Alison Carroll

Recent Lectures and Talks

ac soochow

Outside lecture theatre, Soochow University, Suzhou, 17 September


Contemporary Indian Art
RMIT University, 26 September 2016

Connecting Culture through the Arts
Independent Schools Association, National Gallery of Victoria, 2 September, 2016

Socialist Realism and Asian Art
University of Melbourne, 4 August, 2016.

Contemporary Art as a Gateway to Understanding Asian Cultures More Broadly
Art Education Victoria conference, National Gallery of Victoria, 4 December 2015.

Connectivity: Korean Art Now
International Seminar held at the Korean Cultural Centre to launch the Korean Special Edition of Artlink magazine, 18 November 2015.

Arts Management in Asia
Seminar at RMIT, Melbourne, June, September, 2015.

The political and the personal: Australia’s experience in visual arts exchange in Southeast Asia through the 1990s
The 1990s: The Making of Art with Contemporaries conference held at the Museum of Contemporary Art, Tokyo, in association with the Japan Foundation Asia Centre, 24 May 2015.

Australian Art, lecture tour of China, September 2014
A four city lecture tour of Beijing, Hohhot, Suzhou and Shanghai was undertaken under the auspices of Artlink, with support of the Australia-China Council, in September 2014. Lectures on links between Australian and Chinese art were undertaken at Renmin University, Beijing, the University of Inner Mongolia, Hohhot, Soochow University, Suzhou, and East China Normal University, Shanghai. Stephanie Britton, Founding Editor of Artlink, gave an accompanying lecture on New Ideas in Art. Audiences of c150 attended.


Expanding Australia’s creative horizon: arts education in the Asian Century
Keynote address: 34th World Congress of the International Society for Education through Art (InSEA)
Melbourne, 8 July 2014


Ways of Seeing, Leadership Program, Asialink, University of Melbourne
March- April 2014, Melbourne, Sydney and Brisbane


Ways of Seeing, Leadership Program, Asialink, University of Melbourne
March-April, 2013, Melbourne and Sydney.


This Asian Century International Women’s Day Address, Old Grammarians, Melbourne Girls’ Grammar School, March 2013.


Preparing Australians for the Asian Century, panellist, with Hon Penny Wong, Carrillo Gantner, Hieu Van Le, Sid Myer, and Martyn Eames, OzAsia Festival, Adelaide, 26 September 2012


Arts of Asia Lecture: Art Gallery of NSW, Sydney
Tuesday 22 March 1-2pm
Art Gallery of New South Wales
Centenary Auditorium


The Triumph of the New: Art in Asia 1960-2000
Alison Carroll, Asialink International Arts Program

The lecture highlights the key periods of art in the region over the forty years 1960-2000, from just after the turbulence of mid-century war and independence, into a new era of prosperity in the 1960s, a lull in the 1970s, and then a re-emergence of individual energy in the 1980s and into the 1990s.

The three key geopolitical areas of North, Southeast and South Asia are covered, starting with the truly revolutionary events focused on conceptual art in Japan in the early 1960s, separate from anything else in Asia, in contrast to the dynamic period of Maoist art being made at the same time in China. Along side these two major movements were the emergence of a new local arts scene in the old Japanese colonies of Korea and Taiwan. The development of major individual figures in the 1980s and 90s in all four countries are set against the context of this earlier period.

In Southeast Asia, the Philippines and Indonesia have parallel stories, as had been the way in the past, seeing a dramatic, politically-based practice of painting and installation in the late 1980s and 1990s developed in response to the build up of political dictatorial constraint. Malaysia and Thailand develop slowly but surely, into a practice of wry insight particularly in Thailand in the 1990s. Vietnam, with doi moi or a freeing of Communist control, retreats to a practice of rural nostalgia.

The split between India and (West) Pakistan becomes very clear in art, with India continuing a tradition of narrative painting for a privileged audience – with remarkably little politically-driven work – and Pakistan developing two important schools: a contemporary response to traditional Mughal miniature painting, and a dynamic celebration of the visual life of the street.

The lecture provides a broad coverage of this vast region over these four decades, highlighting key movements and individuals. The lecture is based on research undertaken over twenty years by Alison Carroll, visiting most countries of the region, discussing key movements with artists and curators and seeing myriad works of art in situ. She has written this up in her recent book The Revolutionary Century; Art in Asia 1900-2000, Macmillan, 2010.

This lecture is part of the course Innovasian: Asian art 1960s to now.
Admission: $28 $20 Art gallery and VisAsia members $5 with fulltime student ID
BOOKINGS


Lecture: National Gallery of Victoria

“The revolutionary century; art in Asia 1900-2000”

6.30 pm, 25 May 2011-03-03

Part of NGV’s 150th birthday celebrations.


Paper for 2011 Joint Conference, Association for Asian Studies & International Convention of Asia Scholars, Hawaii Convention Centre, Honolulu, Hawaii

31 March 2011

‘Towards the New Asian Century: Memory, Identity and Globalisation in Contemporary Asian Art’

Art and Change in the Asia Pacific: mid century war and dislocation as a paradigm for the future

The greatest period of social, economic and political change in the last century in the Asia Pacific was the time of war and nationalism in the 1940-50s.  This paper assesses four responses of artists to this time: first, a response to initiatives of the government of the day to promote the official cause; second, a politically inspired if not officially sanctioned response; third, a personal response; and fourth, no or little response at all. These responses are, by and large, cross regional. Forced, encouraged or allowed by the circumstances of the day, they are some of the most interesting and important art of the century: many now regarded as icons in their own cultures today. Memory, identity and the artists’ sense of themselves as players in a wider world are key to the works. Is the current situation of global change, affected by and taking effect in, the Asia Pacific – while not as cross-regionally violent – also a milieu in which similar responses are encouraged to occur?