From the term “art” to the term “painting,” the study of Chinese Art in a Eurocentric art historical paradigm is marked by absences and unequivalents. This renders the historian’s task of reconstructing the facticity of the past fairly difficult. What do we imagine in our hopes of finding the perfect missing document, or the perfect missing voice? What kind of narrative must we construct in order to write the Chineseness of Chinese art history? Register for this lunchtime seminar; Tales, Fables, and Anecdotes: Narrating Anonymity in Chinese Art with Professor Winnie Wong
The Holocaust was a profoundly spatial experience that involved not only the movement of millions of European Jews but also their confinement and murder in sites specifically built for the genocide. Paul Jaskot’s talk addresses how perpetrators thought of their building projects and, conversely, how victims experienced these oppressive spaces.
We often think of artists and artworks as having stable identities, yet the historical reality of art is far messier, and far more exciting, as objects, artists, and ideas moved across national and cultural boundaries, created between and from multiple cultures. This year’s Sydney Asian Art Series explores examples of such movement and multiplicity from across Asia and the world.