Art Singapore-Cambridge General Certificate of Education Advanced Level Higher 1 (2021) (Syllabus 8879)
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Cover Title Authors Edition Volume Genre Format ISBN Keywords The Museum of Found Mirjam, LINSCHOOTEN Exhibition Soft cover 9780968546819 Objects: Toronto (ed.), Sameer, FAROOQ Catalogue (Maharaja and - ) (ed.), Haema, SIVANESAN (Da bao)(Takeout) Anik, GLAUDE (ed.), Meg, Exhibition Soft cover 9780973589689 Chinese, TAYLOR (ed.), Ruth, Catalogue Canadian art, GASKILL (ed.), Jing Yuan, multimedia, 21st HUANG (trans.), Xiao, century, Ontario, OUYANG (trans.), Mark, Markham TIMMINGS Piercing Brightness Shezad, DAWOOD. (ill.), Exhibition Hard 9783863351465 film Gerrie, van NOORD. (ed.), Catalogue cover Malenie, POCOCK (ed.), Abake 52nd International Art Ming-Liang, TSAI (ill.), Exhibition Soft cover film, mixed Exhibition - La Biennale Huang-Chen, TANG (ill.), Catalogue media, print, di Venezia - Atopia Kuo Min, LEE (ill.), Shih performance art Chieh, HUANG (ill.), VIVA (ill.), Hongjohn, LIN (ed.) Passage Osvaldo, YERO (ill.), Exhibition Soft cover 9780978241995 Sculpture, mixed Charo, NEVILLE (ed.), Catalogue media, ceramic, Scott, WATSON (ed.) Installaion China International Arata, ISOZAKI (ill.), Exhibition Soft cover architecture, Practical Exhibition of Jiakun, LIU (ill.), Jiang, XU Catalogue design, China Architecture (ill.), Xiaoshan, LI (ill.), Steven, HOLL (ill.), Kai, ZHOU (ill.), Mathias, KLOTZ (ill.), Qingyun, MA (ill.), Hrvoje, NJIRIC (ill.), Kazuyo, SEJIMA (ill.), Ryue, NISHIZAWA (ill.), David, ADJAYE (ill.), Ettore, SOTTSASS (ill.), Lei, ZHANG (ill.), Luis M. MANSILLA (ill.), Sean, GODSELL (ill.), Gabor, BACHMAN (ill.), Yung -
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Durham E-Theses The formation of identities and art museum education: the Singapore case Leong, Wai Yee Jane How to cite: Leong, Wai Yee Jane (2009) The formation of identities and art museum education: the Singapore case, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/1347/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk ano Iq/Durham uºYivet"sity The Formation of Identities and Art Museum Education: The Singapore Case The copyright of this thesis rests with the author or the university to which it was submitted. No quotation from it, or information derived from it may be published without the prior written consent of the author or university, and any information derived from it should be acknowledged. Leong Wai Yee Jane A thesis submitted in partial fulfilment of the requirements for the degree of Doctorate of Education School of Education University of Durham, U. -
Brother Joseph Mcnally P
1 Design Education in Asia 2000- 2010 Exploring the impact of institutional ‘twinning’ on graphic design education in Singapore Simon Richards Z3437992 2 3 Although Singapore recently celebrated 50 years of graphic design, relatively little documentation exists about the history of graphic design in the island state. This research explores Singaporean design education institutes that adopted ‘twinning’ strategies with international design schools over the last 20 years and compares them with institutions that have retained a more individual and local profile. Seeking to explore this little-studied field, the research contributes to an emergent conversation about Singapore’s design history and how it has influenced the current state of the design industry in Singapore. The research documents and describes the growth resulting from a decade of investment in the creative fields in Singapore. It also establishes a pattern articulated via interviews and applied research involving local designers and design educators who were invited to take part in the research. The content of the interviews demonstrates strong views that reflect the growing importance of creativity and design in the local society. In considering the deliberate practice of Singaporean graphic design schools adopting twinning strategies with western universities, the research posits questions about whether Singapore is now able to confirm that such relationships have been beneficial as viable long-term strategies for the future of the local design industry. If so, the ramifications may have a significant impact not only in Singapore but also in major new education markets throughout Asia, such as the well-supported creative sectors within China and India. -
The Artistic Adventure of Two Bali Trips, 1952 and 2001
