Art History

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WHAT HAPPENED BEFORE NOW 

To get better at what you do, it’s always a good idea to know what others did before you. Studying Art History will broaden your understanding of the historical and social contexts of your own work. There’s an emphasis on writing and critical thinking— important skills for succeeding after MECA. But there also are plenty of assignments that involve creating art— individually and collaboratively. The people who teach you have diverse, interesting backgrounds in art, including Medieval, Renaissance, Asian, African, modern and contemporary.

 

WHAT HAPPENED BEFORE NOW 
To get better at what you do, it’s always a good idea to know what others did before you. Studying Art History will broaden your understanding of the historical and social contexts of your own work. There’s an emphasis on writing and critical thinking— important skills for succeeding after MECA. But there also are plenty of assignments that involve creating art— individually and collaboratively. The people who teach you have diverse, interesting backgrounds in art, including Medieval, Renaissance, Asian, African, modern and contemporary.

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Gan Xu

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Dr.Gan Xu born in Shanghai, China. He studied art history at Xian Academy of Art, Xian, China, Vanderbilt University, and Ohio University. His research and publication focus on contemporary art in the west and in China. He has published two books and more than thirty articles in exhibition catalogs and magazines. He lectures nationally (at Harvard, for example) and internationally, and has taught as a visiting professor at Eastern China Normal University, Sichuan Academy of Art, China, and Langzhou University, China. He brings students to the over-sea international studies in China, Japan and France. Dr.Xu is also a painter. He teaches Chinese calligraphy and ink painting. He has been exhibiting his work since the 1970s.

Education

Xian Academy of Art, Xian, China; MA in Chinese Art History from Vanderbilt University; PhD in Comparative Arts from Ohio University

Publications

Books

•   Conceptual Art, Beijing: People’s Art Publishing House, 2004. 

•   Installation Art, Beijing: People’s Art Publishing House, 2003.

•   Shape of Ideas: Minimalization as the Structural Device in Selected Works of Samuel Beckett and Gu Wenda, Michigan: UMI, 1994.

Selected Journal Articles:

•   “Word as Image: Contemporary Chinese Art in the West,” Beijing: Qinhua Art, September 2011. pp.75-85.

•   “Silent-Feminist Painter: Juanli Jia,” Searching for Lost Dreams: Works of Juanli Jia, Beijing, Today Art Museum, 2011. 

•    “Speaking Headboard,” Ronbaozhai,  Beijing,  June, 2010.

•    “Chinese Ink Painting into Contemporary Architecture,” Art Today, Beijing, Jan. 2009

•   “China Spectacle” in the exhibition catalogue: Stairway to Heaven: from Chinese Streets to Monuments and Skyscraper, 2009, Bates College Art Museum, Maine, August, University Press of New England Press, 2009, pp.69-74.

•   “Beware of ‘Chinaman’ Images,” Reboot: the Third Chengdu Biennale, The International Symposium, Chengdu Contemporary Art Museum, China, 2007, pp.29-32.

•   “Frank Gerhy’s MIT Stata Center ”, 2003 Year Book of Architecture, China, 2004.

•   “Why Hair,” Yishu, Journal of Chinese Contemporary Art, Taipei, Taiwan, December.2003.

•   "On Wenda Gu," Yishu, Beijing, October, 2003.

•   Installation Art, Beijing: People’s Art Publishing House, 2003.

•    “Neo-Hexagram,” Gu Wenda: Art from Middle Kingdom to Biological Millennium, edited by Mark Bessire, Cambridge, Massachusetts: The MIT Press, 2003.

•   “What Is Installation Art?”Art Observation, Beijing, Issue XI, 2000.

•   “Installation Art in the West,” Guizhou Metro Daily, July 16, 2000,  p.6

•   “Chinese Influence on Western Art,” Essays of ’99 Comparative Art, Beijing, China Academy of Art, 1999, pp.46-60.

•   “Gu Wenda’s Work on the Cover of Art in American, So What?” Art Observation, Beijing, Issue III, 1998, pp.69-73.

•   “Installation Art and Cross-disciplinary-cross-cultural Visual Literacy,” Visual Literacy in an Information Age: Selected Readings, 1999, pp.333-36.

•   “Social and Cultural Functions of American Contemporary Art,” Beijing, World Art, XII, 1998.

•   “Interview with Gu Wenda,” Jiangsu Art Monthly, Nanjing, China, January, 1998, pp.17-19.

•   Gu Wenda’s `United Nations’ (II)”, Art Observation, Beijing, Issue III, 1998, pp.69-73.

•   “Politic Theme in American Contemporary Art,” Art Research, Beijing, II, 1998, pp.84-90.

•   “Portrait Painting in Western Modern Art,” Beijing, World Art, IV, 1997, pp.65-80.

•   Wu Jian, Taipei, Taiwan: Asian Art Center, 1997

•   “The Russian Downed Gu Wenda’s Missile,” Art Observation, Beijing, China, VII, 1996, p.78.

•   “The West Learns from the East,” Northwest Fine Arts, Xi’an, China, Issue IV, 1996.

•   “The First Art Show of P.R.China in the United States,” Northwest Fine Arts, Xi’an, China, Issue III, 1996, p.47.

•   “Return to Realism,” Northwest Fine Arts, Xi’an, China, Issue II, 1996, pp.48-49.

•   “Gu Wenda’s ‘United Nations’,” Jiangsu Art Monthly, Nanjing, China, October 1995.

•   “Gu Wenda’s `Great Wall’,” World Journal, New York, December 1995.

•   “Gu Wenda,” Art Observation, Beijing, China, III, 1996, pp.36-40.

•   “Information and the Studies of Art History,” Northwest Fine Arts, Xi’an, China, Issue IV, 1995, p.44.

 •   “The Nude in Ancient Greek Sculpture,” Guizhouw Youth, Guiyang, China, April 1985.

•    “The New in Sixth National Art Exhibition,” Guizhou Daily, Feb.8, 1985.

•    “Portraiture in Russian Contemporary Art,” Guizhou Daily, Jan.5, 1985.

•    “Sculptural Portraiture in Ancient Rome,” Guiyang Daily, Jan, 17, 1985

•    “Art Exhibitions in Japan,” Guiyang Daily, Dec.16, 1984.

•    “The Prehistoric Sculpture,” Guiyang Daily, Oct.8, 1984.

•    “The Vase Painting of Ancient Greece,” Guiyang Daily, Oct.4, 1984.

•    “The Exchange between China and Japan in Art,” Guiyang Daily, 1984.

•    “Gitto,” Guiyang Daily, Dec.10, 1983.

•    “The Four Masters of the Ming Dynasty,” Guiyang Daily, June 2, 1983.

•    “Gu Kai-zi,” Guiyang Daily, May 23, 1983.

•    “Rodin,” Guiyang Daily, May 16, 1983.

•    “The Painting of Later Qing Dynasty,” Guiyang Daily, April 28, 1983.

•    “The Prehistoric Ceramics of China,” Guiyang Daily, Jan.18, 1983.

•    “The Mural of the Yun Le Palace,” Guiyang Daily, Nov.8, 1982.

•    “An Interview with Artist Tian Shi-xing,” Guiyang Daily, Nov.1, 1982.

•    “From Thief to Painter,” Guiyang Daily, Oct.16, 1982.

•    “The Flowers of the Artists,” Guiyang Daily, Sept.5, 1982.

•     Four translated short stories published by Guizhou Publish House in Unexpected Wind (1985), My Fair Lady (1983), Huaxi (1981).

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