Singapore Artists, Nanyang Style Old Man Yip Motor Millions

Total Page:16

File Type:pdf, Size:1020Kb

Singapore Artists, Nanyang Style Old Man Yip Motor Millions ISSN: 0219-8126 biblioasiaVol 2, Issue 1, April 2006 04 Singapore Artists, Nanyang Style Learn about the unique style of Singapore’s pioneer artists 12 Old Man Yip Discover a photography master’s works 17 Motor Millions Read about the history of Malaysia’s automotive industry National Library Board Singapore As the world progresses towards a knowledge-based economy, useful Editorial/Production information needs to be made easily available. Globalisation, connectivity and interactivity at all levels are flattening the world and changing the rules of Editor national competitiveness. In such an economy, the creation of and access to Lynn Fong information is a significant economic, social and cultural activity. Contributors In supporting Singapore’s aspiration to become a knowledge hub, the Alicia Yeo, Dr Kevin Tan, Eli Solomon, Neo Tiong Seng, National Library strives to serve as a reference and research centre for all Jane Wee, Rokiah Mentol, Singaporeans and foreigners. The “Find It” campaign, which will be launched Stephanie Tan, Veronica Chee, on 11 April at the Library, seeks to bring greater visibility to and awareness of Wan Wee Pin, Sara Pek, the reference services and treasure trove of knowledge found in the Library’s Ong Eng Chuan, Timothy Pwee, collections. The campaign aims to support the Library in its effort to nuture Mazelan Anuar, Chow Yaw Huah, independent information seekers and to become the preferred stop for Asian Sundari Balasubramaniam content and collection services. With the series of thematic info-literacy talks, panel discussions and specific programmes that target the four sectors Photographers of design, education, heritage and business, the campaign holds exciting Ronnie Tan, Anwar Hadi Bin Ramli promises for all who seek information and knowledge for various purposes. Cover Photography Contents Besides stimulating our grey matter, one also needs nurturing for the soul. Yip Cheong Fun Courtesy of Mr Andrew Yip In an extraordinary photographic exhibition, the long gone era of Singapore is revisited through the works of the late master photographer Mr Yip Cheong Fun. Production Coordinator Running till 15 May 2006 and jointly organised by the Singapore Heritage Publishing and Research Services, Society, the National Library Board and the family of the late Mr Yip Cheong National Library Board Fun, the exhibition features more than 130 of Yip’s best photographs. Also, in conjunction with the Singapore Arts Festival, the National Library will Designer bring the arts right to its doorsteps in June. Arts lovers will get to meet and The Press Room interact with two groups of overseas artists in workshops organised jointly by National Library Board and the National Arts Council. Works by prominent local sculptors, including Ms Han Sai Por, will also be showcased at the Plaza. This issue of BiblioAisa captures the National Library’s celebration of ©National Library Board Singapore 2006 distinguished readers, artists, painters and photographers, their works and ISSN: 0219-8126 contribution to Singapore’s society. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted With nourishment for the mind and soul, we are not neglecting the body. in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior The month of May will kick off a panel discussion on the upcoming 2006 FIFA permission of the publisher, the National Library Board Singapore. World Cup. Made up of leading local and foreign football personalities, the Whilst the National Library Board Singapore has used discussion, together with other programmes, will study the various aspects reasonable endeavours to ensure that the information of football and examine why this age-old sport continues to captivate us. provided in the publication is accurate and up to date as at the time of issue, it reserves the right to make corrections Programmes that touch on gaming and extreme sports will also be featured in and does not warrant that it is complete. May. Look out for these events on our website at www.nlb.gov.sg. The National Library Board disclaims all liability and responsibility for any loss caused to any person by any act or omission, due to the material contained in this We look forward to seeing you at the Library and happy reading! publication. If you have any comments, questions or suggestions about this publication, please direct them to: Publishing & Research Services National Library Board 100 Victoria Street, #07-02 Singapore 188064 Tel: +65 6333 7977 Fax: +65 6333 7990 Ms Ngian Lek Choh Email: [email protected] Director Website: http://www.nlb.gov.sg Column Director’s National Library 03 As the world progresses towards a knowledge-based economy, useful Editorial/Production information needs to be made easily available. Globalisation, connectivity and interactivity at all levels are flattening the world and changing the rules of Editor national competitiveness. In such an economy, the creation of and access to Lynn Fong information is a significant economic, social and cultural activity. Contributors In supporting Singapore’s aspiration to become a knowledge hub, the Alicia Yeo, Dr Kevin Tan, Eli Solomon, Neo Tiong Seng, National Library strives to serve as a reference and research centre for all Jane Wee, Rokiah Mentol, Singaporeans and foreigners. The “Find It” campaign, which will be launched Stephanie Tan, Veronica Chee, on 11 April at the Library, seeks to bring greater visibility to and awareness of Wan Wee Pin, Sara Pek, the reference services and treasure trove of knowledge found in the Library’s Ong Eng Chuan, Timothy Pwee, collections. The campaign aims to support the Library in its effort to nuture Mazelan Anuar, Chow Yaw Huah, independent information seekers and to become the preferred stop for Asian Sundari Balasubramaniam content and collection services. With the series of thematic info-literacy talks, panel discussions and specific programmes that target the four sectors Photographers of design, education, heritage and business, the campaign holds exciting Ronnie Tan, Anwar Hadi Bin Ramli promises for all who seek information and knowledge for various purposes. Cover Photography Contents Besides stimulating our grey matter, one also needs nurturing for the soul. Yip Cheong Fun Courtesy of Mr Andrew Yip In an extraordinary photographic exhibition, the long gone era of Singapore is revisited through the works of the late master photographer Mr Yip Cheong Fun. Production Coordinator Running till 15 May 2006 and jointly organised by the Singapore Heritage Publishing and Research Services, Society, the National Library Board and the family of the late Mr Yip Cheong National Library Board Fun, the exhibition features more than 130 of Yip’s best photographs. Also, in conjunction with the Singapore Arts Festival, the National Library will Designer bring the arts right to its doorsteps in June. Arts lovers will get to meet and The Press Room interact with two groups of overseas artists in workshops organised jointly by National Library Board and the National Arts Council. Works by prominent local sculptors, including Ms Han Sai Por, will also be showcased at the Plaza. This issue of BiblioAisa captures the National Library’s celebration of ©National Library Board Singapore 2006 distinguished readers, artists, painters and photographers, their works and ISSN: 0219-8126 contribution to Singapore’s society. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted With nourishment for the mind and soul, we are not neglecting the body. in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior The month of May will kick off a panel discussion on the upcoming 2006 FIFA permission of the publisher, the National Library Board Singapore. World Cup. Made up of leading local and foreign football personalities, the Whilst the National Library Board Singapore has used discussion, together with other programmes, will study the various aspects reasonable endeavours to ensure that the information of football and examine why this age-old sport continues to captivate us. provided in the publication is accurate and up to date as at the time of issue, it reserves the right to make corrections Programmes that touch on gaming and extreme sports will also be featured in and does not warrant that it is complete. May. Look out for these events on our website at www.nlb.gov.sg. The National Library Board disclaims all liability and responsibility for any loss caused to any person by any act or omission, due to the material contained in this We look forward to seeing you at the Library and happy reading! publication. If you have any comments, questions or suggestions about this publication, please direct them to: Publishing & Research Services National Library Board 100 Victoria Street, #07-02 Singapore 188064 Tel: +65 6333 7977 Fax: +65 6333 7990 Ms Ngian Lek Choh Email: [email protected] Director Website: http://www.nlb.gov.sg Column Director’s National Library 03 | FEATURE | | FEATURE | concentrating primarily on Chinese ink painting and calligraphy Singapore Art, Nanyang Style (Kwok, 1996). Apart from the By Alicia Yeo, Reference Librarian, Lee Kong Chian Reference Library creation of art societies, the late 1920s to 1940s saw many travelling exhibitions being held in Singapore by China-based artists like Xu Beihong, Gao Jianfu and Liu Haisu (Kwok, 1996). At this time, the trend for Chinese painting was called the “Shanghai “Why, it is asked, do Chinese artists paint in oils instead School”. It followed the legacy of 19th century painters such as Ren of their own fluid and sensitive medium?... The answer is Bonian and Wu Changshi, who that no art that is alive can stand still; it must be a direct painted with xieyihua – or the style of “writing ideas” – where the expression of the times.
