue Rush: On Imaging Comfort Women\, this talk examines how the statue’s circulation across scale\, form\, and media reshapes practices of remembrance in the historical present. \nSaeHim Park is an art historian and Assistant Professor of Cultural Studies in the Department of Cultural and Religious Studies at the Chinese University of Hong Kong. She works on contemporary feminist art and visual culture; memory and trauma; and the environmental humanities across the Asia-Pacific. Her writings have appeared or are forthcoming in Mortality\, Art Inquiries\, Journal of the Society for Asian Humanities\, Capacious\, and Feminist Formations. She received her PhD in Art\, Art History and Visual Studies from Duke University\, and previously taught as a tenure-track Assistant Professor of History at Xavier University of Louisiana. \nImage: 작은 소녀상/Peace Statue/平和少女像\, War & Women’s Human Rights Museum\, Seoul.
URL:https://arthistory.hku.hk/index.php/event/girl-statue-of-ones-own/
LOCATION:Arts Tech Lab\, Room 4.35\, Run Run Shaw Tower\, Centennial Campus. The University of Hong Kong\, Hong Kong
CATEGORIES:2025-2026,Academic Talk,Seminar
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2026/01/20260210-park-seminar-poster-web-scaled.jpg
ORGANIZER;CN="Department of Art History":MAILTO:art.history@hku.hk
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Hong_Kong:20260115T130000
DTEND;TZID=Asia/Hong_Kong:20260115T140000
DTSTAMP:20260521T123355
CREATED:20251227T023225Z
LAST-MODIFIED:20260121T062814Z
UID:13124-1768482000-1768485600@arthistory.hku.hk
SUMMARY:Serial Visions of Socialist Construction
DESCRIPTION:Art History Pubic Seminar\nSerial Visions of Socialist Construction: Li Fenglan\, Lianhuanhua\, and the Metatexts of Mass Art\nDate: 15 January 2026 (Thursday)\nTime: 1pm-2pm\nVenue: CPD-2.42\, Centennial Campus\, HKU\nFormat: in-person only\, first come first served\, walk-ins welcome \nGuest speaker: Dr. Angie C. Baecker (Research Assistant Professor\, The Hong Kong Polytechnic University)\n \n \nThis talk will examine serial comics\, or lianhuanhua\, inked by amateur artist-laborers during the socialist period in the People’s Republic of China. Although the majority of published serial comics were drawn by artists employed by state-run publishing houses\, some were drawn collectively by mass artists as a direct corollary of their productive labor\, with local art centers often organizing agricultural workers to draw cartoon panels depicting the very infrastructure drives that they had been mobilized to work on. Serial comics drawn by amateur artists thus provide occasion to consider the entanglement of artistic and productive labor within the mass art movement in socialist China. Through close readings of lianhuanhua drawn by non-professional artists\, this presentation argues that the seriality of imagery in mass produced serial comics reflected changed concepts of narrative and temporality under the conditions of socialist construction.
URL:https://arthistory.hku.hk/index.php/event/serial-visions-of-socialist-construction/
LOCATION:Classroom 242\, Room 2.42\, Jockey Club Tower\, Centennial Campus\, HKU
CATEGORIES:2025-2026,Academic Talk,Seminar
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2025/12/20260115a.jpg
ORGANIZER;CN="Department of Art History":MAILTO:art.history@hku.hk
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Hong_Kong:20251126T161500
DTEND;TZID=Asia/Hong_Kong:20251126T173000
DTSTAMP:20260521T123355
CREATED:20251103T041026Z
LAST-MODIFIED:20251126T022138Z
UID:13068-1764173700-1764178200@arthistory.hku.hk
SUMMARY:Ancient Egyptian Temples: Three Thousand Years of Development
DESCRIPTION:This event is co-organized by Humanities and Digital Technologies program and the Department of Art History\, Faculty of Arts\, HKU\nDate: 26 November 2025 (Wednesday)\nTime: 4:15-5:30pm\nVenue: Room 4.36\, Run Run Shaw Tower\, Centennial Campus\, HKU (click for directions)\n \nGuest speaker: Prof. John Baines (Professor Emeritus\, Egyptology\, University of Oxford)\n \nTemples were a central institution of ancient Egyptian society. From modest local shrines\, through intricate structures forming part of pyramid complexes\, to vast enclosures containing several temples in the second and first millennia BCE\, they incorporated core values and were ever more vital to the entire society. Their forms incorporated and spoke to the rural and urban landscape\, they influenced other civilizations\, and today they continue to be salient symbols of Egyptian visual culture. This lecture will explore their development while concentrating on the intricate structures of later periods. \nRegistration: required\, first come first served \nCome early on the day to secure your seat!
URL:https://arthistory.hku.hk/index.php/event/ancient-egyptian-temples-three-thousand-years-of-development/
LOCATION:Faculty Room 436\, Room 4.36\, Run Run Shaw Tower\, Centennial Campus\, HKU\, Hong Kong
CATEGORIES:2025-2026,Academic Talk,Public Lecture
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2025/11/20251126-baines-graphic-web2-scaled.jpg
ORGANIZER;CN="Department of Art History":MAILTO:art.history@hku.hk
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251025
DTEND;VALUE=DATE:20251026
DTSTAMP:20260521T123355
CREATED:20251016T085939Z
LAST-MODIFIED:20251021T093654Z
UID:13015-1761350400-1761436799@arthistory.hku.hk
SUMMARY:Information Day 2025
DESCRIPTION:We are excited about this annual public information day and here are what our department has prepared for you. Come and meet our teachers and students. Fine out what Art History is and why we are all in love with it! \n\nAll day (CPD-LG.07)\, Information booth\n10am (CPD-LG.59)\, Art History Mock Lecture: “What defines Baroque Art?” by Dr. Elisabeth Drago\n2pm (CPD-LG.60)\, Information Session: “Art History @HKU” by Dr. Vivian Sheng\n10am-4pm (CPD-LG.41)\, Art History x VR: Experiencing Art in the Digital World\n\nRegister now!
