汪悦进(Eugene Wang)毕业于上海复旦大学，后赴美获美国哈佛大学艺术史硕士、博士。现为美国哈佛大学艺术史与建筑史系洛克菲勒亚洲艺术史专席终身教授(Abby Aldrich Rockefeller Professor of Asian Art)。是哈佛大学仅有的两位来自中国大陆的文科华裔终身教授之一。曾经数年为哈佛大学文理学院网页首页人物。曾任美国国家美术馆高级视觉艺术研究所、盖蒂基金会等顾问, 美国大学艺术史协会机关刊物Art Bulletin编委会编委。获美国古根海姆 (Guggenheim) 基金会学术成就奖及美国专业学会(American Council of Learned Societies)所颁赖斯康姆奖, 及哈佛大学教学奖。专著《塑造法华经：中国中古佛教视觉文化》(Shaping the Lotus Sutra: Buddhist Visual Culture in Medieval China) (2004) 获日本岅本日深学术奖。著述内容广泛, 涉及艺术史从古代到现当代各时期，包括青铜、书画、雕塑、建筑、版刻、摄影，电影等多种媒介。着重研究艺术的时空序列、图像编码、及与认知结构的关系。为麦克米兰出版社《佛教百科全书》艺术类主编。历年来先后受邀于世界各地讲学，如奥地利维也纳、瑞士苏黎世、德国柏林、海德堡、法兰克福、英国剑桥大学、澳洲悉尼、墨尔本、加拿大多伦多、及日本九州等大学讲课。最近创建哈佛文理学院中国艺术实验室(Harvard FAS CAMLab – Chinese Art Media Lab)，致力研究开发以新技术和多媒体呈现中国文化与艺术的时空。
Eugene Y. Wang is the Abby Aldrich Rockefeller Professor of Asian Art. A Guggenheim Fellow (2005), he is the art history editor of the Encyclopedia of Buddhism (2004), and the author of numerous publications ranging from early Chinese bronzes to contemporary art. He book, Shaping the Lotus Sutra: Buddhist Visual Culture in Medieval China (2005), which received an academic award from Japan, explores transformation tableaux in middle-period China and ways of worldmaking.
His current research explores the relationship between art and mind, visual manifestations of mindscape and mental theater, the Buddhist visualization in caves and other settings, the early Chinese “generative art” that programmatically produces visual schemes, art and artificial life, art and performativity, the “voice” or subjectivity effect in art, and the making of art historical narratives.
He is also the founder and director of the Harvard FAS CAMLab (Chinese Art Media Lab). The lab explores innovative ways of showcasing Chinese art and culture through immersive installations, films, and other multimedia forms. Current lab projects include the production of To the Moon, an epic art film project about a China-born artist’s long career that culminated in taking Chinese pictorial imagination to the moon and cosmic space. Another film project maps the meditative process that climaxes in the state of nirvana that collapses past, present, and future. Other major projects include installation designs featuring art objects and projections to evoke the experiential and imaginary spaces of classical Chinese theater.
Among the introductory courses he teaches, China in Twelve Artworks uses artworks at Harvard Art Museums to anchor large swath of Chinese art history. The newly developed Introduction to Chinese Art uses ten 20th century figures as guides, each serving as portals to enter historical memory lanes.