BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//Art History @HKU - ECPv6.13.2.1//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-ORIGINAL-URL:https://arthistory.hku.hk
X-WR-CALDESC:Events for Art History @HKU
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:UTC
BEGIN:STANDARD
TZOFFSETFROM:+0000
TZOFFSETTO:+0000
TZNAME:UTC
DTSTART:20170101T000000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;TZID=UTC:20190313T163000
DTEND;TZID=UTC:20190313T180000
DTSTAMP:20261002T055429
CREATED:20200225T091324Z
LAST-MODIFIED:20200622T081637Z
UID:1848-1552494600-1552500000@arthistory.hku.hk
SUMMARY:Troubling Memorials
DESCRIPTION:Troubling Memorials: Disgraced Monuments and Problematic Public Art in America\nDate: 13 March 2019 (Wednesday)\nTime: 4:30pm\nVenue: Room 4.36\, Run Run Shaw Tower\, Centennial Campus \nFrom the toppling of a statue of King George III in New York in 1776 to the recent removal (or relocation) of statues and monuments that pay homage to the Confederacy\, the United States has had a long history of “reckoning” with memorials\, monuments\, and other forms of public art that citizens deem oppressive\, shameful\, hateful\, or simply “out of sync” with current values and ideals.  This lecture traces how\, why\, and when Americans target public art\, and the dilemmas of dissent and historical accountability in public culture. \nSpeaker: Peter J. Cobb \nErika Doss teaches in the Department of American Studies at the University of Notre Dame. Her books include Benton\, Pollock\, and the Politics of Modernism: From Regionalism to Abstract Expressionism (1991)\, Spirit Poles and Flying Pigs: Public Art and Cultural Democracy in American Communities (1995)\, Looking at Life Magazine (editor\, 2001)\, Memorial Mania: Public Feeling in American (2010)\, and American Art of the 20th-21st Centuries (2017). The receipt of several Fulbright awards\, Doss has also held fellowships at the Standford Humanities Centre\, the Georgia O’Keeffe Museum Research Centre\, and the Smithsonian American Art Museum. \n  \n\n\n\nThis event is co-sponsored by the American Studies Programme\, SMLC\, Society of Fellows in the Humanities and the Department of Fine Arts
URL:https://arthistory.hku.hk/index.php/event/troubling-memorials-disgraced-monuments-and-problematic-public-art-in-america/
LOCATION:Faculty Room 436\, Room 4.36\, Run Run Shaw Tower\, Centennial Campus\, HKU\, Hong Kong
CATEGORIES:Seminar
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2020/02/20190307-seminar-doss.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20190124T163000
DTEND;TZID=UTC:20190124T180000
DTSTAMP:20261002T055429
CREATED:20200225T092358Z
LAST-MODIFIED:20200622T081726Z
UID:1858-1548347400-1548352800@arthistory.hku.hk
SUMMARY:The Legal Medium: An Aesthetics of Uncivil Obedience
DESCRIPTION:The Legal Medium: An Aesthetics of Uncivil Obedience\nDate: 24 January 2019 (Thursday)\nTime: 4:30-6:00pm\nVenue: Room 4.34\, Run Run Shaw Tower\, Centennial Campus \nThis talk examines the intersection of art and law (boardly conceived). Scholars and artists have long been interested in socially engaged artworks\, and particularly attentive to those projects involving a violation of rules to motivate reform (civil disobedience); but\, what of the opposite approach? What of radical adherence? Here\, Dr Steinberg considers an aesthetics of uncivil obedience–a looking-glass version of civil disobedience. Uncivil obedience involves following rules in an unanticipated manner\, expressing criticism ironically through law-following rather than law-breaking. By considering how artists of the twentieth and twenty-first centuries have sculpted codified and uncodified law as an expressive material\, Dr. Steinberg establishes a more nuanced field for considering how creative work interacts and interferes with the norms and regulating systems that permeate everyday life. \nSpeaker: Monica Lee Steinberg \nMonica Lee Steinberg is a postdoctoral fellow in the Society of Fellows in the Humanities at The University of Hong Kong. Steinberg works on the intersection of art\, fictional attribution\, and the law. Her writing has appeared in journals such as American Art\, Archives of American Art\, and Oxford Art Journal\, among others. She has contributed to exhibition catalogues such as The Abstract Impulse and the Venice Biennale’s Love Me\, Love Me Not: Contemporary Art from Azerbaijan and its Neighbours\, and to edited volumes such as the forthcoming Humor\, Globalization\, and Culture-Specificity in Modern and Contemporary Art. Her research has received generous support from The Amon Carter Museum\, The Smithsonian Institution\, The Georgia O’Keeffe Museum\, The Huntington\, The Radcliffe Institute at Harvard\, Brandeis University and several other institutions.
URL:https://arthistory.hku.hk/index.php/event/the-legal-medium-an-aesthetics-of-uncivil-obedience/
LOCATION:Faculty Room 434\, Room 4.34\, Run Run Shaw Tower\, Hong Kong
CATEGORIES:Seminar
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2020/02/0124-uncivil-obedience_1120-1-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20190121T190000
DTEND;TZID=UTC:20190121T203000
DTSTAMP:20261002T055429
CREATED:20200225T093414Z
LAST-MODIFIED:20200622T081748Z
UID:1871-1548097200-1548102600@arthistory.hku.hk
SUMMARY:Digital Imaging Projects at the University of Chicago
DESCRIPTION:Digital Imaging Projects at the University of Chicago: Methodologies and Perspectives for Recording\, Curating\, and Display\nDate: 21 January 2019 (Monday)\nTime: 7:00pm\nVenue: Room 4.34\, Run Run Shaw Tower\, Centennial Campus \nDigital technology has made possible major innovations in the use of digital images for teaching and research. The talk introduces the imaging technologies that the Center for the Art of East Asia (CAEA) at the University of Chicago has used and invented for interactive viewing of paintings and sculptures from Chinese Buddhist cave sites that make them more fully and widely accessible than in the past. Join us at the coming public lecture by Professor Katherine Tsiang\, Associate Director of Center for the Art of East Asia of The University of Chicago\, to learn more about these. \nSpeaker: Katherine Tsiang (Associate Director of Center for the Art of East Asia\, The University of Chicago)
URL:https://arthistory.hku.hk/index.php/event/digital-imaging-projects-at-the-university-of-chicago/
LOCATION:Faculty Room 434\, Room 4.34\, Run Run Shaw Tower\, Hong Kong
CATEGORIES:Seminar
ATTACH;FMTTYPE=image/png:https://arthistory.hku.hk/wp-content/uploads/2020/02/20190121-talk-Tsiang.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20181121T163000
DTEND;TZID=UTC:20181121T180000
DTSTAMP:20261002T055429
CREATED:20200312T045315Z
LAST-MODIFIED:20200528T064545Z
UID:2623-1542817800-1542823200@arthistory.hku.hk
SUMMARY:Geographical Science and Chinese Landscapes
