Sydney Asian Art Series 2022

Roberta Wue is associate professor of Art History at the University of California, Irvine. She has published on painting, photography, print culture, and advertising in modern China. She is author of Art Worlds: Artists, Images, and Audiences in Late Nineteenth-Century Shanghai (Hong Kong University Press, 2014) and co-editor with Luke Gartlan of Portraiture and Early Studio Photography in China and Japan (Ashgate/Routledge, 2017). Most recently she is interested in serial images (such as comics), drawing, and the book format in Republican-era China.

Roberta Wue is associate professor of Art History at the University of California, Irvine. She has published on painting, photography, print culture, and advertising in modern China. She is author of Art Worlds: Artists, Images, and Audiences in Late Nineteenth-Century Shanghai (Hong Kong University Press, 2014) and co-editor with Luke Gartlan of Portraiture and Early Studio Photography in China and Japan (Ashgate/Routledge, 2017). Most recently she is interested in serial images (such as comics), drawing, and the book format in Republican-era China.

Thy Phu is a Distinguished Professor of Race, Diaspora and Visual Justice at the University of Toronto. She is the author of Picturing Model Citizens: Civility in Asian American Visual Culture and Warring Visions: Photography and Vietnam. She has also co-edited Feeling Photography, Refugee States: Critical Refugee Studies in Canada, and the forthcoming, Cold War Camera. Currently, she serves as co-editor of the open-access peer-reviewed journal, Trans Asia Photography.

Thy Phu is a Distinguished Professor of Race, Diaspora and Visual Justice at the University of Toronto. She is the author of Picturing Model Citizens: Civility in Asian American Visual Culture and Warring Visions: Photography and Vietnam. She has also co-edited Feeling Photography, Refugee States: Critical Refugee Studies in Canada, and the forthcoming, Cold War Camera. Currently, she serves as co-editor of the open-access peer-reviewed journal, Trans Asia Photography.

Yi Gu is an associate professor of Chinese modern and contemporary art and visual culture at University of Toronto. Her research interests include cold war visual culture and post-socialist art, comparative media studies, Chinese photography history and contemporary photography in Asia, politics of aesthetics, and visual methodologies across disciplines. She is the author of Chinese Ways of Seeing and Open-Air Painting (Harvard University Press Asia Center, 2020). Her articles have appeared in The Art Bulletin, Ars Orientalis, and Representations. She is a convening member of the research project “Recalibrating Postwar Chinese Art: Digital Humanities and Alternative Archives.”

Deepali Dewan is the Dan Mishra Curator of South Asian Art & Culture at the Royal Ontario Museum, Toronto. She is also an Associate Professor in the Department of Art at the University of Toronto. Her main research interest focuses on the history of photography in India and the South Asian diaspora with a view toward understanding how photography has shaped contemporary ways of viewing and being in the world. She is the author of Raja Deen Dayal: Artist-Photographer in 19th-Century India (2013, co-authored with Deborah Hutton), Embellished Reality: Indian Painted Photographs (2012), and the editor of Bollywood Cinema Showcards: Indian Film Art from the 1950s to the 1980s (2011). All three were accompanied by exhibitions. Her essays have also been published in Photography and Culture, Trans Asian Photography Review, and Marg.

Christopher Pinney is Professor of Anthropology and Visual Culture at University College London. Pinney’s research has a strong geographic focus in central India: initial ethnographic research was concerned with village-resident factory workers. Subsequently he researched popular photographic practices and the consumption of Hindu chromolithographs in the same area. His publications combine contemporary ethnography with the historical archaeology of particular media, including his seminal books Camera Indica: The Social Life of Indian Photographs (1998) and Photos of the Gods: The Printed Image and Political Struggle in India (2004). His publications include Photography’s Other Histories (2003, edited with Nicolas Peterson), The Coming of Photography in India (2008), Photography and Anthropology (2011) and the Camera Artisan: Studio Photography from Central India (2013, with Suresh Punjabi). Most recently, he has been leading a collaborative project funded by the European Research Council, titled “Citizens of the Camera: Photography and the Political Imagination”.

Christopher Pinney is Professor of Anthropology and Visual Culture at University College London. Pinney’s research has a strong geographic focus in central India: initial ethnographic research was concerned with village-resident factory workers. Subsequently he researched popular photographic practices and the consumption of Hindu chromolithographs in the same area. His publications combine contemporary ethnography with the historical archaeology of particular media, including his seminal books Camera Indica: The Social Life of Indian Photographs (1998) and Photos of the Gods: The Printed Image and Political Struggle in India (2004). His publications include Photography’s Other Histories (2003, edited with Nicolas Peterson), The Coming of Photography in India (2008), Photography and Anthropology (2011) and the Camera Artisan: Studio Photography from Central India (2013, with Suresh Punjabi). Most recently, he has been leading a collaborative project funded by the European Research Council, titled “Citizens of the Camera: Photography and the Political Imagination”.

Miryam Sas is Professor of Comparative Literature and Film & Media at the University of California, Berkeley (USA). She began as a scholar of the experimental arts of the early twentieth century with a focus on modernist poetics and literary theory in Japan and France, reflected in her first book, Fault Lines: Cultural Memory and Japanese Surrealism (Stanford University Press, released in 2001). She has a strong interest in the cultural wave of the 1960s-1970s which she has explored through studies of theater, film, animation, dance, and intermedia art, for example in Experimental Arts in Postwar Japan: Moments of Encounter, Engagement, and Imagined Return  (Harvard University Asia Center Publications, 2010).  Her new book on media theory and intermedia art in Japan, Feeling Media: Potentiality and the Afterlife of Art, for which she was awarded a UC President’s Research Fellowship in the Humanities, is forthcoming from Duke University Press.

Miryam Sas is Professor of Comparative Literature and Film & Media at the University of California, Berkeley (USA). She began as a scholar of the experimental arts of the early twentieth century with a focus on modernist poetics and literary theory in Japan and France, reflected in her first book, Fault Lines: Cultural Memory and Japanese Surrealism (Stanford University Press, released in 2001). She has a strong interest in the cultural wave of the 1960s-1970s which she has explored through studies of theater, film, animation, dance, and intermedia art, for example in Experimental Arts in Postwar Japan: Moments of Encounter, Engagement, and Imagined Return  (Harvard University Asia Center Publications, 2010).  Her new book on media theory and intermedia art in Japan, Feeling Media: Potentiality and the Afterlife of Art, for which she was awarded a UC President’s Research Fellowship in the Humanities, is forthcoming from Duke University Press.