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Appointed 1998, Program in Art History |
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Ph.D., University of Michigan
M.A., Univeristy of Michigan
Certificate of Graduate Studies, Museum Practice, University of
Michigan
B.A., Wellesley College |
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Recent Courses |
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Expressions of Originality in Visual Art and Culture of Early Modern China (course abroad) |
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Women, Power, and the Visual Arts in (Late Imperial) China (seminar) |
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Exhibiting Seventeenth Century Values, graduate and undergradute seminars |
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Landscape and Gender in Chinese Painting, graduate and undergradute seminars |
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Socioeconomic and cultural context for 17th century aesthetic criticism (seminar) |
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Socioeconomic and cultural context for 18th century visual arts (seminar) |
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The Formation of Chinese Culture: Collections of Chinese Art in Early Twentieth-Century America (seminar) |
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New Methodologies for Chinese Art History (proseminar) |
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Originality, Authenticity, and the Art Market in 16th- and 17th-Century China (seminar) |
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Exploration of Orientalist and Cold War Expectations of Chinese Culture (seminar) |
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Questioning Originality as a “Traditional” Chinese Value (seminar) |
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Arts of Early China: based in Shanghai with fieldtrips to Sanxingdui, Xi’an, and Longmen, UC Davis Summer Abroad Program |
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Arts of Asia Virtual (India, China, Japan, Asian Diaspora), a hybrid online-lecture/discussion course |
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Arts of Early China (Neolithic-Tang) |
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Chinese Painting (Han Dynasty-contemporary) |
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Publications |
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Articles |
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“A Manifestation of Originality: Wu Bin’s On the Way to Shanyin handscroll,” Oriental Art, forthcoming. refereed |
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“An Originalist’s Manifesto: Wu Bin’s inscription on On the Way to Shanyin,” Oriental Art, forthcoming. refereed |
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“Inventing a New Old Tradition: Chinese Art at the Panama-Pacific International Exposition,” 美術史與觀念史 (Meishu shi yu guannian shi) /History of Art and History of Ideas,forthcoming 2010. refereed |
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“Mixing Water and Oil: Understanding Shimo in the Contemporary Global Art Market,” (Chinese version and English reprint) in Shimo, Heaven: The Collection of Shi Mo’s Contemporary Painting. Shenzhen, China: Author Gallery, 2008, pp. 5-11. |
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“Mixing Water and Oil: Understanding Shimo in the Contemporary Global Art Market,” in Bin Feng and Shen Kuiyi, eds., Selected Essays from the International Symposium in Conjunction with Reboot, the Third Chengdu Biennale: the Third Chengdu Biennale, 重新启动: 第三届成都双年展 国际学术研讨会论文集 暨第一，二届成都双年展论文选(Chong xin qi dong : di san jie Chengdu shuang nian zhan guo ji xue shu yan tao hui lun wen ji ji di yi er jie Chengdu shuang nian zhan lun wen xuan), Shijiazhuang Shi : Hebei mei shu chu ban she, 2007, pp. 74-79. refereed. |
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“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, China, 2007, pp. 74-79. |
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“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. |
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“Through Masters’ Eyes: Copying and Originality in Contemporary Chinese Landscape Painting,” Shanshui in Twentieth Century China, Shanghai: Shanghai Calligraphy and Painting Publishing House, 2006. |
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“Travel and Transformation: Wu Bin’s Enjoying Scenery along the Min River,” Oriental Art, vol. L, no. 4, (Winter 2006), pp. 2-15. refereed |
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“Words on Word-Images: An Aspect of Dong Qichang’s Calligraphy Criticism,” Word & Image, vol. 19, no. 4, (October-December, 2003), 327-335. refereed |
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“Taking Arts of Asia Online,” Education About Asia, vol. 8, no. 3, (Winter 2003), 26-29. refereed |
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“A Discourse of Originality in Late Ming Chinese Painting Criticism,” Art History, vol. 23. no. 4 (November 2000), 522-558. refereed |
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Book Jacket Endorsements |
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Jason C. Kuo, ed., Stones from Other Mountains: On the Study of Chinese Painting in Postwar America, Washington, DC: New Academia Publishing, 2009. |
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Book and Exhibition Reviews |
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Michael Sullivan, The Night Entertainments of Han Xizai: A Scroll by Gu Hongzhong, Berkeley: University of California Press, 2008, in China Review International (forthcoming) |
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Montien Boonma: Temple of the Mind, exhibition organized by the Asia Society, New York. Review of installation at the Asian Art Museum, San Francisco, February 25-May 23, 2004, for CAA.Reviews, http://www.caareviews.org/, November 4, 2004. |
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Stephen Little, ed., Taoism and the Arts of China (Berkeley:University of California Press, 2000), in CAA.Reviews, http://www.caareviews.org/, July, 2002, 3 pp. |
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Michael Sullivan, Art and Artists of Twentieth-century China, (Berkeley: University of California Press, 1996), in Modern Chinese Literature and Culture, vol. 11, no. 2, Fall 1999, pp. 186-192. |
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Books in preparation |
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Dimensions of Originality: Essays in Seventeenth-Century Chinese Art |
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Pang Yuanji (1864-1949): Artist, Patron, Collector, Dealer. |
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The Originalist Art of Wu Bin (ca. 1543-ca. 1626). |
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2009 |
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“Lee Mingwei’s Album: Copying and Originality in Contemporary Chinese and American Landscape Painting,” University of Massachusetts, Boston, Nov. 16. |
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“Inventing a New ‘Old Tradition’: Chinese Painting at the Panama-Pacific International Exposition,” Harvard University, Nov. 18. |
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Conference Participation |
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2010 |
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Co-organizer and Chair, Art History is Not a Dinner Party: Aesthetics and Artistic Practice in Late Imperial and 20th-century China (A Panel in Honor ofProfessor Emerita Ellen Johnston Laing), Association for Asian Studies Annual Conference, Philadelphia, March 26. (Confirmed) |
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Co-organizer, Reading Between the Fine Lines: Analyzing Painting of the Song and Ming (A Panel in Honor of Professor Emerita Ellen Johnston Laing), Association for Asian Studies Annual Conference, Philadelphia, March 27. (Confirmed) |