DESCRIPTION:Geographical Science and Chinese Landscapes\nDate: 21 November 2018 (Wednesday)\nTime: 4:30pm\nVenue: Room 4.04\, Run Run Shaw Tower\, Centennial Campus \nEuropean geographers of the 18th century embraced all aspects of human and physical environments\, including cartographic data\, cultural artifacts\, social and economic information\, and natural history. As part of the period’s global geographical surveying\, the Macartney Embassy traveled through the interior of China where its members observed\, recorded\, and represented the geographical features of the lands\, mountains\, and rivers\, as well as the human inhabitants\, in a great number of visual images. In this seminar\, I first analyze the emerging empirical science in Britain and its associated topographic aesthetics in representing landscapes in 18th-century Britain. Then\, I examine the representation of major sites on the British embassy’s travel route to see how this topographic practices intersected with Picturesque aesthetics. Finally\, I examine the riverscape along the Grand Canal\, especially its relation to hydraulic engineering\, in order to investigate how art and scientific technology were blended in these views. \nIn analyzing these visual images\, I argue that the emerging scientific disciplines of geography\, archaeology\, and engineering played an important role in formulating this scientific representation of Chinese landscape and artifacts. The artists negotiated their concern for the individuality and particularity of topographical landscape with the more uniform norms of the Picturesque aesthetics in order to cater to British taste. From sketches and diagrams to finished paintings and prints\, the artists and surveyors on the embassy collaborated to create an imagery of Chinese landscape that blended scientific and artistic elements. I further address the action of visual mapping as an imperial power that enabled the British to select\, re-order\, and re-create Chinese landscape in their own verbal and artistic languages\, which reflected Britain’s imperial ambitions in its global exploration. \nSpeaker: Shanshan Chen (PhD Candidate\, Department of Fine Arts\, HKU)
URL:https://arthistory.hku.hk/index.php/event/geographical-science-and-chinese-landscapes/
LOCATION:Faculty Room 404\, Room 4.04\, Run Run Shaw Tower\, Centennial Campus\, HKU
CATEGORIES:Seminar
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2020/03/Shanshan-seminar-2018.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20181003T190000
DTEND;TZID=UTC:20181003T203000
DTSTAMP:20261002T055429
CREATED:20200226T042757Z
LAST-MODIFIED:20200622T083619Z
UID:1892-1538593200-1538598600@arthistory.hku.hk
SUMMARY:Paths to the Real: Process of Contemporary Art in China
DESCRIPTION:Paths to the Real: Process of Contemporary Art in China\nDate: 3 October 2018 (Wednesday)\nTime: 7:00pm\nVenue: Room 4.34\, Run Run Shaw Tower\, Centennial Campus \nDoes contemporary art have history? According to Arthur Danto and Hans Belting\, the answer should be no. “Contemporary art manifests an awareness of a history of art but no longer carries it forward.” In other words\, “contemporary art reaches post-historical stage of art.” If they were right\, it means that contemporary art in Northern American and Western Europe would not have history. But the situation in China and Eastern Europe\, i.e. the post-socialist countries\, is different. The beginning of contemporary art in post-socialist countries is clear. However\, the history of contemporary art in Eastern European countries is suspectable. The radical revolution in Eastern Europe changed the society immediately. Contemporary art in Eastern Europe is absorbed into the international contemporary art soon and finally reaches its post-historical stage. The situation in China is different not only from the post-modernist but also from the post-socialist countries. Instead of radical revolution\, China takes gradual reformation. Contemporary art does not yet win the right with its rival: the socialist realism. It does not yet accomplish its mission\, that is\, to promote political reform and social change. Therefore\, contemporary art in China is in the progress toward and not yet reaches its end\, the so-called post-historical stage. \nSpeaker: Peng Feng \nA PhD of Peking University\, Peng Feng is a professor of aesthetics and art criticism at School of Arts\, Peking University. His research interests include history of Chinese philosophy\, contemporary aesthetics and art criticism. He has published fifteen academic books\, including The System of Contemporary Art Theory (Beijing: Peking University Press\, 2016)\, Return of Presence: New Tendency in Philosophy and Contemporary Art (Beijing: China Federation of Literary and Art Circles Press\, 2016)\, Aesthetic Venturing in the Arts (Beijing: Beijing Normal University Press\, 2015)\, Modern Chinese Aesthetics (Nanjing: Fenghuang Press\, 2014)\, Pervasion: China Pavilion at the 54th International Art Exhibition of La Biennale di Venezia (Beijing: People’s Art Press\, 2012)\, and seven translation books including Nelson Goodman Languages of Art\, Peter Kivy (ed.) The Blackwell Guide to Aesthetics\, and Richard Shusterman Pragmatist Aesthetics among others. He has curated over 200 art exhibitions including the China Pavilion at the 54th International art exhibition of Venice Biennale 2011\, The 1st International Art Exhibition of China Xinjiang Biennale 2014\, and 2018 Fuzhou International Lacquer Art Biennial.
URL:https://arthistory.hku.hk/index.php/event/paths-to-the-real-process-of-contemporary-art-in-china/
LOCATION:Faculty Room 434\, Room 4.34\, Run Run Shaw Tower\, Hong Kong
CATEGORIES:Seminar
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2020/02/20180927.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180926T190000
DTEND;TZID=UTC:20180926T203000
DTSTAMP:20261002T055429
CREATED:20200327T090552Z
LAST-MODIFIED:20200623T043629Z
UID:3234-1537988400-1537993800@arthistory.hku.hk
SUMMARY:Around Mourning: A conversation with Patty Chang
DESCRIPTION:Around Mourning: A conversation with Patty Chang\nDate: 26 September 2018 (Wednesday)\nTime: 7:00pm\nVenue: Wang Gungwu Lecture Hall\, Graduate House\, HKU \nThis event\, part of the Faculty of Arts’ University Artists Scheme 2017-19\, welcomes Los Angeles-based artist Patty Chang to the University of Hong Kong. Patty Chang will provide an introductory presentation of her work followed by a conversation with Pauline J. Yao\, Lead Curator\, Visual Art at M+. \nSpeakers: Patty Chang (University Artist for 2017-19)\n                Pauline J. Yao (Lead Curator of Visual Art\, M+) \nPatty Chang is known for her work in performance\, video\, writing and installation that explores physical and emotional interactions and consequences of acts in relation to subjects that are often considered taboo such as death and loss. She currently holds the position of Professor of Art at USC Roski School of Art and Design. She is the recipient of numerous awards from leading institutions including the Rockefeller Foundation\, a Guggenheim Foundation fellowship and was recently made visiting artist of the Dunhuang Foundation. Her works have been shown internationally including at Museum of Modern Art (NY)\, Hammer Museum (LA)\, Modern Museet (Stockholm)\, BAK (Netherlands) and M+ (Hong Kong). Her acclaimed work\, The Wandering Lake\, 2009-2017\, will be traveling to the Institute of Contemporary Art in Santa Monica in 2019. \nPauline J. Yao is Lead Curator\, Visual Art\, at M+. She has held curatorial positions at the Asian Art Museum of San Francisco and worked as an independent curator and writer in Beijing for six years\, during which time she helped co-found the storefront art space Arrow Factory. Since joining M+ in 2012\, Yao has played an active role in building the visual art collection by overseeing and acquiring works from around Asia and internationally. A co-curator of the 2009 Shenzhen Hong Kong Bi-City Biennale of Architecture and Urbanism\, Yao is a regular contributor to Artforum\, e-flux Journal\, and Yishu Journal of Contemporary Chinese Art and her writings on contemporary Asian art have appeared in numerous catalogues\, online publications and edited volumes. She is the author of In Production Mode: Contemporary Art in China (Timezone 8 Books\, 2008) and co-editor of 3 Years: Arrow Factory (Sternberg Press\, 2011). \nFree Admission. Registration Required.
