THE HONG KONG POLYTECHNIC UNIVERSITY

General Education Centre

Subject Code: GEC1C28W

Subject Title: Contemporary Chinese & Western Art and Cultural Interactions
Medium of Instruction: English
Contact Hours: 39 hours
Teaching period: 6 Sept – 29 Nov 2019 (Fridays)
Time: 12:30 – 3:20pm
Venue: Y410

Offering Department: General Education Centre

Subject Teacher: Dr. Silvia Fok
Email: gesfok@ polyu.edu.hk
Tel: 3400-3152
Office: A510

Subject Objectives
Tracing art and cultural interactions between Europe, North America and Asia in particular in China
and Japan since the 16th century, this subject will discuss how contemporary Chinese art in the late
20th and early 21st century has emerged along with its western counterparts. Stylistic changes will be
analyzed and they will be placed within the contexts of production, reception and consumption of
art in China and elsewhere. A comparative approach to different aesthetic theories and cultural
values will be adopted so as to raise the students’ awareness of different history, cultures and
worldviews.

Learning Outcomes
On completion of this subject, students are able to:
1. Recognize the major artistic styles and interactions between Western art and Asian art;
2. Identify the major artistic styles in contemporary China;
3. Explain the different artistic communities active in different periods of time;
4. Describe the significant landmark exhibitions that help foster the development of contemporary
Chinese art;
5. Evaluate critically the overall development of contemporary Chinese art from the local and
international perspectives;
6. Enhance students’ literacy skills in reading and writing.

Teaching/Learning Methodology
Lectures
This subject will mainly be taught in the lecture format with textual, visual examples and video-based
images. In each lecture, 15 minutes will be allocated for question and answer session. Such an
interactive environment will allow participating students to reflect in real time upon some of the
materials, bringing up their questions, which require further explanation, as well as giving valuable
feedback to the lecturer.

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Tutorials
Students are required to discuss in teams the specific questions concerning the assigned material in
each tutorial, and then present to the other teams their interpretation and questions for that piece of
reading. The basic approach will be peer teaching in which each team in turn will facilitate discussion of
the assigned reading through a series of questions posed to the other teams.

Exhibition Visit
Students are required to make a 3-hour visit to different museums and galleries so that they are able to
have direct viewing experience of real artworks. They are required to write an exhibition review of 1000
words that will be due in week 7.

Individual Study
Students will be expected to complete the remainder of the 96 hours required for each credit hour
earned individually. Most of such effort should be devoted to reading which is designed to give the
student an essential training of empowerment in learning to study independently and effectively.

Schedule & Content

Week Date Time Lecture/Tutorial Remarks
1 6 Sept 19 12:30- Introduction to Subject Schedule and Requirements Group
3:30pm Art and Cultural Interactions between Europe and discussion
Asia: European’s Influences Upon Japanese Art, 1550- (0.9%)
1850
2 13 Sept 19 12:30- The Reception of European Art in Japan in the late Group
3:30pm nineteenth century discussion
(0.9%)
3 20 Sept 19 12:30- ELC liaison in-class support (1:00-1:30pm) Group
3:30pm Interactions between Chinese and European Art, from discussion
the seventeenth to the nineteenth centuries (0.9%)
Notes on writing exhibition review
Introduction to essay topic
3 21 Sept 19 2-3pm Museum Visit to M+ (With guided tour)
Five Artists: Sites Encountered
https://www.westkowloon.hk/en/sitesencountered/vi
sit-2866
https://www.westkowloon.hk/en/whats-on/current-
forthcoming/five-artists-sites-encountered

4 27 Sept 19 12:30- Interaction Among Europe, America and Asia in the Group
3:30pm Early Twentieth Century I discussion
(0.9%)
5 4 Oct 19 12:30- In-class short quiz 1 (10%) Group
3:30pm Interaction Among Europe, America and Asia in the discussion
Early Twentieth Century II (0.9%)
Submission of first draft to ELC: 6 Oct (SUN) 23:59
6 11 Oct 19 12:30- Chinese and European Art in the Era of War and Group
3:30pm Revolution I discussion

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 (0.9%)
7 18 Oct 19 12:30- Chinese and European Art in the Era of War and Group
3:30pm Revolution II discussion
Submission of exhibition review (1000 words) (20%) (0.9%)
8 25 Oct 19 12:30- In-class short quiz 2 (10%) Group
3:30pm Emergence of Contemporary Chinese Art since the late discussion
1970s I (0.9%)

9 1 Nov 19 12:30- Emergence of Contemporary Chinese Art since the late Group
3:30pm 1970s II discussion
Submission of second draft to ELC: 3 Nov (SUN) 23:59 (0.9%)
10 8 Nov 19 12:30- Art Ecology, Production and consumption, and Group
3:30pm discourses on contemporary Chinese art under discussion
globalization I (0.9%)
11 15 Nov 19 12:30- Art Ecology, Production and consumption, and Group
3:30pm discourses on contemporary Chinese art under discussion
globalization II (0.9%)
12 22 Nov 19 12:30- Art Ecology, Production and consumption, and Group
3:30pm discourses on contemporary Chinese art under discussion
globalization III (0.9%)
13 29 Nov 19 12:30- In-class short quiz 3 (10%)
3:30pm Submission of Essay (40%)

