Postgraduate Workshop: Asian Art Research Now

20 November 2020, 10am-4pm

Zoom Online Meeting/Seminar

Asian Art Research Now is the inaugural event of the Australasian Network for Asian Art (an4aa), a collegial group of Australian and New Zealand researchers who have come together to strengthen a sense of scholarly community in this field. In keeping with AN4AA’s objective to highlight the vitality and immediacy of Asian art research being undertaken by emerging scholars, Asian Art Research Now showcases the work of recent PhD graduates and current PhD students from the Australian National University and University of Melbourne. As a continuing annual event organised by AN4AA, future editions of the workshop will be expanded to feature the work of emerging scholars from other locations. The day-long workshop will foster an atmosphere of supportive critique and generate greater cross-pollination and conversations across institutional boundaries, as well as those of geography and temporality within the field of Asian art history.

featuring

The Black Kit, Quartier am Hafen, Cologn

Chloe Ho

PhD Scholar, School of Culture and Communications, University of Melbourne

Archival art as network stream.

 

In this presentation, I will attempt to define different categories of archival art as practised in the Singapore performance art context in the contemporary period.

Cosmological Mandala with Mount Meru, Yu

Shiqiu Liu 

PhD Scholar, School of Culture and Communications, University of Melbourne

Syncretism of Art in Yuan China: a case study

My current research focuses on artworks produced by professional artisans in the Yuan dynasty (1271-1368) that had been under various cultural influences generated by the exchange stimulated by the rule of Mongols over the Eurasian continent. In this presentation I will talk about one piece of textile that has embodied motifs from esoteric Buddhist art of Khitan Liao, Tangut Xi Xia and Tibet, along with Taoist symbols from the Han Chinese culture which represents the specific characteristics of the Yuan period art.

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Eliza O’Donnell

PhD Scholar, School of Historical and Philosophical Studies; Grimwade Centre for Cultural Materials Conservation, University of Melbourne

Who can claim authenticity?

This presentation will centre on two paintings by Bandung based artist Srihadi Soedarsono, 'Air Mancar' (1973) and 'Jayakarta' (1975), and an examination of the events that fundamentally altered the authenticity of each painting - one involving an act of vandalism, the other an inventive conservation treatment. This case study is based on an interview with Srihadi at his Bandung studio in 2018, and aims to explore the complex relationship between conservation, authenticity and artist intent.

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Gadis Fitriana Putri

Post-Graduate Researcher, Master of Cultural Materials Conservation, University of Melbourne

Art Materials Availability in 20th century Southeast Asia: Japan-occupied Indonesia, 1942-45.

This presentation will introduce my thesis, which focuses on the investigation of the factors surrounding the availability (types, means of supply, and usage) of paintings materials in Indonesia during the Second World War. The study aims to fill the gap in technical art history of Western-influenced modern painting practices in the region from the perspective of materiality.

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Soo-Min Shim

PhD scholar, Centre for Art History and Theory, Australian National University in the Centre for Art History and Theory

The Gyopo Gap, Contemporary Korean-Australian Art.

 

This presentation will introduce my research, which  focuses on contemporary Korean art and more specifically the artistic, cultural and social impact of diasporic, expatriate, and immigrant Korean artists from and within the Anglophone West, comparing artists with Australia and New Zealand with those within the United States.

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Diana Tay

PhD scholar, Grimwade Centre of Cultural Materials Conservation, the University of Melbourne

 

Understanding Singaporean paintings through data analysis

 

This talk explores the potential of using data analysis tools together with data collected from source objects for conservation research. In conducting a broad study of paintings, knowing where to find and break down the data as well as the design of a data-record are key factors in maximizing data-driven insights. Using a data analysis framework, unstructured data (a visual object) is then broken down in 100 fields, giving the data structure for analysis and insights. Findings from 59 paintings by Singaporean artist, Cheong Soo Pieng as part of a PhD research will be discussed.

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Genevieve Trail
PhD Scholar, School of Culture and Communications, University of Melbourne

Pedagogy and Practice: experimental curriculum at Hong Kong Polytechnic

 

In this presentation I will speak briefly to the emergence of environmental installation during the late 1970s to early 1980s in Hong Kong, and its relationship to the experimental curricula introduced by artists Kwok Mangho and Choi Yanchi at Hong Kong Polytechnic University over the same period.
 

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Huishu Zhang

PhD Scholar, School of Historical and Philosophical Studies, Faculty of Arts; Grimwade Centre for Cultural Materials Conservation, University of Melbourne

 

Aesthetic thinking in materials conservation at ancient Chinese palace remains

Two ways of physical protection are commonly seen in conservation projects at ancient Chinese palace remains --  a rammed soil layer, and pseudo-ancient architecture. Both of them are in situ protection measures plus exhibition by nature, but they have divergent aesthetic thinking in the designs. This presentation looks at the two measures and attempts to analyse the factors influencing the aesthetic arrangement in the conservation projects.