SYLLABUS (subject to change) History of Art R1B, section 16, Spring 2012 Topics in Modern and Contemporary Asian

Art Mondays and Wednesdays, 5.30-7pm, 263 Dwinelle Instructor: Dr. Orna Tsultem Email: spring2012teaching@gmail.com Office Hours: Fridays, 1:30-3.30pm, FSM caf (or by appointment) Mailbox: 416 Doe Library, History of Art Department Office

The course will discuss some critical issues of art production during totalitarian regimes taking art of Mao Zedongs China, Soviet Union, and socialist Mongolia as cases of comparison. We will look at selected art works, watch episodes of classical cinematography, and read literary prose to expand our understanding of art and artists role in a society, artists uneasy struggle with ideological constraints and censorship. The course will introduce to the questions about socialist propaganda through art and Sovietimposed style of socialist realism discussed by many scholars in the field. And yet, we will also consider cases of artistic experimentation and personal search in works of P. Baldandorj, G. Sosai, and Fu Baoshi, among others, to open new perspectives of looking at art of this period beyond strictly political agenda. One of the issues this course will be dealing with this fall is how artists find their own understanding of tradition in a modern society? Although such new terms and trends as guohua (national style) and Mongol Zurag (Mongol painting) were specifically invented in the course of the turmoil twentieth century, efforts to retrieve tradition during the Soviet-dominated era continue even today in post-Soviet modern days. Required Texts: All readings and lecture images will be posted in PDF format online on the course website at bSpace. Required Writing and Due Dates: Visual Analysis paper Comparison Paper Quiz Outline and Annotated Bibliography Research Paper February 1 and 13 February 22 and March 7 March 5 April 4 May 7

Grades: Your grade will be based on successful completion of all writing assignments and active participation in discussion. The overall composition of the final grade is based on the following: Visual Analysis Paper: Comparison Paper: Research Paper Quiz: 15% 20% 25% 10% 1

Attendance and Participation Outline and Bibliography Rough Drafts Peer Reviews

10% 5% 5% 10%

Visual Analysis Paper: (2-3 pages) Visual analysis and observation paper. Comparison Paper: (5-6 pages) Essay based on comparison and outside sources. Research Paper: (8-10 pages) Research-based paper, in which you will find and use a selection of articles and books to build an argument. Possible paper topics will be presented in class. NOTE: All writing assignments must be typed, in 12 pt. font, and double-spaced. First drafts of papers will not be graded; however, turning in a hasty first draft that does not show much thought or work will affect your final draft grade, and you will lose 5% of your overall grade. DO NOT turn in papers late; this will seriously compromise your ability to keep up with the class and will greatly affect the peer review sessions. Late Papers will receive a half letter grade for every day they are late (from 90 to an 85). Papers are due at the beginning of class: thus papers not turned in by 5:40 pm on a due date will be counted as one day late. Other Course Requirements: Consistent attendance, reading of assigned texts, active participation in discussion, and in-class writing assignments are all required for this class. Attendance is a crucial element of this class. Students who do not attend the first day of class, or who miss more than two classes, will be dropped from the course at my discretion. I will allow two unexcused absences during the semester (which may NOT fall on days when Peer Reviews are due). Each subsequent unexcused absence will drop your participation grade within the course a whole letter grade (from A to B). Also note that class starts at 5:40 pm. Excessive tardiness will affect your participation grade. Every effort will be made to accommodate scheduled absences due to conflicts, provided that the student notifies the instructor at the beginning of the semester. If an emergency develops, notify me immediately. Class participation is mandatory in a course of this nature. I expect for you to come to class prepared and for you to participate in discussions. If you find speaking in class difficult, I recommend coming with a few notes or questions on the assigned reading written down. These guiding ideas will help you make inclass comments. In order for discussion to work well, we must have a friendly and positive atmosphere. Your classmates must feel safe in expressing opinions and offering up their personal ideas. This is my responsibility as well as yours: thus, be courteous and considerate when discussing yours and others opinions. Reading assignments must be completed by the day they are discussed (the date under which a reading assignment is listed on the syllabus is the date by which it is due to be read). You are expected to bring the assigned reading to class that day and week (Monday and Wednesday), since we will often 2