URL:https://arthistory.hku.hk/index.php/event/around-mourning-a-conversation-with-patty-chang/
LOCATION:Wang Gungwu Lecture Hall\, Wang Gungwu Lecture Hall\, Graduate House\, HKU
CATEGORIES:Conversation
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2020/03/20180926.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180920T183000
DTEND;TZID=UTC:20180920T200000
DTSTAMP:20261002T055429
CREATED:20200226T043525Z
LAST-MODIFIED:20200622T083722Z
UID:1898-1537468200-1537473600@arthistory.hku.hk
SUMMARY:Anonymous Has a Name: African Master Carvers
DESCRIPTION:Anonymous Has a Name: African Master Carvers\nDate: 20 September 2018 (Thursday)\nTime: 6:30pm\nVenue: Room 4.34\, Run Run Shaw Tower\, Centennial Campus \nWhen visiting an African art exhibition in Europe or the United States\, works are generally ascribed to an unknown or unidentified artist or\, more commonly\, to a culture or people. The alleged anonymity of so-called traditional African artists is largely the result of the limited interest on the part of the mostly non-African collectors of the objects that today populate museums and collections around the world. Some earlier studies notwithstanding\, interest in African artists and their training did unfortunately not start until the 1950s and ’60s\, and information about sculptors\, their biography\, and their methods remains very limited. This lecture will shed light on the careers and oeuvre of a number of artists from across sub-Saharan Africa who during their lifetime were locally recognized and even praised. \nSpeaker: Constantine Petridis (Chair and Curator of African Art\, Department of Arts and Africa and the Americans\, The Art Institute of Chicago)
URL:https://arthistory.hku.hk/index.php/event/anonymous-has-a-name-african-master-carvers/
LOCATION:Faculty Room 434\, Room 4.34\, Run Run Shaw Tower\, Hong Kong
CATEGORIES:Seminar
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2020/02/20180920-seminar-petridis.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180919T180000
DTEND;TZID=UTC:20180919T200000
DTSTAMP:20261002T055429
CREATED:20200226T043944Z
LAST-MODIFIED:20200622T083933Z
UID:1901-1537380000-1537387200@arthistory.hku.hk
SUMMARY:Rauschenberg’s Radical Openness: The Vydocks
DESCRIPTION:Rauschenberg’s Radical Openness: The Vydocks\nDate: 19 September 2018 (Wednesday)\nTime: 6:00-8:00pm\nVenue: Room 4.34\, Run Run Shaw Tower\, Centennial Campus \nProfessor Jonathan Fineberg is giving a talk in response to the coming exhibition\, Robert Rauschenberg: Vydocks (19 Sept.-2 Nov.) held at PACE\, Hong Kong\, which features a series of large-scale works of acrylic paint\, silkscreened images of Rauschenberg’s own photographs and graphite on white aluminum completed in 1995. \nSpeaker: Jonathan Fineberg (University of the Arts\, Philadelphia)
URL:https://arthistory.hku.hk/index.php/event/rauschenbergs-radical-openness-the-vydocks/
LOCATION:Faculty Room 434\, Room 4.34\, Run Run Shaw Tower\, Hong Kong
CATEGORIES:Seminar
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2020/02/image001.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180913T163000
DTEND;TZID=UTC:20180913T180000
DTSTAMP:20261002T055429
CREATED:20200312T061736Z
LAST-MODIFIED:20200528T064614Z
UID:2633-1536856200-1536861600@arthistory.hku.hk
SUMMARY:Revisiting the Watermoon Avalokiteshvara Paintings
DESCRIPTION:Revisiting the Watermoon Avalokiteshvara paintings: its development\, circulation and appropriation in East Asia\nDate: 13 September 2018 (Thursday)\nTime: 4:30pm\nVenue: Room 10.28\, Run Run Shaw Tower\, Centennial Campus \nThe iconography of Watermoon Avalokiteshvara was first developed in the Tang capitals of Chang’an and Luoyang in the ninth century. In the ensuring centuries\, this representation of Avalokiteshvara was widely circulated\, venerated\, and replicated in various polities in the area of modern China\, Japan\, and Korea. The iconography became standardized by the fourteenth century and has been depicted with similar composition and iconographic features by artists to modern time. \nAlthough the continuity of Watermoon Avalokiteshvara as a subject for depiction among the East Asian traditions is remarkable\, its art historical importance only came to be recognized in the last century. Scholars have attempted to map out the subject’s position within art historical discourses. This scholarship has done much in assessing the subject’s stylistic and iconographic lineage and impacts\, however\, the context in which these images were circulated and received is seldom discussed. \nAs part of a larger project to address this lacuna\, my research revisits both the core paintings and scholarly discourses on Watermoon Avalokiteshvara. By illustrating the subject of Watermoon Avalokiteshvara and its state of research\, this seminar seeks to bring to the fore some of the pertinent research questions. I seek to reclaim the importance of the interstate maritime networks that connect the polities of China\, Japan and Korea. By the ninth century\, Putuoshan\, a major port for these regions\, was revered as the holy abode of Watermoon Avalokiteshvara. I argue maritime routes represented a convergence of commercial and religious travels that encourages the circulation and consumption of Watermoon Avalokiteshvara images and informed their iconographic features. By charting the physical and metaphysical dimensions of the circulation and promotion of  Watermoon Avalokiteshvara\, this seminar represents a new effort to advance our understanding of the geographical and art historical dimensions of this topic. \nSpeaker: Li Chun Tung Konstance (PhD Candidate\, Department of Fine Arts\, HKU)
URL:https://arthistory.hku.hk/index.php/event/revisiting-the-watermoon-avalokiteshvara-paintings-its-development-circulation-and-appropriation-in-east-asia/
LOCATION:Department Seminar Room\, 1028\, Run Run Shaw Tower\, Centennial Campus\, HKU\, Hong Kong
CATEGORIES:Seminar
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2020/03/20180913-seminar-Li.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180403T043000
DTEND;TZID=UTC:20180403T060000
DTSTAMP:20261002T055429
CREATED:20200226T045158Z
LAST-MODIFIED:20200622T084337Z
UID:1905-1522729800-1522735200@arthistory.hku.hk
SUMMARY:Contemporary Japanese Cinema
DESCRIPTION:Contemporary Japanese Cinema: Media Ecologies and Superflat Aesthetics\nDate: 3 April 2018 (Tuesday)\nTime: 4:30-6:00pm\nVenue: Room 7.58\, Run Run Shaw Tower\, Centennial Campus \nThis talk analyzes the formal play within popular Japanese films beginning around 2000 to explore cinema’s shifting identity in relation to digital technologies and other visual forms of culture. It draws on Murakami Takashi’s notion of Superflat art to situate these stylistic features within both Japan’s contemporary visual environment and the global media landscape. In doing so\, the presentation investigates how dynamic interconnections across visual forms have generated a new\, highly sensorial mode of viewership marked by a directed engagement with the materiality of the onscreen image. This manifestation within mainstream filmmaking represents a tendency that was previously located only in experimental practices\, echoing Murakami’s bold assertion that\, in the contemporary moment\, it is in fact lowbrow\, popular forms of culture that comprise the artistic avant-garde. \nSpeaker: Laura Lee \nDr. Lee completed her PhD in 2010 at the University of Chicago\, with a thesis entitled Cinema of the Interval: Stop-Motion Animation and Japanese Film Aesthetics. She also holds an MA from Yale in the East Asian Studies and an MA from the University of Iowa in film studies. In 2917\, her book Japanese Cinema between Frames was published by Palgrave Macmillan. She is currently an Assistant Professor and Japanese Program Director at Florida State University in the U.S..
URL:https://arthistory.hku.hk/index.php/event/contemporary-japanese-cinema-media-ecologies-and-superflat-aesthetics/
LOCATION:Faculty Room 758\, Room 7.58\, Run Run Shaw Tower\, Centennial Campus\, HKU\, Hong Kong
CATEGORIES:Seminar
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2020/02/20180403-seminar-lee.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180328T100000
DTEND;TZID=UTC:20180328T113000
DTSTAMP:20261002T055429
CREATED:20200327T091838Z
LAST-MODIFIED:20200622T084943Z
UID:3245-1522231200-1522236600@arthistory.hku.hk
SUMMARY:Master Class with Jeff Koons
DESCRIPTION:Master Class with Jeff Koons\nDate: 28 March 2018 (Wednesday)\nTime: 10:00-11:20am\nVenue: Room 2.42\, Jockey Club Tower\, Centennial Campus \nSeats are limited\, no reservations required. Students are given priority.
URL:https://arthistory.hku.hk/index.php/event/master-class-with-jeff-koons/
LOCATION:Classroom 242\, Room 2.42\, Jockey Club Tower\, Centennial Campus\, HKU
CATEGORIES:Conversation
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2020/03/20180328-Jeff-Koons-Poster.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180326T190000
DTEND;TZID=UTC:20180326T220000
DTSTAMP:20261002T055429
CREATED:20200330T050250Z
LAST-MODIFIED:20200623T043640Z
UID:3252-1522090800-1522101600@arthistory.hku.hk
SUMMARY:Guerrilla Girls: Not Ready to Play Nice
DESCRIPTION:Guerrilla Girls: Not Ready to Play Nice\nDate: 26 March 2018 (Monday)\nTime: 7:15pm\nVenue: Grand Hall\, Lee Shau Kee Lecture Centre\, Centennial Campus \nThe Guerrilla Girls (GG) is an anonymous group of female artists who use facts\, humor and outrageous (but fun) visuals ​to speak about gender and ethnic bias in the arts (which includes film and pop culture). Formed in New York City in 1985\, the GG wear gorilla masks in public\, hiding their identity in order to keep the focus on the issues\, and because in theory\, we are and can all be GG who want to draw attention to the gender inequality that exists not in perception but in institutional structures. \nThis will be their inaugural visit to Asia and we are proud that they have agreed to have their first performance in Asia at The University of Hong Kong. \n  \nHKU Faculty of Arts’ Behind the Scenes Lecture Series aims to bring high-profile speakers from the international art world such as artists\, curators\, art historians\, directors of galleries or museums\, auction house principals\, conservators\, to highlight the work of professionals who help to keep art accessible for audiences now and in the future\, and to expand awareness of and appreciation for art.
