Professor John Clark, FAHA, CIHA, PhD


Professor of Asian Art History, Australia Research Council Professorial Fellow
BA Lancaster, Postgraduate Certificate in Fine Art, Croydon College, PhD Sheffield

Room 214, RC Mills Building
Phone: 9351 2870
Fax: 9351 4212


  • Australian Centenary Medal, 2003
  • CIHA [Comité internationale de l'histoire d'art, membre supplémentaire] 2003
  • FAHA [Fellow of the Australian Academy of the Humanities] 2001

Editorial Board Membership

  • Japanese Arts and Globalizations, University of California Los Angeles, since 2008
  • Asian Art Archives, Hong Kong, since 2002
  • Yishu: Chinese Contemporary Art, since 2001
  • The Journal of the Oriental Society of Australia, since 1997
  • East Asian History, Australian, National University, since 1991

Research Interests

  • Modern Japanese Art since Meiji
  • Chinese academic painting and the avant-garde
  • The problems of modernity in art beyond Euramerica
  • Art in China and Thailand of the 1980s and 1990s
  • Biennales and contemporary Asian art
  • Re-defining 'The Asian Modern'


  • [BOOK] 2010 Author, Modernities of Chinese Art, Leiden: Brill, ISBN 978-90-04-17750-5.
  • [BOOK] 2010 Author, Asian Modernities: Chinese and Thai art compared, 1980 to 1999, Sydney, Power Publications, ISBN 978-0-90995-238-9.
  • [BOOK] 2010 Japanese Modernities in Art, 2 vols, in submission.
  • [BOOK] 2009 draft manuscript completed Histories of the Asian ‘New’: Biennales and Contemporary Asian Art.
  • [BOOK] 2007 Co-editor with Peter Macallum and Ian Maxwell, Australian Arts where the bloody hell are you?: Australian Arts in an International Context, Sydney, University of Sydney Press, (ISBN13 978-1-920808-14-4)
  • [BOOK] 2006 Co-editor with Maurizio Pelleggi and T.K. Sabapathy, organizer and contributor, Eye of the beholder, Sydney, Wild Peony, 2006, (ISBN13 978-1-876957-10-0).
  • [BOOK] 2001 Principal Author, Japanese Exchanges in Art [with other contributions by Luke Gartlan, Colin Osman, and John Fraser], Sydney, Power Publications [ISBN 1 86487 303 5].
  • [BOOK] 2000 Editor and contributor, Chinese Art at the end of the Millenium, Beijing and Hong Kong, New Art Media [ISBN 962-85927-1-8]
  • [BOOK] 2000 Co-editor with Elise Tipton, and contributor, Being Modern in Japan: Culture and Society from the 1910s to the 1930s, Sydney, Australian Humanities Research Foundation [ISBN 1-876749-00-8], and Honolulu, University of Hawaii Press [0-8248-2360-5].
  • [BOOK] 1998 Author, Modern Asian Art, Sydney, Fine Arts Press, Sydney, 139 illustrations, 368 pages [ISBN 9057040417] and in the USA by the University of Hawaii Press, Honolulu [ ISBN 0-8248-2142-4].
  • [BOOK-LENGTH ANNOTATED TRANSLATION] 1997, Kuki Shûzô, An Essay on Japanese Taste - The Structure of Iki, [with a foreword by Nakano Hajimu, Co-edited with notes by John Clark and by Sakuko Matsui], 168 pages, Sydney, Power Publications [ISBN 0-909952-30-2]
  • [BOOK] 1993 Editor and Contributor, Modernity in Asian Art, Wild Peony Press, Sydney, ISBN 06461477 3 0, 236 pages plus 167 plates.
  • [BOOK/THESIS] 1989 Japanese Foreign Policy and the War in Vietnam 1964-1969, University Microfilms International, Ann Arbour, 263 pages, Order no. AAC 8910821