Wang Ruobing The Quest for a Regional Culture: The Artistic Adventure of Two Bali Trips, 1952 and 2001 Left to right: Liu Kang, Cheong Soo Pieng, Luo Ming, Ni Pollok, Adrien-Jean La Mayeur, Chen Chong Swee, Chen Wen Hsi, 1952. Courtesy of Liu Kang Family. iu Kang (1911–2004), Chen Wen Hsi (1906–1991), Cheong Soo Pieng (1917–83), and Chen Chong Swee (1910–1986) are four Limportant early artists of Singapore. They were born in China and emigrated to what was then called Malaya before the founding of the People’s Republic of China.1 In 1952, these four members of the Chinese diaspora went to Bali for a painting trip. Struck by the vibrant scenery and exoticism of Balinese culture, on their return they produced from their sketches a significant amount of artwork that portrayed the primitive and pastoral Bali in a modernist style, and a group exhibition entitled Pictures from Bali was held a year later at the British Council on Stamford Road in Singapore. This visit has been regarded as a watershed event in Singapore’s art history,2 signifying the birth of the Nanyang style through their processing of Balinese characteristics into a unique “local colour”—an aesthetic referring to a localized culture and identity within the Southeast Asian context. Their Bali experience had great significance, not only for their subsequent artistic development, both as individuals and as a group, but also for the stylistic development of Singaporean artists who succeeded them.3 Vol. 12 No. 5 77 Exhibition of Pictures from Bali, British Council, Singapore, 1953. -
Chinese Diaspora and the Emergence of Alternative Modernities in Malaysian Visual Arts
2011 International Conference on Humanities, Society and Culture IPEDR Vol.20 (2011) © (2011) IACSIT Press, Singapore Chinese Diaspora and the Emergence of Alternative Modernities in Malaysian Visual Arts Kelvin Chuah Chun Sum1, Izmer Ahmad2 and Emelia Ong Ian Li3 1,2,3Ph.D. Candidate. School of Arts. Universiti Sains Malaysia. Abstract. This paper investigates the early history of modern Malaysian art as evidence of alternative modernism. More specifically, we look at the Nanyang artists as representing a particular section of early modern Malaysian art whose works propose a particular brand of modernism that is peculiar to this region. These artists were formally trained in the tenets of both Western and Chinese art and transplanted into Malaya in the early 20th century. Consequently, their artistic production betrays subject matters derived from diverse travels, resulting unique stylistic hybridization that is discernible yet distinctive of the Malayan region of Southeast Asia. By positioning their art within the problematic of the modern we argue that this stylistic innovation exceeds the realm of aesthetics. Rather, it weaves a particular social and historical discourse that elucidates the Malayan experience and production of modernity. The art of Nanyang must therefore be understood as a local artifact within the global archaeology of alternative modernism. It is a site where modernity as a plural and culturally-situated phenomenon can be continually historicized and articulated in context. Research methods comprise a combination of archival research, field research which includes viewing the actual artwork as well as interviews with pertinent experts within the area such as the artists themselves, friends of the artists, art writers, historians and curators. -
Annual Report
ANNUAL REPORT FY2017/2018 主席献词 01 Chairman’s Message 03 总裁献词 目 CEO’s Message 05 赞助人和董事会 愿景 录 Patron & Board of Directors 多元种族 .和谐社会 09 董事委员会 华族文化 .本土丰彩 CONTENTS Board Committees 11 年度活动 VISION Highlights of the Year A vibrant Singapore Chinese culture, 47 我们的设施 rooted in a cohesive, multi-racial society Our Facilities 捐款人 55 Our Donors 宗旨 57 我们的团队 发展本土华族文化，承先启后； Our Team 开 展 多 元 文 化 交 流 ，促 进 社 会 和 谐 财务摘要 59 Financial Highlights MISSION 机构信息 Nurture Singapore Chinese culture 61 Corporate Information and enhance social harmony 01 02 2017/2018年对我们来说是个具有重要 为 了 注 入 更 多 活 力 予 本 地 华 族 文 化 ，中 We look back on a most memorable year in 2017/2018, the Duanwu Festival, Mid-Autumn under the Stars for the Mid- 主席献词 意义的一年。2017年5月19日 ，新 加 坡 心 开 幕 后 推 出 的《 新 •创 艺 》特 展 ，汇 集 key highlight being the official opening of the Singapore Autumn Festival; and held the Spring Reception, as well as 华族文化中心在万众期待中由李显龙 了19名本地艺术家共21件作品，并通过 Chinese Cultural Centre (SCCC) on 19 May 2017, graced our first Lunar New Year Carnival & Concert to usher in the CHAIRMAN’S 总理主持开幕。这栋位于珊顿道金融中 这一批年轻艺术家的视角，重新诠释新 by the presence of our Patron, Prime Minister Lee Hsien Year of the Dog. These festive events were well-attended by 心的11层崭新大楼，为本地的文化团体 加坡华族文化的意涵。 Loong. The much-anticipated opening was held with great invited guests and members of the community who enjoyed fanfare. This new 11-storey building located in the heart the performances and special activities. -
Art History and the Modern in Southeast Asia