URL:https://arthistory.hku.hk/index.php/event/information-day-2025/
CATEGORIES:2025-2026,Academic Talk,Information,Public Lecture
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2025/10/20251025-banner-1web-1-scaled.jpg
ORGANIZER;CN="Department of Art History":MAILTO:art.history@hku.hk
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Hong_Kong:20251024T160000
DTEND;TZID=Asia/Hong_Kong:20251024T170000
DTSTAMP:20260521T123355
CREATED:20251014T064741Z
LAST-MODIFIED:20251021T093527Z
UID:13003-1761321600-1761325200@arthistory.hku.hk
SUMMARY:Conversation with Pi Li & Pauline Yao
DESCRIPTION:Career Workshop Series\nDate: 24 October 2025 (Friday)\nTime: 4-5pm\nVenue: Art History Resource Centre\n \nGuest speakers: Pi Li and Pauline J. Yao\nPi Li is the Head of Art at Tai Kwun\, co-curator of the current exhibition “Stay Connected: Art and China Since 2008.”\nPauline J. Yao\, an independent curator\, is the co-curator of “Sigg Prize 2025” exhibition now on view at M+.\nModerator: Prof. Yeewan Koon\n \nAll students are welcome. No registration required. Free seating.\nThe session will be conducted in English.
URL:https://arthistory.hku.hk/index.php/event/conversation-with-pi-li-and-pauline-yao/
LOCATION:Art History Resource Centre\, 10.29 Run Run Shaw Tower\, Centennial Campus\, Hong Kong
CATEGORIES:2025-2026,Conversation,Information,Workshop
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2025/10/20251024-conversation-poster-web-scaled.jpg
ORGANIZER;CN="Department of Art History":MAILTO:art.history@hku.hk
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Hong_Kong:20251023T160000
DTEND;TZID=Asia/Hong_Kong:20251023T170000
DTSTAMP:20260521T123355
CREATED:20251020T033424Z
LAST-MODIFIED:20251020T033838Z
UID:13025-1761235200-1761238800@arthistory.hku.hk
SUMMARY:New Forms of Calligraphy in China: Graffiti Art
DESCRIPTION:This event is co-organized by the CILS of HKU Faculty of Law\, Center for the Study of Globalization and Cultures (CSGC) of HKU\, and the School of Humanities of HKU Faculty of Arts.\nDate: 23 October 2025 (Thursday)\nTime: 4pm-5pm\nVenue: Room 723\, 7/F Cheng Yu Tung Tower\, The University of Hong Kong\nSpeaker: Dr. Marta Rosa Bisceglia (Adjunct Professor and Research Fellow\, University of Bologna) \nThe seminar will begin with a presentation of the European research project WRITE – New Forms of Calligraphy in China: A Contemporary Culture Mirror (国书法新形式：当代文化之镜\, PI Prof A Iezzi). The project investigates how emerging forms of calligraphy in contemporary China are reshaping Chinese cultural identity. At its core\, WRITE undertakes the first systematic analysis of these innovative artistic practices. By creating a comprehensive dataset of artworks and adopting a media-based categorization\, the project explores the development of new forms of calligraphy across multiple creative domains\, including fine and contemporary art\, decorative and applied arts\, architecture\, performing arts\, and graffiti art. \nWithin this broader framework\, the seminar will focus on graffiti as one of the most dynamic and experimental areas where calligraphy is being redefined. Graffiti\, a global art movement in constant evolution\, emerged in China only in the mid-1990s. Despite being relatively underexplored\, it has developed into a remarkably vibrant phenomenon\, giving voice and vitality to the anonymous neighborhoods of the country’s vast metropolises. Chinese graffiti occupies a liminal space between legality and illegality\, free street expression and commercial production\, state endorsement and social critique\, revealing both its unique local character and the complex cultural landscape of contemporary China. \nIn this context\, Dr Bisceglia\, a specialist in Chinese graffiti\, a member of the WRITE project\, and co-author of the book Graffiti in China\, will advance the discussion by presenting her most recent research on the intersections between calligraphy and graffiti in China\, and the emerging new era of Chinese graffiti. \nDiscussant: Koon Yeewan\, Associate Professor\, Chair of Department of Art History\, and Associate Dean (Global)\, Faculty of Arts\, The University of Hong Kong\nChair: Shane Chalmers\, Assistant Professor\, The University of Hong Kong Faculty of Law\nTo register\, please go to https://hkuems1.hku.hk/hkuems/ec_regform.aspx?guest=Y&UEID=103400. \nFor inquiries\, please contact Ms. Grace Chan at mcgrace@hku.hk / 3917 4727.\nTo learn more about The Centre for Interdisciplinary Legal Studies (CILS)\, please go to https://cils.law.hku.hk/. 
URL:https://arthistory.hku.hk/index.php/event/new-forms-of-calligraphy-in-china-graffiti-art/
CATEGORIES:2025-2026,Conversation,Seminar
ATTACH;FMTTYPE=image/png:https://arthistory.hku.hk/wp-content/uploads/2025/10/20251023-bisceglia-koon-law.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250512
DTEND;VALUE=DATE:20250515
DTSTAMP:20260521T123355
CREATED:20250512T090125Z
LAST-MODIFIED:20250819T095449Z
UID:12558-1747008000-1747267199@arthistory.hku.hk
SUMMARY:MA Colloquium 2025
DESCRIPTION:The annual MA Colloquium is an open platform for our MAAH students to present their dissertation research to other students\, members of our Faculty and their advisors. \nDate: 12th – 14th May 2025 (Monday to Wednesday)\nTime: 9:30am-1pm\, 2:30pm-5:15pm\nVenue: Room 10.28\, 10/f\, Run Run Shaw Tower\, HKU\nNo registration required\, open to all\, free seating. \nA hardcopy of the presentation schedule (with individual abstract) is available in our Art History Resource Centre.