URL:https://arthistory.hku.hk/index.php/event/guerrilla-girls-not-ready-to-play-nice/
LOCATION:Grand Hall\, Grand Hall\, Lee Shau Kee Lecture Centre\, Centennial Campus
CATEGORIES:Lecture Series
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2020/03/20180326-Guerilla-Girls-Poster-r.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180326T163000
DTEND;TZID=UTC:20180326T180000
DTSTAMP:20261002T055429
CREATED:20200226T045908Z
LAST-MODIFIED:20200622T084525Z
UID:1908-1522081800-1522087200@arthistory.hku.hk
SUMMARY:How to House a Foreign God?
DESCRIPTION:How to House a Foreign God?: On Scale\, Medium\, and Material Culture of Buddhism in Early Japan\nDate: 26 March 2018 (Monday)\nTime: 4:30-6:00pm\nVenue: Room 7.58\, Run Run Shaw Tower\, Centennial Campus \nWhat roles did small-scale architectural shrines play in the establishment of Buddhism in early Japan and its material culture? This talk charts the production\, circulation\, and reception of such artifacts in the Japanese archipelago from the sixth to the seventh centuries\, with specific focus on the Tamamushi Shrine. Despite its fame as a national treasure\, the shrine’s formal and conceptual ingenuity is often occluded by iconographic analysis\, which tends to limit the understanding of the shrine to specific motifs derived from a single medium or scripture. This talk argues that the efficacy of microarchitecture as exemplified by the Tamamushi Shrine lay precisely in its experiments with scale\, spatial-temporal perceptions\, and intermediality. I argue that the propagation of such artifacts registered a critical moment at the dawn of Buddhism in early Japan\, in which different modes of visual and religious practices\, both pre-existing and imported\, were reconfigured by ruling elites to negotiate their interests and aspirations in response to the socio-political changes across East Asia. \nSpeaker: Chun-wa Chan \nMr. Chan is nearing completion of his PhD at the University of Michigan\, with a dissertation entitled Female Sovereign\, Immigrant Technocrats: The Opportunity of Buddhism in Early Japan. A specialist in early and contemporary Japanese art and material culture\, Mr. Chan has received doctoral awards\, including a fellowship with the Freer and Sackler Galleries in Washington\, D.C.
URL:https://arthistory.hku.hk/index.php/event/how-to-house-a-foreign-god-on-scale-medium-and-material-culture-of-buddhism-in-early-japan/
LOCATION:Faculty Room 758\, Room 7.58\, Run Run Shaw Tower\, Centennial Campus\, HKU\, Hong Kong
CATEGORIES:Seminar
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2020/02/20180326-seminar-chan.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180322T190000
DTEND;TZID=UTC:20180322T210000
DTSTAMP:20261002T055429
CREATED:20200330T063637Z
LAST-MODIFIED:20200623T043650Z
UID:3259-1521745200-1521752400@arthistory.hku.hk
SUMMARY:V&A: the Civic and the Global
DESCRIPTION:V&A: the Civic and the Global\nDate: 22 March 2018 (Thursday)\nTime: 7:00pm\nVenue: Wang Gungwu Lecture Hall\, Graduate House\, HKU \nDr. Tristram Hunt discusses how the Museum’s founding commitment to art\, education and industry continues to define its purpose today. From the new Exhibition Road Quarter and the V&A Gallery in Shenzhen\, to exhibitions on embroidery\, Ocean Liners and Opera\, the V&A’s past bridges its future. \nTracing the Museum’s genesis from its Victorian roots in the Design School Movement of the 1830s and its establishment as the Museum of Manufactures in 1852\, he considers how the V&A’s British\, Germanic\, Indian and Oriental origins have engendered a world-class collection: a cultural lens to consider the Museum’s evolving place in the world today. Dr. Hunt explores how museums can retain their relevance and purpose in our contemporary age of Brexit\, Netflix and digital technology. \nSpeaker: Tristram Hunt \nDr Tristram Hunt became Director of the V&A\, the world’s leading museum of art\, design and performance\, in February 2017. Formerly the UK Member of Parliament for Stake-on-Trent Central\, he served as the Labour Party’s Shadow Secretary of State for Education. Between 2001-2010\, Tristram combined his post as Senior Lecturer in History at Queen Mary\, University of London\, with work as a history broadcaster\, presenting a range of radio and television programmes for the BBC and Channel 4. He is the author of several books\, most recently Ten Cities That Made an Empire (2014). \n  \nHKU Faculty of Arts’ Behind the Scenes Lecture Series aims to bring high-profile speakers from the international art world such as artists\, curators\, art historians\, directors of galleries or museums\, auction house principals\, conservators\, to highlight the work of professionals who help to keep art accessible for audiences now and in the future\, and to expand awareness of and appreciation for art. Our past speakers include Larry Keith\, Keeper of Conservation from the National Gallery\, London and Marie-Louise Sauerberg of Westminster Abbey.
URL:https://arthistory.hku.hk/index.php/event/va-the-civic-and-the-global/
LOCATION:Wang Gungwu Lecture Hall\, Wang Gungwu Lecture Hall\, Graduate House\, HKU
CATEGORIES:Lecture Series
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2020/03/20180322-Hunt-poster-for-web.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180322T163000
DTEND;TZID=UTC:20180322T180000
DTSTAMP:20261002T055429
CREATED:20200226T065221Z
LAST-MODIFIED:20200622T085216Z
UID:1911-1521736200-1521741600@arthistory.hku.hk
SUMMARY:Objects in Motion: Chinese Bronzes in Nineteenth-Century Korean Paintings
DESCRIPTION:Objects in Motion: Chinese Bronzes in Nineteenth-Century Korean Paintings\nDate: 22 March 2018 (Thursday)\nTime: 4:30-6:00pm\nVenue: Room 2.58\, Run Run Shaw Tower\, Centennial Campus \nYi Hyongnok (1808-after1863) and An Chungsik (1861-1919) developed the new genres of paintings that depicted a wide range of bronzes from ancient times to contemporary Qing China. This talk analyzes a trend in collecting Chinese bronzes in nineteenth-century Korea and their visualization in paintings to understand the aesthetic principles that were shaped and shared by collectors and artists. By examining possible pictorial sources\, modified visual elements\, and cultural transmission\, it discusses how collectors perceived Chinese bronzes as symbols of culture in the course of cultural exchanges and how artists appropriated the motifs of Chinese bronzes in response to the aspiration of collectors. The representation of Chinese bronzes enabled collectors to demonstrate their knowledge of Chinese culture as part of their cultivation and thereby to enhance their social prestige. \nSpeaker: Ja Won Lee \nDr. Lee has just completed her PhD at UCLA\, with a dissertation entitled Visualizing the Past: Collecting and Representing Chinese Antiques in Late Chosŏn Korea. A specialist in Korean and Chinese art and material culture\, Dr. Lee has received numerous doctoral awards\, including fellowships at the Metropolitan Museum of Art in New York and the Kyujanggak Institute for Korean Studies at Seoul National University. She is currently a visiting lecturer at HKU.
