“当代水墨与美术史视野”国际研讨会与会者发言主题_时尚频道

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“当代水墨与美术史视野”国际研讨会与会者发言主题

2010年09月12日 00:22 凤凰网时尚【大中小】【打印】共有评论0条

JULIA F. ANDREWS

安雅兰

Professor, Ohio State University

Department of the History of Art

EDUCATION:

▪ Ph.D., History of Art, University of California, Berkeley, December, 1984.

▪ Senior Advanced Student, Central Academy of Fine Arts, Beijing, China, 1980-1981.

▪ M.A., Fine Arts, Harvard University, 1976.

▪ Inter-University Program for Chinese Language Study in Taipei, 1974-1975.

▪ B.A., Asian History, Brown University, 1973.

SELECTED HONORS AND AWARDS:

▪Honorable Mention, Dartmouth Medal in reference publishing for Encyclopedia of Modern China, 2010.

▪ Robert Sterling Clark Professorship, Williams College (MA), spring semester, 2006.

▪ Ohio State University, Wiant Designated Professorship in Chinese Literature and Culture, 2001-2006.

▪ Fulbright Senior Research Fellowship in Tokyo, Japan, for “Cross-Cultural Modernities in Japanese and Chinese Art,” 2003-2004.

▪ Phi Beta Delta International Honor Society, Ohio State University, May 20, 2002.

▪ The 1996 Association of Asian Studies Joseph Levenson Book Prize for Twentieth Century China.

▪ Chiang Ching-kuo Foundation/A.C.L.S. Post-doctoral Fellowship in Chinese Studies, 1995-1996.

▪ National Honor Society of Phi Kappa Phi, Ohio State University Chapter, May 16, 1995.

▪ Committee on Scholarly Communication with the PRC, Research Fellowship, 1990.

▪ American Council of Learned Societies Fellowship in Chinese Studies, 1989-1990.

▪ University of Michigan Center for Chinese Studies Post-Doctoral Fellowship, 1989-1990.

PROFESSIONAL POSITIONS:

▪ Professor, Department of History of Art, The Ohio State University, October, 1999--present; Associate Professor, October, 1993-September, 1999; Assistant Professor, January 1987-September 1993.

▪Adjunct Professor, Sichuan Academy of Fine Arts, Chongqing, China.

▪ Visiting Professor, Curator, Department of Art and Art History, Stanford University, 2002, 2005, 2006.

▪ Director, East Asian Studies Center, Ohio State University, 2002-2005; Assoc. Director 1999-2002; Founding Director, Institute for Chinese Studies; Ohio State University, 1999-2005.

▪ Visiting Research Professor, Faculty of Comparative Culture, Sophia University, Tokyo, 2003-2004.

▪Consulting Curator, Asian Art Museum of San Francisco, 1997-2000.

▪Guest Curator, Guggenheim Museum, New York 1995-1998.

▪Visiting Professor in Art History, Harvard University, 1997 (declined)

▪ Assistant Curator of Far Eastern Art, Los Angeles County Museum of Art, 1984-1986.

▪ Visiting Assistant Professor, University of California at Los Angeles, fall quarter, 1984.

▪ Visiting Lecturer, Colorado College, 1983; Visiting Instructor, University of Southern California, 1983.

▪ Research and Teaching Assistant, Reader, University of California, Berkeley, 1978, 1979, 1982, 1983

▪ Editor, National Palace Museum Bulletin, and translator, Painting and Calligraphy Department, National Palace Museum, Taipei, Taiwan, 1973-1974.

PUBLICATIONS:

▪“In Search of Modernity: Aspects of Chinese and Japanese Artistic Exchange in the Republican Era,” in Proceedings of the International Conference for Chinese Modern Painting Research, The Kyoto National Museum Project 2009, supported by Agency for Cultural Affairs, Japan, 2010, pp. 3-26.

▪ “The Art of the Cultural Revolution,” in Richard King, ed. Art in Turmoil: The Chinese Cultural Revolution, 1966-1976, Vancouver: Univ. of British Columbia Press, 2010, pp. 27-57.

▪Encyclopedia of Modern China (co-editor; David Pong, general editor), 4 vols., Detroit, New York, San Francisco, etc.: Charles Scribner’s Sons/Gale, Cengage Learning, 2009.

▪ “Artists of China’s Reform Era,” main essay in Post-Mao Dreaming: Contemporary Chinese Art, Northhampton, MA: Smith College Museum of Art, 2009.

▪ “Art Under Mao, “ ‘Cai Guoqiang’s Maksimov Collection’ and China’s Twentieth Century,” in Josh Yiu, ed. Writing Modern Chinese Art, Seattle Art Museum, 2009, pp. 53-69.

