Podcasts about ricardabeatrix

The Making of a Modern Art World: Institutionalization and Legitimization of Gouhua in Republican Shanghai (Brill, 2017) investigates the production and consumption of guohua (“national painting”) in Shanghai between 1929 and the outbreak of the Second Sino-Japanese war in 1937. Defining the art world as sociologically constructed, Pedith Chan’s systematically researched book focuses on collective practices of artists and art associations, periodicals, art colleges, exhibitions, and the art market, all of which contributed to the institutionalisation and legitimisation of guohua in Republican Shanghai. Based on extensive primary source material, Chan lays bare the modus operandi of a modern art world in Republican Shanghai. The book is an indispensable resource for anybody working in the field of 20th century Chinese painting, highlighting the changing hierarchies, networks and discursive practices that constituted Republican Shanghai guohua. Ricarda Brosch is a curatorial assistant at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin – Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via ricarda.brosch@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Making of a Modern Art World: Institutionalization and Legitimization of Gouhua in Republican Shanghai (Brill, 2017) investigates the production and consumption of guohua (“national painting”) in Shanghai between 1929 and the outbreak of the Second Sino-Japanese war in 1937. Defining the art world as sociologically constructed, Pedith Chan’s systematically researched book focuses on collective practices of artists and art associations, periodicals, art colleges, exhibitions, and the art market, all of which contributed to the institutionalisation and legitimisation of guohua in Republican Shanghai. Based on extensive primary source material, Chan lays bare the modus operandi of a modern art world in Republican Shanghai. The book is an indispensable resource for anybody working in the field of 20th century Chinese painting, highlighting the changing hierarchies, networks and discursive practices that constituted Republican Shanghai guohua. Ricarda Brosch is a curatorial assistant at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin – Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via ricarda.brosch@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Making of a Modern Art World: Institutionalization and Legitimization of Gouhua in Republican Shanghai (Brill, 2017) investigates the production and consumption of guohua (“national painting”) in Shanghai between 1929 and the outbreak of the Second Sino-Japanese war in 1937. Defining the art world as sociologically constructed, Pedith Chan’s systematically researched book focuses on collective practices of artists and art associations, periodicals, art colleges, exhibitions, and the art market, all of which contributed to the institutionalisation and legitimisation of guohua in Republican Shanghai. Based on extensive primary source material, Chan lays bare the modus operandi of a modern art world in Republican Shanghai. The book is an indispensable resource for anybody working in the field of 20th century Chinese painting, highlighting the changing hierarchies, networks and discursive practices that constituted Republican Shanghai guohua. Ricarda Brosch is a curatorial assistant at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin – Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via ricarda.brosch@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Making of a Modern Art World: Institutionalization and Legitimization of Gouhua in Republican Shanghai (Brill, 2017) investigates the production and consumption of guohua (“national painting”) in Shanghai between 1929 and the outbreak of the Second Sino-Japanese war in 1937. Defining the art world as sociologically constructed, Pedith Chan's systematically researched book focuses on collective practices of artists and art associations, periodicals, art colleges, exhibitions, and the art market, all of which contributed to the institutionalisation and legitimisation of guohua in Republican Shanghai. Based on extensive primary source material, Chan lays bare the modus operandi of a modern art world in Republican Shanghai. The book is an indispensable resource for anybody working in the field of 20th century Chinese painting, highlighting the changing hierarchies, networks and discursive practices that constituted Republican Shanghai guohua. Ricarda Brosch is a curatorial assistant at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin – Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via ricarda.brosch@gmail.com.

In her latest book, Private Collecting, Exhibitions, and the Shaping of Art History in London: The Burlington Fine Arts Club (Routledge, 2017), Stacey J. Pierson reveals the fascinating history of one of the most refined and influential fine art clubs in London: The Burlington Fine Arts Club. Drawing on the club’s near-complete, yet understudied archives at the National Art Library at the Victoria & Albert Museum in London, Stacey focuses on the club’s exhibition practices. In this way, the Burlington Fine Arts Club functioned as a social space to practice, probe and participate in a connoisseurial approach to the fine arts. They included not just Old Masters but also Persian, Chinese and Indian works of art too, thus demonstrating how the ‘global turn’ in art history came about much earlier than is generally understood. This book is an indispensable resource for anyone interested in art market studies and the interconnectedness of the public and the private, the formation of private clubs and public taste and the network of agents who manoeuvre between them. Ricarda Brosch is a museum assistant (trainee) at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. Her research focuses on Ming and Qing Chinese art & material culture, transcultural interchanges, especially with Timurid and Safavid Iran, as well as provenance research & digital humanities. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via ricarda.brosch@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

