Organized by the Power Institute, University of Sydney, and the Art Gallery of New South Wales.
Friday 29 November, 2013 | University of Sydney
Saturday 30 November, 2013 | Art Gallery of New South Wales
The Power Institute in partnership with the Art Gallery of New South Wales, is proud to present Tilting the World: Histories of Modern and Contemporary Asian Art. Tilting the World is an ambitious symposium, which will bring to Sydney international experts and emerging scholars to discuss the past, present and future of Asian art. Collectively, this symposium asks: what is at stake in the study of modern and contemporary Asian art cultures today, particularly as we head into what is being styled “the Asian Century”?
This significant event has been organised to honour the career of Professor John Clark, who retires this year from the department. For over twenty years Professor Clark has pioneered, and indeed shaped, the field of modern and contemporary Asian art history. This has been achieved particularly through the production of influential, globally recognized reference texts such as Modern Asian Art (1998), and by his direct nurturing and encouragement of several generations of scholars and curators who are now at the forefront of this burgeoning field. True to this spirit, the symposium looks to the future, highlighting the vital current research being developed by early career scholars, both in Australia and from around the world, active as researchers, curators and critics. Tilting the World signals the belief that new approaches to these vital aspects of Asian cultural histories are central to understanding our world.
Reflecting an understanding of the cultural richness and complexity of Asian modernities, the symposium features cross-disciplinary approaches, encompassing art history, sociology, anthropology, media and visual cultural studies, which highlight the layered richness of cultural experience within, between and beyond nations. Keynote speakers who have worked with Professor Clark over the years have been invited to indicate the breadth of his research legacy. Tilting the World is a free event, and a full list of speakers including keynote, can be found below. A selection of papers will also be published after the symposium as a peer-reviewed volume by Power Publications.
DAY ONE: FRIDAY, 29 NOVEMBER
Venue: New Law School Auditorium 101, University of Sydney
9:15–9:30 WELCOME – Prof. Mark Ledbury, Director of the Power Institute
9:30–10:50 Session 1 – Negotiations
Chair: Adrian Vickers, University of Sydney
Sarena Abdullah | Universiti Sains Malaysia
The Early Modernities in Malaysian Art: Contesting the Narrative
Clare Veal | University of Sydney
Relativisation in Asian Photographies: the Siamese case
Yvonne Low | University of Sydney
Circumventing gender: women artists in the early art academies of modern Indonesia
10:50–11:15 MORNING TEA
11:15–1:00 Session 2 – Formations
Chair: Caroline Turner, Australian National Univeristy
Nozomi Naoi | Harvard University
Beyond the ‘bijin’: Takehisa Yumeji at the intersection of the popular and avant-garde
Cai Heng | National Art Gallery, Singapore
Discourse and transformation: Modernity and Ink Painting in China
Michelle Wong | Asia Art Archive, Hong Kong
Riding the new waves: ‘Meishu Sichao’ (1984-1987) as platform of self-definition and self-instruction
Natalie Seiz | Art Gallery of NSW
Artistic types across generations: descriptors of difference amongst contemporary women artists in Taiwan
1:00–14:15 LUNCH BREAK
14:15–16:00 Session 3 – Visions
Chair: Chaitanya Sambrani, Australian National University
Simon Soon | University of Sydney
Along other historical sightlines: landscapes as condition of being
Kedar Vishwanathan | University of Sydney
Indian nationalism: the Bengal School and Chittoprasad Bhattacharya
William Ray Langenbach | University for the Arts Helsinki
Standing still is advancing forward: nationalist teleology and self-reliance in Singaporean and North Korean art and performance
Sophie McIntyre | Australian National University
The rise of China and cross-Strait relations in art from Taiwan
16:00–16:30 AFTERNOON TEA
16.30–17.30 Special Session – Asia-Australia artistic engagement in practice
Chair: Francis Maravillas, University of Technology, Sydney
John Young, visual artist, Melbourne
Kim Machan, curator and director of Media Art Asia Pacific, Brisbane
17:30–18:15 KEYNOTE SPEAKER
Mizusawa Tsutomu | Museum of Modern Art Hayama, Kamakura, Japan
Depicting the City: Fragmented Memory, Reality and Future - the example of modern Japanese art
DAY 2: SATURDAY, 30 NOVEMBER
Venue morning: Centenary Auditorium (Lower Level 1), Art Gallery of New South Wales
Venue afternoon: Domain Theatre (Lower Level 3), Art Gallery of New South Wales