Recommended publications
  • List of Entries
    List of Entries 1. Aik Htun 3 34. Chan Wai Chang, Rose 82 2. Aing Khun 5 35. Chao Tzee Cheng 83 3. Alim, Markus 7 36. Charoen Siriwatthanaphakdi 4. Amphon Bulaphakdi 9 85 5. Ang Kiukok 11 37. Châu Traàn Taïo 87 6. Ang Peng Siong 14 38. Châu Vaên Xöông 90 7. Ang, Samuel Dee 16 39. Cheah Fook Ling, Jeffrey 92 8. Ang-See, Teresita 18 40. Chee Soon Juan 95 9. Aquino, Corazon Cojuangco 21 41. Chee Swee Lee 97 10. Aung Twin 24 42. Chen Chong Swee 99 11. Aw Boon Haw 26 43. Chen, David 101 12. Bai Yao 28 44. Chen, Georgette 103 13. Bangayan, Teofilo Tan 30 45. Chen Huiming 105 14. Banharn Silpa-archa 33 46. Chen Lieh Fu 107 15. Benedicto, Francisco 35 47. Chen Su Lan 109 16. Botan 38 48. Chen Wen Hsi 111 17. Budianta, Melani 40 49. Cheng Ching Chuan, Johnny 18. Budiman, Arief 43 113 19. Bunchu Rotchanasathian 45 50. Cheng Heng Jem, William 116 20. Cabangon Chua, Antonio 49 51. Cheong Soo Pieng 119 21. Cao Hoàng Laõnh 51 52. Chia Boon Leong 121 22. Cao Trieàu Phát 54 53. Chiam See Tong 123 23. Cham Tao Soon 57 54. Chiang See Ngoh, Claire 126 24. Chamlong Srimuang 59 55. Chien Ho 128 25. Chan Ah Kow 62 56. Chiew Chee Phoong 130 26. Chan, Carlos 64 57. Chin Fung Kee 132 27. Chan Choy Siong 67 58. Chin Peng 135 28. Chan Heng Chee 69 59. Chin Poy Wu, Henry 138 29. Chan, Jose Mari 71 60.
    [Show full text]
  • Download Singapore Portraits Educators Guide For
    Singapore Portraits Let The Photos Tell The Story Singapore Portraits is a tribute to some of Singapore’s most creative personalities. It features the works of and interviews with local artists which together tell the story of Singapore through their words and images. Besides the paintings and photographs, write-ups detailing the background of the artwork, social and historical contexts and artist biographies are also included. < for Primary School Students> Educators’ Guide Education and Community Outreach Division SG Portraits About The Exhibition Generations of Singapore artists and photographers have expressed themselves through art, telling stories of our nation, our history, people and their ways of lives. This exhibition looks at how Singapore has inspired art-making and what stories art tells about Singapore. Art in Singapore Drawn by the prospect of work in the region’s new European settlements, artists began to arrive here as early as the late 18th century. By the early 20th century, immigrant artists were forming art societies and the first school in Singapore, the Nanyang Academy of Fine Arts, was established in 1938. Among the most significant artists from the pioneering generation were Cheong Soo Pieng, Chen Chong Swee, Liu Kang, Chen Wen His, Georgette Chen and Lim Cheng Hoe. They were instrumental in establishing the Nanyang Style, the first local art style that emerged in the 1950s. Their work influenced younger generations of artists who followed in their footsteps to explore fresh ways of expressing local identity and local relevancy through their art. Take some time to share with students the importance of appreciating Art and the Arts that can help in their overall development.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • The Journey of Minds
    The Journey of Minds: Chinese Modernity and Chinese Ink-Painting in Singapore Woo Fook Wah (Dr.) March 2019 Abstract This essay traces Singapore Modern Chinese-Ink Painting back to the period when China was in search for a Modernity that was relevant to them. While the Chinese Intellectual went about searching for a Modernity relevant for China, the Journey of Minds into Singapore furthered the art scene here, resulting in Singapore being an art centre in Chinese Modern Art in the region. Artists in Singapore analysed the Finds of Chinese Modernity and continued the journey on a different trajectory. The development of a Chinese-Ink Painting Style that eventually took a path influenced by the confluence of thinking between the West and the then evolving Chinese modernity. This resulted in an underlying thread of ideas possibly laying the foundation of a Singapore identity in a portfolio of unique ways of creating Chinese-Ink paintings. 2 Content 1. Introduction ……………………………………………………….. 8 2. In Search of Modernity: The New Culture Movement …………. 14 A. The Motivation Behind the New Culture Movement B. In Search of Modernity C. Western Painting Concepts and Chinese Visual Art D. Traditional Chinese-Ink Painting Concept 3. The Journey of Minds and Nanyang ………………………………………….. 37 A. Arrival into Nanyang B. Bringing Modernity to Nanyang C. The Art of Nanyang 3 4. Singapore Chinese-Ink Painting – Beyond Nanyang …………………… 62 A. The Artworks of Lim TZe Peng (林⼦平) B. The Artworks of Tan Oe Pang (陈有炳) C. The Artworks of Terence Teo Chin Keong (赵振强) 5. Conclusion …………………………………………………………………………… 87 Bibliography …………………………………………………………………………………….. 94 List of Illustrations …………………………………………………………………………….
