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DTSTART:20190101T000000
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BEGIN:VEVENT
DTSTART;TZID=Asia/Hong_Kong:20210520T163000
DTEND;TZID=Asia/Hong_Kong:20210520T180000
DTSTAMP:20260521T233952
CREATED:20210510T025627Z
LAST-MODIFIED:20211102T092644Z
UID:7672-1621528200-1621533600@arthistory.hku.hk
SUMMARY:From China to France
DESCRIPTION:Research Postgraduate Seminar\nFrom China to France: The Production and Reception of Chinese Paper-making Images in the 18th century\nDate: 20 May 2021 (Thursday)\nTime: 4:30-6:00pm\nVenue: online (click here for the zoom link); Room CPD 2.45 (with a capacity of 20\, first come first served)\nMeeting ID: 965 0195 3034 (password: 469077)\nSpeaker: Summer Xiaomin Wen\, Ph.D. candidate\, HKU \nAbstract\nPaper traditionally is regarded as one of the “Four Treasures of the Study (Wen fang si bao 文房四寶)” and is considered one of the Four Great Inventions of China. Visual representations of paper production flourished in the 18th century Qing (1644-1912) empire. During this time\, a series of independently produced albums dedicated to the production of bamboo paper were initiated and were sent from China to France and other European locations. My research focus on two paper-making albums in the collection of the Bibliothèque Nationale de France\, presently entitled as the Fabrication du Papier (The Fabrication of Paper) and the Art de faire le papier à la Chine (The Art of Making Paper in the Chinese Manner). The former was given to the library by the Sinologist Stanislas Julien (1797-1873) in 1840\, the latter was acquired through an auction of the late French book-dealer and King’s secretary Louis-François Delatour’s (1727-1807) collection. The primary interest of my research is to reconstruct the formation and reception of these paper-making albums to address issues such as the cross-cultural exchanges of technology\, commodities\, visual and material cultures between the Qing empire and France in the eighteenth century. \n 
URL:https://arthistory.hku.hk/index.php/event/from-china-to-france/
LOCATION:Online
CATEGORIES:2020-2021,Seminar
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2021/05/20210520-seminar-wen-poster-web.jpg
ORGANIZER;CN="Department of Art History":MAILTO:art.history@hku.hk
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20210421T170000
DTEND;TZID=UTC:20210421T180000
DTSTAMP:20260521T233952
CREATED:20210419T020000Z
LAST-MODIFIED:20210729T034249Z
UID:7603-1619024400-1619028000@arthistory.hku.hk
SUMMARY:Who is Yoshitomo Nara?
DESCRIPTION:This talk is organized by The University of Hong Kong Museum Society.\n\nOnline Lecture: “Who is Yoshitomo Nara?” with Dr. Yeewan Koon\n\n\nDate: 21 April 2021 (Wednesday)\nTime: 5-6pm\nVenue: Zoom \nTo register\, please click here \nRenowned for the big-headed girls\, Yoshitomo Nara is one of Japan’s most iconic artists of our time. Inspired by music\, literature\, childhood memories\, Nara explores the themes of isolation\, rebellion\, and spirituality through painting\, sculpture\, ceramic and installation. \nThe HKU Museum Society is pleased to invite Dr. Yeewan Koon\, author of the newly published monograph Nara Yoshitomo (Phaidon\, 2020) to share her research on Nara and her experience of working with the artist.  This talk will be moderated by Catherine Kwai\, Founder and Managing Director of Kwai Fung Hin Art Gallery. \nLecture Synopsis \nYoshitomo Nara is an international artist but whose fame sometimes eclipse our understanding of his art. This talk provides an introduction to his practice\, the events that have shaped them\, and the new directions being taken in his artworks. This lecture is also a lesson in looking. We will spend time examining and discussing his works by looking closely at how he paints and to use our discoveries to enrich our understanding of who is Yoshitomo Nara. \nSpeaker \nDr. Yeewan Koon is Associate Professor and Chair of the Department of Art History at The University of Hong Kong. She has published numerous works including Nara Yoshitomo (2020)\, “A Chinese Canton? Painting the Local in Export Art” (2018) and A Defiant Brush: Su Renshan and the Politics of Painting in 19th Century Guangdong (2014). She is the recipient of several research awards including a Fulbright Senior Fellowship\, American Council of Learned Scholars\, and visiting scholarships at Cambridge University and Columbia University. Dr. Koon also works in the contemporary art field as a critic and curator. In 2014\, she was guest curator of It Begins with Metamorphosis: Xu Bing at the Asia Society\, Hong Kong Center\, and was one of the selected curators for the 12th Gwangju Biennale\, 2018. She is currently working on an international exhibition of Hong Kong art for 2021. \nModerator \nMs Catherine Kwai is the Founder and Managing Director of Kwai Fung Hin Art Gallery. She established Kwai Fung Hin Art Gallery in 1991\, motivated by a passion for art and her wish to bridge the cultural exchange between China and the West. Kwai Fung Hin reflects the strength and knowledge for the 20th century art in China and Europe. In the past 30 years\, Kwai Fung Hin has organized over 100 exhibitions at the gallery and has collaborated and curated exhibitions with renowned museums and institutes. Kwai Fung Hin has collaborated with international publishing house Rizzoli to publish artists’ monograph. In 2011\, Ms Catherine Kwai was made “Knight of the National Order of the Merit” for her contribution to the arts.