URL:https://arthistory.hku.hk/index.php/event/ma-colloquium-2025/
LOCATION:Arts Tech Lab\, Room 4.35\, Run Run Shaw Tower\, Centennial Campus. The University of Hong Kong\, Hong Kong
CATEGORIES:2024-2025,Academic Talk
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2025/05/20250512-ma-colloquium-entrance-scaled.jpg
ORGANIZER;CN="Department of Art History":MAILTO:art.history@hku.hk
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Hong_Kong:20250429T153000
DTEND;TZID=Asia/Hong_Kong:20250429T170000
DTSTAMP:20260521T123355
CREATED:20250416T030434Z
LAST-MODIFIED:20250416T030434Z
UID:12544-1745940600-1745946000@arthistory.hku.hk
SUMMARY:Boating through the Sacred Landscape
DESCRIPTION:Boating through the Sacred Landscape: Fang Congyi and the Spiritual Ecology of Yuan China\nAround the thirteenth and fourteenth centuries\, Daoist monks found the many secluded pockets of space\, eroded caves\, and zoomorphic peaks of the Wuyi Mountains in southeastern China conducive to their spiritual practices. They meditated\, harvested medicinal herbs\, and boated along Wuyi’s Nine Bend Stream to engage with its exceptional terrain. Notably\, the topographic painting Drifting in the Wuyi Mountains (1359) by Fang Congyi (c. 1302–1393) captures a virtual threshold\, where a scholar sails in a small boat toward a towering peak shaped like a sacred lingzhi mushroom. In contrast to previous scholarship that foregrounds the painting’s scholarly and Daoist associations\, my research applies an ecocritical perspective to examine how the work mediates embodied encounters with the physical environment. What does it mean for a painting to not only represent the natural world\, but to participate in shaping how it is experienced\, remembered\, and spiritually activated? Fang’s scroll serves as a point of departure for exploring the spiritual ecology of Wuyi—an inspirited realm where specific plants\, terrain\, and rituals supported a Daoist quest for spiritual transcendence. Ultimately\, this project advocates for close engagement with local environments and attention to nonhuman agents in order to understand how art mediates ecological relationships and contributes to a more inclusive\, materially grounded history of Chinese art and visual culture. \nDate: 29th April 2025 (Tuesday)\nTime: 3:30-5pm\nVenue: Room 10.28\, 10/f\, Run Run Shaw Tower\, HKU\nFree seating \nSpeaker: Yu-chuan Chen \nYu-chuan Chen is Assistant Professor of Art History at Oakland University and received his Ph.D. from Stanford University. His research and curatorial practice center on eco-art history in East Asia\, focusing on 10th to 14th century Chinese art and visual culture. His work examines how the visual and material entanglements of humans\, natural organisms\, and sacred environments shape cultural and artistic imaginaries. His exhibitions—including A Mushroom Perspective on Sacred Geography and Earthly Hollows: Caves and Kiln Transformations—explore how spiritual agents and topographies animate spiritual and artistic expressions. His current book project\, Activating the Sacred Landscape: The Visual Culture of the Wuyi Mountains\, utilizes boat journeys as a critical lens to explore artistic visions of this sacred Daoist mountain since the twelfth century. His research has been supported by the American Council of Learned Societies (ACLS)\, among other institutions.
URL:https://arthistory.hku.hk/index.php/event/boating-through-the-sacred-landscape/
LOCATION:Department Seminar Room\, 1028\, Run Run Shaw Tower\, Centennial Campus\, HKU\, Hong Kong
CATEGORIES:2024-2025,Academic Talk,Seminar
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2025/04/20250429-Chen-web-01-scaled.jpg
ORGANIZER;CN="Department of Art History":MAILTO:art.history@hku.hk
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Hong_Kong:20250425T153000
DTEND;TZID=Asia/Hong_Kong:20250425T170000
DTSTAMP:20260521T123355
CREATED:20250415T022856Z
LAST-MODIFIED:20250415T030020Z
UID:12533-1745595000-1745600400@arthistory.hku.hk
SUMMARY:The Zoomorphic Visual Language of China’s Frontiers
DESCRIPTION:The Zoomorphic Visual Language of China’s Frontiers: A View of Transcultural Entanglements in Inner Asia from the Iron Age to the Mongol Era\nNumerous nomadic and semi-nomadic confederations flourished along the Chinese northern periphery from the middle of the first millennium BCE well into the 15th century. Amid their intensive interactions with sedentary neighbors – namely China – steppe societies invented and circulated a unique approach to image-making. Loosely known in art-historical discourse as “animal style”\, this zoomorphic visual language was inspired by the nomad’s psychology of mobility and their constantly shifting place in an increasingly interconnected cultural and political milieu. Steppe visuality was rooted in a metonymic mode of expression\, creating an alternative ecological reality where animal bodies existed in a constant state of flux\, metamorphosis\, and “in-betweenness”. This study makes two primary observations. Firstly\, it contends that this zoomorphic visual rhetoric became a shared political strategy and a coping mechanism for the elite nucleus of reluctant and culturally diverse nomadic alliances in the face of their geopolitical rival. The analysis will show that animal-style design was at the heart of a self-fashioning dilemma\, as all Inner Asian societies\, from the Xiongnu to the Mongols\, wished to reconcile two distinct identities – that of a worldly politician in a global Eurasian milieu\, and that of a fearsome warrior with a sacral connection to the steppe environment. Secondly\, the lecture will demonstrate how steppe-inspired zoomorphic idioms permeated Chinese material and visual culture and became a new mode of framing the “nomadic Other” far beyond the northern zone – as far as China’s southern borders and distant outposts on the Korean Peninsula. \nDate: 25th April 2025 (Friday)\nTime: 3:30-5pm\nVenue: Room 10.28\, 10/f\, Run Run Shaw Tower\, HKU\nFree seating \nSpeaker: Petya Andreeva \nPetya Andreeva is an Assistant Professor of Asian Art History at Vassar College. She earned her PhD from the University of Pennsylvania. Dr. Andreeva is the author of the monograph “Fantastic Fauna from China to Crimea: Image-Making in Eurasian Nomadic Societies” (Edinburgh\, 2024)\, and the editor of the volume “The Zoomorphic Arts of Ancient Central Eurasia” (MDPI\, 2023). Her work on cross-cultural exchange in ancient and medieval Chinese and Central Asian art has appeared in the Journal of the Royal Asiatic Society\, Early China\, Fashion Theory\, Archaeological Research in Asia\, to name a few\, and her most recent work will be published in the Art Bulletin later this year. Her scholarship has also been featured on popular news outlets such as the History Channel and Voices on Central Asia. She is the recipient of several international awards\, including UNESCO’s Silk Road Research Grant and the Getty-ACLS Postdoctoral Fellowship in the History of Art. Dr. Andreeva has given talks at institutions worldwide\, including Cambridge\, Yale\, Harvard\, the Institute for Advanced Study\, Heidelberg\, the American Center for Mongolian Studies\, and the China Institute of America.