Assessment for this subject will be 100% coursework. They are composed of an exhibition review, a
visual quiz, an essay and participation in tutorial discussions of assigned readings. Details as followed:

Exhibition Review (20%):

Students are required to visit a current exhibition on contemporary art in Hong Kong and write a review
of the art exhibits in 1000 words. A review should include an objective description of the exhibition and
selected art exhibits (not more than 5 pieces) that have drawn your attention (8%) and subjective
interpretation and evaluation of the selected art exhibits (8%). Additional research on how others have
discussed, interpreted or evaluated these artworks can be included too (4%). You have to cite the source
of reference, including websites, exhibition leaflets, exhibition catalogues, journals and books. Images of
artworks should be included. A soft copy of the exhibition review should be submitted to Blackboard’s
turn-it-in to check plagiarism. The similarity index should not exceed 15%. You are required to submit a
hard copy of the exhibition review with the first page of the turn-it-in report to me in class on 18 Oct
2019.

Writing Requirements
All assignments should be properly typed in Times New Roman with a font size of 12 and 1.5 lines
spacing.

Images and Captions of artworks should be included: Name of artist, Title of artwork, Year/period of
production, medium, size

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Current Exhibitions in Hong Kong
Alisan Fine Arts, Aberdeen space
Departures
22/6-30/9
http://www.alisan.com.hk/en/exhibitions_detail.php?id=166

Blindspot Gallery, Wong Chuk Hang

Luke Ching Chin Wai: Liquefied Sunshine | South Ho Siu Nam: Force Majeure
10/9-2/11
https://blindspotgallery.com/exhibition/luke-ching-chin-wai-liquefied-sunshine-south-ho-siu-nam-force-
majeure/

M+ Pavilion, Art Park, West Kowloon Cultural District

Five Artists: Sites Encountered
7/6-20/10
https://www.westkowloon.hk/en/whats-on/current-forthcoming/five-artists-sites-encountered

The 15th Asia Contemporary Art Show

Conrad Hong Kong — Pacific Place, 88 Queensway, Hong Kong
4-7/10
https://www.asiacontemporaryart.com/shows/main/2019_Art_Shows/FALL_2019_EDITION/en/

Refer to Website and Mobile App for Arts-related CAR Subjects

Essay (40%):
Students are required to submit a research essay of 2500 words in English to fulfill the “English Writing”
requirement. This is the most important piece of coursework for this subject. It examines and develops
student’s written presentation skills.

For the topic of the essay, students are free to select any of their interest. They are expected to do a
research on one contemporary Chinese artist. Their analysis should reflect the depth of their research.
They should provide a clear and coherent paper in an analytical and argumentative manner with proper
citations and a list of references.

10% of this writing assessment will be conducted by ELC. A soft copy of the essay should be submitted to
Blackboard’s turn-it-in to check plagiarism. Please submit a hard copy of the essay with the first page of
the turn-it-in report to me in class on 29 Nov 2019. The similarity index should not exceed 15%.

In order to pass this subject, students must pass the writing component, i.e., attain a minimum grade
“D” in the writing component.

Harvard Citation Style (includes the page no. of the book or article)
In-text Citation:
There are two groups of sculptures from the Sanxingdui Culture (Wu 1997, p. 274).
List of References:

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Wu, Hung 1997, “All About the Eyes: Two Groups of Sculptures from the Sanxingdui Culture”,
Orientations: The Magazines for Collectors and Connoisseurs of Asian Art, vol. 3, no. 8, pp. 274-282.

Writing Requirements
All assignments should be properly typed in Times New Roman with a font size of 12 and 1.5 lines
spacing.

Images and Captions of artworks should be included: Name of artist, Title of artwork, Year/period of
production, medium, size.

List of artists for essay topic

Ai Weiwei Ding Yi
Cai Guoqiang Fang Lijun
Geng Jianyi Gu Wenda
Hong Hao Huang Rui
Huang Yongping Li Shan
Lin Tianmiao Lin Yilin
Liu Xiaodong Liu Wei
Mao Xuhui Qiu Zhijie
Song Dong Song Yongping
Wang Jin Wang Keping
Wang Gongxin Wang Guangyi
Wang Jinsong Wu Shanzhuan
Xu Bing Yin Xiuzhen
Yu Youhan Yue Minjun
Zhang Dali Zhang Hongtu
Zhang Peili Zhang Xiaogang

Visual Quiz (30%):

Three in-class short quizzes will be conducted in the multiple-choice format in class, covering all the
contents in lectures. You may bring the printed materials and books to attend the quiz. No electrical
device is permitted.