URL:https://arthistory.hku.hk/index.php/event/online-lecture-who-is-yoshitomo-nara-with-dr-yeewan-koon/
LOCATION:Online
CATEGORIES:2020-2021,Conversation
ATTACH;FMTTYPE=image/png:https://arthistory.hku.hk/wp-content/uploads/2021/04/hkums_nara.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Shanghai:20210415T163000
DTEND;TZID=Asia/Shanghai:20210415T180000
DTSTAMP:20260521T233952
CREATED:20210408T083811Z
LAST-MODIFIED:20210408T085423Z
UID:7579-1618504200-1618509600@arthistory.hku.hk
SUMMARY:Pheasants and the Jiangnan Literati
DESCRIPTION:Research Postgraduate Seminar\nPheasants and the Jiangnan Literati: Pheasant Paintings of Wang Yuan (act. c.1300 – 1360)\nDate: 15 April 2021 (Thursday)\nTime: 4:30-6:00pm\nVenue: online (click here for the zoom link)\nMeeting ID: 975 8542 7572 (password: 020106)\nSpeaker: Leung Ge Yau Candy\, Ph.D. candidate\, HKU \nAbstract\nBirds have a long history of serving as motifs to represent auspicious meaning in visual representations in Chinese culture. Colourful paintings with phoenixes\, cranes and a variety of birds expressing good wishes of longevity and fortune adorn the walls of tombs and palaces of the imperial and aristocratic families of the Tang (618-907) and Song (960-1279) dynasties. At times\, different species of birds are presented in background settings with specific seasonal flowers to make up rebuses carrying ideas of prosperity in paintings. In this seminar\, through the examination of the motif of the pheasant in textual and visual representations\, I seek to explore the meanings of pheasants beyond readings of rebuses and representations of auspiciousness. I closely examine three pheasant paintings of the Yuan painter Wang Yuan 王淵 (act. c. 1300 – 1360) to propose that the artist depicted the bird paintings in a specific way to appeal to regional elite patrons. He deployed contrasting brushwork to create images of a paradise for recluses that draws upon features of Jiangnan gardens and land. In this talk\, I discuss how some educated elites in Yuan-era Jiangnan sought to showcase their knowledge and cultural accomplishments\, establishing in part their literati identity through the appreciation and possession of pheasant paintings. \n 
URL:https://arthistory.hku.hk/index.php/event/pheasants-and-the-jiangnan-literati/
LOCATION:Online
CATEGORIES:2020-2021,Seminar
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2021/04/20210415-seminar-leung-candy-web-scaled.jpg
ORGANIZER;CN="Department of Art History":MAILTO:art.history@hku.hk
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20210307T143000
DTEND;TZID=UTC:20210307T163000
DTSTAMP:20260521T233952
CREATED:20210308T063157Z
LAST-MODIFIED:20210729T035021Z
UID:7279-1615127400-1615134600@arthistory.hku.hk
SUMMARY:Marginalisation and Empowerment
DESCRIPTION:CGED Research Seminar Series 2020-2021:\nMarginalisation and Empowerment: Voices of Hong Kong Women\nPanel 2: Visual Storytelling: Photography as Empowerment\n\nDate: 7 March 2021 (Sunday) \nTime: 2:30-4:30pm\nVenue: Zoom \nThis seminar is co-organised by the Committee on Gender Equality and Diversity (CGED)\, Faculty of Arts\, The University of Hong Kong (HKU)\, and the Equal Opportunities Commission (EOC) as a concurrent event of the photo exhibition “The Way We Are” at G/F\, Run Run Shaw Tower\, HKU\, from 6-23 March 2021. \nIn 1989\, American scholar and civil rights advocate Kimberlé Crenshaw coined the term “intersectionality” to capture how various forms of inequality often operate together and exacerbate each other\, arguing that neither sexism nor racism alone could account for experiences of oppression among African American women. \nThirty years on\, the concept remains a useful and relevant lens to understand the marginalisation of women in different cultural contexts. Focusing on carers\, non-Chinese youth\, migrant workers and new arrivals from mainland China\, this seminar examines how gender\, ethnic identity and socio-economic status continue to intersect and inform the challenges facing underrepresented women in Hong Kong today\, and their implications for public policy. It also explores the history and potential of art – photography in particular – as a medium of empowerment and catharsis. \nModerator: Roslyn L. Hammers \nThis seminar is co-organised by the Faculty of Arts and Equal Opportunities Commission (EOC)
URL:https://arthistory.hku.hk/index.php/event/marginalisation-and-empowerment-voices-of-hong-kong-women/
LOCATION:Online
CATEGORIES:2020-2021,Seminar
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2021/03/07032021.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Hong_Kong:20210120T100000
DTEND;TZID=Asia/Hong_Kong:20210120T110000
DTSTAMP:20260521T233952
CREATED:20210114T040016Z
LAST-MODIFIED:20210419T020235Z
UID:7111-1611136800-1611140400@arthistory.hku.hk
SUMMARY:Yoshitomo Nara | No longer just a girl with a knife: Art after Fukushima
DESCRIPTION:This talk is organized by Los Angeles County Museum of Art (LACMA).\n\nArt & Conversation: Yoshitomo Nara | No longer just a girl with a knife: Art after Fukushima\n\n\n\n\nDate: 20 January 2021 (Wednesday)\nTime: 10-11am (HK time) \nWebinar Registration: click here \nThis series takes viewers through three different periods in Nara’s career\, including his early art practice\, questions narratives of “Japanese-ness” at the turn of the century\, and the impact of the 2011 Great Tohoku disaster on Nara’s art. Presented by Yeewan Koon\, Chair of the Department of Art History at the University of Hong Kong and author of Yoshitomo Nara\, the first truly authoritative monograph on the artist in more than a decade.
URL:https://arthistory.hku.hk/index.php/event/yoshitomo-nara-no-longer-just-a-girl-with-a-knife-art-after-fukushima/
LOCATION:Online
CATEGORIES:2020-2021,Conversation
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2021/01/20210120-lacma-koon.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Hong_Kong:20210113T100000
DTEND;TZID=Asia/Hong_Kong:20210113T110000
DTSTAMP:20260521T233952
CREATED:20210111T104514Z
LAST-MODIFIED:20210419T020220Z
UID:7098-1610532000-1610535600@arthistory.hku.hk
SUMMARY:Yoshitomo Nara | Nara\, kawaii\, and the "Superflat" concept
DESCRIPTION:This talk is organized by Los Angeles County Museum of Art (LACMA).\n\nArt & Conversation: Yoshitomo Nara | Nara\, kawaii\, and the “Superflat” concept\n\n\n\n\nDate: 13 January 2021 (Wednesday)\nTime: 10-11am (HK time) \nWebinar Registration: click here \nThis series takes viewers through three different periods in Nara’s career\, including his early art practice\, questions narratives of “Japanese-ness” at the turn of the century\, and the impact of the 2011 Great Tohoku disaster on Nara’s art. Presented by Yeewan Koon\, Chair of the Department of Art History at the University of Hong Kong and author of Yoshitomo Nara\, the first truly authoritative monograph on the artist in more than a decade.
URL:https://arthistory.hku.hk/index.php/event/art-conversation-yoshitomo-nara-nara-kawaii-and-the-superflat-concept/
LOCATION:Online
CATEGORIES:2020-2021,Conversation
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2021/01/20210113-lacma-koon.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Hong_Kong:20210106T100000
DTEND;TZID=Asia/Hong_Kong:20210106T110000
DTSTAMP:20260521T233952
CREATED:20210104T073415Z
LAST-MODIFIED:20210419T020201Z
UID:7044-1609927200-1609930800@arthistory.hku.hk
SUMMARY:Yoshitomo Nara | Who is that big-headed girl?