  • [BIBLIOGRAPHY] 2011 MODERN AND CONTEMPORARY ASIAN ART (with subsequent authors) web access for downloadable PDF
  • [MONOGRAPH] 1993 Author, Nineteenth Century Japanese Copperplate Prints, [Edited by Tim Clark] British Museum Occasional Paper, London ISBN 0 86159 084 8, 71 pages plus 117 plates.
  • [OCCASIONAL PAPER] 1997 Surrealism in Japan, Occasional paper no 28, of Japan Studies Centre, Monash Asia Institute, 80 pages, ISBN 0-7326-1144-X.
  • [OCCASIONAL PAPER] 1994 Modern Indian Art: Some Literature and Problematics, Occasional Paper, no.21, Research Institute for Asia and the Pacific, April, 51 pages, ISBN 0 86758 916 7.
  • [OCCASIONAL PAPER] 1992, Australian Art and Asia -Then and Now’, Occasional Paper No.19, Research Institute for Asia and the Pacific, University of Sydney, July, 29 pages, ISBN 0 86758 633 8.
  • [CHAPTER/ESSAY] 2008 ‘Modernities in Art: how are they “other”?’ in World Art Studies: exploring Concepts and Approaches, eds. Wilfried van Damme and Kitty Zijlmans, Valiz, Amsterdam.
  • [CHAPTER/ESSAY] 2007 ‘Beyond Euramerica’ in Weibel, Peter; Buddensieg, Andrea, Eds., Contemporary Art and the Museum: A Global Perspective, Ostfildern, Hatje Cantz, 2007, p.66-78.
  • [CHAPTER/ESSAY] 2007 ‘Contemporary Asian Art and Biennales: the perpetual modern?’, in Desai Vishaka, ed., Asian Art History in the Twenty-First Century, Williamstown, Sterling and Francine Clark Art Institute, 2007, p. 229-249
  • [CHAPTER/ESSAY] 2006 ‘What Modern and Contemporary Asian Art is [or is not]: the view from MOMA and the view from Asia’, in Clark, John, Maurizio Pelleggi and Kanaga Sabapathy, eds., Eye of the beholder Sydney, Wild Peony, 2006, 297-319.
  • [CHAPTER/ESSAY] 2006 ‘Luis Chan: A Hong Kong Modernist’, in Lee, Jack, Editor, From Reality to Fantasy: the Art of Luis Chan, Hong Kong, Asian Art Archive, 2006, 112-116
  • [CHAPTER/ESSAY] 2006 ‘An Australian Creative Space: where is Australian-Asian art now?’, in Waite Dianne, ed., Green, Charles and Stubbs, Mike, curators, 2006/ Contemporary Commonwealth/ , Melbourne, Australian Centre for the Moving Image and National Gallery of Victoria, 2006, 26-33.
  • [CHAPTER/ESSAY] 2005 ‘Montien Boonma and Modern Thai Sculpture’,Poshyananda, Apinan and Kunavichayanont, Sutee, eds., Before Dying: The Art of Montien Boona, Bangkok, Office of Contemporary Art and Culture, Ministry of Culture 2005 [published in 2006], 188-198.
  • [CHAPTER/ESSAY] 2005 ‘The discursive space of “Asian Cubism”, International Symposium:”Cubism in Asia”,unbounded dialogues, Tokyo, The Japan Foundation, 2006, 226-235.
  • [CHAPTER/ESSAY] 2005 Entry on ‘Modern and Contemporary Asian Art’ in Grove Art Online / The Dictionary of Art, New York, Oxford University Press, September, 7 pages.
  • [CHAPTER/ESSAY] 2004 ‘For Ana, my sister, my friend, Ana Maria Pacheco’, [2001] re-printed in Pratt, Susan, ed., Collected Essays: texts on the work of Ana Maria Pacheco, Ightham, Pratt Contemporary Art, 2004.
  • [CHAPTER/ESSAY] 2000 'Indices of Modernity: Changes in Popular Reprographic representation', Being Modern in Japan: Culture and Society from the 1910s to the 1930s, Australian Humanities Research Foundation, Sydney.
