Peter K. J. Park: Africa, Asia, and the History of Philosophy: Racism in the Formation of the Philosophical Canon, 1780–1830 (2013)

“A historical investigation of the exclusion of Africa and Asia from modern histories of philosophy.

In this provocative historiography, Peter K. J. Park provides a penetrating account of a crucial period in the development of philosophy as an academic discipline. During these decades, a number of European philosophers influenced by Immanuel Kant began to formulate the history of philosophy as a march of progress from the Greeks to Kant—a genealogy that supplanted existing accounts beginning in Egypt or Western Asia and at a time when European interest in Sanskrit and Persian literature was flourishing. Not without debate, these traditions were ultimately deemed outside the scope of philosophy and relegated to the study of religion. Park uncovers this debate and recounts the development of an exclusionary canon of philosophy in the decades of the late eighteenth and early nineteenth centuries. To what extent was this exclusion of Africa and Asia a result of the scientization of philosophy? To what extent was it a result of racism?

This book includes the most extensive description available anywhere of Joseph-Marie de Gérando’s Histoire comparée des systèmes de philosophie, Friedrich Schlegel’s lectures on the history of philosophy, Friedrich Ast’s and Thaddä Anselm Rixner’s systematic integration of Africa and Asia into the history of philosophy, and the controversy between G. W. F. Hegel and the theologian August Tholuck over ‘pantheism.'”

Review (Carlin Romano, Chronicle of Higher Education, 2014)
Discussion (Warp, Weft, and Way blog, Oct 2014)

Publisher SUNY Press, 2013
Philosophy and Race series
ISBN 9781438446417
237 pages

Publisher
WorldCat

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Winnie Won Yin Wong: After the Copy: Creativity, Originality and the Labor of Appropriation: Dafen Village, Shenzhen, China, 1989-2010 (2010)

“Since 1989, Dafen village in Shenzhen, China, has supplied millions of hand-painted oil-on-canvas paintings each year to global consumer markets. Accused of copying Western masterpieces, and spurred by the Chinese party-state’s creative industry policies, Dafen village’s eight thousand painters have been striving to become original artists. Simultaneously, conceptualist artists from outside Dafen village have engaged with the creative alienation of Dafen painters, by purchasing their labor in works of appropriation art. This study examines the discourses of creativity, originality, and appropriation that frame Dafen’s painting production, and sets them against an ethnography of flexible work in the South Chinese painting trade. It explores the myriad ways in which Dafen village lends itself to intellectual and aesthetic explorations of the separation of painting labor from conceptual labor, as enacted in both modernist and postmodernist framings of artistic authorship.

The study begins by charting the historical categorization of Chinese ‘export painting’ and the emergence of the ‘painting factory’ as a cultural imaginary of Sino-Western trade. It then examines the political stakes of ‘creativity’ as constructed in Dafen television propaganda made by the national and local party-state. Then, turning to a single Vincent van Gogh-specialty workshop and the transnational wholesale and retail of van Gogh trade paintings, it theorizes the relationship of ‘craft’ to modernist authorship and signature style. Finally, it scrutinizes cosmopolitan conceptual artists’ and designers’ collaborations with Dafen painters, exploring the ethical and aesthetic terms of universal creativity raised by the Dafen ‘readymade’. Establishing continuities between Dafen production and the making of ‘high’ art while challenging their putative antinomies, this study shows how the ideology of individual creativity undergirds the cultural industry policies of the local party-state, the consumer demand for authentic craft, and the appropriation of labor in contemporary art.” (Abstract)

Thesis, Ph. D. in History, Theory, and Criticism of Art and Architecture
Dept. of Architecture, Massachusetts Institute of Technology, 2010
Supervisor: Caroline A. Jones
410 pages

Publisher

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Karin Grace Oen: Admonition and the Academy: Installation, Video, and Performance Art in Reform Era China (2012)

Wu Shanzhuan, The Big Characters, 1985. (source)

“China’s Reform Era (1978-present) has seen the reinvigoration of academic, and artistic practice, and a rapprochement between the Chinese Communist Party and the intellectual elite. At its beginnings in the early- to mid-1980s the new availability of foreign texts and media led to Culture Fever, a widespread phenomenon throughout the intellectual and artistic spheres characterized by enthusiasm for the philosophy, literature, and art of the West and pre-Communist China and the simultaneous uptake of discrete Western and Confucian philosophies. These discussions often addressed modernity and modernism in China, a crucial homology to early twentieth century Chinese negotiations in literature and the arts and the development of an amalgamated ‘Chinese modernism’ comprised of elements of both Confucian and Western philosophy and aesthetics.

As this dissertation argues, key early experimental works of the Reform Era by Zhang Peili, Wu Shanzhuan, and Zhang Huan reveal a proclivity for subtle and indirect admonitory messages about China’s socio-political climate – a contemporary inhabitation of the traditional elite scholar-artist and his obligation to criticize immoral or unjust policies or actions. This admonitory practice was built by artists educated in elite academies (specifically, the Central Academy of Fine Art in Beijing and the Zhejiang Academy of Fine Art in Hangzhou) yet utilized completely new and non-academic media. What this thesis terms as an ‘art of admonition’ utilized traditional tropes, including direct remonstrations of officials, withdrawal from official life in protest, and the concept of the ‘middle hermit’ – a scholar who admonishes official policy subtly and indirectly.

The experimental practices of artists after their graduation from elite academies stemmed from the extra-curricular resources made available to them, especially the schools’ libraries. The connection of these unofficial works to the official academies, their validation by art market success, and the subsequent official endorsement accorded to these and other artists in the later Reform Era blurs the distinctions between official and unofficial artistic practice in China, suggesting a strong endorsement of the dissident artist’s role as ‘middle hermit’.” (Abstract)

Thesis, Ph. D. in History, Theory, and Criticism of Art and Architecture
Dept. of Architecture, Massachusetts Institute of Technology, 2012
Supervisor: Caroline A. Jones
214 pages

Publisher

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