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Unit outline_

ARHT3663: Gender and Sexuality in Asian Art History

Semester 1, 2022 [Normal day] - Camperdown/Darlington, Sydney

This unit investigates issues of gender and sexuality in art, visual culture and art history in modern and contemporary Asia from the 19th century to the present. Students will explore women- and/or queer-centred histories of the production and reception of art, and the rise of feminist and queer art and art history in parts of Asia.

Unit details and rules

Academic unit Art History
Credit points 6
Prerequisites
? 
12 credit points at 2000 level in Art History or 12 credit points at 2000 level in Critical Studies
Corequisites
? 
None
Prohibitions
? 
None
Assumed knowledge
? 

None

Available to study abroad and exchange students

Yes

Teaching staff

Coordinator Yvonne Low, yvonne.low@sydney.edu.au
Type Description Weight Due Length
Assignment Final research paper
Final essay
50% Week 13
Due date: 29 May 2022 at 23:59
2500 words
Outcomes assessed: LO1 LO7 LO6 LO5 LO4 LO3 LO2
Participation Class participation
Participation
10% Weekly n/a
Outcomes assessed: LO1 LO7 LO6 LO5 LO4 LO3 LO2
Presentation group assignment Tutorial presentation
Oral presentation
15% Weekly 20 minutes, 750 words
Outcomes assessed: LO1 LO7 LO6 LO5 LO4 LO3 LO2
Assignment Tutorial critical response
Analysis and reflection
15% Weekly 500 words
Outcomes assessed: LO1 LO2 LO3 LO4 LO5 LO6 LO7
Assignment Presentation Write Up
Report and reflection
10% Weekly 750 words
Outcomes assessed: LO1 LO2 LO3 LO4 LO5 LO6 LO7
group assignment = group assignment ?

Assessment summary

 

*Tutorial Presentation (1000 word equivalent; 25%)

  •  Individual or Pair work. Give a presentation no longer than 15 minutes (25 if in a pair) on your chosen topic. The presentation should be a case-study that addresses the issues raised in the lecture and/or readings assigned for the week. In the presentation, the presenter(s) should (1) summarise and evaluate the key contentions of the selected reading, (2) identify and discuss a set of images/issues/artists that were raised by the author, (3) address the discussion questions (where relevant), (4) reflect on the broader issues, tying it to related images/issues/artists not covered in the lecture/readings. The entire presentation should also consist of a discussion component, in which the presenters can choose as its focus a key image/film-still/artist/exhibition as its subject for class discussion. The presentation component constitutes 15% of the overall grade.
  • Individual write-up (750 words). All presenters have to submit an individual write-up reflecting on the presentation and the discussion. It should contain a brief summary of key issues/ideas/argument presented, as well as a critical reflection of issues raised in discussion. This is due the following day and constitutes 10% of the overall grade. 

 

*Critical Response (500 words; 15%)

  • Students are to nominate a group presentation to respond to. This is a different topic from their presentation. The write-up should be about 500 words in length and is due the following week. This component constitutes 15% of the overall grade.

Note: Students will be provided with a (1) Presentation Brief, and (2) Critical Response Brief  in the first tutorial which will provide further guidelines for the assessment. Sign-up for presentations will take place in the first tutorial and a schedule will be published shortly thereafter; the course convenor reserve the right to reassign students to assure even distribution of presenters.

 

Final Research Essay (2500 words; 50%)

  • The Final Essay is designed for students to develop extensive research skills and experience in writing critically and theoretically informed art historical discourses on Asian art. It will give students the opportunity to hone their analytical skills and develop their ability to examine the historical development of styles, techniques and practices of Asian art, whilst paying attention to the various contexts critically. 
  • A good research essay of this length should contain a bibliography of at least 10-15 references made up of books and journal articles. All research essays must have an argument. Please note that your essay topic cannot be the same as your tutorial discussion topic.You will have the opportunity to consult with your lecturer/tutor immediately after the session break (by appointment).
  • The Final Essay will account for 50% of your final mark. Please ensure that you include the word count at the end of the essay. You can be over or under the word count by 10% but no more than that. Please ensure that you adhere to the Chicago Manual of Style onlinr guide when incorporating references in your essay. 

