Intersections, Innovations, Institutions: A Reader in Singapore Modern Art is the second of two volumes of readers which the editors had published on Singapore art. The first volume, Histories, Practices, Interventions: A Reader in Singapore Contemporary Art, was published in 2016. Like the first volume, Intersections, Innovations, Institutions brings together historically important writings but the scope is on modern artistic practices in Singapore from the 19th century to the 1980s. The aim of this book is to make these writings accessible for research and scholarship and for new histories and narratives to be constructed about the modern in Singapore art.Bundle set: A Reader in Singapore Modern and Contemporary ArtRelated Link(s)
"Intersections, Innovations and Institutions: A Reader in Singapore Modern Art is the second of two volumes of readers which the editors had published on Singapore art. The first volume, Histories, Practices, Interventions: A Reader in Singapore Contemporary Art, was published in 2016. Like the first volume, Intersections, Innovations and Institutions brings together historically important writings but the scope is on modern artistic practices in Singapore from the 19th century to the 1980s. The aim of this book is to make these writings accessible for research and scholarship and for new histories and narratives to be constructed about the modern in Singapore art"--
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 11 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. Looking from inside the region, the rich fecundity of art discourses becomes clear if for example we compare the 1843 text by Raden Saleh from what is now Indonesia with the 1946 text of S. Sudjojono, allowing a historical grasp of modernity from two of its original texts, or across the region to the 1971 text on Malaysia by Piyadasa. The tyranny of physical, cultural, and temporal separation are thus overcome. It is to the great credit of the editors that they have enabled this for us, and this work will be a basic art historical reference both inside and beyond the region for some time to come. —John Clark, Emeritus Professor of Art History, University of Sydney Needed now more than ever, this collection opens up new worlds in the guise of a region called Southeast Asia. Each carefully selected text offers a new point of access to thinking through, across, beyond and with the elusive idea of the “modern.” A signal achievement, this volume is both a rich introduction to the region as well as a vital resource for anyone genuinely committed to art histories that generate new spaces rather than settle for existing realms. —Joan Kee, Professor, History of Art, University of Michigan
This study evaluates how the ideology of Socialist Realism, developed by the Soviets in policies and the practices of art, has been influential in the Asia-Pacific region from 1917 until today. Focusing primarily on Russia, then China, Vietnam, Korea, Singapore, Indonesia, the Philippines and Australia, this book demonstrates how each society adopted and adapted the Soviet example to make some of the most important imagery of recent history. Included is an examination of how the practice of Western art history, the nature of art history in Asia and the forces of the Cold War have led to this influence being inadequately acknowledged across Asia and more widely. The book will be relevant to those interested in art history, Asian studies, political history and cultural history.
Guiding you through the topics that shape aesthetics and the philosophy of art, this introduction explores the truth, meaning, taste, aesthetic merit and judgement, creativity and the possibility of machine art, and morality and the possibility of immoral art. Each chapter offers a wealth of examples from Southeast Asia, including the Nanyang style of painting, the mooi indie genre and its postcolonial legacy, groundbreaking works of poetry and literature, dragon kiln pottery, the art of making ang ku kueh, contemporary conceptual art, the dikir barat and the balitaw. Selected for their merit, boldness and connection to the Southeast Asian region, these artworks traverse art and craft, visual art and music, perceptual and conceptual art, real-life and hypothetical examples and folk and fine art. As case studies, these artworks allow us to deal with controversies and address central questions including: - When are artworks considered dangerous? - Why does Socrates recommend the banishment of the poets? - What are the problems and challenges posed by forgery? - How do we resolve ambiguity when interpreting and making sense of works of art? - Can there be such a thing as immoral art? A sense of awareness of context and situatedness runs throughout Philosophy and Art in Southeast Asia. The texture, fabric and flavour of each example is woven into a rigorous philosophical analysis of aesthetic and artistic matters. Making art and aesthetics more relatable, here is a creative and accessible introduction that inspires a love for art and aesthetics. For anyone interested in understanding the cultural underpinnings of aesthetics outside of the traditional canon, it is essential reading.
Cheong Soo Pieng: Layer by Layer presents a unique insight into the artist’s innovative use of materials in painting through examples from the 1940s to 1980s. This exhibition catalogue features artwork plates presented alongside technical photographs that illuminate Cheong’s artistic process and choice of materials. Accompanied by essays that explore the intersections between conservation science and art historical research, it poses the question: what makes a painting?
In today's art world many strange, even shocking, things qualify as art. In this book, Cynthia Freeland explains why innovation and controversy are valued in the arts, weaving together philosophy and art theory with many fascinating examples. She discusses blood, beauty, culture, money, museums, sex, and politics, clarifying contemporary and historical accounts of the nature, function, and interpretation of the arts. Freeland also propels us into the future by surveying cutting-edge web sites, along with the latest research on the brain's role in perceiving art. This clear, provocative book engages with the big debates surrounding our responses to art and is an invaluable introduction to anyone interested in thinking about art.
Researching Visual Arts Education in Museums and Galleries brings together case studies from Europe, Asia and North America, in a way that will lay a foundation for international co-operation in the future development and communication of practice-based research. The research in each of the cases directly stems from educational practice in very particular contexts, indicating at once the variety and detail of practitioners' concerns and their common interests.
Annotation Telematic Embrace combines a provocative collection of writings from 1964 to the present by the preeminent artist and art theoretician Roy Ascott, with a critical essay by Edward Shanken that situates Ascott's work within a history of ideas in art, technology, and philosophy.
Advanced art education is in the process of developing research programs throughout Europe. What does the term research actually means in the practice of art? What is the relation to the scientific methods of alpha, beta or gamma sciences, directed toward knowledge production and the development of a certain scientific domaine? What will be the influence of scientific research on the art forms?