discuss particular passages from the text. Writing exercises will be given in class or as take home assignments. They will be short and open-ended, usually lasting 10 or 15 minutes. They will often focus on the assigned reading, but other topics will also come up as the course progresses. Academic Honesty: Plagiarism consists of duplicating, copying, or paraphrasing directly from a book, periodical, or website without acknowledging or documenting the author of the said material. Plagiarism includes directly copying from a text as well as taking original ideas, not presented for example in class, as your own. The assignments given in this class are designed for you to present your ideas and not those of others. You must cite material from other sources with quotations and footnotes. Correct formatting for such citations will be discussed in class. If you are unsure about what constitutes plagiarism, please get in touch with me before the assignment is due. Plagiarism will result in an F (0) on that assignment. Cheating is also not allowed. Any student caught cheating on an exam or paper assignment will be given an F (0) on that assignment and may be subject to disciplinary action through the University review board, which may result in suspension. If you are a student with a disability that requires course modifications or accommodations, please inform me by the end of the first class meeting. We will need to discus and agree upon what modifications or accommodations are appropriate for your situation. Schedule of Lectures, Readings, and Assignments UNIT I: MODERNITY AND TRADITION WEEK 1. End of Buddhist nation in Mongolia Wednesday, January 18. Required Reading: Morris Rossabi, Mongolia: From Chinggis Khan to Independence in Patricia Berger and Terese Tse Bartholomew eds., Mongolia: The Legacy of Chinggis Khan (Thames and Hudson, 1995), 2549. Rosenwasser, David, and Jill Stephen. Writing Analytically (Fifth edition). Boston: Thompson Wadsworth, 2009. Chapter 1: "Analysis: What It Is and What It Does," 3-16. ***First paper assigned. Rough draft due February 1. Final draft due February 13th. WEEK 2: Imperial Dynasty Ends in China Monday. January 23. Visual Analysis. Workshop. 3

Required Reading: Angela Zito, Signifying Emperorship: Of Portraits and Princes in Of Body and Brush: Grand Sacrifice as Text/Performance in Eighteenth-Century China (The University of Chicago Press, Chicago, London, 1997), 14-50. Rosenwasser, David and Jill Stephen. Writing Analytically (Fifth edition). Boston: Thompson Wadsworth, 2009. Chapter 2: Counterproductive Habits of Mind. Wednesday, January 25. Thesis Statement Workshop. Required Reading: Kuiyi Shen, Patronage and the Beginning of a Modern Art World in Late Qing Shanghai in Jason C. Kuo ed., Visual Culture in Shanghai: 1850s-1930s (Washington, DC: New Academia Publishing, 2007), 13-28. Rosenwasser, David, and Jill Stephen. Writing Analytically (Fifth edition). Boston: Thompson Wadsworth, 2009. Chapter 3: "A Toolkit of Analytical Methods," 31-48. Rosenwasser, David, and Jill Stephen. Writing Analytically (Fifth edition). Boston: Thompson Wadsworth, 2009. Chapter 12: "Recognizing and Fixing Weak Thesis Statements," 193-202. WEEK 3. Monday, January 30. NO CLASS (at UC Merced) Required Reading: Rosenwasser, David, and Jill Stephen. Writing Analytically (Fifth edition). Boston: Thompson Wadsworth, 2009. Chapter 4: "Interpretation: What It Is, What It Isn't, and How to Do It," 49-72. Wednesday, February 1. Required Reading: Leo Ou-fan Lee Shanghai modern: reflections on urban culture in China in the 1930s Dilip Parameshwar Gaonkar ed., Alternative Modernities (Durham, NC: Duke University Press, 2001). Rosenwasser, David, and Jill Stephen. Writing Analytically (Fifth edition). Boston: Thompson Wadsworth, 2009. Chapter 5: "Analyzing Arguments," 73-92. Rosenwasser, David, and Jill Stephen. Writing Analytically (Fifth edition). Boston: Thompson Wadsworth, 2009. Chapter 13: "Reading Analytically," 205-214. ***First paper rough draft due. Bring 2 copies for peer review. WEEK 4. The Quest for New Art Monday, February 6. 4