▪ “Exhibition to Exhibition: Painting Practice in the Early Twentieth Century as a Modern Response to “Tradition,” in Turmoil, Representation, and Trends: Modern Chinese Painting, 1796-1949, International Conference Papers, Taipei: Chang Foundation and Kaohsiung Museum of Fine Arts 2008, pp. 23-58.

▪ Mahjong: Art, Film, and Change in China, co-author of catalogue, Berkeley Art Museum/PFA, 2008.

▪ Chinese Painting on the Eve of the Communist Revolution: Chang Shu-chi and His Collection, co-authored with Richard Vinograd and Kuiyi Shen. Stanford: Cantor Arts Center, 2006.

▪ “The Traditionalist Response to Modernity: The Chinese Painting Society of Shanghai,” with Kuiyi Shen,” in Visual Culture in Shanghai, 1850s-1930s, ed. Jason C. Kuo, 2007, pp. 79-93.

▪ “Chen Wen Hsi and Art Education in 1920s Shanghai,” in exhibition catalogue, Convergences: Chen Wen Hsi 陈文希Centennial Exhibition, Singapore Art Museum (2006 - 2007), vol. 1, pp. 84-96.

▪ “The Japanese Impact on the Republican Art World: The Construction of Chinese Art History as a Modern Field,” Twentieth Century China, vol. 32, no. 1, pp. 4-35, November, 2006.

▪ “Schudy, the Storm Society, and China’s Early Modernist Movement,” in Schudy (Qiudi) Nanjing, Jiangsu Education Publishing House, 2006, pp. 62-75.

▪ “The Heavenly Horse Society (Tianmahui) and Chinese Landscape Painting,” in Lu Fusheng et al, Studies in 20th Century Shanshuihua. Shanghai Calligraphy and Painting Pub., 2006, pp. 556-591.

▪ “Art and the Cosmopolitan Culture of 1920s Shanghai: Liu Haisu and the Nude Model Controversy,” Chungguksa Yongu-- Journal of Chinese Historical Researches (The Korean Society for Chinese History), no. 35 (April, 2005), pp. 323-372. In Chinese: “Luotihua lunzheng he xiandai zhongguo meishushi de jiangou,” in Studies on Shanghai School Painting, Shanghai Calligraphy and Painting Publishing House, 2001 (symposium volume)

▪ “The Art of the Revolution: 1931-1949,” in The Art of Contemporary Chinese Woodcuts. London: Muban Foundation, 2003, paperback edition, 2005, pp. 32-47.

▪ “Sanyu and the Shanghai Modernists,” exhibition catalogue essay, Sanyu, l'ecriture du corps, Museé Guimet, 2004, pp. 67-83.

▪ "The Ideology of Consumption: Chinese Lifestyle Magazines in the 1990s," with Kuiyi Shen, in Popular China, eds. Perry Link, Paul Pickowitz, and Richard Madsen, 2002, pp. 137-162.

▪ “Mapping Chinese Modernity,” in symposium volume, Chinese Art/Modern Expressions, Metropolitan Museum of Art, New York, 2001.

▪ Between the Thunder and the Rain: Chinese Paintings from the Opium War to the Cultural Revolution, 1840-1979, co-authored, San Francisco: Asian Art Museum of San Francisco, 2000.

▪ Visual Culture and Memory in Modern China, co-edited special issue, with Xiaomei Chen, of the journal Modern Chinese Literature and Culture, vol.12, no. 2 (fall, 2000).

▪ “Traditionalism as a Modern Stance: The Chinese Women’s Calligraphy and Painting Society of 1930s Shanghai,” with Kuiyi Shen, Modern Chinese Literature and Culture, v.11, no. 1 (spring, 1999), pp. 1-29.

▪ A Century in Crisis: Tradition and Modernity in the Art of Twentieth Century China, with Kuiyi Shen, exhibition catalogue, New York: Solomon R. Guggenheim Museum, 1998 (hardback and paperback, hardback reprinted 2003). Also published in Spanish translation as Un siglo en crisis: Modernidad y tradición en el arte de la China del siglo XX, Bilbao, Spain: Guggenheim Bilbao, 1998.

▪ "The Chinese Avant-garde's Challenge to Official Art," with Gao Minglu, in Urban Space and City Living in China, ed. Deborah Davis, et al, Cambridge University Press, 1995, pp. 221-278.

▪ Painters and Politics in the People's Republic of China, 1949-1979, Berkeley: University of California Press, 1994. Winner of 1996 Levenson Prize in Modern Chinese Studies.

▪ Fragmented Memory: The Chinese Avant-Garde in Exile, with Gao Minglu, exhibition catalogue, Columbus, OH: Wexner Center for the Arts, 1993.

▪ "Traditional Painting in New China: Guohua and the Anti-Rightist Campaign," Journal of Asian Studies, vol. 49, no. 3 (Aug.1990), pp. 555-585.