1. Contemporary Chinese Art:
Tradition & Transformation
The Art of Now
Designing Case Studies Using Contemporary Chinese Art
Luise Guest ARARTE 2013

2. “We’re not in Kansas any more…..”
About me:
• 30 years in art education in Sydney, Australia
• NSW Premier’s ‘Kingold’ Chinese Creative Arts Scholarship for travel to
China – 2011
• Independent research and writing projects Beijing December 2012
• Redgate Gallery Writer’s Residency October – November 2013
• Research for book – 12 contemporary women artists in China

3. In this most ancient of cultures…
Tradition…
Transformation…
Song Wei, Hamburger, 2008,
fibreglass sculpture,
www.redgategallery.com

4. Why study contemporary art?
Students need to know about ‘the art of now’ because:
• it is engaging, interesting and thought-provoking
• it is ‘of their own time’ and relates to our world and all
its issues
• it connects to the ‘artworld’, a real place with real
people, making real artworks
• it connects directly with their own artmaking practice
• it assists students to make connections in their art
writing, and to develop their ‘art literacy’
• students WANT to engage with it, even when they are
challenged by its form or its content

5. Why study Chinese art?
• Because it is so exciting, so new, so constantly
changing and so important!
• Beijing, Shanghai and Hong Kong are recognised
as three of the key art centres on the planet right
now and their importance in the art market and
the field of contemporary art continues to grow.
• Taipei continues to develop as a newer art centre
and some of the most interesting artists
practising in a range of disciplines are working in
Taiwan.

6. Rachel Cronin, Year 12 2012, ‘Babel’, documented form, photomedia, video, artist’s book

7. My artwork explores communication and miscommunication, through language
and across cultures. My intent was to emphasise the importance of language in
our contemporary society both in shaping our identity and in building networks
globally through interaction with others. Through the representation of language
in all of its forms, I hoped to envelop and confront my audience, inviting them to
question the ability of language to enhance communication, or paradoxically
initiate miscommunication. Using the extended metaphor of the biblical story
'The Tower of Babel’, I worked across the mediums of photography and film,
resulting in a documented form.
Influencing artists: Zhang Huan, Susan Hiller, Jenny Holzer, Laurens Tan, Wenda
Gu, Xu Bing, Yang Zhenzhong

10. What paradigm am I coming from?
• In New South Wales art education curriculum
gives equal weight to critical and historical
studies of art in the middle and senior years
• Students are immersed in ‘practice’ – of the
artist, the critic and the historian
• They model their own developing practice – as
artists and as art writers – on those to whom
they are introduced in their studies

11. Travels in the Middle Kingdom
• USING CONTEMPORARY CHINESE
ART TO DEVELOP ENGAGING
CASE STUDIES FOR THE MIDDLE
AND SENIOR SCHOOL
Hua Jiming in his studio in Songzhuang
• THINKING ABOUT
PEDAGOGY – AND ABOUT
THE PLACE OF VISUAL ARTS
IN A RICH CURRICULUM

12. An introduction
ARTIST / WORLD / ARTWORK
RELATIONSHIPS:
TRADITION AND TRANSFORMATION

13. Wan Liya, in Two Cities Gallery, M50, Shanghai ,photograph Luise Guest

14. Yao Lu, Early Spring on Lake Dong Ting, 2008, image Bruce Silverstein Gallery

15. Yao Lu, Mountain and Straw Houses in the Summer, 2008, Galerie du Monde Hong Kong

16. Zhou Hongbin, photograph,
image courtesy the artist and China Art Projects

17. Bing Yi Huang, ink on Chinese paper,
image courtesy the artist

18. Huang Xu, Plastic Bag #8
Image courtesy China Art Projects and
the artist
Huang Xu and Dai Dandan in their studio

19. Bing Yi Huang, Beijing, October 2013

20. Bing Yi’s assistants unroll the 30-meter ink painting she showed at Documenta

21. • What impact do traditions and contemporary tensions
have on the work of artists in China now?
• How is this seen in their work?
• How can this benefit our students?