Art Journal ISSN: 0004-3249 (Print) 2325-5307 (Online) Journal homepage: https://www.tandfonline.com/loi/rcaj20 Art History and the Modern in Southeast Asia Pamela N. Corey To cite this article: Pamela N. Corey (2020) Art History and the Modern in Southeast Asia, Art Journal, 79:1, 116-119, DOI: 10.1080/00043249.2020.1724039 To link to this article: https://doi.org/10.1080/00043249.2020.1724039 Published online: 26 Feb 2020. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rcaj20 a French paramilitary terrorist group, the Pamela N. Corey and Malaysia, followed by the Association Organisation Armée Secrète (OAS). A struc- of Southeast Asian Nations (ASEAN)’s ture designed to perpetuate the violence Art History and the spearheading regional artistic affairs in the of colonial rule in this moment becomes Modern in Southeast Asia 1980s and 1990s. As much as Sabapathy wrote the rubble of war. Here one wishes Henni about art and artists to create the building would pick up its pieces with attention to T. K. Sabapathy. Writing the Modern: blocks of an art history, he never ceased to the semantic transformations that Allais Selected Texts on Art and Art History rigorously tackle art’s frames of representa- addresses. in Singapore, Malaysia, and Southeast tion, from the written text to the gallery Despite their different leanings, read Asia, 1973–2015. Ed. Ahmad Mashadi, Susie space to the exhibition symposium, highly together these books reveal the extraordinary Lingham, Peter Schoppert, and Joyce Toh. -
Artists Imagine a Nation
ARTISTS IMAGINE A NATION Abdullah Ariff Boo Sze Yang Chen Cheng Mei (aka Tan Seah Boey) Chen Shou Soo Chen Wen Hsi Cheong Soo Pieng Chia Yu Chian Chng Seok Tin Choo Keng Kwang Chuah Thean Teng Chua Mia Tee Foo Chee San Ho Khay Beng Khaw Sia Koeh Sia Yong Kuo Ju Ping Lee Boon Wang Lee Cheng Yong Lim Mu Hue Lim Tze Peng Mohammad Din Mohammad Ng Eng Teng Ong Kim Seng Tumadi Patri Phua Cheng Phue Anthony Poon Seah Kim Joo Tang Da Wu Tay Bak Koi Tay Boon Pin Teo Eng Seng Tong Chin Sye Wee Beng Chong Wong Shih Yaw Yeh Chi Wei Yong Mun Sen Contents Foreword Bala Starr 8 Pictures of people and places Teo Hui Min 13 Catalogue of works 115 Brief artists’ biographies 121 Acknowledgements 135 Foreword Works of art are much more than simple collectables or trophies, in the A work of art maintains its status as a speculative object well past the date same way that history is more than a compilation of triumphal stories or nostalgic the artist considered it ‘finished’ or resolved, and in fact meanings might never reflections. Histories build and change through their own telling. The works in actually fix or settle. What we identify ascontemporary is as much about a process this exhibition, Artists imagine a nation, record individual artists’ perceptions, of looking back and re-evaluating the practices and insights of those who have experiences and thinking, and document their aspirations for their communities travelled before us as it is about constantly seeking the new. -
A Story of Singapore Art
artcommune gallery proudly presents A Story of Singapore Art An art feast that captures a uniquely modern Singapore cross-fertilized by decades of East- West sensibility in fine art. A Brief Overview The story of Singapore art could be said to have first taken roots when the island flourished as a colonial port city under the British Empire. In addition to imported labourers from India and China, unrest and destitution brought on by civil conflicts and the great world wars culminated to a significant exodus of Chinese intellectuals (educators, scholars, writers and painters) and businessmen to Singapore in search of better work-life opportunities. By the early-20th century, Singapore (then still part of the Straits Settlements) was already a melting pot of diverse migrant traditions and cultures; the early Singapore art scene was naturally underpinned by these developments. During this period, most schools under the British Colonial system taught watercolour, charcoal and pastel lessons under its main art scheme while the more distinguished Chinese language-based schools such as Chinese High School often taught a combination of Western oil and Chinese ink paintings (in fact, a number of these Chinese art teachers were previously exposed to the Paris School of Art and classical Chinese painting during their art education in China in the 1920s). Furthermore, art societies including United Artists Malaysia as well as the Society of Chinese Artists were in place in as early as the 1930s, and the Nanyang Academy of Fine Arts (NAFA) was formally established by Chinese artist-educator Lim Hak Tai in 1938. To paint a simplified picture: the local art production in early Singapore may be broadly characterised into three veins – the traditional Chinese painting, the Nanyang style, and British watercolour style. -
Nanyang Style - Singapore's Pioneer Art Movement