URL:https://arthistory.hku.hk/index.php/event/the-zoomorphic-visual-language-of-chinas-frontiers/
LOCATION:Department Seminar Room\, 1028\, Run Run Shaw Tower\, Centennial Campus\, HKU\, Hong Kong
CATEGORIES:2024-2025,Academic Talk,Seminar
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2025/04/20250422-andreeva-web.jpg
ORGANIZER;CN="Department of Art History":MAILTO:art.history@hku.hk
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Hong_Kong:20250422T153000
DTEND;TZID=Asia/Hong_Kong:20250422T170000
DTSTAMP:20260521T123355
CREATED:20250414T070142Z
LAST-MODIFIED:20250415T030323Z
UID:12530-1745335800-1745341200@arthistory.hku.hk
SUMMARY:Decontextualization\, Reconfiguration and Symbolization
DESCRIPTION:Decontextualization\, Reconfiguration and Symbolization: Reinventing Pensive Bodhisattvas in Early Medieval China (3rd to 6th c.)\nImages of pensive bodhisattva were produced in various Silk Routes regions from Gandhāra to Central Asia\, China\, Korea and Japan. His identity in each area is highly controversial. I argue that the key threshold of pensive image existed in fifth- and sixth century China\, where he was placed in some new pictorial contexts. These contexts suggest contradicting identities of him including Siddhartha (悉達多\, pre-enlightened Sākyamuni)\, Maitreya [彌勒] and several types of devotees/practitioners related to them. \nThis paper examines the shifting meanings of pensive bodhisattva. I propose that unlike its counterparts in Gandhāra and Central Asia\, pensive bodhisattva in China never exist within a full representation of Siddhartha watching the ploughing event and experiencing his first meditation\, whose repertoire typically includes farmers\, bulls and kneeling Śuddhodana [淨飯王]. I argue that pensive bodhisattva no longer embodies Siddhartha in the moment of evoking bodhicitta\, the compassionate mind to rescue all beings from suffering. Instead\, it had been decontextualized from the original narrative and constructed as a visual sign pointing at the Bodhisattva path\, a trajectory starting at the bodhicitta moment and culminating at the attainment of Buddhahood. \nIn 470s\, pensive bodhisattvas were incorporated into the iconography of Tuśita Heaven [兜率天] as attending figures flanking Maitreya to elevate Tuśita’s status to a quasi-Pure Land\, by visually connecting a rebirth in Tuśita with attaining Buddhahood. In sixth century\, pensive bodhisattvas were depicted as focal images within donor portraits/processions and later created as independent icons. I consider they embody the guaranteed\, future Buddhahood of the principal donors. In other words\, pensive bodhisattva is an “iconic narrative”: an anthropomorphic embodiment of the key morality behind the narrative of the historical Buddha’s life that we all Mahāyana [大乘] believers pursue our liberation by following and reenacting the trajectory of Sākyamuni Buddha. \nDate: 22nd April 2025 (Tuesday)\nTime: 3:30-5pm\nVenue: Room 10.28\, 10/f\, Run Run Shaw Tower\, HKU\nFree seating \nSpeaker: Zhao Yi (Joey) \nZhao Yi (Joey) is a historian of medieval Chinese art and material culture. His research focuses on Chinese Buddhist art and its “horizontal” interactions with the wider Silk Routes regions as well as its “vertical” negotiations with the indigenous Chinese culture. His first book (GRF project) will examine the shifting Chinese conceptions on “afterworld paradise” along with the introduction and development of Buddhism in China between the 2nd- and 6th century. His new projects address Chan art in East Asia and Tibetan Buddhist art in late imperial China. \nHe obtained his PhD in Art History from the University of Kansas in 2023. He has taught at the Hong Kong Polytechnic University and Colorado College as an assistant professor and visiting assistant professor respectively. He is the recipient of Annual Graduate Research Award of 2022 from the Early Medieval China Group. His articles appear on major journals such as Archives of Asian Art\, Artibus Asiae\, Religions and etc. He is also an archaeologist who participated in the excavation of the Dayunshan Mausoleum of Prince Jiangdu (d. 128 BCE) in 2012.