  • [CHAPTER/ESSAY] 2000 opening essay in Clark, John, Ed., Chinese Art at the end of the Millenium, Beijing and Hong Kong, New Art Media,p.8-24.
  • [CHAPTER/ESSAY] 2000 'The Transfer: Art in Colonial Southeast Asia', in ed. Ahmad Mashadi, Visions and Enchantment: Southeast Asian Paintings, Singapore Art Museum, Singapore.
  • [CHAPTER/ESSAY] 2000 'Playing with the Stars: Guan Wei's Styles', Guan Wei Exhibition Catalogue, Dr. Earl Lu Gallery, La Salle SIA, Singapore, pp. 6-11.
  • [CHAPTER/ESSAY] 1999 'Crossings', The Rose Crossing: Contemporary Art in Australia, curator William Wright, Sherman Galleries, Sydney, pp. 9-14.
  • [CHAPTER/ESSAY] 1999 in Beyond Exile, Modern Chinese Art Foundation Catalogue, Provincie Bestuur van Oost-Vlaanderen, Belgium, ISBN 90-76686-02-
  • [CHAPTER/ESSAY] 1998 Sons, essay for a catalogue of works by Yvonne Boag, Mirabel Fitzgerald, and Patsy Payne exhibited at Silpakorn University, Bangkok.
  • [CHAPTER/ESSAY] 1998 'Modern Asian Art: Its Construction and Reception', ed. Furuichi Yasuko, Symposium: "Asian Contemporary Art Reconsidered", The Japan Foundation, Tokyo.
  • [CHAPTER/ESSAY] 1997 'Artist and the State: The Image of China in Japanese Painting, 1890s - 1940s', ed. Elise Tipton, Society and the State in Interwar Japan, Routledge, London.
  • [CHAPTER/ESSAY] 1997 'Art and its 'others' - recent Australian-Asian visual exchanges', ed. Dever, Maryanne, Australia and Asia: Cultural Transactions, Curzon Press, Surrey.
  • [CHAPTER/ESSAY] 1997 'Mooi Indie and Persagi from the perspective of a Modern Asian Art', eds. Amir Sidharta and Ninsih Purnomo, Dari Mooi Indie Hingga Persagi, Museum Universitas Pelita Harapan, Tangerang.
  • [CHAPTER/ESSAY] 1996 ‘Modernités, Histoires; le cas japonais’, [traduit par Lacoste, J.) in Harry Belleter, ed., Face à l’Histoire, Paris, Centre Georges Pompidou, 279-283
  • [CHAPTER/ESSAY] 1996 'Histories in the Modern', eds Graeme Murray, Meg Syme, June Knight, Reckoning with the past: Contemporary Chinese Painting, Fruitmarket Gallery, Edinburgh, pp. 17-20.
  • [CHAPTER/ESSAY] 1996 'Systems End', catalogue essay, eds. Tseng Fang-ling and Huang Pei-yi, Systems End, Contemporary Art in Australia, Gaoxiong Shili Meishuguan, Gaoxiong, pp.30-35. (Chinese translation pp. 26-29).
  • [CHAPTER/ESSAY] 1995 'Three Taiwanese Women Artists' eds N. Jose, Contemporary Art from Taiwan, Museum of Contemporary Art and Fine Arts Press, Sydney, pp. 82-85.
  • [CHAPTER/ESSAY] 1995 'The Conditions for Post-Modernity in Japanese Art of the 1980s', ed. Y. Sugimoto, The Postmodernity Debate and the Japanese Experience, Kegan Paul, London, pp. 154-175.
  • [ARTICLE] 2005 ‘Okakura Tenshin (Kakuzô) and Aesthetic Nationalism’, East Asian History, no.29, June.
  • [ARTICLE] 2005 ‘Between the worlds: Chinese art at Biennials since 1993’, Yishu, A journal of Chinese Contemporary Art, vol.4, no.2, 2005, 40-55
  • [ARTICLE] 2003 ‘Ajia Bijutsui no Gendaisei ni tsuite’, [On the Modernity of Asian Art, tr Yomota Inuhiko], Gengo Bunka, no.20, March.
  • [ARTICLE] 2002 ‘System and Style in the practice of Chinese contemporary art: the disappearing exterior?’ Yishu, A journal of Chinese Contemporary Art, vo.1, no.2, August.
