Monthly Archives: June 2013

NYU Global Asia/Pacific Art Exchange — July 8-22, 2013 — Shanghai | Hong Kong | Canberra | Wollongong | Sydney

NYU Global Asia/Pacific Art Exchange

The Asian/Pacific/American Institute at NYU is launching the first phase of the inter-institutional Global Asia/Pacific Art Exchange from July 8-22, 2013 in Shanghai, China; Hong Kong; and Wollongong, Sydney, and Canberra, Australia, focusing on Asian/Asian diasporic art globally.

The exchange will bring together scholars, curators, and artists from each site and is meant to be generative for research, resulting in publications, exhibition development, and other research-based projects and programs to share and disseminate research, strengthen international networks of scholars and curators, and create ongoing dialogue between international colleagues, arts communities, and wider publics in the US, Asia/Pacific region, EU, Latin America, Africa, and Middle East in the expanding field of Asian/Asian Diasporic Art and Visual Cultures.

Through international site visits, symposia, public dialogues, and ongoing working sessions, the exchange aims to build sustained multi-year inter-institutional and scholarly connections to encourage a broader transnational and comparative diasporic discourse while recognizing the continual importance of local contextualization and place.

2013 NYU Global Asia/Pacific Art Exchange Public Programming

In 2014, the exchange will travel to Washington, DC and New York City. Future phases of the exchange are planned for Australia, Indonesia, Delhi, London, Argentina, and Ghana.

The NYU Global Asia/Pacific Art Exchange is made possible with the support of A/P/A Institute at NYU; NYU’s Global Research Initiative; NYU in Shanghai; NYU in Sydney; Fine Arts Department, The Chinese University in Hong Kong; MA Program in Cultural Management, Department of Cultural and Religious Studies, The Chinese University of Hong Kong; Australian National University’s Centre for European Studies and Australian Research Council’s Discovery Projects funding scheme (DP 0880038); Wollongong City Gallery; and generous collaborators including Shanghai Studies Society, James Cohan Gallery, Leo Xu Projects, Aike Dellarco, and MABSOCIETY.


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Call For Proposals: Mobilities of Craft since 1900: Economics, Politics, Aesthetics (proposed panel, AAS Meeting, Philadelphia, March 27-30, 2014)

CFP: Mobilities of Craft since 1900: Economics, Politics, Aesthetics (proposed panel, AAS Meeting, Philadelphia, March 27-30, 2014)

The twentieth century saw a heightened interest in the intersection between craft, design and high art, both in Asia and elsewhere, with productive intersections across national borders (such as American artists in residency in India and Japan), possibilities of (limited) cultural preservation through commercial distribution (e.g. Madhubani painting), and the means to shore up political relations (as in Southeast Asia during the Cold War). This panel investigates the mobility of craft in the context of twentieth and twenty-first century global flows of capital and asymmetrical power relations.

Focused on craft in relation to Asia (conceived broadly), we also seek innovative scholarly approaches to questions of the movement of crafts and aesthetics, questions of authenticity, and engagement with commerce. Does the framework of Orientalist appropriation and romanticization as articulated by early twentieth-century scholars and critics such as Coomaraswamy and Yanagi remain useful? Or, do we require new methods to raise questions about the movement of craft objects and related processes of creation, distribution, display and use across the globe—in cultures of migration, as mobilized by varieties of transport, as outsourced goods in transnational export/import flows, as traded for cultural diplomacy, or as contextualized in relations of aesthetic agency and constraint?

How has craft objects’ mobility impacted craft’s participation in economies and political orders? Does the circulation of craft preclude other forms of visual and material culture? What expectations about the significance of its makers do craft demonstrations produce and reify? How do the locations where craft processes are demonstrated—rural areas, regional cities, national museums, festivals, (aspiring) cultural hubs in Asia and abroad—contribute to or limit craft’s significance? Later in the century, the rise of “fair trade” movements seem to rework the role of craft. Did the rise of neoliberalism reshape the significance of craft materials and processes along with links to tradition and locality? Has attention to craft in its materiality overshadowed or potentially erased other, less physical modes of cultural expression such as dance, music, or storytelling? Does craft remain associated with folk or the vernacular along with discourses of authenticity and ethnic purity?

We welcome papers that address any of these trajectories at the intersection of craft, commerce, and the movement of material culture and aesthetics around Asia and around the world, from a range of disciplinary perspectives.

Rebecca M. Brown, Johns Hopkins University,

Jennifer Way, University of North Texas,

Please send abstracts (250 words) and a short cv to both of the above email addresses by July 15, 2013. We will be submitting a panel to the AAS Annual Meeting held March 27-30, 2014 in Philadelphia.

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