URL:https://arthistory.hku.hk/index.php/event/decontextualization-reconfiguration-and-symbolization/
LOCATION:Department Seminar Room\, 1028\, Run Run Shaw Tower\, Centennial Campus\, HKU\, Hong Kong
CATEGORIES:2024-2025,Academic Talk,Seminar
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2025/04/20250422-zhao-web.jpg
ORGANIZER;CN="Department of Art History":MAILTO:art.history@hku.hk
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20250324T130000
DTEND;TZID=UTC:20250324T143000
DTSTAMP:20260521T123355
CREATED:20250307T035244Z
LAST-MODIFIED:20250819T095612Z
UID:12472-1742821200-1742826600@arthistory.hku.hk
SUMMARY:Lee Mingwei and the Art of Transformation
DESCRIPTION:Department of Art History presents\nLee Mingwei and the Art of Transformation\nLee Mingwei’s (b.1964\, Taiwan) artistic practice incorporates aspects of installation\, performance\, and participation. Inspired by multiple sources\, his works follow no set medium or material and are often repeated in different locations. Through his iterative projects he builds connectedness and helps us see art as a space for transformation and change. This talk will cover key works in Lee’s career\, giving special attention to the large-scale sand painting installation Guernica in Sand currently on view at M+. \nDate: 24th March 2025 (Monday)\nTime: 1-2:30pm\nVenue: Venue: Rayson Huang Theatre\, HKU (HKU MTR A2 exit) (click here for directions)\nRegistration: CLICK HERE – Registration is now closed\, but we welcome walk-in participants\nFree seating \nSpeaker: Pauline J. Yao \nPauline J. Yao is an independent curator and writer based in Hong Kong. From 2017 to 2024 she was Lead Curator\, Visual Art\, at M+. Since joining the M+ curatorial team in 2012\, Yao played an integral role in building the museum’s collection and acquiring works of art from East Asia\, Southeast Asia and internationally. She curated the first display of the visual art collection exhibition Individuals\, Networks\, Expressions and organized Antony Gormley: Asian Field\, both in 2021. Other M+ exhibitions include In Search of Southeast Asia through the M+ Collections (with Shirley Surya\, 2018) and Five Artists: Sites Encountered (2019)\, both presented at the M+ Pavilion. Yao is a regular contributor to Artforum International and her writings on contemporary Asian art have appeared in numerous catalogues\, online publications\, and edited volumes.
URL:https://arthistory.hku.hk/index.php/event/lee-mingwei-and-the-art-of-transformation/
LOCATION:Rayson Huang Theatre\, Rayson Huang Theatre\, Main Campus\, HKU\, Hong Kong
CATEGORIES:2024-2025,Academic Talk,Public Lecture
ATTACH;FMTTYPE=image/png:https://arthistory.hku.hk/wp-content/uploads/2025/03/Lee-Mingwei-poster.png
ORGANIZER;CN="Department of Art History":MAILTO:art.history@hku.hk
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20250323T140000
DTEND;TZID=UTC:20250323T153000
DTSTAMP:20260521T123355
CREATED:20250217T085419Z
LAST-MODIFIED:20250819T095545Z
UID:12419-1742738400-1742743800@arthistory.hku.hk
SUMMARY:The Art World 2025
DESCRIPTION:Department of Art History presents\nThe Art World 2025: Blurred lines and new realities\nHow social media\, geopolitics\, creative industries and generational shifts are rapidly reshaping the art world’s markets and modus operandi. \nDate: 23rd March 2025 (Sunday)\nTime: 2pm-3:30pm\nVenue: Grand Hall\, Centennial Campus\, HKU (click here for directions)\nRegistration: CLICK HERE– Registration is now closed\, but we welcome walk-in participants\nFree seating\, with doors open at 1:30pm \nSpeaker: Marc Spiegler (Cultural Strategist) \nSpiegler was the Global Director of Art Basel from 2012 to 2022\, and helped bring Art Basel to Hong Kong in 2011. He now works independently with cultural organizations such as the LUMA Foundation and for companies such as Prada Group\, KEF and Sanlorenzo. In the immersive space\, he is President of Board of Superblue and chairman of the UBS Digital Art Museum’s advisory board. Spiegler has been a Visiting Professor in cultural management at Milan’s Universita Bocconi for a decade and recently cofounded the Art Market Minds Academy\, a virtual education startup.
URL:https://arthistory.hku.hk/index.php/event/the-art-world-2025-blurred-lines-and-new-realities/
LOCATION:Grand Hall\, Grand Hall\, Lee Shau Kee Lecture Centre\, Centennial Campus
CATEGORIES:2024-2025,Public Lecture
ATTACH;FMTTYPE=image/png:https://arthistory.hku.hk/wp-content/uploads/2025/02/20250323-spiegler-poster.png
ORGANIZER;CN="Department of Art History":MAILTO:art.history@hku.hk
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20241030T170000
DTEND;TZID=UTC:20241030T183000
DTSTAMP:20260521T123355
CREATED:20241009T034210Z
LAST-MODIFIED:20241030T015555Z
UID:12190-1730307600-1730313000@arthistory.hku.hk
SUMMARY:Where Does A Painting End?