  • [ARTICLE] 2001 'For Ana, my sister, my friend, Ana Maria Pacheco', Postwest, no.19, 56-61
  • [ARTICLE] 1995 'The Art of Damrong Wong-Upparaj', Art and Asia Pacific, Vol.2, No.3, June, pp.50-57.
  • [ARTICLE] 1995 'Art Sites Around Japan II', TAASA Review
  • [ARTICLE] 1999 'Asian Modernisms', Humanities Research, no.2,
  • [ARTICLE] 1999, pp. 5-13. 1998 'Dilemmas of [dis-]attachment in the Chinese diaspora', Art + Culture, Vol.1, No.1.
  • [ARTICLE] 1998 'Sovereign Domains: The Structure of Iki', Japan Forum, Vol. 10, No.2, pp. 197-209.
  • [ARTICLE] 1997 'Art and Modernism in China, 1900-97: A review and documentation', Journal of the Oriental Society of Australia, Vol.29, pp. 50-73.
  • [ARTICLE] 1997 'Modernity in Chinese Art, 1850s-1990s: some chronological materials', Journal of the Oriental Society of Australia, vol. 29, pp. 74-169.
  • [ARTICLE] 1996 'On Two Books by Edward W. Said', Bicitra Seni, Jilid 2, Universiti Sains Malaysia, Pusat Seni, pp. 20-47.
  • [ARTICLE] 1996 'Liu Guosong's: The Road of Chinese Painting', Journal of the Oriental Society of Australia, Vols. 27 and 28, 1995-96, pp. 33-56.
  • [ARTICLE] 1995 ‘Art Goes Non-Aligned’ [Four Exhibitions in Jakarta including the Art of the Non-Aligned Movement, April 1995], Art and Asia Pacific, vol.2, no.4, 1995.
  • [ARTICLE] 1995 ‘Art sites around Japan II’, TAASA Review.
  • [ARTICLE] 1995 ‘The Art of Damrong Wong-Upparaj’, Art and Asia Pacific, vol.2, no.3, June, p.50-57.
  • [ARTICLE] 1994 ‘Art Sites in Japan: 1. Around Ueno’,TAASA Review, vol.3., no.3, September 1994, 5- 6.
  • [ARTICLE] 1994 ‘Into the Forest: Interview with Yeoh Jin-leng’, Art and Asia Pacific, vol. 1, no.2, April, 61-66.
  • [[ARTICLE] 1993 ‘Two Modern Indian Painters: Arpita Singh and Swaminathan’, Art and Asia Pacific, supplement to Art and Australia, June, 17-24
  • [ARTICLE] 1993 ‘Modern Art in S.E.Asia’, Special Null Issue of Art and Asia Pacific, September, 35-38.
  • [ARTICLE] 1992 ‘Taipei Modernism in the 1980s’, Orientations, vol.23, no.7, July, 28-36.
  • [ARTICLE] 1992 ‘The frame’s the thing: Metaphor and Metonym in two 17th century Japanese Screen Paintings’, Australian Journal of Art, vol.X, 1992, 44-65.
  • [ARTICLE] 1992 ‘Official Reactions to Modern Art in China since the Beijing Massacre’, Pacific Affairs September, 334-352.
  • [ARTICLE] 1991 ‘Ajia ! Ajia!’, Art Monthly Australia, no.39, April, 10-12.
  • [ARTICLE] 1991 ‘The Art of Modern Japan Three Wars’, Bulletin of the Japanese Studies Association of Australia, vol.11, no.2, 38-44.
  • [ARTICLE] 1991 ‘Realism and revolutionary Chinese painting’, Journal of the Oriental Society of Australia, vols.22 and 23, 130-155 .
  • [ARTICLE] 1991 ‘Postmodernism and recent expressionist Chinese oil painting’, Asian Studies Reviews, vol.15, no.2, November, 104-129.
  • [ARTICLE] 1990 ‘A Tale of Two Cities’, Art Monthly [Australia], no.29, April, 5-8; [Chinese translation: Xiongshi Meishu, no.7, 1990, 64-69.
  • [ARTICLE] 1990 ‘Problems of Modern Painting Beyond Byzantium’, Papers on Far Eastern History, no.41, March 1990, 109-123.
  • [ARTICLE] 1989‘Modernism and Traditional Japanese-style Painting’, Semiotica, vol. 74, no. 1/2, p.43-60.