URL:https://arthistory.hku.hk/index.php/event/objects-in-motion-chinese-bronzes-in-nineteenth-century-korean-paintings/
CATEGORIES:Seminar
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2020/02/20180322-seminar-jawon.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180319T170000
DTEND;TZID=UTC:20180319T183000
DTSTAMP:20261002T055429
CREATED:20200226T070602Z
LAST-MODIFIED:20200622T085301Z
UID:1917-1521478800-1521484200@arthistory.hku.hk
SUMMARY:Addressing Urban Audiences in Twelfth-Century Spain
DESCRIPTION:Addressing Urban Audiences in Twelfth-Century Spain\nDate: 19 March 2018 (Monday)\nTime: 5:00-6:30pm\nVenue: Room 7.58\, Run Run Shaw Tower\, Centennial Campus \nThe twelfth century in Western Europe marks a period of significant social change and widespread urbanization. Through its exceptional visual record\, the northern Spanish city of Carrión de los Condes illustrates a developing city’s navigation of diverse urban interests. This paper examines two Carrionese parish churches constructed across the course of the twelfth century\, which actively participate in the contemporary social and spiritual upheaval and offer insight into a largely undocumented lay public. The earlier of the two churches aims to engage\, entertain\, and placate a dual audience of pilgrims and parishioners\, while the latter seeks to involve an increasingly influential urban viewership in spiritual life by directly implicating citizens in a monumental soteriological plan. Likewise\, the first half of the century sees Carrión in transition\, with violent burgher revolts demonstrating citizens’ newfound agency as pilgrimage traffic from the Camino de Santiago bolsters the economy\, and the second half witnesses Carrión’s apogee as prosperous urban center. \nSpeaker: Elizabeth Lastra \nDr. Lastra obtained her PhD in 2017 from the University of Pennsylvania\, with a dissertation entitled Biography of a City: Art\, Urbanization\, and Shifting Structures of Power in Carrión de los Condes\, 1050-1200. She is specialist in medieval Spanish art and architecture and has received numerous doctoral awards\, including Fulbright and Metropolitan Museum fellowship.
URL:https://arthistory.hku.hk/index.php/event/addressing-urban-audiences-in-twelfth-century-spain/
LOCATION:Faculty Room 758\, Room 7.58\, Run Run Shaw Tower\, Centennial Campus\, HKU\, Hong Kong
CATEGORIES:Seminar
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2020/02/20180319-seminar-Lastra-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180314T163000
DTEND;TZID=UTC:20180314T180000
DTSTAMP:20261002T055429
CREATED:20200226T071125Z
LAST-MODIFIED:20200622T085312Z
UID:1920-1521045000-1521050400@arthistory.hku.hk
SUMMARY:Animating the Virgin Mary in Representations of the Theophilus Legend
DESCRIPTION:Animating the Virgin Mary in Representations of the Theophilus Legend\nDate: 14 March 2018 (Wednesday)\nTime: 4:30-6:00pm\nVenue: Room 3.01\, Run Run Shaw Tower\, Centennial Campus \nSpeaker: Jennifer Lyons \nDr. Lyons obtained her PhD in 2016 from Emory University\, with a dissertation entitled Crafting Marian Devotion: The Representation of the Theophilus Legend in Northern Europe\, 9th-14th c. She is a specialist in medieval French art and architecture and has received numerous scholarships during her doctoral studies. She currently teaches at Ithaca Collage in the U.S..
URL:https://arthistory.hku.hk/index.php/event/animating-the-virgin-mary-in-representations-of-the-theophilus-legend/
LOCATION:Classroom 301\, Room 3.01\, Run Run Shaw Tower\, Centennial Campus\, HKU
CATEGORIES:Seminar
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2020/02/20180314-seminar-Lyons.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180111T170000
DTEND;TZID=UTC:20180113T180000
DTSTAMP:20261002T055429
CREATED:20200330T072910Z
LAST-MODIFIED:20200622T085645Z
UID:3280-1515690000-1515866400@arthistory.hku.hk
SUMMARY:It Begins with a Story
DESCRIPTION:It Begins with a Story: Artists\, Writers\, and Periodicals in Asia\nDate: 11-13 January 2018 (Thursday-Saturday)\nVenue: HKU\nLanguage: Cantonese\, English and Mandarin\, with simultaneous interpretation provided \nOrganised by Asia Art Archive in collaboration with The University of Hong Kong\, this symposium explores how periodicals have fostered conversations around art and emergent forms of visuality in twentieth-century Asia. \nMore information about the symposium and its related programmes is available here at the Asia Art Archive website.
URL:https://arthistory.hku.hk/index.php/event/it-begins-with-a-story-artists-writers-and-periodicals-in-asia/
CATEGORIES:Conference
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2020/03/20180111-symposium-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20171219T163000
DTEND;TZID=UTC:20171219T180000
DTSTAMP:20261002T055429
CREATED:20200227T050836Z
LAST-MODIFIED:20200623T043615Z
UID:1981-1513701000-1513706400@arthistory.hku.hk
SUMMARY:Migration and the Collecting of Chinese Art in Hong Kong in the 20th Century
DESCRIPTION:Migration and the Collecting of Chinese Art in Hong Kong in the 20th Century\nDate: 19 December 2017 (Tuesday)\nTime: 4:30-6:00pm\nVenue: Room 4.36\, Run Run Shaw Tower\, Centennial Campus \nIn the mid-20th century\, migrants from mainland China brought an influx of Chinese artworks\, as well as their expertise on the subject\, to the British colony of Hong Kong. Here mainland Chinese and local Hong Kong collectors encountered foreign connoisseurs (mostly from Britain\, France\, America and Japan) and built up significant collections of Chinese art under this multicultural environment. Through reconstructing the biographical accounts of four representative collectors who were active during the 1950s to 1990s – E. T. Chow (1910-1980)\, Low Chuck-Tiew (1911-1993)\, Dr Ip Yee (1919-1984) and T.T. Tsui (1941-2010) – this talk highlights the diversity of collecting which thrived in this specific geographical\, political and cultural-historical space\, investigating the extent to which foreign modes of collecting were appropriated by these collectors\, and examining how they adopted collecting as a strategy to establish their identity and social status as a response to the colonial situation of Hong Kong. Through the lens of collecting activities\, it highlights the multifaceted nature of Hong Kong society and adds to the surfacing of more local Hong Kong histories which have emerged in recent years. \nSpeaker: Ivy Chan \nIvy Chan is a PhD candidate in the History of Art and Archaeology\, Department at the School of Oriental and African Studies\, University of London. Her doctoral thesis investigates the history\, context and impact of Chinese art collecting in Hong Kong during the 20th century. After receiving a BA in History and Art History at the University of Nottingham\, she completed her MA at SOAS with a focus on early Ming Dynasty ceramics while working as a Chinese Art Specialist at Christie’s auction house\, where she was also a guest lecturer for the Christie’s Education Art of China MA course.