DESCRIPTION:Research Seminar Series 2024/25\nWhere Does A Painting End?\nDate: 30 October 2024 (Wednesday)\nTime: 5:00-6:30pm\nVenue: CPD 2.58\, Centennial Campus\, HKU (free seating)\nDirections: from MTR (click here); from car park (click here)\nSpeaker: Prof. Yeewan Koon \nAbstract\nThis presentation is of an ongoing project examining the conceit of a copy and pictorial wit in the Ming dynasty\, a time when a sophisticated art market for forgeries and originals was forming. By interrogating traditional paradigms of understanding copies\, this paper considers how artists employed emulative strategies to reflect on how paintings – as artifact and as image – inhabit their own social and cultural worlds. It asks what is the implication of a “double-looking” that demands acknowledging the presence of original artworks (and not of a former artist) within the replicant? Challenging the biases of historical lineages in our current art canon\, the speaker proposes that copies were instrumental in the making of visual knowledge and\, more importantly\, reveal what happens when copies escape time. \nSpeaker\nProf. Yeewan Koon is the Chair of the Department of Art History and Associate Dean (Global) at The University of Hong Kong. Her primary research focuses on Ming and Qing art history\, with projects that re-evaluate established canonical narratives for diverse perspectives and alternative methodologies. Additionally\, she is active in contemporary art\, contributing to publications and curatorial projects at institutions such as Asia Society and Gwangju Biennale. Her current research project is a thematic study of Chinese export paintings.
URL:https://arthistory.hku.hk/index.php/event/where-does-a-painting-end/
LOCATION:Classroom 258\, Room 2.58\, Run Run Shaw Tower\, Centennial Campus\, HKU
CATEGORIES:2024-2025,Academic Talk,Lecture Series,Seminar
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2024/10/30-oct-event.jpg
ORGANIZER;CN="Department of Art History":MAILTO:art.history@hku.hk
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20240929T130000
DTEND;TZID=UTC:20240929T180000
DTSTAMP:20260521T123355
CREATED:20240920T043512Z
LAST-MODIFIED:20250819T095707Z
UID:12124-1727614800-1727632800@arthistory.hku.hk
SUMMARY:Small Acts / New Flows: A Public Gathering
DESCRIPTION:This event is organized by Para Site. \nSmall Acts / New Flows: A Public Gathering\nDate: 29th September 2024 (Sunday)\nTime: 1pm-6pm\nVenue: Rayson Huang Theatre\, HKU (HKU MTR A2 exit)\nRegistration: Required. Click here\nEvent details: Click here  \nLanguage: English to Cantonese simultaneous interpretation will be available through the day\, with Putonghua/Cantonese to English available for round table 1.
URL:https://arthistory.hku.hk/index.php/event/small-acts-new-flows-a-public-gathering/
LOCATION:Rayson Huang Theatre\, Rayson Huang Theatre\, Main Campus\, HKU\, Hong Kong
CATEGORIES:2024-2025,Conversation
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2024/09/A3_poster_B_20240919b-scaled.jpg
ORGANIZER;CN="Department of Art History":MAILTO:art.history@hku.hk
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20240625T093000
DTEND;TZID=UTC:20240628T113000
DTSTAMP:20260521T123355
CREATED:20240613T014605Z
LAST-MODIFIED:20240614T094312Z
UID:11778-1719307800-1719574200@arthistory.hku.hk
SUMMARY:Art History & Curatorship Seminars
DESCRIPTION:The University of Melbourne X The University of Hong Kong \nArt History & Curatorship Seminars 2024\nDate: 25-28 June 2024 (Tuesday to Friday)\nTime: 9:30-11:30am\nVenue: CPD-2.58\, The Jockey Club Tower\, Centennial Campus\, HKU*\nRegistration: Required. Email art.history@hku.hk and indicate the session(s) you plan to attend and your year group. First come\, first served.  \n\nHong Kong art instutitions: a personal perspective (25 June)\n\nSpeaker: David Clarke (Honorary Professor (modern and contemporary art history)\, Department of Art History\, HKU)\n\n\nHong Kong arts development and funding (26 June)\n\nSpeaker: Johnson Chang Tsong-zung (Independent curator; Director\, Hanart TZ Gallery (Hong Kong))\n\n\nResearching\, curating and practicing art in Hong Kong now (27 June)\n\nSpeaker: Michelle Wun Ting Wong (Independent curator; PhD candidate (Art History)\, HKU; Co-foundaer\, New Park)\nSpeaker: Eunice Tsang (Founder and Curator\, Current Plans; Associate Curator\, M+ Moving Image)\n\n\nArt publishing: ArtAsiaPacific (28 June)\n\nSpeaker: Elaine W. Ng (Editor\, ArtAsiaPacific; Assistant Professor\, Academy of Visual Arts\, Hong Kong Baptist University)\n\n\n\n*All sessions will begin with the guest speaker’s presentation in CPD-2.58. Registered students are welcome to join the subsequent discussion in CPD-LG.61. \nJoin us to explore aspects of the art eco-system in Hong Kong.