  • [ARTICLE] 1988 ‘La Peinture moderne à Taiwan’ [traduit par Pierre-Étienne Will et Anne Cheng], Études Chinoises, vol.VII, no.1, Printemps, 29-63.
  • [ARTICLE] 1987 ‘Models of Transformation and Assimilation in the History of Japanese Art’, Proceedings of the British Association of Japanese Studies, vol. 11, 159-166, 195-197.
  • [ARTICLE] 1987 ‘Taiwanese Painting under the Japanese occupation’, Journal of Oriental Studies, XXV, no.1, 63-105.
  • [ARTICLE] 1986 ‘The Chinese Artists’ Association’, Art Monthly [UK], May.
  • [ARTICLE] 1986 ‘Chinese Artists in Paris’, Far Eastern Economic Review 16.12.1986.[Chinese translation: Meishu Shichao, Nanjing, no.4, 1987, 31-33].
  • [ARTICLE] 1986 ‘Problems of Modernity in Chinese Painting’, Oriental Art, New Series, XXXII, no.3, 1986, 270-283; [Chinese translations: Meishu Shichao, Nanjing, no.4, 1987, 24-30, 38, (partial); Xiandai Meishu, Taibei, no.22, 1988; Li Jiming ed., Zhongguo Xiandai Huihua Fazhan Sumiao, Taibei, Taibei Shili Meishuguan, 1990, 117-143 (complete, but with errors)].
  • [ARTICLE] 1986 ‘Some Models in Japanese Art History’, The Burlington Magazine, vol. CXXVIII, no.1005, December 1986, 882-889.
  • [ARTICLE] 1986 ‘Modernity in Japanese Painting’, Art History, vol.9, no.2, June, 213-231.
  • [ARTICLE] 1985 ‘Semiotic Approaches to Japanese Painting’, Proceedings of the British Association of Japanese Studies, vol.10, 119-133, 154-159.
  • [ARTICLE] 1984 ‘The Exile’s Return’, [on Lin Shouyu], Far Eastern Economic Review, 28.6.1984.
  • [ARTICLE] 1984 ‘The Structure of "Iki" by Kuki Shûzô’, Asian Culture Quarterly, XII, 1, 45-51.
  • [ARTICLE] 1983 ‘A Guide to the Art of Ink’, Oriental Art, New Series, XXIX, no.2, 181-186.
  • [ARTICLE] 1981 ‘Behind St. Ivo?’, [On Sesshû], Oriental Art, New Series, XXVI, no.4, 1980/81, 457-464.
  • [REVIEW] 2007 ‘Art in the present tense’ [Venice Biennale], Asian Art News, vol.17, no.6, November-December 2007, 110-117
  • [REVIEW] 2007 ‘Uncertain Identity: Documenta 12’, Asian Art News, Volume 17 No.5, September/October 2007, 86-91
  • [REVIEW] 2007 Münster Skulptur Projekte, World Sculpture News, Winter, 2007,
  • [REVIEW] 2007 ‘The Taipei Biennial 2006’, Asian Art News, vol. 17, no. 1 January/February 2007, p.p. 77-81.
  • [REVIEW] 2006 ‘A narrowing of horizons: The Shanghai and Gwangju Biennales’, Art Monthly Australia, no. 196, December 2006, p.50-55.
  • [REVIEW] 2006 ‘Contemporary Asian Art at Biennales and Triennales: The 2005 Venice Biennale and Fukuoka Asian Triennale, the Sigg Collection, and the Yokohama and Guangzhou Triennales’, CAA Reviews [refereed] 9/7/2006
  • [REVIEW] 2006 Tschudin, Jean-Jacques; Hamon, Claude, eds. La Modernité à l’horizon: La culture populaire dans le Japon des années vingt, Éditons Philippe Picquier, Arles, 2005, The Journal of Japanese Studies, vol.32, no.1, 2006, 165-169.
  • [REVIEW] 2006 ‘A spectacle of questions’, [Review of Guangzhou Triennale 2005], Asian Art News, vol.16, no.1, January/February, 68-72
  • [REVIEW] 2005 Hal Foster, Rosalind Kraus, Yves-Alain Bois, Benjamin H.D.Buchloh, Art Since 1900, Modernism , Anti-Modernism, Postmodernism, London, Thames and Hudson, 2004, in ‘A short review of a very, very long book’, Yishu: Journal of Contemporary Chinese Art , vol.4, no.4, Winter 2005, 107.
