Tue 17 Nov, 12pm
How do faith, religion and belief shape communities and how is this reflected in the art that is produced? Inspired by works in the NGV Collection and drawing on the expertise of Asia Society, explore the relationship between faith, art and society in a series of conversations – starting in September with Confucianism.
Presented in partnership with Asia Society Australia.
Paul Gladston is the Judith Neilson Professor of Contemporary Art at the University of New South Wales, Sydney. He was previously Professor of Contemporary Visual Cultures and Critical Theory and inaugural Director of the Centre for Contemporary East Asian Visual Cultures at the University of Nottingham, and before that he was the Head of the School of International Communications and Director of the Institute of Comparative Cultural Studies at the University of Nottingham Ningbo, China. He has written extensively about contemporary Chinese art with particular reference to the concerns of critical theory.
Professor Eva Man is the Director of Film Academy and Chair Professor in Humanities of Hong Kong Baptist University. She publishes widely in comparative aesthetics, comparative philosophy, woman studies, feminist philosophy, cultural studies, art and cultural criticism. She contributes public services to the Hong Kong Arts Development Council, Hong Kong Museums Advisory Committee and Hong Kong Public Libraries and other committees for LCSD and Home Affairs Bureau of HKSAR, and Hong Kong Jockey Club’s Arts and Cultural Heritage projects.
Jin Kai is Research Fellow at Yonsei Institute for Sinology, Yonsei University, South Korea, and Non-Resident Scholar at Sigur Center for Asian Studies, Elliott School of International Affairs, George Washington University. He is a contributing author for The Diplomat, and is the author of Rising China in a Changing World: Power Transitions and Global Leadership (Palgrave Macmillan, 2017).
Sunglim Kim is an associate professor of Korean art history at Dartmouth College. Her research interests include the rise of consumer culture in the late Joseon dynasty, the role of professionals (jungin) in the production, distribution, collection, and consumption of art in 18th and 19th century Korea, and Korean women artists. She has authored the book Flowering Plums and Curio Cabinets: The Culture of Objects in Late Chosŏn Korea (Univ. of Washington Press, 2018), and numerous articles and book chapters, including ‘Seundja Rhee: Her Vision and Artistic Development’ (2018), ‘The Personal is Political: The Life and Death and Life of Na Hye-Sŏk’ (2017), ‘Is Seeing Believing? A Critical Analysis of Japanese Colonial Photographs of Korea’ (2017), ‘Lost and Found: Go Hui-dong and Diamond Mountain’ (2016), ‘Defining a Woman: The Painting of Sin Saimdang’ (2016), ‘Chaekgeori: Multi-Dimensional Messages in Late Joseon Korea’ (2014), and ‘Kim Chŏng-hŭi (1786-1856) and Sehando: The Evolution of a Late Chosŏn Korean Masterpiece’ (2006). She co-organized the traveling exhibition The Power and Pleasure of Possessions in Painted Korean Screens and co-edited its exhibition catalogue (2017). She is currently working on another traveling exhibition, on the contemporary artist Park Dae-Sung, and is writing her book on the women artists of modern and contemporary Korea.
Wayne Crothers is Senior Curator of Asian Art at the National Gallery of Victoria (NGV). He was the lead curator of the 2019 Melbourne Winter Masterpieces exhibitions Terracotta Warriors: Guardians of Immortality and Cai Guo-Qiang: The Transient Landscape. He lived in Japan for more than eighteen years and has researched extensively on Chinese, Indian and South-East Asian art. He completed a Master of Fine Arts at Tama Art University, Tokyo, lectured for six years at Tokyo’s Musashino Art University and held guest lecturing residencies at the Sichuan Fine Arts Institute, China; Australian National University, Canberra; Lafayette College, Pennsylvania, USA and the Joan Miro Foundation, Spain.
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