DESCRIPTION:This talk is organized by Los Angeles County Museum of Art (LACMA).\n\nArt & Conversation: Yoshitomo Nara | Who is that big-headed girl?\n\n\n\n\nDate: 6 January 2021 (Wednesday)\nTime: 10-11am (HK time) \nWebinar Registration: click here \nThis series takes viewers through three different periods in Nara’s career\, including his early art practice\, questions narratives of “Japanese-ness” at the turn of the century\, and the impact of the 2011 Great Tohoku disaster on Nara’s art. Presented by Yeewan Koon\, Chair of the Department of Art History at the University of Hong Kong and author of Yoshitomo Nara\, the first truly authoritative monograph on the artist in more than a decade. \n\n\n\n  \n 
URL:https://arthistory.hku.hk/index.php/event/yoshitomo-nara-who-is-that-big-headed-girl/
LOCATION:Online
CATEGORIES:2020-2021,Conversation
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2021/01/20210106-lacma-koon.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20201214T100000
DTEND;TZID=UTC:20201214T110000
DTSTAMP:20260521T233952
CREATED:20201217T063954Z
LAST-MODIFIED:20201217T063954Z
UID:7004-1607940000-1607943600@arthistory.hku.hk
SUMMARY:The Laboring of Art
DESCRIPTION:Art History Seminar:\nThe Laboring of Art: The Rise of Socialist Amateur Art Practice and the Arrival of the Contemporary in the People’s Republic of China\nDate: 14 December 2020 (Monday) \nTime: 10:00am\nVenue: Zoom\n \nRegistration required. \nThis talk takes up the question of amateur art practice during the socialist period (late 1940s to late 1970s) in China\, and its attempt to convert the rarified practice of processional\, academy-trained artists into an everyday praxis. Known variously as yeyu meishu chuangzuo\, qunzhong meishu huodong\, gongnongbing meishu\, and nongmin hua\, amateur art practice originated from small art study groups held at industrial and agricultural labor sites\, where rural farmers and industrial workers met to create images depicting their labor and lifestyles. I argue that socialist amateur art practice not only changed the class and labor relations that had previously defined the fine arts\, but also converted the expert and professional cultures of the fine arts into a grassroots practice of the everyday. By creating new publics for art appreciation\, and by centering art production outside the academy\, amateur art practice challenged the dominance of the art academy as a legitimizing site of training\, and evacuated concepts of artistic genius and technical accomplishment. I end the talk by connecting the amateur art activity of the socialist period with the experimental art practices of the Reform period\, asking how the mantle of avant-garde practices was passed from the revolutionary guard to its political and cultural dissidents. \nSpeaker: Angie Baecker  \nAngie Baecker is a lecturer in the Department of Art History at the University of Hong Kong. Her research focuses on the cultural and material history of Maoist China\, the politics of aesthetic\, and the postsocialist legacy in contemporary China. She received her PhD in 2020 from the University of Michigan\, and holds a master’s degree in modern Chinese literature from Tsinghua University.
URL:https://arthistory.hku.hk/index.php/event/the-laboring-of-art/
LOCATION:Online
CATEGORIES:2020-2021,Seminar
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2020/12/Baecker-seminar-2.jpg
ORGANIZER;CN="Department of Art History":MAILTO:art.history@hku.hk
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Hong_Kong:20201210T163000
DTEND;TZID=Asia/Hong_Kong:20201210T180000
DTSTAMP:20260521T233952
CREATED:20201202T024127Z
LAST-MODIFIED:20201202T061634Z
UID:6971-1607617800-1607623200@arthistory.hku.hk
SUMMARY:Watermoon Avalokiteshvara Paintings and their Viewers and Producers in East Asia
DESCRIPTION:Research Postgraduate Seminar\nWatermoon Avalokiteshvara Paintings and their Viewers and Producers in East Asia\nDate: 10 December 2020 (Thursday)\nTime: 5:30-6:30pm \nVenue: 7.58\, Run Run Shaw Tower\, Centennial Campus\, HKU\n \nOnline attendance via Zoom is possible (click here for the zoom link)\nMeeting ID: 979 3264 4258 (no password required) \nAbstract\nEver since its earliest inception in the metropolitan capitals of Luoyang and Chang’an of Tang China (618-907 CE)\, Watermoon Avalokiteshvara as a subject matter of depiction had spread to different polities of East Asia in the following centuries. Polities such as Wuyue (907-978 CE) and Song (960-1279 CE) in China continued to produce Watermoon Avalokiteshvara images\, making stylistic and iconographic innovations that reflect the different preferences of the day. This image was also spread to Japan and Korea. By the 14th century\, both Kamakura Japan (1192-1333 CE) and the Koryo Kingdom (918-1392 CE) in Korea had become important centres for consuming and producing images of Watermoon Avalokiteshvara. \nIn this presentation\, I first argue how one should view Watermoon Avalokiteshvara paintings in the Five Dynasties and Ten Kingdoms (907-979 CE) and Song periods alongside contemporaneous art historical development. Most relevant to this discussion is landscape painting’s development as genre. I then revisit the Koryo examples and argue for a multi-identities perspective of viewing them both as representative of Koryo national style and within the context of the larger Yuan imperium (1271-1368 CE). This transnational perspective can also garner better understandings of what I termed Sino-Japanese examples found in 14th century Kamakura Japan. This presentation concludes with a close reading of two enigmatic examples of Watermoon Avalokiteshvara in the Nara National Museum and the Rijksmuseum collections in Japan and the Netherlands. I shall argue how these works are results of transnational exchanges. \nSpeaker\nMr. Konstance Chuntung Li is a final year doctoral student at the Department of Art History\, University of Hong Kong. He holds a M.St. in Archaeology from the University of Oxford. His current research has received generous support from the Japan Foundation and is a comprehensive study that examines Watermoon Avalokiteshvara paintings in East Asia from the 9th to the 14th centuries. At present\, Mr. Li is also a member of the National Gallery Singapore’s Language Panel.
URL:https://arthistory.hku.hk/index.php/event/watermoon-avalokiteshvara-paintings-and-their-viewers-and-producers-in-east-asia/
LOCATION:Online
CATEGORIES:2020-2021,Seminar
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2020/12/20201210-rpg-seminar-konstance-li-poster-finalized_v2.jpg
ORGANIZER;CN="Department of Art History":MAILTO:art.history@hku.hk
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20201125T173000
DTEND;TZID=UTC:20201125T183000
DTSTAMP:20260521T233952
CREATED:20201028T071954Z
LAST-MODIFIED:20201112T025444Z
UID:6805-1606325400-1606329000@arthistory.hku.hk
SUMMARY:“On the Museum's Ruins” An introduction to Douglas Crimp (1944 – 2019)
DESCRIPTION:Art History Lecture Series:\n“On the Museum’s Ruins”\nAn introduction to Douglas Crimp (1944 – 2019)\nDate: 4\, 11\, 25 November 2020 (Wednesday)\nTime: 5:30-6:30pm \nVenue: CPD-2.16 (Run Run Shaw Tower)\, Centennial Campus\, HKU\n \nRegistration required. Please email maah@hku.hk. \nOn the occasion of this year’s translation to Chinese of Douglas Crimp’s seminal book On The Museum’s Ruins (1993)\, the Department of Art History offers an introductory course the discursive field of Douglas Crimp (1944-2019)\, the art historian\, critic\, curator and AIDS activist\, who generated some of the most enduring\, foundational texts on postmodern art\, queer theory\, and institutional critique. \nGuest Lecturer Professor: Inti Guerrero (Hong Kong) \nInti Guerrero is the Estrellita B. Brodsky Adjunct Curator at Tate Modern (since 2016). He has curated exhibitions and symposia in institutions globally\, and has published in journals including Afterall (Central Saint Martins). In Hong Kong\, he has curated and co-curated exhibitions at Para Site and Asia Art Archive. \n  \nSeminar Readings \nDAY 1: 4 November 2020 (Wednesday)\n[Chinese] Crimp\, Douglas. “On the Museum’s Ruins.” In On the Museum’s Ruins\, trans. Y. Tang\, 33-50. Nanjing: Jiangsu Phoenix Fine Arts Publishing Ltd\, 2020.\n[English] Crimp\, Douglas. “On the Museum’s Ruins.” In On the Museum’s Ruins\, 44-60. Cambridge: MIT Press\, 1993. \nDAY 2: 11 November 2020 (Wednesday)\n[English] Crimp\, Douglas. “Pictures.” October 8 (Spring 1979): 75-88. \nDAY 3: 25 November 2020 (Wednesday)\n[English] Crimp\, Douglas. “The Boys in my Bedroom.” In Melancholia and Moralism: Essays on AIDS and Queer Politics\, 151-163. Cambridge: MIT Press\, 2002.
