Search results for ""National Gallery Singapore""

Come discover art from the lion city in Awesome Art Singapore! This volume encourages children to appreciate art by revealing works by 10 artists which cover sculpture, photography and painting. Fully illustrated with stories and fun facts about each artwork, Awesome Art Singapore helps makes art concepts and ideas easy to enjoy and understand. Filled with activities exploring mediums, methods and motivations, this book teems with fun and engaging activities that inspire hours of creativity at home or in the classroom.

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Dive into the wonderful world of Malaysian art! Get to know 10 of Malaysia’s most awesome artists through fascinating facts about their lives and beautiful full-colour reproductions of their works. With bold, playful illustrations, Awesome Art Malaysia provides readers with an understanding not just of art and how it is created, but what influences it, from nature to culture. This book teems with fun and engaging activities that inspire hours of creativity at home or in the classroom.

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With essays on sojourning artists like Situ Qiao and local artists such as Tchang Ju Chi, Singaporean scholar and educator Yeo Mang Thong demonstrates how Singapore was an important hub for artists who travelled to and lived in Singapore. Yeo’s research, originally in Chinese, lls a gap in scholarship on the pre-war visual arts scene in Singapore; this English translation aims to bring his research to a broader audience.

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Raden Saleh and Juan Luna's agile navigation of these competing positions resulted in dramatic paintings that have been read as allegories of anti- colonialism in their respective homelands of Indonesia and the Philippines. From Orientalist hunting scenes to realist portrayals of the working class, their works trace stylistic shifts in painting through the 19th century, while re ecting the cultural and social dynamics of this period of enormous change.

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Significant achievement in art notwithstanding, Chen Chong Swee was also a prolific, vivid essayist. His writings- collated here and translated into English for the first time- range from the value of art education to the responsibilities of the art community, and are imbued with ardour and vigorous clarity. This compilation provides a compelling contribution to our understanding of the artist as a man of unwavering focus, whose thoughts cleaved to the advancement of art.

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Seen as a step toward addressing this gap, this catalogue seeks to position Mohidin within Berlin art circles of the 1960s, and unravel what could be contingently described as painting from within the tradition. The catalogue also explores the formative role of Mohidin’s Pago Pago series not only in his oeuvre, but also in our very ability to write about Southeast Asian history.

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Modern Art of Southeast Asia: Introductions from A to Z features 60 concise and accessibly written accounts of the key ideas and currents underlying modern art in the region. These are accompanied by over 250 beautifully reproduced artworks from the collection of National Gallery Singapore, and other public and private collections in Southeast Asia and beyond. The book offers an informative first encounter with art as well as refreshing perspectives, and is a rewarding resource for students.

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Chen Chong Swee is acknowledged as one of the earliest artists to have explored depicting Southeast Asian scenes within the medium of traditional Chinese ink painting. Published on the occasion of a retrospective exhibition at National Gallery Singapore, this catalogue bears witness to Chen's explorations across the mediums of ink and oil, the influence his immediate surroundings had on his art, and his insistence, above all, that it was impossible to divorce art from life. Full-colour image plates, newly commissioned essays and a biographical timeline of the artist within the catalogue flesh out the inflections of Chen's oeuvre.

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Inspired by artworks from Singapore's National Collection, this fun activity book encourages young, curious minds to observe and explore the world around them. Artsy: Fun with Southeast Asian Art introduces children to simple visual elements like line, shape and colour while stimulating creative expression.

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What is modernism in Southeast Asia? What is modern art, as embodied in the paintings of Southeast Asia? These questions and more are answered in Reframing Modernism: Painting from Southeast Asia, Europe and Beyond, published in conjunction with the exhibition of the same name. Featuring 217 works by 51 Southeast Asian and European artists, from the Centre Pompidou and National Gallery Singapore as well as other Southeast Asian collections in the region and beyond, this catalogue tells the compelling story of modernism as it developed across continents, and reveals artists’ powerful, and sometimes surprising, responses to modernity.

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In this expansive study, John Clark draws on decades of his research on modern art cultures across Asia from 1850 to the present day. The Asian Modern uses an artist-centric approach, by way of meticulous case studies, to create a new comparative paradigm for the narration of art. Affiliations of place, claims John Clark, rather than genealogies of time, is key to clarifying the category of the Asian Modern. [...] The transfer is from an extractive art history obsessed with pedigree and derivations, on the one hand, to a redistributive art history, on the other, that is possible only through the reciprocities and fundamental obligations between persons and things. Absent the latter, there can be no future for art history in Asia. Patrick D. Flores, Professor of Art Studies, University of the Philippines, introduction to The Asian Modern

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Who spoke of the modern in Southeast Asia? When and where was the modern written? How was it written? How was it received? This collection brings together nearly 300 texts that were originally published between the late 19th to late 20th centuries, selected by a group of scholars as responses to questions such as these. The texts were produced chiefly in various locations in the region, by artists, critics, historians and curators in 13 languages, many of which had never before been translated into the English language. Years in the making, this publication is the first to present such breadth and depth of art writing in the region of Southeast Asia, and will be a valuable resource to students, teachers, scholars and those interested in Southeast Asian studies and art history.

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One of Singapore’s most prominent performance artists, Lee Wen produced a body of provocative, thought-provoking and sharply satirical works over three decades. Despite Singapore’s decade- long proscription of funding for performance art, Lee Wen was indefatigable, pioneering the art form with searing expressive intensity. He confronted identity politics and issues of race, society and culture through a wide-ranging series of expansive, experimental performances. Presented in this title are writings, lyrics and drawings from Lee’s extensive archives, offering personal insight to the rich associations, metaphors and tongue-in-cheek humour found in Lee’s imaginative world.

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Written over the course of a year in response to the National Gallery Singapore’s exhibitions, Madeleine Lee’s volume of ekphrastic poetry enacts the ways in which language may relate to art. Each poem is a vignette of a show; words compose, question and revision the visual in novel forms of their own making. The sum of this interplay between word and image is more expansive than its parts, and speaks to the generative force of intersecting mediums.

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This volume sheds new light on the signi cance of architecture, painting, installation, photography, and sculpture in the historical narratives of this period and offers fresh insights into artistic production and reception within the cultural and political contexts of post-colonialism and the Cold War, the legacies of which continue to shape the region today.

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The Antony Gormley catalogue presents works from the artist's largest-ever exhibition in Singapore. The publication explores the practice of an indisputably monumental figure in contemporary sculpture, and is anchored by soaring photographs of Gormley's most-recent work, the latest Ng Teng Fong Roof Garden Commission, titled Horizon Field Singapore. 40 colour illustrations

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Jump into the awesome world of art! Through 10 captivating works, traverse the amazing archipelago of Indonesia and discover its cultural breadth. Dive into art history, from paintings inspired by ancient epics to innovative performances. Dive into art history, from paintings inspired by the ancient epics to innovative performances that get you thinking. Dip your fingers into some paint and create your own awesome artwork!

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Earth Work, originally staged at the National Museum Art Gallery In 1980 by Singaporean artist Tang Da Wu, was one of the earliest exhibitions of land art in Singapore. Earth Work 1979, a restaging of selected works from the seminal 1980 exhibition, revisits Tang's then unparalleled usage of organic materials and public spaces. This catalogue delves deeper into Tang's practice and the circumstances of the creation of his earth works through a rich copmendium of essays, interviews, newspaper articles and never-before-seen photo-documentation.

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Edwin Thumboo, one of Singapore’s pioneering literary voices, brings his incisive awareness of socio-cultural history to this volume of poetry. With a humanist’s eye, narratives spanning the domestic, the politic and the mythic form intertextual responses to the works of art hanging on the walls of the National Gallery Singapore. This volume is the second title in the Gallery’s Words on Art series: books dedicated to examining the intersections between visual and literary art.

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This publication for the exhibition SAM Contemporaries: Residues & Remixes contextualises the curatorial approach and featured artistic practices and expands on the ideas explored in the show. Expanding on ideas explored by the artworks in the exhibition SAM Contemporaries: Residues & Remixes, this publication contextualises the show's curatorial approach and the featured artistic practices through documentation, field-notes, scholarly essays, speculations and conversations of various forms (and formalities) between artists and curators.

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Discover wonderful works of modern Southeast Asian art by forming different shapes with a handy tangram. Play along with Cindy and her family or take your tangram with you on your own day at the Gallery!

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Journey into the awesome world of art with Cardo the carabao! Experience the Philippines’ heady history and vivid visual culture through phenomenal portraiture, striking sculptures and the coolest “clouds”! Explore the depths of your imagination as you create along the way.

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The exhibition A Fact Has No Appearance explores the impact of new ideas on art in Southeast Asia during the 1970s through the case studies of three artists: Johnny Manahan, Redza Piyadasa, and Tan Teng-Kee, all of whom have been recognised for breaking ground in Southeast Asian modern art. With essays that deliberate upon the impact of their works during the 1970s as well as a rich documentation of their works and archival materials, this catalogue presents a concise study of the three artists and also offers insight into how conceptual art practices took hold in this region.

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What makes a house a home? Play house with 14 Southeast Asian artworks from National Gallery Singapore and discover the magic of a home. Then, share your dream house with a friend or two! From our Art for Tinies series for little art lovers and their grown-up companions.

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Four decades of participatory art, films, sculpture and more from the iconic Relational Aesthetics pioneer Accompanying the first US survey and largest exhibition to date dedicated to Thai artist Rirkrit Tiravanija, Rirkrit Tiravanija: A LOT OF PEOPLE traces four decades of Tiravanija’s multifaceted practice. Spanning rarely seen early works from the 1980s through recent projects, the publication covers Tiravanija’s experimentations with installation, film, works on paper, ephemera, sculpture and participatory works. Designed by Tiffany Malakooti, the publication features over 400 images—many of which are published for the first time—as well as 23 newly commissioned texts. Longform essays by exhibition curators Ruba Katrib and Yasmil Raymond, as well as scholars Jörn Schafaff, David Teh and Mi You, dive into key aspects of Tiravanija’s work, providing historical context. These texts are complemented by 18 short reflections from artists, thinkers and collaborators who have been key interlocutors with Tiravanija over the years. Rirkrit Tiravanija (born 1961) is a Thai contemporary artist residing in New York, Berlin and Chiang Mai, Thailand. Recent solo exhibitions include the Hirshhorn Museum (2019); the National Gallery Singapore (2018); Stedelijk Museum, Amsterdam (2016); the Kunsthalle Bielefeld (2010); the Kunsthalle Fridericianum, Kassel (2009); the Musée d’Art Moderne de la Ville de Paris; the Guggenheim Museum, New York; the Serpentine Gallery, London (all 2005); and the Museum Boijmans Van Beuningen, Rotterdam (2004). Tiravanija has been on the faculty of the School of Visual Arts at Columbia University since 2000. He is the cofounder of the Land Foundation, located in Chiang Mai, Thailand, and a member of Bangkok’s alternative space and magazine VER.

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Karaoke bars and noisy motorbikes, AIDS and capitalism, Buddhism and homosexuality, the allure of Western brands and a worn out country, marked by war – the works of Vietnamese artists Truong Tan, Nguyen Minh Thanh, Nguyen Quang Huy and Nguyen Van Cuong are both blunt and introspective, marked by fury and tenderness. Their work stands for a society on the brink of change – and they mark the beginning of a new art, the onset of contemporary art in Vietnam. Their unconventional works, their art performances and installations – the first ever in Vietnam – have established them as the most important protagonists of a free young art scene that emerged in Hanoi in the early 1990s. Their works have found their place not only in the collections of leading museums such as Singapore Art Museum and National Gallery Singapore, Solomon R. Guggenheim Foundation New York or Fukuoka Asian Art Museum; even recent art historical surveys in Vietnam itself now honour their names as ground-breaking artists. Four extensive artist sections are the core of the book. The archive of German artist Veronika Radulovic enables us to make these radical works accessible for the first time. Don’t Call it Art! tells the initial story of four artists and thereby bridge a gap in Vietnamese art history of the 20th century.

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