Required Reading: Thomas Nivison Haining Between the Kremlin and the Forbidden City in Shirin Akiner ed., Mongolia Today (London and New York, 1991), 32-56. Nakami Tatsuo, Russian Diplomats and Mongol Independence, 1911-1915 in Stephen Kotkin and Bruce Al Elleman eds., Mongolia in the Twentieth-Century (M.E. Sharpe: Armonk, New York, London, 1999), 69-78. Rosenwasser, David, and Jill Stephen. Writing Analytically (Fifth edition). Boston: Thompson Wadsworth, 2009. Chapter 6: "Topics and Modes of Analysis," 93-105. ***Peer review is due. Wednesday, February 8. Required Reading: Fujiko Isono The Mongolian Revolution of 1921 in Modern Asian Studies, Vol. 10, No. 3 (1976), 375-394. Rosenwasser, David, and Jill Stephen. Writing Analytically (Fifth edition). Boston: Thompson Wadsworth, 2009. Chapter 7: "What Evidence is and How it Works," 106-122 WEEK 5. Debate: Old Art and New Art? Monday, February 13. Comparison Workshop. Required Reading: Julia Andrews, Traditional Chinese Painting in an Age of Revolution, 1911-1937 in Chinese Painting and the Twentieth-Century: Creativity in the Aftermath of Tradition (Hangzhou: Zhejiang Art Press), 579-95 Xu Beihong, "I Am Bewildered (1929)," in ed. Jo-Anne Birnie Danzker, Ken Lum, and ZHENG Shengtian, Shanghai Modern, 1919-1945 (Ostfildern-Ruit: Hatje Cantz, 2005), 373-74. Xu Zhimo, "I Am Bewildered TooA Letter to Xu Beihong (1929)," in Shanghai Modern, 37477. ***First paper final draft due in class. Second Paper Assigned, rough draft is due February 22nd, final draft is due March 7th. Wednesday, February 15. Comparison Workshop. Required Reading: Sylvan Barnet, Comparison in A Short Guide to Writing About Art (Ithasa, 2008). Kuiyi Shen, The Modernist Woodcut Movement in 1930s China, in Jo-Anne Birnie Danzker, ed., Shanghai Modern 1919-1945 (Munich: Hatje Cantz, 2004), 262-95. Bulcsu Siklos, Mongolian Buddhism: a Defensive Account in Shirin Akiner ed., Mongolia 5

Today (London and New York, 1991), 155-183. WEEK 6: Impact of new media Monday, February 20. No Class: Presidents Day. Wednesday, February 22. Comparison Workshop. Required Reading: SAN Long Chin. "Composite Pictures and Chinese Art (1942)." In Jo-Anne Birnie Danzker, Ken Lum, and Zheng Shengtian, eds., Shanghai Modern, 1919-1945 (Ostfildern-Ruit: Hatje Cantz, 2005), p. 154-71. Wen-hsin Yeh, Shanghai Splendor (Berkeley: University of California Press, 2007), 1-74. Rosenwasser, David, and Jill Stephen. Writing Analytically (Fifth edition). Boston: Thompson Wadsworth, 2009. Chapter 8: "Using Evidence to Build a Paper: 10 on 1 versus 1 on 10," 123-138. ***Second paper rough draft is due in class. Bring 2 copies. WEEK 7: Gender and Body in art in 1930s. Monday, February 27: Required Reading: Julia F. Andrews and Kuiyi Shen, Traditionalism as a Modern Stance: The Chinese Womens Calligraphy and Painting Society, Modern Chinese Literature and Culture 11/1 (Spring 1999): 130. Peter Kenez, The Cultural Revolution in Cinema in Slavic Review, Vol. 47, No. 3 (Autumn, 1988), 414-433. Rosenwasser, David, and Jill Stephen. Writing Analytically (Fifth edition). Boston: Thompson Wadsworth, 2009. Chapter 9: "Making a Thesis Evolve," 139-158. ***Peer review is due. Wednesday, February 29 : Required Reading: Dorothy Ko, Jazzing into Modernity: High Heels, Platforms, and Lotus Shoes, in China Chic, 141-53. Martha Huang, A Woman Has So Many Parts to Her Body, Life is Very Hard Indeed, in Valerie Steele and John S. Major, ed., China Chic: East Meets West (New Haven and London: Yale University Press, 1999), 133-39. Rosenwasser, David, and Jill Stephen. Writing Analytically (Fifth edition). Boston: Thompson Wadsworth, 2009. Chapter 10: "Structuring the Paper: Form and Formats," 159-177. 6