    [Show full text]
  • 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.
    [Show full text]
  • GALLERY PUBLICATIONS Jan–Jun 2018 CONTENTS
    GALLERY PUBLICATIONS Jan–Jun 2018 CONTENTS On cover: Wu Guanzhong. A Lotus Flower Island. 2003. Oil on canvas, 41 x 60 cm. Gift of the artist. NEW | ART 3 NEW | GENERAL & CHILDREN’S 10 All artworks featured in this publication are from the collection of National Gallery Singapore, unless otherwise specified. All artwork images have been provided through RECENTLY PUBLISHED 14 the courtesy of the National Heritage Board, Singapore, unless otherwise mentioned. Copyright of content in this publication may reside in persons and entities other than, and 28 in addition to, the Gallery. Materials in this publication may not be reproduced in part or in BACKLIST | ART whole without written consent of the Gallery. Published September 2017. All information correct at time of print. BACKLIST | CHILDREN’S 30 2 3 N E W | A R T ABOUT NATIONAL GALLERY SINGAPORE PUBLICATIONS National Gallery Singapore is a visual arts institution which oversees the largest public collection of modern Singapore and Southeast Asian art. Situated in the heart of the Yayoi Kusama: Edited by Russell Storer Civic District, the Gallery is housed in two national monuments—City Hall and the former 280 × 200 mm Life is the Heart of a Rainbow 116 pages, paperback Supreme Court—that have been beautifully restored and transformed into this exciting 60 colour and 15 b/w illustrations venue. ISBN: 978-981-11-2855-4 USD 25 | GBP 20 Published June 2017 Reflecting Singapore’s unique heritage and geographical location, the Gallery features Singapore and Southeast Asian art from Singapore’s National Collection in its long-term and special exhibitions.
    [Show full text]
  • Nanyang 2016
    the 2016 nanyang show the 2016 nanyang show 9 - 12 JUNE 2016, 11AM - 8PM VISUAL ARTS CENTRE, SINGAPORE 10 Penang Road, #01-02 Dhoby Ghaut Green, S238469 CONTACT +6016 298 0852 | [email protected] | www.christay.com foreword The Nanyang Show held at the Visual Arts Centre, Singapore features 47 artworks by 19 artists from Malaysia and Singapore. Organised and presented by Chris Tay, this exhibition/sale event provides an opportunity for art collectors to view and acquire some of the well sought after works by important artists practising in the Nanyang Style. Art by Malaysian and Singapore artists in recent years have surged in popularity and are widely collected. Works of the early period have become particularly rare. Offered at this exhibition/sale are over 16 early works by the Nanyang pioneers. I congratulate Chris for presenting The Nanyang Show to all art lovers. Koh Seow Chuan Architect and Art Collector 4 interpreting nanyang art the 10 essentials sarah abu bakar The theme Nanyang is distinctive of Southeast Asian history Prominent historian and scholar Wang Gungwu explains its particularly in the study of cultural identity and Chinese diaspora geographic meaning: “the word ‘Nanyang’, the ‘Southern Ocean’, that is significant in the development of art in alternative is used as an equivalent of the more recent coinage, ‘South-east Asia’. modernism.1 This essay is an accompaniment to The Nanyang But there is an important difference. There is implied in the word Show from 9 to 12 June 2016 at the Visual Arts Centre in ‘Nanyang’
    [Show full text]