Outline

Overview

This unit investigates the rising interest in Asian art by galleries, museums, bi/triennials and their audiences; it explores the politics and issues related to the circulation, exhibition and collection of modern and contemporary Asian art both inside and outside of Asia. Students will achieve a unique insight into institutional settings and curatorial practice in relation to Asian art both internationally and regionally. Critical attention is given to the global interaction between Asia and the West, with the aim to ultimately broaden the experience of students who are interested in curating aspects of pre-modern, modern, and contemporary Asian art.

Unit details and rules

Academic unit	Art History
Credit points	6
Prerequisites ?	None
Corequisites ?	None
Prohibitions ?	None
Assumed knowledge ?	None
Available to study abroad and exchange students	No

Teaching staff

Coordinator	Yvonne Low, yvonne.low@sydney.edu.au

Assessment

The census date for this unit availability is 31 March 2025

Details
Criteria

Type	Description	Weight	Due	Length
Assignment	Exhibition Analysis Exercise Case-study on current exhibitions at AGNSW or CCWM	20%	Week 05 Due date: 28 Mar 2025 at 23:59	1200 words
Outcomes assessed:
Presentation	Seminar Presentation Presentation of an exhibition proposal	30%	Week 09 Due date: 05 May 2025 at 23:59	Equivalent to 2300 words
Outcomes assessed:
Assignment	Final exhibition project Exhibition collateral for proposed exhibition comprising catalogue essay	50%	Week 13 Due date: 01 Jun 2025 at 23:59	2500 words
Outcomes assessed:

Assessment summary

EXHIBITION ANALYSIS EXERCISE (20%): 1200 words equivalent

This assignment is designed for students to develop skills on crafting a case-study, analysing and critiquing an exhibition on Asian Art (across any time period). It will give students the opportunity to hone their analytical skills and develop their critical thinking skills on a set topic whilst applying their knowledge gained throughout the course.

For this assignment, students will choose from an ongoing Asian-centric exhibitions either at AGNSW or CCWM. They will write a brief, illustrated critique of its (1) curatorial design, and (2) selection of objects when answering the question: Whilst exhibitions have the power to intervene and destabilise canonical histories, so too can it reinforce and perpetuate fixed ideas and parochial values. How have contemporary exhibitions shape the narratives of Asian Art history and construct ideas of ‘Asian-ness’?

This is a formal piece of writing, so please cite all sources, and provide illustrations (up to 6) that are captioned. More information will be provided on Canvas.

PRESENTATION (30%): 2300 words equivalent

For this assignment, students will pitch an exhibition proposal for the Schaeffer Library’s new exhibition space (solo/pair). The presentation length should be about 8-10 minutes and this is followed by a brief discussion of 3 mins. Students may focus on any topic covered in this course. Once decided, the task is to identify at least 8-10 textual sources to be displayed and the overarching curatorial theme and statement. The proposal should comprise of (1) curatorial rationale (2) exhibition background (3) overview of works and subthemes (4) brief sketch visualizing the display stating clearly the number/type of labels required. The presentation pitch will take place on either 7 April or 19 May at allocated time slots at the exhibition site itself. See Assignment Brief on Canvas for details.

FINAL EXHIBITION PROJECT (50%): 2500 words

This final project is an extension of the exhibition proposal for Schaeffer Library. Students will put together exhibition collateral for the proposed exhibition: Wall text (500 wds), exhibition catalogue essay (1500 wds) and a selection of labels (totaling 500 words).

Students will be given the opportunity to view the exhibition space and to engage with the resources in the Schaeffer Library. This task builds on the exhibition proposal that is either individually or jointly presented – for this final research project, students are to complete it individually. You will have the opportunity to consult with your tutor immediately after the session break (by appointment).

The Final Research Project will account for 50% of your final mark. Please ensure that you include the word count at the end of the document. You can be over or under the word count by 10% but no more than that. Please ensure that you adhere to the style guide when incorporating references in your essay. Further details will be provided on Canvas.

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.

Result name	Mark range	Description
High distinction	85 - 100
Distinction	75 - 84
Credit	65 - 74
Pass	50 - 64
Fail	0 - 49	When you don’t meet the learning outcomes of the unit to a satisfactory standard.

For more information see guide to grades.

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

Except for supervised exams or in-semester tests, you may use generative AI and automated writing tools in assessments unless expressly prohibited by your unit coordinator.

For exams and in-semester tests, the use of AI and automated writing tools is not allowed unless expressly permitted in the assessment instructions.

The icons in the assessment table above indicate whether AI is allowed – whether full AI, or only some AI (the latter is referred to as “AI restricted”). If no icon is shown, AI use is not permitted at all for the task. Refer to Canvas for full instructions on assessment tasks for this unit.

Your final submission must be your own, original work. You must acknowledge any use of automated writing tools or generative AI, and any material generated that you include in your final submission must be properly referenced. You may be required to submit generative AI inputs and outputs that you used during your assessment process, or drafts of your original work. Inappropriate use of generative AI is considered a breach of the Academic Integrity Policy and penalties may apply.

The Current Students website provides information on artificial intelligence in assessments. For help on how to correctly acknowledge the use of AI, please refer to the  AI in Education Canvas site.

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.

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.

Learning support

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.

Support for students

The Support for Students Policy reflects the University’s commitment to supporting students in their academic journey and making the University safe for students. It is important that you read and understand this policy so that you are familiar with the range of support services available to you and understand how to engage with them.

The University uses email as its primary source of communication with students who need support under the Support for Students Policy. Make sure you check your University email regularly and respond to any communications received from the University.

Learning resources and detailed information about weekly assessment and learning activities can be accessed via Canvas. It is essential that you visit your unit of study Canvas site to ensure you are up to date with all of your tasks.

If you are having difficulties completing your studies, or are feeling unsure about your progress, we are here to help. You can access the support services offered by the University at any time:

Support and Services (including health and wellbeing services, financial support and learning support)
Course planning and administration
Meet with an Academic Adviser

Weekly schedule

WK	Topic	Learning activity
Week 01	Introduction: A century of showing Asian Art	Lecture and tutorial (2 hr)
Week 02	Re-imagining Asia: Art and Tradition	Lecture and tutorial (2 hr)
Week 03	Cultural politics and Asian artists in Australian Exhibitions	Lecture and tutorial (2 hr)
Week 04	Finding the past in the present: Nusra Latif Qureshi	Field trip (2 hr)
Week 05	Women re-modelling contemporary art worlds: Exhibitions, Collectives and Projects	Lecture and tutorial (2 hr)
Week 06	From Concept to Exhibition (Guest talks)	Workshop (2 hr)
Week 07	Recovering ritual in the museum	Lecture and tutorial (2 hr)
Week 08	Re-alignments: Asia in Triennials and Asian Triennials	Lecture and tutorial (2 hr)
Week 09	Presentations and Discussions @ Schaeffer Library	Seminar (2 hr)
Week 10	Presentations and Discussions @ Schaeffer Library	Seminar (2 hr)
Week 11	Private and Public Collections: Framing ‘China’ and ‘Chineseness'	Lecture and tutorial (2 hr)
Week 12	From Collectivism to Individualism: Postwar Avant-Garde in Japan and South Korea	Lecture and tutorial (2 hr)
Week 13	Coda: Exhibiting and Collecting “Contemporary Asian Art”	Lecture and tutorial (2 hr)

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.
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

Week 1: 24 February 2025

An Introduction: A century of showing Asian Art

Welcome to Collecting and Exhibiting Asian Art. For this inaugural seminar, we will explore briefly the historical developments in the exhibition of Asian Art in the international arena, beginning with World Exhibitions. We will identify the contexts in which the display, collection and viewing of Asian art were made where we will also explore the issues and politics that centre around this cultural phenomenon. We will also examine the significance of Asian participation in the contemporary art world, tracing the rise of Asia’s involvement in the Biennale.

Prescribed Reading:

. Tan, Chang, “Telling global stories, one at a time: the politics and poetics of exhibiting Asian art”, World Art, vol. 5, no. 2 (2015): 307–330.

. Green, Charles and Gardner, Anthony. “Biennials of the South on the Edges of the Global,” Third Text 27, no. 4 (2013): 442-455.

Additional Readings:

. McCormick, Seth, “Exhibition as Proposition: Responding critically to the third mind [with Response]”, Art Journal, vol. 68, no. 3, (2009): 30-51.

. Clark, John. “Asian artists as long-distance cultural specialists in the formation of modernities” in Asia through Art and Anthropology: Cultural Translation across Borders, Fuyubi Nakamura, Morgan Perkins and Olivier Krischer, eds. (London: Bloomsbury, 2003) 19-32.

. Viau-Courville, Mathieu. “Museums without (Scholar-)Curators: Exhibition-making in times of managerial curatorship”, Museum International, vol. 68, no. 3/4 (2016): 11-32.

. Poshyananda, Apinan, et. al. Contemporary art in Asia: traditions, tensions (New York : Asia Society Galleries, 1996).

. Oren, Michel. “Contemporary art in Asia: Traditions/tensions,” Third Text 11, no. 41 (Jun 2008): 103-106.

Week 2: 3 March 2025

Re-imagining Asia: Art and Tradition

This lecture examines the propagation for a return to tradition and the emergence of a pan-Asian alliance within Asia. It will explore the development of various local modern art movements in light of nationalist sentiments – and then more recently in the contemporary contexts. The seminar that follows will focus on the current show, Elemental, at the Art Gallery of New South Wales, to consider the ways in which the juxtaposition between the traditional and the contemporary can serve dialogic and curatorial objectives in engaging the audience to rethink narratives of Asian art.

Prescribed Reading:

. Sambrani, Chaitanya. ‘New lanterns for old: how far can Australian engagement with Asia transcend old shibboleths? How new are the perspectives offered by the ‘New Asian Galleries’ at the Art Gallery of New South Wales’, Meanjin 63, no. 2 (2004): 65.

. Gralton, Beatrice et. al. “Curating Chinese Contemporary Art in an Australian context”, Australian and New Zealand Journal of Art, vol. 16, no. 2 (2016): 247-271.

Additional Readings:

. Ajioka, Chiaki. ‘Representation of Japanese Art at the Art Gallery of New South Wales’ in Educating in the Arts The Asian Experience: Twenty-four Essays, ed. Lindy Joubert (Dordrecht: Springer Netherlands, 2008) 103-120.

. Andrews, Julia and Shen, Kuyi, A century in crisis: modernity and tradition in the art of twentieth-century China (New York : Guggenheim Museum, 1998).

Week 3: 10 March 2025

Cultural politics and Asian artists in Australian Exhibitions

For this seminar we will examine the recent history of exhibiting Asian art in Australia against the politicisation of Asian identities and the making of Asian-Australian identities. This is part of a larger exploration of related issues centring around exhibition making and its politics in the context of Australia. Here, we will begin with Gallery 4A, the first institution in Australia focusing on the exhibiting of contemporary Asian art.

Prescribed Readings:

. Antoinette, Michelle, ‘A Space for ‘Asian-Australian’ art: Gallery 4A at the Asia-Australia Arts Centre’ in Journal of Australian Studies, Vol. 32, Issue 4, 531-524.

. Zhang, Tian. ‘Between Asia and Australia: Curating Asian-Australian Identities at 4A Centre for Contemporary Asian Art’, 4A Papers, issue 6, May 2019; See related essay: http://www.4a.com.au/4a_papers_article/talking-not-talking-race-curating-asian-australian-identities-early-years-4a/

Additional Readings:

. Jacqueline Lo, ‘Diaspora, Art and Empathy’, in The Bridge and the Fruit Tree: John Young - A survey, ed. Carolyn Barnes and Jacqueline Lo (Canberra: Australian National University Drill Hall Gallery, 2016), 19-43.

. Gralton, Beatrice et. al. “Curating Chinese Contemporary Art in an Australian context”, Australian and New Zealand Journal of Art, vol. 16, no. 2 (2016): 247-271.

Week 4: 17 March 2025

Finding the past in the present: Nusra Latif Qureshi (on site at AGNSW)

By Guest lecturer: Dr Matt Cox (Senior Curator)

Asian art and Asian artists are generally presented within museums and galleries in regard to their cultural affiliation and/or historical origins. However, this form of curatorial ethnography may present intellectual constraints for contemporary artists and for the ways in which museum collections are interpreted and displayed. This lecture examines the tension that arises between the tracings of culture and history presented within contemporary exhibitions with a focus on artist’s interventions and investigations into museum collections and collecting histories.

Prescribed Readings:

. Matt Cox, “Seeing memory”, in Nusra Latif Qureshi: Birds in Far Pavilions, edited by Matt Cox (Sydney: Art Gallery of New South Wales, 2024) 9-18.

. Sebastian De Line, “Weaving reflections”, Bauhaus Imaginista, Sept 2018: 1-15.

Additional Readings:

. Hal Forster, The artist as ethnographer, 1996

Week 5: 24 March 2025

Women re-modelling contemporary art worlds: Exhibitions, Collectives and Projects

This week’s topic discusses the histories of women’s exhibitions in Asia within the broader context of feminist art history. Interest in the histories of women artists, particularly in Asia, is observed to be a relatively recent phenomenon. How did the topic “Women artists” gain salience over the years? What does the general absence of women artists in history imply about women’s participation in the modern and contemporary art discourses? The seminar following the lecture will examine the most recent women-centred exhibition, Connecting Bodies: Asian Women Artists, as a case-study exemplifying how exhibitions are staged/viewed through gendered lens.

Prescribed Reading:

. Kee, Joan. “What is Feminist about Contemporary Asian Women’s Art?”, in Global Feminisms: New Directions in Contemporary Art (exh. cat.), Maura Reilly and Linda Nochlin, eds. (London and New York: Merrell Publishers and Brooklyn Museum, 2007) 107-121.

. [Exhibition catalogue] Connecting Bodies: Asian Women Artists (Seoul: National Museum of Modern and Contemporary Art, 2024) [selected chapters]

Additional Readings:

. Reilly, Maura. “Introduction: Toward Transnational Feminisms”, in Global Feminisms: New Directions in Contemporary Art (exh. cat.), Maura Reilly and Linda Nochlin, eds. (London and New York: Merrell Publishers and Brooklyn Museum, 2007) 15-46.

. Bianpoen, Carla, Wardani, Farah and Dirgantoro, Wulan. Indonesian women artists: The curtain opens (Jakarta: Yayasan Senirupa Indonesia, 2007) [Introduction].

. Low, Yvonne. “Women re-modelling art worlds: Exhibitions and Projects on Southeast Asian Women Artists (1990-2015),” The Journal of the Asian Arts Society of Australia 24, no. 4 (Dec 2015): 4-6.

. Wang, Peggy. "Tensile Strength: Threads of resistance in Lin Tianmiao's art" Positions, vol 28 (no. 1): 121-144.

Week 6: 31 March 2025

From Concept to Exhibition (Workshop Week)

More details on guest speakers will be provided.

This is followed by a tour and workshop at the Schaeffer Library in preparation for the second and third assignments. Please see canvas for further details.

Week 7: 7 April 2025

Recovering ritual in the museum

By Guest lecturer: Dr Matt Cox (Senior Curator)

It has been argued that objects made by artists for practical or ritual purposes do not abide by the same criteria used to evaluate contemporary art. Others have argued that the display of art tied to tradition and belief is relieved of its criticality and political agency when removed from its socio-political context. Looking at two exhibitions at the Art Gallery of New South Wales, this lecture discusses how contemporary artists work to recover ceremony, ritual and sacredness within definitions of the art of today.

Prescribed Readings:

. Matt Cox, “Khaled Sabsabi: A promise at the Art Gallery of New South Wales”, in Khaled Sabsabi, (Bandicoot Publishing, 2022) 124-142.

. Alex Gawronski, “Art is not magic”, Di’van: A journal of Accounts Art-Culture-Theory, (Sydney: UNSW, 2017) 108- 123.

Week 8: 14 April 2025

Re-alignments: Asia in Triennials and Asian Triennials

This seminar explores the role Triennials have played in shaping the production and reception of contemporary Asian art. We will briefly discuss the rise of Triennials in the history of international exhibitions. This is followed by a critical examination on regional developments, such as the roles Australia and Japan have variously played in spearheading and driving certain initiatives in the Asia-Pacific/Asia region (namely, the Fukuoka Asian Art Triennial and the Asia-Pacific-Triennial).

Prescribed Readings:

. Clark, John. “Histories of the Asian ‘New’: Biennales and Contemporary Asian Art” in Vishakha N. Desai, ed., Asian Art History in the Twenty-First Century (Williamstown, New Haven and London: Clark Institute and Yale University Press, 2007).

. Maravillas, Francis. “Cartographies of the Future: The Asia-Pacific Triennials and the Curatorial Imaginary,” in Clark, John, Peleggi, Maurizio, and Sabapathy, T.K., eds., Eye of the Beholder: Reception, Audience and Practice of Modern Asian Art, (Wild Peony, Sydney: 2006), 244-270.

Additional Readings:

. Clark, John. “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 (New York, N.Y.), 2006. Online

. Turner, Caroline. “Introduction: Internationalism and Regionalism: Paradoxes of Identity”, in Turner, Caroline, ed. Tradition and Change: Contemporary Art of Asia and the Pacific (Brisbane: University of Queensland Press, 1993), xii-xviii.

. Schoppert, Peter. “Asia in the 50th Venice Biennale of Art 2003”, Inter-Asia Cultural Studies 6, no. 1 (Aug 2006): 136-140.

MID-SEMESTER BREAK 18-25 April 2025

Week 9: 28 April 2025

Presentation Week 1

This is the first of two presentation weeks scheduled for this course. There are no prescribed reading this week. Please see canvas for more details.

Week 10: 5 May 2025

Presentation Week 2

This is the first of two presentation weeks scheduled for this course. There are no prescribed reading this week. Please see canvas for more details.

Week 11: 12 May 2025

Private and Public Collections: Framing ‘China’ and ‘Chineseness’

This seminar continues off from the previous to explore the history and significance of collecting and exhibiting Chinese art. Students will be given the opportunity to examine two case-studies, a current White Rabbit Gallery exhibition and The China Project (2009) by Gallery of Modern Art, Queensland, that have shaped the narratives on contemporary Chinese art.

Prescribed Reading:

. O’ Riordan, Maurice. “Spirited Moment Endures: The White Rabbit Gallery, Sydney” [online]. Art Monthly Australia, no. 223, (Sept 2009): 12-13.

. Bell, David. “White Rabbit, contemporary Chinese arts and soft power in Sydney’s Chippendale” in China in Australasia: Cultural diplomacy and Chinese arts since the Cold War, eds. James Beattie et al. (London: Routledge, 2019) 133-150.

. [Excerpts] The China Project, catalogue, (Brisbane: Queensland Art Gallery, 2009).

Additional Readings:

. Smith, Terry, ed., Contemporary Art + Philanthropy: Pubic Spaces/Private Funding, Foundations for Contemporary Art, Sydney, UNSW Press in association with the Sherman Contemporary Art Foundation, 2009.

. Humphries, Oscar. “Made in China: Judith Neilson and her husband Kerr founded the White Rabbit Gallery in Sydney, which displays Chinese art produced after the year 2000. She spoke to Apollo about why she wanted to share her collection.” Apollo, Nov. 2011, p. 30.

. Keenan, Elizabeth, The big bang : contemporary Chinese art from the White Rabbit Collection (Sydney: White Rabbit Gallery, 2010).

Week 12: 19 May 2025

From Collectivism to Individualism: Postwar Avant-Garde in Japan and South Korea

This lecture will explore the art worlds of Japan and Korea in so-called recovery modes, as they enter into a new social paradigm, and where they re-engage with the West and the broader international world. It begins with postwar Japan in the 50s-70s focusing on a new generation of artists keen to recover the momentum that characterized Japanese culture, and then followed by South Korea in the 70s, a country just broken free from military dictatorship. As the countries recuperate their culture from the various traumatic events, a shift in mentality could be discernable – namely, a questioning of the nature of art, and the role of the artist within the broader matrix of an international art-world system. This seminar will examine Guggenheim’s retrospective show on the Gutai and also the recent show on Lee Ufan at the AGNSW – all aimed to re-evaluate its role and contribution to the narrative of modernism in Japan/Korea and internationally.

Prescribed Readings:

. Munroe, Alexandra. “To Challenge the Mid-Summer Sun: The Gutai Group,” Japanese art after 1945: scream against the sky (New York: H.N. Abrams, 1994), 19-25

. Morley, Simon. “Dansaekhwa,” Third Text 27, no. 2 (2013): 189-207.

Background Readings:

. Tiampo, Ming. Gutai: decentering modernism (Chicago: The University of Chicago Press, 2011) [select chapters].

. Tatehata, Akira. "Mono-ha and Japan's crisis of the Modern", Third Text, vol. 13, no. 3 (2010): 223-236.

Week 13: 26 May 2025

A Coda: Exhibiting and Collecting “Contemporary Asian Art”

This concluding lecture takes stock of all the issues discussed as they are related to the circulation, exhibition and collection of modern and contemporary Asian art both inside and outside of Asia. Museums and galleries in the West struggle to re-consider their acquisition policies and re-think existing collection models in a bid to close the gap in their knowledge of Asian of the past century and to catch up on its present and future developments. One of the problems they faced was the lack of expertise in the field of modern and contemporary Asian art. On the other hand, institutions within Asia have themselves begun building its own collection and developing art historical knowledges. The seminar that follows will examine the challenges of making and exhibiting contemporary art in relation to issues of contemporaneity. It will look at the themes of dislocation and disillusionment when considering the obstacles encountered by contemporary artists struggling to enter the international art circuit

Prescribed Readings:

. Desai, Vishakha N. “Beyond the ‘Authentic-Exotic’: Collecting Contemporary Asian Art in the Twenty-First Century,” in Bruce Altshuler, ed., Collecting the New: Museums and Contemporary Art (Princeton and Oxford: Princeton University Press, 2007), 103-114.

. Hancox, Simone. “Art, activism and the geopolitical imagination: Ai Weiwei’s ‘Sunflower Seeds’,” Journal of Media Practice 12, no. 3 (2012): 279-290.

Background Readings:

. Bennett, Tony. “Exhibition, Difference and the Logic of Culture,” in Karp, Ivan et. al., eds., Museum Frictions: Public Cultures/Global Transformations (Durham: Duke University Press, 2006), 46-69.

. Chua, Kevin. “ Exhibiting Modern Asian Art in Southeast Art,” in Yishu: Journal of Contemporary Chinese Art 13, no. 2 (March/April 2014): 105-116.

. Clark, John. “Beyond the National, inside the Global” in Anderson, Jaynie, ed., Crossing Cultures: Conflict, Migration and Convergence [The Proceedings of the 32nd International Congress in the History of Art] (Carlton, Victoria: Melbourne University Press, 2009), 58-59.

. Gao, Minglu. “Changing motivations of Chinese Contemporary art since the mid 1990s,” Journal of Visual Art Practice 11, no. 2-3 (2012): 209-219.

Learning outcomes

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.

Outcomes
Graduate qualities

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

LO1. demonstrate a better understanding of major developments in modern and contemporary Asian art, both in and beyond Australia
LO2. demonstrate an appreciation for historical approaches to the collection and exhibition of Asian art
LO3. analyse narratives of Asian art within the field of art history and the exhibitionary context
LO4. critically evaluate the impact of the institutionalisation of Asian art both inside and outside of Asia
LO5. effectively articulate a sophisticated interpretation of this cultural production both verbally and in writing.

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
Learning outcomes

Responding to student feedback

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

Changes have been made in accordance to new AI policies and to feedback from previous iterations of the course. Curriculum and assignments have been refined for more work-integrated opportunities for students (this includes talks by professional curatorial staff and exhibition development opportunities).

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.

Current students

Overview

Overview

Unit details and rules

Teaching staff

Assessment

Assessment

Assessment summary

Assessment criteria

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

Late submission

Academic integrity

Learning support

Learning support

Simple extensions

Special consideration

Using AI responsibly

Support for students

Weekly schedule

Weekly schedule

Attendance and class requirements

Study commitment

Required readings

Learning outcomes

Learning outcomes

Graduate qualities

Outcome map

Responding to student feedback

Responding to student feedback

Disclaimer

On this page

Useful links

ARHT6937: Collecting and Exhibiting Asian Art

Semester 1, 2025 [Normal day] - Camperdown/Darlington, Sydney

Overview

Overview

Unit details and rules

Teaching staff

Assessment

Assessment

Assessment summary

Assessment criteria

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

Late submission

Academic integrity

Learning support

Learning support

Simple extensions

Special consideration

Using AI responsibly

Support for students

Weekly schedule

Weekly schedule

Attendance and class requirements

Study commitment

Required readings

Learning outcomes

Learning outcomes

Graduate qualities

Outcome map

Responding to student feedback

Responding to student feedback

Disclaimer

On this page

Useful links