URL:https://arthistory.hku.hk/index.php/event/migration-and-the-collecting-of-chinese-art-in-hong-kong-in-the-20th-century/
LOCATION:Faculty Room 436\, Room 4.36\, Run Run Shaw Tower\, Centennial Campus\, HKU\, Hong Kong
CATEGORIES:Seminar
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2020/02/chan-poster-web.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20171205T170000
DTEND;TZID=UTC:20171205T183000
DTSTAMP:20261002T055429
CREATED:20200312T062521Z
LAST-MODIFIED:20200528T065011Z
UID:2637-1512493200-1512498600@arthistory.hku.hk
SUMMARY:From a Regional Art School to a National One
DESCRIPTION:From a Regional Art School to a National One: The Rise of The Lingnan School in the 1920s and the 1930s\nDate: 5 December 2017 (Tuesday)\nTime: 5:00pm\nVenue: Room 7.58\, Run Run Shaw Tower\, Centennial Campus \nThe Lingnan School is one of the earliest modern art schools in China in the first half of the twentieth century. The School was founded by three Canton painters\, Gao Jianfu 高劍父\, Gao Qifeng 高奇峰 and Chen Shuren 陳樹人. As Gao Qifeng died in a relatively early age and Chen Shuren spent most of his time as a high-ranking government officer\, Gao Jianfu was the actual leader who oversaw the development of the Lingnan School\, and seeing its rise from a regional school to a national one. \nThis study reexamines three important periods in the development of the Lingnan School with a greater focus on its development in the 1920s and the 1930s. I propose that Gao Jianfu’s Japanese study experience in mid 1900s laid the foundation for his pursuit of reforming Chinese painting to represent the new country. The debate between Gao Jianfu and the traditional artists in Guangzhou in mid 1920s forced him to redevelop his painting style by eliminating the Japanese elements in his works. And then it was his India sojourn and his meeting with Rabindranath Tagore in early 1930s made him an artist with international reputation in China\, which made it possible for Gao Jianfu to bring his school\, the Lingnan School into the limelight of Chinese art world in the 1930s. \nSpeaker: Liu Yan Prynne (MPhil Candidate\, Department of Fine Arts\, HKU)
URL:https://arthistory.hku.hk/index.php/event/from-a-regional-art-school-to-a-national-one-the-rise-of-the-lingnan-school-in-the-1920s-and-the-1930s/
LOCATION:Faculty Room 758\, Room 7.58\, Run Run Shaw Tower\, Centennial Campus\, HKU\, Hong Kong
CATEGORIES:Seminar
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2020/03/Prynne-Liu-seminar-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20171130T163000
DTEND;TZID=UTC:20171130T180000
DTSTAMP:20261002T055429
CREATED:20200312T063525Z
LAST-MODIFIED:20200528T064837Z
UID:2641-1512059400-1512064800@arthistory.hku.hk
SUMMARY:Some Insights on the Genre of Bird Painting in the Yuan Dynasty (1271-1368)
DESCRIPTION:Some Insights on the Genre of Bird Painting in the Yuan Dynasty (1271-1368)\nDate: 30 November 2017 (Thursday)\nTime: 4:30pm\nVenue: Room 10.28\, Run Run Shaw Tower\, Centennial Campus \nThe genre of bird painting became a well-established independent genre of practice in the Tang dynasty (618-907) and flourished in Song dynasty (960-1279) with the imperial support. The painters of Song Academy executed works rich in colour with detailed brushwork\, and such meticulous style of painting formed the dominant mode of representation for bird paintings prior to the Yuan dynasty (1271-1368). In the Yuan dynasty\, the genre of bird painting underwent significant changes in various aspects. One of the major developments was the rise of the sub-genre of ink monochrome bird painting\, and Wang Yuan 王淵 (act. c. 1300-1360) was the key person in its development. Apart from using ink alone\, Wong Yuan also deployed the motif of pheasant with a novel iconographical arrangement in making his bird paintings. Through a general overview of the genre of bird painting prior to the Yuan dynasty and a discussion of the development of the genre in Yuan in this seminar\, I argue that the changes of the motif of pheasant and the increasing use of ink monochrome in bird paintings were closely related to the rising market of wealthy elites and the development of literati taste in the period. \nSpeaker: Leung Ge Yau Candy (PhD Candidate\, Department of Fine Arts\, HKU)
URL:https://arthistory.hku.hk/index.php/event/some-insights-on-the-genre-of-bird-painting-in-the-yuan-dynasty-1271-1368/
LOCATION:Department Seminar Room\, 1028\, Run Run Shaw Tower\, Centennial Campus\, HKU\, Hong Kong
CATEGORIES:Seminar
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2020/03/CLposter201711-opac-3.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20171108T180000
DTEND;TZID=UTC:20171108T200000
DTSTAMP:20261002T055429
CREATED:20200227T052002Z
LAST-MODIFIED:20200622T090957Z
UID:1985-1510164000-1510171200@arthistory.hku.hk
SUMMARY:Dining\, Diplomacy and Decoration
DESCRIPTION:Dining\, Diplomacy and Decoration: Chinese Porcelain in European Court Collections\, 1500-1800\nDate: 8 November 2017 (Wednesday)\nTime: 6:00-8:00pm\nVenue: Room 4.34\, Run Run Shaw Tower\, Centennial Campus \nIn the sixteenth to eighteenth centuries\, European courts were an important location for the consumption and distribution of Chinese porcelain. Collections such as those in Dresden\, the Netherlands and at Versailles are well known but what has not been explored before is the significant impact Chinese porcelain had on political\, economic and cultural life in the courts of Europe for several hundred years. Chinese porcelains were consumed by courts from an early date and were acquired actively through gifts\, exchange and trade\, becoming a notable addition to European regal material culture. In setings from palaces to stately homes\, porcelains were used in daily life for dining and decoration\, they were displayed in dedicated rooms and halls\, and they were exchanged as diplomatic gifts between rulers and princes. Famously\, they were even used to purchase a regiment of soldiers. The presence of Chinese porcelain in this milieu also inspired new design movements such as chinoiserie and technological competition in the race among prices to produce porcelain that could be manufactured in Europe instead of imported from China. By mapping and tracing the complex and fascinating history of consumption\, collecting and exchange of late Ming and Qing Chinese porcelain in the courts of Europe\, this lecture will demonstrate its lasting impact on the visual and cultural landscape of court settings across the European world. \nSpeaker: Stacey Pierson \nDr. Pierson was Curator of the Percival David Foundation of Chinese Art at the School of Oriental of African Studies (SOAS) from 1997-2007\, and is currently a Senior Lecturer in Chinese Ceramics at SOAS.
URL:https://arthistory.hku.hk/index.php/event/dining-diplomacy-and-decoration-chinese-porcelain-in-european-court-collections-1500-1800/
LOCATION:Faculty Room 434\, Room 4.34\, Run Run Shaw Tower\, Hong Kong
CATEGORIES:Seminar
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2020/02/OCS_Poster_web.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20171031T163000
DTEND;TZID=UTC:20171031T180000
DTSTAMP:20261002T055429
CREATED:20200227T071906Z
LAST-MODIFIED:20200622T090823Z
UID:1989-1509467400-1509472800@arthistory.hku.hk
SUMMARY:Craftsmanship and Display in France’s Chinese Museum
DESCRIPTION:Craftsmanship and Display in France’s Chinese Museum\nDate: 31 October 2017 (Tuesday)\nTime: 4:30-6:00pm\nVenue: Room 7.58\, Run Run Shaw Tower\, Centennial Campus \n\n\n\nEmpress Eugénie created the Chinese Museum in the palace of Fontainebleau to display Chinese art objects looted by French officers at the palace of Yuanming Yuan in 1860. This talk analyzes the museum display to see how it evaluated and interpreted the Chinese religious and material culture contained in the museum’s collection. By focusing on the museum’s décor\, it shows in particular how French craftsmen created ornament and framing devices that paid homage to Chinese craftsmanship while conveying parallels between French and Chinese imperial cultures. \n\n\n\n\n\n\n\nSpeaker: Greg Thomas \nProf. Thomas teaches various aspects of European and American art and architecture from the 18th to 20th centuries\, as well as the first-year survey of western art. A specialist in 19th-century French art\, he has published Art and Ecology in Nineteenth-Century France: The Landscapes of Théodore Rousseau (Princeton\, 2000) and Impressionist Children: Childhood\, Family\, and Modern Identity in French Art (Yale\, 2010). Recent research has focused on artistic interactions between Europe and China in the 18th and 19th centuries\, part of a long-term study of the Chinese palace of Yuanming Yuan. He has published two major articles on Yuanming Yuan and its looting (in Nineteenth-Century Art Worldwide\, Autumn 2008; and in Art History\, February 2009)\, along with other essays on landscape painting and ecology\, Impressionism\, and French and British engagement with Chinese culture. He is also the assistant editor of the 13-volume Wuming (No Name) Painting Catalogue\, (Hong Kong University Press\, 2010)\, which surveys the Wuming group of painters active in Beijing in the 1970s.