Tutorial participation (weekly; 10%)

  • Conscientious preparation for and active participation in tutorial discussion is a requirement of the course. Students are required to have completed the prescribed readings and come prepared with questions and issues for discussion. They should have familiarized themselves with key terms and be ready to use them in their discussions of key issues. Assessment will be based on performance in tutorials and participation of workshops and discussions throughout the course of the semester and will account for 15% of the final mark. All sources used in the process of research and preparation must be cited properly in both footnotes (where appropriate) and bibliography. Failure to adequately cite sources constitutes plagiarism and will be handled accordingly. 

 

NOTE: The visual analysis exercise as listed on the handbook has been replaced with a critical response assignment. The presentation assignment (1500wd equivalent) has been split into two components: presentation (equivalent to 750wd) and presentation write-up (750wd). 

Assessment criteria

The University awards common result grades, set out in the Coursework Policy 2014 (Schedule 1).

As a general guide, a high distinction indicates work of an exceptional standard, a distinction a very high standard, a credit a good standard, and a pass an acceptable standard.

Art History Grade Descriptors 

This guide indicates broadly the qualitative judgements implied by the various grades which may be awarded. A more precise evaluation of the strengths and weaknesses of individual essays will be provided in examiners’ comments. Evaluation is made with due consideration of the different standards likely to be achieved by students in junior and senior intermediate (2nd year) and advanced (3rd year) units. 

Result name

Mark range

Description

High distinction

85 - 100

·      Work demonstrates initiative and originality in research, analysis and argumentation;

·      presents innovative, insightful interpretations of specific works of art, architecture, film and/or other media, which are used throughout to demonstrate points being made;

·      effectively integrates visual analysis and critical engagement with scholarly debates to develop a rich and thorough analysis of its object(s) of study;  

·      indicates awareness of complexities and qualifications in argumentation;

·      demonstrates careful thought about the critical, historical and/or theoretical context;

·      provides evidence of wide-ranging reading;

·      is properly referenced and well-presented;

·      writing is clear, fluent, and persuasive.

A High Distinction is distinguished from a Distinction by the depth and sophistication of visual analysis deployed, and by the evidence of independent, critical thinking. Work which is awarded a mark of over 90% in senior level units of study will often contain some publishable or potentially publishable elements.

Distinction

75 - 84

·      Work demonstrates an intelligent understanding of, and individual engagement with, material;

·      visual analysis is well developed and harnessed to the argument, with thoughtful, detailed visual exposition of specific works used to demonstrate points;

·      addresses an issue and presents a well-argued, coherent case;

·      demonstrates careful thought about the critical, historical and/or theoretical context;

·      demonstrates an independent and critical attitude to readings;

·      written work is properly referenced and well presented, with a clear structure and coherent overall argument;

·      writing is characterized by individuality, clarity, and independent insight. 

A Distinction is distinguished from a High Credit chiefly by the quality of its analysis of the works of art under discussion, and by its level of critical understanding and intellectual enquiry.

Credit

65 - 74

·      Work provides evidence of independent reading and thinking about relevant works of art and their contexts;

·      demonstrates capacity to undertake close analysis of works of art and develop with c independent observations;

·      demonstrates a sound grasp of subject matter and a good appreciation of key issues and contexts   

·      shows understanding of relevant critical and theoretical considerations and of the conceptual issues raised;

·      avoids summary;

·      indicates an intelligent attempt at a critical or theoretical argument;

·      is clearly and effectively written;

·      is well-referenced.

A High Credit is distinguished from a Low Credit chiefly by the extent of independent analysis of works of art, and by some obvious attempt to interpret the outcome of close analysis.

Pass

50 - 64

58-64% (High Pass) Work of a good, satisfactory standard.

·      Work demonstrates a broad and reasonably accurate command of the subject matter and some sense of its broader significance; 

·      demonstrates a genuine attempt at independent reading and thinking about works of art 

·      generally avoids summary, paraphrase or unsubstantiated assertion;

·      arguments may contain some oversimplification or superficiality;

·      may sometimes present quotation for illustrative purposes merely, but does also present the outcome of some critical analysis;

·      is adequately expressed;

·      is adequately referenced.

 

50-57% (Pass) Work of an acceptable standard.

·      Work provides evidence of having read and thought about relevant works of art and issues;

·      attempts a coherent argument though there may be ellipses in argumentation;

·      discussion of works of art tends towards description rather than analysis; 

·      insufficient preparation for a visual test may be indicated by missed or incorrect identifications, lack of familiarity with periods, styles, key critical issues

·      may paraphrase fairly extensively;

·      tends to use quotation for illustrative purposes only;

·      may tend towards generality in answering a question;

·      may present simplistic comment or unsubstantiated assertions;

·      is adequately expressed though there may be some weaknesses in this area;may contain some referencing errors.

Fail

0 - 49

Work may fail for any of the following reasons:

·      little or no analysis of works of art; in a visual test, an inability to correctly identify works, periods and styles; serious mistakes in identification, indicating lack of understanding of the material taught;

·      minimal research;

·      irrelevance of content; 

·      unacceptable levels of paraphrasing;

·      excessive use of quotation for illustrative purposes only, without any attempt at analysis;

·      excessive level of generality in answering a question;

·      sloppy, inconsistent presentation;

·      inappropriate or obscure expression;

·      incoherent general structure;

·      inadequate referencing;

·      late submission of work without extension.

Students can also access the Grade Descriptors on the Department of Art History website:http://sydney.edu.au/arts/art_history/student_resources/assessment.shtml 

For more information see guide to grades.

Late submission

In accordance with University policy, these penalties apply when written work is submitted after 11:59pm on the due date:

  • Deduction of 5% of the maximum mark for each calendar day after the due date.
  • After ten calendar days late, a mark of zero will be awarded.

This unit has an exception to the standard University policy or supplementary information has been provided by the unit coordinator. This information is displayed below:

Penalties apply. 5 points per day late.

Academic integrity

The Current Student website provides information on academic integrity and the resources available to all students. The University expects students and staff to act ethically and honestly and will treat all allegations of academic integrity breaches seriously.

We use similarity detection software to detect potential instances of plagiarism or other forms of academic integrity breach. If such matches indicate evidence of plagiarism or other forms of academic integrity breaches, your teacher is required to report your work for further investigation.

Use of generative artificial intelligence (AI) and automated writing tools

You may only use generative AI and automated writing tools in assessment tasks if you are permitted to by your unit coordinator. If you do use these tools, you must acknowledge this in your work, either in a footnote or an acknowledgement section. The assessment instructions or unit outline will give guidance of the types of tools that are permitted and how the tools should be used.

Your final submitted work must be your own, original work. You must acknowledge any use of generative AI tools that have been used in the assessment, and any material that forms part of your submission must be appropriately referenced. For guidance on how to acknowledge the use of AI, please refer to the AI in Education Canvas site.

The unapproved use of these tools or unacknowledged use will be considered a breach of the Academic Integrity Policy and penalties may apply.

Studiosity is permitted unless otherwise indicated by the unit coordinator. The use of this service must be acknowledged in your submission as detailed on the Learning Hub’s Canvas page.

Outside assessment tasks, generative AI tools may be used to support your learning. The AI in Education Canvas site contains a number of productive ways that students are using AI to improve their learning.

Simple extensions

If you encounter a problem submitting your work on time, you may be able to apply for an extension of five calendar days through a simple extension.  The application process will be different depending on the type of assessment and extensions cannot be granted for some assessment types like exams.