Participation (10%):
Attendance and participation in discussion even debate are considered very important. It is crucial that
students come to all lectures and tutorials, and also turn up on time. A roll of attendance will be kept
and certain ground rules for class participation will be set. It counts for 10% of the total grade. Marks
will be deducted for each unexcused absence.

Textbook
Fok, Silvia. Art and Cultural Interactions. Singapore: McGraw-Hill Education (Asia), 2014.

Bibliography
Clarke, David. Hong Kong Art: Culture and Decolonization. Hong Kong: Hong Kong University Press, 2001.

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_____. “Found in Transit: Hong Kong Art in a Time of Change.” Inside Out: New Chinese Art. Berkeley:
University of California Press, San Francisco Museum of Modern Art and Asia Society Galleries,
1999.
Debevoise, Jane. Between State and Market: Chinese Contemporary Art in the Post-Mao Era. Leiden,
Boston: Brill, 2014.
Galikowski, Maria. Art and Politics in China 1949-1984. Hong Kong: Chinese University Press, 1998, 175-
245.
Gao Minglu. “From Elite to Small Man: The Many Faces of a Transitional Avant-garde in Mainland
China.” Inside Out: New Chinese Art. Berkeley: University of California Press, San Francisco
Museum of Modern Art and Asia Society Galleries, 1999, 149-166
Hou Hanru and Gao Minglu. “A Conversation on the Situation of Overseas Chinese Artists in the 1990s.”
Inside Out: New Chinese Art. Berkeley: University of California Press, San Francisco Museum of
Modern Art and Asia Society Galleries, 1999, 183-189.
Landsberger, Stefan. Chinese Propaganda Posters: From Revolution to Modernization. Armonk, N.Y.: M.E.
Sharp, 1995, 17-63.
Li Xianting. “An Introduction to the History of Modern Chinese Art.” China Avant-Garde: Counter-
Currents in Art and Culture. Hong Kong: Oxford University Press, 1993, 40-45.
Liao Wen. “The Turbulent History of Chinese Feminist Values and Art.” Chinese Art at the End of the
Millennium, Chinese-art.com 1998-1999. Hong Kong: New Media Art Limited, 2000, 67-71.
Lu, Victoria Y. “Striving for a Cultural Identity in the Maze of Power Struggles: A Brief Introduction to the
Development of the Contemporary Art of Taiwan.” Inside Out: New Chinese Art. Berkeley:
University of California Press, San Francisco Museum of Modern Art and Asia Society Galleries,
1999, 167-173.
Qian Zhijian. “The Changing Role of Critics in the 1990s.” Chinese Art at the End of the Millennium,
Chinese-art.com 1998-1999. Hong Kong: New Media Art Limited, 2000, 25-28.
Sullivan, Michael. “After Mao: Art Enters a New Era.” Art and Artists of Twentieth- Century China.
California: University of California Press, 1996, 215- 281.
_____. “China and European Art.” “Europe and Chinese Art, 1600-1900.” & “The Revolution in Chinese
Art.” The Meeting of Eastern and Western Art, Revised and Expanded Edition (A Philip E.
Lilienthal book). California: University of California Press, 1997, 80-87, 89-117, 171-207 (71
pages).
_____. “Europe and America: From 1850 to the Present Day.” The Meeting of Eastern and Western Art,
Revised and Expanded Edition (A Philip E. Lilienthal book). California: University of California
Press, 1997, 209-270.
The First Guangzhou Triennial, Reinterpretation: A Decade of Experimental Chinese art (1990-2000).
Exhibition Catalogue. Curated by Wu Hung with Wang Huangsheng and Feng Boyi. Guangzhou:
Guangdong Museum of Art: Art Media Resources, c. 2002, 10-21.
Wu Hung. Exhibiting Experimental Art in China. Chicago: The David and
Alfred Smart Museum of Art; The University of Chicago, c. 2000, 9-46.
______. “Ruins, Fragmentation, and the Chinese Modern/Postmodern.” Inside Out: New Chinese Art.
Berkeley: University of California Press, San Francisco Museum of Modern Art and Asia Society
Galleries, 1999, 59-66.
Yang Wei. “A Look at Chinese Contemporary Art after the Move from Yuanmingyuan to Songzhuang.”
Chinese Art at the End of the Millennium, Chinese-art.com 1998-1999. Hong Kong: New Media
Art Limited, 2000, 111-116.

A note on style and policy

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In order to be fair to students who hand in their work on time, all deadlines for assignments will be non-
negotiable, except where a doctor’s note, etc is produced. No extension will be granted. Please take
care about time management, planning your workload in advance. Late essays will (if accepted at all) be
subject to a loss of marks, depending on the length of the delay in submission. This could result in an
essay failing together.

Plagiarism is the presentation of work, idea or creation of another person as though it is your own. It
occurs when the origin of the material used is not properly cited. Students are reminded that
plagiarism is a serious act of academic dishonesty. Apart from any other action taken, plagiarism will
immediately lead an essay to be given a fail grade.