URL:https://arthistory.hku.hk/index.php/event/craftsmanship-and-display-in-frances-chinese-museum/
LOCATION:Faculty Room 758\, Room 7.58\, Run Run Shaw Tower\, Centennial Campus\, HKU\, Hong Kong
CATEGORIES:Seminar
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2020/02/Thomas-seminar-Oct-2017.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20170418T170000
DTEND;TZID=UTC:20170418T183000
DTSTAMP:20261002T055429
CREATED:20200227T074245Z
LAST-MODIFIED:20200622T095524Z
UID:1994-1492534800-1492540200@arthistory.hku.hk
SUMMARY:Eighteenth-Century Jingdezhen Porcelain as Meta-Chinoiserie
DESCRIPTION:Eighteenth-Century Jingdezhen Porcelain as Meta-Chinoiserie\nDate: 18 April 2017 (Tuesday)\nTime: 5:00-6:30pm\nVenue: Room 4.34\, Run Run Shaw Tower\, Centennial Campus \n\n\n\nPorcelain has long been recognized in scholarship as a significant object of exchange and encounter\, with the word “chinaware” denoting porcelain’s crucial role in the shaping of European conceptions of China. This presentation builds upon such important studies by considering porcelain’s global impact not through English-language sources\, but through the perspective of Qing Chinese imperial sources and contexts. \nThis talk focuses on the emergence of a new color palette featuring opaque pastel colors\, commonly known as famille rose\, on Jingdezhen porcelain during the first quarter of the eighteenth century. Rather than emphasize the advent of rose-pink pastels as a change in color scheme on a passive porcelain surface\, this presentation illuminates surface as a site of active creation and artisans’ epistemology. By examining eighteenth-century Qing sources\, including imperial court documents\, porcelain production practices\, and the artifacts themselves\, I contend that porcelain was not merely a surface on which a chinoiserie style flourished in eighteenth-century Europe. Rather\, for certain imperial audiences and makers of porcelain in Qing China\, porcelain was understood as an object and technology of purposeful construction – indeed\, an art – that enabled an engagement with foreign aesthetics forms and material techniques. By linking export art with history of court initiatives – typically discussed separately in literature about porcelain – the result is a scholarly narrative of chinoiserie that is dynamic\, multi-directional\, and global in scope. \n\n\n\n\n\n\n\nSpeaker: Ellen Huang \nDr. Huang is a visiting scholar at UC Berkeley\, where she is completing a book entitled Jingdezhen Porcelain and the Transformation of China\, ca. 1644-1911. Her publications on the making\, collecting and viewing on Chinese porcelain have appeared in a number of academic journals and anthologies.
URL:https://arthistory.hku.hk/index.php/event/eighteenth-century-jingdezhen-porcelain-as-meta-chinoiserie/
LOCATION:Faculty Room 434\, Room 4.34\, Run Run Shaw Tower\, Hong Kong
CATEGORIES:Seminar
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2020/02/Huang-Poster-web.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20170412T163000
DTEND;TZID=UTC:20170412T180000
DTSTAMP:20261002T055429
CREATED:20200227T075244Z
LAST-MODIFIED:20200622T095541Z
UID:1998-1492014600-1492020000@arthistory.hku.hk
SUMMARY:A Sky with No Frontier: Figure\, Schema\, and Movement in the Astral Culture of China and Inner Asia
DESCRIPTION:A Sky with No Frontier: Figure\, Schema\, and Movement in the Astral Culture of China and Inner Asia\, ca. 900-1200\nDate: 12 April 2017 (Wednesday)\nTime: 5:00-6:30pm\nVenue: Room 4.34\, Run Run Shaw Tower\, Centennial Campus \n\n\n\nThe tenth to thirteenth centuries in what is now China witnessed the heyday of traditional Chinese astronomy\, the transmission of new astral concepts and forms from afar\, and the rise of influential astral deity cults. This talk examines the visual and material dimensions of this “astral turn” in transregional and transcultural perspective. We travel between the central Chinese plains\, the northern steppe\, and the northwestern desert\, from the last days of the great Tang dynasty (618-907) to the multicentered age of the Song (960-1279) and its non-Han rivals\, the Khitan Liao (907-1125) and Tangut Xixia (1038-1227). \nWe examine how\, in an era of very palpable territorial limits\, the astral bodies exercised a striking freedom of movement\, crossig cultures\, social registers\, and religions in their wanderings across the sky. The fluidity was enabled\, I argue by a productive tension between figurative representation and underlying abstract schemas. This reflects\, in turn\, the longstanding dynamic encounter between classical Chinese thought and the Indian religion of Buddhism. Identifying a shared schematic language across a broad range of materials\, we will explore how astral culture’s worldmaking function fueled the rise of vernacular cosmologies and\, ultimately\, new imperial visions. \n\n\n\n\n\n\n\nSpeaker: Michelle McCoy \nMichelle McCoy is a doctoral candidate in History of Art at the University of California\, Berkeley\, where she is completing a dissertation on astrology and astronomy in the art of Liao-Yuan China and Inner Asia. She is a specialist in Dunhuang and the art and architecture of the Tangut Xixia empire.
URL:https://arthistory.hku.hk/index.php/event/a-sky-with-no-frontier-figure-schema-and-movement-in-the-astral-culture-of-china-and-inner-asia-ca-900-1200/
LOCATION:Faculty Room 758\, Room 7.58\, Run Run Shaw Tower\, Centennial Campus\, HKU\, Hong Kong
CATEGORIES:Seminar
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2020/02/McCoy-Poster-update-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20170410T170000
DTEND;TZID=UTC:20170410T183000
DTSTAMP:20261002T055429
CREATED:20200227T080519Z
LAST-MODIFIED:20200622T095558Z
UID:2002-1491843600-1491849000@arthistory.hku.hk
SUMMARY:Trade in the Tarim? Evidence from the Material Culture of the Silk Road
DESCRIPTION:Trade in the Tarim? Evidence from the Material Culture of the Silk Road\nDate: 10 April 2017 (Monday)\nTime: 5:00-6:30pm\nVenue: Room 4.34\, Run Run Shaw Tower\, Centennial Campus \n\n\n\nThe existence of sustained inter-regional trade in Central Asia in the first millennium is not particularly visible in textual sources and its extent\, especially its economic impact\, remains largely unexplored. But there are clear manifestations in both the material and textual sources of the interregional movement and development of religions\, arts\, and technologies in this period. Trade in prestige goods\, the so-called Silk Road\, involving regular movements of peoples and goods and the creation of surplus wealth\, has long been accepted as a significant factor by many although still questioned by some. \nIn this seminar\, Susan Whitfield will consider the evidence from the material culture of Buddhism\, especially the spread of Buddhist architecture and the pigments used in cave temples in the Tarim Basin and Hexi Corridor in Chinese Central Asia dating from the fourth and fifth centuries onwards. She will consider whether trade is indeed a necessary or even essential factor in this. If a factor\, then what can these artefacts tell us about the extent. \n\n\n\n\n\n\n\nSpeaker: Susan Whitfield \nAs Curator of the Central Asian manuscripts at the British Library and Director of the International Dunhuang Project\, Dr. Whitfield has studied and lectured on the arts\, archeology and history of the Silk Road and China for over twenty years. She has travelled widely in the region curated several major exhibitions and written many scholarly and popular books and articles\, including Life Along the Silk Road. 
URL:https://arthistory.hku.hk/index.php/event/trade-in-the-tarim-evidence-from-the-material-culture-of-the-silk-road/
LOCATION:Faculty Room 434\, Room 4.34\, Run Run Shaw Tower\, Hong Kong
CATEGORIES:Seminar
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2020/02/Whitfield-Poster.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20170327T170000
DTEND;TZID=UTC:20170327T183000
DTSTAMP:20261002T055429
CREATED:20200227T081037Z
LAST-MODIFIED:20200622T095629Z
UID:2005-1490634000-1490639400@arthistory.hku.hk
SUMMARY:Performance\, Temporality\, Feminism and Death
DESCRIPTION:Performance\, Temporality\, Feminism and Death: Contemporary Indian Photography through the Lens of Sheba Chhachhi\nDate: 27 March 2017 (Monday)\nTime: 5:00-6:30pm\nVenue: Room 4.34\, Run Run Shaw Tower\, Centennial Campus \n\n\n\nThis talk explores three of the leading Indian contemporary artist Sheba Chhachhi’s earliest photographic projects: images of the anti-dowry women’s protest movement in Delhi\, her subsequent series of so-called “staged portraits” of the movement’s protagonists\, and her collaboration with members of the sadhu\, or female Hindu renunciate community. I examine each project with special attention to the issue of temporality and argue that Chhachhi’s photographic practice both depends upon and powerfully expresses\, modes of alternative temporality that are distinct from the journalistic paradigms within which her work first evolved. Self-performance on the part of Chhachhi’s subjects is key to these distinctive temporalities and evince a mode of “indigenous feminism” that Chhachhi’s oeuvre makes visually manifest. \n\n\n\n\n\n\n\nSpeaker: Sophia Powers \nSophia Powers is a doctoral candidate in art history at the University of California\, Los Angeles. Her dissertation is entitled Intimacy\, Alterity\, and Duration: Reimagining Photographic Practice in Contemporary India. 
