| |
Appointed 1998, Program in Art History |
| |
Ph.D., University of Michigan
M.A., Univeristy of Michigan
Certificate of Graduate Studies, Museum Practice, University of
Michigan
B.A., Wellesley College |
| |
Full
Curriculum Vita |
| |
|
| |
Recent Courses |
| |
Women, Power, and the Visual Arts in (Late Imperial) China (seminar) |
| |
Exhibiting Seventeenth Century Values, graduate and undergradute seminars |
| |
Landscape and Gender in Chinese Painting, graduate and undergradute seminars |
| |
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) |
| |
Arts of Early China: based in Shanghai with fieldtrips to Sanxingdui, Xi’an, and Longmen, UC Davis Summer Abroad Program |
| |
Arts of Asia Virtual (India, China, Japan, Asian Diaspora), a hybrid online-lecture/discussion course |
| |
Arts of Early China (Neolithic-Tang) |
| |
Chinese Painting (Han Dynasty-contemporary) |
| |
|
| |
Recent Publications |
| |
Articles |
| |
“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. |
| |
|
| |
Books in preparation |
| |
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). |
| |
|
