A Working Bibliography - The University of Sydney

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14 Press, 2001. Shen and Marilyn Fu, Studies in Chinese Connoisseurship, Princeton, Princeton University Press, 1973. Siren, O., Chinese Painting, Ronald Press, New York, 1958 Sullivan, M. The Birth of Landscape Painting in China, University of California Press, 1962. Whitfield, R., ‘Landscape Painting in the Late Ch’ing Period’ in W. Watson, editor, Landscape Style in Asia, Percival David Foundation of Chinese Art, London, 1979. Early Contacts with European Art Barmé, Geremie, ‘The Garden of Perfect Brightness: A Manchu Vision of China’, Paroissien, Leon, ed., Visual Arts and Culture, Volume 1, Part 1 (1998), see http://www.chinaheritagequarterly.org/ No. 8, December 2006: Yuanming Yuan, the Garden of Perfect Brightness Beurdeley, M. &. C, Giuseppe Castiglione, Rutland, Tuttle, 1971. Cahill, James, ‘Late Ming landscape albums and European printed books’, in Rosenwald, L.J., The Early Illustrated Book, 1982. Cahill, James, The Compelling Image: Nature and Style in Seventeenth Century Chinese Painting, Cambridge, Harvard University Press, 1982 Delahaye, Hubert, ‘Du peu d’effet de la peinture occidentale en Chine’ in Jami, Catherine; Delahaye, Hubert, eds., L’Europe en Chine, interactions scientifiques, religieuses et culturelles aux XVII e et XVIII e siécles, Paris, Collége de France, 1993. Franke, Wolfgang, China and the West, Oxford, Basil Blackwell, 1967 Hsiang Ta (Xiang Da), ‘European influences on Chinese Art of the Later Ming and Early Ch’ing Period’ [original in Dongfang Zazhi , vol.27, no.1, January 10th, 1930, translated by Wang Teh-chao], Renditions no.6, Spring 1976. Ishida Mikinosuke, ‘A Biographical Study of Giuseppe Castiglione (Lang Shih-ning), a Jesuit Painter in the Court of Peking under the Ch’ing Dynasty’, Memoirs of the Tôyô Bunko, 1960, p.79-121; Kôno Minoru, ed., Chûgoku Yôfû? Hyôgen no Dônyû? Meimatsu kara Shin jidai no kaiga, hanga, sashie-hon, Machida, Machida Shirtisu Kokusai Hanga Bijutsukan, 1995. Loehr, George, ‘Missionary artists at the Manchu Court’, Journal of the Oriental Ceramic Society, 34, 1962-63; Loehr, George, ‘The Sinicization of Missionary artists and their work at the Manchu court during the Eighteeenth Century’, Cahiers d’Histoire Mondiale, vol. VII, no.3, p. 795-815, 1963; Pelliot, Paul, ‘La Peinture et la Gravure Européennes en Chine au temps de Mathieu Ricci’, T’oung Pao, 1922, 1-18; Pirazzoli-T’Serstevens, M., Gravures des Conquêtes de l’Empereur de Chine K’ien-Long au Musée Guimet, Paris, Mus?e Guimet, 1969; Qing Imperial Court Painting, 25th Anniversary Special Issue of Orientations, vol.26, no.7, July/August 1995 Sullivan, Michael, ‘Some possible sources of European influence on late Ming and early Ch’ing painting’, in Proceedings of the International Symposium on Chinese Painting, Taipei, National Palace Museum, 1972, Swiderski, Richard M., ‘The dragon and the straightedge, part 1: a semiotics of the Chinese response to European pictorial Space’, Semiotica 81-1/2, (1990); ‘part 2: The ideological impetus of linear perspective in late Ming early Qing China’, ibid, 82-1/2 (1990); ‘part 3: Porcelains, horses, and ink stones - the ends of acceptance’, ibid, 82 -3/4, (1990). Vinograd, Richard, Boundaries of the Self, Chinese Portraits, 1600-1900, Cambridge, Cambridge University Press, 1992; Chinacoast and Trade Paintings Berry-Hill, H. and S., Chinnery and China Coast Paintings, Leigh-on-Sea, 1970. Broadbent, J., China, Australia: Trade and Society 1788-1850, Sydney, Historic Houses of New South Wales, 2003. Christies’, Fine Chinatrade Paintings, Hong Kong, Christies’ Swire, sale of 26-9-1989. Conner, P., The China Trade 1600-1860, Brighton, Royal Pavilion, 1986 Conner, P., Leglouix, S., William Alexander, Brighton, Royal Pavilion,1981. Crossman,C.L., The China Trade: Paintings, Furniture, Silver, and other Objects, Princeton, 1972 Gregory, M., In the Western Manner, Catalogue 53, London, Martyn Gregory Gallery, 1989. Hutcheon, R., Chinnery, The Man and the Legend, Hong Kong, 1975 Lee, J.G., Philadelphians and the China Trade 1784-1844, Philadelphia Museum of Art/ University of Pennsylvania Press, 1984. Leglouix, S., Image of China: William Alexander, London; Jupiter Books, 1980 Orange, J. The Chater Collection; Pictures relating to China, Hong Kong, Macao, London, 1924.