22. • How can we design case studies for our students using
this most exciting contemporary work?
• How can we structure learning to assist them in engaged,
authentic understandings of contemporary practice?
• How will they move from engaging with contemporary
practices to their artmaking?
Han Yajuan. ‘Travel Alone’ oil on canvas
image courtesy the artist

23. Image reproduced from
http://blog.everythingwallart.com/wall-art-news-worldwide-protest-for-ai-weiwei-release/

24. Photograph shot in the Tsim Sha Tsui subway on the morning of April 16, before the
stencilled images were covered by workmen under the direction of the police

25. Ai Weiwei, ‘Remembering’ at Haus der Kunst, Munich 2009, source
http://commons.wikimedia.org/wiki/File:Ai_Weiwei-So_sorry.JPG

26. Bang (2013), an Ai Weiwei installation in the German pavilion
Source: http://www.guardian.co.uk/artanddesign/2013/may/30/ai-weiweivenice-biennale

27. For the Venice Biennale, Ai Weiwei has created an installation detailing his 81 days of
incarceration by the Chinese government back in 2011. Entitled S.A.C.R.E.D(Supper,
Accusers, Cleansing, Ritual, Entropy, and Doubt), the installation at
the Sant’Antonin church features six iron boxes that display scenes of his captivity.
Source: http://arrestedmotion.com/2013/05/showing-ai-weiwei-s-a-c-r-e-d-the-venicebiennale/

29. Jonathan Jones in the Guardian:
The Venice Biennale needs Ai Weiwei – a man
who makes art matter:
“Like Beuys in the 70s or Duchamp in 1917, with
Ai Weiwei we have the privilege of seeing a
modern master in his moment.”
“This is the moment of Ai Weiwei, an artist who
will be the stuff of legend.”

30. BUT contemporary Chinese art is
about far more than Ai Weiwei!
Virgin Garden: Emersion. China Pavilion at 51st Venice Biennale, Venice Arsenale and Vergini Garden, Venice, 2005. Exhibition curated by Cai
Guo-Qiang
Liu Wei (Born 1972, Beijing, China), Star, 2005, Flash lights and motion detectors, Dimensions variable
Photo by Tatsumi Masatoshi, courtesy Cai Studio

31. Song Dong, Waste Not, at Carriageworks Sydney 2013

33. Yin Xiuzhen, currently showing at Pace Beijing, in 798

34. Huang Jing Yuan, oil on canvas, image courtesy the artist

35. Liu Zhuoquan, image courtesy the artist and China Art Projects

36. 8 Case Studies of Artists’ Practice
PAINTERS, INSTALLATION ARTISTS,
CONCEPTUAL ARTISTS, SCULPTORS,
DIGITAL MEDIA ARTISTS….
UNLESS OTHERWISE IDENTIFIED WITH SOURCES, ALL PHOTOGRAPHS WERE TAKEN BY LUISE GUEST
AND ARE REPRODUCED WITH THE PERMISSION OF THE ARTISTS AND THEIR GALLERIES

37. Beijing

38. “I think I will do something different than
the Cynical Realists, although I am not
always sure that others will understand,
but as China becomes stronger and more
confident, real Chinese thoughts will be
recognised world-wide, and artists such as
myself may be recognised”
Focus Artist #1 - Beijing
LIANG YUANWEI

41. From 2004, I used typewriter to type “umustbestrong” 44 times everyday on
a roll of toilet paper, it so happened within one section of the toilet paper.
Two whole rolls have been completed by the end of 2006.
——Liang Yuanwei

42. “Art mirrors changes in society, artworks are treated as a
flagship and a symbol of the country. Sooner or later, alive
or dead, as an artist you will be the flag.” Liang Yuanwei’s
work at Venice Biennale 2011

43. “On the tenth of this month it has been held an important press conference in Beijing.
Peng Feng, vice director of the aesthetic department at the Beijing University and
curator of Chinese Pavillon at the Venice Biennale, officially presented the artists'works.
The winner are: Pan Gongkai, Liang Yuanwei, Yang Maoyuan, Cai Zhisong and Yuan
Gong.
The title chosen by Mr Peng this year is "Pervasion". Pervasion correspond to the 5
main taste of China that had an influence in the world. The subject is one of the most
ordinary one. When a foreigner images China, he probably may thinks about the
Chinese Tea, how weird and mysterious is their ancient medicine, the fashonable Lotus
flower, the mystic smell of the incense in the temple, and if he is fortunate enough to
have traveled once in China, how strong is the taste of their liquor, the Baijiu. All this
five element will be presented as a odor that will flood all over the pavilion.”
http://yishuyishu.blogspot.com/2011/05/chienese-pavilion-at-venice-biennalei.html
This loses something in the translation from Chinese to English – but showing in
Venice is an extraordinary achievement for this young artist!
Post-Venice she was bitter and disillusioned – why?

50. “Art practice is like building houses, where different people use many
different materials and construction techniques. My paintings are my
own little universe of materials, purposes and techniques.”

52. During the Southern Song some emperors
and empresses inscribed poetic lines to go
with small paintings, especially album
leaves. In this work the court painter Ma
Lin has painted the blossoming branches to
go along with a poem inscribed by an
imperial consort.
What references can be seen in Liang Yuanwei’s
paintings to Chinese traditions such as ink
painting, scroll painting and calligraphy?
http://depts.washington.edu/chinaciv/painting/t
courbf.htm

53. Postmodern? Or traditional oil painting conventions of representation?
What is significant in these paintings is not the marvel of the
successful execution of a unique and challenging technique,
but Liang’s refusal to engage in shortcuts. She paints every
inch of her canvases instead of delegating the timeconsuming work to assistants, as is common in a place like
Beijing where works can be fabricated with great ease.
Collectively, the paintings raise a series of questions: What is
the significance of a medium when works in oil mimic
designs in fabric? Is the defining quality of each work its
process or its concept, and where do we draw the line
between daily manifestations of culture and those that are
elevated—or debased—to the realm of art? These works
offer no explicit answers, only delicate decorative pleasures
and interpretive depth for those who seek it.
http://artasiapacific.com/Magazine/60/LiangYuanwei

54. http://theculturetrip.com/asia/china/articles/be
tween-fear-and-trust-the-art-of-liang-yuanwei/

55. Feminist Sculptor, Eva Hesse
Repetition Nineteen 3, 1968
Museum of Modern Art, New York
Identify some connections between
Hesse and Liang Yuanwei
Art that wasn't "art" was her aim. "I wanted to get to nonart, nonconnotive,
nonanthropomorphic, nongeometric, non, nothing, everything, but of another kind,
vision, sort, from a total other reference point," she wrote in an exhibition statement
in 1968
http://newsgrist.typepad.com/underbelly/2006/06/eva_hesse_body_.html

56. Liang Yuanwei
identifies influences
including Joseph
Beuys, Eva Hesse,
Agnes Martin,
Sigmar Polke and
significantly, Mark
Rothko, as well as
writers,
philosophers,
political activists and
musicians

58. Picture of Early Spring------Oil painting/installation------Taikang Space, Beijing------2010
“This series is produced for my solo show at Taikang Space. The work consists of two parts: ‘One Table and
Four Stools’ and ‘Nine Tables and Nine Stools’. The form of the works comes from the folded stools and tables
that are common furniture for families which are not better-off and cheap street stalls. The colour and form of
these tables and stools and the way they are shown in the space presents my feeling about the early spring.”
http://www.liangyuanwei.com/en_works_32.html

60. Making Art Historical Connections
Joseph Beuys, Fat Chair
Liang Yuanwei, Picture of Early Spring
• Es
Establish some connections between influential
‘Fluxus’ conceptual artist Joseph Beuys and the
conceptual basis of works by Liang Yuanwei

61. “My work is like a
scientific laboratory”
Focus Artist #2 - Beijing
LIU ZHUOQUAN

63. Traditional ‘inside painted’ snuff bottles (“Nei Hua”), were painted with a
fine curved bamboo brush, and with the details first, backgrounds second

64. All images of Liu Zhuoquan and his works courtesy the artist and China Art Projects

71. “On the surface life seems quiet and calm, but underneath
danger lurks, represented by the idea of scientific specimens in
bottles. Also we use bottles all the time in our daily life, so they
are a symbol of the everyday. Traditionally painted snuff bottles
emphasised the imaginary world contained inside the bottle, so
in my everyday bottles I am also creating an imaginary world.”

73. “Bottles can be a place to conceal or save memories, the past
and our history. Some of my bottles contain memories of the
Cultural Revolution times, and other reflections of real events,
but in a ‘veiled’ way. In the place where I was born the temple
was used for the ashes of the dead, which were contained in
bottles. My name is the name of this temple.”

75. “My time in Tibet was very important, and the influence of
Tibetan culture is there in my work. The Tibetan attitude to
death and their philosophy is quite different, and this can be
seen in their ‘sky burial’ ceremony. It is necessary always to
have a dream as life and death are so interconnected.”

80. Seven Sparrows (detail)

82. Chang’An Avenue (installation detail) shown at Sydney Contemporary,
September 2013

83. Art Critical Connections
Compare and contrast the practice of Liu
Zhuoquan with Australian artist Fiona
Hall. In particular, look at her works
‘Mourning Chorus’ and ‘Cell Culture’ and
comment on the way that each artist has
employed ‘found’ and discarded
materials to make a comment about
their world.
Images of Hall’s works from
http://roslynoxley9.com.au/artists/17/Fiona_Hall/481/

84. “I am a sculptor who
uses embroidery, not an
embroiderer”
Focus Artist #3
GAO RONG

85. Gao Rong looks out her window at the changing face of Beijing….
All images of Gao Rong and her works courtesy the artist (and White Rabbit Gallery)

87. Gao Rong, ‘Station’ 2011
Fabric Thread Sponge Metal
Image courtesy the artist
and White Rabbit Gallery
How might students 5 engage with Gao Rong’s
works?
Themes of Daily Life, Femininity, Family,
Journeying….
Links with Pop Art, and with the Feminist works
of artists such as Judy Chicago and Miriam
Schapiro
Gao Rong says she was inspired by Tracey Emin –
another rebellious female!

89. Gao Rong, Level 1/2, Unit 8,
Building 5, Hua Jiadi, North
Village (2010) fabric, thread,
sponge, metal, image reproduced
courtesy of the artist and White
Rabbit Gallery.

95. Gao Rong
The Static Eternity, 2012
Cloth, Wire, Steel, Cotton,
Sponge, Board
Image courtesy the artist,
White Rabbit Gallery and the
Biennale of Sydney
See following three slides for
details of this work.

96. http://www.randian-online.com/np_feature/in-grandmothers-house/

99. Shanghai

100. “My left
hand encloses the
past, my right the present”
Focus Artist #4 - Shanghai
PU JIE

101. Pu Jie, Tiananmen, 2011, oil and acrylic on canvas,
photograph Luise Guest reproduced courtesy the artist

102. Installation view, Redgate Gallery Beijing, March 2011
All Pu Jie images reproduced with permission of the artist, ShanghArt Gallery and Ausin Tung Gallery

103. Pu Jie, Head and Her No 12, 2008, acrylic on canvas, Photograph Luise Guest
reproduced with permission of the artist

105. A Pet No 2, 2007, photographed in Pu Jie’s studio, Shanghai, March 2011

106. “In my work the colour yellow represents the search for
good fortune, and it is also an imperial colour. It
represents the last 30 years of the ‘opening up’ of China.
In contrast the Cultural Revolution is represented by the
colour red.”

107. “I have been searching for a better way to express the
combination of the past and the present – this is the
conflict of all Chinese people of my generation. My
images are politically charged and quite sensitive.”

108. A work in progress, photographed in Pu Jie’s studio, March 2011
“I want to preserve the past in my work, just like a scientific specimen”

109. Pu Jie ,’Feeding’, 2010, oil on canvas, 200 x 250cm,
image reproduced courtesy of Ausin Tung Gallery.

110. “What I experienced are two different eras,
my life feels like a paradox” (Pu Jie)
Explore ways in which Pu Jie represents aspects of
his personal and cultural worlds – make connections
with works by American Pop Artists such as James
Rosenquist, using the MOMA website
www.moma.org
Watch Robert Hughes ‘Empire of Signs’ from
American Visions
http://www.youtube.com/watch?v=o1arL-L7_O4

111. Focus Artist #5 - Shanghai
LU YANG

112. Control is what Lu Yang’s work is about.
Machine/animal control,
machine/corpse control,
machine/human control,
human/human control…at the core of
this control hierarchy is mind control.
What she works with is the
fundamental method in cybernetic art.
Her works are often
sadistic/masochistic biological or bionic
control systems.
Dajuin Yao
Open Media Lab, China Academy of Art

114. “A world of mad science and manga, all rooted in some kind of incontrovertible truth
about what we are made of; DNA and chromosomal chains that sometimes get
twisted out of shape and into something completely unexpected.”
Martin Kemble, Art Labor Gallery Shanghai

116. “Showcasing her latest music video work Dictator, Lu Yang takes the audience onto a
mind-boggling journey that aesthetically explores the biology of control systems in
living frogs and amphibians. Progressing from her previous work Happy Tree, which
shows living animals being treated with a centrally controlled pulse of electricity in a
small tank, Lu Yang extracts some footage from the work and transforms them into
highly aesthetical and technical forms that are presented with the accompaniment of
sound composed by Wang Changcun” (Art Radar Asia, June 30 2010)

117. http://luyang.asia/
http://theculturetrip.com/asia/china/articles/old-meets-new-in-chinese-art-fiveyoung-chinese-artists-to-watch/

120. https://vimeo.com/29762925
Lu Yang, ‘Wrathful King Kong Core’ – Tibetan Buddhism / Sci Fi / Anime !

121. “My painting is like meditation; a slow and
peaceful process that takes a long time to
develop. Buddhist scripture suggests
eliminating all that is inessential to distill the
essence. Simplicity is reality”
Focus Artist #6 - Shanghai
SHI ZHIYING

128. SHI ZHIYING 石至莹
Reliquary 金筐宝钿珍珠装碔
玞石宝函, 2013
Oil on canvas
20 1/8 x 16 3/16 in. (52 x 42
cm)
Image courtesy the artist and
James Cohan Gallery
New York

129. Shi Zhiying, Blue and White Porcelain Bowl with Arabic Inscription, oil on canvas,
42 x 52 cm – image courtesy the artist and James Cohan Gallery

130. Shi Zhiying, Egg White Porcelain Bowl, oil on canvas,
40 x 50 cm – image courtesy the artist and James Cohan Gallery

131. Hong Kong

132. “Western painting is like opening a
window and looking out, Chinese art
is more like opening a space to
escape to within the self”
Focus Artist #7: Hong Kong
TUNG-PANG LAM

134. I plan to produce a series of
works called ‘1 square foot’
about how to escape the noise
and pressure of life in Hong Kong
All images reproduced with the
artist’s permission from
www.tungpanglam.com

135. Lam Tung-pang
Currently lives and works in Hong
Kong
Lam Tung-pang uses both
traditional (oil, acrylic, charcoal,
pencil) and non-traditional (nails,
sand, plywood, found objects)
materials to produce thoughtprovoking pieces engaging with the
ideas of memory, history or
reflecting the specific situation of
individuals or groups.
He is often making comment on his
‘hybrid’ Hong Kong Chinese identity
as well as about issues in the world
such as environmental destruction.
Travel and Leisure 2010

138. “My work is in a Chinese idiom converted to contemporary life”

139. Influences include:
• The broad, loose monochromatic brush-strokes of traditional ink painting
• Hong Kong born New Ink Movement Master Lou Shoukun
• The deeply embedded history of line drawing and ink painting in Chinese art
• The tiny landscapes in the backgrounds of early Renaissance painters such as
Giotto, Masaccio and Piero della Francesca
• The 20th c inheritance of found objects and the use of ‘non-art’ materials
• The ‘literati’ painters
• Sigmar Polke, Michael Borremans and Sanyu

141. http://dailyserving.com/2013/03/things-happened-on-the-island-lam-tungpangs-floating-world/

142. Revenge of Nature

143. Remembrance 2005

144. Look left, look right 2005

145. Art Historical Connections
Sanyu, a Chinese artist who went to Paris
in the 1920s, is a significant influence on
Lam Tung-Pang’s work, as is Sigmar Polke
“I don’t really think about anything too much”,
Sigmar Polke 2002
http://www.tate.org.uk/modern/exhibitions/p
olke/global.htm

146. Folding 2005

147. Making critical connections
Lam Tung-pang, ‘Fishing’
Compare how each artist uses materials,
techniques and visual codes to
communicate ideas about their personal
world and identity
Jenny Watson, 2006 Cool World
Part 1: acrylic on rabbit skin glue pinned Chinese organza over daisy
printed cotton, 219 x 83 cm;
Part 2: industrial paint and velvet ribbon on prepared oval stretcher
79 × 30cm
Roslyn Oxley9

148. My work invites a
contemplative response in a
throw-away society
Focus Artist #8: Hong Kong
HANISON (HOK-SHING) LAU

149. Hanison (Hok-Shing) Lau

150. Tabletop Garden series
All images courtesy of the artist

151. Table top Garden
http://theculturetrip.com/asia/china/articles/old-meets-new-inchinese-art-five-young-chinese-artists-to-watch/

