University of Michigan MA, Certificate of Graduate Studies in Museum Practice, and Ph.D.,
Wellesley College BA
Additional coursework at the Massachusetts Institute of Technology, the Boston Museum of Fine Arts, and Middlebury College
Research Fellowship, Freer and Sackler Galleries of Asian Art, Smithsonian Institution
National Endowment for the Humanities Summer Stipend
Andrew W. Mellon Foundation Postdoctoral Fellowship, University of Southern California, College of Letters, Arts and Sciences, Los Angeles
Fulbright-Hays Fellowship (to Taiwan)
Louise Wallace Hackney Fellowship for Chinese Art History, American Oriental Society
2005-present University of California, Davis, Associate Prof., Art History Program
1998-2005 University of California, Davis, Assistant Prof., Art History Program
1998-2000 University of California, Davis, Assistant Prof., East Asian Languages and Cultures
1997-1998 University of Southern California, Los Angeles, Lecturer, Art History
1996-1997 Ohio State University, Columbus, Visiting Assistant Professor, Art History
Curatorial Assistant, University of Michigan Museum of Art, May-Nov. 1991
Consultant, Chinese Ceramics Collection, Domino's Pizza Inc., Ann Arbor, MI, 1989-90
Curatorial Intern, Indianapolis Museum of Art, 1988-1989
Director (1981), Volunteer (1980), Taibei Art Guild (Yishujia hualang), Taibei, Taiwan
University of Michigan, Department of History of Art, Research Assistant, 1982-1988
Various semester appointments in Asian Art Archives, Oriental Seminar Room of the Fine Arts Library, and University of Michigan Museum of Art
National Palace Museum, Taibei, Taiwan, Library and Archives, Intern, 1979-81
Dimensions of Originality: Essays in Seventeenth-Century Chinese Art
Pang Yuanji (1864-1949): Artist, Patron, Collector, Dealer.
The Originalist Art of Wu Bin (ca. 1543-ca. 1626).
“Mixing Water and Oil: Understanding Shimo in the Contemporary Global Art Market,” Kuiyi Shen and Feng Bin, eds., Reboot: The Third Chengdu Biennial, Proceedings from the International Symposium, Chengdu, Chengdu, China, 2007, pp. 74-79.
“Late Qing-Early Republican Period Taste and the Case of Pang Yuanji,” The Elegant Gathering: The Yeh Family Collection symposium website, http://webcast.berkeley.edu/events/details.php?webcastid=15762, Asian Art Museum, San Francisco, and University of California, Berkeley, 2006.
“Through Masters’ Eyes: Copying and Originality in Contemporary Chinese Landscape Painting,” Shanshui in Twentieth Century China, Shanghai: Shanghai Calligraphy and Painting Publishing House, 2006.
“Travel and Transformation: Wu Bin’s Enjoying Scenery along the Min River,” Oriental Art, vol. L, no. 4, (Winter 2006), pp. 2-15.
“Words on Word-Images: An Aspect of Dong Qichang’s Calligraphy Criticism,” Word & Image, vol. 19, no. 4, (October-December, 2003), 327-335.
“Taking Arts of Asia Online,” Education About Asia, vol. 8, no. 3, (Winter 2003), 26-29.
“A Discourse of Originality in Late Ming Chinese Painting Criticism,” Art History, vol. 23. no. 4 (November 2000), 522-558.
“Chinese Ceramics in the Domino's Collection,” Fencepost, Domino's Pizza Inc., Ann Arbor, December 1989, pp. 12-13.
Symbols of Significance: Motifs in Chinese Art, exhibition brochure, 7 pp., Indianapolis Museum of Art, 1989.
“Individual Status and the Family,” Signs and Seats of Power in African Art, University of Michigan Museum of Art, Ann Arbor, 1986, pp. 17-20.
Visualizing Revolution: Propaganda Posters from the People’s Republic of China, 1949-1989，透视革命：中华人民共和国的宣传画，1949-1989, Nelson Gallery, University of California, Davis, April 3-May 18, 2008, co-curated with Yang Peiming, Shanghai Propaganda Poster Art Centre.
Symbols of Significance: Motifs in Chinese Art, Indianapolis Museum of Art, Columbus, Indiana, July 21- Sept. 17, 1989.
Signs and Seats of Power in African Art, co-curator, the Bobbitt Art Center, Albion College, Albion, Michigan, Feb. 23 - March 27, 1986; University of Michigan Museum of Art,
Apr. 20-July 28, 1986.
Music in Art, special all-member exhibition, Yishujia hualang (Taibei Art Guild), Taibei, Taiwan, Oct. 1981.
Contemporary French Printwork, organized in conjunction with the Association Général de Science et Culture Français en Taiwan, Yishujia hualang (Taibei Art Guild), Taibei, Taiwan, Apr.-May, 1981.