UNIT II. SOCIALIST ERA. WEEK 8: Emergence of Socialism Introductions and Conclusions Workshop. Monday, March 5. Quiz I with in-class Essay. Elena Boikova, Aspects of Soviet-Mongolian Relations, 1929-1939 in Stephen Kotkin and Bruce Elleman eds., Mongolia in the Twentieth-Century: Landlocked Cosmopolitan (New York/London: M.E. Sharpe, 1999), 107-1216 Rosenwasser, David, and Jill Stephen. Writing Analytically (Fifth edition). Boston: Thompson Wadsworth, 2009. Chapter 11: "Introductions and Conclusions," 179-192. Wednesday, March 7: Introductions and Conclusions Workshop. Required Reading: Lenin on Proletarian Art Archie Brown, The Idea of Communism in The Rise and Fall of Communism (Harper Collins Publishers, 2009), 9-25. ***Second Paper final draft is due. WEEK 9: Emergence of Socialism, cont. Monday, March 12: Required Reading: Bonnie S. McDougall, Mao Zedong's "Talks at the Yan'an Conference on Literature and Art": A Translation of the 1943 Text with Commentary, Michigan Papers in Chinese Studies, No. 39 (Ann Arbor: Center for Chinese Studies, University of Michigan, 1980), 57-86. Margaret M. Bullitt, Toward a Marxist Theory of Aesthetics: The Development of Socialist Realism in the Soviet Union in Russian Review, Vol. 35, No. 1 (Jan., 1976), 53-76. ***Third Paper assigned. Due in class on May 7. Wednesday, March 14. Research Workshop I. Searching Online Databases Required Reading: Christina Lodder, Art of the Commune: Politics and Art in Soviet Journals, 1917-20 in Art Journal, Vol. 52, No. 1, (Spring, 1993), 24-33. Ale Erjavec Socialism and Socialist Culture and National Culture in Ale Erjavec ed., Postmodernism and the Post socialist Condition (University of California Press), 8-17. Rosenwasser, David, and Jill Stephen. Writing Analytically (Fifth edition). Boston: Thompson Wadsworth, 2009. 7

Chapter 14: "Using Sources Analytically: The Conversation Model," 215-226. WEEK 10: Art and censorship Monday, March 19. Reseach Workshop II. Visit to Doe Library and Art/Classics Library. Required Reading: Christopher Atwood Sino-Soviet Diplomacy and the Second Partition of Mongolia, 1945-1946 in Stephen Kotkin and Bruce Al Elleman eds., Mongolia in the Twentieth-Century (M.E. Sharpe: Armonk, New York, London, 1999), 137-163. Rosenwasser, David, and Jill Stephen. Writing Analytically (Fifth edition). Boston: Thompson Wadsworth, 2009. Chapter 16: "Finding, Citing, and Integrating Sources," 241-267. Wednesday, March 21: Required Reading: Wolfgang Holz Allegory and Iconography in Socialist Realist painting in Matthew Bown and Brandon Taylor eds., Art of the Soviets: Painting, Sculpture and architecture in a one-party state, 1917-1992 (Manchester UP), 73-85. Evgeny Dobrenko, The Petrified Utopia: Time, Space and Paroxysms of Style in Socialist Realism in Nina Kolesnikoff and Walter Smyrniw eds., Socialist Realism Revisited (McMaster University, Hamilton, Ontario, Canada, 1994), 13-29. Rosenwasser, David, and Jill Stephen. Writing Analytically (Fifth edition). Boston: Thompson Wadsworth, 2009. Chapter 17: "Style: Choosing Words for Precision, Accuracy, and Tone," 271-285. WEEK 11: March 27, 29. SPRING BREAK! Week 12. Cultural Revolution Monday, April 2. Required Reading: Aleksandr Kamenski Art in the Twilight of Totalitarianism in Matthew Bown and Brandon Taylor eds., Art of the Soviets: Painting, Sculpture and architecture in a one-party state, 19171992 (Manchester UP), 154-160. Zheng Shengtian. "Brushes are Weapons: Art Schools and Artists During the Cultural Revolution." Yishu: Journal of Contemporary Chinese Art 1, 2 (Fall 2002): 61-65. Rosenwasser, David, and Jill Stephen. Writing Analytically (Fifth edition). Boston: Thompson Wadsworth, 2009. Chapter 18: "Shaping Sentences for Precision and Emphasis," 287-304. Wednesday, April 4. 8