URL:https://arthistory.hku.hk/index.php/event/performance-temporality-feminism-and-death-contemporary-indian-photography-through-the-lens-of-sheba-chhachhi/
LOCATION:Faculty Room 434\, Room 4.34\, Run Run Shaw Tower\, Hong Kong
CATEGORIES:Seminar
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2020/02/Powers-Seminar-page-001.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20170322T170000
DTEND;TZID=UTC:20170322T183000
DTSTAMP:20261002T055429
CREATED:20200227T092439Z
LAST-MODIFIED:20200622T095639Z
UID:2009-1490202000-1490207400@arthistory.hku.hk
SUMMARY:Yin Xiuzhen’s Fabrication of ‘Home’: A Legacy of Domestic ‘Preservation’
DESCRIPTION:Yin Xiuzhen’s Fabrication of ‘Home’: A Legacy of Domestic ‘Preservation’\nDate: 22 March 2017 (Wednesday)\nTime: 5:00-6:30pm\nVenue: Room 7.58\, Run Run Shaw Tower\, Centennial Campus \n\n\n\nThis paper considers a series of artworks made by the Chinese artist Yin Xiuzhen since the mid-1990s. The majority of Yin’s works are constructed from intimate and familiar everyday materials\, second-hand clothes in particular. Through her creative and manifold acts of placing\, sewing\, knitting and packing\, Yin reveals living stories and human emotions concealed in seemingly trivial and unremarkable household items\, investigating the drastic changes to people’s lives in mainland China as well as in other parts of the world over the past two decades\, especially in consideration of rapid urbanization and the pervasive development of global trade networks. This paper draws on Iris Marion Young’s conception of ‘preservation’ – a devalued yet significant aspect of ‘home-making’. As Young argues\, preservation\, which is typically associated with female domesticity\, not only maintains things at home against their possible destruction\, but constantly endows those objects with new meaning in so doing to sustain individual identity and familial history. By relating Yin’s creative engagements with domesticity to YOung’s arguments about preservation\, this paper examines how might Yin’s artistic practice of reclaiming old domestic objects provoke interactions and reveal contradictions between human bodies and their ever-changing living environments\, challenging the traditional feminist negative evaluation of women’s housework and providing a distinctive insight into the notion of home and one’s sense of belonging. \n\n\n\n\n\n\n\nSpeaker: Vivian Kuang Sheng \nVivian Kuang Sheng is a lecturer in modern and contemporary art at the University of Manchester. She recently completed her PhD dissertation Fantasies of ‘Home-Making’ in the works of Yin Xiuchen\, Mona Hatoum and Nikki S. Lee (University of York: 2016)\, and is working on a book entitled From Everyday to Extraordinary\, From Local to Global: Women Artists and the Chinese Avant-Garde.
URL:https://arthistory.hku.hk/index.php/event/yin-xiuzhens-fabrication-of-home-a-legacy-of-domestic-preservation/
LOCATION:Faculty Room 758\, Room 7.58\, Run Run Shaw Tower\, Centennial Campus\, HKU\, Hong Kong
CATEGORIES:Seminar
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2020/02/Sheng-Seminar-page-001.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20170321T170000
DTEND;TZID=UTC:20170321T183000
DTSTAMP:20261002T055429
CREATED:20200227T093148Z
LAST-MODIFIED:20200622T095652Z
UID:2012-1490115600-1490121000@arthistory.hku.hk
SUMMARY:Preventive Publics: The Burning Car in Thomas Hirschhorn’s Installations
DESCRIPTION:Preventive Publics: The Burning Car in Thomas Hirschhorn’s Installations\nDate: 21 March 2017 (Tuesday) \nTime: 5:00-6:30pm\nVenue: Room 4.04\, Run Run Shaw Tower\, Centennial Campus \n\n\n\nThis talk unpacks issues of publicity and the public sphere in the oeuvre of Swiss artist Thomas Hirschhorn\, whose practiceh as been controversial for its construction of temporary “cultural centers” in lowerincome\, immigrant-populated suburbs in Europe. What are the ethics behind these neighborhood installations? On a most basic level\, his socially oriented pieces work to highlight the violence behind signifiers in the mass media such as the burning car clip\, a reductive image that has served to stigmatize and incite fears against “foreigners” on the continent. More critically\, these installations model and instantiate preventive publics\, a term I employ in order to signal not only their bringing together of diverse strangers\, but also their calling for longer-term\, self-organized\, and non-exclusionary relations among such strangers in order to prevent violence in the larger public domain. \n\n\n\n\n\n\n\nSpeaker: Brianne Cohen \nBrianne Cohen is a visiting assistant professor of contemporary art history at Brown University. Her PhD dissertation Contested Collectivities: Europe Reimagined by Contemporary Artists (University of Pittsburgh: 2012) is the basis for her current book project Preventive Publics: Contemporary Art and the Idea of Europe. Her research has appeared in print in Third Text and other journals\, and she has co-edited issues of Images [&] Narrative and a collection of scholarly essays entitled The Photofilmic: Entangled Images in Contemporary Art and Visual Culture (Leuven: 2016).
URL:https://arthistory.hku.hk/index.php/event/preventive-publics-the-burning-car-in-thomas-hirschhorns-installations/
LOCATION:Faculty Room 404\, Room 4.04\, Run Run Shaw Tower\, Centennial Campus\, HKU
CATEGORIES:Seminar
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2020/02/Cohen-Seminar-page-001.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20170320T183000
DTEND;TZID=UTC:20170320T203000
DTSTAMP:20261002T055429
CREATED:20200330T094916Z
LAST-MODIFIED:20200622T100119Z
UID:3303-1490034600-1490041800@arthistory.hku.hk
SUMMARY:Evening discussion with Sir Michael Craig-Martin and Tim Marlow
DESCRIPTION:Love Art at The Peninsula Presents “Bright Idea”: Evening discussion with Sir Michael Craig-Martin and Tim Marlow\nDate: 20 March 2017 (Monday)\nTime: 6:30-8:30pm\nVenue: Grand Hall\, Lee Shau Kee Lecture Centre\, Centennial Campus \nThe Department partners with The Peninsula Hong Kong for what promises to be a fascinating conversation with one of the leading figures of British conceptual art. Both as a hugely influential artist in his own right and as an esteemed teacher\, Sir Michael Craig-Martin is celebrated for his time as a tutor at Goldsmiths College\, University of London\, between 1974 and 1988\, and then again from 1994 to 2000. He is credited with having taught an emerging generation of artists who went on to become known as the Young British Artists or “YBAs”. This group included some of the biggest names in contemporary art today – Damien Hirst\, Julien Opie\, Sarah Lucas and Gary Hume – creating a legacy that earned Craig-Martin the nickname “The Godfather of Brit Art”. \nIn conversation with Tim Marlow\, Artistic Director of the Royal Academy of Arts\, Sir Craig-Martin will look back on his ground-breaking career at the forefront of British contemporary art.
URL:https://arthistory.hku.hk/index.php/event/love-art-at-the-peninsula-presents-bright-idea-evening-discussion-with-sir-michael-craig-martin-and-tim-marlow/
LOCATION:Grand Hall\, Grand Hall\, Lee Shau Kee Lecture Centre\, Centennial Campus
CATEGORIES:Conversation
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2020/03/20170320-Peninula-Love-Art.jpg
END:VEVENT
END:VCALENDAR