Monthly individual and group exhibitions, Taibei Art Guild, Taibei, Taiwan, 1980-1981.
2008 Symposium Organizer: Visualizing Revolution: Propaganda Posters from the People’s Republic of China, 1949-1989，透视革命：中华人民共和国的宣传画, 1949-1989, Nelson Gallery, University of California, Davis, April 12.
2007 “Mixing Water and Oil: Understanding Shimo in the Contemporary Global Art Market,” the International Symposium, Reboot: The Third Chengdu Biennial, Chengdu, Sichuan, China, September 13.
Discussant for panel, What is Not-so-Ordinary about the Ordinary: Decoding the Social and Political Rhetoric behind Early Modern Chinese Imagery,” Association for Asian Studies Annual Conference, Boston (March 27).
“Through Masters’ Eyes: Copying and Originality in Contemporary Chinese Landscape Painting,” Shanghai Calligraphy and Painting Publishing House, International Scholarly Symposium on Twentieth Century Chinese Shanshuihua, Shanghai, June 11, 2006.
“Chinese Taste in the Late Qing and Early Republican Periods,” Elegant Gathering: Art, Politics and Collecting in China, jointly sponsored by the Asian Art Museum, San Francisco, and the Institute of East Asian Studies at UC Berkeley, UC Berkeley, May 13, 2006. Webcast available at http://webcast.berkeley.edu/events/details.php?webcastid=15762 .
“Why Originality Can’t be a ‘Traditional Chinese Value,’ and Why It Is,” for Panel, Art, History, and Asia: Challenging Established Canons, Association for Asian Studies Annual Conference, San Francisco (April 9)
2005 “The Other Dong Qichang,” for Perspectives on Chinese Art: New Approaches and Reflections on Forty Years of Scholarship, A Conference in Honor of Dr. Chu-tsing Li, Professor Emeritus, at Phoenix Art Museum (Nov. 5)
Panel Organizer and Chair: China through Its Art: Collecting and Scholarship in Early 20th-Century U.S. and Britain, Association for Asian Studies Annual Conference, Chicago (April 1)
“Strange-Figure Painting of Seventeenth-Century China,” Art History Symposium, Figuring the Body, California State University, Sacramento (March 12).
Museums and cultural sites in Shanghai and northern and western Sichuan, September 2007.
Museums and cultural sites in Zhejiang (Hangzhou and Nanxun) and Tibet (Lhasa and environs), August 2006.
Museums and cultural sites in China: Nanjing, Suzhou, Shanghai, and Sichuan (Chengdu; Min Mountains: Miyaluo, Jiuzhaigou); and South Korea: Seoul, Masan, March-April, 2002.
Museums of Chinese art in London, September 2000.
Museums and cultural sites in Shanghai, Sichuan (Chengdu, Mt. Emei), and Yunnan (Kunming, Dali, Lijiang), March-April, 2000.
Research in Taiwan, 1992-93 at the National Palace Museum and National Central Library (Fulbright Fellowship).
Museums and cultural sites in China, Hong Kong, Japan, Korea (Mar.-Apr., Dec., 1993): Guangzhou, Putian, Hangzhou, Shanghai, Suzhou, Nanjing, Beijing, Hong Kong, Tokyo, Kyoto, Seoul.
Museums and cultural sites in India (Dec. 1983-Jan. 1984) to study Buddhist and Hindu temple-caves in Maharashtra state. Sites studied included Ajanta, Ellora, Elephanta, Karle, Bhaja.
Independent study in Taiwan (Nov. 1978-Dec. 1981) on Chinese language and on art at National Palace Museum and contemporary art galleries.
Women, Power, and the Visual Arts in (Late Imperial) China (seminar)
Exhibiting Seventeenth Century Values, graduate and undergradute seminars
Arts of Early China: based in Shanghai with fieldtrips to Sanxingdui, Xi’an, and Longmen, UC Davis Summer Abroad Program, 2006
Arts of Asia Virtual (India, China, Japan, Asian Diaspora), a hybrid online-lecture/discussion course.
Arts of Early China (Neolithic-Tang)
Chinese Painting (Han-20th century)
Visual Art and Culture of Early Modern China (17th century)
Visual Art and Culture of Early Modern China (18th century)
Landscape and Gender in Chinese Painting (seminar and proseminar)
Socioeconomic and cultural context for 17th century aesthetic criticism (seminar)
Socioeconomic and cultural context for 18th century visual arts (seminar)
The Formation of Chinese Culture: Collections of Chinese Art in Early Twentieth-Century America (seminar)
New Methodologies for Chinese Art History (proseminar)
Originality, Authenticity, and the Art Market in 16th- and 17th-Century China (seminar)
Exploration of Orientalist and Cold War Expectations of Chinese Culture (seminar)
Questioning Originality as a “Traditional” Chinese Value (seminar)
Exhibiting Seventeenth-Century Chinese Values (seminar, proseminar)