URL:https://arthistory.hku.hk/index.php/event/on-the-museums-ruins-an-introduction-to-douglas-crimp-1944-2019/
LOCATION:CPD-2.16\, CPD 2.16 (Run Run Shaw Tower)\, Centennial Campus\, HKU
CATEGORIES:2020-2021,Seminar
ATTACH;FMTTYPE=image/png:https://arthistory.hku.hk/wp-content/uploads/2020/10/Lecture-series_On-the-Museums-Ruins-05-01-01.png
ORGANIZER;CN="Department of Art History":MAILTO:art.history@hku.hk
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Hong_Kong:20201117T183000
DTEND;TZID=Asia/Hong_Kong:20201117T193000
DTSTAMP:20260521T233952
CREATED:20201111T180023Z
LAST-MODIFIED:20210726T094726Z
UID:7106-1605637800-1605641400@arthistory.hku.hk
SUMMARY:HKUFAAA: Knowing Botticelli
DESCRIPTION:This talk is organized by HKU Fine Arts and Art History Alumni Association (HKUFAAA).\n\nKnowing Botticelli\n\n\nDate: 17 November 2020 (Tuesday)\nTime: 6:30pm-7:30pm\nVenue: Online (Zoom) \nSpeaker: Dr. Sim Hinman WAN\nMedium: English \nCost: Free\nRegistration: required\, before 17 November noon (register now)\nZoom Meeting ID: 964 4575 6433\n(URL and password will be sent in an email confirmation) \nWelcoming all alumni and friends\, this online talk aims to complement the current exhibition “The Hong Kong Jockey Club Series: Botticelli and His Times– Masterworks from the Uffizi” (open until 24 Feb 2021) at Hong Kong Museum of Art. It will provide a historical context for audience to further understand and appreciate those masterpieces on display. It will also cover some other paintings by this extraordinary Florentine artist and comparisons will be drawn among them. \n 
URL:https://arthistory.hku.hk/index.php/event/knowing-botticelli/
LOCATION:Online
CATEGORIES:2020-2021,Seminar
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2021/01/20201117-HKUFAAA-Knowing-Botticelli-poster-web-01-scaled.jpg
ORGANIZER;CN="HKU Fine Arts and Art History Alumni Association":MAILTO:alumni@hkufaaa.hk
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Shanghai:20200909T183000
DTEND;TZID=Asia/Shanghai:20200909T193000
DTSTAMP:20260521T233952
CREATED:20200825T081852Z
LAST-MODIFIED:20200825T084051Z
UID:6647-1599676200-1599679800@arthistory.hku.hk
SUMMARY:An Unexpected Masterpiece
DESCRIPTION:Art and its Histories: Scholars in Lecture\nAn Unexpected Masterpiece: Luo Ping’s Ghost Amusement Scroll\nDate:  9 September 2020 (Wednesday)\nTime: 6:30-7:30pm\nRegistration: Click here to join the Free Facebook Live Webinar \nThis lecture introduces one of the most unusual iconic works in Chinese art history. It is a painting that by all counts should not be a “masterpiece.” It is a painting of ghosts (rather than a landscape)\, it is a handscroll of smaller paintings in uneven sizes mounted together (therefore somewhat ad hoc)\, and it was made by an artist seeking patrons after years of being under his charismatic teacher’s shadow. It also collected over 160 admiring colophons. So why did this painting garner such attention? Why is Luo Ping’s Ghost Amusement Scroll important? This lecture given by HKU’s Dr. Yeewan Koon in conversation with Orientations Magazine publisher Yifawn Lee looks at how Chinese paintings are mediators of intimate relationships\, whether between painters and their audiences or between masters and disciples\, and why the strange world of ghosts captured the imagination of an eighteenth-century Chinese art world. \nArt and its Histories: Scholars in Lecture is a series of public lectures organized by the Art History Department\, The University of Hong Kong and presented in collaboration with Asia Society Hong Kong Center\, Friends of Hong Kong Museum of Art\, and the University of Hong Kong Museum Society. The programs aim to deliver current art-historical thinking in an accessible manner presented by specialists in the field. The series is part of the Art History Department’s broader dedication to promoting the importance and relevance of art history in Hong Kong. \n\n\n\n\n\n\nSpeaker:  \nDr. Yeewan Koon is Chair of the Department of Art History at The University of Hong Kong. Her primary research is on Chinese painting and she is currently completing a study on the “self-knowing” copy in the sixteenth century. Koon’s academic interest also expands into contemporary art in Asia with a recent monograph of Yoshitomo Nara\, and curatorial work at the Gwangju Biennale (2018) and a forthcoming exhibition on Hong Kong art in Helsinki (2021). She is the recipient of numerous awards including from the American Council of Learned Scholar\, and as Fulbright Senior Fellow. \nYifawn Lee is the publisher and editor of Orientations\, a scholarly magazine for collectors and connoisseurs of East and Southeast Asia\, the Himalayas and South Asia founded in 1969. After finishing her studies\, she worked in finance and later joined Orientations in 2008. In 2014\, she founded Asian Art Hong Kong as a platform to provide art-related lectures and events. In 2018\, she helped organize ‘The Blue Road: Mastercrafts from Persia’ at Liang Yi Museum and ‘From Two Arises Three: The Collaborative Works of Arnold Chang and Michael Cherney’ at The University Museum and Art Gallery of the University of Hong Kong. She currently sits on the advisory board of Liang Yi Museum and on the executive committee of the Friends of Hong Kong Museum of Art. \nCo-presented by: \n                  
URL:https://arthistory.hku.hk/index.php/event/an-unexpected-masterpiece/
LOCATION:Online
CATEGORIES:2020-2021,Lecture Series
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2020/08/20200909-artanditshistories-koon.jpg
ORGANIZER;CN="Department of Art History":MAILTO:art.history@hku.hk
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Shanghai:20200610T183000
DTEND;TZID=Asia/Shanghai:20200610T200000
DTSTAMP:20260521T233952
CREATED:20200529T025929Z
LAST-MODIFIED:20201013T123559Z
UID:4382-1591813800-1591819200@arthistory.hku.hk
SUMMARY:Writing Nara Yoshitomo