  • [REVIEW] 2005 Kikuchi, Yûko, Japanese modernization and Mingei Theory: Cultural Nationalism and Oriental Orientation, Routledge, Curzon, 2004, in Journal of Design History, no. 3, 2005, p.309-311.
  • [REVIEW] 2005 ‘Shomei Tomatsu: Skin of the Nation’, History of Photography, vol.29, no.4, Winter 2005
  • [REVIEW] 2005 ‘Shanghai, Gwangju and Busan: Three recent Biennales in Asia’, Art and Australia, vol.42, no3, Autumn, 2005
  • [REVIEW] 2005 Yao Souchou, Confucian Capitalism: discourse, practice and the myth of Chinese enterprise, London, Routledge/Curzon, 2002 in Journal of Asian Pacific Communication, vol. 15, no.2, 2005, 317-320.
  • [REVIEW] 2004 Jyotindra Jain, Kalighat Painting: Images from a Changing World, Ahmedabad, Mapin Publishing, 1999; Yashodhara Dalmia, The making of Modern Indian Art: The Progressives, New Delhi, Oxford University Press, 2001; Gulamohammed Sheikh, editor, Contemporary Art in Baroda, New Delhi, Tulika,1997; Asian Art News, vol.14, no.3, May-June, p.90-93.
  • [REVIEW] 2004 Gennifer Weisenfeld, Mavo: Japanese Artists and the Avant-Garde, 1905-1931, Berkeley, University of California Press, 2002, Australian and New Zealand Journal of Art, vol. 4 no. 1, 237-242.
  • [REVIEW] 2003 Sandra Cate Making merit, making art: A Thai temple in Wimbledon, Honolulu: University of Hawaii Press, 2002. The Journal of Southeast Asian Studies, vol. 34, no. 3, 2003.
  • [REVIEW] 2003 David Clarke, Hong Kong Art: Culture and Decolonization, Hong Kong, University of Hong Kong Press, 2001, in Asian Art News, vol.13, no.1, January-February 2003, p.92-93.
  • [REVIEW] 2003 Geeta Kapur, When was Modernism: Essays on Contemporary Cultural Practice in India, New Delhi, Tulika, 2000, Australian and New Zealand Journal of Art vol.2 2001 and vol.3, no. 1, 2002, p.236-245
  • [REVIEW] 2002 Lee Hyangjin, Contemporary Korean Cinema, Manchester University Press, 2000, in International Journal of Cultural Studies, vol.5, no.2, 2002, 242-243
  • [REVIEW] 2001, in Asian Art News, vol.XX, January-February 2003.
  • [REVIEW] 2001 'Asian Artists at the 2001 Venice Biennale', IIAS Newsletter [International Institute of Asian Studies, refereed] November, no.26.
  • [REVIEW] 2000 Timon Screech, The Shogun's Painted Culture, Fear and Creativity in the Japanese States, 1760-1829, London, Reaktion Books, in the Australian and New Zealand Journal of Art, vol.1 no.2.
  • [REVIEW] 1999 'Light Pictures: the Photographs of Nakayama Iwata and Nojima Yasuzo', Art Gallery of New South Wales, TAASA Review, Vol.8, No.3, p. 26.
  • [REVIEW] 1999 Review of Michael Sullivan's Art and Artists of Twentieth Century China, University of California Press, Berkeley,1996, in Asian Studies Reviews, Vol. 23, No.1, March 1, pp. 107-110.
  • [REVIEW] 1999 Review of John T. Young's, Contemporary Public Art in China: A photographic tour, University of Washington Press, Seattle, 1999, in College Art Association Art Reviews Online of 16-9-1999 [at], 3 pages.
  • [REVIEW] 1998 'Panya Vijinthanasarn at Tadu Contemporary Art' Asian Art News, Vol.8, No.2, March/April, pp. 91-92.