URL:https://arthistory.hku.hk/index.php/event/art-history-curatorship-seminars-2024/
LOCATION:Classroom 258\, Room 2.58\, Run Run Shaw Tower\, Centennial Campus\, HKU
CATEGORIES:2023-2024,Seminar
ATTACH;FMTTYPE=image/png:https://arthistory.hku.hk/wp-content/uploads/2024/06/20240625-flyer-2-01.png
ORGANIZER;CN="Department of Art History":MAILTO:art.history@hku.hk
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Hong_Kong:20240520T170000
DTEND;TZID=Asia/Hong_Kong:20240520T183000
DTSTAMP:20260521T123355
CREATED:20240508T040219Z
LAST-MODIFIED:20240508T043743Z
UID:11746-1716224400-1716229800@arthistory.hku.hk
SUMMARY:Rock\, Paper\, Scissors
DESCRIPTION:Rock\, Paper\, Scissors: Durable Ephemera and Networks of Stone in Quanzhou’s Zhenguo Pagoda\nDate: 20 May 2024 (Monday)\nTime: 5pm\nVenue: CPD-2.42\, Centennial Campus\, HKU\nSpeaker: Prof. Jennifer Purtle\, University of Toronto \nAbstract\nTo build a pagoda is to mobilize durable materials into architectonic form\, timber and stone\, allowing it to stand and indeed rise stories above ground level\, perhaps for several centuries. But pagodas can also be crafted using images and objects wrought in ephemeral materials: fragile printed texts and paintings on silk\, indestructible objects fashioned from valuable metals ultimately recycled\, and evanescent forms no longer produced. Once these ephemera disappear\, they exist only as embodied in the fabric of the pagoda. The pagoda thus becomes a nexus of textual\, pictorial\, and formal transfer\, a site at which imperishable media preserve others easily destroyed through artistic and intermedial processes\, to create abiding texts and images able to outlive their models. \nThis talk examines how\, in the Zhenguo pagoda 鎮國塔 (lit. “Stabilizing the State Pagoda”) at the Kaiyuan temple 開元寺 in Quanzhou 泉州\, Fujian 福建\, rock—covered with the imagery of paper (and silk\, and other fugitive media) by means of scissors (or\, more precisely\, the carver’s knife)—preserved traces of evanescent forms\, sustained their lost networks\, and served as a lexicon for decoding the forgotten iconographies of other monuments. This talk articulates the relationship of paper-based editions of the Buddhist canon\, especially printed ones\, to the stone-carved narrative program and demonstrates how single reliefs combine content from multiple sutras; it also asserts that artisans employed the logographic schema of printed-paper primers as well as pictorial styles drawn from court painting on silk\, known locally\, to maximize the intelligibility of the reliefs. Furthermore\, this essay contends that\, by representing small\, free-standing bronze (and stone) pagodas—their corpus\, like those of their paper- and silk-based counterparts\, now largely lost—the reliefs establish links to overlapping local (Quanzhou)\, regional (Min-Yue/Fujian)\, imperial\, and maritime (Indian Ocean) object networks. Finally\, by using the durable images of the Zhenguo pagoda as indices of long-lost monuments\, this essay recovers the identity of an unusual local type of monument\, thereby validating the hypothesis that this pagoda serves as a repository of\, and lexicon for\, now-lost ephemera. \nSpeaker\nProfessor Jennifer Purtle (Chinese name: 裴珍妮) teaches at the University of Toronto. She researches the artistic landscape of China\, especially that of Fujian province\, engaging questions of local and regional production of painting in relation to Chinese empires. These aspects are central to her forthcoming monograph\, The Problem of Place: Artistic Geography and Cultural Transactions in Min [Fujian] Painting\, 909–1646. She is also interested in the circulation of art objects in the medieval world system\, especially in the Great Mongol Empire and is currently working on a book-length project that traces the intersection of local and global art history in Fujian during the Song and Yuan dynasties. \n 
URL:https://arthistory.hku.hk/index.php/event/rock-paper-scissors/
LOCATION:Classroom 242\, Room 2.42\, Jockey Club Tower\, Centennial Campus\, HKU
CATEGORIES:2023-2024,Academic Talk,Seminar
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2024/05/20240520-seminar-purtle-web-01-scaled.jpg
ORGANIZER;CN="Department of Art History":MAILTO:art.history@hku.hk
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Hong_Kong:20240410T173000
DTEND;TZID=Asia/Hong_Kong:20240410T190000
DTSTAMP:20260521T123355
CREATED:20240321T081532Z
LAST-MODIFIED:20240321T081803Z
UID:11710-1712770200-1712775600@arthistory.hku.hk
SUMMARY:David Diao: To Paint a De-Aestheticized Picture
DESCRIPTION:Research Postgraduate Seminar\nDavid Diao: To Paint a De-Aestheticized Picture\nDate: 10 April 2024 (Wednesday)\nTime: 5:30-7:00pm\nVenue: CPD 2.45\, Centennial Campus\, HKU\nSpeaker: Alex Jen\, MPhil candidate\, HKU \nAbstract\nDavid Diao\, perhaps by his own creation\, has long been an artist difficult to classify. Emerging in the storied New York art world of the 1960s\, which gave rise to such movements as Pop\, Minimalism and Conceptualism among others\, Diao took a studiously uncommitted position and developed a citational painting that continues to this day. His lasting concern has been the history of abstraction as he was\, or failed to be\, a part of it; in turn\, by banalizing the life and practice of the artist in his paintings — detailing legendary exhibitions\, sales records and stereotypes — Diao has laid bare the myths and structures that organize art history and the art world itself. This presentation provides an overview of my research with a focus on Diao’s early career from 1966 to 1973\, wherein he actively (and humorously) refused conventions of persona and process in the pursuit of a “de-aestheticized” painting. \nSpeaker\nAlex Jen is an MPhil candidate in Art History at The University of Hong Kong. His criticism on art\, architecture and poetry has appeared in Frieze\, The Financial Times\, Gulf Coast and other venues\, and he has curated projects at galleries and artist-run spaces in Chicago and Taipei. A graduate of Williams College\, Jen was previously the Special Assistant to the President and Director at The Art Institute of Chicago. \n 