Jul 12, 2011 14:35 +08 Nanyang Style - Singapore's Pioneer Art Movement Singapore was known as Nanyang in the late 18th century. Representing South Seas in Chinese, Nanyang was a goldmine for many Chinese immigrants. Art was denied progression during this period of colonial rule. The first nationwide art class was also implemented reluctantly to comply with British examination standards. So what is the Nanyang style? Who are the main artists? This article will attempt to address these questions. According to the definition from Singapore Art Museum, Nanyang style integrates teachings from Western schools of Paris and Chinese painting traditions, depicting local or Southeast Asian subject matters. Most Nanyangpaintings are either Chinese ink or oil on canvas. There was a great influx of Chinese immigrants and the emergence of Nanyang style was in response to the dichotomy of Chinese nationalism and Southeast Asian regionalism. Colonial rule restricted art development and it was only in the 19th century when the first art society started – The Amateur Drawing Association. While in Kuala Lumpur, United Artists Malaysia emerged. These societies imparted mainly Chinese influences in the Nanyang style. As global economies were recovering from Great Depression, artists of the Nanyang style were benefiting from extra exposure from art trends in Europe and China. The establishment of Society of Chinese Artists in 1935 had members who were not only alumni of Chinese art academies but were also avid fans of western art. The need to craft a unique identity was stronger after World War II, amidst growing anti-colonial sentiments. Founding artists wanted to portray Nanyang culture in a visually unique flavour. -
The Art of Interpretation
The Newsletter | No.63 | Spring 2013 The Review | 35 The art of interpretation Soo Pieng’s Visions of Southeast Asia was published in conjunction with the exhibition ‘Cheong Soo Pieng: Bridging Worlds’ at The National Art Gallery of Singapore (15 Sept-26 Dec 2010). As may be expected of a retrospect of the work of a visual artist, the volume contains a rich repertory of plates and illustrations, an overview of the artist’s biography (Xiamen 1917 - Singapore 1983), and, under the title ‘Bridging Worlds’, art-historian and art-critical reflections on Soo Pieng’s impressive body of work. In the 130-page section ‘Plates’, these reflections are still rounded off with substantive notes on the artist’s preoccupation with Southeast Asian subject matter, his use of colour and com- position, and his bridging forms and traditions. Niels Mulder Right: Cheong Soo Reviewed publication: Soo Pieng’s work clearly demonstrates his affiliation All the same, and within the means of their craft, visual artists Pieng, Weavers, Yeo Wei Wei (ed.) 2010. with the commonplace that he depicted in a personal or cultural analysts’ interpretations remain hostage to their 1981. Oil on canvas Cheong Soo Pieng: Visions of Southeast Asia. way of perceiving and doing things. This is obvious in the personalities and experiences; it remains ‘reality as they see it’. laid on paper board, Singapore: National Art Gallery. prominence of everyday life scenes in his work. Whether Because of his unusual versatility and permanent self-renewal, 82 x 106cm. 277 pages. ISBN: 978-981-08-6422-4 it concerns a fishermen’s settlement along the coast, the vision of Soo Pieng is consistently captivating. -
Art the Real
Art The Real of Drinking In this series of art-and-space inspired libations, we’ve blended the imagination of artists and our fore-founders into a collection of cocktails. Explore a new way of “drinking in art” with a tangible experience. You’ll find these art pieces exhibited within the National Gallery Singapore. The Real Art of Drinking #1 Inspired by iconic Singaporean artist Georgette Chen’s oil on canvas, Bananas in a Basket, c. 1953–1955. BANANAS IN A GLASS Barrel-aged Banana Cognac | Vermouth | Bitters Reflecting Singapore as her new home, Chen painted this tropical fruit with vivacious and dynamic brushstrokes. We pay homage with a composition of the century-old Negroni and our in-house barrel-aged banana-infused cognac. See the painting $26 Subject to 10% service charge and prevailing GST The Real Art of Drinking #2 Inspired by the Padang, the only constant surrounded by a changing landscape in the heart of our civic district since 1822. BY THE PADANG Aged Rum | Apple Brandy | Spice | Bitters The Padang, a national monument and field of many names, was also known as The Plain, Cantonment Plain, and Raffles Plain. An open square with the immense City Hall building as a backdrop, she welcomed oncoming ships and vessels as they approached inland. $25 Subject to 10% service charge and prevailing GST The Real Art of Drinking #3 Inspired by the momentous public unveiling of Singapore’s national flag at the City Hall steps in 1959. OVER THE HORIZON Champagne | Clarified Colada Visit the steps of the City Hall building and look back at the defining moment where thousands of people gathered to greet Singapore’s National Anthem and unveiling of the National Flag for the very first time.