9.45-9.55 WELCOME in the Centenary Auditorium by Khanh Trinh, curator of Japanese and Korean art, Art Gallery of New South Wales
9.55–11.40 Session 4 – Challenging Traditions
Chair: Chiaki Ajioka, independent scholar & board member of Australia-Japan Foundation
Rhiannon Paget | University of Sydney
Being old fashioned in modern Japan: the making of a platform and an audience for literati painting (nanga) in the early 20th century
Hsieh Shih-ying | National Museum of History, Taipei
The negotiation with modernity: Taiwanese temple painter Pan Chunyuan of the Japanese period
Phoebe Scott | National Art Gallery, Singapore
Representing worlds in transition: on two early examples of modern Vietnamese art
Changkyu Lee | State University of New York
Sacred possession and eternal consumption: the spiritual reconciliation of Islamic painting in Southeast Asia
11:40–11:50 SHORT BREAK
11:50–12:45 Session 5 – Contemporaries (Part One)
Chair: Olivier Krischer, Australian National Univeristy
Anne Kirker | Queensland College of Art and Griffith University
Counterpointing the ‘hanga’ (prints) of Noda Tetsuya and Shimada Yoshiko
Eva Bentcheva | School of Oriental and African Studies, University of London
Escaping the na(rra)tive in 1960s’ Britain: David Medalla’s fusion of Asian iconography and performance art
12.45–13.30 LUNCH BREAK
AFTERNOON VENUE: Domain Theatre (Lower Level 3), Art Gallery of New South Wales
13:30–14:25 Session 5 – Contemporaries (Part Two)
Reiko Tomii | Independent scholar, New York
Gutai’s Phase Zero: Reading Yoshihara Jirō on Pollock against Takiguchi Shūzō
Juliane Noth | Freie Universität Berlin
Schizophrenic convergence: art, science and biography in Shi Lu’s works of 1969/70
14:25–15.15 KEYNOTE SPEAKER
Werner Kraus | Professor, Passau University; director, Centre for Southeast Asian Art, Germany
Aesthetic colonisation: how Western images entered Javanese minds - tracing the evidence
15.15–15.45 AFTERNOON TEA
15.45–16.30 John Clark Q&A moderated by Mark Ledbury, Director, The Power Institute
In conversation with Werner Kraus, Mizusawa Tsutomu, Reiko Tomii and Juliane Noth
PROGRAM + ABSTRACTS
Please download the program with abstracts here.
IMPORTANT - PLEASE NOTE: to register for BOTH DAYS of the symposium, please ensure you complete both the online forms for the respective days.
Please follow the links to register online via the University events calendar:
To register for DAY ONE Friday 29 November, please click here.
To register for DAY TWO Saturday 30 November, please click here.
Sydney has many affordable options for accommodation including:
The Women's College
Wake Up Hotel
Gleebe Youth Hostel
Sydney Harbour Youth Hostel
Accommodation websites with a variety of Sydney accommodation options include:
Please note: the information provided here is a small list of suggested options only. The Power Institute has no affiliation with the venues and websites listed. Many other Sydney accommodation options can be found by searching online.
Further enquiries should be directed to Dr Olivier Krischer E: firstname.lastname@example.org with “Asian Art Symposium” in the e-mail subject line.
The symposium is proudly presented by the Power Institute in partnership with the Art Gallery of NSW.
We gratefully acknowledge the support of Sabrina Snow and the Japan Foundation for this event.
Image (detail): Wadachi Tomo-o, Self-portrait with Spectacles, 1923, oil on canvas, The Museum of Modern Art, Kamakura & Hayama.
Thursday 20 – Friday 21 September, 2012 | Australian Institute of Art History, University of Melbourne
Friday 9 – Saturday 10 November, 2012 | Power Institute, University of Sydney and Art Gallery of New South Wales
A COLLABORATIVE INTERNATIONAL SYMPOSIUM
Bernard Smith could be said to have established Australian Art History. His work was seminal for histories of Pacific encounter and he also was also author to some of the country’s most eloquent memoirs. The Symposium brought together an international field of scholars from art history, anthropology, history and literature, as well as curators and writers, to discuss all aspects of Bernard Smith’s wide-ranging work and explore and assess its impact and legacy.
The symposium has now concluded after an extremely successful two days in Melbourne and Sydney respectively. The Power Institute thanks all speakers, attendees and partners for their participation in the event. A selection of images from the symposium in Sydney on Friday 9 November, can be viewed at our image gallery here.
Please contact Susan Thomas Email: or Email: for more details.
The full program including abstracts can be downloaded here:
MELBOURNE PROGRAM (PDF)
SYDNEY PROGRAM (PDF)
The symposium was proudly presented by the Power Institute and the University of Sydney in partnership with the University of Melbourne and the Art Gallery of NSW.
Images of Bernard Smith courtesy of Kate Challis