URL:https://arthistory.hku.hk/index.php/event/david-diao-to-paint-a-de-aestheticized-picture/
LOCATION:CPD-2.45\, CPD-2.45\, Centennial Campus\, HKU
CATEGORIES:2023-2024,Academic Talk,Seminar
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2024/03/20240410-alex-rpg-seminar-web-01-scaled.jpg
ORGANIZER;CN="Department of Art History":MAILTO:art.history@hku.hk
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20240205T173000
DTEND;TZID=UTC:20240205T190000
DTSTAMP:20260521T123355
CREATED:20240122T035730Z
LAST-MODIFIED:20240122T035730Z
UID:11647-1707154200-1707159600@arthistory.hku.hk
SUMMARY:To be Hong Kong and Modern: Ha Bik Chuen’s Sculptures
DESCRIPTION:Research Postgraduate Seminar\nTo be Hong Kong and Modern: Ha Bik Chuen’s Sculptures \nDate: 5 February 2024 (Monday)\nTime: 5:30-7:00pm\nVenue: CPD G.02\, Centennial Campus\, HKU\nSpeaker: Michelle Wong\, PhD candidate\, HKU \nAbstract\nThis presentation examines a selection of sculptures by the late Hong Kong artist Ha Bik Chuen (1925-2009) and argues that artistic modernism in Hong Kong was a self-aware response to the diverse current of ideas and information on art circulating in the city. Ha’s sculptures encompassed self-conscious references to artistic modernism from Europe and America\, inherited elements of Chinese aesthetics\, and his lived experiences in Hong Kong. These lived experiences included urban life\, the changing values of labour within a developing consumer economy\, and the cosmopolitan aspiration that accompanied Hong Kong’s rapid modernization. For Ha\, sculpture was also a creative and social domain where he established himself as a modern artist in Hong Kong by producing works with a highly individualized visual language. This study thus takes into consideration the social and cultural aspects of the mid-twentieth century Hong Kong art world\, and how they\, alongside the city’s rapid modernization\, found ways into Ha’s sculptures as material\, imagery\, and process. \nSpeaker\nMichelle Wun Ting Wong is a PhD candidate in Art History at The University of Hong Kong\, exploring the modernity emerging from Post WWII Hong Kong. Her writing has been published in Ambitious Alignments: New Histories of Southeast Asian Art\, 1945–1990 (2018) and the journal Southeast of Now (2019). She was previously Researcher at Asia Art Archive\, focusing on Hong Kong and Southeast Asia. Curatorial projects include Portals\, Stories\, and Other Journeys at Tai Kwun Contemporary (2021)\, Afterglow\, Yokohama Triennale 2020\, and 11th Edition of Gwangju Biennale (2016).
URL:https://arthistory.hku.hk/index.php/event/to-be-hong-kong-and-modern-ha-bik-chuens-sculptures/
LOCATION:CPD-G.02\, CPD-G.02\, Centennial Campus\, HKU
CATEGORIES:2023-2024,Academic Talk,Seminar
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2024/01/20240205-michelle-rpg-seminar-web-01.jpg
ORGANIZER;CN="Department of Art History":MAILTO:art.history@hku.hk
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Hong_Kong:20240124T183000
DTEND;TZID=Asia/Hong_Kong:20240124T200000
DTSTAMP:20260521T123355
CREATED:20231219T084754Z
LAST-MODIFIED:20250217T085708Z
UID:11589-1706121000-1706126400@arthistory.hku.hk
SUMMARY:In Conversation: Nara Yoshitomo with Dr. Yeewan Koon
DESCRIPTION:This event is sponsored by The University of Hong Kong Museum Society\nIn Conversation: Nara Yoshitomo with Dr. Yeewan Koon\nDate: 24th January 2024 (Wednesday)\nTime: 6:30pm-8pm\nVenue: Grand Hall\, Centennial Campus\, HKU (click here for directions)\nLanguage: Conversation in English and Japanese with translation in English \nRegistration: CLICK HERE  full\nFree seating \nSign-in begins at 5:45pm and doors open from 6pm\nBy 6:45pm\, we start offering no-show seats to stand-by guests\nBy 7pm\, all doors are closed
URL:https://arthistory.hku.hk/index.php/event/in-conversation-nara-yoshitomo-with-dr-yeewan-koon/
LOCATION:Grand Hall\, Grand Hall\, Lee Shau Kee Lecture Centre\, Centennial Campus
CATEGORIES:2023-2024,Academic Talk,Conversation
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2023/12/20240124-nara-talk-poster-web-01-scaled.jpg
ORGANIZER;CN="Department of Art History":MAILTO:art.history@hku.hk
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20240105T170000
DTEND;TZID=UTC:20240105T183000
DTSTAMP:20260521T123355
CREATED:20231218T043225Z
LAST-MODIFIED:20231218T074011Z
UID:11579-1704474000-1704479400@arthistory.hku.hk
SUMMARY:Does Picasso Still Matter?
DESCRIPTION:Department of Art History presents\nDoes Picasso Still Matter?\nDate: 5th January 2024 (Friday)\nTime: 5-6:30pm\nVenue: CPD-2.58\, The Jockey Club Tower\, Centennial Campus\, HKU\nSpeaker: Prof. Pepe Karmel (Professor\, New York University)\nRegistration: RSVP at https://bit.ly/hkupicassotalk \nAbstract\nIn his new book\, Looking at Picasso\, Pepe Karmel approaches the artist’s work through the lens of art rather than biography\, showing how he invented multiple new visual languages and transformed the traditional themes of Western art. In this special lecture for the University of Hong Kong\, Prof. Karmel will give an overview of his book and will also address the question of whether Picasso’s work still matters today\, when contemporary art seems to have evolved so far beyond historic styles like Cubism and Neo-Classicism. Is Picasso’s work a relic of expired revolutions\, or does it still speak to art today? \nSpeaker\nPepe Karmel is a Professor in the Department of Art History\, New York University. He has written widely on modern and contemporary art and is the author of Looking at Picasso\, published in autumn 2023\, Abstract Art: A Global History (2020) and Picasso and the Invention of Cubism (2003). \nThis event is made possible through the generous support of The University of Hong Kong Museum Society.
URL:https://arthistory.hku.hk/index.php/event/does-picasso-still-matter/
LOCATION:Classroom 258\, Room 2.58\, Run Run Shaw Tower\, Centennial Campus\, HKU
CATEGORIES:2023-2024,Academic Talk,Seminar
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2023/12/pepe-02.jpg
ORGANIZER;CN="Department of Art History":MAILTO:art.history@hku.hk
END:VEVENT
END:VCALENDAR