Department of Art History
Ph.D.- Harvard University (May 24, 2018)
Area(s) of Expertise:
Chinese Art, East Asia and Europe Culture Exchange, Art and Technology, Italian Baroque Art, Eighteenth Century, Digital Art History/ Digital Heritage, Media and Visuality.
Bing Huang was born and raised in Shanghai, China, and educated at the University of Cambridge and Harvard University. She specializes in Chinese Art. Her research interest includes the artistic and culture exchange between Europe and East Asia, as well as the encoded relationship between the arts, sciences and consciousness. Recently, she has cultivated interest in digital art history and examines the question of medium or media in recent art history theory and practice. She served as the junior chair for the session on “Media and Visuality” at the thirty-fourth World Congress of Art History (CIHA). She has been working on Virtual Reality projects that demonstrate how immersive media technology and in-depth humanist research may be combined to enhance teaching. She co-founded and served as the vice president of Harvard Visual China, an organization dedicated to the study and promotion of Chinese art.
Academic Positions and Awards:
Fairbank Center Associate, 2017
Harvard Term Time Merit Fellowship, Fall 2016-2017
Derek Bok Center Media, Literacy, and Visualization (MLV) Fellow, 2016-17
Harvard Art Museum Curatorial fellow, Fall 2016-2017
Villa I Tatti Fellow, 2015
The Metropolitan Center for Far Eastern Art Studies Doctoral Grant, 2015-2016
Dumbarton Oaks Fellowship, 2014-15
Ambassador, the United Nations Children’s Fund in China, 2008-2009
Charles B. Wang Fine Arts Awards for Distinguished Oil Painting, 2009
Director, Director, Digital Heritage: Miidera Project, 2017 (https://miideraproject.wixsite.com/digitalheritage )
Vice President, Harvard Visual China, since January 2015
Current Interests and Research:
Bing Huang’s current research concerns the visual and material repercussions of China’s encounters with European scientific devices during the eighteenth century. She is seeking to develop a discourse on consciousness, design and precision in China during the eighteenth century through a number of case studies of artefacts such as paintings, astronomical instruments, automata, ivory balls and clocks. Her research offers a way to understand the complexity of the changes between art and technology, time and space, and human and machine in mid-Qing culture.
Introduction to Asian Art
Art, Machine, and Learning in 18th Century China
Chinese Painting and Material Culture
“New Media: Knowledge Appealing for Visualization.” Scope, Issue 019, August and September.
“Public Art Projects in Istanbul” Public Art, no.5(April 2010):101-105
“Trendy Salon in Shanghai: Scholarly Gathering in Changfeng Yaji” Wenhui Daily (31, March, 2010)
“Permeating the Wild: Graffiti in America” Public Art, no.1(August 2009): 96-99
“Book Review: Two Versions of Gardener’s Art through the Ages” China Art Weekly (21 March 2009): 11
Media and Visuality, Peking University Press, forthcoming 2017 (co-author)
Chinese Maestros Series: Pan He, Shanghai shuhua chubanshe, June 2012 (co-editor)
Shelagh Keeley: Workers’ Pavilion, Shanghai University Press, 2010 (Author)
Selected Presentations and Panels:
“The Demon’s Work: The Polyhedron and the Mechanized Worldview in Chinese Art”, in Panel “Ivory alla tedesca: Circulation, Reception, and Knowledge”, RSA (Renaissance Society of America), New Orleans, March 22-24, 2018
Junior Chair, The 34th Comité International d’Histoire de l’Art (CIHA), Session 18: Media and Visuality, Beijing 2016
Conference Organizer, “Cave Visions and Deep Media Symposium”, Getty Research Institute, Los Angeles, June 22-23, 2016
Conference Organizer, “Shafei: the Photographer who Shaped Modern China”, Apirl 22-23, Harvard University, 2016
Speaker, “Bewitched and Bothered: Garden as Theatrical Space”, Conference: Space in Renaissance Italy, Villa I Tatti, in collaboration with the Harvard Center Shanghai and Fudan University, Shanghai, 16-17 October 2014
Liaison and Participant, Space in Renaissance Italy, Summer Seminar at Villa I Tatti, Firenze, July 2014
Speaker, “The Posture of Lalit?sana: A Case Study of a Buddhist Bronze of the Tang Dynasty in St. Louis”, for the exhibition Reflections of the Buddha, The Pulizer Foundation for the Arts, St. Louis, Missouri, 8 November, 2011
Speaker, “Touched & Rehearsal”, conference between 2010 Liverpool Biennale & Shanghai Biennale, Shanghai Art Museum, June, 2010
Speaker, “Contemporary Art: John Moores in Shanghai”, Shanghai Gallery of Art, 5 May, 2010
Speaker, “Public Art and Urbanism”, conference between Liverpool Biennale & Shanghai Expo, Shanghai University, 15 April, 2010
I encourage my students to think historically and critically about how the media or technology have made looking a means of acquiring or distributing knowledge, of fashioning a personal or collective identity, of exercising or resisting power, and of experiencing aesthetic pleasure. I am interested in engaging students with the question of how certain technologies have served to define our most basic expectations about visual experience. Why does what you see matter, and how does it finally reach us? More importantly, how can our visual limitations confine our understanding of this world, and how can we transcend the boundaries that history and experience bind us to, and how can we think beyond what is visible?
I place great emphasis on engaged learning during the study of art history. I set aside sessions for my students to acquire practical learning experience of traditional Chinese painting and calligraphy, feel the rice paper and brushes and be creative as an artist. I also focus on teaching in a multimedia context, including allowing students to visit Virtual Reality digital heritage sites that I create.