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Subject: 	Modern Art Asia Issue 10 and Call For Papers - deadline July 28th
Date: 	Fri, 8 Jun 2012 15:43:06 +0100 (BST)
From: 	Modern Art Asia <[log in to unmask]>
Reply-To: 	Modern Art Asia <[log in to unmask]>

Issue 10, Call for Papers,
	
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         Next deadlines: Papers: September 1st, Reviews: July 28th

         The editors invite graduate students and early career scholars
         working on the arts and material cultures of Asia from the
         eighteenth century to the present to submit previously
         unpublished papers of 4,500-10,000 words for peer-review. Modern
         Art Asia aims to take an interdisciplinary and innovative
         approach to the study of Asia, and will consider papers on media
         and experiments that stretch the parameters of ‘fine art’. We
         are also seeking students and journalists interested in becoming
         regular correspondents or in submitting shorter journalistic
pieces.

         Visit modernartasia.com/contribute.html

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         Click here for further informationC

	


   Issue 10 is now online.

  This issue examines how changes in context affect art production,
concentrating on artists and works made in transitional moments of
upheaval or confrontation. Eiren Shea Warneck's paper on Chinese painter
Zao Wou-ki examines how traditional art historical contexts continue to
be influential within a cosmopolitan diaspora, against a background of
emigration and exile rendered by political events. Erin Kelley's paper
considers the visual culture of early Japanese feminist publications,
examining how their progressive aesthetics came to be distinct from
conventional and mainstream Japanese representations during the early
twentieth century. Caleb Simmons' piece on representations of the
goddess Durga in works by contemporary artists, both in India and
internationally, describes the valency of traditional iconographies
within a globalised discourse, while Regina Höfer's article on Tibetan
artist Sonam Dolma similarly interrogates the impact of tradition and
stereotyping on the international reception of Tibetan contemporary art.
Yang Wang reviews the recent Chengdu biennale, critically examining the
role of culture in urban regional development. The issue concludes with
a portfolio of detailed sketches, photographs and new paintings by Peter
Davidson exploring the aftermath of the Tohoku earthquake, accompanied
by an eye-witness account of his recent visit to Ishinomaki, one of the
worst affected regions in Japan.
This issue focuses on reception, asking how the reception of an image is
determined by assumptions about the ethnic identity of the creator, the
medium in which it is executed, and the involvement of the body within
the work. Each papers interrogates how images are both seen and not
seen, and what types of information are revealed, concealed, or latent
in the image.

We open with Linda Lau's discussion of Ricky Leung's /Man and Cage/, a
visceral bodily performance that attempted to make visible to Hong
Kong's indifferent privileged elites the problem of urban overcrowding.
Susie An's paper offers a rare insight into the visual culture of North
Korea, exposing a famine that the state unsuccessfully attempted to
conceal from both domestic and international witnesses. She applies
analyses of photographic objectivity to emphasise with the experience of
the suffering embodied subject, and hypothesis about how these images
are received by the ethnically-linked South Korean population. Orin
Zahra's paper examines the influences on and reception of Natvar
Bhavsar's oeuvre. Long considered an imitator of Abstract Expressionism,
Zahra's revisionist paper examines instead how Bhatsvar's spiritual and
gestural work assimilates aspects of American modernism within a
worldview and creative praxis that can be deemed Indian. Yu Yang's study
of the architectural projects of Endo Arata, a Japanese architect
influenced by Frank Lloyd Wright and active in China, explores the
ambiguous relationship between Japanese expansionist ideology and its
manifestation in modernist creative expression, received variously
as“Western”, “Japanese”, and “Manchurian” . We conclude with Sandy Ng's
discussion of paintings by Lin Fengmian that are no longer extant, again
engaging with theories of photography, specifically those of Benjamin,
to ask whether the experience of a work of art can be adequately
reconstructed through reproduction and ekphrasis.


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*In June we'll be publishing a print anthology of research papers from
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*Editor Amy Jane Barnes has been involved in curating the London 2012
Cultural Olympiad.  Read more about the exhibition at
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