DESCRIPTION:Writing Nara Yoshitomo: A Conversation with Author Yeewan Koon\nDrink Reception 6:30pm\nDiscussion 7:00pm\nClose 8:00pm \nYeewan Koon\, author of Nara Yoshitomo (Phaidon\, 2020)\, will join us in an evening conversation together with Elaine Kwok and Alexandra Seno to discuss this first-ever monograph on the internationally acclaimed artist\, which has been described by New York Magazine as “a definitive work”. In this talk\, Koon shares her experience of working with Nara\, how she set about to understand his practice\, and how she looks at some of his most iconic works. \n>> Watch the 30 seconds promo \nAdmission\nOffline (join in person\, registration required): Members $100; Non-members $180\, Price includes a free copy of Life is Only One: Yoshitomo Nara 2015 Exhibition Catalogue by ASHK. \nOnline (via Facebook/ Youtube): free admission \nSpeakers\nYeewan Koon is Associate Professor and Chair of the Fine Arts Department at the University of Hong Kong. She has received awards from Fulbright\, American Council of Learned Scholars and as Mary Griggs visiting scholar at Columbia University. Her interest in how art scrutinises social and human values led to her book A Defiant Brush: Su Renshan and the Politics of Painting in 19th century Guangdong (2013). She has also curated exhibitions including It Begins with Metamorphosis: Xu Bing at Asia Society\, Hong Kong Centre (2014)\, and Faultlines as part of the 12th Gwangju Biennale (2018). She is currently completing her work on the conceit of copies in Ming China\, and planning the first group show of Hong Kong art in Finland. \nAs Director\, Chairman’s Office and Auctioneer\, Elaine Kwok is responsible for business development and top client relationships in Asia. Before joining the Chairman’s Office\, Kwok ran Christie’s Education in Asia\, a programme she started in 2010 to inspire collectors and enthusiasts to engage with the art world. In 2018 Kwok sold Wood and Rock by Su Shi for US$60 million\, the most expensive work of art that Christie’s has ever sold in Asia. Kwok became the first Christie’s auctioneer to pass the China auctioneer license exam in 2015. A Hong Kong native\, she holds a BA from Harvard University\, an MA from School of Oriental and African Studies\, University of London\, and an MBA from Stanford University. \nAlexandra Seno is Head of Development at Asia Art Archive. An art critic for RTHK Radio 4\, she has served on the executive committee of the Oriental Ceramics Society of Hong Kong\, the board of Para Site Art Space\, and as adviser to non-profits Spring Workshop in Hong Kong and Calle Wright in Manila. She has written about culture and the economics of culture for publications including the New York Times\, the Wall Street Journal\, Newsweek Magazine\, The Art Newspaper and Architectural Record Magazine. \n\n\n\n>> Watch the recording of the event\n\n\n\n\n 
URL:https://arthistory.hku.hk/index.php/event/writing-nara-yoshitomo/
LOCATION:Asia Society Hong Kong Center\, 9 Justice Drive\, Admiralty
CATEGORIES:Conversation
ATTACH;FMTTYPE=image/png:https://arthistory.hku.hk/wp-content/uploads/2020/05/20200610-koon-nara-book-launch.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20200421T183000
DTEND;TZID=UTC:20200421T193000
DTSTAMP:20260521T233952
CREATED:20200415T073604Z
LAST-MODIFIED:20201217T063831Z
UID:3567-1587493800-1587497400@arthistory.hku.hk
SUMMARY:Rome and her Legacy
DESCRIPTION:Art and its Histories: Scholars in Lecture\nRome and her Legacy: Classical Art in the 21st Century\nDate:  21 April 2020 (Tuesday)\nTime: 6:30-7:30pm\nRegistration: Click here to register via Zoom (With a limit of 25 guests)\nClick here to join the Free Facebook Live Webinar \nAccording to legend\, on this date\, April 21st\, 753 BCE\, the semi-divine twin brothers\, Romulus and Remus\, founded the settlement that was to become the majestic city of Rome. This event spawned a mighty empire and nurtured a visual culture that left a lasting imprint on the subsequent civilizations and (art) histories of the western hemisphere. What better way to acknowledge such a birthday than to investigate and interrogate its continued legacy? Today\, some 2\,772 years later\, remnants of Roman art and architecture are stillbeing discovered meters below the modern cities of Europe\, Africa and the Near East\, as well as in the deserts and forests of over 40 countries whose modern borders now fall within the territory once controlled from Rome. With a particular focus on wall paintings\, this talk details some of these recent discoveries so as to introduce revitalized assessments of “Classical” art for the new millennium. \nArt and its Histories: Scholars in Lecture is a series of public lectures organized by the Department of Fine Arts\, HKU and presented in collaboration with Asia Society Hong Kong Center\, Friends of Hong Kong Museum of Art\, and The University of Hong Kong Museum Society. The programs aim to deliver current art-historical thinking in an accessible manner presented by specialists in the field. The series is part of the Fine Art Department’s broader dedication to promoting the importance and relevance of art history in Hong Kong. \n\n\n\n\n\n\nSpeaker: Susanna McFadden \nSusanna McFaddenis Assistant Professor and MA coordinator in the Department of Fine Arts at the University of Hong Kong. She holds a PhD in Art History from the University of Pennsylvania and specializes in the art\, architecture\, and archaeology of the Roman and late antique Mediterranean\, with a particular emphasis on the medium of wall painting. She has been a fellow in residence at the American Academy in Rome (2009-2010) and the Getty Research Institute (2016) and since 2005 has been a member of the New York University sponsored team excavating the late Roman site of Amheida in Egypt’s Dakhleh Oasis. Recent publications include essays on the wall paintings from Amheida and a multi-disciplinary exploration of the Tetrarchic era wall paintings in Egypt\, The Art of Empire: The Roman Frescoes and Imperial Cult Chamber in Luxor Temple (Yale University Press\, 2015)\, which won the 2017 Archaeological Institute of America’s James R. Weisman Book Award.
URL:https://arthistory.hku.hk/index.php/event/rome-and-her-legacy-classical-art-in-the-21st-century/
CATEGORIES:Lecture Series
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2020/04/0421-Susanna-McFadden1024_1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20200118T103000
DTEND;TZID=UTC:20200118T133000
DTSTAMP:20260521T233952
CREATED:20200109T064447Z
LAST-MODIFIED:20200622T083051Z
UID:388-1579343400-1579354200@arthistory.hku.hk
SUMMARY:Colloquium on Pearl River Delta\, Art\, and Global Exchange in Maritime Trade History
DESCRIPTION:Colloquium on Pearl River Delta\, Art\, and Global Exchange in Maritime Trade History\nDate: 18 January 2019 (Saturday)\nTime: 10:30am-1:30pm\nVenue: Hong Kong Museum of Art \nDr Yeewan Koon will give a paper “The Dilemmas of the Portrait Gift” at this colloquium. This paper looks at the use of portraiture by the Manchu official Qiying (1787-1858) who was sent by the Daoguang Emperor (r.1820-1850) to Guangdong for the negotiations of the Nanjing Treaty after the Opium War (1839-1841). By looking at the different practices involved in the gifting of portraits in Europe and China\, the paper will highlight the problems of communications and exchanges between Britain and China during this period. It will also show how Guangdong’s leading merchants were instrumental in these discussions and how they were active players in Guangdong’s local community and Qing politics. Later\, she will join other speakers Dr. John D. Wong and Prof. Ching May Bo in a panel discussion led by Dr. Roslyn Hammers. \nSupported by the Lo Kwee Seong Foundation\nCo-hosted by Hong Kong Museum of Art and the Oriental Ceramic Society of Hong Kong \n \nRead more about the event.
URL:https://arthistory.hku.hk/index.php/event/colloquium-on-pearl-river-delta/
LOCATION:Hong Kong Museum of Art\, 10 Salisbury Rd\, Tsim Sha Tsui\, Hong Kong
CATEGORIES:Conference
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2020/01/Online-1-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20200111T100000
DTEND;TZID=UTC:20200111T113000
DTSTAMP:20260521T233952
CREATED:20200304T065716Z
LAST-MODIFIED:20200622T083454Z
UID:2292-1578736800-1578742200@arthistory.hku.hk
SUMMARY:Catholic Realism in the Qing Court
DESCRIPTION:Art and its Histories: Scholars in Lecture\nCatholic Realism in the Qing Court: Qianlong’s Jesuit Painters\nDate: 11 January 2020 (Saturday)\nTime: 10:30am (light breakfast reception begins at 10:00am)\nVenue: Asia Society Hong Kong Center\, 9 Justice Drive\, Admiralty\nRegistration: Register via Asia Society Online Ticketing\nOne of the greatest cases of Sino-European cultural interaction before 1911 took place in the Qing court when emperors Kangxi\, Yongzheng\, and Qianlong hosted and patronized a number of Jesuit artists and artisans from Europe. The Jesuits were trying to impress the emperors with supposedly superior scientific knowledge in order to help spread Christianity in China\, while the emperors integrated the missionaries’ foreign painting techniques into court art to extend their own political ends. \nThis talk presents two cases of this remarkable cultural exchange\, analyzing the techniques and effects of realism in illusionistic wall paintings designed by the famous Italian brother Giuseppe Castiglione (Lang Shining\, 1688-1766) and in military portraits by the more obscure French brother Jean-Denis Attiret (Wang Zhicheng\, 1702-68). Both artists worked directly for the Qianlong emperor (r.1736-95)\, faithfully serving his imperial ideology\, and both achieved a degree of intercultural fusion rarely seen anywhere else. \nArt and its Histories: Scholars in Lecture is a series of public lectures organized by the Department of Fine Arts\, HKU and presented in collaboration with Asia Society Hong Kong Center\, Friends of Hong Kong Museum of Art\, and The University of Hong Kong Museum Society. The programs aim to deliver current art-historical thinking in an accessible manner presented by specialists in the field. The series is part of the Fine Art Department’s broader dedication to promoting the importance and relevance of art history in Hong Kong. \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/catholic-realism-in-the-qing-court-qianlongs-jesuit-painters/
LOCATION:Asia Society Hong Kong Center\, 9 Justice Drive\, Admiralty
CATEGORIES:Lecture Series
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2020/01/castiglione.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Shanghai:20191204T180000
DTEND;TZID=Asia/Shanghai:20191204T193000
DTSTAMP:20260521T233952
CREATED:20191201T062606Z
LAST-MODIFIED:20200622T082023Z
UID:157-1575482400-1575487800@arthistory.hku.hk
SUMMARY:Rembrandt at the Rijksmuseum
DESCRIPTION:Rembrandt at the Rijksmuseum\nDate: 4 December 2019 (Wednesday)\nTime: 6:30pm (reception begins at 6:00pm)\nVenue: Laundry Steps\, Taikwun\nTo RSVP\, contact f.ho@taschen.com\nThe Department of Fine Arts and Taschen Books present a wonderful evening on Rembrandt with Duncan Bull\, curator from Rijksmuseum. Taschen Books is also kindly hosting a special Dutch snacks and cocktails reception before the conversation starting at 6pm. So come\, enjoy a cocktail\, peruse some art books\, learn about Rembrandt! Our teachers including Dr. Hammers and Dr. Lastra will also be there joining in the festivities at Taikwun. \n 
URL:https://arthistory.hku.hk/index.php/event/rembrandt-at-the-rijksmuseum/
LOCATION:Taikwun Laundry Steps\, Laundry Steps\, Taikwun\, 10 Hollywood Road\, Central\, Hong Kong
CATEGORIES:Conversation
ATTACH;FMTTYPE=image/gif:https://arthistory.hku.hk/wp-content/uploads/2019/12/20191204-Taschen.gif
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20191031T170000
DTEND;TZID=UTC:20191031T183000
DTSTAMP:20260521T233952
CREATED:20200312T043711Z
LAST-MODIFIED:20200528T064410Z
UID:2618-1572541200-1572546600@arthistory.hku.hk
SUMMARY:A Tale of Two Books
DESCRIPTION:A Tale of Two Books: Negotiating Art and Commerce in William Alexander’s Visions of Late 18th-Century China\nDate: 31 October 2019 (Thursday)\nTime: 5:00pm\nVenue: Room 7.58\, Run Run Shaw Tower\, Centennial Campus \nThe period 1790-1830 was a golden age for Egnlish illustrated books\, during which a great variety of colour printed images were reproduced and circulated to an emerging middle-class readership. Costume books\, a pictorial genre from early-modern Europe that depicts the dress and manners of people\, were revived at this time to collect and categorize new information of foreign countries found in the process of Britain’s global expansion. Meanwhile\, the country experienced an efflorescence of visual arts\, fueled by the rise of watercolor landscape\, the emergence of a polite society\, and the dynamic interchange between painting and print. \nThis talk focuses on two picture books by Willian Alexander\, The Costume of China (1805) and Picturesque Representation of the Dress and Manners of the Chinese (1814)\, which grew out of the traditions of travel book\, ethnographic art\, and street cries in the context of Britain’s first diplomatic mission to China. As official draughtsman to the Macartney Embassy (1792-1794)\, Alexander recorded the social and cultural life under Emperor Qianlong’s reign in pen-and-ink drawings\, which he transformed into picturesque printed vignettes of Chinese landscape\, architecture\, technology and people. By examining these two publications within a larger culture of book reading and collecting in Britain\, this talk argues that Alexander negotiated artistic individuality\, commercial pressure\, and publishers’ agendas in the making of his books to engage an urban elite audience with growing scientific knowledge of China before the First Opium War. \nSpeaker: Zhu Wenqi \nMs. Zhu received her BA from the Department of Fine Arts\, the University of Hong Kong\, and is currently an MPhil candidate there. Her interests include the representation of East Asia in eighteenth- and nineteenth-century illustrated books\, newspapers\, periodicals\, and other forms of printed images in Europe and America\, as well as cross-cultural art exchange in general. Her research is partially funded by the Andrew Wyld Research Support Grants administrated through the Paul Mellon Center for Studies in British Art.
URL:https://arthistory.hku.hk/index.php/event/a-tale-of-two-books-negotiating-art-and-commerce-in-william-alexanders-visions-of-late-18th-century-china/
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/Echo-Zhu-seminar-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Hong_Kong:20191030T170000
DTEND;TZID=Asia/Hong_Kong:20191030T180000
DTSTAMP:20260521T233952
CREATED:20191024T042607Z
LAST-MODIFIED:20200622T080554Z
UID:145-1572454800-1572458400@arthistory.hku.hk
SUMMARY:Conversation on Technology\, Art and Narrative
DESCRIPTION:Conversation on Technology\, Art and Narrative: In Conversation with New Media Artist Cao Shu\nDate: 30 October 2019 (Wednesday)\nTime: 5:00-6:30pm\nVenue: CC Lounge\, MB150\, Main Building\, HKU \nSpeaker: Cao Shu \nCao Shu mainly works in new media art in Hangzhou. His artworks focus predominantly in the mediums of animation and installation. More recently. Cao Shu works on the relationship between digital existence and memory\, multi-view narrative in space\, and viewing in CG rendering technology. In 2017\, Cao Shu attended the Atelier Mondial artist residency program supported by the Swiss Arts Council Pro Helvetia. In 2019\, he has attended Koganecho Japan Art Festival Residency. His works have won such awards as the New Narrative Award from A Long Week of Short Films\, and the Beijing International Short Film Festival Award for Outstanding Artistic Achievement. Recent exhibitions include “Koganecho Bazaar 2019” (Yokohama\, Japan\, 2019)\, “The Exhibition of Annual of Contemporary Art of China 2018” (Beijing Minsheng Art Museum\, Beijing\, China\, 2019)\, “Fiction Art” (OCT Contemporary Art Terminal\, Shenzhen\, China\, 2018)\, “Pity Party” (SLEEPCENTER\, New York\, USA\, 2018)\, “Presence – Young Artist Exhibition” (China Academy of Art Museum\, Hangzhou\, China\, 2018)\, DOK Leipzig (Leipzig\, Germany\, 2018)\, Hamburg “China Time” International Art Festival (Die Sammlung Falckenberg Hall\, Hamburg\, Germany\, 2016).
URL:https://arthistory.hku.hk/index.php/event/conversation-on-technology-art-and-narrative-in-conversation-with-new-media-artist-cao-shu/
LOCATION:Common Core Lounge\, MB150\, Main Building\, Main Campus\, HKU\, Hong Kong
CATEGORIES:Conversation
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2019/10/20191023-talk-Cao-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20190829T160000
DTEND;TZID=UTC:20190829T173000
DTSTAMP:20260521T233952
CREATED:20190820T082108Z
LAST-MODIFIED:20200622T011753Z
UID:190-1567094400-1567099800@arthistory.hku.hk
SUMMARY:The Botanical Illustrations of Boym's Flora Sinensis and Overlapping Knowledge Networks in Seventeenth-Century Eurasia
DESCRIPTION:The Botanical Illustrations of Boym’s Flora Sinensis and Overlapping Knowledge Networks in Seventeenth-Century Eurasia\nDate: 29 August 2019 (Thursday)\nTime: 4:00pm\nVenue: Room 7.58\, Run Run Shaw Tower\, Centennial Campus \nMichael Boym’s Flora Sinensis [Flora of China]\, published in Vienna in 1656\, contains twenty-two hand-coloured woodcuts depicting Southeast Asian flora and fauna. While his work is entitled Flora Sinensis\, few of the plants depicted are of Chinese origin. Rather\, they were cultivated and traded in Southeast Asia\, and transplanted in China. My thesis is hat Boym’s selection of plants shows that China’s ecosystem exceeds the geographical boundaries of the empire itself by means of trade\, knowledge transfer and cultural engagement. Using examples drawn from Boym\, we can see how different\, overlapping networks functioned; we also see these networks were not only European\, but also intra-Asian\, and Eurasian. Through an interdisciplinary study of Boym’s work\, it becomes apparent how these emergent network configurations shaped the Chinese knowledge\, practices and materials that arrived in early-modern Europe. \nSpeaker: Eszter Csillag \nEszter Csillag is a 3rd year PhD candidate in the Fine Arts Department of the School of Humanities at The University of Hong Kong. Her interdisciplinary research focuses on seventeenth-century Polish Jesuit Michael Boym’s contributions to knowledge transfer from China to Europe\, based on his illustrations\, which range from the botanical to the medical\, from the geographical to the zoological. She took her BA at the Sapienza University of Rome and her MA at Roma Tre University\, where she specialized in seventeenth-century Italian baroque art.