15 Tam, L.C.S.,et al, Hong Kong: The Changing Scene, Hong Kong Museum of Art, 1980 Thompson, Jonathan, ‘The Rake’s Progress’ (George Chinnery), Asian Art News, vol. 15, no. 4, 2005. Ting J.S.P., Hung V.W.Y., Gateways to China, Hong Kong Museum of Art, 1987. Ting J.S.P., George Chinnery: His Pupils and Influence, Hong Kong Museum of Art, 1985. Warner, J., Hong Kong Illustrated: Views and News, 1840-1890, Hong Kong, John Warner, 1981 Wu, L., ‘A Newly discovered school of Chinese export painting’, Orientations, vol.20, no.7, July 1989 University Museum and Art gallery, The University of Hong Kong, Picturing Cathay: Maritime and Cultural Images of the China Trade, Hong Kong, 2002 Photography in China Cartier-Bresson, H., China in Transition, London, Thames and Hudson, 1956 Harris, David, Of battle and beauty : Felice Beato’s photographs of China, Santa Barbara,: Santa Barbara Museum of Art & London : University of California Press, 1999. Jenner, W. J. F., China: a Photohistory, London, Thames & Hudson, 1988. Ma Yunzeng, Zhongguo sheyingshi, 1840-1937, Beijing, Zhongguo sheying chubanshe, 1987. Roberts, Claire, ‘In her view: Hedda Morrison’s photographs of Peking, 1933-46’, East Asian History, 4, December 1992. Roberts, Claire, ed., In her view: the photographs of Hedda Morrison in China and Sarawak 1933-67, Haymarket, N.S.W : Powerhouse Publishing, 1993. Roberts, Claire, ‘Captured city: Hedda Morrison’s Peking’, TAASA Review, vol.11, no.3, 2002 Thiriez, Régine, ‘Photography and Portraiture in Nineteenth-Century China’, East Asian History, nos 17/18, June/December 1999. Thiriez, Régine, Barbarian lens: Western photographers of the Qianlong emperor’s European palaces, New York, Gordon & Breach, 1998. Thomson, J., China The Land and Its People, Hong Kong, John Warner, 1977 Worswick, C., Spence, J., Imperial China, Photographs 1850-1912, London, Scolar Press, 1978. Zhang, Hai’er, Fotografien aus China, 1986-1989, Heidelberg : Edition Braus, 1990. Zhongguo Sheying, 1860-1912, Taibei, Xiongshi Tushu, 1979 Photography in China 1980s-1990s [Liu Zheng], Maggio, Meg, ‘A contrary vision’ Asian Art News, vol.12, no.4, 2002 [Zhuang Hui] review Asian Art News, vol.9, no.1, 1999; Kuroda, Raiji, ed., The First Fukuoka Asian Art Triennale, Fukuoka: Fukuoka Asian Art Museum, 1999; Maggio, Meg and Li, Zhang, Ten Years: Zhuang Hui's Photography, Hong Kong: Timezone 8 Ltd, 2003 Dewar, Susan, ‘Contemporary Chinese Photography’, Art & Asia Pacific, vol.3, no.2, 1996. Dewar, Susan, ‘Photography in China’, ART AsiaPacific, no.13, 1997. Louie, Reagan, Toward a truer life : photographs of China 1980-1990, New York: Aperture Foundation & San Francisco, Friends of Photography, 1991. Smith, Karen, ‘Contagious desire, the other in contemporary Chinese art’, Art AsiaPacific, 31, 2001 Yu Shing-tak and Yang Shaoming.Contemporary Chinese photographs, Beijing, China Photographic Publishing House, 1985. Zhang Zhaohui, ‘A return to the real: new art and new spaces’, Art AsiaPacific, 31, 2001 Performance in China 1980s-1990s and after Berghuis, Thomas J., ‘Flesh Art: Body and Performance Art in Post-Mao China’,online Chinese Type Contemporary Art Magazine, Vol. 4, Issue 5, November, 2001. Berghuis, Thomas J., Performance Art in China, Hong Kong, Timezone 8, 2006 Berghuis, Thomas, ‘Close Encounters – Performance art practices in China during the 1990s and the role of the mediated subject of the acting body in art’, Peter Lewis and Hoor Al-Qasimi, ed., Sharjah International Biennial 6 (Catalogue), United Arab Emirates: Sharjah International Biennial, 2003, pp. 034-038. Cheng Meiling, "Clandestine Interventions" in Public Art Review: International Art Issue (Fall/Winter 2004): 26-29. Cheng Meiling, "Extreme Performance and Installation from China" in TheatreForum (Summer 2006): 88-96. [the cover feature] Cheng Meiling, "Indexing Death in Seven Xingwei and Zhuangzhi Pieces" in Performance Research 11.2 (June 2006): 24-38. Cheng Meiling, "Violent Capital: Zhu Yu on File” in TDR: The Journal of Performance Studies 49.3 (Fall 2005): 58-77.
