Jennifer Purtle • 裴珍妮
Areas of Academic Interest
Chinese art and visual culture from the Six Dynasties to the present, in particular, the cultural geography of artistic production, urbanism, East/West exchange, optics and optical media, Chinese contemporary art and its various historical and geographical contexts.
Department of East Asian Studies; Department and Centre for the Study of Religion; Department of Textiles and Costume, Royal Ontario Museum (Research Associate).
Select Curriculum Vitae
Yale University PhD, History of Art, December 2001; MPhil, 1994; MA, 1990.
Amherst College BA, magna cum laude, Fine Arts, 1989.
Sichuan University Jinxiu zheng (Certificate, two-year), Chinese Archaeology, 1988.
Peripheral Vision: Fujian Painting in Chinese Empires, 909-1646, University of Hawai’i Press and Hong Kong University Press, forthcoming 2010.
Looking Modern: East Asian Visual Culture from the Treaty Ports to World War II, (co-editor, with Hans Thomsen, University of Zurich), Art Media Resources for the Center for the Arts of East Asia, The University of Chicago, forthcoming 2009.
“The Icon of the Woman Artist: Guan Daosheng (1262-1319) and the Painting of Female Power at the Ming Court circa 1520,” The Blackwell Companion to Asian Art, Rebecca Brown and Deborah Hutton, editors, Blackwell Publishing, forthcoming 2010.
“Scopic Frames: Devices for Seeing China circa 1640,” Art History, forthcoming 2010.
“Rainmakers: Dragons and their Painters in Song (960-1279) China,” for The Zoomorphic Imagination in Chinese Art and Culture, Eugene Wang, editor, Boston: Isabella Stewart Gardner Museum/Periscope Press, forthcoming 2010.
“Whose Hobbyhorse?,” Introduction for James Elkins, Why Chinese Landscape Painting is Western Art History, Hong Kong University Press, forthcoming 2009.
“Money Making Nation: Picturing Political Economy in Banknotes of the Qing-Republican Transition,” Looking Modern: East Asian Visual Culture from the Treaty Ports to World War II, Jennifer Purtle and Hans Thomsen, editors, Chicago: Art Media Resources for the Center for the Arts of East Asia, The University of Chicago, forthcoming 2009.
“Introduction: Twin Stars of the Silver Screen and Modern Looking China,” Looking Modern: East Asian Visual Culture from the Treaty Ports to World War II, Jennifer Purtle and Hans Thomsen, editors, Chicago: Art Media Resources for the Center for the Arts of East Asia, The University of Chicago, forthcoming 2009.
“Objects without Borders: Cultural Economy and the World of Artifacts,” in Crossing Cultures: Conflict, Migration and Convergence, Jaynie Anderson, editor, Melbourne: The Miegunyah Press (an imprint of the University of Melbourne Press), 2009.
〈东西无边界:文化经济与艺术文物世界〉，《首侑 “中国当代艺术•国际论坛”: 2009 北京国际中国当代艺术理论批评研讨会论文合辑》, 詹姆斯•艾金斯 和 将奇谷，编辑，北京：亚洲艺术研究所，2009：上册,14－20页. [Chinese-language translation of “Objects without Borders: Cultural Economy and the World of Artifacts;” in The First “China Contemporary Art Forum”: 2009 Beijing International Conference on Art Theory and Criticism, Collected Essays, James Elkins and Jiang Qigu, editors, Beijing: Research House for Asian Art, 2009: vol. 1, 14-20.]
“Placing Chinese Painting History: The Cultural Production of the Geohistory of Painting Practice in China,” Time and Place: The Geohistory of Art, Thomas da Costa Kaufmann, editor, London: Ashgate Press, 2005: 135-151.
“The Great Buddhas’ Roving Eyes: Imaging Animation and Animating Images between Han and Tang,” Between Han and Tang: Art in a Transformative Age, Wu Hung, editor, Beijing: Wenwu Press, 2004: 117-155.
“Foundations of a Regional Visual Tradition and Visuality: Fujian Painting of the Song and Yuan Dynasties,” Proceedings of the International Conference on Region and Network – The Last Thousand Years of Chinese Art, Ch'en Pao-chen, editor, Taipei: Graduate Institute of Art History, National Taiwan University, 2001: 91-140.
Contributions to Collaborative Projects
The Laurence King Atlas of World Art, John Onians, Consulting Editor, Laurence King, 2004.
Map Spreads for China and Tibet (1300-1500), China and Tibet (1500-1650), China and Tibet (1650-1800), China and Tibet (1800-1900): 138-139; 200-201; 202-203; 250-251.
Women Writers of Traditional China: An Anthology of Poetry and Criticism, Kang-i Sun Chang, editor, Stanford University Press, 2000.
Translations of the poems and critical biographies of Guan Daosheng (1262-1319), Xue Susu (ca. 1564-ca. 1637), and Xiang Lanzhen (fl. m. 17th cent.): 126-131, 227-229, 290-291.
Timothy Brook, Vermeer’s Hat: The Seventeenth Century and the Dawn of the Global World (Viking Canada, 2008), University of Toronto Quarterly, Letters in Canada Edition, forthcoming 2010.
John E. Vollmer, Dressed to Rule: 18th Century Court Attire in the Mactaggart Art Collection (University of Alberta Press, 2007), University of Toronto Quarterly, Letters in Canada Edition, 78.1 (2009): 247-248.
Craig Clunas, Empire of Great Brightness: Visual and Material Cultures of Ming China, 1368-1644 (Reaktion Books, 2007), The China Quarterly 194 (June 2008): 459-61.
Hiram To, Donna McAlear, Winnipeg Art Gallery, Hiram To don’t let me be misunderstood (Winnipeg Art Gallery, 2005), University of Toronto Quarterly, Letters in Canada Edition 76.1 (2007): 651-652.
“Even Exchange: Craig Clunas’ Elegant Debts [Reaktion Books, 2004] and What Art History and Sinology Offer Each Other,” Ming Studies 54 (Fall 2006): 107-114.
SSHRC Standard Research Grant (Regular Scholar Competition), Social Sciences and Humanities Research Council of Canada, 2008-2011.
Visiting Scholar, Getty Research Institute, 2009.
J. Paul Getty Postdoctoral Fellowship in the History of Art, Getty Grant Program, 2002-2003.
Finalist, Junior Fellowship Competition, Society of Fellows, Harvard University, 2001.