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BEGIN:VEVENT
DTSTART;TZID=UTC:20200421T183000
DTEND;TZID=UTC:20200421T193000
DTSTAMP:20261002T050010
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:20261002T050010
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:20261002T050010
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:20261002T050010
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:20261002T050010
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:20261002T050010
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:20261002T050010
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:20261002T050010
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:20261002T050010
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:20261002T050010
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:20261002T050010
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:20261002T050010
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:20261002T050010
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:20261002T050010
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:20261002T050010
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:20261002T050010
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:20261002T050010
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:20261002T050010
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:20261002T050010
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:20261002T050010
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:20261002T050010
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:20261002T050010
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:20261002T050010
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:20261002T050010
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:20261002T050010
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
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180319T170000
DTEND;TZID=UTC:20180319T183000
DTSTAMP:20261002T050010
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
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180314T163000
DTEND;TZID=UTC:20180314T180000
DTSTAMP:20261002T050010
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
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180111T170000
DTEND;TZID=UTC:20180113T180000
DTSTAMP:20261002T050010
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:20261002T050010
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
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20171205T170000
DTEND;TZID=UTC:20171205T183000
DTSTAMP:20261002T050010
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
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END:VEVENT
END:VCALENDAR