Page 1 and 2: MODERN AND CONTEMPORARY ASIAN ART:
Page 3 and 4: CONTENTS Please note that paginatio
Page 5 and 6: Kuki and his times 95 Nishida Kitar
Page 7 and 8: Prints 155 ------------------------
Page 9 and 10: GENERAL WORKS ON ASIAPACIFIC AS A R
Page 11 and 12: 11 [Global Conceptualism] Global Co
Page 13: 13 Hearn, Maxwell K.; Smith Judith
Page 17 and 18: 17 Cai Guoqiang, painter and instal
Page 19 and 20: 19 Li Wei: Jordan, Francesca and Ma
Page 21 and 22: 21 Wen Lipeng, deceased, oil painte
Page 23 and 24: 23 during the 1990s and the role of
Page 25 and 26: 25 Andrews, Julia, Painters and Pol
Page 27 and 28: 27 Wang Yuejin, ‘Anxiety of Portr
Page 29 and 30: 29 Clark, John, ‘Official reactio
Page 31 and 32: 31 Tsao Tsing-yuan, ‘The Birth of
Page 33 and 34: 33 [Hong Lei] Goodman, Jonathan,
Page 35 and 36: 35 [Song Dong] Thomas, Taliesin,
Page 37 and 38: 37 [Zhang Huan] Dziewior, Yilmaz, a
Page 39 and 40: 39 Jia Fangzhou, ‘The Eternal Que
Page 41 and 42: 41 Yuan Feng. and Yang Xiaoyan, ‘
Page 43 and 44: 43 2003; Li, Zhe, ‘Stepping Out I
Page 45 and 46: 45 Storer, Russell, ‘Shanghai Sta
Page 47 and 48: 47 Sun, S., Modern Chinese Woodcuts
Page 49 and 50: 49 Goldman, M., ‘The Party and th
Page 51 and 52: Red Gate Gallery, Beijing. http://w
Page 53 and 54: [Lau Tin-yum] Lau tin-yum, Hong Kon
Page 55 and 56: 55 [Pan Xing Lei] Chen, Shieh-Wen,
Page 57 and 58: 57 Clark, John, ‘La peinture mode
Page 59 and 60: 59 [Feng Zhongrui], Li Chu-tsing; L
Page 61 and 62: 61 [Taipei Biennale 2002], Wang, Ja
Page 63 and 64: 63 Agahari, Rae, Beyond representat
Page 65 and 66:
65 General Works Clark, J., ‘Mode
Page 67 and 68:
67 Watson, Oliver ; Kimura Rieko ed
Page 69 and 70:
69 Clark, John, ‘Artist and the S
Page 71 and 72:
Smith, L.H.R., Contemporary Japanes
Page 73 and 74:
73 Abstract painting in Japan, Hokk
Page 75 and 76:
75 [Araki, Nobuyoshi] Sawaragi Noi,
Page 77 and 78:
77 Annear, J., ‘A forest of art i
Page 79 and 80:
79 [Murakami, Takashi] Kondo, Kenic
Page 81 and 82:
81 Itoi, Kay, ‘The Elegance of Si
Page 83 and 84:
83 National Museum of Modern Art, [
Page 85 and 86:
85 Clark, John, ‘Japanese houses
Page 87 and 88:
87 Society of Architects & Building
Page 89 and 90:
89 Brisard, B., ‘Tange Kenzo: A h
Page 91 and 92:
91 Medical facilities : new concept
Page 93 and 94:
93 Wilson, Peter L. Western objects
Page 95 and 96:
95 Gluck, C., Japan’s Modern Myth
Page 97 and 98:
97 La Fleur, William A., ‘A turni
Page 99 and 100:
http://www.musabi.co.jp/list.html M
Page 101 and 102:
101 thesis, Australian National Uni
Page 103 and 104:
103 Roe Jae-ryung, Contemporary Kor
Page 105 and 106:
105 [Lee, Yong-Baek] review, Flash
Page 107 and 108:
107 Sabapathy, T.K., ed., Past, Pre
Page 109 and 110:
109 Chaiyan Rajchagool, The Rise an
Page 111 and 112:
111 No Na Pak Nam, Phra Acharn Nak,
Page 113 and 114:
113 Michaelsen, H., Die Entwicklung
Page 115 and 116:
115 8 Actual Visions in Thai Contem