In her latest book, Private Collecting, Exhibitions, and the Shaping of Art History in London: The Burlington Fine Arts Club (Routledge, 2017), Stacey J. Pierson reveals the fascinating history of one of the most refined and influential fine art clubs in London: The Burlington Fine Arts Club. Drawing on the club’s near-complete, yet understudied archives at the National Art Library at the Victoria & Albert Museum in London, Stacey focuses on the club’s exhibition practices. In this way, the Burlington Fine Arts Club functioned as a social space to practice, probe and participate in a connoisseurial approach to the fine arts. They included not just Old Masters but also Persian, Chinese and Indian works of art too, thus demonstrating how the ‘global turn’ in art history came about much earlier than is generally understood. This book is an indispensable resource for anyone interested in art market studies and the interconnectedness of the public and the private, the formation of private clubs and public taste and the network of agents who manoeuvre between them. Ricarda Brosch is a museum assistant (trainee) at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. Her research focuses on Ming and Qing Chinese art & material culture, transcultural interchanges, especially with Timurid and Safavid Iran, as well as provenance research & digital humanities. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via ricarda.brosch@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

In her latest book, Private Collecting, Exhibitions, and the Shaping of Art History in London: The Burlington Fine Arts Club (Routledge, 2017), Stacey J. Pierson reveals the fascinating history of one of the most refined and influential fine art clubs in London: The Burlington Fine Arts Club. Drawing on the club’s near-complete, yet understudied archives at the National Art Library at the Victoria & Albert Museum in London, Stacey focuses on the club’s exhibition practices. In this way, the Burlington Fine Arts Club functioned as a social space to practice, probe and participate in a connoisseurial approach to the fine arts. They included not just Old Masters but also Persian, Chinese and Indian works of art too, thus demonstrating how the ‘global turn’ in art history came about much earlier than is generally understood. This book is an indispensable resource for anyone interested in art market studies and the interconnectedness of the public and the private, the formation of private clubs and public taste and the network of agents who manoeuvre between them. Ricarda Brosch is a museum assistant (trainee) at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. Her research focuses on Ming and Qing Chinese art & material culture, transcultural interchanges, especially with Timurid and Safavid Iran, as well as provenance research & digital humanities. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via ricarda.brosch@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

In her latest book, Private Collecting, Exhibitions, and the Shaping of Art History in London: The Burlington Fine Arts Club (Routledge, 2017), Stacey J. Pierson reveals the fascinating history of one of the most refined and influential fine art clubs in London: The Burlington Fine Arts Club. Drawing on the club’s near-complete, yet understudied archives at the National Art Library at the Victoria & Albert Museum in London, Stacey focuses on the club’s exhibition practices. In this way, the Burlington Fine Arts Club functioned as a social space to practice, probe and participate in a connoisseurial approach to the fine arts. They included not just Old Masters but also Persian, Chinese and Indian works of art too, thus demonstrating how the ‘global turn’ in art history came about much earlier than is generally understood. This book is an indispensable resource for anyone interested in art market studies and the interconnectedness of the public and the private, the formation of private clubs and public taste and the network of agents who manoeuvre between them. Ricarda Brosch is a museum assistant (trainee) at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. Her research focuses on Ming and Qing Chinese art & material culture, transcultural interchanges, especially with Timurid and Safavid Iran, as well as provenance research & digital humanities. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via ricarda.brosch@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Ming China and Vietnam: Negotiating Borders in Early Modern Asia (Cambridge University Press, 2016), Kathlene Baldanza explores the complex diplomatic exchanges between China and Vietnam from the 13th to the 17th centuries. Drawing on vast material of both Chinese and Vietnamese primary sources, Baldanza challenges conventional narratives that focus on Chinese aggression and Vietnamese resistance, instead highlighting Vietnam’s use of East Asian classical culture as an ideological threat to China.  As such, Sino-Viet relations, read through the seven interrelated biographies covered here, should be understood as a process of negotiation and compromise. Ricarda Brosch is a curatorial assistant at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via ricarda.brosch@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Ming China and Vietnam: Negotiating Borders in Early Modern Asia (Cambridge University Press, 2016), Kathlene Baldanza explores the complex diplomatic exchanges between China and Vietnam from the 13th to the 17th centuries. Drawing on vast material of both Chinese and Vietnamese primary sources, Baldanza challenges conventional narratives that focus on Chinese aggression and Vietnamese resistance, instead highlighting Vietnam’s use of East Asian classical culture as an ideological threat to China.  As such, Sino-Viet relations, read through the seven interrelated biographies covered here, should be understood as a process of negotiation and compromise. Ricarda Brosch is a curatorial assistant at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via ricarda.brosch@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Ming China and Vietnam: Negotiating Borders in Early Modern Asia (Cambridge University Press, 2016), Kathlene Baldanza explores the complex diplomatic exchanges between China and Vietnam from the 13th to the 17th centuries. Drawing on vast material of both Chinese and Vietnamese primary sources, Baldanza challenges conventional narratives that focus on Chinese aggression and Vietnamese resistance, instead highlighting Vietnam’s use of East Asian classical culture as an ideological threat to China.  As such, Sino-Viet relations, read through the seven interrelated biographies covered here, should be understood as a process of negotiation and compromise. Ricarda Brosch is a curatorial assistant at the Asian Art Museum Berlin (Museum fur Asiatische Kunst Berlin Stiftung Preussischer Kulturbesitz), which is due to reopen as part of the Humboldt Forum in 2019. You can find out more about her work by following her on Twitter @RicardaBeatrix or getting in touch via ricarda.brosch@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices