Separating Sheep from Goats: Sherman E. Lee and Chinese Art Collecting in Postwar America
Separating Sheep from Goats investigates the history of collecting and exhibiting Chinese art through the lens of the career of renowned American curator and museum director Sherman E. Lee (1918–2008). Drawing upon artworks and archival materials, Noelle Giuffrida excavates an international society of collectors, dealers, curators, and scholars who constituted the art world in which Lee operated. From his early training in Michigan and his work in Occupied Japan as a monuments man to his acquisitions, exhibitions, and publications for museums in Detroit, Seattle, and Cleveland, this study traces how Lee shaped public and scholarly understandings of Chinese art. By examining transnational efforts to collect and present Chinese art and scrutinizing scholarly and museological discourses of the postwar era, this book contributes to the historiography of both Chinese art and American museums.
1127165006
Separating Sheep from Goats: Sherman E. Lee and Chinese Art Collecting in Postwar America
Separating Sheep from Goats investigates the history of collecting and exhibiting Chinese art through the lens of the career of renowned American curator and museum director Sherman E. Lee (1918–2008). Drawing upon artworks and archival materials, Noelle Giuffrida excavates an international society of collectors, dealers, curators, and scholars who constituted the art world in which Lee operated. From his early training in Michigan and his work in Occupied Japan as a monuments man to his acquisitions, exhibitions, and publications for museums in Detroit, Seattle, and Cleveland, this study traces how Lee shaped public and scholarly understandings of Chinese art. By examining transnational efforts to collect and present Chinese art and scrutinizing scholarly and museological discourses of the postwar era, this book contributes to the historiography of both Chinese art and American museums.
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Separating Sheep from Goats: Sherman E. Lee and Chinese Art Collecting in Postwar America

Separating Sheep from Goats: Sherman E. Lee and Chinese Art Collecting in Postwar America

by Noelle Giuffrida
Separating Sheep from Goats: Sherman E. Lee and Chinese Art Collecting in Postwar America

Separating Sheep from Goats: Sherman E. Lee and Chinese Art Collecting in Postwar America

by Noelle Giuffrida

Overview

Separating Sheep from Goats investigates the history of collecting and exhibiting Chinese art through the lens of the career of renowned American curator and museum director Sherman E. Lee (1918–2008). Drawing upon artworks and archival materials, Noelle Giuffrida excavates an international society of collectors, dealers, curators, and scholars who constituted the art world in which Lee operated. From his early training in Michigan and his work in Occupied Japan as a monuments man to his acquisitions, exhibitions, and publications for museums in Detroit, Seattle, and Cleveland, this study traces how Lee shaped public and scholarly understandings of Chinese art. By examining transnational efforts to collect and present Chinese art and scrutinizing scholarly and museological discourses of the postwar era, this book contributes to the historiography of both Chinese art and American museums.

Product Details

ISBN-13: 9780520297425
Publisher: University of California Press
Publication date: 06/29/2018
Edition description: First Edition
Pages: 272
Product dimensions: 7.00(w) x 10.00(h) x 0.80(d)

About the Author

Noelle Giuffrida is a professor and curator of East Asian art whose research and scholarship focuses on the history of collecting, exhibitions, and scholarship on Chinese art in twentieth-century America and the visual culture of Daoism in late imperial China.

Table of Contents

Preface • vii
Introduction • 1
1. Discovering Chinese Art in the American Heartland • 12
2. China, Japan, and Seattle: Navigating the Study of Chinese Art in the 1940s • 41
3. An American Epicenter: Collecting and Exhibiting Chinese Paintings in the 1950s • 76
4. Diplomacy and Revolution: Presenting Chinese Art in the 1960s • 121
5. Reorientations: Turning to Japan and China in the 1970s and 1980s • 144
Conclusion • 177
Notes • 183
Selected Bibliography • 223
List of Illustrations • 243
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