Special consideration

If exceptional circumstances mean you can’t complete an assessment, you need consideration for a longer period of time, or if you have essential commitments which impact your performance in an assessment, you may be eligible for special consideration or special arrangements.

Special consideration applications will not be affected by a simple extension application.

Using AI responsibly

Co-created with students, AI in Education includes lots of helpful examples of how students use generative AI tools to support their learning. It explains how generative AI works, the different tools available and how to use them responsibly and productively.

WK Topic Learning activity Learning outcomes
Week 01 Gender and sexuality in Asian art histories: an introduction Lecture (2 hr) LO1 LO2
Week 02 Gender in pre- and early modern Southeast Asian art: Icons and narratives Lecture (2 hr) LO1 LO2 LO3 LO4 LO5 LO6
Tutorial topic sign-up Tutorial (1 hr) LO1 LO6
Week 03 Writing and Research Workshop: Recovering Herstories Tutorial (1 hr) LO1 LO2 LO3 LO4 LO5 LO6
Pictures of love and desire in Edo Japan: commodifying pleasure Lecture (2 hr) LO1 LO2 LO3 LO5 LO6 LO7
Week 04 ‘Men paint, women weave’: women, craft and tradition in Asian art history Lecture (2 hr) LO1 LO2 LO3 LO4 LO5 LO7
Presentation and discussion based Week 3 topic/ materials Tutorial (1 hr) LO2 LO3 LO5 LO6
Week 05 Figuring the nation: Modernity, Nudes and imagery of "Asian women" Lecture (2 hr) LO1 LO2 LO3 LO4 LO5 LO6 LO7
Presentation and discussion based Week 4 topic/ materials Tutorial (1 hr) LO2 LO3 LO6 LO7
Week 06 Queer Visibility and Intervention in the Arts of Southeast Asia Lecture (2 hr) LO1 LO2 LO3 LO4 LO5 LO6 LO7
Presentation and discussion based Week 5 topic/ materials Tutorial (1 hr) LO2 LO3 LO5 LO6 LO7
Week 07 Sexuality and Censorship in Contemporary Asian Art Lecture (2 hr) LO1 LO2 LO3 LO4 LO5 LO6 LO7
Presentation and discussion based Week 6 topic/ materials Tutorial (1 hr) LO2 LO3 LO5 LO6 LO7
Week 08 The “Feminist” turn in Contemporary art: Performing bodies Lecture (2 hr) LO1 LO2 LO3 LO4 LO5 LO6 LO7
Presentation and discussion based Week 7 topic/ materials Tutorial (1 hr) LO1 LO2 LO3 LO4 LO5 LO6 LO7
Week 09 No Lecture Public Holiday Lecture (2 hr)  
Exhibition viewing and Workshop week Workshop (1 hr) LO2 LO3 LO5 LO6 LO7
Week 10 ‘Holding up Half the Sky’: Women artists, collectives and exhibitions Lecture (2 hr) LO1 LO2 LO3 LO4 LO5 LO6 LO7
Presentation and discussion based Week 8 topic/ materials Tutorial (1 hr) LO2 LO3 LO5 LO6 LO7
Week 11 ‘Women Imaging Women’: Feminine or Feminist? Lecture (2 hr) LO1 LO2 LO3 LO4 LO5 LO6 LO7
Presentation and discussion based Week 10 topic/ materials Tutorial (1 hr) LO2 LO3 LO5 LO6 LO7
Week 12 The Personal is Political? Women artists and their biographies Lecture (2 hr) LO1 LO2 LO3 LO4 LO5 LO6 LO7
Presentation and discussion based Week 11 topic/ materials Tutorial (1 hr) LO1 LO2 LO3 LO4 LO5 LO6
Week 13 A Coda: Interventions and Innovations in Feminist art history Lecture (2 hr) LO1 LO2 LO3 LO4 LO5 LO6 LO7
Presentation and discussion based Week 12 topic/ materials Tutorial (1 hr) LO2 LO3 LO5 LO6 LO7

Attendance and class requirements

  • Attendance: According to Faculty Board Resolutions, students in the Faculty of Arts and Social Sciences are expected to attend 90% of their classes. If you attend less than 50% of classes, regardless of the reasons, you may be referred to the Examiner’s Board. The Examiner’s Board will decide whether you should pass or fail the unit of study if your attendance falls below this threshold. If a unit of study has a participation mark, your attendance may influence this mark.
  • Lecture recordings: Most lectures (in recording-equipped venues) will be recorded and may be made available to students on Canvas. However, you should not rely on lecture recording to substitute your classroom learning experience.
  • Preparation: Students should commit to spend approximately three hours preparation time (reading, studying, homework, essays, etc.) for every hour of scheduled instruction.

Study commitment

Typically, there is a minimum expectation of 1.5-2 hours of student effort per week per credit point for units of study offered over a full semester. For a 6 credit point unit, this equates to roughly 120-150 hours of student effort in total.

Required readings

READING REQUIREMENTS

Assigned readings for the course are required preparation for participation in both lecture and tutorial each week. Please refer to the schedule on this outline and your canvas site. You are expected to prepare all readings in advance of class so as to be well prepared for active participation in lecture and tutorial discussions.

Preparing a reading means more than simply reading through it one time. Some of the assigned readings are relatively straightforward and are intended to provide background historical information; take notes and be sure that you have a firm grasp on the information the reading is trying to convey. Some of the readings are significantly more challenging however – preparing those readings means grappling with the ideas and arguments the author is trying to convey. You may need to read some of these texts two, or even three times before you fully understand them. In each case, make sure that you can give a sense of the overall argument in two to three sentences – the big picture – as well as break the text down into its various parts. 

There is no printed reader for this course; readings are available through the library’s eReadings system, which is accessible through the course Canvas site. 

Each week, one or two case-studies are drawn from the content of the lectures of the week before. Tutorials will focus on a select number of artists or a key historical moment in order to develop a substantial understanding of the issues. The brief summaries on topics for each week will give an indication of the key issues for discussion. You should read the texts with these in mind, developing opinions and questions to be raised in class. 

Prescribed Reading and Background Reading. Prescribed reading relates to specific issues to be discussed in class; students should read both texts for each tutorial. Background reading can be used to review general historical and technical material raised in lectures and tutorials as well as to broaden one’s knowledge of similar issues across different countries. When reading the listed texts, take note of any information that you regard as significant (for example, key dates or interpretations, points of dispute, and so forth). These notes will be useful in class discussion and may provide the basis for your research topic. 

You can find the prescribed and background reading list on your Canvas site for this unit. Click through each module for the weekly readings.  

Additional information:

Throughout the course, students are encouraged to visit galleries, exhibitions, and collections of modern and contemporary Asian art in Sydney. These include 4A Gallery: Centre for Contemporary Asian Art, Artspace, UTS Gallery, Casula Powerhouse, Campbelltown Regional Art Centre, the Art Gallery of NSW, the Museum of Contemporary Art, White Rabbit Museum & Collection, as well as commercial galleries, and artists-run-initiatives with attention paid to art and artists from Asia.

Learning outcomes are what students know, understand and are able to do on completion of a unit of study. They are aligned with the University's graduate qualities and are assessed as part of the curriculum.

At the completion of this unit, you should be able to:

  • LO1. achieve a better understanding of the impact and effect of sexual difference in the reading and writing of the art histories discussed in the course
  • LO2. identify and engage with issues of gender particular to a variety of art historical sub-fields
  • LO3. understand and articulate the stakes of gender within the larger ethics of the arts world
  • LO4. understand key feminist theories and feminist art historical discourses and its uses in the context for interpreting modern and contemporary Asian art and its attendant issues
  • LO5. engage with and apply larger questions of gender to students’ own art historical practices
  • LO6. expand research experience and develop requisite research and analytical skills essential in the study of art history and visual culture.
  • LO7. acquire and expand knowledge on Asian artists and cultural practitioners across a range of thematic issues relevant to gender

Graduate qualities

The graduate qualities are the qualities and skills that all University of Sydney graduates must demonstrate on successful completion of an award course. As a future Sydney graduate, the set of qualities have been designed to equip you for the contemporary world.

GQ1 Depth of disciplinary expertise

Deep disciplinary expertise is the ability to integrate and rigorously apply knowledge, understanding and skills of a recognised discipline defined by scholarly activity, as well as familiarity with evolving practice of the discipline.

GQ2 Critical thinking and problem solving

Critical thinking and problem solving are the questioning of ideas, evidence and assumptions in order to propose and evaluate hypotheses or alternative arguments before formulating a conclusion or a solution to an identified problem.

GQ3 Oral and written communication

Effective communication, in both oral and written form, is the clear exchange of meaning in a manner that is appropriate to audience and context.

GQ4 Information and digital literacy

Information and digital literacy is the ability to locate, interpret, evaluate, manage, adapt, integrate, create and convey information using appropriate resources, tools and strategies.

GQ5 Inventiveness

Generating novel ideas and solutions.

GQ6 Cultural competence

Cultural Competence is the ability to actively, ethically, respectfully, and successfully engage across and between cultures. In the Australian context, this includes and celebrates Aboriginal and Torres Strait Islander cultures, knowledge systems, and a mature understanding of contemporary issues.

GQ7 Interdisciplinary effectiveness

Interdisciplinary effectiveness is the integration and synthesis of multiple viewpoints and practices, working effectively across disciplinary boundaries.

GQ8 Integrated professional, ethical, and personal identity

An integrated professional, ethical and personal identity is understanding the interaction between one’s personal and professional selves in an ethical context.

GQ9 Influence

Engaging others in a process, idea or vision.

Outcome map

Learning outcomes Graduate qualities
GQ1 GQ2 GQ3 GQ4 GQ5 GQ6 GQ7 GQ8 GQ9

This section outlines changes made to this unit following staff and student reviews.

In response to student feedback, students are given the option to present individually for their presentations. There has been minor changes made to the topics and the reading list has been updated to reflect the latest research in this field.

LIBRARY AND AUDIO-VISUAL RESOURCES

FISHER LIBRARY: Copies of most of the books and articles you will use for your assignments are in Fisher and Schaeffer Libraries. 

Fisher Library has a range of programmes and services to help you in your studies and research. You can access the introductory podcasts and short interactive learning tools available at the following site. These will guide you through the processes of Searching the Catalogue, Accessing Full Text, Managing your Loans, writing, citing and referencing for essays etc. They are available at: http://www.library.usyd.edu.au/skills/

SCHAEFFER LIBRARY: The Schaeffer Library is specialist art history library on campus. It is part of the Power Institute and is located in the Mills Building. It is an important resource for art history students, particularly those in the later years. The collection of Schaeffer Library is centred on modern and contemporary art, roughly from the mid-19th century to the present. Many of the books relevant to our course are located in Schaeffer Library. The Schaeffer Library is small and is not a lending library. We recommend that you use the resources of Fisher Library in the first instance because most of these books can be borrowed. If an item is out, consult other universities’ libraries in Sydney or the Library of the Art Gallery of NSW and State Library. 

ONLINE COMPONENTS 

There is an extensive and growing body of high quality art historical material available through scholarly publications and databases online. Many such resources are listed on the course Canvas site and students are encouraged to use these as an ongoing tool for study. As new materials become available, they will be added to the list; please inform the convenor if you discover a useful resource.

Weekly lecture recordings, lecture PowerPoints and Assessment tasks will all be posted on this unit’s Canvas site.

 

Disclaimer

The University reserves the right to amend units of study or no longer offer certain units, including where there are low enrolment numbers.

To help you understand common terms that we use at the University, we offer an online glossary.