Required Reading: Geremie Barm, The Irresistible Fall and Rise of Chairman Mao, in Shades of Mao: The Posthumous Cult of the Great Leader (Armonk, NY: M.E. Sharpe, 1996), 3-54. Orville Schell, Chairman Mao as Pop Art, in The Mandate of Heaven (NY: Simon and Schuster, 1994), 279-92. Rosenwasser, David, and Jill Stephen. Writing Analytically (Fifth edition). Boston: Thompson Wadsworth, 2009. Chapter 19: "Common Grammatical Errors and How to Fix Them," 305-329. ***Outline and Annotated Bibliography is due. Bring 2 copies. UNIT III. POST-SOCIALIST ERA. WEEK 13: End of Socialism and Aftermath Monday, April 9. Required Reading: Susan Reid, The Art of Memory: Retrospectivism in Soviet painting of the Brezhnev era in Matthew Bown and Brandon Taylor eds., Art of the Soviets: Painting, Sculpture and architecture in a one-party state, 1917-1992 (Manchester UP), 161-187. Aleksandr Borofski. Non-conformist art in Leningrad in Matthew Bown and Brandon Taylor eds., Art of the Soviets: Painting, Sculpture and architecture in a one-party state, 1917-1992 (Manchester UP), 196-204. Rosenwasser, David, and Jill Stephen. Writing Analytically (Fifth edition). Boston: Thompson Wadsworth, 2009. Chapter 14: "Using Sources Analytically: The Conversation Model," 215-226. ***Peer Review is due. Wednesday, April 11. Required Reading: Sarah E. Fraser, Antiquarianism or Primitivism? The Edge of History in the Modern Chinese Imagination, in Wu Hung, ed., Reinventing the Past: Antiquarianism in East Asian Art and Visual Culture (Chicago: Center for the Art of East Asia, Dept. of Art History, University of Chicago: Art Media Resources, 2010). J. Boldbaatar, The 800th Anniversary of Chinggis Khan: The Revival and Suppression of Mongolian National Consciousness in Stephen Kotkin and Bruce Al Elleman eds., Mongolia in the Twentieth-Century (M.E. Sharpe: Armonk, New York, London, 1999), 237-246. Rosenwasser, David, and Jill Stephen. Writing Analytically (Fifth edition). Boston: Thompson Wadsworth, 2009. Chapter 10: "Structuring the Paper: Forms and Formats," 159-177. WEEK 14: Post-Socialist milieu Monday, April 16. Guest Lecture: Yueni Zhong about Cai Guo Qiang Required Reading: 9

 Britta Erickson, Cai Guo-Qiang Takes the Rent Collection Courtyard from Cultural Revolution Model Sculpture to Winner of the 48th Venice Biennale International Award. In John Clark, ed., Chinese Art at the End of the Millennium, pp. 18489. Gao Minglu, Toward a Transnational Modernity: An Overview of Inside Out: New Chinese Art (Berkeley: UC Press, 1999), 15-40. Rosenwasser, David, and Jill Stephen. Writing Analytically (Fifth edition). Boston: Thompson Wadsworth, 2009. Chapter 16: "Finding, Citing, and Integrating Sources," 241-267. Wednesday, April 18. Required Reading: Kitty Zijlmans, The Discourse on Contemporary Art and the Globalization of the Art System in Kitty Zijlmans and Wilfred Van Damme eds., World Art Studies: Exploring Concepts and Approaches (Valiz, Amsterdam, 2009), 135-150. Wu Hung, A Case of Being Contemporary: Conditions, Spheres, and Narratives of Contemporary Chinese Art, Making History: Wu Hung on Contemporary Chinese Art (Hong Kong: Timezone 8, 2008), 11-28. WEEK 15: Contemporary art Monday, April 23. Required Reading: Stanley K. Abe, ""Reading the Sky," in Wen-hsin Yeh, ed., Cross-Cultural Readings of Chineseness: Narratives, Images, and Interpretations of the 1990s (Berkeley: Center for Chinese Studies, 2000), 53-79. Patricia Berger, "Pun Intended: A Response to Stanley Abe," in Wen-hsin Yeh, ed., Cross-Cultural Readings of Chineseness, 80-99. Rosenwasser, David, and Jill Stephen. Writing Analytically (Fifth edition). Boston: Thompson Wadsworth, 2009. Chapter 18: "Shaping Sentences for Precision and Emphasis," 287-304. Wednesday, April 25. Required Reading: John Clark Modernities in Art: How Are They Other? in Kitty Zijlmans and Wilfred Van Damme eds., World Art Studies: Exploring Concepts and Approaches (Valiz, Amsterdam, 2009), 401-418. WU Hung, Contemporary Asian Art as Global Art: A Diachronic Approach, Making History: Wu Hung on Contemporary Chinese Art, 249-255. Ian Finley in Asian Art News WEEK 16: RRR Office Hours Final Research Paper Due: Monday, May 7, 2012. 10