URL:https://arthistory.hku.hk/index.php/event/the-botanical-illustrations-of-boyms-flora-sinensis-and-overlapping-knowledge-networks-in-seventeenth-century-eurasia/
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/2019/08/20190829-seminar-Csillag-revised.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Hong_Kong:20190605T123000
DTEND;TZID=Asia/Hong_Kong:20190605T133000
DTSTAMP:20260521T233952
CREATED:20190601T033951Z
LAST-MODIFIED:20200623T043733Z
UID:140-1559737800-1559741400@arthistory.hku.hk
SUMMARY:Models of Integrity: Art and Law in Post-Sixties America
DESCRIPTION:Book Talk: Models of Integrity: Art and Law in Post-Sixties America\nDate: 5 June 2019 (Wednesday)\nTime: 12:30pm\nVenue: A723\, 7/F\, Cheng Yu Tung Tower\, Centennial Campus \nRegistration: online (go to Seminars & Conferences) \nModels of Integrity examines the relationship between contemporary art and the law through the lens of integrity. In the 1960s\, artists began to engage conspicuously with legal ideas\, rituals\, and documents. The law—a primary institution subject to intense moral and political scrutiny—was a widely recognized source of authority to audiences inside the art world and out. Artists frequently engaged with the law in ways that signaled a recuperation of the integrity that they believed had been compromised by the very institutions entrusted with establishing standards of just conduct. These artists sought to convey the social purpose of an artwork without overstating its political impact and with-out losing sight of how aesthetic decisions compel audiences to see their everyday world differently. Addressing the role that law plays in enabling art-works to function as social and political forces\, this important book fills a gap in the field of law and the humanities\, and will serve as a practical “how-to” for contemporary artists. \nSpeaker: Joan Kee \nJoan Kee is a lawyer and art historian. She joined the University of Michigan’s History of Art department in 2008\, after visiting positions at Cornell University\, the National University of Singapore\, and the University of Hong Kong as well as a previous career in legal prac-tice. Her writing has appeared in a range of journals\, including Art History\, Art Bulletin\, the Oxford Art Journal\, Archives of Asian Art\, Art Margins\, the Journal of Law\, Culture\, and the Humanities and Artforum\, for which she is a contributing editor. Her current research considers how American artists from the early 1970s to the mid-1990s engaged with legal structures\, doctrines\, ideas\, and agents. A relat-ed project explores how methods of interpretation employed in the discipline of art history might be productively applied to legal cases involving visual analysis. Professor Kee holds a PhD in Fine Art from New York University\, a JD from Harvard Law School\, and a BA from Yale. \nCommentators: Yeewan Koon\, Monica Lee Steinberg and Marco Wan
URL:https://arthistory.hku.hk/index.php/event/models-of-integrity-art-and-law-in-post-sixties-america/
LOCATION:Faculty of Law\, A723\, 7/F\, Cheng Yu Tung Tower\, HKU\, Hong Kong
CATEGORIES:Conversation
ATTACH;FMTTYPE=image/jpeg:https://arthistory.hku.hk/wp-content/uploads/2019/06/20190605-talk-kee.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Asia/Shanghai:20190403T170000
DTEND;TZID=Asia/Shanghai:20190403T183000
DTSTAMP:20260521T233952
CREATED:20190325T075038Z
LAST-MODIFIED:20200622T081507Z
UID:179-1554310800-1554316200@arthistory.hku.hk
SUMMARY:Digital Humanities? Exploring Technology’s Roles...
DESCRIPTION:Digital Humanities? Exploring Technology’s Roles in Studying the Past\nDate: 3 April 2019 (Wednesday)\nTime: 5:00-6:00pm\nVenue: Room 4.34\, Run Run Shaw Tower\, Centennial Campus \nA recent trend finds humanities programs explicitly promoting engagement with emergent digital technologies. Yet definitions of the term ‘Digital Humanities’ and agreement on the motivations for its use remain very much open to discussion. This talk explores the concept through examples from the study of the human past\, particularly within archaeological research on material culture. A reflection on topics ranging from learning and public outreach to the research data lifecycle aims to promote dialogue on the roles of the digital in the humanities. \nSpeaker: Peter J. Cobb \nPeter J. Cobb is an Assistant Professor in the Faculties of Education and Arts. He is the director of the Ararat Plain Southeast Archaeological Project (APSAP)\, which conducts archaeological survey and excavation in Armenia. He also engages in fieldwork in Turkey and Laos. Peter is a specialist in archaeological ceramics\, investigating the social contexts of pottery production and use. His research focuses on the Bronze and Iron Ages (ca 2000-200 BCE) of the ancient Near Eastern and Classical worlds. He received his PhD in the Art and Archaeology of the Mediterranean World from the University of Pennsylvania\, where he also served as a lecturer in the Department of Classical Studies and the Penn Museum’s archaeological sciences division for two years before joining HKU in January 2019. At Penn\, he was a Mellon Fellow in the Price Lab for Digital Humanities.
URL:https://arthistory.hku.hk/index.php/event/digital-humanities-exploring-technologys-roles-in-studying-the-past/
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/2019/03/20190403-seminar-cobb.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20190327T163000
DTEND;TZID=UTC:20190327T180000
DTSTAMP:20260521T233952
CREATED:20200225T082602Z
LAST-MODIFIED:20200622T081535Z
UID:1831-1553704200-1553709600@arthistory.hku.hk
SUMMARY:The Lamentation of Christ and the Melodramatic Imagination
DESCRIPTION:The Lamentation of Christ and the Melodramatic Imagination\nDate: 27 March 2019 (Wednesday)\nTime: 4:30pm\nVenue: Room 4.34\, Run Run Shaw Tower\, Centennial Campus \nMelodrama\, as famously defined by Peter Brookes\, was a new secular genre that emerged after the French Revolution to fill the void left by the demise of religion and its moral framework. Melodrama’s originality lay in its creating a highly rhetorical\, emotional presentation which moved the viewer to identify with the ‘good’ and to shun evil. Melodrama assumed the role previously held by religious in imparting clear moral lessons. This paper proposes an alternative account\, seeing Melodrama as evolving out of a religious visual\, literary\, and performative tradition based on Christ’s Passion. \nBetween the twelfth and fifteenth centuries\, Passion plays and representations produced a corpus of highly emotional visual and theatrical works directed at imparting moral religious instruction. While the expressive pathos of early modern Passion representations were curbed during the Counter-Reformation\, their familar movements and gestures were codified into recognizable carriers of agony and suffering during the ensuring Baroque period. At the same time\, their overtly emotional features moved from the religious to the new secular performative traditions (theatre\, oratory\, opera)\, from which 19th century melodrama then emerged. In tracing out a potential pre-history of melodrama\, the paper is intended as a contribution to a revisionist history of melodrama that links it to earlier religious dramatic forms that cultivated and expressed medieval affective piety. \nSpeaker: Isabelle Frank \nIsabelle Frank is currently Director of the Exhibition Gallery at City University of Hong Kong. Prior to this she was dean of Fordham School of Professional and Continuing Studies. An art historian by training\, she received her doctorate from Harvard University and taught for several years at Bard College. She then moved into academic as associate dean for academic affairs at the New School\, New York. She has published The Theory of the Decorative Arts (Yale University Press\, 2000)\, Die Rhetorik des Ornaments (Fink Verlag\, 2001) and articles on Italian Renaissance art and decorative art. As Director of CityU Exhibition Gallery\, Frank has curated exhibitions that combine technology and the arts and which bridge Western and Asian cultures.
URL:https://arthistory.hku.hk/index.php/event/the-lamentation-of-christ-and-the-melodramatic-imagination/
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/2020/02/20190327-seminar-frank.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20190313T163000
DTEND;TZID=UTC:20190313T180000
DTSTAMP:20260521T233952
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:20260521T233952
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:20260521T233952
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:20260521T233952
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:20260521T233952
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:20260521T233952
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:20260521T233952
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
END:VCALENDAR