Page 117 and 118:
117 Individual Artists Anurak Chata
Page 119 and 120:
119 to shock’ The Nation, January
Page 121 and 122:
121 Viboon Leesuwan: Viboon Leesuwa
Page 123 and 124:
123 2000+ [Boonyavanishkul, Rearngs
Page 125 and 126:
125 Kriengkraipetch, Suvann, Smith,
Page 127 and 128:
127 Suehiro Akira, Capital Accumula
Page 129 and 130:
129 Koch, Maurice, “Jos-Henri Pon
Page 131 and 132:
Nguyen Thi Dinh, No other road to t
Page 133 and 134:
133 [Nguyen Manh Hung], Edwards, Br
Page 135 and 136:
135 Holt, Claire, Art in Indonesia:
Page 137 and 138:
137 Supangkat, J., Sanento Yuliman
Page 139 and 140:
139 [Hendra Gunawan], Hendra Gunawa
Page 141 and 142:
Wardani, Farah, ed., Karbon: Ruang
Page 143 and 144:
BRUNEI 143 [bin Omar, Zakaria], Zak
Page 145 and 146:
145 Whitley, Keri, ‘Castle’s Jo
Page 147:
147 [ASEAN Art Awards 2002], Teo, J
Page 151 and 152:
151 Nyen, Ho Tzu, ‘Lee Wen: “St
Page 153 and 154:
153 [Feleo, Roberto] Guillermo, Ali
Page 155 and 156:
155 Foundation Asia Center, 2002; F
Page 157 and 158:
157 [Kuage, Mathias] review, Art As
Page 159 and 160:
159 Kapur, Geeta “Representationa
Page 161 and 162:
161 Jain, Kajri, Gods in the Bazaar
Page 163 and 164:
163 [Tagore] Parimoo, R., The Paint
Page 165 and 166:
165 exhibition catalogue exhibition
Page 167 and 168:
167 Kapur, Geeta, ‘When was moder
Page 169 and 170:
169 Deshpande, Satish, “Imagined
Page 171 and 172:
171 [Natesan, Shibu] Bordewekar, Sa
Page 173 and 174:
Martin, Courtney J. ‘South Asian
Page 175 and 176:
175 [Peries, Ivan] Bandaranayake, S
Page 177 and 178:
177 [Asia Pacific Artists Initiativ
Page 179 and 180:
179 Gallbally, A., ‘Aestheticism
Page 181 and 182:
181 Commemorative Anthology on the
Page 183 and 184:
183 [Gang Zhao] review, Art AsiaPac
Page 185 and 186:
185 [Wang Du] Kent, Rachel, ‚New
Page 187 and 188:
187 [Lubaina Himid; Boyce, Sonia; H
Page 189 and 190:
189 Theories, Logics & Ideologies B
Page 191 and 192:
191 Hopkins, A.G., ed., Globalizati
Page 193 and 194:
Zito, Angela and Barlow, Tani E., B
Page 195 and 196:
195 Smith, T., ‘Second person/fir
Page 197 and 198:
197 Crary, Jonathan, ‘Critical Co
Page 199 and 200:
199 Preziosi, Donald & Farago, Clai
Page 201 and 202:
201 Walker, David, Anxious Nation:
Page 203 and 204:
203 Kember, Pamela., ‘A Report on
Page 205 and 206:
205 Rugoff, Ralph, ‘Rules of the
Page 207 and 208:
207 Appadurai, Arjun, Modernity at
Page 209 and 210:
209 Turner, Caroline, ‘Cross-Cult
Page 211 and 212:
211 4 th Asian Art Show Fukoka, ed
Page 213 and 214:
213 Clark, John, ‘Three Recent Bi
Page 215 and 216:
Lyon Biennial 2001 Budge, Andrew,
Page 217 and 218:
217 Sydney: Biennale of Sydney: 200
Page 219 and 220:
219 The Exoperience of Art: La Bien
Page 221 and 222:
221 Tadayasu Sakai, Japan at the 10
Page 223 and 224:
223 A Primal Spirit, Hara Toshio; F
Page 225:
225 Art/34/Basel/18-23/6/03, Media
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