  • [REVIEW] 1998 Review of Timon Screech's The Western Scientific Gaze and Popular Imagery in Later Edo Japan: The Lens within the Heart, Cambridge University Press, Cambridge, 1996, in The Australian Journal of Art, Vol.14, No.1, pp. 151-161.
  • [REVIEW] 1998 Review of Leslie Pincus's Authenticating Culture in Imperial Japan, University of California Press, Berkeley 1996, both reviews in The Australian Journal of Art, Vol.14, No.1, pp. 151-161.
  • [REVIEW] 1997 Progress in Prints', Chinese Print Exhibition at Art Gallery of New South Wales, Asian Art News, Vol. 7, No.1, January/ February, pp. 78-80.
  • [REVIEW] 1996 'Asian Modernism: Diverse Developments in Indonesia, the Philippines, and Thailand', Asian Art News, Vol. 6, No. 1, January/February, pp. 71-73.
  • [REVIEW] 1996, plenary response in Terry Smith, ed., Ideas of the University Research Institute for the Humanities and Social Sciences, University of Sydney, Sydney, pp. 103-104.
  • [REVIEW] 1995 'Art Goes Non-Aligned', four exhibitions in Jakarta including the Art of the Non-Aligned Movement, April 1995, Art and Asia Pacific, Vol.2, No. 4.
  • [SESSION CO-CHAIR] 2008, Session of ‘Parallel Conversions’, 30th CIHA, Melbourne
  • [VISITING PROFESSOR] 2007 Hulsewé-Wazniewski Visiting Professor, University of Leiden, The Netherlands
  • [CONFERENCE CONVENOR] 2004 February, Chair of Convenors, international conference on Our Modernities: Positioning Asian Art Now, Asia Research Institute, National University of Singapore.
  • [VISITING FELLOW] 2003 November and December, Visiting Fellow Asia Research Institute, National University of Singapore.
  • [VISITING FELLOW] 2003 April and October Visiting Fellow, Centre for Comparative Cultural Research, Australian National University, Canberra
  • [SESSION CHAIR] 2000 complete session on ‘Other Modernities’ at 30th Congrés International de l’histoire de l’art, London
  • [PROJECT ORIGINATOR AND CO-CURATOR] 1998 Modern Boy, Modern Girl: Modernity in Japanese Art, 1910-1935, devised original idea and co-curator of this exhibition, Museum of Modern Art, Kamakura, and the Art Gallery of New South Wales. Introduction to the exhibition was the only English text translated into Japanese for the Kamakura exhibition.
  • [VISITING ASSOCIATE PROFESSOR] 1995-1996 February, International Research Center for Japanese Studies, Kyôto.
  • [SESSION CHAIR] 1992 Satellite Session at the 28th International Congress of the History of Art, Berlin 1992
  • [CONFERENCE CONVENOR] 1991 Conference on Modernism and Postmodernism in Asian Art, Humanities Research Centre and Art History Department, Australian National University, March

Current Postgraduate Supervisions

Mathew Cox, PhD, Development Functions of Portraiture in Indonesia

Natalie Seiz, PhD, Modern art by women in Taiwan and their entrance into the art hierarchy

Amelia Groom, PhD, Time and Contemporary Art

Rhiannon Paget, PhD, provisional, Art Historical analysis of a Nihonga painter

Clare Veal, PhD, co-supervisor, The Role of Photography in the Production of Thai Identities, 1950-2010

Yvonne Low, PhD, Women Picturing Woman: A theoretical and historical study of gender and selfhood (Singapore, Malaysia and Indonesia 1900-2000)