152. Tabletop Garden, with documentation

153. Milky Way from the Ninth Heaven, 2008

154. References to tradition and cultural identity
•
He references traditional Chinese
culture and poetry from the Song
Dynasty, as he believes that young
Chinese need to reconnect with
these traditions. He also wants
people to take the time to really look
at the world around them and the
objects they are using - in a busy,
busy city where people buy a new
cell phone then throw it away and
buy a new one in order to have 'the
newest, the latest' consumer goods,
Lau wants his audience to think more
carefully about tradition and the
meanings inherent in objects
Three Wishes

155. A Century-old shop
2010
Mixed Media Installation
old cardboard. abandoned materials

158. Making art historical connections:
• The performative artist
• The ephemeral artwork
• The artist as social critic
• The continuing influence of
dada
Review the Fluxus movement and its dada inheritance. Explore works by Nam
June Paik and Joseph Beuys. What connections can you make with performance
works by Hanison Hok Shing Lau?

159. www.teachingchineseart.blogspot.com

160. Art Education
INSIDE THE BOX, OUTSIDE THE BOX

161. How does Chinese art education produce artists of such
technical virtuosity and capacity to innovate?

169. One aspect to consider in
current discourses relating
to art curricula
“You cannot think outside
the box unless you HAVE a
box!”
(Howard Gardner, speaking in
Sydney, May 2011)
How do we retain our
commitment to engaging
students in authentic, exciting
and contemporary modes of
making and studying art, whilst
ensuring they are part of a
‘community of practice’?

170. And beyond artmaking – what about art literacy and
authentic, exciting, fully engaged student writing?

171. Finding the “hook”!
Huang Yong Ping, ‘Leviathanation’ at Tang Galleries Beijing 2011 (photo L. Guest)

172. Art Critical Interpretation
Ways to ensure that student
writing is authentic and rich
• Strategies for eliciting
genuine responses
• Collaborative tasks
• ‘Learning conversations’
• Avoiding plagiarism
• Applying art language
• Developing research skills
• Using ICT and social media
Huang Yong Ping, ‘Two Baits’, 2001, iron, fibreglass, metal sheets, 160 x 300 x 800 cm.
Image reproduced courtesy of the artist and Rockbund Museum, Shanghai.

173. Rupture, Subvert, Transform!
Traditional papercut
Chen Hangfeng,
Logomania series

174. And one extra artist (just because!)
Chen Hangfeng in his Shanghai studio, photograph Luise Guest 2011

175. Transforming Traditions
Chen Hangfeng
Tianli Zu
How have Chen, Zu and other artists
employed the traditional form of
the paper- cut to express ideas
about their world?

177. https://vimeo.com/5713339

178. Some successful strategies
•
•
•
•
Student websites / blogs
Student video productions
Using multi-media
Collaborations between schools – crossing
borders and breaking down those classroom
walls
• Innovative uses of social media
• The ‘Flipped Classroom’

179. Year 11 student web sites from Loreto
Kirribilli, Sydney
• http://laralovesart.weebly.com/
• http://artwritingbylauren.blogspot.com.au/20
13/08/liu-zhuoquan-critique.html
• http://pastelsandpaint.weebly.com/liuzhouquan.html
• How does this work?

180. Links to student artmaking – so many possibilities!
Child exploring ‘Source’ by by Ed Pien withTanya Tagaq at 18th Biennale of Sydney
Cockatoo Island, photograph Luise Guest

181. Planning a learning experience for
your students
• Select a contemporary artist from the Asia
Pacific region
• Select a few works which you know will
intrigue/confuse/surprise your students
• Ai Weiwei? Song Dong? Liu Zhuoquan? Cao
Fei? Cai Guo-Qiang?
• Start to develop the introductory lesson:
“the hook!”

182. Using ‘the art of now’ for
authentic art learning
• Step 1: invite students to observe, think,
speculate and wonder
• Step 2: require students to use rich language
and their developing art vocabulary to
describe, analyse and interpret a work without
plagiarism or 2nd-hand ideas
• Step 3: Invite students to ask “What if”
• Step 4: Invite students to consider the
relationship to their own artmaking

183. Wang Ningde
Case Studies provided today were produced by Luise Guest for
the NSW Premier’s Kingold Creative Arts Scholarship in 2011…….
The www.teachingchineseart.blogspot.com site has more case studies and more articles
suitable for adaptation to IB and other curriculum structures

184. Thank you / Xie Xie! / 谢谢
The End
Luise Guest
October2013