Wu Hung

Wu Hung

Harrie A. Vanderstappen Distinguished Service Professor of Art History, East Asian Languages and Civilizations, and the College; Director, Center for the Art of East Asia; Consulting Curator, Smart Museum of Art
274 Cochrane-Woods Art Center
773.702.0274

Ph.D. Harvard University - Early Chinese Art. Special research interests include relationships between visual forms (architecture, bronze vessels, pictorial carvings and murals, etc.) and ritual, social memory, and political discourses.

Selected Publications

  • Art of the Yellow Spring: Rethinking East Asian Tombs. (Cambridge, Mass.: Harvard University Press, in progress).
  • 3000 Years of Chinese Sculpture, 2006 co-author, (New Haven and Beijing: Yale University Press and China Foreign Languages Press).
  • Body and Face in Chinese Visual Culture, 2005 co-editor, (Cambridge: Mass.: Harvard University East Asian Publication).
  • Liyi zhongde meishu (Art in its ritual context), 2 vols., (Beijing: Sanlian shudian).
  • Between Han and Tang: Visual and Material Culture in a Transformative Period, 2003 editor, (Beijing: Wenwu Publishing House. (Chinese and English)).
  • "Rethinking East Asian Tombs: A Methodological Proposal," ed. Elizabeth Cropper, Dialogues in Art History (Washington, D. C., Center for Advance Study in the Visual Arts, work in progress).
  • "On Tomb Figurines - The Beginning of a Visual Tradition," in Wu Hung and Katherine Mino, ed., Body and Face in Chinese Visual Culture, (2005).
    2004 "Dunhuang 323 ku yu chu Tang fojiao" (Dunhuang Cave 323 and Early Tang Buddhism), in Sarah Fraser, ed., Tang Song de fojiao yu shehui: Siyuan caifu yu shisu gongyang (Merit, Opulence, and the Buddhist Network of Wealth).
  • "The Admonitions Scroll Revisited: Iconology, Narratology, Style, Dating," in Shane McCausland, ed., Gu Kaizhi and the Admonitions Scroll. (London: British Museum Press, 2003,) pp. 89-99.
  • "Monumentality of Time: Giant Clocks, the Drum Tower, the Clock Tower," in Robert S. Nelson and Margaret Olin, eds., Monuments and Memory: Made and Unmade, (Chicago: University of Chicago Press, 2003,) pp. 107-32.
  • "On Rubbings - Their Materiality and Historicity," in Judith Zeitlin and Lydia Liu, ed., Writing and Materiality in China, (Cambridge, Mass.: Harvard University East Asian Publication, 2003,) pp. 29-72.
  • Xu Bing: Yancao jihua (Xu Bing: Tobacco project), (Beijing: Renmin daxue chubanshe, forthcoming).
  • Zuopin yu zhanchang: Wu Hong lun dangdai Zhongguo yishu (Art and exhibition: Wu Hung on contemporary Chinese art), (Guangzhou: Lingnan meishu chubanshe, 2005).
  • Remaking Beijing: Tianmen Square and the Creation of Political Space, (London and Chicago: Reaktion Books and University of Chicago Press, 2005).
  • Phantasmagoria: Recent Photographs by Miao Xiaochun, (Chicago: Walsh Gallery, 2004).
  • Rong Rong and inri: Tui-Transfiguration, (Beijing and Hong Kong: Timezone 8, 2004).
  • Between Past and Future: New Chinese Photography and Video, co-authored with Christopher Philips, (New York and Chicago: International Center of Photography and Smart Museum of Art, 2004).
  • Rong Rong's East Village, (New York: Chambers Fine Arts, 2003).
  • "A Case of Being 'Contemporary' - Conditions, Spheres, and Narratives of Contemporary Chinese Art," in Terry Smith and Okwui Enwezor, eds, Antinomies of Art and Culture: Modernity, Postmodernity, Contemporaneity. (Duke University Press, 2007, forthcoming).
  • "Gu Wenda Tangshi houzhu de 'jinianbei xing' he 'fan jinianbei xing'" (Monumentality and anti-monumentality in Wenda Gu's Forest of Stone Steles), in Wenhua fanyi: Gu Wenda Beilin - Tangshi houzhu (Cultural translation: Wenda Gu's Forest of Stone Steles - Retranslation and Rewriting of Tang poetry), (Guangzhou: Lingnan chubanshe, 2005,) pp. 294-301. An English version of the article (translated by Mao Weidong) is in (Yishu, December 2005,) pp. 51-58.
  • "Neizai de shikong" (Interior time/space), in Zeng Hao, (Shenzhen, He Xiangning Art Museum, 2005,) pp. 20-23.
  • "Phantasmagoria: Recent Photographs by Miao Xiaochun," in Yishu: Journal of Contemporary Chinese Art, (September, 2005,) pp. 73-89.
  • "Negotiating Beauty in Contemporary Art - An Exhibition" (English and German), in Uber Schoneheit (About Beauty), (Berlin: Haus der Kulturen der Welt, 2005,) pp. 18-39
  • "Kongjian de xushi: Sange "shijianxing" zhanlan de cehua" (Narration through Space: Curating three "temporal" exhibitions), in Dangdai yishujia zhi yan, (December 2004, Museum of Contemporary Art, Taipei,) pp. 47-69.
  • "Refashioning 'Water and Ink': On Materiality in Contemporary Chinese Art," in Rethinking of Orientalness in Visual Art, East-West Interculture Comparative Studies III. (Seoul: Korean National Commission for UNESCO, Gwangju Biennale Foundation, Seoul National University, and Society of Contemporary Art Scient, 2004,) pp. 141-56.
  • "Yancao jihua" (Tobacco project), in Yishu shijie (Art world), no, 172 (September 2004,) p. 66.
  • "Tui-Transfiguration: An Experimental Exhibition at Factory 798," in Huang Rui_,_ eds., pp. Beijing 798: Reflections on Art, Architecture and Society in China (Beijing: Timezone 8, 2004,) pp. 58-69.
  • "Intersection: An Exhibition of Contemporary Chinese Photography and Oil Painting," in Wu Hung, Intersection: Contemporary Oil Painting and Photography. (New York: Chambers Fine Arts, 2004,) pp. 6-17.
  • "Between Past and Future: A Short History of Contemporary Chinese Photography," in Wu Hung and Christopher, Between Past and Future: New Photography and Video from China," (Yishu: Journal of Contemporary Chinese Art. New York and Chicago: International Center of Photography and Smart Museum of Art, 2004,) pp. 11-36.
  • "About Between Past and Future: New Photography and Video from China," (Yishu: Journal of Contemporary Chinese Art, June 2004,) pp. 5-14.
  • "Contemporaneity in Experimental Chinese Photography," in Tina Yapelli, ed., Zooming into Focus: Contemporary Chinese Photography and Video from the Haudenschild Collection, (San Diego: University Art Gallery, San Diego State University, 2003,) pp. 15-17.
  • "'Shijing' houxiandai" ("Vernacular" Post-Modern), (Dushu 288, March 2003,) pp. 85-90.
  • "Three Persistent Individualists," (Art AsiaPacific 37, 2003,) pp. 91-93.
Education 

Ph.D. Harvard University - Early Chinese Art.